music structure
Newsies from Nationals 2012
We had a very special treat this season at Nationals!!! The Broadway Cast from Newsies performed Seize the Day for us!!! It was an amazing experience! They a...

do my eyes deceive me or does this performance have mike fucking faist as jack kelly?

(this might be the closest thing we have to a mike faist boot alright i need some assurance here) 

170918 BTS ‘LOVE YOURSELF: Her’ Press Conference - Compilation

- Rap Monster: “LOVE YOURSELF: Her is a series following after ‘Hwa Yang Yeon Hwa’ and ‘WINGS’. This album takes the role of ‘seung’ in ‘gi seung jeon gyeol’ and features 11 songs.” (TV Report) (seung: explanation, gi seung jeon gyeol: introduction - explanation - twist - conclusion)

- Rap Monster: “I think this album will become one of our turning points.” (TV Report)

- Jin: “Please love our song ‘DNA’ that contains our DNA.” (Mydaily)

- Suga: “I was greatly surprised when I heard the news about the number of pre-orders. It was 700,000 for the last album and we were very grateful to our fans and everyone who listened to our album then too. This time we thought we shall grow a little greedier and it would possibly reach 800,000 orders, we were greatly surprised seeing the news. I’m grateful that this many people love us. I think the pre-orders represent the trust and love for our music, I’m really grateful.” (Herald Pop)

- Rap Monster: “‘DNA’ contains our message of reconciliation and unite that we want to throw at the society.” (Mydaily)

- [About the meaning of ‘harmony’] Rap Monster: “I think love is an ability. If you can’t love yourself, you can’t love others. I often hear people saying that love is an illusional and vague thing these days. I thought about the method of loving. The time we spend looking into ourselves is getting lesser ad lesser because of smart phones and news media. I consider loving oneself to be the answer to many things. We don’t have the confidence to love ourselves completely, but we want to try and think about that answer. Starting from loving ourselves. That’s how it started. Although we haven’t been able to find that answer yet, we hope we can as we go along with the ‘gi seung jeon gyeol’ series.” (Mydaily, Joynews24)

- [About the whistle sound] Rap Monster: “I and Jungkook did the whistling together but I don’t know which one they used.” (News Inside)

- [About new goals] Suga: “Whenever we receive this question, we always said that our goal is to enter the Billboard Hot 100 chart. The Hot 100 chart actually requires having many albums sold, having songs streamed a lot and another important thing is radio play. This is not easy at all. We are holding expectation whether it will come true this time, but luckily US radio stations are giving us a lot of attention and select our songs often, so we’re carefully placing hope this time. Our album is being sold in the US this time and so many people are showing expectation and attention for us so we want to enter the Billboard Hot 100 chart this time.” (Newsen)

- Jimin: “I really want us to top the digital music chart when the digital album is released. I hope many people will love all of our songs this time as well as give BTS who always attempt new things a lot of love.” (Newsen)

- ‘DNA’ is a song of an uncommonly seen music structure in K-pop, featuring the foreign trendy EDM pop genre and bold use of beat drop. The song contains the message ‘we are entwined by fate from the beginning, we are one from the DNA’. (Newsen)

- Suga: “BTS members and the company staff often hold meetings together. The album concepts are from our thoughts and the producers’ thoughts merged together. When we first debuted, we each were busy making our own music, but now we combine BTS’ thoughts and the company’s ones and come up with the concepts.” (Maeil Kyungje)

- Rap Monster: “I often have meetings and hang out with the company staff. I talk with the producers, including Bang Shihyuk PD. The company keeps an eye on what we think.” (Maeil Kyungje)

- Rap Monster: “I always want to give good influence socially. Whenever I see people who like us, I feel a sense of responsibility. It can be become their inspiration or be left as good impression to them, but I think even mere appreciation like enjoying listening to our music or feeling our dance to be cool can also give good influence. I’m feeling the responsibility to keep offering good influence.” (Newsen)

