tag:blogger.com,1999:blog-66719957277986144532024-03-13T19:42:12.035-07:00Thinking in ColorThoughts in whatever hue they hit me with.Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.comBlogger579125tag:blogger.com,1999:blog-6671995727798614453.post-84515524429546105532015-01-06T14:57:00.002-08:002015-01-06T14:57:19.836-08:00Crime and Punishment: Approaching a novel from a Musicological LensSo I'm reading Dostoevsky's <i>Crime and Punishment. </i>I'm only on Chapter 4 or so, but I'm loving it. <br />
<br />
My Russian-speaking friends recommended the translation by Richard pevear and Larissa Volokhonsky. The edition I found provided a really good introduction by W. J. Leatherbarrow that goes through some highlights of Dostoevsky's life. It is incredible. Turns out the guy was part of a group of writers who ended up getting sentenced to death for crimes against the government... only to be revoked of their death sentence in an act of "compassion" by the Tsar at the moment of their execution. He was then sentenced to exile in Siberia. Most of the events in <i>Crime and Punishment</i> were inspired by his time in exile. <br />
<br />
I'm sorry, but the life of a modern author just isn't as cool. <br />
<br />
Anyway, after finishing a paper on Modest Mussorgsky, who wrote his opera <i>Boris Godunov</i> at around the same time <i>Crime and Punishment</i> was published, I figured it would be interesting to look at a literary account of Russian society and values in the 1860s. <br />
<br />
I'm discovering that the different arts are in fact not as distinct and separate from each other as I originally had thought. Novelists often inspire musicians; visual artists inspire poets; filmmakers inspire fashion designers, etc. All are born from the same social fabric. I enjoy being in a field that allows me to also explore my interests in visual art, literature, and other fields. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6szi31zAxVk/VKxnQOf6XAI/AAAAAAAAF9I/WkbQSlMF5I0/s1600/Kazan_moscow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-6szi31zAxVk/VKxnQOf6XAI/AAAAAAAAF9I/WkbQSlMF5I0/s1600/Kazan_moscow.jpg" height="400" width="328" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A depiction of <i>Our Lady of Kazan</i>, the most famous Orthodox Russian icon, dating back to 1579.<br /><br /><br /><div style="text-align: left;">
<span style="font-size: small;">Listening to: Johnny Ace, "Pledging my Love" and Vivaldi's Concerto in C for Two Trumpets</span></div>
<div style="text-align: left;">
<span style="font-size: small;">Blessings: An easy semester, German-speaking friends, and men with beards. </span></div>
</td></tr>
</tbody></table>
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-3385659394734174082014-12-15T19:58:00.000-08:002014-12-15T19:58:34.447-08:00A Thought about Composers and Artists Tell me why, when I listen to the conversation of young artists, painters, or sculptors, I can follow their thoughts and understand their opinions and aims, and I seldom hear them mention technique, save in certain cases of absolute necessity? On the other hand, when If ind myself among musicians I rarely hear them utter a living idea; one would think they were still at school; they know nothing of anything but technique and 'shop-talk.' Is the art of music so young that it has to be studied in this puerile way?<br />
<br />
-- Modest Mussorgsky<br />
<br />
A man, in our times, if only he possesses such a talent and selects some specialty, may, after learning the methods of counterfeiting used in his branch of art, if he has patience and if his aesthetic feeling... be atrophied, unceasingly, till the end of his life, turn out works which will pass for art in our society. To produce such counterfeits, definite rules or recipes exist in each branch of art. So that the talented man, having assimilated them, may produce such works a froid, cold drawn, without any feeling. <br /><br />...<div>
<br />"It is impossible for us, with our culture, to return to a
primitive state," say the artists of our time. "It is impossible for us now to write such stories as that of Joseph or
the Odyssey, to produce such statues as the Venus of Milo,
or to compose such music as the folk-songs." <div>
And indeed, for the artists of our society and day, it is
impossible, but not for the future artist, who will be free
from, all the perversion of technical improvements hiding
the absence of subject-matter, and who, not being a professional artist and receiving no payment for his activity, will
only produce art when he feels impelled to do so by an
irresistible inner impulse. </div>
</div>
<div>
<br /></div>
<div>
--Leo Tolstoy</div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-75348206767902232012014-08-17T09:24:00.001-07:002014-08-17T09:24:47.088-07:00My Favorite Ride at LagoonAlright, last Thursday I went to Lagoon with some friends. For those unfamiliar, Lagoon is Utah's largest amusement park. It's about a half an hour away from Salt Lake City. While it's no Six Flags, Lagoon is the home to many attractions at varying levels of intensity. Most hard-core coaster lovers would find satisfaction in rides like Wicked and Colossus the Fire Dragon. Others who aren't so keen on going upside down might like the classic Roller Coaster or the Wild Mouse. And, of course there are plenty of rides designed for young children. Lagoon's a good park. It's got something for everyone. <br />
<br />
I like intense coasters. I like going upside down, I like steep drops, and I like high speeds. I'll go on anything. Wicked, Samurai, the Rocket (although for full disclosure, I will admit that I do still get a little tense when I go on the Re-Entry part, but I will still ride it and have a good time!)... anything! I'm pretty fearless, and I don't get sick. I'm used to crazy rides. <br />
<br />
I say all this about myself because I don't want anyone to think that what I am about to say next is due to an aversion to more high-intensity attractions. I am NOT afraid of Wicked, I am NOT afraid of the Cliff Hanger. Heck, if I had the funds, I'd even try some of those bungee-jumping free-fall things they have on the north side of the park.<br />
<br />
BUT, that being said, there is a ride at Lagoon that deserves a heck of a lot more credit than it gets. It's not a coaster, you don't go upside down, and it doesn't even go up that high. Some might even say it's meant for little kids... But don't let any of this deceive you! The truth is THIS RIDE IS AWESOME:<br />
<br />
It's called:<br />
<br />
The Odysea. <br />
<br />
Here's why it's awesome. <br />
<br />
First, let's talk about location. Squeezed nicely between the Bat and the Jumping Dragon, two fairly safe and unmemorable rides, the Odysea is located in part of Lagoon that you probably won't come across until midway through your day, after you've gotten through all of the "staples" like Wicked and the Rocket. At this point of the day, you're probably feeling a little tired and listless. "Just give me a ride," you're thinking. "I don't care how intense it is; I'm just hot and tired of walking and waiting in a long line! I'm too lazy for that." <br />
<br />
Then, before your eyes, you see it! A giant purple sea monster with one eye, its arms outstretched, rising and falling in unpredictable patterns, clutching what looks like various fish and submarines with riders sitting within them. If you weren't in such a lethargic mood, you might have missed it! But now, seeing as it's a hundred degrees and your feet are tired of walking, you figure that it's worth a shot. Even if the majority of those waiting in line are young children accompanied by parents, you don't care. You get in the short line, lined by a pleasant blue fence adorned with bubble motifs. <br />
<br />
Already, even as you are waiting in line, you'll notice the pleasant mist rising from the water surrounding the mechanism. This leaves you already feeling good about your choice. On a hot Utah day, you want a ride that keeps you cool. And while you COULD pick a more popular water ride like the Cliff Hanger or the Rattlesnake Rapids, with long lines and the potential to get absolutely DRENCHED, this ride seems like a safer, more pleasant alternative with a MUCH shorter line. Even as you stand and wait, you catch the mist on a breeze and it feels FANTASTIC. What other ride provides a pleasant misty experience for those simply waiting in line? I say unto you: NONE.<br />
<br />
It's your turn to pick a seat. You notice that each pair of seats is nestled within either a fish (perhaps a shark?) or a submarine. You and your best friend take a seat in a submarine, and you notice that it is labeled with its own unique name. Mine was a ship called the <i>Octopus</i>. How pleasant! My ship has a name! I suddenly became the captain of the <i>Octopus.</i> And my friend Kelly sitting next to me was my first mate. And my two friends sitting in front of me, riding a giant shark (named "Sharkie," of course), were my fellow comrades on an epic deep-sea voyage! How exhilarating!<br />
<br />
It's at about this point when you discover that the Odysea is an interactive ride. You and your ride partner wield a joystick that allows you to move your vessel up and down. You have the power. You have the choice. Isn't that nice? A ride that provides you to use your own agency for how high you go? If you feel like it, you can take your ship up to its highest height and look at the world below you from a cozy distance. Or you can jerk your joystick back and forth and zigzag up and down, up and down... It's up to you! And that is awesome! What other rides have given you this kind of mobile autonomy??? I say unto you NONE!<br />
<br />
But, of course, with great power comes a great responsibility. Since you have the ability to choose your trajectory, you also must face the consequences for making a poor choice in your flight pattern. <br />
<br />
You may not notice them at first, but surrounding this great sea monster are several friendly aquatic beasts, their lips pursed, with a stream of water coming out of their mouths. If you managed to notice the happy whale and his spout of water, you may have thought, "Oh how nice! A little spray!"<br />
<br />
A LITTLE spray? I think not. Guys, trust me on this, but what may look like a tiny stream of water is actually a massive JET of water that PELTS YOU IN THE FREAKING FACE! And it's not just this whale you've got to worry about. They're EVERYWHERE. There's the whale, the shark, and the dolphins, all shooting water at you! And it's your job to move the joystick and avoid their spray. <br />
<br />
This is no easy task. The animals have the power to change their spray trajectory, so one pass might leave you able to rise above the stream, but the next time, perhaps not! Perhaps the next time, you'll make the bold attempt to repeat the motion, but this time, you get HIT IN THE FREAKING FACE by a boatload of water! That whale, he was the worst. His spray path would change on the dime. <br />
<br />
Kelly had control of the joystick. I, being Captain, was of course responsible for issuing the commands. But it seemed like with every assumption I made, I was met with the exact opposite result! <br />
<br />
"Kelly! WHALE! Go under it!"<br />
<br />
"Roger that!"<br />
<br />
"Wait... NO! Nevermind! He's spraying low! Kelly! WHALE! Go up! Go up! HIGHER!"<br />
<br />
"I'm TRYING!"<br />
<br />
"WE'RE NOT GOING TO MAKE IT!"<br />
<br />
*SPLOOSH*<br />
<br />
And then those dolphins. THOSE DOLPHINS. You see a dolphin, and you take note of the path of its spray. It's pretty low, so you obviously raise your vessel to go over it.... Safe, right?<br />
<br />
WRONG. What you DON'T see is the other dolphin, sitting directly above the first one, hiding in the tree. It's a trap. There's NO ESCAPE. You hear a cacophony of screams from both Captain and First Mate... then...<br />
<br />
*SPLOOSH*<br />
<br />
And just as you're trying to recover from the dolphin attack, then...<br />
<br />
"SHARKIE!! MOOOOOOOOVE!"<br />
<br />
*SPLOOSH*<br />
<br />
The first go-around, and one or both of you is already drenched. It's only after you have been soaked by multiple attacks from these creatures that you realize that there are light-up arrows just below the name plaque of your ship... These give you hints about where you could go to avoid the spray. The key to success was in front of you THE WHOLE TIME! <br />
<br />
Kelly and I did our best to work together. But there is another tactic. If you have control of the joystick, you could always stage a mutiny against your partner and do your best to get HIM/HER wet. My friend Jeremy, sitting on the inside seat of "Sharkie," tried exactly this. Whenever they approached a spray, he would ignore the arrow's directions and position his vessel so that it would hit his buddy Caylor, who sat nearer to the spray. How diabolical!<br />
<br />
But what Jeremy quickly realized was that this game is SO well designed, it doesn't matter whether you're on the inside or the outside: YOU ARE NEVER SAFE. More often than not, the arc of the spray would go just over Caylor's head and hit Jeremy square in the face. <br />
<br />
What you hear, in this process, is something like, "HAVE A DRINK, CAYLO--BLLBBPH!"<br />
<br />
*SPLOOSH*<br />
<br />
Take THAT, you traitor!<br />
<br />
What other ride at Lagoon is this deceptively complicated? I say unto you: NONE! <br />
<br />
By the end of the ride, you are soaked, disoriented, and dying of laughter. The four of us, grown adults, ended up spending a good ten minutes just standing there outside the exit, laughing. Laughing at each other, about how ridiculous we looked, and how we couldn't outsmart four inanimate fish!<br />
<br />
On top of that, I felt like we became better friends in this experience! After the Odysea, I felt a lot more comfortable with these people than I was before. It was as if we had conquered something together. Like we had all overcome an important and life-changing challenge. And we had all grown from it. During the short three minutes of this ride, we seemed to learn several important life lessons: We learned about teamwork, we learned about cooperation, we learned about empathy, we learned how to follow directions, how to appreciate the simple things in life, how to laugh at ourselves. What seems like a simple kiddie ride is actually an intense BATTLE BETWEEN MAN AND WATER-SPRAYING BEAST, and, in a way, it also metaphorically manifests the BATTLE BETWEEN A MAN AND HIS OWN CONSCIENCE! <br />
<br />
What other ride at Lagoon brings friends and family together and uplifts you in this way?<br />
<br />
I SAY UNTO YOU: NONE!!!!<br />
<br />
It was the highlight of our day. And with the right people, this may very well be the highlight of yours, as well. <br />
<br />
The end. <br />
<br />
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-91402299755134375272014-06-22T09:25:00.000-07:002014-08-17T09:25:38.940-07:00MY SUMMER GOALS: 1. Visit the Spiral Jetty (with friends)<br />
2. Get a gym membership.<br />
3. Send 100 letters to 100 different people/households. (#snailmailsummer)<br />
4. Play 10 songs on the guitar in their entirety (including proper tablatures. No cheating!)<br />
5. Write 2 new songs.<br />
6. Visit 5 new restaurants (with friends)<br />
7. Go to a movie by myself.<br />
8. Read the following: 2 music history textbooks, 4 non-textbooks having to do with music or music history, 1 novel.<br />
9. Finish half of my GIANT journal.<br />
10. Play Ultimate Frizbee (with friends)<br />
11. Record an original song.<br />
12. Attend at least one Rooftop Series Concert.<br />
13. Try 5 new recipes.<br />
14. Keep my room clean. Always.<br />
15. Learn 1 Bach prelude or fugue. <br />
17. Make a blanket out of my theater t-shirts.<br />
18. Do 10 "pinterest projects." <br />
19. Go to the temple once a month.<br />
20. Get a tan (not at a salon).<br />
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-67826536533292925002014-03-02T08:43:00.003-08:002014-03-16T06:50:08.137-07:00Getting Integrated (or, The Main Reason Why I Am Still Single)They say that when you marry someone, you're also marrying his/her family. <br />
<br />
I fought this saying for a long time. I always thought that if you loved each other enough, there should be nothing -- not rain, not snow, not your future mother-in-law -- that could stop you from being together. Yeah, family reunions may be a little unpleasant, but they don't last forever and you hardly ever have to interact with your spouse's family outside of that, so what's the big deal? <br />
<br />
But after watching several of my dear friends tie the knot, I have come to understand how true such an adage is. Couples' families have a huge influence over the couple. Families-in-law will forever be a driving force in your joint decision-making as a married unit. Odds are you'll see them far more often than just during weddings and funerals. And your potential spouse will surely hold his or her family as a high priority and hope that you will get along with them. I know I feel that way; I usually don't let a guy get to relationship status without getting the go-ahead from my sister, first. <br />
<br />
A lot of us have a "meet-the-parents" story of one kind or another. I, myself, haven't had many experiences with a boyfriend's parents, but the ones I have had... Well, they haven't been great. And in all these instances, my relationship with the man's family foreshadowed the ultimate fate of the relationship I had with the man. My first 'official' boyfriend had a mother who thought that I was some temptress who had come to kidnap her son and whisk him away into a Gaga-loving Babylon. The second time I 'met the parents,' was a similar story. (It's funny. When you meet a guy's parents, you suddenly realize <i>exactly </i>why he has the quirks that he has. But I can discuss that at a later date.) <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://a3.mzstatic.com/us/r30/Video/97/1b/db/mzi.covhkmjz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://a3.mzstatic.com/us/r30/Video/97/1b/db/mzi.covhkmjz.jpg" height="320" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's always going to be awkward. Always.</td></tr>
</tbody></table>
<br />
<br />
And the one and only time <i>I</i> introduced a boy to my mom and dad? I shudder at the memory. <br />
<br />
Yes, family is important. But there's another important group of people you need to consider when discussing a long-term relationship, and that is the very loosely-defined group of people known as "the friends." <br />
<br />
You know what I mean when I say "friends." Those people you -- as a college student living away from home -- spend the most time with. As a girl, you may have your girlfriends, just as a guy may have his bros. They often are your roommates or coworkers. Perhaps they're people who share your major and who share similar class schedules and interests. Sometimes it's a ward group. Or, if you're lucky, they can be this group of friends you've known since you were kids. People who grew up with you. People you would expect to see cheering you on at your wedding. After all, you were there for theirs. <br />
<br />
When I think of a close group of friends, I first think of the five protagonists from the hit TV series <i>How I Met Your Mother. </i>Ted, Marshall, Lily, Robin, and Barney. Always doing things together. Dating each other. Meeting at the same bar year after year. They know everything about each other, share common experiences, and are there for each other when things go wrong. While it does seem a little contrived, most of us can relate to this kind of thing. Lots of us have a "best friend" like Marshall. Many of us have a "pet married couple" like Marshall and Lily, who may act as our surrogate parents from time to time while we're away from home. And, let's face it, most friend groups have a Barney Stinson -- the one whack-job in the group who seems like he wouldn't fit, but somehow does. Although our circumstances change, time and experience have helped us understand that true friendships transcend petty differences and difficult conflicts. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://ww3.hdnux.com/photos/10/74/51/2345582/5/628x471.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://ww3.hdnux.com/photos/10/74/51/2345582/5/628x471.jpg" height="211" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ted, Marshall, Lily, Robin, and Barney... They know everything about each other, share common experiences, and are there for each other when things go wrong. </td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
If I were to meet Ted at the supermarket (or at a wedding, or while trying to remove a tattoo, or perhaps as I was protesting against one of his architectural endeavors...), I would feel more fear in meeting his four closest friends than in meeting his mother or his father. In some ways, it is more challenging to inundate yourself into another's group of friends than it is to inundate yourself into a person's family. Sure, family's where you come from and where you always find yourself going back. But friends? That's where you choose to spend all the rest of your time. These are the people you WANT to be with, not just the people you're born with. These are the people you share interests with, the people you purposely develop deeper relations with, people you learn from. While you're out in college, your friends become your second family. <br />
<br />
And, unlike a person's <i>real</i> family, the friends are there from the beginning. Rarely do we ever think of introducing a guy or girl to our parents on the first date. Even if I wanted them to meet, it's pretty difficult to ever introduce a guy to mom and dad, since they live so far away. I've hardly been in a relationship for enough time for that to even be an issue. In the meantime, though, most people have this "second family" that they grow super close to, and you meet them right away. You may not have to schmooze mom and dad immediately, but you may need to get past the BFFs on the very first date. <br />
<br />
Often, you are faced with the super important ritual known as<i> meeting the roommates.</i> Not only does it give a person the chance to see how a date responds to meeting these new people, but it also can be very revealing to hear what the roommates think of the guy you just brought home. Do they like him? Do they seem to get along? I can't tell you how many times I've closed the door after a date, only to immediately turn to my roommates and say, "Well, what do you think? Thumbs up or thumbs down?" Their poor opinion may not be the dealbreaker, but it could definitely weaken your relationship. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blog.aereo.com/wp-content/uploads/2013/09/Seal-of-approval.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://blog.aereo.com/wp-content/uploads/2013/09/Seal-of-approval.jpg" height="211" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Meeting the roommates: </i>Their poor opinion may not be the dealbreaker, but it could definitely weaken your relationship.</td></tr>
</tbody></table>
And even if you pass the initial go-ahead, you're then faced with the next step: <i>initiation</i>. Now this step can be bypassed if your new friend already is a part of your social group. It's nice to date someone who has already spent plenty of time with your friends and he's already comfortable with you as part of a group of other close compatriots. It's convenient when that happens. The transition from 'friend' to 'boyfriend' is a lot more calm when he's already a part of your life and your friend group.<br />
<br />
But what if you met the guy online, or on the street, or at the gym? You have almost nothing in common with him, socially speaking. You come from separate worlds. He rock-climbs and hikes, you make music and see plays. If the personalities aren't right, these separate worlds could collide in a catastrophic explosion. Or it could at least lead to a super awkward experience, and early on, such awkward experiences can break down the relationship completely. You don't want your relationship to begin on too wrong of a note, or else it will end before it starts! <br />
<br />
How hard is it to meet <i>the Best Friend? </i>Boyfriend may be super excited to introduce you to him, but don't you still feel the need to dress just a little nicer and act just a little cooler? After all, this is your boyfriend's <i>Best Friend</i>. Anyone who's best friends with your dream guy oughta be super cool and super important, right? His opinion must be super important, right? And what if BestFriend doesn't give you the seal of approval? Depending on how much time Boyfriend spends with BestFriend, you may be in for a rough time.<br />
