Shameful musical confessions

[lettered]

1. I love that song, Sexy Back, by Justin Timberlake. Almost as much as I love Draco Malfoy but it's even more confusing and twice as shameful. *hangs head; feels alone*
2. I didn't know All Along The Watchtower. And yet I <3 Dylan.
3. I recently got Loudon Wainwright and Warren Zevon mixed up.
4. I love that song, Careless Whispers. You know, the one they play in the dentist's office, the "I'm never gonna dance again / guilty feet have got no rhythm" one. George Micheal, I guess. The one redeeming thing about it is I love the Ben Fold's/Rufus Wainwright version, not so much the original.
5. I didn't know "Because" was by the Beatles.
6. I wanted to use a lyric from "Teach Your Children" for a title of dirtybadreallyreallyreallywrong pornfic.
7. I listened to Pop Goes My Heart on the way to work today and was loving it so much, I was constructing a Angel/Buffy, Angel/Cordy, Angel/Connor vid in my head. About Angel's heart going pop. Yeah. That.
8. In fact pretty much all I think about when I hear songs these days are, would that make a good vid? or: would that work in a character mix thing? I have a really great Irish sea chanty thing by Ween that so needs to be Liam's theme song.
9. I burned a cd for seraphcelene, but I haven't sent it to her yet. Three months ago I also burned a cd for my s-i-l. I haven't sent it to her yet.
10. I lose at music! I really really lose. I never know what's going on. Unless stoney321 put it on a Connor mix.

eta: 11. And yesterday, as I was shocked to discover, I don't even own a Sound of Music soundtrack. Huh?

Comments

[imnotacommittee.livejournal.com]

Ack! Yes! That would be an awesome moment for a ficlet. And it reminds me of Finding Peace, where the Mother Abbess must not've sang her the song, as she didn't decide to go back...

There's the marvelous bit of time between CEM and Maria's return. And then there's that dinner that Georg was much too quiet for. I think I wrote bits of stuff for that dinner. Like how Maria would say "cry a little" to Liesl and that dinner. Oh, man! What a scene that must have been :-D

We did. KK's Lizzy cried too much. But she does improve on further acquaintance. And that Darcy is sex on a stick, while CF, though perfect for the role, doesn't do much for me in that sense.

It's funny how adamant people are when it comes to which version of P&P they prefer. After I got over my "I won't see the new one" schtick, I rather liked it. Both have their pros and cons. The 2005 Darcy grew on me, although you brought up a great point about him: he was more shy that Firth's truly proud Darcy. I like the shy aspect of him. I think a friend of mine says she has a mini version of the Firth Darcy painting. Shit. Now I need to find one for myself. Mini Darcy to carry around. Woohoo!

The songs don't hit the emotions I associate with the story.

I hope I don't sound like I'm trying to convince you otherwise (because I agree that sometimes the songs just don't work). But the structure of the song "Painting Her Portrait" is interesting. It's almost Sondheim. Anyway, I wonder why Adele didn't get her own song. Of all characters to break into song, it would be her.

I dunno! I guess not. A wussy Capt is no good!

I'm copying it for you anyway. :-D It has some great other parts, like the children's harmony in The Sound of Music or the wacky soprano nuns going crazy at the end. Fortunately, the Captain doesn't sing too much.

I agree! He's not gruff and nasty enough to be Rochester imo, but he has enough of the broody hardness to be the Captain! *feels swoony*

You all right over there, Joy? ;-) I don't know why people cast wussy men as the Captain. I mean, did they not see the movie and know people would compare them to Christopher Plummer?

I've been meaning to ask you this forever: have you heard that Gwen Stefani song that remixes Lonely Goatherd?!

I haven't heard the entire song; just the yodeling bit. It was odd, but in a cool way. I love how she's a huge SoM fan and has no qualms about it. She's brought SoM fandom to a new level. I wonder if she's ever visited those boards (yikes!) That's cool about your friends' band having the idea to do that too. I guess there's something about it that adds some texture to these modern songs.

Did you see the new one? and to repeat your question--if so, what did you think?

I did see it, and I loved it. Of course, you're the big fan, and I've only seen the William Hurt version and the Orson Wells version. So, I didn't have much to compare it too. But I thought the girl playing Jane was perfect; quiet, smart, plain but then beautiful, strong. And Rochester, with his long hair and broodiness was sexy as hell. Some purists over at Pemberley thought it was all wrong, and they did play with some of the events a bit (ie the gypsy scene), the heart of the story is there, and it's gorgeously filmed. So, you can say I liked it, and I hope you do too!