- Suga: “Music is an extraordinary act that can moves someone. I hope the world will eventually become a world where many people are happy.” (Maeil Kyungje)

- [About ‘GO Rather Than Worrying’] Suga: “These days the young generation uses words like ‘YOLO’ and ‘spendthrift’, and I can’t understand why they use those words that much. We interpreted it from the perspective of BTS (in the song), I hope you would think about why the young generation uses ‘YOLO’ and ‘spendthrift’ while listening.” (Mydaily)

- [About ‘DNA’ music video] Suga: “We emphasized on the fancy impression to portray the feeling of falling in love. I was amazed every time I see the music video filming set, because it was so beautiful. I feel good since the result will come out great.” (Sports Joseon)

- Jin: “‘Best Of Me’ is a great song to listen to with lyrical melodies. This song was mixed by a partner who works together with The Chainsmokers. I hope many people would listen to it.” (Sports Joseon)

- Rap Monster: “There’s a famous performance in which president Obama dropped his mic to wrap up the new year speech. It was one of the performances that hold the meaning ‘My speech was good, right?’. ‘MIC Drop’ is a track connected with it. It features a lot of our swag and ambitions and was inspired by president Obama’s speech.” (Seoul Kyungje)

- [About collaboration with Seo Taiji] V: “He gave us support and told us that it’s our era now. I can truly feel that it’s an honor to be able to perform together with such a legendary senior singer.” (Mydaily)

- Jin: “Seo Taiji-sunbaenim told me that I can call him ‘father’. I was grateful that he used the word ‘Seo Taiji and Sons’.” (Mydaily)

- Suga: “I call him ‘hyungnim’. He’s way younger than my father.” (Mydaily)

- [About why the start of the series is ‘seung’ (explanation) and not ‘gi’ (introduction)] Suga: “When we consider the process of falling in love as ‘gi seung jeon gyeol’, I think the stage where we are the most immersed in love would be ‘seung’, so the album started as ‘seung’. There will come a moment when you understand why ‘seung’ comes out now if you follow our album sequence in the future.” (Mydaily)

- Rap Monster: “I think a lot about where our goal should be. When we first debuted, I couldn’t even think of working together with The Chainsmokers. Performing at the Gymnastics Stadium was our goal before debut, but now all kinds of unimaginable proposals are coming from inside and outside of our company. I’m curious about how far we can go. Our abstract goal is to climb up to the top and leave a milestone in the history like how PSY-sunbaenim did.” (Mydaily, Joynews24)

- Suga: “We followed the path of the senior singers and now we too need to build that path and advance further. I hope we can build better paths with better sides of us.” (Joynews24)

- BTS: “Although figures are important, we want to show good music and good performance.” (Joynews24)

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
  • 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.

lololypopy  asked:

So many people are fighting for these lyrics interpretations 😥😥😥

1. Context is important in songs. “Olivia” wasn’t just about a girl. “Hey Angel” wasn’t a conventional love ballad. Music is, first of all, music. It is ABOUT music, refers back to music that has established a presence in its genre, shows what Harold Bloom called the “anxiety of influence.” “Olivia” is ABOUT love as much as it is ABOUT “Penny Lane.” “Hey Angel” is evoking obsessive love as much as it is an homage to “Bittersweet Symphony.” Honesty in music means an integrity to the truth of the music, and a smart understanding of it– of what music is trying to say, and how songs are linked. This is especially important for Harry, whose debut album is supposed to be heavily influenced by his understanding of rock ‘n roll. For instance, imho, the bass riff in “Ever Since New York” quoted from “Baby Blue” is intentional. By evoking it, ESNY is trying to influence our interpretation of ESNY, almost like an Easter egg thrown in to the music. Read the Wikipedia entry on “Baby Blue.” It’s a kicker.

2. Honesty in music doesn’t mean it’s literally autobiographical. Louis said his fav song in MITAM was “Love You Goodbye.” Did it mean Larry split up? We got a million hours of Next-To-You during MITAM promo. “End of the Day” wasn’t about a literal couple at a literal party. Pop music uses romantic imagination to tell stories in metaphors. Sometimes it’s darkly confessional. Sometimes it’s humorous. But always, the lyrics have been created by someone telling a story– they’re fictional. There may be truths in the sentiment of the songs; only the person who wrote it knows for sure.