<br />
And it's even worse when there's a <i>group</i> of Best Friends, like in <i>How I Met Your Mother</i>. When you meet a new group of people, seldom is someone going to bother filling you in on the inside jokes that they all share, their past experiences, or the traditions they hold. You are the random stranger, surrounded by people you don't know, and you have to share the attention of the one person you have any attachment to with all of these other folks. And perhaps your mere presence puts a damper on things for them? Perhaps you are the rain on the parade that is BestFriend tradition. You show up on the hiking trip, you appear in all the mission reunion photos, you tag along to the movies... Cool as you are, you can't change the fact that you're someone <i>new. Different. </i>You're the stranger. The buzzkill. The newbie. Yuck. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://clothesonfilm.com/wp-content/uploads/2009/09/Grease_Dinah-Manoff_Cat-Eye-Sunglasses.bmp.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://clothesonfilm.com/wp-content/uploads/2009/09/Grease_Dinah-Manoff_Cat-Eye-Sunglasses.bmp.jpg" height="187" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">When you meet a new group of people, seldom is someone going to bother filling you in on the inside okes that they all share, their past experiences, or the traditions they hold. </td></tr>
</tbody></table>
Even when you do things alone, there's still pressure to have a mutual friend group to talk about. It's hard to talk about a funny thing that happened at work when your beau has never met your coworkers. It's hard for him to talk about his band when you've never met his bandmates. We are social animals. We thrive in environments where we can make connections and form further relationships. You can only spend so much time on formal, one-on-one dates. If you ever want to marry someone, you need to meld your <i>entire </i>life with someone else's <i>entire </i>life. This stranger to your world needs to become an established regular. An integrated part of your social life. Getting to that point is very challenging.<br />
<br />
In my own situation, I find that this whole issue concerning social integration is the primary factor that has come between me and a successful relationship. You can trace most of my problems back to the fact that I have very few close friends. I consider myself an unestablished socialite. My personality does not cater to having a posse or a clique or a cohort that I always do things with. I spread myself thin; I have lots of friends, but few of them are really close. There's no automatic list of people I would call to go get Denny's with on a weekend. My friendships are more the kind where I can easily say "hi" to someone I recognize if our paths happen to cross. I get invited to things on occasion, and while I am an extrovert who can adapt to these kinds of situations pretty easily, I do recognize that I am different and I don't immediately click with lots of people. In such an in-transit environment as a college campus, getting to know a group of people well enough to have them be a major part of my life is hard for a girl like me. One-on-one, I'm great. Get me with a group, and I detach myself. So rather than having this group of people that I always do things with, I have a smattering of individual friendships that I do one-on-one activities with on occasion. I don't dislike this lifestyle. It makes for an awesome formal dating experience. One-on-one planned activities with the purpose of getting to know someone better? I shine in that environment. It's just that next step that I have trouble with. <br />
<br />
So that's the first thing going against me: My social temperament. But let's not assume that I am incapable of surpassing my normal disposition and creating close bonds with groups of people. I <i>have</i> had 'cliques' in the past. My old roommates were one, and my former coworkers were another. But then my roommates moved out and I quit my job... And now I live in the basement of my grandparents' house. I live in a scattered ward, working as a junior high school teacher and personal research assistant to a professor. The only people I come in contact with these days are my pre-teen students, my married mentor teacher, my grandma, and my professors. So much for having a common social circle with my potential eternal companion! Heck, it's hard enough to find guys to simply go on dates with, let alone find a relationship. And when someone special does show up in my ward or wherever, he's usually so well established in some other social group, and a hermit like me can hardly get her foot in the door. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://scontent-a-dfw.xx.fbcdn.net/hphotos-prn2/t1/167648_823191081489_6097393_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://scontent-a-dfw.xx.fbcdn.net/hphotos-prn2/t1/167648_823191081489_6097393_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Let's not assume that I'm incapable of surpassing my normal disposition... I <i>have</i> had cliques in the past. My old roommates were one.</td></tr>
</tbody></table>
I am willing to share that I, myself, have been hit with the words, "I just don't think you'd get along with my friends, Hannah. And that's really important to me. Sorry. We're through." But I don't think a guy needs to actually say that in order for me to feel the social pressure of having to win the hearts of not only the guys I'm interested in, but also of their friends. Yes, it's a frustrating thing, knowing that most of the men I interact with have totally separate lives from me and, thus, the cards are stacked against me.<br />
<br />
I guess that's why I'm still single. I haven't figured out this whole "meet-the-friends" thing yet. <br />
<br />
But I'm discovering the solution... <br />
<br />
All this being said, here are some things you need to be successful in dating. Mind you, this is not a comprehensive list, but it may contain a few things that you may not initially think of, or it may put a new spin on some of the common things you hear as a single adult all the time. <br />
<br />
1. Do stuff. Get out there and find a hobby that you can share with others. Climb rocks, make music, join an opera, play tennis, go to institute, take a dance class, join a dinner group, start a game night, go to Home Evening, attend the extra seminars... Be social. You've probably heard this advice before, and you're always given the same reason for it: You can't meet your future companion if you never put yourself in a position to meet someone. And yeah, that's a valid argument. But there's more. I also think it's important for people to have a social group. They don't need to be your eventual bridesmaids or the godparents for your future children, but it's healthy to have a group of people that you have things in common with. You'll improve your social skills, you have a non-family support group, and -- of course -- you'll have fun. Yes, you can have fun when you're single. Fun exists outside of marriage.<br />
2. Group date. If you're a nonestablished socialite like me, group dating provides a social outlet that you don't achieve in other group settings. Double dates are nice; they're still small enough to be intimate. They give you a chance to see how your date operates in a group, and your date can see how you operate in a group. And suddenly you've created a mutual friend base that both of you have in common. Total win.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://media.melty.fr/article-1299458-ajust_930/howard-bernadette-leonard-et-penny-en-double.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://media.melty.fr/article-1299458-ajust_930/howard-bernadette-leonard-et-penny-en-double.jpg" height="224" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Group dating provides a social outlet that you don't achieve in other group settings.</td></tr>
</tbody></table>
3. Hopefully this essay will help you realize that meeting the friends can be an awkward thing for your date. There are ways to make it easier. Don't put a ton of pressure on it. Bring your new friend into the group. Make some formal introductions, and then continue to make <i>informal</i> introductions. It's so nice to have a date who is willing to go the extra mile to make me feel comfortable with his friends. And it's very encouraging when I end up making a few new friends in the whole dating process. <br />
4. Remember: Life is about forming positive relationships with lots of different people. It's not all about just finding that ONE person you're going to spend the rest of your life with. If and when you do find that special someone, it doesn't mean you can completely forget about the other relationships that helped you get to that point. Yes, marriage is a priority, but brotherly love, service to those around you, and learning from others is also an important part in this life journey. <br />
Furthermore, if you never get out there and start forming good friendships, you'll never get the chance to meet the notorious "friend-of-a-friend." I met my last boyfriend at a mutual friend's music show at a club. I had no intention of meeting a companion when I went, but we were introduced and things moved quickly forward from there. I never would have met him, had I not been a supportive friend already. The more people you know, the more you're able to network. That can help your romantic life as well as your career. <br />
5. Find out about yourself, what you want, and what your goals are. I never could have written this a year ago. That was before I realized what kind of a person I was in groups, how I interacted with people one-on-one, and what my interests were in a future companion. Since then, I have discovered that I'm an extrovert with interesting hobbies and a bold, colorful personality that caters well to certain other personalities. The moment I figured stuff like this out, I suddenly became more confident with other people, and I started picking guys that were better for me within social groups where I was already comfortable. Since I am a musician, I take advantage of interactions I have with other musicians. I make the conscious choice to expand upon my relationships with women and men who are interested in post-graduate education, like myself. In a spiritual sense, I am better able to "separate the wheat from the tares" in dating when I am truly confident in my end goal: to marry for eternity in the Lord's Holy Temple. When you know who you are and what your true desires are, you more quickly find those things you desire. Remember your goals. Remember who you are.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.ldschurchtemples.com/rexburg/gallery/images/rexburg-mormon-temple7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.ldschurchtemples.com/rexburg/gallery/images/rexburg-mormon-temple7.jpg" height="296" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Remember your goals. Remember who you are.</td></tr>
</tbody></table>
6. Speaking of picking, it's totally okay to consider the friends as you're making decisions about a relationship. I do not look down on the guy who rejects me because of how I get along with <i>his </i>friends. Your friends are important, just like family is important. It's good to give people a chance, but if you know that integrating a certain kind of person will cause excessive conflict and stress on you and your social group, maybe it's a good idea to search for your companion elsewhere. This is especially true when it comes to spiritual things. If your date's buddies don't keep the same standards that you do, there is a perfectly legitimate reason to hit pause and re-evaluate. Everyone is different, and there will usually be conflict of some kind, but there is a line. Find it, and don't cross it. <br />
7. If you don't have a How-I-Met-Your-Mother group, don't try to get one. You can't force a friend group like that, and they are not necessary for finding happiness in your social life. They emerge on their own, if you are patient and if you are genuine and trustworthy. I found that the moment I stopped trying to form a posse, people felt a lot more comfortable around me and little groups began to form by themselves. And if I never end up having a tight-knit group like that, it's fine. I'll settle for having an awesome eternal companion and an amazing family. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://cdn.shopify.com/s/files/1/0336/7441/files/grease-sandy-shoes.jpg?1321" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://cdn.shopify.com/s/files/1/0336/7441/files/grease-sandy-shoes.jpg?1321" height="351" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">There are plenty of things we can learn from each other without completely losing our identities.</td></tr>
</tbody></table>
8. This is probably the one piece of advice that I have trouble actually doing myself. If the guy is a big fan of country dancing, why not GO COUNTRY DANCING with him?! So what if it's not your favorite thing. So what if you're terrible at it. So what if it's out of your comfort zone. Sometimes the best way to get to a guy is to first get into his social group before the relationship ever starts. Get to know some of the people he loves and start acquainting yourself with the kind of things he enjoys. And that doesn't mean you have to give up everything you cherish and value and give into peer pressure just to impress a guy, a la Sandra Dee in <i>Grease</i>. There are plenty of things we can learn from each other without completely losing our identities. <br />
STILL thinking that this is some sort of nefarious dating tactic that promotes insecurity and lack of self-esteem? I'll put it another way: If you've never country danced before, maybe you'll like it! Maybe you'll enjoy hiking or skating or cello music. Or maybe you'll meet other awesome people while doing those things. To bring things back to <i>Grease</i> again, Danny Zuko improved his life by joining the track team over a girl. I don't think he regrets it at all; it didn't make his life any worse to have a productive hobby. Real world example: I've talked to dozens of guys who discovered they loved singing simply because the girls invited them to join choir. They may never have got the girls, but they discovered something about themselves that they didn't know before. I, myself, have uncovered tons of great performing artists simply by going out and watching my musical guy friends play at shows. It's ironic: You go into something for one purpose, only to discover something very different and far more rewarding instead. <br />
<br />
Here's to a great summer. <br />
<br />
Watching: How I Met Your Mother (of course)<br />
Things going on today: A Fast Sunday full of opportunities.<br />
Learned: A little more about the personal life of Neil Patrick Harris<br />
Blessings: Food. Drink. A Bed. <br />
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com2tag:blogger.com,1999:blog-6671995727798614453.post-26187406639660277452014-03-01T10:42:00.003-08:002014-03-01T10:42:44.362-08:00Kisses. <br />
<br />
July 3, 2007: <br />
Well... It happened. The one thing I've wanted to happen all my life -- but the one thing I'm almost regretting now. It was pleasant, yet painful. Shaking, yet serine. Wonderful, yet weird. <br />
We kissed. Full-out on the lips. We kissed. <br />
I imagine it as if it were happening now... we were on the couch in the living room...<br />
<br />
I let his lips touch mine. Softly at first, but then he took over. I hardly did anything, I just sat there and let his lips cover mine. He'd suck in and let go, suck in and let go. Almost six times, before I whispered,<br />
"Is this okay?"<br />
"Only if we don't use tongues," he whispered back before covering my lips in his agan...<br />
<br />
<br />
June 9, 2009:<br />
My lips found his. <br />
Only briefly. I still can't believe it happened. It was so soft -- so warm -- almost as if I were just kissing air.<br />
I think I was the one who kissed him. I think. You can never tell. All I know is that I absolutely loved it...<br />
<br />
<br />
November 9, 2009:<br />
...A moment's pause. I said, "You look cuter without your glasses."<br />
"I know."<br />
Hahahah... He knows...<br />
"Oh well,"<br />
<br />
Then his lips hit mine. His arm immediately went around my ow and his tongue immediately started exploring the edges of my mouth. It happened so fast, so intense. That was the part I remember the most. The beginning. <br />
His lips were soft, and the skin around them prickled gently against my own. Suddenly I felt relaxed... So relaxed...<br />
<br />
<br />
September 4, 2010:<br />
I could feel his face... just a hair away from my lips. His big nose was touchng mine. I was afraid to open my eyes. I knew I wouldn't like what I saw.<br />
But our lips met anyway. <br />
And I thought of nothing. <br />
<br />
<br />
January 18, 2011:<br />
He kissed me! Last night!...<br />
I gave him a close embrace and as we separated, he said "I want to kiss you."<br />
He sounded like you when he said it. Suddenly all the doubt I had about kissing him went out the door. "You can if you want," I said. <br />
And he did. It was a very odd kiss. I don't think he's kissed a girl before. His lips stayed shut against mine, while mine had to open up around them. We held that kiss for five seconds. Then, our lips separated for a second and then back. It was so sweet. So clean and platonic and peaceful.<br />
<br />
<br />
October 29, 2011:<br />
"Are we really gonna do this?" I whined, but I didn't move away (Mistake #4). <br />"Yes," he said. And that was when my willpower completely snapped and I was rubbing my lips against his. Letting my tongue slip out against his teeth. <br />
BIG MISTAKE #5. <br />
<br />
<br />
May 4, 2012:<br />
Yeah, I want him to kiss me. So I let my face get really close to his and I let my arms rest on his shoulders. <i>He </i>kissed <i>me. </i>I hardly had to do anything. His lips are perfect. His kiss is divine. He had never really kissed a girl before, but oh man, he's good at it. Maybe it's all the movies... Or maybe he's just right for me...<br />
We don't kiss for very long... I think he felt a little self-conscious. Only after about ten seconds from when our lips first touched, he turned away with a sigh and said, "Gaaa, I have no idea what I'm doing." <br />
I smiled at his insecurity. So cute. I turned his head with my hand back toward my lips and this time I kissed him. So satisfying...<br />
<br />
<br />
28 October, 2012:<br />...At the time, all I was really thinking was this: I want to kiss that man. Bad.<br />
So I pushed, and in a short while, he surrendered. His lips reached for mine, and that's when the best car make-out of my life started.<br />
<br />
June 16, 2013:<br />
"Thank you. Now I want to kiss you goodnight. To show my gratitude."<br />He had kissed my cheek so many times, I thought nothing of leaning in for him to kiss my cheek... But I was surprised to find his lips touch mine. Quite on purpose. He was kissing me. For real. <br /><br />
<br />
June 28, 2013:<br />
"I'll make sure to speak more candidly next time..."<br />And that's when I did it. <br />
It came out of nowhere. I hardly even thought. I just reached out, grabbed his shoulder, pulled him towards me, and our lips met. <br />
It really was a perfect kiss...<br />
<br />
I remember not being able to look at him at all, even as he spoke. I looked past him at the blade-changing equipment shelf just beyond him. And when I suddenly reached my arms out to his neck, I closed my eyes and they remained shut until it was all over. <br />
It really was the best kiss ever. It could not have gone more right. <br />
Which, I think, means something. It means things sometimes go a lot better if you don't overthink them. I think this moment here was one of the few moments in my life when I totally acted impulsively. I let my desires take charge and I hardly thought -- just enjoyed. <br />
And, I can't emphasize this enough, the kiss was perfect. It was a long, full kiss. It felt RIGHT, from the first impact to the moment I randomly decided to stop. <br />
I remember movement at the beginning. From both of us. <br />
He kissed me back...<br />
It felt as natural as breathing..<br />
I remember the movement subsided. I let my lips just rest there on his. Just sit and wait and enjoy. And then suddenly it was over. <br />
<br />
7 October, 2013: <br />
"Would a kiss help?" he asked. <br />
Holy frack. <br />
My mind raced. Yes? No?<br />
"Maybe?" I said. <br />
And then he kissed me. It was a very simple kiss. I instinctively got more into it. Most of my kissing has involved a bit more than just a simple peck. I think it took him by surprise. But honestly, I had hardly any time to THINK about this! I just DID something. <br />
<br />
<br />
<br />
<br />
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-83254130785035219782014-01-28T23:17:00.000-08:002016-01-29T15:23:47.129-08:00Music history unimportant to the modern college music student? Dead wrong. This essay wasn't supposed to be an essay. It was supposed to be a facebook comment. But I just could not stop writing about this topic because it is very <i>very</i> relevant to my life and I am a <i>very </i>passionate person. So I decided to post my feelings here on a blog rather than bog down a feed with all of this nerdy jibber-jabber that I'm prone to writing. <br />
<br />
I probably should state the following preamble before jumping in: I am a musicologist. I have applied to the music history master's program at BYU, and I intend on getting a PhD and someday teaching music history courses at a collegiate level. I have already taken part in several research projects about bluegrass music, and I am currently assisting a professor at BYU in writing a book about Miles Davis. I consider myself to be an extremely well-rounded musician. I am a pop singer, a junior high school music teacher, and a traditional choral artist. I've performed in operas, rock shows, and avant-garde performance art pieces. I love Lady Gaga, George Crumb, Beethoven, and the White Stripes. I pass my time reading the American Musicological Society Journals and books by Joseph Kerman and Deems Taylor. I know I'm a nerd, and I'm very proud of it. I am also very passionate, as you will soon see by this super long rant that I'm about to go on regarding a very nerdy subject. But I am also a human being with human desires, one of my strongest being to make the world a better place. With all this in mind, please read on:<br />
<br />
A friend of mine linked me to the following facebook status from someone who is a fellow music major at BYU:<br />
<blockquote class="tr_bq">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"Dear music history teacher. Please stop assuming we all love your class and want to devote every waking moment contemplating how cultured we are for taking this class. Reality check: We all hope you will realize that your subject contributes nothing to society. Stop being a required class."</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></blockquote>
Here was one of the comments:<br />
<div>
<blockquote class="tr_bq">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"I think you're 100% right. Music history doesn't affect my playing at all. And it doesnt make money outside the university system. Really, what do music historians do? They teach music history, and do research to fill their need for a hobby. It has no direct effect on society or I would even wager the bulk of music today. It doesn't change what people like, it doesn't change their desires. Exposure to music and studying the history are two very different things... University music programs need to climb out of their bubble and face reality, the world doesn't value the bulk of what they do... I would wager that if the class wasn't required they wouldn't have enough student participation and the class dropped and the teacher let go. Which would make university costs cheaper by at least 40000 a year."</span></blockquote>
Oh, how these comments make me weep with disgust, terror, and sorrow! Yes, weep. I cried when I read this. I cried because it makes me very sad to think that there are people in this world who believe that music history is a useless and irrelevant field. People who think this way could not be more wrong. <br />
<div>
<div>
<br /></div>
<div>