I did catch a glimpse of the CH version on youtube. It was the scene where she leaves, and I was shocked! He was so violent with her! It turned me off completely. Although I should watch the whole thing, just to be fair.

[tkp.livejournal.com]

I think I wrote bits of stuff for that dinner. Like how Maria would say "cry a little" to Liesl and that dinner.

OMG. Awesome! Yeah, that should be written.

It's funny how adamant people are when it comes to which version of P&P they prefer.

I like both versions, the A&E one better it's true, but it's major drawback for me is it's so long.

he was more shy that Firth's truly proud Darcy. I like the shy aspect of him.

I think Austen's Mr. Darcy is shy, too, but way more in the way of CF's than the new one. Darcy's whole deal is he has trouble communicating easily, but as Lizzy points out, he doesn't take the trouble of practicing, which is a fault of pride. The new!Darcy does take the trouble, but just sucks at it, which I find far more forgivable, endearing, and attractive, because it's not his own fault so much as an aspect of his character, whereas with Austen and CF's Darcy it *is* his own fault. But that's the point of the story: Mr. Darcy has obvious flaws he must learn to fix and Lizzy must learn to forgive; where as the new P&P reduced Lizzy/Darcy's issues to just not ever getting to sit down and talk properly.

But the structure of the song "Painting Her Portrait" is interesting.

that's one I hated in particular. I don't know! There's just something wrong to me about Jane singing so prettily when she's telling herself how unattractive she is. Maybe it's supposed to be ironic? But Jane's whole deal in that scene is to remind herself how little and plain and unfascinating she is, and if she sang at all she would force herself to sing a very plain song very poorly just to remind herself that no one would ever want her!

Anyway, I wonder why Adele didn't get her own song. Of all characters to break into song, it would be her.

I think so too, but I'm glad she didn't. I think it emphasizes that the songs are more internal. Maybe?

I'm copying it for you anyway.

hee! Okay! Thank you!

I don't know why people cast wussy men as the Captain. I mean, did they not see the movie and know people would compare them to Christopher Plummer?

Ha, yeah. Plummer thought the Captain was a wussy part, too. And if he had played it the way it's been played by others, I wouldn't love SoM the way I do, despite Julie Andrews and all the rest. It *would* have been just the puddle of sap CP kept saying it was, imo. But he really made it something different. You wouldn't think, though, that someone who stands up to the Nazis the way the Captain did would look on paper like a weak character!

I love how she's a huge SoM fan and has no qualms about it.

Oh, I didn't know that!

the gypsy scene

That scene is a crap scene in the book, anyway. It's just Bronte needing to be Byronic. And have someone cross-dress.

I did catch a glimpse of the CH version on youtube. It was the scene where she leaves, and I was shocked! He was so violent with her! It turned me off completely. Although I should watch the whole thing, just to be fair.

He is very violent with her and it turns a *lot* of people off. And that version isn't "accurate" at all. Nor does it capture the entire spirit of the book--and I've probably said this before, but imo, no one version does. But in including the violence the CH version does hold true to the spirit of one important thing that the others don't--that Rochester is not really a good man, and someone you probably shouldn't feel sorry for.

In the other versions, in that leaving scene, Rochester is all sad and broody and begging, and I feel as a viewer as if I'm expected to feel sorry for him. Hello, he just tried to trick Jane into BIGAMY. He *knows* he's scum. Don't play the innocent victim who thinks he deserves love! I'd much rather him be angry.

A while ago this girl wrote out a really short, funny tv interview of Mr. Rochester, Heathcliffe, and Mr. Darcy all together. It was hilarious and kinda sad.

[imnotacommittee.livejournal.com]

I think Austen's Mr. Darcy is shy, too, but way more in the way of CF's than the new one... whereas with Austen and CF's Darcy it *is* his own fault. But that's the point of the story: Mr. Darcy has obvious flaws he must learn to fix and Lizzy must learn to forgive; where as the new P&P reduced Lizzy/Darcy's issues to just not ever getting to sit down and talk properly.