3. Harry is a songwriter who likes shock and surprise. He likes jokes of all kinds– from dorky, groan-worthy jokes (“A cow says moo.”) to musical jokes. He likes writing provocative songs that invite speculation: “Something Great,” with Louis singing only the last lines, “Stockholm Syndrome” with its bondage imagery. It’s valid to speculate that “Carolina” is about cocaine. Harry probably anticipated this and enjoyed the thought of his fandom wildly speculating. He’s not going to tell. Who’s the “Sweet Creature”? He’s not going to tell (not until much, much later). Speculation SELLS SONGS. It’s great for business. It creates buzz.

4. There are a lot of ways to listen to songs. There’s the relaxed enjoyment of just having good music in your ears. There’s the intellectual understanding of musical theory and structure. There’s imagination about the true subject of the songs. In any case, I recommend not letting music cause any anxiety. Music, like creative writing or even non-fictional writing, is therapeutic for the artist. When Harry writes about heartbreak, he isn’t only reliving the heartbreak. In a way, he has made peace with it, and has transformed it into art. The fact that the lyrics seem so evocative and REAL means the songwriters did a good job. They made us FEEL something. Harry himself has moved on. We don’t need to feel angst for his life– he is a grown man, a professional artist. The music is exorcism for some ghosts, both in his personal life, and in his musical expression– these are songs that show his digestion and transformation of the music inside him. You can see how happy he was performing in the Today concert. The music is his craft and his livelihood. His obsession, now, is to present it well in performance, to do well in the charts, to collect accolades and respect. Remember this statement– doing well drives every aspect of his promo. His obsession isn’t the same as our obsession. The music is all new to us, but not to him. He has moved on. He is a musician, and it’s more important for him to get recognition as a musician.

Music is such an intimate way to communicate. It speaks to our imagination so directly and forcefully. It affects the most primitive parts of our brains, the limbic system, so closely tied to our instincts for survival: hunger, sex, fear, excitement, love, protectiveness. That’s why we have these unconscious and involuntary responses— it’s the damn nerves. Don’t blame yourself for responding to music the way you do. It’s built into your system, the way we all want to have good food and good sex. I want to send a little love to everyone who loves music in your own ways: you have feelings, you’re human, you’re alive. I love that you feel so intensely about music, because I do too.

Finally, it’s okay not to agree. It’s okay NOT to like Harry’s music. It’s okay to criticize the lyrics or music for artistic reasons. To me, being a fan means using my intelligence to judge merit for myself. Don’t beat yourself up for not liking something, and please don’t beat other people up. If you don’t like it, there are lots and lots and lots of other great music to listen to, I promise– music just as compelling, with just as great a backstory.

Hélio Oiticica believed that leisure was essential to creativity—so take a break, and curl up with a good book today! For Eden (1969), Oiticica created an open-ended work that was an “instrument for reflection” and a “proposition for behavior.” Visitors enter a sand garden punctuated by places for rest, contemplation, reading, and listening to music; these structures, called Nests, Penetrables, and Bólides, reappear throughout Oiticica’s career. 


Sato Ryuji’s “Nangeki” escapades featuring Kitazono Ryo. LOL!

In which he posed fans the question of where he would be going with his “Musical Touken Ranbu Kashuu Kiyomitsu Tanki Shutsujin” rehearsals ending early: HERE

And it turns out? He was heading out to watch the “Chou! Datsugoku Kageki Nanbaka”!: HERE

Continuing on from that Kitazono Ryo (Uno/Kogitsunemaru) updated his Twitter xD

Kitazono Ryo @ryyyyo_k

Everyone, a very good evening
This is Kitazono
Today, amidst the rain, thank you for attending
the “Chou! Datsugoku Kageki Nanbaka”

Changing the date, I will be talking about something that happened yesterday, but

Ryuji-zono and Hiroki-chan [1] attended the performance
It was a Touken Danshi [2] day
Araki-san and Zaiki-kun [3] also came to the performance

From tomorrow as well


[1] Ryuji-zono and Hiroki-chan refer to Sato Ryuji (Kashuu Kiyomitsu) and Miura Hiroki (Higekiri) who co-star with Ryozono in the Musical Touken Ranbu.