In the following paragraphs, I will consciously choose to ignore the not-so-subtle insult to music history teachers -- and perhaps teachers in general -- that are contained within these comments. I will try very hard not to feel personally attacked by the underlying FALSE notion that music history teachers are bigots who don't know anything about their students' needs or values. I will overlook the fact that these comments are devaluing classical music -- the music that has fueled composition and musical inquiry for centuries -- in favor of other musical genres (which is ironic, since the first quote was coming from someone majoring in classical music...). I will also overlook the notion that the world of academic music is obsolete and irrelevant to society. I will set aside the scathing implication that if the world were supposedly perfect, I would be out of a job that I have become highly trained to perform through years and years of collegiate study and work. I will ignore all of the complete rubbish and stupidity that I read in these two comments and instead specifically focus on that penultimate line from the first quote, that music history "contributes nothing to society."</div>
<div>
<br />
<div>
If you, as a musician, believe that it is not important to understand the heritage of your craft, you are very much mistaken. <br />
<br />
I will repeat that. In bolds and italics: <i> </i><b><i>If you, as a musician, believe that it is not important to understand the heritage of your craft, you are very much mistaken. </i></b><br />
<br />
First of all, in reference to the claim that music history is just a high-falutin hobby... To be frank, we could say the exact same thing about professional musicians. There are indeed people out there who believe that while performing music is fun and fulfilling, it shouldn't be taken seriously as a career. This kind of attitude not only hurts performing musicians, but also public music education programs, composers, and music appreciators. <br />
<br />
If we want to discuss USE VALUE in any art, we could realistically rationalize it out of use in our society completely. All we really NEED is food, shelter, expulsion of waste, sex, etc... All this "art" is just fluff. A waste of precious resources we could be using to feed dying children in foreign countries and shelter the homeless in our own. I'm sure people searching for their next meal aren't worried about music, classical or otherwise. Sure, it can be fun, but why pay anyone to make music? In the grand scheme of things, it's useless enough to be a hobby. Why, then, in heaven's name, do we as a society pay millions -- yes, MILLIONS -- of dollars to music as a high art form. Why do people still <i>voluntarily </i>invest in public classical radio, to choir and band programs in public schools, to orchestra halls and opera companies and record labels and finely-crafted instruments and collegiate music schools and score libraries and private teachers... Oh, I could go on and on! As a college musician, you are paying a great deal of money to simply have the CHANCE of getting paid to make music. Why? (And this isn't Katy Perry or Maroon 5, either. This is Wagner, this is Scarlatti, this is Debussy... This is CLASSICAL MUSIC that we are paying for. I haven't yet mentioned the millions and millions of dollars being made by popular musicians through record sales and concert tickets, or the huge affairs that we make out of things like the Grammy Awards to celebrate those ridiculous money-wasters we call popular musicians and composers.)<br />
<br />
And, in conjunction with all the money that we spend, let's consider the TIME we choose to spend on classical music. What about the thousands of hours we spend in practice rooms or rehearsals? Couldn't we be spending that time doing something USEFUL? Like building habitats for humanity or finding the cure for cancer? And if we want to put a gospel spin on this... Why do we do all of this stuff when we could be raising families, fulfilling callings, doing service and missionary work. <i>Why are we investing ALL THIS TIME and ALL THIS MONEY to something as trivial and overall useless to our basic survival as MUSIC? </i><br />
<br />
WHY? Because we recognize that there is much more to life than simply survival. As Gordon B. Hinckley said, "Life is to be enjoyed, not just endured." Not only does music bring meaning, enrichment, and happiness to our lives, but we also get the chance to use music to provide these same blessings to others. Suddenly music becomes an act that helps make the whole world -- not just our own individual selfish lives -- a better place. And that is AWESOME. That is GOOD. The fact that society loves music legitimizes the careers of professional musicians! They deserve to be paid for what they do because what they do makes our lives awesome. It's this spirit of legitimization that causes memes like this to appear all over Facebook:<br />
<br />
<a href="http://1.bp.blogspot.com/-0Rnu_bEzFXo/Vqu_5EVDXWI/AAAAAAAAGKw/P04n6V5HVIQ/s1600/musician.jpg" imageanchor="1"><img border="0" height="640" src="http://1.bp.blogspot.com/-0Rnu_bEzFXo/Vqu_5EVDXWI/AAAAAAAAGKw/P04n6V5HVIQ/s640/musician.jpg" width="451" /></a><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
We understand the value of good art. We acknowledge that learning an instrument or how to sing takes skill and practice. We see advocates for "supporting the arts" all over the place because deep down we know that music is important to us. Those who don't understand how important it is that we have skilled musicians, composers, and music teachers in society are living with spiritual blindfolds over their perspectives. <br />
<br />
Now I'm not here to make a huge argument about supporting the arts in schools or paying musicians more money. I'm here to argue that the same line of logic can be stated in rebuttal for those who choose to belittle and understate the value of music history.<br />
<br />
History and the arts have something very important in common: Both are recognized as valuable ways in which we not only endure life, but enjoy it. If you believe music history is merely a tool for colleges to make money and has no use in our society's education, would you say the same for all historians? I hope not. I hope that by now, after years of having US history and world history and church history etc. shoved down your throat that society values and respects history's importance. And history could not be accurate or accessible to us if it weren't for the thousands of men and women who dedicate their lives to extract truths about times we no longer have direct access to. Ever wonder what the world would be like today if we didn't have Egyptian mummies (imagine the toll on the film industry!), ancient Japanese costume and architecture, photographs from the first World War, journals and letters from our Founding Fathers, the Bible??? And it's not just simply possessing these artifacts; it's UNDERSTANDING them that makes them valuable! <br />
<br />
History inspires us. Practically every creative act has been inspired by something that has happened in the past. Whether it be a recent, trivial event like a high school break-up or a distant, catastrophic event like Hiroshima, it is often history that motivates the artist to create. It's this same inspiration that leads us to contemplating the meaning behind Stonehenge, referencing the tragedy of the Titanic, and cancelling school to celebrate Martin Luther King. In order for history to inspire us in this way, we of course need to know what happened! Isn't it important, then, that we have people out there who take time out of their lives to collect artifacts, gather data, and publish findings in ways that we can understand so that we can appreciate and gain this creative and enriching inspiration? <br />
<br />
Example: The Constitution was written over two hundred years ago, and here we are today still abiding by its precepts. How important is it, then, that we have trained professionals who have taken the time to understand the language, cultural context, and physical nature of such a document? Answer: VERY IMPORTANT. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-WhRaDzkVw7Q/VqvAG6jkO6I/AAAAAAAAGK8/dC68SDh1bHg/s1600/Constitution.jpg" imageanchor="1"><img border="0" height="300" src="http://1.bp.blogspot.com/-WhRaDzkVw7Q/VqvAG6jkO6I/AAAAAAAAGK8/dC68SDh1bHg/s400/Constitution.jpg" width="400" /></a></div>
<br />
<br />
Looking at music specifically, how do we find our treasured musical works so that we can learn to play them in the first place? People who know where to find it. And if we are curious to know when it was written or why? Who does the grunt work for us? Researchers. Scientists. Philosophers. Sociologists. Anthropologists... in sum, <i>MUSIC HISTORIANS.</i> If we feel comfortable paying someone to analyze and assess the Constitution of the United States, why do we not feel comfortable paying someone to spend years of schooling, countless hours of research, and hundreds of dollars (Yes, it DOES cost money to do research!) to discover, analyze, and assess the works of Mozart, Bach, Stravinsky, etc? Perhaps there are other composers of equal caliber that we have not yet discovered? Perhaps we have not yet unlocked the full potential of composers that we often overlook? Perhaps there are connections that have not yet been made between one artist and another? If we value music the way we claim to value it, we should be willing to invest in it this way. Those professors who spend four hours a week teaching you about Wagner and Mahler are spending the rest of their day exploring these very questions (and let me add that these aren't the kinds of questions that a computer can answer!).<br />
<br />
If you, as a paid musician, deserve to do something YOU love that makes the world a better place, then we musicologists and theorists deserve the same privilege. It's not just a hobby. It's a lifestyle, a commitment, and a legitimate career. How dare you say otherwise!! <br />
<br />
Now let's talk about music history's place in our system of music education. The above quotes claim that making music history a required class at a collegiate level is detrimental to students, irrelevant to their chosen major, and a waste of money. <br />
<br />
Music history is a branch of art history, which basically covers the lives and works of individuals who have taken the time out of their lives to create something beautiful. A music history class is indeed a MUSIC EXPOSURE class, where we get the chance to hear music we otherwise would not have heard and learn about composers we might not otherwise have discovered. And while it has been argued that music history and exposure are not the same thing, I argue that a music history class is TARGETED EXPOSURE. It introduces works and composers that have stood the test of time and earned worthiness in our modern-day discussion about music as a tradition and an art form. Rather than spending time studying every symphony by Haydn, we only look at one primary example that may represent many of the others. As students, we trust that the writers of the textbooks and the class instructors have the wisdom and resources to know what would be the most beneficial for us to know and understand about such a broad and varied topic. <br />
<br />
And if you have trouble believing that highly-trained and highly-experienced scholars and writers have <i>anything</i> worthwhile and trustworthy to say on a given subject like music history, then I would suggest that your issue lies not with music history but with authority. Authoritarianism and elitism are present in any field that contains even a hint of subjectivity. This includes other arts, education, technical trades, and even STEM fields! Musicologists are aware of the authoritarian, hierarchical social structures that can be present in their community. The issue we have today regarding what should and should not be contained in a textbook is one that music historians take <i>very </i>seriously, and the climate is rapidly changing to be more inclusive and relevant to today's age. I can tell you more about these changes later. But in the meantime, perhaps you could remember for a second that there are people out there who might have some insights that you do not? I'm not saying it's bad to question a textbook, and you don't have to <i>like every single piece</i> that's in there. But at least you got the chance to form an opinion about it, and perhaps you learn about yourself in the process. I'd suggest actually READING the book first and LISTENING to the pieces first, before you deem them unworthy of everyone's time. Break the normal "college-student" stereotype and exercise some humility. <br />
<br />
As a choral singer who dabbles very little in the instrumental world, I knew nothing of Scriabin, Vivaldi, Ives, Berlioz, or Strauss until I took music history. I'm sure many instrumentalists didn't know much about Schubert, Berio's 'Sequenza III' or romantic opera until <i>they </i>took music history. And if all you know is classical music, college classes taught by these "out-of-touch" professors also teach classes about jazz, rock and roll, world music, music technology, music psychology, the list goes on. <br />
<br />
<b>All Musicians Use Music History</b><br />
It's true. No matter what sub-field of music you are in, you use music history. It applies to you. It matters to you. You are indebted to it. Don't believe me? Read on. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ePgk9onvLS8/VqvARMT32XI/AAAAAAAAGLI/Byi2QNMH-R8/s1600/2b_2b.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="310" src="http://1.bp.blogspot.com/-ePgk9onvLS8/VqvARMT32XI/AAAAAAAAGLI/Byi2QNMH-R8/s400/2b_2b.gif" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An Original Beethoven Manuscript</td></tr>
</tbody></table>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<b>Music History Inspires Further Creation</b><br />
<b><br /></b>
Music history is often taught in conjunction with music composition. To be frank, I don't think you can be a good composer without knowing a little bit about music history, and therefore music history classes should be especially emphasized in composition programs. So much of what composers do is steal from other composers. Music history and theory become their tools. The more they know about music history and theory, the more complete their toolbox becomes. <br />
For example: <br />
<br />
We know that Mozart was deeply inspired after looking at the manuscripts of Bach. <br />
<br />
We know Stravinsky was inspired by Russian folk tunes, resulting in the creation of his explosive ballet, "The Rite of Spring." <br />
<br />
We know that John Cage knew enough about music philosophy and history to completely reject previous notions about music and start using pure chance to compose. <br />
<br />
And it even happens among popular musicians...<br />
<br />
Lady Gaga, who once drew on classic rock musicians like Bruce Springsteen to create her album <i>Born This Way, </i>has just completed a tour of performing jazz standards with Tony Bennett. They also did a record compilation, which won a Grammy. This girl obviously values history. <br />
<br />
Artists like the Talking Heads, Peter Gabriel, and the Beatles were drawing on inspirations from non-Western cultures to inform their music. These same cultures are being discussed in classrooms in Universities around the world -- classes taught by none other than MUSICOLOGISTS. <br />
<br />
The song "All By Myself," originally by Eric Carmen and made famous by the likes of Celine Dion, was completely ripped from a piece Mendelssohn's Second Symphony.<br />
<br />
Weezer quoted the Shaker tune "Simple Gifts" in their song "The Greatest Man That Ever Lived." This same Shaker hymn was quoted by Aaron Copland in his ballet "Appalacian Spring." <br />
<br />
Stanley Kubrick (who, admittedly, is not a composer, but a filmmaker) makes use of classical music in films like <i>2001: A Space Odyssey </i>and <i>A Clockwork Orange. </i>These quotations are not only memorable, but moving and iconic. Some of these pieces were written as far back as two hundred years ago. <br />
<br />
It is obvious that human beings are inspired by other human beings. Good artists expose themselves to other artists within their field and craft, learned from them, and create new, interesting, and relevant things based on what they learned. I guarantee that there is no exception to this rule. No one creates in a vacuum.<br />
<br />
Part of the reason why we have music history classes is to simply introduce young composers (and potential composers?) to some of these tools. Counterpoint. Instrumentation. Style. Text painting. Subject matter. This stuff may very well inspire you to write a piece of your own! You never know what kind of trajectory your musical life will take... I'll get to that more later. <br />
<br />
<b>Music History as an Educator's Tool</b><br />
How does music history help those who do not chose to compose -- for example, music educators in public schools? Speaking as more of an educator than a performer or a composer, I argue that the exposure from Music History classes has helped me make better repertoire choices for those I teach. I know of a lot more high-quality choral music now than I did before, so instead of only choosing Whitacre and Handel's Messiah and other overdone pieces, I can choose from Palestrina, Schütz, Rachmaninoff, Arvo Pärt, and a host of others. Students are curious. They often ask why songs are important or why it sounds the way it does. Having on-hand information about the context of the piece can be a useful teaching tool. Through that empowering thing called knowledge, my students will get to enjoy this music as much as I do. All of us can be inspired by history, and teachers have the special opportunity to act as agents of exposure. <br />
<b>Music History Makes for Interesting Concerts and Performances</b><br />
Performers have audiences. Audiences are usually hungry for inspiration and for enrichment when they come to concerts. How many times have we walked out of a concert wanting to know more about a piece that we heard? How nice is it to hear something that is not only beautifully written and performed, but also something that they may not have heard before? <br />
<br />
Exposure begets exposure. It's simple logic. The audience cannot be exposed to Bach without the performers first being exposed to it. Thus the need for targeted exposure through music history class. We get the chance, as performers, to also act as agents of exposure and inspiration for our audience. The music we hear and enjoy in a music history class becomes the music we share so that others can also enjoy it. Do not think that your music history education is irrelevant! It's an opportunity to gain inspiration for your own life and to inspire others at a future date!! Don't take it for granted.<br />
<br />
A personal story, now, to give you a hint at where I come from as a musician, educator, and academic. I didn't know I wanted to be a musicologist until I took Music 201 for a simple civilization credit. I was not yet a music major, but after that class, I could not see myself as anything but one. I became hooked. I explored Gregorian Chant, studied scores, looked up other music. I also explored other branches of art history (namely modern visual and performance art) with the same fervor. Music history became my passion. <br />
<br />
College is an interesting thing. You could argue that we should never have to take any GE courses because they don't apply to what we want to do with our lives... but who's to say that they couldn't become an important part of our lives? There's a phrase, "You never know until you try." I think it applies here. I would never have explored music history as a career unless I was put in a position where I had to try it out. You could call colleges manipulative and money-hungry, or you could acknowledge the fact that our society appreciates well-rounded individuals and the promise of success through opportunity and through learning and growth. By making Music History a required class, the school of music is hoping that every student will have an opportunity to feel the same high that I did. The only thing that prevents this is the students' attitudes, which are overall very negative.<br />
<br />
(Of course, I had a very inspiring and enthusiastic teacher for 201, and this definitely helped. I agree, it can be hard to understand the value of a certain subject if the person teaching is not giving you the impression that it is valuable to you. Perhaps the first quote we saw was a response to a very bad teacher... But that doesn't excuse the fact that you should be able to look past the dry professor shouting out names and dates from a podium and recognize the value of the actual subject. You are in college now, after all. You're not expected to take everything at face value. If you put in the effort, you will find the juicy inspiration that can be found within the music that you are being exposed to, and I wager that you will feel a similar thirst for knowledge that I have felt, and you will come to appreciate the music that you play even more than before.) <br />
<br />
I think our young people have a problem with negative attitudes toward learning in general. People complain about how calculus shouldn't be taught in schools because it's all theoretical and inapplicable in real life and therefore useless. I think these people miss the point. Sometimes we need to not just learn, but <i>learn how to learn</i>. As much as I value personal application, I feel like we're beginning to head in a direction that's not so much asking "How does this apply to me?" but rather asking "What's in it for me?" We seek <i>immediate</i> validation for what we learn. We seek <i>direct</i> and <i>easily measured</i> applications, rather than take the time to delve into other potential uses that may not be so obvious. It's this selfish attitude towards learning that causes arts programs to shut down in public schools. If the students aren't gonna make any money off of it like they do with math and science, why teach it? If music is such an abstract concept that can't be measured with standardized tests and immediate results, why teach it? What the materialistic twenty-first-century America fails to see is that there are many more treasures that we can gain in life besides money and praise. Advocates for music education in schools understand that students learn great life lessons and valuable skills through music. I argue that we also learn a great deal of these same things through music history.<br />
<br />
<b>What do we learn from Music History? </b><br />
<br />
We learn how to verbally discuss the musician's craft. One of the important components of musicology is learning how to talk about music. Music has its own particular language and terminology, and musicians need to learn how to speak it. We, as musicians, need to be able to discuss a particular passage or set of measures in a way that other musicians would be able to understand what we are saying. Rather than fishing for words, hoping one will catch, we will have a bank of terms that we can pull out to describe what we hear and what we play. Terms like "counterpoint," "block construction," "Baroque," "sonata," and "polychord" can be very useful, but we need to take the time to learn what these words mean. <br />
<br />
And on a more general level, I think it's important that every college student knows how to effectively communicate in spoken and written language. Something that I actually find very remiss about the entire BYU music education system is the fact that we are given very few opportunities to WRITE about music. There is no real research paper required in any music-specific class. In 305 and 306 we are asked to write short essays, but never are we required to write a legitimate, full-length paper about music. We aren't asked to write written analyses, reviews, or even simply personal essays about musical works. I know of several college students who would crucify me for saying this, but I envy the students who are required to write at least one major written work, complete with proper citation, correct grammar, and an enforced deadline.<br />
<br />
Yes, we play music. We write music. We teach music. But how well do we COMMUNICATE about music? What common communication skills are other college students learning that music students don't get the chance to learn? Music students may not fully know how to perform research, read a textbook, define a term, present an argument, give an oral presentation, or work in discussion groups. When our compositions are solely musical, the non-musical then suffer in the dark. We may be able to play a sonata, but are we, as musicians, learning how to communicate to the entire world about what we love? How do we advocate? How do we educate? How can we really contribute? How can we call ourselves college-educated if we go through our entire music education without touching these important social and academic communication skills? <br />