I guess, given this analysis, that the 2005 version really isn't about "Darcy's" Pride and Prejudice, or even Lizzie's. It was more Shy and Prejudice. What I gathered from Austen's and CF's Darcy was that he really didn't fix his proud flaws. He still didn't care for her parents, and even though he paid for Wickham's misdeeds, he did it all for Lizzie because he loved her. He also did it to right a wrong he thinks is his fault (which it wasn't), but I wonder if he would have done so if Lydia was anyone else's sister besides Lizzie's.

that's one I hated in particular. I don't know! There's just something wrong to me about Jane singing so prettily when she's telling herself how unattractive she is.

Whoah. We shall agree to disagree :-) I didn't find her singing pretty in that song. Well, her voice is very pretty, but the song is dreary, frantic, has some flats/sharps, etc. Mind you, I have absolutely no clue about anythign musical, but I know, compared to Secret Soul or even Brave Enough for Love, it's a depressing song.

I think so too, but I'm glad she didn't. I think it emphasizes that the songs are more internal. Maybe?

I'm glad she didn't get one either. Her use was simply to get Jane into that house, so once that was done, she kind of fell to the side.

He is very violent with her and it turns a *lot* of people off...In the other versions, in that leaving scene, Rochester is all sad and broody and begging, and I feel as a viewer as if I'm expected to feel sorry for him. Hello, he just tried to trick Jane into BIGAMY. He *knows* he's scum. Don't play the innocent victim who thinks he deserves love! I'd much rather him be angry.

Angry is one reaction, and I think people (like me) didn't care for it because it's not a positive reaction. He's hardly the innocent victim, but I always saw the "woe is me" reaction as, "my life sucks, I'm scum, and I hate myself" more than "It's not my fault." Even though what he did was wrong, it's kind of hard to blame him for wanting some happiness. Although it would have surfaced anyway, and it was best that it happened when it did. It's been ages since I read the book, but I wonder if it's more of Rochester getting a shitty deal in life and having to deal with it or if he's a bad man. Period. I've heard that the Timothy Dalton version is the best adaptation of the story by some Pemberleans, but to each their own.

BTW, did you get the 2006 version yet?

Ha, yeah. Plummer thought the Captain was a wussy part, too. It *would* have been just the puddle of sap CP kept saying it was, imo. But he really made it something different. You wouldn't think, though, that someone who stands up to the Nazis the way the Captain did would look on paper like a weak character!

He does add the needed weight to that story. In the musical, Georg is slightly tempted to comand a submarine again, where CP's Captain doesn't even consider it (at least on screen). The real Georg was tempted to be at sea again, but his disdain for the Nazis overpowered that. In the play, he really is more of a background figure. It's Maria who comes up with the idea of singing in the concert, and it's Maria who decides to go over the mountains. While I wish the movie Maria had a bit more to say more in those final decisions, I'm glad they changed it to have the Captain be more of a leader and would believably stand up to the Nazis (holding guns) with his family standing right there. And CP (despite his attitude toward the kids) was a loving father in his post-arguement scenes.

A while ago this girl wrote out a really short, funny tv interview of Mr. Rochester, Heathcliffe, and Mr. Darcy all together. It was hilarious and kinda sad

There's a crowd. It sounds like it would be sad. I read a ficlette with all of Austen's heroes at a table pining for their ladies. Very cool.

[tkp.livejournal.com]

I wonder if he would have done so if Lydia was anyone else's sister besides Lizzie's.

I wonder the same.

her voice is very pretty,

That is a big part of what I meant.

but the song is dreary, frantic, has some flats/sharps, etc.

But it's not ugly. I dunno. The mood is right but the reality of it isn't. Which is again, me just being stubborn about Jane bursting into song.

I wonder if it's more of Rochester getting a shitty deal in life and having to deal with it or if he's a bad man. Period.

I don't think Rochester's a bad man and I think he got an extremely shitty deal. He could've been a better man (no way Mr. Darcy would do the things he did), but his actions toward Jane and even his wife were not intentionally malicious. Anyway, I've just realized that the point I was trying to make has to deal with my own personal kink: I like to see self-hatred expressed as anger towards other people, and often violence (in fiction! only!). It reads to me as a way to *force* other people away. The "woe is me" often reads (imo) as "pity me", even when the one-in-woe doesn't actually think they deserve pity. Of course, the CH Rochester is not trying to *force* Jane away with violence, but rather force her to stay, which I find far less appealing. But the violence and intensity and unkindness still manage to swing that kink of mine into operation, I guess.

