sound long farewell

Misheard Broadway Lyrics

Annie Get Your Gun:  “ MIGHTY FENCES Are Down.”

Rent: “And all of the scars of the NEVERSON BABIES die!”

Mamma Mia!: “I WAS IN JAIL JUST before we met.”

Hairspray: “One little touch ALMOST knocked me out…”

Beautiful: “Tonight A LIE of love is in your eyes.”

Rock of Ages: “Some ABORT to sing the blues!”

Hamilton: “ Guns and ships and SOLAR PANELLED SHIPS.”

The Sound of Music: “So long, farewell. I’LL BE THE SANE A JEW. A JEW. A JEW. To you and you and you.” 

And there’s MANYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY more.

Big Brother

Okay, so those that know me know that I have three theories about ATLA/LOK (due to the plot holes etc). 1. Propaganda, 2. child’s game 3. Mental illness.

Chose the later. And kind of the 2nd as well, because the stories were originally tales that Zuko told as a child.


Chimes sounded, gentle, sweet, rising and lowering rhythmically, letting all visitors know that time was up. Less like a warning and more like a salutation, Azula could almost hear words to the sounds:  So long, farewell thank you for coming. So long farewell see you soon.  

Azula looked over at her brother. He was sitting erect, head held high as if pulled by that string to the ceiling her yoga teacher always referenced. His eyes were closed and his hands flat against the table. 

As soon as the last echo of the chimes receded he stood, hands still flat against the table, and leaned forward, his cape falling forward over his shoulders, his headpiece pointing toward the wall behind her.

Azula held her breath and looked up at him. One of the aides stepped forward.
“I must go now Azula,“ he said, and planted a kiss on her forehead. He looked at her pityingly, sighed and straighted up, tossing back his cape with a shake.
“I’m glad you sat with me,” she answered.
“You are my sister. Nothing will ever change that,” he assured her, and then turned on his heel and marched out of the visiting room.

Azula waited till he was out of sight, then stood and headed for the door. The guard on the other side, a young nurse by the name of Kobi, buzzed her through.

“Did you leave anything with us?” He asked. They were always nice and kind. The hospital was a good one. Not like the first one Zuko had been 

“No. My father’s waiting for me downstairs.” It disturbed Zuko to see the two of them together. She and her father had tried to visit together several weeks back. It hadn’t been good.
“He seems better,” the guard offered.
“Well.” What did that even mean? Lost in his world, but no longer violent? Azula sighed. “Yes. “We’ll see you and your father for family group?” Azula nodded her head.  Sessions on how to be a teammate in your loved one’s recovery. What to expect from treatment. “Have a good afternoon then.”
“Till Wednesday then.” Azula The guard buzzed her through a second set of doors and she went down the elevator.

Her father pulled up as she made her way out of the hospital doors. He opened the door and she climbed in.
“Have you been waiting long?”
“No,”He shook his head. “Service was a bit slow I was afraid I’d be late. “ Azula fumbled in the seat behind her and found the bag from Smokey’s Grill, gave a sniff. ”Kabobs?” she guessed.
“Yep.”
Azula pulled out the box and dug in. They turned onto the highway, Azula eating, neither talking.
Her father waited till she had finished most of the meat and salad before asking. “How did it go?”. He tried to keep the hurt out but could not. It was worse for her father than her in many ways. Zuko considered her a “victim” too. Why couldn’t he have picked one of the tales where they were all good?
“I don’t know.“ she answered finally. “They say he’s getting better.” There was a brownie as well. Azula bit into it slowly.
“That’s what they say." 
Azula let the chocolate melt in her mouth. 
“Why does he make us back? Because we survived? Is he angry at me because we survived?” But he had survived the crash as well. Scarred, but survived. “Is that why?”
“It is a disease Azula. The crash make have been a catalyst, but most likely…” 
Most likely it would have happened anyway. Maybe later, maybe a friendlier story. “I don’t think we can answer that.”
Azula stared out the window. For almost a year she couldn’t get into the car without crying. “I just want my big brother back.” The big brother who teased her and helped her learn to read. The big brother who fought with her and protected her. The one with the imagination who knew his stories were make-believe.
“I know honey.”
They turned off the highway, wove through the streets, Harper Ct., Fells Lane, Ember Road. Her father pulled into the driveway.
Azula dusted the crumbs from her lap and unbuckled her belt.

“We should have grill when Zuko comes home.”
“Azula …”
“He is coming home. Someday.”
“Yes. But not for awhile.”
Azula stared down at her hands. “He’s still my big brother.”
“Yes he is.” Her father got out his door and came round to her side, opening the door for her. “Come on,” he said. “Does us no good to mope. And don’t you leave that trash on the floor!” He mock frowned at her.

Azula grabbed the bag and slid out of the car. Her father dropped his arm over her shoulder and gave her a squeeze. “He’ll get better again. He’ll come home. It will be alright.”
With the right drugs or treatment, the right level of support. Azula leaned her head against her father’s shoulder.
Whatever it took to bring him home.

2

There’s a sad sort of clanging from the clock in the hall

And the bells in the steeple too

And up in the nursery an absurd little bird

Is popping out to say, “Cuckoo”

Cuckoo, cuckoo

Regretfully they tell us cuckoo, cuckoo

But firmly they compel us

To say, “Goodbye”, to you

So long, farewell, Goodbye

 - The Sound of Music - “So Long, Farewell” 

vimeo

On this day in music history: November 13, 1965 - “The Sound Of Music - Original Motion Picture Soundtrack” hits #1 on the Billboard Top 200 for 2 weeks. Produced by Neely Plumb, it is recorded at RCA Victor Studios in Hollywood, CA in Late 1964. The score to the film adaptation of the Tony Award winning musical is written by Richard Rodgers and Oscar Hammerstein II, and features vocal performances by the films’ cast including Julie Andrews and Christopher Plummer. Along with the film, the soundtrack album is a runaway success in both the US and is an even larger success in the UK where it will spend seventy weeks (non-consecutive) the top of the chart over a three year period. The original vinyl LP comes packaged with a booklet featuring liner notes on the cast and composers, and still photos taken during filming on location in Austria. Rodgers and Hammerstein’s music will win the Academy Award for Best Adapted Score in 1966. “The Sound Of Music - Original Motion Picture Soundtrack” is certified Platinum in the US by the RIAA.