[2] Touken Danshi - Literally translated to “sword boys” and is a term used to refer to the characters of Touken Ranbu.

[3] Araki-san and Zaiki-kun refer to Araki Hirofumi (Nikkari Aoe) and Zaiki Takuma (Ookurikara) who co-star with Ryozono in the Musical Touken Ranbu.

I’m kind of LOLing at the different ways in which Ryozono addresses his fellow Toumyu actors mainly because he’s actually following the expected conventions; “-chan” for someone younger than him, “-kun” for someone of the same age as him and “-san” for someone older than him.

But what is up with “Ryuji-zono”? LOL! Ryozono, did you seriously just refer to him with a variation of your own nickname? LMAO! (Because one of the fans’ nicknames for Ryozono is “Zono” and “Zono” is also often used in the naming of his regular shows, like his SHOWROOM which is called “ZonoKatsu!”)

So I had to chop off a bit of the intro and outro but here’s a thing I just spent an hour working on. Idek it’s kinda garbage but you guys might like it. I’ll reblog later with all the tags cause idk where my tag list is rn.

anonymous asked:

Why do we use the complexity of H&L to defend it tho? The first time I ever watched I had nooo idea about jumps or spins, let alone steps and turns, and I was mesmerized, and it made me so emotional. I dont believe anyone should need to know how difficult it is to appreciate it, its beauty shines through regardless. I guess what I mean is i dont want it to just be viewed as a technically impressive program, because it is wayyy more than that. Does that make sense?

Yes, that totally made sense. No program Yuzu ever did is “just technically impressive”; I truly believe no one ever needs technical understanding to appreciate how beautiful Yuzu is when he moves on the ice, and both of those statements, IMO, are doubly true for Hope and Legacy. Yuzu makes his jumps such an integral component of his skating you cannot take them out completely, and there are Yuzu programs in which the drama of quads are necessary to enhance the music structure, Romeo & Juliet 1.0′s opening quad toe being one of those cases, but the tone and emotion of H&L don’t necessarily require such accent. Had he done all his quads as triples and triples as doubles, I wouldn’t have loved that program any less. I adore every single jump, spin, turn, step, every single hand movement and facial expression Yuzu did in H&L, especially at Helsinki, less because of how technically perfect they were and more because how each and every one of them was complementary to and illustrative of the music. It also helps, of course, that Yuzu performed all of those highly complex elements with such ease and grace that you just about forget how difficult they truly were. Many commentators have remarked on this, that he always makes skating appear to be a much easier sport than it actually is. I concur. 

I don’t know if Joe Hisaishi has seen what Yuzu made of his music, but if he ever does, I believe even he would be happy with how his music was interpreted and brought to life. Being a huge Hisaishi fan, I have listened to both Asian Dream Song and View of Silence more times than I can count before Yuzu announced his choice of music for 2016-2017. I started the season feeling a bit out of sorts with the music cuts because of the unfamiliar mix, and ended the season feeling like Hisaishi had composed this piece of music titled Hope and Legacy specially, tailor-made, for Yuzu. 

Yes, I agree with you completely that H&L is a lot more than just an athletic accomplishment. That program, for me, is the embodiment of everything I love about figure skating: a sport, yes, but also, an art.

The post no-one was waiting for (but that I’m doing anyway).

Men’s Short Program Review – 30.03.2017 – Helsinki

I admit I was very tempted to start my recap from pairs or ladies (no dance, since I didn’t watch ice dance at all), but I guess I did postpone enough, didn’t I?
I admit I was very tempted to just make it short and post this as my comment to Men & Women tech and judge panels:

Short and on point and probably much better than anything I’m going to write lol

Sadly for you, I finally found enough strenght to actually write something so let’s start my recap from Men’s Short Program Event.