I've heard that the Timothy Dalton version is the best adaptation of the story by some Pemberleans, but to each their own.

It's the most accurate and faitheful to the text. It is not, imo, the most faithful to the spirit.

where CP's Captain doesn't even consider it

I much prefer it that way.

It's Maria who comes up with the idea of singing in the concert, and it's Maria who decides to go over the mountains. While I wish the movie Maria had a bit more to say more in those final decisions, I'm glad they changed it to have the Captain be more of a leader

Huh! I think they'd have to change the movie significantly for Maria to be more of a mover and shaker in the ending scenes. She's not very political. I mean, yeah, I'd like her to have a voice, even her being the leader would be cool, but the way the movie stands it doesn't make sense for her character. Imo. I know real-life-Maria was a very different person. Though they're both really strong women.

I read a ficlette with all of Austen's heroes at a table pining for their ladies.

That does sound cool! Remember where you read it?

[imnotacommittee.livejournal.com]

But it's not ugly. I dunno. The mood is right but the reality of it isn't. Which is again, me just being stubborn about Jane bursting into song.

Yes, it isn't ugly. I can't think of many musicals that are ugly. Maybe Sweeny Todd, but that was scary. And you have every right to be stubborn about such things! Apparently, many agreed with you, because the show didn't last very long. :-) And while I'm thinking of it, I noticed the odd lyrics that the characters were singing. I'm not familiar enough with the book to know, but it seemed like they were singing lines of dialog from the book itself. That never works. Nor does it work in reverse. In the PotP movie, Christine spoke the "twisted every way..." lines which simply did not work for me. Ewan McGregor (sp) said it best about that. There's a simplicity to lyrics that wouldn't work if spoken, but works when sung. It's the same way for lines from books. Sometimes, they shouldn't be sung.

Man, it sounds like (a) I'm a total snob and (b) I didn't like the musical. I don't know about the first one (heehee), but I did enjoy it. It makes for good music montages on Youtube.

I like to see self-hatred expressed as anger towards other people, and often violence (in fiction! only!). It reads to me as a way to *force* other people away.

Ah, I gotcha. Violence is very passionate, too. It's active, verses passive (which is that woe-is-me angle). And it works for stories like this. I wonder if he had torn a room apart in a rage, people would have received it better. Wait, did he? I only saw that clip where he was shaking her as she was leaving.

It's the most accurate and faitheful to the text. It is not, imo, the most faithful to the spirit.

I don't think I asked you this, and I'm sorry if I did... but which one captures the spirit the best? none of them might completely, I know, but does one come closest?

I much prefer it that way.

Yeah, it's much better with no doubt in his mind. Although it would have been cool to see that admiral inside the house, like in the play. And it would have been cool if he said something to Maria... oh, wait... that's my sick sense of coolness shining through ;-)

Huh! I think they'd have to change the movie significantly for Maria to be more of a mover and shaker in the ending scenes. She's not very political. I mean, yeah, I'd like her to have a voice, even her being the leader would be cool, but the way the movie stands it doesn't make sense for her character.

I remember reading somewhere, somewhen that Maria was originally scripted to have a few political thoughts dashed here and there. Not much. I think she would have said something in a group, caught the Captain's attention, and establish that they share the same views and love of Austria. It was part of the reason I had the politics in My Mind and Soul. But the movie Maria is strong and stands by Georg. It's understood that she agrees with him. There's no question that his decision to leave everything they know that very night is a good or bad one.

The only scene I think could have been re-done without changing too much would be the decision to climb over the mountains. It wouldn't have been much, and I wouldn't want Maria's maternal concern to be axed. But when the Rev. Mother says the borders have been closed, I would have loved to see Georg and Maria look at each other and mutually decide to start climbing. But I don't hate the scene or anything. It is what it is.

Shoot. Now I'm thinking of what Maria would have been thinking/fearing/dreading while Georg was walking towards Rolf. I think that would be the part where I'd be the most frightened. Not running, not hiding, but waiting... Oh, plot bunnies!!!!

That does sound cool! Remember where you read it?

That writers' guild website that's so hard to navigate. When I get more moments, I'll try to hunt it down.

BTW, I mailed your CDs yesterday. Hippity Hoppity!