<br />
Music History creates cultural capital. This goes back to my claim that our society has conferred significant meaning and value to music. Whether or not you directly use your music history skills in performance, conductors often want well-rounded musicians who understand the music that they are playing from a contextual standpoint. And who's to say that you DON'T use things you learn in music history classes in performance? Conductors want musicians who know how important the third scale degree is in Stravinsky's "Symphony of Psalms." They want musicians who will at least appreciate the importance of a 12-tone work, and take it seriously. They want musicians who can feel the transcendence of Mozart's Requiem because they understand the circumstances in which it was written. If you can't find any other good reason to take music history, at least take it so that you can look good on your resume. <br />
<br />
Musicology also provides another opportunity for musical analysis, which involves problem-solving and critical-thinking skills. These skills are VITAL for finding and keeping a job! Knowing how to diagnose problems, synthesize information, and find solutions are important in any career. Conductors and producers want proactive musicians who USE THEIR BRAINS. College has a myriad of purposes, but one one the biggest ones is for students to practice USING THEIR BRAINS. Sometimes the practice lies in playing the same two measures over and over again in a practice room, but other times it involves figuring out why the Neapolitan plays such an important part in Beethoven's "Eroica" symphony. We practice these skills by drawing parallels between the classical period of the 18th century with the neoclassical period from the 20th. We make great strides in logical reasoning and problem solving when we figure out the historical implications of Wagnerian opera, or the motivations behind works like Penderecki's "Threnody for the Victims of Hiroshima." <br />
<br />
Music history = a workout for your brain. And while we may feel the burn, we know that the outcome will be beneficial to us. We may not like our vegetables, but we know they're good for us. We can either choose to endure in discomfort, or embrace the experience with hope and enthusiasm for the future. <br />
<br />
Music history has taught me how to listen. Playing music is great, but LISTENING to music is also an artistic act. I have been extensively taught that ACTIVE LISTENING is something that we should teach our children in music classes. Back to my exposure argument, music history is not only a place that simply exposes you to well-written music, it also exposes you to well-PERFORMED music. It gives you a chance to hear highly-trained groups play great music. Of course you can go hunting for your favorite recordings on your own, but a class provides a great starting point for those who have not yet been exposed to great performances. And as we listen to these performances, we need to be aware of the nuance, the dynamic change, the instrumentation, the style, the story... the ART that we are hearing! <b>Music history teaches musicians how to listen. </b><br />
<b><br /></b>
And not just how to listen, but how to connect what they hear to what they see. Honestly, if you come to a music history class without your score, you are doing yourself a disservice. Aural and literacy skills are improved as you listen to music while watching it unfold on a score. As you practice "watching" the music, you'll discover more and more things that you may not have seen before. You may not initially HEAR the patterns of developing variations in the works of Brahms, but you might be able to SEE them on the orchestra's score, and your listening experience could change completely from that point forward! Try doing THAT during rehearsal, when all you have is your own part! Not so easy, huh? And isn't it nice having a trained professional in the room, guiding you toward things you might not see on your own?<br />
<br />
(Quick side note: I've also found that I am much faster at transposing instruments from different keys by analyzing and discussing musical scores. I'm not even an instrumentalist, but I feel pretty good at it now!)<br />
<br />
Another benefit that comes from music history: You understand people better. I loved learning about the Schumann family in 306. Robert Schumann was a fascinating individual that I relate to quite a bit. He writes about love, just like I do. And he was misunderstood and he had mental problems and he felt alone sometimes, just like I do sometimes. I find myself connecting deeply to particular artists and composers who seem to share my passion for music, life, and other people. <br />
<br />
One valuable piece of truth I have discovered in researching bluegrass musicians for my honor's thesis is that some things don't change. People have been singing about sex, drugs, God, war, and grief for hundreds of years. While the way the emotions are presented may be a little different, we still carry these same basic human emotions within us today. By discrediting the importance of learning about the works of talented people who came before us, we are very much discrediting those people themselves. After all, don't you agree that the art that you create is part of who you are? Wouldn't YOU like to be remembered and discussed after YOU died if YOU wrote something that was amazing?? I know I would. Music history leads to music appreciation. It is our chance to pay homage to those awesome folks who have given us such inspiring works to enjoy. <br />
<br />
My final thought would be this: I care about music history, and I am a human being. Out of respect to me, as a human being, I would hope that you, too, would appreciate what I have chosen to do as a career. It is in no way immoral to be a musicologist. And hopefully I have proven to you that it is also not a waste of time. I would also hope you look upon your music history professors with a little more respect. They are not simply pawns in the greedy collegiate clockwork. They are doing something they love and they are making a contribution to society. We can question whether or not we should make 305 and 306 a requirement for all music majors all we want, but the bottom line for me is this: 305 and 306 changed my life for the better, and I would love to see other lives get changed the same way mine did. Hopefully such a desire is both righteous and relevant to today's musical market. <br />
<br />
I will end with yet another comment that I read on the same facebook feed. This one brought me tears of joy:<br />
<blockquote class="tr_bq">
"My career as a music educator would not be the same without music history courses. It has affected my professional trajectory in remarkably positive ways. What are we without history? How american are you, really, if you don't understand our nations beginnings, if you don't understand the precepts upon which the land you live on was built? Furthermore, how good of a mormon do you think you would be if you didn't understand Latter-day Saint history? What do you think the scriptures are? They are history books. And if you have never read about your sacred history and consider it to be of utmost importance, you need to re-examine your discipleship. Beyond that, where would you be without understanding your history in the pre-mortal realm? Doesn't that bless your spiritual life with insight that helps you deal with and explain the here and now? The same could be said of and applied to music. Knowing musics history is essential to understanding the music, in its various forms, of today. I wager that you CAN NOT be a musician without knowing musics history. I use what I know about music history EVERY SINGLE DAY, whether I am in the practice room, playing with an ensemble, conducting a band, or simply being plugged into my ipod. Knowing music history ENHANCES everything I do with music, because understanding what WAS helps me understand what IS. I see in the music I play now distinct connections to the past, and that helps me delve deeper into the sounds I am making and emotionally bond with it more fully. Forgive me for making assumptions as I read between the lines of your initial post, but it sounds to me like your music history class is simply kicking your butt, so you label it as unnecessary and a nuisance. And that is understandable. I am not faulting you for that. I am doing that same thing right now in biology. My bio 100 class is slapping me around, and so naturally I hate biology. I hate everything to do with it. I can think of nothing on planet earth more useless to me right now than friggin biology. But at the end of the day, I have to admit to myself that I only hate it because I am not good at it. But to pad my ego, I just say it is dumb and useless and I get pissed at the university for requiring it. Ultimately though, the problem here is not biology. It is not music history. And it's not the university. The problem is pride. Unrighteous pride and arrogance in you and in me. And we use our arrogance to make excuses to not try as hard. So, my invitation to you and to me is to sit back and take a deep long look inside ourselves. Look at the situation objectively. Then, upon realizing where the fault truly lies, it's probably time for us to just try harder. Do better. And I am willing to bet that if we open our minds and put forth the appropriate amount of effort, we are going to find a tolerance for and perhaps even an appreciation for those subjects that are currently getting the best of us."</blockquote>
I LOVE MUSICOLOGY. THE END. </div>
</div>
</div>
</div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com3tag:blogger.com,1999:blog-6671995727798614453.post-19636270990374765872013-11-29T11:16:00.000-08:002013-11-29T11:39:15.105-08:0040 Things that are Wrong with Nicole Westbrook's "It's Thanksgiving" Happy late Thanksgiving, everyone. <br />
<div>
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZSBq8geuJk0" width="560"></iframe><br />
<br />
Here's something to be thankful for. This gem given to us by media-obsessed corporate America. One of the notorious creations of producer Patrice Wilson (known especially for birthing Rebecca Black's "Friday" through ARK Music Factory). <br />
<br />
I present to you here, for your entertainment, my list of things that are wrong with this video. There are a lot of them. I'll try to keep it all in chronological order. <br />
<br />
PROLOGUE:<br />
Before I start my actual list, I just would like to say that the fact that this video even exists is wrong in its own right. The purpose of Mr. Wilson's company is to give young rich kids a chance to perform in a music video. Parents will shell out thousands of dollars to this company in hopes that their child will become the next Justin Bieber, not acknowledging the fact that their precious kiddies have little to no talent, and that they are putting the fate of their child's future into the hands of a "composer" and "producer" who writes nothing more than garbage. And, to make matters worse, these videos are posted on YouTube and the people involved are expecting them to be taken seriously! Watch twenty seconds of this video and you know exactly what you're going to get: self-obsession and decadence in the form of a cheap music video. It's a grand waste of time, money, and effort. You'd think we'd learn after the "Friday" debacle that this is in no way a good thing for society. But no. <br />
<br />
Alright... now to this music video in particular... <br />
<br />
1. While the video actually seems somewhat promising at the beginning, one can't help but notice just how many filler "ohs" and "yeahs" are happening as this long introduction plays. When does this song actually START? And what exactly is it ABOUT? <br />
2. She's sitting on a bed, in what could easily be the most awkward sitting position one has ever seen. Who exactly is she singing to? We still don't know yet what this song is actually about. <br />
3. Her shirt reads "Dance Until Dawn." How old is this girl? Doesn't she still have a bedtime, or are her parents even bigger idiots than I thought?<br />
4. That "Come on" that happens 27 seconds in? That did not need to happen. This girl obviously is a better singer than Rebecca Black, but nevertheless, this is rather unimpressive vocal work.<br />
5. "I'm wide awake, and I should take a step and say thank you..." An okay sentiment, I suppose. It's good to say "thank you." But "wide awake"? Why is this significant? How early is this? She's still in her bedroom, so... Morning? How early? She's fully clothed, looks pretty well-groomed... At least with Rebecca Black, we saw her at "7 AM, waking up in the morning" with some level of disheveled bedhead. If you're going to literally translate lyrics into images for the benefit of the lowest-common-denominator idiot of a viewer who can't figure it out without your spoonfeeding, you should probably be consistent. Moving on... <br />
6. "For the things you've done, and what you did." Redundancy at its finest. <br />
7. 45 seconds in, we cut to a montage of ridiculous holiday scenes cut straight out of an American Girl catalog. Contrived "Greeting Card" poses and all. I feel sorry for all of those other kids.<br />
8. In "Friday," we learned that Sunday comes after Saturday. Here, we learn that "December was Christmas, January was New Year's..." etc. How dumb do you think your audience is, Mr. Wilson?<br />
9. And heck, all you do is end what should have been a final independent clause with "And the Fourth of July." Idiotic sentence fragment. <br />
9. I'm sure Valentine's Day and Halloween feel left out.<br />
10. Fourth of July scene, at around 56 seconds. Does no one see the definite EDGE of those fireworks? It's a poorly-edited, square-shaped stock-footage firework video added in later. Obvious low-budget editing going on here. <br />
11. Alright, this girl is preparing food on a stove, seemingly without adult supervision (unless you count the guy using the camera, but honestly who knows?). <br />
12. And what the BLEEP is she preparing?? Stuffing? Something like that? What kind of Thanksgiving dinner is this actually going to be??<br />
13. 1:22. She's pulling out a giant turkey, by herself. WHERE ARE THIS GIRL'S PARENTS??<br />
14. 1:26. That looks like mac n' cheese. Nothing says Thanksgiving like Mac n' Cheese. <br />
15. I have failed to mention the fact that this girl is singing "We, we, we, we gonna have a good time." I can barely tolerate it when 30-year-old black male rappers use this kind of grammar. Having a 9-year-old white girl say it? I shudder every time.<br />
16. 1:36. I am getting so tired of this camera trick.<br />
17. 1:38. I guess the only qualm I have here is how incredibly tacky that decoration is, and how much more tacky it becomes when juxtaposed with the tacky lighthouse. And why is she putting this up ON Thanksgiving day? Don't you usually put out decorations as a PREPARATION for the holiday? (Actually, considering what I've seen this year, shouldn't there be CHRISTMAS decorations up at this point?)<br />
18. "No matter how you do, no matter what you say, this is my favorite." Okay. That sentence DOES NOT MAKE SENSE. <br />
19. And just when you thought the stinking holiday montage was as crazy as could get, now we've got the token middle-aged black guy (Patrice himself, who somehow thinks it's cool to cameo in his own videos) showing up in the middle of the tween festivities, smiling and nodding as if he were singing to two-year-olds who didn't have a clue when New Year's was. He's the only adult ever to be seen in this video. Any relation to the other kids? Not that I can see. It's a little creepy.<br />
20. 2 minutes in, and now we have Thanksgiving guests. Once again, no parents. As happy and fun as this all looks, a part of me wonders how these kids are all allowed to just go over to a friend's house on Thanksgiving. Don't they all have families they want to see? Aren't they travelling? Isn't there some familial obligation they must meet? Where do a bunch of kids have the time (or the stomach?) to bring food over and have Thanksgiving with other kids, while their families may have their own traditions and plans? Doesn't make any sense.<br />
21. 2:07. That pose. "Put your hand on your hip, Nicole! There! Now you look NATURAL!" There's mugging all over in this vid, but that one's almost as bad as the bed shots. <br />
22. 2:14. She says "turkey." Those look like RIBS to me. (Not like Nicole's complaining, look at that fist-pump she does at the sight of them!)<br />
23. 2:17. She says "mashed potatoes," but it looks like this boy has brought yams. Or beets. Or something. Obviously Nicole doesn't quite approve.<br />
24. And, of course, the token black guy shows up... in a turkey costume. I'm sure that's a tradition in many American homes... <br />
25. NO PARENTS at this feast... Just the turkey-clad chaperone, and I honestly am questioning his intentions at this point. Perhaps he's a homeless guy just trying to get food.<br />
26. 2:29. All heads are bowed for the saying of grace... And then Nicole has the audacity to interrupt the group during a time of prayer! No wonder she gets the death stare from several kids afterwards. <br />
27. Wait... the death stare isn't because she interrupted grace. It's because she's miserably attempting to rap.<br />
28. "It's thanksgiving-giving and I'm tryin' to be forgiving..." Eminem could probably pull off that slant rhyme. Nicole cannot.<br />
29. "Nothin' is forbidden." Nothing? Food fight? Alcohol? Drugs? After all, no parents here to stop us from doing anything. Mr. Turkey's probably high already.<br />
30. 2:36 "You know we gotta have." Gotta have WHAT?<br />
31. "Can't be hateful/Gotta be grateful" is immediately reversed to "Gotta be grateful/can't be hateful." Ugh. This guy's lyric skills are pathetic.<br />
32. "I got ribs, smellin' up my neighbor's cribs." Not sure what's more ridiculous: the notion of having ribs at a traditional Thanksgiving dinner, or the fact that this tiny white girl just said the word "cribs." <br />
33. "We be laughing 'til we cry." All kinds of awkward right there.<br />
34. 2:58... Aaaaaand now she's using a turkey leg as a microphone. Holy. Crap. This has got to be a joke.<br />
35. 3 minutes: Not a joke. She's still using that turkey leg as a microphone.<br />
36. 3:06. Turkey's in the Christmas scene. <br />
37. 3:22. And he's barbecuing on the Fourth of July.<br />
38. Those are some half-hearted "eh's" and fist-pumps there, background kids.<br />
39. 3:34. Cheesiest way to end a music video ever. That awkward smile as you look at an awkward picture of an awkward thanksgiving dinner where some awkward, creepy guy in a turkey suit shows up to eat your ribs and mac n' cheese. <br />
40. Oh look! And there's the Christmas card picture, too! <br />
<br />
Happy Thanksgiving, everyone! Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-65770423778148900182013-09-08T18:46:00.002-07:002013-09-08T18:46:48.586-07:00The Enabling Transformation of the Atonement<div class="MsoNormal" style="text-indent: .5in;">
I am going to talk to you about the
Atonement. At least the way <i>I </i>perceive the Atonement. This has sort of become my
pet concept in recent months, ever since a very special experience I had on January 9, 2013. I've already told a lot of people about what exactly happened on that day, but I'd like to talk for a while here about the kinds of things I've experienced immediately following that experience. I'm interested in the <i>results </i>of discovering the Atonement. </div>
<div class="MsoNormal" style="text-indent: .5in;">
For years and years, I've had a
very particular attachment to a scripture found in the fifth chapter of <st1:city w:st="on">Alma</st1:city>. I’m not sure exactly what began that
obsession. It might have been a Janice
Kapp Perry song. But for years, I
considered <st1:city w:st="on">Alma</st1:city>
5:14 to be my all-time favorite scripture:</div>
<div class="MsoNormal" style="text-indent: .5in;">
"And now behold, I ask of you, my brethren of
the church, have ye spiritually been born of God? Have ye received his image in your
countenances? Have ye experienced this
mighty change in your hearts?" (Alma 5:14) </div>
<div class="MsoNormal" style="text-indent: .5in;">
I think what I initially liked
about that scripture was the fact that it’s a boatload of really important
questions. Actually, the whole fifth
chapter of <st1:city w:st="on">Alma</st1:city>
is full of great questions. These are
the kinds of questions you should be asking yourself frequently. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Where am I on the road to salvation? </div>
<div class="MsoNormal" style="text-indent: .5in;">
Have I been truly converted? </div>
<div class="MsoNormal" style="text-indent: .5in;">
Is Christ’s image really reflecting through
my countenance? </div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Alma talks about experiencing a "mighty change of heart." Well what is that mighty change of
heart? It’s obviously a specific kind,
since he put the word <i>this</i> in front of it... </div>
<div class="MsoNormal" style="text-indent: .5in;">
I have come to believe that what <st1:city w:st="on">Alma</st1:city> is really asking here is this: Have I allowed the ATONEMENT to change my
heart? </div>
<div class="MsoNormal" style="text-indent: .5in;">
I testify that the Atonement changes hearts.
And when it changes hearts, it changes lives. </div>
<div class="MsoNormal" style="text-indent: .5in;">
One of my absolute favorite talks
ever given is by Elder Bednar. He spoke
at a University Devotional in 2001, and his address is called “In the Strength
of the Lord.” It is a GREAT talk for
college students and young people like us.
And I kid you not, it changed my life.
</div>
<div class="MsoNormal" style="text-indent: .5in;">
First he quotes President David O. McKay: "The purpose of the gospel is… to make bad men good and good men better, and to
change human nature.” Then Elder Bednar goes on to say, "Thus the journey
of a lifetime is to progress from bad to good to better and to experience the
mighty change of heart – and to have our fallen natures changed.” He then explains that in order to
experience such a change, we have to do as King Benjamin directs in Mosiah
3: We must put off the natural man and
become saints <i>through the atonement of
Christ the Lord</i>. (Mosiah 3:19)</div>
<div class="MsoNormal" style="text-indent: .5in;">
That statement right there is
GOLD. We must put off the natural man
and become saints THROUGH THE ATONEMENT. We can't forget to include the Atonement, because only with the atonement does real, permanent change happen. </div>
<div class="MsoNormal" style="text-indent: .5in;">
So that’s my first point. We can – and we must -- change through the
Atonement. The Atonement is an agent for
change. Or, as I would rather say, an agent for
TRANSFORMATION. Point one. </div>
<div class="MsoNormal" style="text-indent: .5in;">
But now the question is HOW does
the Atonement change us? For a long time
I was really caught up in this question.
I had trouble visualizing exactly how something so abstract and so
eternal could actually have an effect on my life. I never questioned that it happened. I knew Christ existed. I knew Christ suffered and died, and I knew
that he rose from the grave and is now our Savior. But HOW did Christ save me? What was it that he did that makes his
sacrifice able to change who I am? How can something apply to me and yet still apply to someone else, with different problems and different sins and different experiences? And
more importantly, what do I have to do to make this Atonement thing work? It’s not a pill I could take. It’s not a hat I could put on. For a long time I imagined trying to hold the
Atonement in my hand, and all I could see myself doing was holding just
air. It was an elusive mystery that I could never understand. It’s more of an idea or event than
it is an actual thing. And I was really
frustrated by that, because I like things to be concrete. I like things to be measurable, but how do
you measure something that’s infinite? If
the Atonement is the result of an action by Christ, how can I really understand
what that action was if it happened two thousand years ago? If the
Atonement is a reconciliation with God, how can I know that I’m reconciled with
God without even seeing Him or witnessing His son's Atonement? Everything
is just so… unknown. Immeasurable.