As you (might?) know, I was in Helsinki and I did watch all event live. I’ve to say that – rewatching it now – camera work was really bad on ISU feed. I wish there were more fancams around, but I haven’t found any for all top-6 skaters, so official ISU feed will do for now.
Fair warning, this post may become quite long. If you feel offended by anything I write, asks box is there for you.

Keep reading

anonymous asked:

regarding your analysis of C&L: you mentioned that you don't connect with it as much because it is a more general account of grief, while ACL@M has it's own explicit narrative. comparing Twin Fantasy and Teens of Denial, could you say that your own art has moved in the direction of C&L? TF has a very clear narrative that is relatable in a much deeper way than ToD because it tells a specific, personal story. i love both albums, but your analysis aligns with my feelings about your project.

I’ve seen the term “relatability” thrown around a lot in conversations where people compare, usually in a disappointed tone of voice, ToD with TF. I can’t say I really know what it means. I wrote Denial in the same way that I’ve written every album I’ve made since Twin Fantasy: I’ve started with personal experiences, and attempted to tie them together with more universal sentiments, to create a work with a coherent conceptual arc that stands as something larger than myself. I’ve never written an album like ACL@M. Twin Fantasy was every bit an attempt to create something universal as Denial was; I specifically remember writing Bodys to be an anthem, something people could sing along to with no knowledge of me or my “story”. This was mixed with more diaristic elements elsewhere, obviously, but only inasmuch as it serviced the record as an independent object for it to be diaristic. I’ve never felt that the most important thing on a record is to “tell my story”. That’s not what art is about to me; that’s not how the art that is important to me has affected me. I think every record I’ve made does tell a story, but it is only mine in the sense that my name is on the credits. 

Denial is created in the exact same manner, to the exact same proposed end; it’s a diaristic work of art. Songs like “Drugs With Friends” are specific and personal in a way that I shouldn’t really have to point out. The album tells a story just as TF does, propelled by its musical and conceptual structure, and by repeated motifs and images. The mirroring of song titles, the splitting of sides into “Hometown Hero” and “Cosmic Hero”, the recurring image of being “split in two” - these are not random upcroppings any more than the images and patterns on Twin Fantasy are random. I structured them in a very specific way, to create a specific unfolding of meaning. 

The real difference between these two albums is content. Twin Fantasy is a romance; Teens of Denial is a bildungsroman. Most people will prefer a romance over a bildungsroman, as it speaks to a more essential aspect of humanity. I can’t protest this, and I feel the same way - I think romance is inherently a stronger genre, being (presumably) about two people instead of one. Denial is by no means one of my favorite records. I wrote it during a period in my life where I was not feeling a lot of love. Its tone and content reflect that. I made it because that’s what I do - records have always marked the various phases of my life, and I needed to get out of this one, so I needed to make a record. I think it is what it is, and it’s good for what it is, and other people without a lot of love in their lives might relate to it more strongly than anything else I could have created. If you can’t relate, then consider yourself lucky, and consider checking out one of my many other albums on other subjects.

