mind blowing posts

Some Highlights from “The Music of Rogue One” Panel at SWCO17 (aka the panel that blew my mind)

So since I can’t find any filmed version of the “Music of Rogue One” panel with David W. Collins I’ll post some of the highlights here. I’m a music theory nerd myself but I was surrounded by people who have never paid attention to music analysis and were still moved to tears so I encourage everyone to check this out (and watch the panel please if it’s ever made available.)

  • the Panel began with Collins discussing the legacy of John Williams and the Star Wars main theme specifically. He discussed how it was originally meant to be Luke Skywalker’s theme, and how that interpretation can still hold true considering Star Wars is the Skywalker Saga
  • The coolest thing pointed out re the main theme is that it’s musical construction mirrors the structure of the Hero’s Journey, the monomyth structure that all of Star Wars revolves around. It rises suddenly with the call to adventure, then builds with the journey, drops during the abyss, is reborn with another musical rise, then returns to the beginning. Collins emphasized that Williams is without a doubt a musical genius and that Michael Giacchino had a big challenge in making a score that lived up to William’s legacy while standing on it’s own. This was a challenge he more than met, as this panel made clear.
  • Now moving on to Rogue One, Collin’s discussed the title theme “Hope.” This theme is clearly heard over the title of the film, during Jyn’s big speech to the Rebellion, and throughout the film.
  • Collins pointed out that, like the main Star Wars theme, “Hope” echos the structure of the film itself. There are heroic major key moments in the theme, but it ends in a melancholy way that almost sounds unfinished. It represents the sacrifice at the center of the film. This is a story of incredible heroism that merely paves the way for others to finish the journey. 
  • Collins moved on to discuss the musical themes for each character in Rogue One, with a lot of focus on Jyn’s theme. Jyn’s theme is the most frequently heard piece along with “Hope” in the film. In fact, we hear it three times in the film’s prologue alone.
  • The fascinating thing Collins pointed out is Giacchino’s use of Dies Irae throughout the score. Dies Irae, or Day of Wrath, is the medieval hym describing the end of the world. It is sung during funeral masses and musically is quoted widely to represent death
  • EVERY CHARACTER THEME IN ROGUE ONE IS STRUCTURED AROUND DIES IRAE. Jyn, Chirrut, Baze, even Krennic, ALL OF THEM
  • Giacchino was signaling from the beginning that this is a story about death. He wrote the sacrifice of these characters right into their themes.
  • A notable use of Dies Irae beyond character themes is it’s repetition as Cassian and Jyn begin to climb the tower in the archive during the climax. The first two notes of Dies Irae are repeated as they do so. When Krennic walks down the hallway with his Death Troopers, all three notes play (death literally chasing them). And when Jyn almost drops, than catches the data tapes, Dies Irae is replaced by “Hope”
  • Jyn’s theme in particular is a melancholy theme centered on Dies Irae, but with a lovely, lullaby like feeling. It tells you from the beginning that Jyn’s is a story of hope and inspiration but also death and sacrifice.
  • An interesting use of Jyn’s theme and “Hope” together is during Jyn’s speech to the Rebellion. First we here “Hope” swell as Jyn speaks to the Rebels. Then when her speech is shot down, the theme drops, replaced by Jyn’s theme. This represents that it is Jyn herself who inspires the sacrifice that will eventually bring on the Hope. Jyn is the hope.
  • Another mind blowing moment was a musical parallel that Collins pointed out with the character of Bodhi Rook. In the scene where he recalls his mission, repeating “I’m the pilot, I brought the message,” listen for the flutes. That exact same flute theme plays in A New Hope when Luke discovers Leia’s message hidden in R2. By doing this,  Giacchino is directly mapping the journey of “the message.” Bodhi receives the message of the Death Star and how it can be destroyed from Galen, he brings it to Jyn, who with Rogue One, transmit the message, which ends up in the hands of Leia, then to R2, then to Luke, who must return it to the Rebellion. Those flutes represent the origin of the message with Bodhi through to A New Hope.
  • This panel was full of mind blowing moments, but the most mind blowing moment by far was another musical connection to A New Hope. After we had become very familiar with Jyn’s theme over the course of the panel, Collin’s played a scene from A New Hope for us. It was the moment when Obi-Wan asks Luke to come with him to Alderaan and Luke resists. When Obi-Wan says he’s getting too old for this sort of thing, Jyn’s theme plays clearly under Luke’s hesitation. In the original context, a hint of Dies Irae was WIlliam’s way of foreshadowing Obi-Wan’s death, but after Giacchino used that musical queue to build Jyn’s theme, it suddenly has deeper meaning. It’s Jyn’s sacrifice calling to Luke, compelling him to be the hope she fought for. And it is connecting Obi-Wan’s eventual sacrifice with that of Jyn and her comrades.  
  • Collins also highlighted how Giacchino’s score for the final moments of the film, from Jyn’s confrontation with Krennic through the arrival of Vader and the death of Jyn and Cassian, is unconventional and incredibly effective. Jyn’s confrontation with Krennic is silent, no music, unexpected for such a key moment. Only when Cassian appears does the music return. And throughout the final sequence, as we witness horrifying destruction, death. the arrival of the Death Star and Vader’s Star Destroyer, the score stays distant, gentle, melancholy. It does not highlight the horror. It steps back and mourns over it, like the eyes of history or the Force itself, honoring the sacrifice. 
  • So yeah Giacchino’s score for Rogue One is brilliant, Williams’ music for Star Wars is brilliant, this panel was brilliant, and I can never get enough of analyzing Star Wars scores.
17-yo Yuzuru’s thought about figure skating and jumps