Incomprehensible. HOW CAN I USE
THAT? </div>
<div class="MsoNormal" style="text-indent: .5in;">
And up until just this past year, I had no answer to these questions. But then I experienced a
few trials that helped humble me and turn to the Lord, and suddenly one fine
day there were some things that clicked. I still don’t know the answer to this
question 100%, but I do know that the key is Christ. </div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">One thing I now know for sure is in order to understand the Atonement enough to actually use it to
transform your heart, you need to understand Christ.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">And the way you understand Christ is to spend
time with him.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">Read the scriptures, you
guys.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">It’s such a smart idea.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">You can find out exactly how Christ behaved
and what his attitude was in the scriptures.</span><span style="text-indent: 0.5in;">
</span><span style="text-indent: 0.5in;">And the Book of Mormon… Oh Gosh, I learned so much from that
book this week.</span><span style="text-indent: 0.5in;"> </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
So what have I learned about
Christ through reading the scriptures? Well, I've learned that he was both WILLING and ABLE to perform the Atonement.
He was ABLE in the fact that he was the only person on earth that could
do what he did. First of all, he’s the
only begotten of the Father. He had
Deity in his DNA, and therefore he was able to do something that only a God
could do. He was also ABLE to perform
the Atonement because he was perfect and without sin. No one else can say that about
themselves. No one else can atone for
us. Only Christ is ABLE to change us by
atoning for us. </div>
<div class="MsoNormal" style="text-indent: .5in;">
But the more meaningful part about
this is the fact that he was not only ABLE, but WILLING. Christ, like everyone else on this earth, had
agency, and he CHOSE to perform the Atonement.
And I can’t speak for Christ, but from the looks of things, it was a
REALLY HARD CHOICE. Because of that choice, he had to experience an infinite amount of pain and suffering, only to be betrayed, scorned, and killed by people he loved immediately afterward. We read in Luke that
he said in <st1:place w:st="on">Gethsemane</st1:place>, “Father, remove this
cup from me.” Obviously the conditions were less than desirable.</div>
<div class="MsoNormal" style="text-indent: .5in;">
But then he says
“NEVERTHELESS (and I’ve recently learned a little about the power of that word,
NEVERTHELESS) not my will, but thine be done.” (Luke 22:44)</div>
<div class="MsoNormal" style="text-indent: .5in;">
And what was God’s will? “God so loved the world, that he gave his
only Begotten son.” (John 3:16) “For behold, this is
my work and my glory, to bring to pass the immortality and eternal life of
man.” (Moses 1:39)</div>
<div class="MsoNormal" style="text-indent: .5in;">
God LOVED us, so he sent his
Son. And Christ, he loved us enough to
perform the work God appointed him to do.
Christ was motivated to do what he did by <i>love</i>. He was not only ABLE to perform the infinite
Atonement, he was WILLING, because he <i>loved </i>us.
</div>
<div class="MsoNormal" style="text-indent: .5in;">
Now that kind of love is
confusing and overwhelming. Honestly, I've often wondered HOW someone could have that kind of love for me. What kind of love is it? </div>
<div class="MsoNormal" style="text-indent: .5in;">
Last week, I went to the temple, and as I sat
there in my white jumpsuit waiting to do baptisms, I thought about the love of
Christ. It began with me stressing out about how other people (mainly boys) felt about me. I care <i>so much</i> about what this guy or that guy thinks of me... But I felt bad about it because I knew that I knew better than that. Christ loves me. Shouldn't that be all that matters? And that's when I started having this little battle
with myself. I thought, “Okay. Sure. Christ loves me. But that's nothing special. Christ loves everyone; what makes
his love for me so important?” </div>
<div class="MsoNormal" style="text-indent: .5in;">
Have you
ever had your mom say “I love you” and you’re all like, “Oh mom, of course you
love me! You’re supposed to love
me! You’re my mom!” Well I sort of had that attitude towards
Christ. “Well, of course you love
me! You’re Jesus! You love everyone! How is that supposed to make me feel any
better? How does that make me
special?” </div>
<div class="MsoNormal" style="text-indent: .5in;">
And then I heard this voice in my
head, very clear. It brought me to tears. It said, “Hannah, surely you
must know that my love for you is deeper than that! I love you perfectly! Because I KNOW YOU.” </div>
<div class="MsoNormal" style="text-indent: .5in;">
And then my thoughts turned to my
dear sister Ellen, who is here in the congregation today. She’s going on a mission to the <st1:country-region w:st="on">Philippines</st1:country-region> in
just three days, and I’m so excited for her. There in the temple, I thought of her and I realized that I don’t just love my sister
because she’s my sister and I HAVE to love her.
I love her because I know who she is. I've grown up with her. I have seen what a sweet, gifted, loving, beautiful daughter of God she
is, and I can’t help but love her! I love her because I know her! </div>
<div class="MsoNormal" style="text-indent: .5in;">
CHRIST, OUR BROTHER, LOVES US BECAUSE HE HAS BEEN GIVEN THE POWER THROUGH THE
ATONEMENT TO SEE US FOR WHO WE REALLY ARE. HE KNOWS US PERFECTLY. </div>
<div class="MsoNormal" style="text-indent: .5in;">
He has ULTIMATE, INFINITE empathy for us. It is impossible for any mortal to
understand EXACTLY what another person has gone through. We may have similar experiences and we can
experience similar feelings, but none of us can TRULY COMPLETELY empathize with
another person. Except CHRIST. Christ can perfectly empathize. And because of this infinite empathy brought about by the Atonement, Christ can have an infinite love for every person. He loves ME INFINITELY. </div>
<div class="MsoNormal" style="text-indent: .5in;">
And the minute I figured that out, this "How-to-use-the-Atonement problem I had began to make sense. IF WE START
SEEING THINGS THE WAY CHRIST SEES THINGS, WE WILL EXPERIENCE THAT MIGHTY TRANSFORMATION OF OUR HEARTS! WE WILL EXPERIENCE A TRANSFORMATION
WITHIN OURSELVES. We will become like Christ. Like God! We will, as Moroni put it, be "made perfect in Christ." (Moroni 10:32)</div>
<div class="MsoNormal" style="text-indent: .5in;">
And when I discovered this, I found the process begin to
happen within me! </div>
<div class="MsoNormal" style="text-indent: .5in;">
I had the chance to take a look at
3 Nephi 17 this week. This is the
chapter where Christ says “Behold, my time is at hand,” (3 Nephi 17:1) and he prepares to
leave the Nephites after appearing unto them, but then he sees the multitude,
“in tears, and they did look steadfastly upon him as if they would ask him to
tarry a little longer with them.” (3 Nephi 17:5)</div>
<div class="MsoNormal" style="text-indent: .5in;">
And what does Christ say? He says, “Behold, my bowels are filled with
compassion towards you. Have ye any that
are sick among you? Bring them
hither. Have ye any that are lame, or
blind, or halt, or maimed, or leprous, or that are withered, or that are deaf,
or that are afflicted in any manner?
Bring them hither and I will heal them.
My bowels are filled with mercy.” (3 Nephi 17: 6-7)</div>
<div class="MsoNormal" style="text-indent: .5in;">
And then he commands that the
little children should be brought unto him.
And he kneels on the ground and groans within himself, and says,
“Father, I am troubled because of the wickedness of the people of the house of <st1:country-region w:st="on">Israel</st1:country-region>.” (3 Nephi 17:14) And then he prays unto the Father, and the
“things which he prayed cannot be written…:And no tongue can speak, neither can
there be written by any man, neither can the hearts of men conceive so great
and marvelous things… and no one can conceive of the joy which filled [their] souls.” (3 Nephi 17:17)</div>
<div class="MsoNormal" style="text-indent: .5in;">
I testify
that Christ’s bowels are filled with mercy towards every one of us. He sees us as we really are. He knows us perfectly. He has borne our griefs and carried our
sorrows. And when we disregard his
healing power, he is troubled. But I
also testify that if we start to see ourselves the way Christ sees us, and when
we start to follow his example and consider his Atoning hand in our lives, we
will be blessed. </div>
<div class="MsoNormal" style="text-indent: .5in;">
I’ve always wondered why it was so
important for us to share the message of the Atonement to the world. If the Atonement is going to save us all
anyway, why do we need to know about it?
Why can’t we just be good people?
And there are so many good people who aren’t members of this faith. But then I considered the JOY that these
Nephites felt as they heard Christ pray.
“No one can conceive of the joy which filled their souls.” (3 Nephi 17:17) I believe -- nay, I <i>know</i> -- that the
Atonement not only ensures blessings for those who accept it in the future, but
it ensures blessings for us RIGHT NOW in this life! Having this heart transformation brings you joy! There are blessings that come from having a
knowledge of Christ’s atonement! The moment last January that I figured out
just how much Christ loved me, I found myself happier. Living the Gospel made me HAPPY. Obeying the commandments brought me JOY. I found myself more grateful for the things I
had. I discovered that I saw other
people differently – the way God would see them. I was beginning to have CHARITY. </div>
<div class="MsoNormal" style="text-indent: .5in;">
It was like in those Claratin clear commercials. After a few seconds, the sheet is pulled back and the world suddenly becomes "Claratin-clear!" You don’t realize how dull and blurry the world was until you see things
through new eyes. Through the lens of God. When your heart is transformed, everything around you transforms as well. When you change the way you look at things, the things you look at change. The problems in
your life don’t go away, but you learn to see them differently. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Last January, I had a chance to experience a
change of heart. I became converted, and
for a short while, I could feel Christ’s image emanating in my own
countenance. There were some things I
thought I could never change about myself… and they were changing. I wasn’t always this bubbly, I promise. I've had my depression. I've had my trials. And I used to always think “Oh I can’t do that,
I’m not strong enough.” I can’t fast for
24 hours, I don’t have the constitution.
I can’t read my scriptures every day, I’m so busy. I can’t not be depressed, my life just sucks
so much. I can’t serve that person, I
don’t know him well enough. I can't forgive him, he's hurt me too much. <br />
But suddenly… I can! Christ has not only healed me. He’s ENABLED me. Now I can do things I couldn't do before. </div>
<div class="MsoNormal" style="text-indent: .5in;">
How can I not share such an
amazing, transforming message!? </div>
<div class="MsoNormal" style="text-indent: .5in;">
The Atonement is for everyone. It is not rocket science. If it were rocket science, then Christ would
only be inviting the rocket scientists to come unto him. He’s not.
He invites all men to come and partake of his goodness, and he denieth
no one who cometh unto him. (2 Nephi 26:33)</div>
<br />
<div class="MsoNormal" style="text-indent: .5in;">
The Atonement is a transforming
agent. It not only possesses a healing
power, but also an ENABLING power. It changes bad people into good people,
yes. But it also changes good people
into better people. It is through the
Atonement that a simple “I’m sorry” turns into repentance. It’s through the Atonement that a simple
promise is turned into a covenant. It’s
through the Atonement that a marriage is turned into a sealing. Through the
Atonement of Christ, miracles are performed, and things that are dead are given
life. Yes, Christ turned water into
wine, but he also can turn a trial into a blessing. A meaningless thing into a meaningful thing.
An ordinary person into an extraordinary person. It’s through the Atonement
that “I can’t” turns into “I CAN!”<b><o:p></o:p></b></div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com1tag:blogger.com,1999:blog-6671995727798614453.post-25338185637600961892013-09-01T10:22:00.000-07:002013-09-01T10:40:40.306-07:00Sticks and Stones May Break my Bones... But Words have Power Also<div class="separator" style="clear: both; text-align: center;">
</div>
I have this theory. I feel like it's in line with what the gospel teaches, but it also stems from other religious theories, particularly Hinduism. The main books of Hindi scripture are written in a language called Sanskrit. This is a very sacred language that represents the creation. When God utters something in Sanskrit, it is created and made real. Therefore, how the Sanskrit language is spoken in recitations is very important to Hindus. When Hindu priests learn Sanskrit passages, they say the words over and over again, using complex mnemonic devices so that they get every single word exactly right. Every time. By doing this, they are respecting the life-giving, creation-bearing language of God, and in a way mimicking God's behavior. They are attempting to align their language with their God's language. This brings them closer to deity. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://farm9.staticflickr.com/8299/7826076196_143e1f1928_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://farm9.staticflickr.com/8299/7826076196_143e1f1928_o.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">God said, "Let there be light," and there was light.</td></tr>
</tbody></table>
I see this principle of how language gives life in the Christian creation story. God says the words "Let there be light," and there was light (Genesis 1:3). And when he saw it, he said it was good (Genesis 1:4). I think this is a scriptural testament to how powerful language can be. In the book of John, we read "In the beginning was the Word, and the word was with God, and the Word was God. The same was in the beginning with God." (John 1:1-2) Through modern revelation (JST John 1:1-2), we know that John is referring to the gospel when he says the Word, and the gospel was preached through the Son, our Savior Jesus Christ. Christ embodies the Word. So, in other words, the Savior is the Word. <br />
<br />
How interesting, that the Savior is likened unto, of all things, a word! <br />
<br />
After reviewing what I know to be universal truths about God, the Savior, and the Plan of Salvation, I have come to the following conclusion: <b>Words matter</b>. They have consequence. As Gods in embryo, we are learning how we can use words to create. While we don't take the time to learn the Adamic language like Hindus take the time to learn Sanskrit, I still think God has entrusted us with the power of language so that we can learn how to be like Him and grow closer to Him. We, too, as God's spiritual offspring and potential heirs to his kingdom, can come closer to our Father in Heaven by mimicking his behavior and allowing our words to create good things. <br />
<br />
In Elder Jeffrey R. Holland's conference talk, "<a href="https://www.lds.org/general-conference/2007/04/the-tongue-of-angels?lang=eng">The Tongue of Angels</a>, an apostle of the Lord says the following: <b>Words are sacred.</b> <br />
<br />
You know the phrase, "Sticks and stones may break my bones, but words will never hurt me?" Well, Elder Holland begs to differ. He quotes an Apocryphal scripture that says quite the opposite: "“The stroke of the whip maketh marks in the flesh: but the stroke of the tongue breaketh the bones.” <br />
<br />
Words not only possess the power to create. They also possess the power to destroy. Words can hurt. <br />
<br />
What kinds of words hurt? Well, hurtful ones. Criticism, gossip, murmuring, complaints, and profanity are hurtful. But also manipulative words. Words of deception. Words of judgment. Words born by foul motivations. Even the way we say words can be hurtful. Shouting, whining, sharp sarcasm, etc. We all know it when we see it. But do we avoid it in our daily lives? <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.lds.org/bc/content/shared/content/images/leaders/jeffrey-r-holland-large.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://www.lds.org/bc/content/shared/content/images/leaders/jeffrey-r-holland-large.jpg" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Negative speaking so often flows from negative thinking."<br />
-- Elder Jeffrey R. Holland</td></tr>
</tbody></table>
Words of pessimism and negativity are, in my opinion, probably the most frequently-overlooked grievances in our religious culture. This is particularly sad because Elder Holland says it is especially important for members of the Church to bridle their tongues and avoid negative language. I think it's very easy for members of the Church to serve two masters with their tongues. In the words of Elder Holland: "The same voice that bears profound testimony, utters fervent prayer, and sings the hymns of Zion can be the same voice that berates and criticizes, embarrasses and demeans, inflicts pain and destroys the spirit of oneself and of others in the process." This passage hits me very hard. It's amazing that the same voice that proclaims forgiveness and love through the Atonement is the voice that can utter words of stubborn judgment and hate. I think this is one of those "unto whom much is given, much is required" kind of deals (D&C 82:3). I have been blessed with a testimony, with a knowledge of the Gospel and the Atonement. Should not my words be in line with what I know to be true? <br />
<br />
Our words are a manifestation of what is in our hearts. And as members of the Church, we have promised that we would have pure hearts (as well as clean hands, which I think relates to our actions) (Alma 5:19). Therefore, our words should be as pure as our hearts. Purity is a difficult thing to quantify, but I think it's safe to say that in order for our language to be pure, it needs to be free of profanity, negativity, or unrighteous judgment. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://media-cache-ak0.pinimg.com/736x/82/df/76/82df769d7a02b33a9d9e54606a734d4d.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="309" src="http://media-cache-ak0.pinimg.com/736x/82/df/76/82df769d7a02b33a9d9e54606a734d4d.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of us, me included, have a very loquacious personality.<br />
We are very candid. We say what's on our minds...</td></tr>
</tbody></table>
Some of us, me included, have a very loquacious personality. We are very candid. We say what's on our minds. Whether it's something I mean or not, there are times in my life when everything that enters into my head comes out of my mouth. While this in and of itself is not sinful, I think we chatterboxes of the world have to especially take this counsel to heart. Often we say things in the attempt to help other people, or just to let our ideas "air out." Sometimes it's how we process information. I think out loud. I solve problems by talking about them and working through them through dialogue. Heck, there are times when no one is around when I still find myself saying things out loud. We often use phrases like "No offense," or "I'm just saying" or "But that's just me" to cushion the blow of some of the more negative statements we make. It can be very easy for us to say something to someone else in hopes that our words will be taken as "constructive criticism" or "just a matter of opinion." But what we need to realize is that everything we say has an impact on another individual, and some very small things we say can leave a negative impact. We do not have a full understanding of another person's spirit, and therefore we do not know the impact that our words will have on another person. Even those who appear to be Teflon-strong against sharp comments can still be affected by words we say. I think the character Thumper from Bambi said it best when he said, "If you can't say something nice, don't say nothin' at all."<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/_HMFFK38MMQY/TMzbfyfkhcI/AAAAAAAAAD8/ANl-3Y9nz9Y/s1600/6a00d83451b77e69e200e551ee73dc8834-800wi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="254" src="http://4.bp.blogspot.com/_HMFFK38MMQY/TMzbfyfkhcI/AAAAAAAAAD8/ANl-3Y9nz9Y/s320/6a00d83451b77e69e200e551ee73dc8834-800wi.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Honestly, could any WRONG advice come out of this rabbit's mouth?</td></tr>
</tbody></table>
Honestly, I don't think it's ever our place to criticize other people at all; we have so many faults ourselves! However, if words of correction are to be given, (and there will be moments in our life where God will require us to do this), they must must MUST be done with charity as its main motivator. Charity suffereth long. Charity is kind. Charity is not easily provoked and rejoices in truth. That means our words should be full of patience, kindness, and love. Think in your head how Christ treated those around him. I can think of many cases where the Lord had to deal with people who made some pretty dumb mistakes. The story of the woman taken in adultery is a great example. Not only did Christ wait until he was speaking in private with the woman before he gave correction, but the words he said to her were direct, without guile. "Neither do I condemn thee; go, and sin no more." (John 8:11) I can imagine Christ's tone of voice as he says these words. Not icy and judgmental, but warm and inviting.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.mormonbeliefs.org/files/2012/02/Jesus-and-the-Woman-Taken-in-Adultery-Swindle.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://www.mormonbeliefs.org/files/2012/02/Jesus-and-the-Woman-Taken-in-Adultery-Swindle.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Neither do I condemn thee; go, and sin no more."</td></tr>
</tbody></table>
Speaking out of pride, judgment, or selfishness is not acceptable before God. In Section 121 of the Doctrine and Covenants, the Lord counsels against any act of authority that is performed with ill motivations such as these. We read that "the heavens withdraw themselves [and] the Spirit of the Lord is grieved." (D&C 121:37) While this section particularly targets holders of the priesthood, Elder Holland says that "the sin of verbal abuse knows no gender." Anyone can be moved by pride to say something they oughtn't.<br />
<br />
Unkind words may seem small, but they can lead to so much more. In the spirit of this same theory that I described in the beginning about how words can create, I believe that <b>by saying something out loud, we are making it real to us.</b> The more we say we believe something, the more inclined our brains are to believe it is true. That's why it's important that we not only have a testimony, but bear it in public. And that's why we are encouraged to pray out loud to our Heavenly Father from time to time. When we transform something as abstract and visceral as a thought into something physical like a spoken word, we are creating a reality in our minds that, with time, becomes part of our core beliefs, which are difficult to shake and result in action and behavior.<br />