I think, though, that the reason that a vague term like “relatability” has been selected as appropriate in driving this discourse is that the discourse is based more on how the album was promoted than what the album actually is, when you sit down and listen to it. When we’d wrapped up the record and I was discussing with our publicist what the best approach would be for promoting it, I sent her a track-by-track breakdown of the album, explaining the overarching narrative, and how each song fit in context. Ultimately, we decided to leave this aspect of the record unspoken in promotional material, and focus instead on the strength of the songs as individual works. Thus, the narrative that subsequently built up around the album was about its songs, their accessibility, their potential as works of mass consumption. I had assumed, perhaps blithely, that people who preferred concept records to pop songs, who sought meaning through the building of ideas through a record rather than an immediate emotional release provided by an explicit turn of phrase, would encounter the album on their own time, listen to it while reading the lyrics, and discover that it did, in fact, function on this level as well. I underestimated the power of promotional narrative to influence people’s beliefs about what a thing actually is. This is an idea that has always haunted me, because I don’t speak through press releases, I speak through my art. Most artists do. A press release is something designed to get people to look at art - it should, under no circumstances, be able to replace the art, to override its meaning through memetic repetition. (This is also a large part of what bothered me with C&L; I was tired of seeing people trying to interpret lines like “You checked your texts while I masturbated” under an unshakeable assumption that it must be about his mother’s death.) You must not allow the world to convince you to consume art like this. Art so rarely falls into your lap unannounced, but you must make the effort to pretend as such each time you enter a work; forget what you know about the artist, what you’ve heard other people say about the work, and try to experience it as direct communication. That is the only way you will be able to understand the art as it was intended to be understood.

anonymous asked:

You know a lot about skating, right? When Yurio did his jump with raised arm/s, his score went up by almost 20 points, but some of it was also by finally channeling Agape, but still... why doesn't everyone else use raised arms if they raise points so much? And I have another question, about Yuuri's GPF SP, he only touched down on the flip but it's implied he got enough rotations in. Why was his score so low, even if he didn't channel enough Eros it shouldn't really account for that big a drop?

Multiple amazing fans have calculated and written about Yurio’s score and it’s fairly known by now that his score is technically impossible (according to our world’s rules, anyway).

So I’ll just explain what the arms aloft do.

Raising your arms DOES NOT earn you points. At least, not directly. What they do is count for a mark of difficulty when determining what GOE a jump deserves.

One of the rulebooks (Communication No. 2000, pg 12) lists points to consider for awarding GOE. For jumps:

  1. unexpected / creative / difficult entry
  2. clear recognizable (difficult for jump preceded by steps/movements of the Short Program) steps/free skating movements immediately preceding element
  3. varied position in the air / delay in rotation
  4. good height and distance
  5. good extension on landing / creative exit
  6. good flow from entry to exit including jump combinations / sequences
  7. effortless throughout
  8. element matched to the musical structure

If a skater accomplishes 6 or more of these bullet points, the jump earns a GOE +3.

One clearly-visible and impressive-looking way to earn a checkmark for difficulty is to raise one or two arms – this would fall under bullet point 3. The Tano jump (one arm aloft - named after Brian Boitano) and Rippon jump (two arms aloft - named after Adam Rippon) make it harder to keep the axis straight, and harder to generate enough centripetal force to complete the necessary rotations. Arms are used to essentially pull momentum into the rotation, so without using arms in the usual technique, a skater has to rely on their other muscle groups to make up for that missing energy. 

To answer your question “why not everyone?”: some skaters can adapt their jumps to account for the off-balance/off-center Tano & power-sucking Rippon, but other skaters find it very difficult to grasp the feel of jumping trusty jumps in an alternate way. Those skaters opt to do other things to raise the difficulty and earn GOE.  

Additionally, there’s a time and place for these varied positions. If done right (graceful, extension through the arm, tight rotation), they’re amazing and add to the atmosphere of the program (better PCS too!); if done wrong (awkward, bend over the head, seeming off-center), it looks contrived as if the only purpose for having it is to check off the GOE bullet point.

So basically, Yurio got a handful of points from higher GOE on jumps (in small part due to the arms aloft), and the majority from higher PCS due to finally expressing the emotion to its full potential. Plus, some magic word-of-god points.

To answer the Yuuri part of your questions, I made a pretty thorough post about underscoring here and how little things like not properly connecting with his Eros theme can impact Yuuri’s PCS. I do feel Yuuri should have earned a few more points, but 97.83 isn’t outrageously low. It means the judges were a little strict in PCS, and he might have missed a level on a spin/step sequence as well as slightly lower GOE on jumps. In this follow-up post, I also briefly talk about how low scores were used to enrich the storytelling.

