rebel's beat

bombs away! // a stormpilot mix // can you hear that noise? it’s a rebel sound

sheppard - geronimo // goo goo dolls - rebel beat // mika - staring at the sun // grace petrie - orbit  // chvrches - leave a trace // odesza - say my name // ellie goulding - burn // purity ring - obedair // bleachers - you’re still a mystery // night terrors of 1927 - dust and bones

I feel that P&P adaptations in general really don’t get the pacing of Darcy’s letter. 

They keep starting with the Wickham part, where Darcy is the most blameless (i.e., completely), and with the sympathy established, get into l’affaire Bingley, by which time “okay I did it, but not (mostly) for the reasons you thought” can feel more or less acceptable. Going from ‘seduction of a fifteen-year-old girl for her inheritance’ to ‘bad relationship advice based on some legitimate reasons’ also makes the latter seem pretty damn forgivable. 

Basically, the emotional reaction to him is this:

A decided improvement and an okay ending point to kick off the second half of the book.

But it’s wrongggggggg.

The pacing of the letter serves a lot of purposes, but a major one is reflecting Darcy’s state of mind while writing it, which is then reflected in Elizabeth’s response. The beginning is proud and cold, seguing into the account of his real motivations and actions with regard to Bingley and Jane. His tone gradually gentles through that part, culminating in some foreshadow-y quasi-regret that muddies the waters a little. But then with his supposed Hindley Earnshaw shenanigans with Wickham, there’s a sharp swerve. Everything we thought was wrong, and he’s completely blameless, and it’s even worse because actually Wickham has horribly wronged him, and on top of that, he’s softened far enough by that point that he goes out of his way to excuse her (/us) from blame, which makes it feel SUPER AWFUL, culminating in a gesture of remarkable trust and then for an absolute high note, the end: I will only add, God bless you. 

The 1995 can’t even work the line in. The 2005 has to do it visually (it is powerful in its own way, but still diminished and jumbled). So the emotional development through the letter and the emotional reaction to him are basically:

That’s a very different sort of emotional beat, that echoes what will happen through the rest of the story–Darcy is on the way up from that point on. And the closing line with his full name attached is important. AGHHHHHH

A Princess On Lothal Quotes (3/4)
  • Ryder:Kanan’s coming. He said to make it look good.
  • Zeb:*grins*
  • Kanan and Ezra:*rush towards him*
  • Zeb:*starts beating them up*
  • Ezra:Zeb, no, wait! That’s Kanan! *gets knocked unconscious*
  • Zeb:*grins* I know.
  • Searching
  • The Raybeats
  • Guitar Beat

Artist: The Raybeats
Track: Searching
Album: Guitar Beat
Label: PVC/Passport
Year: 1981

Instrumental Surf Rock used to be my go to music if I got too high on drugs and needed to calm the fuck down. Although I don’t do that kind of shit anymore, it still works for when I get too down on life and need to cheer the fuck up.
How David Bowie, Kurt Cobain & Thom Yorke Write Songs With William Burroughs’ Cut-Up Technique
The strict realist mold that dominated fiction and poetry for over a hundred years broke open in the late nineteenth century with symbolist French poets like Arthur Rimbaud, Stéphane Mallarmé, and Charles Baudelaire.

Burroughs: When you experiment with Cut-Ups over a period of time you find that some of the Cut-Ups in re-arranged texts seemed to refer to future events. I cut-up an article written by John-Paul Getty and got, “It’s a bad thing to sue your own father.” This was a re-arrangement and wasn’t in the original text, and a year later, one of his sons did sue him.

Purely extraneous information, it meant nothing to me. Nothing to gain on either side.

We had no explanation for this at the time, it just suggesting that when you cut into the Present the Future leaks out. Well, we certainly accepted it, and continued our experiments.