<br />
So words inspired by negative thoughts can then lead to negative attitudes and, in turn, negative behavior.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://s3.vidimg02.popscreen.com/original/34/eGxucDBiMTI=_o_hold-your-tongue.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://s3.vidimg02.popscreen.com/original/34/eGxucDBiMTI=_o_hold-your-tongue.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Hold your tongue, Ella!"</td></tr>
</tbody></table>
We know that "by small and simple things are great things brought to pass." (Alma 37:6) But it's important to realize that those small and simple things can lead to either great miracles and blessings, or great disasters and failures. We see this all the time in modern society, and we also see it in the scriptures. When James refers to the tongue as the "very small helm" of the ship that is the body or a small kindling that can beget a forest fire (James 3:4-5), he is emphasizing how something very small can yield very large, often disastrous consequences. Most of the time an abusive spouse or parent begins with simple words before turning to physical assault. An unrighteous sexual act often begins with simply casual talk and joking about sex. I honestly don't think Laman and Lemuel would ever have tried to strike their brother Nephi or tie him to a boat if they had nipped their negativity in the bud and avoided all that murmuring. In contrast, look at the kinds of things Christ brought about by using kind, loving, clean words. We don't really know what happens to the woman taken in adultery after her exchange with the Savior, but I have a feeling that the way Christ spoke to her had a profound impact on her future behavior. <b>A bridled tongue can lead to a more positive change in people than an unbridled one.</b> It is through Christ's words, as well as his actions, that we saw miracles performed. As Joseph Smith says, "Faith...works by words, and with words, its mightiest works have been, and will be, performed." <br />
<br />
Imagine what this knowledge of the power of small and simple words can do in our own lives! Not only will we bless the lives of others by using uplifting, positive language, but we will also change our own attitudes about life and about ourselves! How can a person who constantly accosts himself with negative language about himself feel good about himself? He can't! It's one thing to think poorly of oneself, but as I explained, it's even more hurtful to actually say things aloud because then it becomes real to us. <br />
<br />
I have a good friend who is very successful and talented. Everything he touches seems to turn to gold. He's got a great job, lots of friends, and he seems to be good at everything! Piano, sports, video games, making friends, public speaking... He's like superman! One time I commented, "Geez, you have been blessed with so many great talents! I wish I was as awesome at all those things as you are, but I could NEVER be THAT good."<br />
<br />
His reply was very passionate and from the heart: "Hannah, I think the only thing that separates you and me is the fact that I believe I can do something and you obviously don't. You wouldn't have said that if you did. <b>You need to stop saying 'I can't' and start saying 'I can!</b>'"<br />
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://griefandmourning.com/wp-content/uploads/2013/01/self-image.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://griefandmourning.com/wp-content/uploads/2013/01/self-image.jpg" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">How does what we say about ourselves<br />
indicate how we see ourselves?</td></tr>
</tbody></table>
I responded with a simple okay, but then he said, "And don't just think it. Say it. Say it now." <br />
<br />
Elder Holland states: "In all of this, I suppose it goes without saying that negative speaking so often flows from negative thinking, including negative thinking about ourselves. We see our own faults, we speak—or at least think—critically of ourselves, and before long that is how we see everyone and everything. No sunshine, no roses, no promise of hope or happiness. Before long we and everybody around us are miserable."<br />
<br />
Have you ever been tempted to say "Man, I suck at this"? I do it all the time! But the more I think about this friend's advice, the more I think that I need to change the way I talk about myself, even if it's just in jest. If we really understand who we are, and more importantly, who we can become, I don't think we would even submit ourselves to the kind of language that we so often treat ourselves to. <b>Our words toward ourselves must be just as charitable, loving, and forgiving as they are towards others! </b> Often there are things we say about ourselves that we would NEVER say about other people. I've called myself stupid, ugly, fat, incapable, worthless... Words I would never dream of directing towards someone else! How is it that we allow ourselves to be so negative towards ourselves, even though we claim to have a knowledge of our unlimited potential and divine nature!? It's almost like we think it applies to everyone BUT our own selves. That is a grave contradiction!<b> Christ atoned for EVERYONE, including you, including me! </b> God loves every one of God's children. And on the day of judgment, he won't stand for any unclean thought, word, or deed that has been committed towards any one of his precious sons and daughters of God (Alma 11:37). And furthermore, how can we expect to show love to other people when we don't show love towards ourselves? The words "Love thy neighbor as thyself" (Leviticus 19:18, emphasis added) come to mind here. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://ldsblogs.com/files/2010/05/Jesus-Praying-Gethsemane-Mormon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://ldsblogs.com/files/2010/05/Jesus-Praying-Gethsemane-Mormon.jpg" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christ atoned for EVERYONE. Including you, including me!</td></tr>
</tbody></table>
I testify that the words we say -- as small as simple as they are -- can lead to great consequences. These consequences can be wonderful, but only if they are spoken with Christlike charity and love. I testify also that the words we say towards ourselves can have as equally profound of an impact on our lives as the words we say towards others. If we start using uplifting, pure language now, we will see positive results in our lives, and we will serve and uplift those around us. If our language is in line with the Lord's language, we will find our will aligning with His will. We will grow closer to him and closer to his blessings.</div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-7924415627359424132013-08-31T10:02:00.002-07:002013-08-31T10:02:39.041-07:00You are Not My UniverseI am a woman. <br />
I am a capable woman. A daughter of God.<br />
And I don't need to be told these things.<br />
<br />
I don't want to be seen as a fallen angel.<br />Damaged goods.<br />
Jaded and broken. <br />
<br />
As much as you'd like to see me as a project<br />
An opportunity.<br />
I can't stand the thought of you pitying me.<br />
<br />
I don't need pity.<br />
I need love.<br />I don't need sorrow.<br />
I need faith.<br />
<br />
I want to be seen as an equal.<br />
Or maybe even above.<br />
I want to be revered.<br />
Respected.<br />
<br />
I want to be needed.<br />
I want to be longed for.<br />
<br />
I want your love to not be the cause of my happiness,<br />
But the effect. <br />
<br />
I want our love to be a product of righteous living.<br />
Not because I need you in order to be righteous.<br />
<br />
When you say I'm beautiful,<br />
Gorgeous,<br />
Talented,<br />
Good...<br />
I want you to know that I already know these things.<br />
<br />
I want to be deserved. <br />I want to deserve.<br />
<br />
I don't want to need you.<br />I want to be needed.<br />
Just for once.<br />
<br />
I don't want to beg for your attention.<br />I don't want to waste away without you.<br />
I don't want to depend on you.<br />
I don't want to depend on anyone.<br />
<br />
I don't want to be filled with holes so that you can fill them.<br />
I want to be complete on my own.<br />
And I want you to be complete.<br />
So that together we are doubly complete.<br />
Like a cup running o'er. <br />
Not just filling minimum requirement.<br />
But going above and beyond.<br />
Enhancing life.<br />
Not just making life bearable. <br />
<br />
I want you to know that I am a champion.<br />
I want you to know that I have faith in myself.<br />
I wish you never had to see my insecurities.<br />
I wish you never had to see my flaws.<br />
<br />
Don't be my hero. <br />
I don't need saving.<br />
<br />
Don't be my beacon.<br />
I have my own light.<br />
<br />
Don't be my Savior.<br />
I already have one.<br />
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-61038977198867000632013-08-27T22:16:00.003-07:002013-11-29T12:18:19.038-08:00My Thoughts on "Raise Your Glass" by P!nkSomeone asked me to give my thoughts about P!nk and how she imbeds deconstruction into her lyrics and videos. It's true, she often likes to make fun of herself, and one of the more obvious examples of this is her song "Raise Your Glass," which is basically a battle-cry for those who are beaten down and bullied. Essentially she says, "We're all weirdos, so go ahead! Embrace who you are, even if others don't like it." And I believe she sees herself as one of these underdogs. Thus, within that song, she allows listeners to see a more raw and naked version of the pop star that is P!nk, rather than the polished, self-assured "perfection" that we often see in today's popular music (the auto-tune, EDM, and the prim-pristine, magazine-worthy look of the female celebrity). She does this by adding in spoken, humanizing commentary and by purposefully "messing up" her own lyrics. At 2:06, she mutters a complaint about her empty glass, and it is seemingly presented as if we, as listeners, weren't supposed to hear it. At 2:15, she throws in the words "I mean..." as if she's not positive that she's saying the exact right thing (all of this happening betwixt sung lines about being "too school for cool"). And then, at 2:29, the culminating and climactic moment of the song, she comes in 4 beats too early, utters an expletive under her breath, and then continues with the final renditions of the chorus, almost in triumph, even though she made the mistake. <br />
<br />
The music video presents this vision of liberation from social norms almost immediately, where a larger woman grabs a corn dog and swats a cardboard-cutout of a stereotypically beautiful blonde. Further images of feminism and glorifications of the outcast ensue. P!nk portrays herself in a variety of ways, including Rosie the Riveter, a half-pipe skater, and -- during the moments when she lyrically presents herself as the most vulnerable -- she appears as a bespectacled, socially inept highschooler, checking her armpits, jumping up too early, and then dancing with a fellow nerd without a care.<br />
<br />
I have always seen P!nk as an advocate for individuality and self-love. What I'm hearing her say is this: Not only does everyone make mistakes, but these mistakes should not only be accepted, but embraced. I agree that she's playing with the idea of the "perfect" pop singer and the "perfect" pop song in "Raise Your Glass." She definitely is more subtle in "Raise Your Glass" than she is in her other famous empowerment ballad, "F**king Perfect." Often, P!nk displays two very stark personalities directly next to each other to show that everyone has a Jekyll and a Hyde, a dark and a light. Everyone makes mistakes, but everyone also has potential to be great. I think there is some specific commentary here about celebrities and popular music ("Stupid Girl" also takes a crack at the life of pop fame, but again "Raise Your Glass" does it much more subtly). Thus, as if to defy the stereotype, she deconstructs. She allows for moments of weakness, rather than have a completely polished, generic pop song that supposedly no one can relate to. <br />
<br />
Hand-in-hand with P!nk's "it's-okay-to-be-different" battle cry, there is another unspoken side of P!nk that she doesn't want us to see. I feel like P!nk -- regardless of what she ideally wants to be -- is still an influential pop star who is very self-aware of her impact and therefore still has a lot of pride and takes herself very seriously. So when she purposefully makes these "mistakes" in this song, she's attempting to humanize herself and basically say, "If someone as awesome, rich, and famous as P!nk can do it, so can you!" And it is highly effective. P!nk successfully falls somewhere in the middle of the spectrum between the crazy, cares-thrown-to-the-wind nature of Lady Gaga and the highly polished anti-vulnerability of Britney Spears (although I think she shares more with Gaga than she does with Spears at this point in her career in the fact that she is rooting for the little guy and presenting a more rough-around-the-edges image of herself). She's different, intelligent, and self-aware, but she is also accessible and in many ways incredibly sexy. I believe that there are many people in this world who want to be like P!nk. Confident, strong, with just the right amount of weird. She's been around the block, but she's learned from it all and now leads a happy life with some stories to tell. For all the people out there who have made some sort of mistake, P!nk becomes a role model. There is an obvious agenda in this song. She's creating a cult of egoism that I don't wholly appreciate or believe in. We can't overlook the fact that, while these "mistakes" sound like mistakes, they really aren't. They are all done on purpose. And just because P!nk can get out of a sticky relationship and continue on to stardom almost unscathed does not mean everyone can. P!nk has money, connections, and other resources to help her hide a lot of the consequences that have resulted from her alleged mistakes. Does that mean the consequences aren't there? No. <br />
<br />
I feel worse about "F*cking Perfect" than I do about this song, but that might be just because what this song lacks in sincerity and genuineness is made up for by a SUPER catchy hook, a singable tune, and a very entertaining music video. (Of course those things can make a song of this nature even more dangerous, because people are drawn to these aspects and then are more likely to accept the lyrics and further idolize the song's creator.) Whether I like it or not, it's a very well-created piece that serves its purpose.Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-47936819158732883262013-08-27T22:13:00.004-07:002013-08-27T22:15:27.606-07:00Advice to the Manic Pixie Dream Girl Wannabes of America<br /><br />The minute you start trying to fit some stereotype is the minute people stop taking you seriously. I tried SO hard to be this goth girl in high school. And while I wore all the right clothes and listened to all the right music, and totally embraced the lifestyle, NO ONE thought I was a goth. Not the goth kids, not the popular kids, not anybody. I was a poser, through and through, because I was too worried about the label and not worried enough about being the person I actually was. And the minute I quit the black thing and started wearing what I want to wear was when I gained respect from everyone. Kid you not, my life got so much more full and healthy the minute I stopped trying.<br /><br />Just throw every supposed archetype out the window and focus on being the YOU that YOU want to be. Don't do anything you wouldn't naturally do on your own. If you don't like the hipster music, don't listen to it. If herbal teas make you gag, don't drink them. If skinny jeans make your butt look big, don't wear them. If a vintage bike is too expensive for your budget, don't buy one. And if the hot guitarist can't hold his own and take care of your needs in a relationship, break up with him. Be the awesome girl that you are and don't settle for the fake stuff that society throws at you all the time.Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-68169677325095571732013-08-27T22:00:00.001-07:002013-11-29T12:53:00.209-08:00My Favorite and Least-Favorite Moments from Lady Gaga's VideosSo the "Applause" video came out this week... And I'm very impressed. <br />
So impressed, in fact, I wanted to take a minute and evaluate exactly where this new video ranked among my other favorite Lady Gaga music videos. Surprisingly, this took a bit of thought, and it led to me going back and re-watching each of the 15 Lady Gaga music videos and coming up with a very deliberate list of best to worst, in my own personal opinion. <br />
<div>
In this post, I am going to reveal that list, one video at a time, from worst to greatest, according to my personal opinion at the present time. <br />
<div>
The cool thing about opinions is that they are able to change. There are no immutable rules when it comes to art and taste. As new videos get released and as I change as a person, this list may very well change. But for the moment, let's just appreciate Gaga and her iconic work since the beginning. Maybe this will change the way you see some of her videos. </div>
</div>
<div>
<br /></div>
<div>
#15: The Edge of Glory</div>
<div>
<a href="http://1.bp.blogspot.com/-XnoZjqBIM-M/TgyNYf2q-wI/AAAAAAAAAKY/ALTmFTDzAuk/s1600/Lady-Gaga-in-Vintage-Versace-Edge-of-Glory-video8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="http://1.bp.blogspot.com/-XnoZjqBIM-M/TgyNYf2q-wI/AAAAAAAAAKY/ALTmFTDzAuk/s320/Lady-Gaga-in-Vintage-Versace-Edge-of-Glory-video8.jpg" width="320" /></a>Definitely the most minimal of all of the music videos by Gaga. I understand that there were some extenuating circumstances in the creation of this video. The planned production fell through and they had to come up with something brand new at very short notice. It's quite a shame, because this is probably the most epic and the most personal song on <i>Born This Way. </i> This video really could have been great. But it turned out to be very uneventful, unexciting, and unimpressive. It's just Gaga dancing around on what looks like an empty stage for <i>Rent. </i> To add insult to injury, the amazing Clarence Clemons, who features in the song, was given hardly any stage time. This was his final public work before his death in 2012. I sure wish there was a little more for him to show for it.<br />
<br />
Favorite Moments: Considering its clumsy creation, this is still a pretty good video. It's nice to see Gaga all alone, without any fancy choreography and backup dancers to distract us from her raw emotion and passion for what she is singing about. There is only one real outfit worn for the entire video (another unique factor): some archives borrowed specially for this purpose by Donatella Versace. The look was well chosen. Love the hairstyle, especially. The video has some beautiful moments, as well. The lightpost shot (a la Gene Kelly in <i>Singin' in the Rain</i>) was pretty iconic, as well as the few moments where Clarence is pictured. But overall, you hardly need to watch this video twice, and for Gaga, that's almost challenging. </div>
<div>
<br /></div>
<div>
#14: Born This Way</div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://radiosong.blogg.se/images/2011/5488999730_49674e98d8_o_143891913.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://radiosong.blogg.se/images/2011/5488999730_49674e98d8_o_143891913.jpg" width="320" /></a></div>
I'm sure a lot of people will be upset that Born This Way is so low on my list. It's not terrible. None of Gaga's videos are terrible. But this video is (in my opinion) very immature and puts Gaga in a very pretentious light. I feel like Gaga is taking herself WAY too seriously in this video. Okay, sure, she's passionate about social issues like marriage equality and self-worth, but I feel like this video not only feeds into the ever-growing cult of self-esteem practiced by today's youth, but it also puts Gaga up on an almost God-like pedestal, as if she herself can change people's opinions about prejudice in one fell swoop, single-handed. She can't. Ironically, so many people judge her for using religious imagery in her other videos like for "Alejandro" and "Judas," but I think this video is more sacrilegious than any of her other endeavors. She's a creator of a new race, embodying all-powerful forces of good and evil. Calling the birth of the new non-prejudiced race "infinite," referring to herself as an "eternal mother" hovering in a multiverse, and redefining the origins of good and evil... Such language makes me uncomfortable. Particularly the last line: "How can I protect something so perfect without evil?" Sounds like she's trying to play God, or at least be one of his chosen prophets, campaigning for self-worth and punishing those who disagree with her view. I understand it's all metaphor, but it seems very self-righteous and short-sighted. As influential as Gaga is, she had let her fame and influence get to her head by the time this video was made (ironic, since she is so obsessed with Fame and claims to have such control over it). </div>
<div>
Favorite Moments: Aside from the message and dialogue, this video is pretty impressive as far as imagery and music goes. I love the moments where Gaga is just rocking out, without planned choreography. Whether she's dressed in the bikini, the skull make-up, or the strange alien-like zipper outfits she's got when she's surrounded by other alien heads... I just love seeing Gaga caught up in a passionate moment. She's quite pretty when she doesn't have eyes on her chin. The exchange she has between Rick Genest (aka Zombie Boy -- the guy with the skull tattooed on his face) is my favorite part. I also love the final scene -- the references to Gaga's childhood, as well as icons like Michael Jackson with those gloves. That carried so much more meaning for me than the flowery language and ridiculous kaleidoscopic birth scenes you've got at the beginning of the video. I would watch the final refrain to the end over and over again and be just fine. </div>
<div>
<br /></div>
<div>
#13: Beautiful Dirty Rich</div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images2.fanpop.com/image/photos/9500000/lady-gaga-beautiful-dirty-rich-music-video-lady-gaga-9513855-1440-720.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="160" src="http://images2.fanpop.com/image/photos/9500000/lady-gaga-beautiful-dirty-rich-music-video-lady-gaga-9513855-1440-720.jpg" width="320" /></a></div>
This video ranks low mainly because it is not memorable. It is, however, very iconic of Lady Gaga's early style. The bottle-blonde, hooded, pantless, glasses-wearing superstar that has become a household name no longer exists. She has long outgrown the retro Bowie-homage that she had in her early twenties, but videos like this immortalize that iconic "Gaga" image so well. If you ever miss the old Gaga, watch this video and the nostalgia will come flowing back to you. However, this video doesn't do as effective of a job as the film for "Just Dance." They are both very similar, and this one has sort of followed off the radar, while "Just Dance" has continued to stay in the limelight, even five years after it came out. <br />