Underscoring (or “low scores” because we have no proof that it’s actual underscoring) is her way of making viewers sympathize with Yuuri’s fight. And if Kubo intends to give low scores and make us rally behind Yuuri, then it’s the animator’s and director’s job to create the same jarring effect as real-life and make Yuuri’s performances incredible for us to watch. The satisfaction is all the sweeter when a skater you cheered for - who has been scored low in the past - finally gives a program that is awarded a super-high score by the judges.

If there are any other questions you have, perhaps my masterlist has the answer waiting for you, and if not, feel free to send me an ask! :)

Anonymous said:

(I hope I don’t open a can of worms with this) what do you think about shouma’s performance at the Lombardia Trophy and his 104.87?

Anonymous said:

What do you think of Shoma’s recent Lombardia Trophy SP skate compared to his Worlds 2017 SP skate?

*sigh* I have a bad premonition about where this answer is going to lead me into. Whatever, might as well make this fun, #YOLO. 

Look, here are two triple Axels. The specimen on the left got +2.43 in GOE and the one on the right +2.80. 

Look, here are two solo jumps, the jump that, according to SP requirement, must be immediately preceded by connecting steps and/or other comparable Free Skating movements, and in the case it does not meet that requirement, GOE must be -3. The one on the left got +1.0 and the one on the right -0.04.

Might as well follow through to check the landing:

I can get why the quad Salchow got +1, it’s - 1 for the unbalanced landing, +2 for difficult entry, height and distance, creative exit, and matched to music structure. Now the quad flip, in order to offset the mandatory -3 to get to 0 GOE, it must have cleared at least 6 bullets. Difficult entry? Quite the contrary. Steps into it? Really? Varied air position? Not that I can see. Height and distance? Bare minimum to contain four rotations, certainly not good enough for a bullet. Extension on landing/creative exit? No, sir. Good flow/effortless throughout? Um? Element matched to the music? May… be…?

That about covered what I think about the TES. Now for one, just one, telling statistic on PCS:

  • Ballade No.1 at NHK: SS 9.39 TR 9.18, crossover count: ~10
  • Winter at Lombardia: SS 9.25 TR 8.85, crossover count: ~30   

No, I don’t think Ballade No.1 at NHK was particularly under- or over-scored, please feel free to correct me if you think differently.

Now to compare against Ladies in Lavender, I think Winter is a step back in terms of composition and interpretation. It could be because it’s new and needs time to get polished, but at the moment I don’t see a lot of connection between the music and the choreography. The footwork in particular calls for some improvement to get to Ladies in Lavender’s level, and I’m not just talking about level as in the technical criterion for step sequence, I mean also the speed, the flow, and the projection, all of which should be Shoma’s strong points. And yet:

  • Ladies in Lavender at WC: PE 9.21 CH 9.07 IN 9.25
  • Winter at Lombardia: PE 9.10 CH 9.25 IN 9.25

I am so very much done with this. Thanks for asking. 


Tsukipro Unit groups and Music Map Charts

A very complex but very interesting chart from the tsukipro magazine of the 6 tsukipro groups (Six Gravity, Growth, Procellarum, SolidS, SOARA and QUELL) music styles and categories.

Horizontal arrow is from creative to orthodox (the musical structure/form) and vertical is pop to cool (no idea what that even mean, let me know).

Not my images, see link below.  Below under cut is the album number if you forget where the song from.

Keep reading

Musical taste in the birth horoscope can be seen through the eyes of Venus. When Venus makes any angle contact to another planet you can have a taste for the style affiliated with the planetary sign energy.  The angle can be a Conjunction, Inconjunction, Sextile, Trine, Square, or Opposition that causes the influence.  Venus also is influenced by the sign it’s in so you can find musical interests tied in there.  Don’t forget musical tastes change over time so the “progressed” Venus can show change in musical taste through the years.