This is so precious as he also thought about Pyeongchang laready. Wow, I can never get enough of how deep a thinker Yuzu is. This is excerpt from an interview he did in January 2012 when he just turned 17 (from Aoi Hono 1)

“Quad era, I have thought about how far it’s going to. From Gachinski, there are many young skaters that can do quads, I wonder how high level would the quad era become by the time of Pyeongchang Olympics. Other than quad toe-loop, I think it’s really cool to see Brandon Mroz (USA) jump quad lutz in competition. In Japan, because Honda Takeshi succeeded jumping the lutz in practice, so I do feel like catching up with them. I also have pride as an athlete, so I do want to show things like “ I can jump this well”. But in competition… I don’t think we  need to jump that many types of quad at this point yet. Of course, if we can have a program with a quad lutz in the beginning, a quad toe in the second half, putting in 2 triple axels…, if we can do that, then we would get many points. But right now, is it necessary to have so many jumps? Though it is true that it is an era where having quad is normal, rather than doing many different types of quads, it’s mostly about toe-loop and salchow now. Actually, having just toe loop is fine if you jump properly, and the skating and the whole program is perfect. Because after all, jumps aren’t everything, that’s figure skating.”

Wow, how much I love this paragraph!!! I love how he has always tried to deliver a complete program as much as he can since young age and his mindset about figure skating. 

And wow, since he mentioned a powerful program in 2012 with “with a quad lutz in the beginning, a quad toe in the second half, putting in 2 triple axels”, he’s doing it for real next season I guess.


For anyone who wants to read it in Japanese: (and I really recommend buying the 2 autobiographies, it’s worth it, even if you’re learning Japanese I swear!!!)

And so it was that The Joshua Tree 2017 Tour started with Larry No Fucks Given Mullen Jr strutting down the catwalk like a motherfucker. And so it also was that Larry No Fucks Given Mullen Jr ignored the crowd as he went, giving no fucks as he proceeded to slam out the intro to Sunday Bloody Sunday like the cool motherfucker that he is. I Love You, Larry No Fucks.

So get this.....

Supernatural had an episode where Jared Padalecki and Jensen Ackles are pretending to be Sam and Dean Winchester,
Pretending to be Jared and Jensen,
Pretending to be Sam and Dean

WINCHESTEREPTION!

anonymous asked:

WE CAN FINALLY CREATE YOUNG MCHANZO SCENES IN SKIRMISH!!! :D

Finally, what we’ve all been waiting for. Every update and event has been leading up to this, a culmination of patiently waiting and praying for some kind of miracle. 

Just imagine going to Hanamura or Route 66 and having young McHanzo on your team. Beautiful. Perfect. Outstanding. Amazing. Mind-blowing. 

5

[vague ‘oraaaaaaa’ in the distance]

aoba-iwa  asked:

Hello, everyone is talking about your fics and I can't never find them, and I checked all the tags but well, would you mind sending me the links? (Also I love your art, you're amazing)

All of the content for this AU that comes from myself can be found under the 90s diet coke AU tag. This includes my artwork and headcanons, and stuff that other people have suggested that I’ve flailed over and will probably draw at some point.

I’m not a fanfic writer so I’m not going to be writing any lengthy pieces for this AU myself - which makes me sad because I totally would if I could! What you’ll be getting from me is artwork (both individual pictures and comics), with the occasional accompanying scenario or drabble if necessary. Basically the same as I’ve been doing for the Peter Pan AU.

BUt.

OTHER AMAZING PEOPLE HAVE GOT YOUR BACK, MY DUDES! There are already some fantastic fics inspired by this AU cropping up and you should totally check them out! These are the ones that I’m aware of so far:

90′s Diet Coke by @sugasvolleyball

The Adventures Of An Asexual Office Worker by @my-own-character-in-everything

This drabble by @yahabastan

90s Diet Coke!AU - Drabble by @agapantoblu


PSA: IF YOU’VE CREATED ANYTHING INSPIRED BY THE 90s DIET COKE AU (fanart or fanfic) DON’T FORGET TO TAG ME SO I CAN COME AND ADMIRE! When I get a masterpost sorted I want to link to the brilliant stuff that you guys have produced ; w ; 

Well my MEBB is being pitch hitted I guess, meaning no artist chose it as their first choice. I get that I chose a rare pair and stuff, but I guess I thought quality of writing might attract people? Dunno. A little disappointed because I really love the story i ended up writing and to think that maybe other people won’t enjoy it just bummed me out. And I know that I’m not the best writer out there, by far, but I didn’t ever consider myself bad or whatever. Idk.

I know my beta @ellebeedarling has just been so positive and wonderful about it that I so super appreciate her encouragement.

Just a bit sad about it I guess. When you pour all this energy and thought into a story and then bam, you don’t get picked. Ugh. Sorry, sad indulgent post is sad and indulgent.

GUYS GUYS GUYS WHAT IF

What if fanfic writers are just prophets for what happens in other universes
And when we write fanfics or have visions or ideas for fics they’re actually things that happened in a different universe. And each of us belongs to a different universe and that’s why there’s no two stories that are exactly the same
Which means
Cockles. Destiel. Wincest. Sabriel. All the other ships I’m forgetting to mention because I’m an SPN-centric, common-shipping douchebag.

They’re all real. Just not in our universe.