Favorite Moments: It's kind of nice to see Gaga just being young, wild, and free. This video, along with the video for "Just Dance," represent the grassroots, rags-to-riches, love-in-the-little-things attitude that so many young people enjoy. The statuary, the piano, the wads of cash, the lipstick... No agendas, no huge shock-value stunts, just sex, fashion, and lotsa dough. It's less about specific imagery; it's just the overall party atmosphere I love. This was what got Gaga on the map. I sometimes wish she remembered her roots. What makes an icon are the things that you do consistently without fear that make you memorable. </div>
<div>
<br /></div>
<div>
#12: LoveGame<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images2.fanpop.com/images/photos/4700000/Love-Game-Music-Video-lady-gaga-4746897-624-320.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="164" src="http://images2.fanpop.com/images/photos/4700000/Love-Game-Music-Video-lady-gaga-4746897-624-320.jpg" width="320" /></a></div>
Another unmemorable music video, but I like the costumes, setting, and choreography in this one more than that in "Beautiful Dirty Rich." This is during Gaga's "lavender-blonde" stage, which I like a lot. And there's the use of the iconic "disco-stick." There is a lot of questionable content here. She's very naked in some scenes, and the dancing is pretty suggestive. But this still follows with the more simple time of Gaga's career when it wasn't as much about making a statement and pushing the envelope as it was about just being your crazy no-pants self in the middle of a subway with a bunch of sexy friends, both male and female. <br />
Favorite Moments: The motifs. The lavender-blonde color scheme, the disco stick, and the Stevie Boi fence glasses. Also the pretty bob she's got going on during her nothing-but-glitter scenes. You appreciate this video more if you've seen the Monster Ball. Very urban-chic. The kind of thing that inspires you to appreciate the mundane scenery in your life. <br />
<br />
#11: Eh Eh (Nothing I Can Say)<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www3.images.coolspotters.com/photos/181424/lady-gaga-and-eh-eh-nothing-else-i-can-say-gallery.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="192" src="http://www3.images.coolspotters.com/photos/181424/lady-gaga-and-eh-eh-nothing-else-i-can-say-gallery.jpg" width="320" /></a></div>
Okay, I wish Gaga knew how wonderful she is when she's not being pretentious. This video, like the song, is just adorable. She's constantly smiling throughout the whole thing, and while not very much goes on during the video, it just gives the audience a chance to sit back and enjoy Little Italy the way Gaga would: in heels, with friends, and with plenty of man-candy. This video becomes more meaningful when you learn that Gaga's parents are Italian immigrants, and that she's a sucker for Italian cuisine. <br />
Favorite Moments: The hairbow. Definitely one of my favorite Gaga looks ever. Also love the yellow flower dress she wears near the end, complete with the Baby-G watch. And there's something super sexy about pink heels in bed, ironing in a leotard, and slurping up spaghetti with a hot man. This is a have-fun video. Bubblegum pop reborn. I like it.<br />
<br />
#10: Just Dance<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-Just-Dance-Music-Video-Screencaps-lady-gaga-19361277-1280-720.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-Just-Dance-Music-Video-Screencaps-lady-gaga-19361277-1280-720.jpg" width="320" /></a></div>
You've probably noticed that all of Gaga's earlier videos come one after another on this list. That's because most of them are very similar to each other. As I mentioned before, "Just Dance" and "Beautiful Dirty Rich" are almost carbon copies of each other. Gaga's look is basically the same, and she's doing pretty much the same kind of goofing off and partying with friends in both videos. But, of course, "Just Dance" has become the iconic, go-to video if you want a good look of how Gaga got her start. You've got the partying, yes, but also the disco bra, the blow-up whale, and the cameo appearances of the likes of Space Cowboy and Colby O'Donis. There's the nod to David Bowie with the big blue lighting bolt on Gaga's face. There's antics and shenanigans had by all. No inhibition, no worry about tomorrow. This video captured the "carpe deum" movement that is so prevalent in music today before it was cool. It's this kind of stuff that probably inspired divas like Ke$ha to try a crack at party-girldom. <br />
Favorite Moments: The disco bra, the iconic hairstyle, the Gaga hand gestures, and the overall atmosphere. I tend to live vicariously through videos like this one. And I have for a long time. This video definitely unlocks a great deal of nostalgia for me. This is the Gaga I would try to emulate when I looked in the mirror when I was a senior in high school. It was after watching this video when I started wearing huge sunglasses and animal print. It was this retro, electro-pop style that got me out of my goth phase and into the world of mature art and fashion.<br />
<br />
#9: Telephone<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-ft-Beyonce-Telephone-Music-Video-Screencaps-lady-gaga-19364095-1248-704.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-ft-Beyonce-Telephone-Music-Video-Screencaps-lady-gaga-19364095-1248-704.jpg" width="320" /></a></div>
This video is so full of amazing, I'm sort of surprised it only comes in at #9. But then I remember that there are several things in this video that I don't love. Namely, the overabundance of shock without much substance. As awesome as it is to pay respects to the pop art movement pioneered by folks like Andy Warhol, it's not as revolutionary or inspiring in today's world. Now, I know it's Jonas Ackerlund's style to stylize, and that's fine. It's just not my favorite style. I like the more grown-up approach to telling a story, rather than feeling like I'm standing before a firing squad of brand names, references, and Americana. I'm also not the HUGEST fan of the whole short-film style that Gaga uses in some of her videos. In this one, she has been sent to jail, but then gets bailed out by Beyonce, and the two of them proceed to poison everyone in a little diner before making a Bonnie-and-Clyde escape in the famous Tarantino Pussywagon. The narrative is only indirectly connected to its supposed predecessor, "Paparazzi." I almost wish there wasn't a connection between the two, because they're different enough for the flow to not be there. Furthermore, the song is broken up by silly dialogue. Part of me feels like the music should speak for itself. And speaking of music, another complaint I have about this video is the fact that it has hardly anything to do with the message that is presented in the actual song lyrics. Prison? Crime? Diners? Pussywagons? What does this have to do with leaving your head and your heart on the dance floor? NOTHING! <br />
Favorite Moments: All this being said, I obviously like the video enough to have it in my top ten. First of all, it's definitely engaging and entertaining. It's colorful and iconic. And while I dissed all the comic-book and brand-name allusions in the earlier paragraph, I'm going to go ahead and applaud them here in pretty much the same breath. The Coke-can hair is ingenious, and it is genuinely GAGA. I don't think any other artist has done anything like that before. And the caution tape look is amazing. While there were a lot of things in the video -- particularly during the prison scenes -- that made me feel a little uncomfortable, I really think the fashion choices were epic. The striped jailbird look, the chains and cigarette glasses, the studded bikini, and the departure outfit (complete with that cute little sashay) create a very artistic approach to prison. That's fun. And Beyonce is such a good sport! She's put in these ridiculous situations and she actually sort of pulls them off. Finally, the Americana dance number at the end of the video is icing on the cake for me. That choreography is spectacular! I definitely felt <i>moved</i> by this video when I saw it for the first time. And that means, to me, that it was successful and important. <br />
<br />
#8: Paparazzi<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-Paparazzi-Music-Video-Screencaps-lady-gaga-19388452-2048-1152.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-Paparazzi-Music-Video-Screencaps-lady-gaga-19388452-2048-1152.png" width="320" /></a></div>
I probably like this Ackerlund-directed Gaga video more than "Telephone" because it came first. This was Gaga's first venture into the genre of short-film style music video. It depicts two destructive relationships: the one between Gaga and her boyfriend, and the one between Gaga and her fame. Unlike "Telephone," the music in this video is not half as fragmented and cut up for the sake of dribbly dialogue. It's got a provocative beginning and a very concrete conclusion, with tons of great fashion choices in between. While it is definitely a little out there, I feel like this video represents one of Gaga's high points. Her epic VMA performance, her iconic blonde bangs, and her complete obsession with fame... all of this stemmed from endeavors like the "Paparazzi" music video. This video stays out of my top five mainly because it's a little boring. There's not a ton going on for the whole middle of the video. It's not quite as visually interesting as some of her other works. <br />
Favorite Moments: I love the wheelchair/crutches scene. The symbolism behind that -- that Gaga is just as crippled by the pressures of fame as she is crippled by a broken leg -- is portrayed very effectively. This whole idea continues throughout the video as images of murdered women flash on the screen, all with impeccable apparel and stylized poses. I also love the dance sequence where Gaga's in a white jumpsuit with oversized "poufs." There are moments there where she just lets the music take her into a frenzy, and I live for those moments. Finally, the murder scene is quite epic. I love her makeup, glasses, and jumpsuit. Very naughty. And, as icing on the cake, you've got the mug shots that just glue into your brain. This video shines in the fact that its message is very clearly portrayed in a very artistic way. Props. <br />
<br />
#7: Marry the Night<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<a href="http://2.bp.blogspot.com/-KPtuHXhG_bc/TtmmhBZ2GBI/AAAAAAAAA1k/RdEVyUDub98/s1600/Screen-Shot-2011-12-02-at-1.25.11-PM-1024x575.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="http://2.bp.blogspot.com/-KPtuHXhG_bc/TtmmhBZ2GBI/AAAAAAAAA1k/RdEVyUDub98/s320/Screen-Shot-2011-12-02-at-1.25.11-PM-1024x575.png" width="320" /></a>This is definitely the most autobiographical of Gaga's videos, and most likely the one with the most emotional investment put into it. When I first saw this music video, I didn't like it that much. But the more I learn about it, the more I appreciate it. It is definitely more of a cerebral artistic work than it is a music video. Meant more for a gallery than for MTV. A lot of it goes over my head, but I think that's part of the nuance of it. These are things GAGA understands and GAGA cares about -- it's like a glimpse into another person's soul. You really can't understand everything, but you can at least enjoy the aesthetic of it. I'm a little more satisfied with the monologue of this video than I am with the "Born This Way" monologue. I love that line about the beadazzler. The burning car scenes and the stripped down "rehearsal-mode" shots in the middle of the clip are sort of passive, but that may be just because I don't understand the imagery. It's a lot more introspective and a lot less pretentious. But still, Gaga's taking herself pretty seriously here. But what artist doesn't?<br />
Favorite Moments: The Ballet scenes. Hands down, I LOVE that outfit and those awesome Tatehana shoes. I'm also a pretty big fan of how artistic the hospital wing became in the hands of the Haus. Gaga's whole spiel about the nurses and their Calvin Klein coats and romantic beret-esque nets... Way to see beauty in the details. The apartment scenes -- although in some ways a little disturbing -- were beautifully executed. I'm also a pretty big fan of the ending of the video, pretty much from around the point where they begin dancing in the street up to the final shot of that cosmic Philip Tracey hat. That montage of images hearkening back to Gaga's early days were something I could relate to. Grassroots artist becomes worldwide superstar. This is the American dream, with a dark Gaga twist.<br />
<br />
#6: Pokerface<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTsilLhThW-02AXZHGWsGIxyyneHPSKaTByLTqtjxMW8AtwAQANPg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTsilLhThW-02AXZHGWsGIxyyneHPSKaTByLTqtjxMW8AtwAQANPg" /></a></div>
This was the first Lady Gaga video I ever fell in love with. Even though not much goes on in this video, it is visually stimulating, colorful, and incredibly sexy. Furthermore, it contains some of my absolute favorites of Gaga's looks. The hairbow, the crystalline motifs, the disco mask, the Haus-of-Gaga video glasses... It was this video that got me into Lady Gaga. Strip poker and pelvic thrusts aside, it's pretty calm, by Gaga standards. Again, there's something to be said for just making fun music without pretentiousness or agenda. <br />
Favorite Moments: The fashion and the close-up shots. The poolside choreography is also pretty sweet. I love that blonde hair. She's just so young here! And there's just enough poker in it for the music to be relevant. It's fresh and wonderful! <br />
<br />
#5: Applause<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://drewbmac.files.wordpress.com/2013/08/lady-gaga-applause-music-video-10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://drewbmac.files.wordpress.com/2013/08/lady-gaga-applause-music-video-10.jpg" width="320" /></a></div>
Now you know where her newest video goes on the list!<br />
I honestly feel like this is a rare instance where the music video actually adds to the song and makes the music more enjoyable. Usually videos do the opposite for me. But the thing about this song is it needs a visual context. It's a club piece, so it's less about what you hear and more about what you experience while hearing it. Thus, having a video to attach some extra-sensory, multi-media contexts to the music was not only pleasant, but almost necessary. And the visuals that were chosen were on the whole very good choices. There's plenty going on in this video. I've read several reviews that state that the endeavor was more of an artistic one than a pop one, and I'd have to agree. Inez and Vinoodh are good at this kind of montage work. Gaga moves from one look to another, and manages to fit in all of them like a glove. From the crazy Marilyn-caged look to the simple brunette in underwear on a mattress. It all looks natural for Gaga. The only part that I personally deem unsuccessful was the part where her head is precariously juxtaposed with the body of a goose. Not only does it look a little hackneyed, I also don't understand the reference or symbolism in that image. <br />
Favorite Moments: I love the way Gaga looks in the black bodysuit. Very classy and very effective. And when you add the colors to her face to create this sort of harlequin-esque display is almost haunting. I also love the dance parts, particularly when she's just rocking out in her natural brunette hair and underwear. There's passion in that. I also love when she just goes bat-crap crazy and has a nice little seizure in her bikini made of black-gloved hands. I appreciate the symbolism of the wings (sign of liberation and rebirth), the leg she carries into the spotlight (reference to her recent surgery that led to the sudden cancellation of her tour last year), and the Boticelli Birth of Venus (once again, a sign of a new birth). Her sandy-blonde hair with that shell bikini reminds me of Mariah Carey, which is a compliment because Mariah is hot. Her crazy faces are also pretty awesome. I just like it when artists lose themselves in whatever it is they're doing. It looks like Gaga had a fun time making this video. I sense the emotion and joy behind it. It's well-made. <br />
<br />
#4: Alejandro<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://amygrindhouse.com/wp-content/uploads/2010/06/Lady-Gagas-Bowl-Cut-Debuts-Alejandro-Video-1-500x312.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="199" src="http://amygrindhouse.com/wp-content/uploads/2010/06/Lady-Gagas-Bowl-Cut-Debuts-Alejandro-Video-1-500x312.jpg" width="320" /></a></div>
There are moments in this video that give me chills, even now, after watching it dozens of times. But before we get to the amazing stuff I'm gonna just mention the parts of this that bug me. First of all... I <i>think</i> it's supposed to be about marriage equality, but I honestly get lost in the narrative. You've got guys in fishnets and heels, sure. And you've got lots of military motifs, perhaps representing the ferocity and aggression that exist within this "war" of ideals within American society. And you've got the images of burning buildings and overall mayhem... a reference to a specific event? I'm not sure. There's just a lot going on in this video, and while I appreciate this kind of narrative more than that of the "Telephone" video, I still get a little lost and I must rely on the music and the aesthetic quality of the video to keep me interested. Perhaps this is as it should be. After all, shouldn't the music video be about the music? And the music of "Alejandro" is not really about all that stuff. It's about Gaga's fear of commitment. And you can see that in some of the imagery. The heart left exposed on a black silk pillow, the queen-like Alexander McQueen look, also seen at the beginning of the video, the gun-bra, even the choreography with the other male dancers... I understand all of <i>these</i> images. <br />
People give Gaga a lot of crap for using religious imagery in this video, but I honestly don't mind it. People have used religious motifs -- particularly Catholic motifs, because there are a lot of them and they're easily recognizable -- in musical and artistic endeavors for ages. It denotes piety and devotion. The fact that Gaga is dressed as a nun for parts of the video, for me, help add to the message of the song; she's afraid to commit to a sexual relationship because of events and convictions she has made in the past. The cross is purposefully placed in the region of her crotch to symbolize the hopeful preservation of her virtue in the face of selfish and prideful men. It really all makes sense. Of course, these things make people uncomfortable, and that's yet another reason why Gaga does it. She loves shocking people and goes to great heights to do so. <br />
Favorite Moments: The most amazing part of this video is, in my opinion, the black-and-white shots of Mother Monster, clad in a sexy black halter-top and wide-leg pants, strutting herself in solitude, a la Madonna during her "Vogue" period. It's SUCH an effective shot. And while the dance she does with her femmy male dancers and gun bra are definitely striking, there's nothing quite like that sexy snap-strut she does near the end of the video. I also love love <i>love</i> the images of her singing on a makeshift stage, with the glasses and the microphone. The McQueen look is also so regal. These shots are beautiful to me. The whole video remains in a very stoic, bi-chromatic place. The theme runs like a lifeblood throughout the whole thing. It's well crafted. Well done, GagaKlein!<br />
<br />
#3: You and I<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://cdn.idolator.com/wp-content/uploads/2011/08/Lady-Gaga-You-And-I-video-main.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="181" src="http://cdn.idolator.com/wp-content/uploads/2011/08/Lady-Gaga-You-And-I-video-main.jpg" width="320" /></a></div>
Choosing between "You and I" and "Alejandro" was very hard because they are both great for similar reasons. While "Alejandro" maintains a cold, stoic mood as it cuts from one unique image to another, "You and I" also maintains its mood, despite all of the crazy changes that occur within it. Except "You and I," on the whole, is more warm and approachable than "Alejandro." It's got more of a personal touch, and it isn't quite as self-aware. In this video, Gaga gets a chance to show her more goofy side. What with Yuyi the mermaid, the frolicking wood nymph, the aqua-haired dominatrix, and Joe Calderone, this was Gaga's way of exposing the broad spectrum of Gaga's personality. It also tells a definite story. She's returning to a love she once knew. After a long period of experimentation and self-discovery, Gaga discovers that the thing she really wants may very well have been the thing that was there all along. As strange and unorthodox as home may seem, it's still home. <br />
Favorite Moments: There are many, but above all, Joe Calderone. I'm almost disturbed at how attracted I find myself to this character. Even though he's obviously got a drinking and a smoking problem and he's feeling up his alternate identity like no one's watching. But man, don't they both look like they're having a ton of fun out in that cornfield? <br />
I also love the daylight scenes, as Gaga's making the journey to the barn. That cyborg look is awesome. And while I feel like the mermaid sex is a little graphic, I appreciate the notion of mermaid/human romance. And that's a pretty well-created mermaid costume. There's just something very beautiful and simple about it. The fashion in all of this is really creative. And the sweet wedding images that we see throughout really are icing on the cake for me. Great song. Great imagery. Just great. <br />
<br />
#2: Judas<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://itsbkinthemix.net/wp-content/uploads/2011/05/Lady-Gaga-Judas-Video-02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="http://itsbkinthemix.net/wp-content/uploads/2011/05/Lady-Gaga-Judas-Video-02.jpg" width="320" /></a></div>
I love this video. It's colorful, it's interesting, it tells a story, it's unique, and in some ways it's very simple. First of all, it's not one of those crazy short films. It's mostly just about the music, and the images pertain to what the music is talking about. You've got a twist on the story of Christ and Judas Iscariot, ingeniously told within the setting of an urban biker community. And in the midst of it all, you've got Lady Gaga, who plays a role similar to Mary Magdalene, although there really isn't much there to support the notion that she actually is Mary. She obviously has feelings for both Jesus and Judas, and she obviously knows the right choice, but it's still a very difficult choice to make. There are very few criticisms I can make about this video. I guess she's got a few immodesty moments, but this is honestly one of the more tame and clean Gaga videos. And (as with "Alejandro") there is always the whole sacrilege thing. But I don't think it's that terrible to portray the story of Christ this way. It's really no worse than <i>Jesus Christ Superstar</i>. Again, Gaga is using religious imagery (particularly the notion of betrayal with Judas) to carry a message. <br />
Favorite Moments: The clothing. The setting. The colorful palate. The gangsta moves. The premise. The makeup and nails. The hair (particularly in the washing scene) and the final image of Gaga being stoned (killed by fame?) while wearing dapper dancing shoes. Plus... a lipstick gun to accompany the betraying kiss?? What a novel idea! Also, this ties with "Bad Romance" for best choreography. This is one of the few videos where I actually really like watching Gaga dance in synchronization with other people. It's airtight and full of energy. I am in love with this video. <br />