Venus with Sun / Venus in Leo / Progressed Venus in Leo

Songs about standing out, Songs about taking center stage, Fun songs, Music and songs where you can sign karaoke, Childern songs, Romantic and love songs, Dramatically expressive songs, Musicals, Authoritative and firey music like Hard Rock, Songs that are upbeat although not necessarily meaningful, Pop Music, Songs about risk taking and taking chances, songs about being bold and authoritative

Venus with Moon / Venus in Cancer / Progressed Venus in Cancer

Musical taste tied to family traditions, Music of their own homeland (Or Area,) Emotional Musics, songs with emotional value, songs about family, songs mother or nurturing figures, Music influenced from the Mother, Songs about childhood that bring Nostalgic Value, Songs about getting older and retrospect, Oldies, Classics, Love songs

Venus with Mercury / Venus in Gemini and Virgo) / Progressed Venus in Gemini or Virgo

Songs with a lot of words, lyrics or highlight communication

(Gemini Venus), Trendy music, Music in clubs (socializing), Club Music, Dance Music, Variety, Changeable music interests,
(Virgo Venus) Music with intellectual meaning, Music that is like Poetry, Music based on Poems,  Stanza’s in Lyrics, Peaceful music, Calm music, Nature sounds in their music, Picky about musical tastes

Venus in Libra or Taurus / Progressed Venus in Taurus in Libra

Big fans of music, Natural Venusians, Appreciative of Harmony and Beats, Soul Soothing Music, Relating through music

(Libra Venus) Love Songs, Songs with Romance, Gracious songs, Songs about Peace, Wonderful Harmony, Classical Music, Slow Jams, Pop Music, Trendy songs
(Taurus Venus) Romantic Music, Personal Values, Songs about possessions, Sexual songs,  Music that brings them pleasure, Can be a fan of any Genre as it relates to their values, Relaxing Music

Venus with Mars / Venus in Aries / Progressed Venus in Aries

Aggressive Songs With fast pace/beats/tempo, Workout beats, Songs about violence, Sexual songs, Songs about spontaneity/impulses, Music that is Fiery, Hard Rock, Lyrical songs talking about war/battle/revengeful/protecting,  

Venus with Jupiter / Venus in Sagittarius / Progressed Venus in Sagittarius

Optimistic songs, Motivational music, Songs with meaning, Religious songs, Music from Foreign Cultures, Songs about morals Or lack thereof, Dogmatic/ blunt lyrics in music, Lyrics that tell it like it is, An expanded taste in music, Dance music that stimulate the legs

Venus with Saturn / Venus in Capricorn / Progressed Venus in Capricorn

Songs about reputation and standing in the community, Lyrics about facing restrictions or depression, songs about working, songs about father’s or authority figures,  Songs that build up or construct,  Structured music, Songs about being at the top, Songs about money, Songs about being a father, Timeless Musics, Classics

Venus with Uranus / Venus in Aquarius / Progressed Venus in Aquarius

Songs that are strange or unique, Techno music, Electronica, songs about
innovation, Innovative Genres,  Cross Genre’s, Industrial Genre , songs about Friends or Groups,  Music from Groups or Choirs, Alternative, Futuristic Songs, Songs with Lyrics about Hopes and Wishes, Equality lyrics

Venus with Neptune / Venus in Pisces / Progressed Venus in Pisces

Pop, Dance, Dreamy music, Spiritual music, Psychedelic music, Trance, Songs with secret messages, Songs about drugs, Songs that help you escape, Songs about escaping, Songs about being isolation or being alone, Confusing or Mysterious Genre’s, Songs about mystery, Songs about Prison/Hospitals/Asylums, Songs about the self undoing, songs about addiction, movie/video game sound tracks

Venus with Pluto / Venus in Scorpio / Progressed Venus in Pluto

Songs about transformation and change, Lyrics about struggle, Songs about the life and death struggle or process, Songs about hiding or being hidden, Songs about hiding yourself,  Songs about the unknown, songs about the occult, Songs about intimacy, Songs about loss, Deep lyrics, Complex songs, Underground beats, Underground bands, Powerful music, Electronic beats, Rhythem, R and B