You got scars; I got scars too. The tissue will make us hard; the tears wash us anew. We are harder than doubt had bargained, but battling with the truth. Your scars are beauty marks, but don’t let ‘em define you. Breathe.
my stUPID fuckin work pants dnt have belt loops because i picked out the One kind of PANT without LOOPS and usually i dont wear a belt but my manager is leaving and getting replaced and this new person might get mad and im like freaking out…i have till tomorrow to figure this shit out….ugh
Watch, LIKE and WRITE COMMENTS ON YouTube. And THANKS IN ADVANCE to
YOU: my FRIENDS, FANS, and FOLLOWERS ON TUMBLR! YOU ARE AWESOME!!!
PLEASE keep Re-Playing, REBLOGGING, and LIKING on
TUMBLR… and Thanks for the Signal Boost!
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Hitler Uniform Mystery no. 1: Above his left pocket is an unknown badge. In it he appears to have attached a small flower. What event was this? What was the badge for? This appears to be the only time he wore this badge.
Hitler Uniform Mystery no. 2: On his left pocket flap appears an unknown heart-shaped object very dark, very light. What is it?
Hitler Uniform Mystery no. 3: On Hitlers pocket there appears to be a small award similar to the crossed-hammers-over-a-sword gau essen badge.of 1935. Problem is, the photo of Hitler and the SS man were taken sometime in 1933 evidenced by Rohm wearing his distinctive SA leader insignia that he wore in 1933. Rohm was no longer breathing by 1935
Hitler Uniform Mystery no. 4: On Hitlers left pocket above his Iron Cross is seen an unknown badge. What is it?
Hitler Uniform Mystery no. 5: Hitler is seen wearing his rare silver dress brocade belt. Its circular gold buckle appears to have the same detail as the same from a German Army General, Were they the same? Final photo shows the general buckle for comparison
Positives: Mitch is a lead singer from Pentatonix, and he is very vocally talented. Overall he has a very strong voice and he has had a history in Broadway. He has the ability to make his voice very powerful but very angelic as well depending on the context of the music, portraying emotion very well. (See Superfruit Frozen Medley)
For a countertenor Mitch can go quite low. They are always very resonant and easy for him to access, although he rarely uses it.
His belts are always very well supported, and he can access the fifth octave. They sound very effortless and controlled, and are really good to listen to.
His falsetto is his signature, he can access an incredibly extensive whistle register. He has a very strong falsetto that is highly extensive, singing a vibrato G#5 in Dance of the Sugarplum Fairy. It has a very ‘feisty’ tone to it, has a great resonance and is a fabulous addition to the group. He can add vibrato at seemingly any pitch, and it just gets louder as it ascends.
Negatives: He’s never used his whistle register in a musical context, assuming a lack of control up there.
During a Superfruit livestream him and Scott were asked to sing their lowest vocal note, which was an F#2 for Mitch. This might mean he doesn’t have control of that note.
He sung an uncontrolled Bb5.
He has never used a whistle register in musical context, although he does have one.
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It might be surprising to know how quickly tickets for Lana’s North American shows sold out. Or that she even sold out the 4,500-capacity Aragon Ballroom at all. Or that the average price of resale tickets are rivaling that of Beyoncé’s. But it’s important to remember that this is Lana’s first U.S. tour; apart from a showcase or two in L.A. and New York, a Lollapalooza set last summer, she has never performed here. Combine that with an eager, stan-inclined fanbase (it’s definitely there, as much as the music crit world has gotten tired of talking about her), and there’s a massive demand for very little supply.
And eager they were. I arrived at the Aragon a little before 6pm, and the line outside the doors stretched into a nearby alley, through a shopping plaza’s parking lot, and halfway down the block. It took about forty minutes for me to get inside; along the way, I saw the remnants of the crazed camping: discarded pizza boxes, Starbucks cups, plastic tarps, folding chairs, Snuggies. The crowd was a mixed bag: post-grad 20-somethings; high schoolers whose moms had dropped them off; lots of people in flower crowns; my parents*.
After seeing Lana last summer at Lollapalooza (as well as her aftershow at House of Blues), I was wondering how different her show would be. Turns out, almost nothing changed. Apart from some more elaborate set decorations (dead trees, candelabras, and a giant chair which Lana never actually sat in or interacted with) and the addition of “West Coast” early in the show, the setlist and her performance style were pretty much identical. Lana said next to nothing between songs, opting for stock-standard plugs (“I’m really excited for you to hear the new record Ultraviolence”) and blunt transitions (“I think we should play ‘Video Games’”), sauntering around the stage without clear purpose.
Still, she and her band can put on a good show. The live instruments gave a nice heft to the songs; “Blue Jeans” had the biggest transformation, turned into the sprawling rock song it probably should have been. Her band is fantastic, and were it not for the mostly downtempo, somber songs, their energy would trump Lana’s. And even the second time around, it’s very satisfying to hear how on-point her voice is and that she’s owning her blasé affect, in the wake of the SNL drama. She knows how to contort her voice, and the rare moments where she belted (in the second chorus of “Million Dollar Man”), there was some true power there. I also find the discord between Lana’s nonchalant attitude and the audience’s rabid fandom very interesting. When Lana came on stage to kick off the show with “Cola,” the floor audience rushed the stage (I was pushed forward ten feet without me moving any of my body). They whipped out their phones and kept them raised for at least five minutes. They screamed wildly whenever she did anything, really (bending over to pick up her drink, smiling and pointing at a fan, moving closer to the end of the stage). And they sang along to virtually every lyric.
But if elusiveness is Lana’s end goal, then she’s more than nailed it. This was no clearer than the finale song, “National Anthem.” Just as she did in the past shows, she performed the song as normal. Then, she stepped down from the stage into the crowd (a fence providing a barrier, of course) and made her way along it, signing vinyls, posters, shirts, giving hugs, taking pictures. All the while the band continued to play the song, crescendoing into perhaps the biggest sound that’s backed Lana. While I was expecting this finale, it was this third time that clicked. As you can see from the photo above, a camera shooting from the side occasionally projected Lana on the big screen (it alternated between that, her music videos, and grainy, Hipstamatic-core films). While she was down in the pit, I could see how the elusiveness manifested itself. The lucky front row faces lit up, on the verge of tears that their hero was inches away from them. They were projected on the big screen but couldn’t focus on anything else. This is when it all made sense: the rare appearances, the infrequent shows, the lack of performer-audience dialogue; this is Lana Del Rey’s aesthetic, and it creates a mystique that intrigues people enough to camp out on an unusually cold and rainy day in May and get close enough, if only for a second.
Six minutes later, she returned to the stage and picked up a few flower crowns that fans had thrown to her. She clasped them to her chest with one hand, waved goodbye with the other, and left the stage without a word.