<br />
#1: Bad Romance<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-Bad-Romance-Music-Video-Screencaps-lady-gaga-19361679-1248-704.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://images4.fanpop.com/image/photos/19300000/Lady-Gaga-Bad-Romance-Music-Video-Screencaps-lady-gaga-19361679-1248-704.jpg" width="320" /></a></div>
Honestly, the one thing that keeps this video at #1 and not "Judas" is the sheer impact that this video has had on Gaga's career and the way we see pop music and videos. It cannot be denied that "Bad Romance" was one of the greatest music videos released during this decade. The iconic images that have come out of this video, the level of shock that it stirred, and the pure artistic beauty of it was leaps and bounds ahead of its peers. This is where Gaga introduces the notion of the "Monster" into her fans' vocabulary. And this is where she finally sealed the deal in regards to her complete nuttiness in the eyes of the industry. You've got the twitchy, anime-eyed bath scenes, the sallow ribcage that make her nude scenes not sexy, but monstrous, and the last image of her lying in bed with a pyrotechnic bra and a burnt skeleton. Yep. Gaga's nuts. <br />
Favorite Moments: The choreography. It's powerful and unique. Definitely the greatest Gaga has ever seen. I mean, can you imagine Gaga without her monster claws? You can't! Also the Alexander McQueen Armadillo shoes. And the black outfit. And the "Orbit" look is in this one, too. And the bathing scenes. Oh gosh, the whole thing is just so classic, you can't pin down just one point that is more awesome than the others! I love this video, and I think the entire world loves it too. <br />
<br />
<br /></div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-54175537401927828892013-08-27T20:37:00.001-07:002013-08-27T20:37:33.529-07:00August's Playlist1. "Shadow" by Keane<br />
2. "Still Getting Younger" by Wynter Gordon<br />
3. "Stars" by Fun.<br />
4. "School's Out" by Alice Cooper<br />
5. "Where does the Good Go?" by Tegan and Sara<br />
6. "And Then Some" by Ozzie Nelson and his Orchestra<br />
7. "Emily" by MIKA<br />
8. "American" by Lana Del Rey<br />
9. "Theme from <i>Lawrence of Arabia</i>" as performed by the 101 Strings Orchestra<br />
10. "Annie" by James Blunt<br />
11. "Applause" by Lady Gaga<br />
12. "Never Grow Up" by Taylor Swift<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.photocase.com/stock-photos/45349-stock-photo-sand-contentment-desert-camel-morocco-sahara.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="http://www.photocase.com/stock-photos/45349-stock-photo-sand-contentment-desert-camel-morocco-sahara.jpg" width="320" /></a></div>
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-22473976580727614922013-07-31T05:40:00.001-07:002013-07-31T05:48:44.229-07:00Robin Thicke, Blurred Lines: Album Review<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.billboard.com/files/styles/review_410/public/robin-thicke-blurred-lines-album-cover.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://www.billboard.com/files/styles/review_410/public/robin-thicke-blurred-lines-album-cover.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's amazing what you can get away with when you've got<br />a pretty face. Robin Thicke is fueled almost completely by sex<br />appeal with a sprinkling of shock value.</td></tr>
</tbody></table>
<br />
Name: <i>Blurred Lines</i><br />
Artist: Robin Thicke<br />
Released: July 30, 2013<br />
Label: Star Trak -- Interscope<br />
Genre: R&B, pop, soul<br />
Produceers: The Cateracs, Cirkut, Dr. Luke, Jerome Harmon, Pharell, ProJay, Robin Thicke, Timbaland, will.i.am<br />
<br />
<span style="font-size: x-large;">R</span>obin Thicke's music serves a definitive purpose: Getting girls in bed. This in mind, it's no surprise that there is not much more than dirty lyrics, buttery-smooth voice, and club-meets-Motown undertones of his most recent album, <i>Blurred Lines. </i><br />
Thicke is smooth. This cannot be denied. His talents lie in hooking people in with his lazy drawl and his sultry falsetto. Not unlike other popular artists like Justin Timberlake, there's a lot of sex appeal mixed with good-boy charm. However, unlike Justin Timberlake, sex appeal is pretty much all this guy's got. But if you get down to brass tacks, sometimes it doesn't matter what you do, as long as you look good doing it. And Thick is dang <i>fine</i>! <br />
<i>Blurred Lines</i> is campy and playful, but generic and stylistically sprawled. Thicke clumsily attempts to branch out from his token R&B crooner style into the world of pop and dance. <br />
We are constantly getting pulled back and forth from the warm ballroom hall to the dark nightclubs from track to track. Almost right away, Thicke stumbles from the washed-up Motown-style of "Ain't No Hat 4 That" and "Get in My Way" to the herky-jerky hodge-podge of electronic hooks in "Give it 2 U," which is a song who's highest point is actually not Thicke but featured artist Kendrick Lamar. Thicke tries to rap himself in "Top of the World," and that just didn't work. <br />
It is important for listeners to understand that this album cannot be defined by the style (or the success) of its leading number-one single, "Blurred Lines." Little else on the album can even hold a candle to the quality of that one opening track. I fear that many will buy this album with false expectations. That's the curse of the single, right there. You get ONE song to Number 1, and people assume they're all gonna be that caliber. Unfortunately, you don't really get too much of the minimal and catchy "Blurred Lines" for the rest of the album. Most of it is Thicke trying to be Enrique, Justin, and Bruno all at the same time. <br />
One thing an artist must do -- especially when he's on the fringe of his field to begin with -- is to stick to his strengths. If sex appeal was what sold his previous album <i>Love After War</i>, perhaps he should stick to the creamy voice and take-me-I'm-yours lyricism. You hear this once in a while on <i>Blurred Lines. </i>"Ooo La La" is a decently romantic track, as well as "Go Stupid 4 U." And I dig the minor-key ukulele in the dance ballad "Feel Good." And while "Give it 2 U" is helter-skelter in its hooks, the Deluxe Edition track "Pressure" is a little more successful in its delivery of dance-worthy beats. Why that song couldn't have made it onto the basic album set, I do not know.<br />
One of the highest points on this album is the final track -- and ironically the one song that <i>isn't </i>about sex,"The Good Life." If this rocking waltz were on the radio, I probably would take a minute before switching the station. Odds are this track will get lost amid the rubbish.<br />
And then, of course, there's "Blurred Lines," the first track, and the song of the summer. Without a doubt, this song on its own is ingenious. It's very catchy and <i>dang</i> sexy, but it's also minimal, stealthy, and complex. You don't get the initial... well... "rapyness" of the song upon first listen, and that's the genius of it! No bells and whistles on this track -- just a groovy bass and Thicke's playful tone, mixed with Pharell's jovial interjections and T.I.'s no-nonsense attitude, reels you in, cushions the blow and creates a very subtle scandal; proof that sometimes, the best way to sell sex is to patiently whisper and wait for the audience to come to you, rather than scream and shout. The music epitomized its own lyric message: "You know you want it."<br />
It was an obvious move to release this single - as well as it's shocking video -- as the album's sole promotion, and it's a shame that the whole album isn't this clever. Immediately following this masterpiece of a hit, you get "Take it Easy on Me," which is not only super obvious in its intentions, but generic in its electronica and Enrique-esque lyricism. Sadly, this song is a better representation of what you'll hear for the rest of the album. Too much of this record is just THERE, without depth and substance. <br />
But, of course, you must consider the audience and purpose. If you want a mottled smorgasbord of musical foreplay for any occasion, you've got it here. You've got flirt, you've got passion, and you've got downright maniacal craft. But as far as success and reception go, Thicke may end up being no more than a guilty pleasure for most. If you're looking for the next dreamboat with some significant talent in R&B, pass on this album and take a chance on JT's new disc instead.<br />
<br />
I give this album a 5.5 out of 10. Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-23021109302422375922013-07-28T07:04:00.002-07:002013-07-28T07:04:39.950-07:00Album Review: "The Rolling Stones No. 2" by the Rolling Stones<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-78DUGESeeP4/UGZwh2BPsNI/AAAAAAAAAzc/QRKyBC0hDvQ/s320/TheRollingStonesNo2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-78DUGESeeP4/UGZwh2BPsNI/AAAAAAAAAzc/QRKyBC0hDvQ/s320/TheRollingStonesNo2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This album art also appears on the Stones' US release, <i>12 X 5.</i></td></tr>
</tbody></table>
Name: <i>The Rolling Stones No. 2</i><br />
Artist: The Rolling Stones<br />
Release Date: 15 November, 1965<br />
Label: Decca<br />
Production: Andrew Oldham<br />
Lineup:<br />
-- Mick Jagger, vocals<br />
-- Keith Richards, guitar<br />
-- Brian Jones, guitar, percussion, backing vocals<br />
-- Charlie Watts, drums<br />
-- Bill Wyman, bass<br />
Awards/Success: 10 weeks at #1 in the UK in 1965.<br />
Other Information: John Lennon said of the album: "The album's great, but I don't like 5-minute numbers."<br />
<div>
<br /></div>
<div>
<i><span style="font-size: large;">T</span>he Rolling Stones No. 2</i> is very similar to its preceding UK release, <i>The Rolling Stones.</i> It consists of mainly R&B covers, with a sampling of works by Keith Richards and Mick Jagger. But there are some subtle differences between the two albums -- differences that make <i>No. 2</i> a more true-to-style album than its predecessor. </div>
<div>
<br /></div>
<div>
For one thing, Keith Richards' guitar is more prominent in this album. He is becoming his own voice, rather than just having a 30-second solo halfway through the song. A good example of this can be see in the Stones' version of "You Can't Catch Me," where Keith almost duets with Jagger in a nice call-and-response pattern. Richards will become known as a rock player, but in this album, he's a bona-fide blues musician. Part of me really misses this guitar-playing style. <br />
<br />
Guitar plays a very important role in the original numbers by Richards and Jagger that appear halfway through the album. "What a Shame" begins with a catchy guitar hook, and while its blues pattern is very predictable, it sounds fresh coming from Richards. Immediately following "What a Shame," "Grown Up Wrong" is short and placid. On the B-side, we hear the catchy and impressive "Off the Hook," which begins with more great guitar and features Richards once again cooperating with Jagger. <br />
<br />
This is groovy music. The B-Side is my favorite. You've got "Down the Road Apiece," which is up-tempo and angsty, followed immediately by the cool bounce of "Under the Boardwalk." The album ends on a high note with "Susy Q," which explores new drum patterns and more rocking guitar solos. While it can be contested that these tracks aren't really "Stony," they sound awesome nonetheless, and they can bring any listener who grew up during this age back to their youth. </div>
<div>
<br />
The song "I Can't Be Satisfied," while it sort of comes off a little lame, is important because of the Rolling Stones' deep connection with the song's composer, Muddy Waters. While Jagger can't quite pull off the vocal line, there is some conviction in it. As with their previous album, the Stones are coming into their own and realizing their own potential as carriers of the blues-rock genre into the next decade. They have found their genre. While these early albums by the Rolling Stones aren't that essential, they may be quintessential -- lasting pieces of history that help define blues-oriented rock and roll for the next generations. </div>
<div>
<br />
Hannah's rating: 7.3 out of 10. Catchy 60's blues-rock. Not much more. </div>
<div>
<br />
Here's the Stones performing "Time is On My Side" on the Ed Sullivan show. Already these boys were winning audiences' hearts. <br />
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Wiho7GoubFM" width="420"></iframe>Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-2594280775249478722013-07-27T15:43:00.002-07:002013-07-27T15:53:10.652-07:00Album Review: "The Rolling Stones" by The Rolling Stones<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://strathdee.files.wordpress.com/2012/05/stoneslptherollingstones1.jpg?w=500" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://strathdee.files.wordpress.com/2012/05/stoneslptherollingstones1.jpg?w=500" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In their early days, producers made the attempt to have the<br />
Stones resemble other British Invasion bands like the Beatles with<br />
a uniform, clean-cut dress code, but the Stones would later<br />
shed this upper-crust look for a more loose, individualized image.</td></tr>
</tbody></table>
Name: <i>The Rolling Stones</i><br />
Artist: The Rolling Stones<br />
Release Date: 16 April 1964<br />
Label: Decca<br />
Production: Andrew Oldham, Eric Easton<br />
Lineup:<br />
-- Mick Jagger, vocals<br />
-- Keith Richards, guitar<br />
-- Brian Jones, guitar, percussion, backing vocals<br />
-- Charlie Watts, drums<br />
-- Bill Wyman, bass<br />
Awards/Success: #1 on UK Top 40 in 1964. #11 on Billboard 200 in 1964. The single "Not Fade Away" reached #3 on the UK Top 40 Singles.<br />
Other Information: Original songs on the album were listed under the pseudonym "Nanker Phelge." <br />
<br />
<br />
<span style="font-size: x-large;">T</span>he Rolling Stones are one of the greatest bands of all time<i>, </i>but few people know much about their earliest works. There is a reason for that. This debut album primarily consists of washed-up covers of other blues-oriented rock groups like Chuck Berry. Members of the band are only cited under three of the tracks. But, as it is with most greats, you have to start somewhere, and this album very well epitomizes what the Stones would later be famous for in coming years.<br />
<br />
While today's ears may not find anything impressive in <i>The Rolling Stones</i>, we must consider its importance in the development of this iconic band, as well as the growth of rock and roll in general. While other British Invasion bands were creating the new pop sound, it was the Rolling Stones that brought blues into the realm of rock, and they did it through covering and copying the greats during their beginning.<br />
<br />
My theory about covers is this: If you have something new to contribute, go ahead and sing someone else's music. In this case, the Stones perform very popular works with a novel, white-boy, rebellious attitude. These guys were taking bold steps by singing "middle-age black music" in the '60s. Classic jazz and blues references aplenty can be seen in this album, but amid very rock-like instrumentation and the skinny-boy drawl of Mick Jagger. This is classic blues-end rock performed by boys who seem like they already know that they're gonna be rock stars.<br />
<br />
This album screams '60's youth mentality: playful, simple, and brash. The song "I Just Want to Make Love to You" is probably my favorite non-original track. It's almost whiny, and sort of sums up what the Stones are all about: No work, all play. Jagger's got sass. He jeers, whines, and further murders his native dialect with great vocal splats throughout the whole album, and the guitar sort of hangs lazily at the ends of the beat without much care.<br />
<br />
This album's sides were split between tracks 6 and 7. The B-side begins with a smooth, sultry "I'm a King Bee" and ends with the monotonous unmemorable numbers, "You Can Make it if You Try" and "Walking the Dog." It's in this B side where the original songwriting skills of Jagger and Richards save the day.<br />
<br />
The Rolling Stones began experimenting with writing their own songs under the encouragement of their producer Andrew Oldham. Even this early on, you can hear some originality and potential, though the tracks are hit-and-miss. "Little by Little" was co-written with Phil Spector and was the first song to achieve a spot in Britain's top 5 in 1964, but there is nothing too fabulous about this song; it mirrors the other tracks seen on the record. The other band-written number, "Now I've got a Witness," is unique in the fact that it is purely instrumental and features an already-impressive solo by Keith Richards, who was only 21 at the time. One of the higher points is "Tell Me (You're Coming Back to Me)," which is the only song that was attributed to Mick and Keith on the whole album. While "Tell Me' is a great song on its own, its originality and emotion sort of stick out amid the other boogie-woogie sounds. It stands as a foreshadowing of the genius that is to emerge from these two men in later years. <br />
<br />
Honestly, <i>The Rolling Stones</i> is pretty typical of other blues-style elements coming out at this same time, but it's nice, once again, to get a taste of what these talented men -- particularly Richards -- had to offer at such an early point in their careers. <br />
<br />
Hannah's Rating: 7/10 Mainly for its importance in history and for songs like "Tell Me." <br />
<br />
Watch one of their first-ever TV spots on Dean Martin's <i>The Hollywood Palace. </i>Man, these guys were dreamy. <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/kqYEkYpX-uY" width="420"></iframe>Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-83078488946613191742013-07-24T11:31:00.001-07:002013-07-24T11:32:30.555-07:00The Death of the Album: How Music Consumers React in the Digital AgeI regret to announce that I have become a product of the digital age -- an age where the notion of an "album" is beginning to disappear.<br />
A decade ago, at age 12, you would find me perusing the music shelves at Target or Sam Goody, trying to decide which disc would eventually prove itself to be worthy of my meager twelve dollars and ninety-nine cents that I had saved since Christmas. Usually the winner would be something I already knew and loved: Good Charlotte, Josh Groban, Faith Hill. Later I would invest in the latest discs from Evanescence or Breaking Benjamin. When CD-burning became a thing, I'd nab My Chemical Romance or Three Days Grace from my friends who had more money than I did to buy the actual albums themselves. I remember sitting in my room, organizing all of these lovely crystal cases by title, by artist, or by rank. <br />
<br />
<a href="http://ecx.images-amazon.com/images/I/41JGR3E6VNL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/41JGR3E6VNL.jpg" /></a>Listening to a CD for the first time was one of the most exciting experiences I had as a child. I very distinctly remember sticking in A-Teens' <i>Pop 'Til You Drop</i> (2012) into my ghetto CD player at age 11. I sat down with the album cover, and listened intently to each and every track, in order, following the list of track names as if doing so were the most important thing I've ever done in my life. If there were lyrics included in the album cover, I would read along with pious devotion. If the album was awesome, my focus would not quaver in the slightest from the opening track to the final note played. If the album was lame, I'd usually get bored after track 5 or 6 and begin to listen more passively. The CD-listening experience was always an adventure. <br />
But then iTunes came along, and suddenly I can buy albums in bits and pieces. The first song I ever bought on iTunes was "I Gotta Feeling" by the Black-Eyed Peas, off of their album <i>The E.N.D. </i>in 2009. I was a freshman in high school. I have never bought the rest of the album. Since then, I've become a sucker for the 69-cent singles sales on iTunes, filling my little iPod with dozens of one-hit wonders and one-track album lists. <br />
But, as I began writing music myself, I had an epiphany. This kind of purchasing behavior is causing the album to die. <br />
During the "golden age" of the album (think late 70's all the way up to the mid 2000's), buying an full record was a risk. Usually you only knew one or two songs off of the whole thing; the ones you heard on the radio over and over again. You like what you've heard so far, but there is no guarantee that the rest of the album will measure up to what its singles have to offer. As I had experienced, only the best albums could keep my attention from beginning to end. Some of these albums from my childhood included The Beatles' <i>1,</i> Evanescence's <i>Fallen,</i> and <i>Middle of Nowhere</i> by Hanson. <br />
For a musician, creating an album -- a solid, complete album -- was an art form. Because of this risk factor, it was important to write music that satisfies the needs of the consumer as well as the musician, or else they may not ever buy your album again. In order to make a good album, you not only have to worry about individual songs, you have to consider the big picture. Consider the <i>story</i> you are telling with your music. Even if there is no overarching concept to your album, there is still a change of <i>mood</i> from track to track that you must consider. Do you want to begin with a bang? Do you want your audience to know exactly what they're going to hear for the rest of the album in the first couple of tracks? Or is there a dramatic change of tone that you want your audience to embrace? What are the album's high and low points? Do you want your audience to leave your album with awe? With introspect? With melancholy? Heck, you can even go further and start comparing <i>this</i> album to other albums you have made in the past, and albums you may make in the future. Do you want to be known for something different than you have been doing before? The best way to state change is through the release of a fresh new album! If you take a look at how well-crafted albums like Fleetwood Mac's <i>Rumours</i> or Nirvana's <i>Nevermind</i> are, you get what I mean. All of the best albums in history tell some sort of story, even if it's not completely scripted within the music itself. <br />
<br />
<a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTHJ6eDPQ1krYdVQlOxRX7l2Z7wM6_vgX77042EYe35p5QX80Vi" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTHJ6eDPQ1krYdVQlOxRX7l2Z7wM6_vgX77042EYe35p5QX80Vi" width="320" /></a>Furthermore, album-focused artists usually <i>trust</i> their audience to maintain attention and take their work seriously from beginning to end. I feel like a stronger relationship is formed between musician and listener when there is a level of <i>trust</i> embedded within the musical experience. <br />
Not to say that great music isn't currently being created, but honestly, there's something missing. Back in the golden age of album-making, it was quality over quantity, and it was concept over commerce. That age is almost gone.<br />
Why? Digital media now allows consumers to buy music on a song-by-song basis.<br />
Now, when you buy music, there is little to no risk. You can pick and choose what songs you want. If all of them are pretty good, you can buy the album, but if you really are only interested in what you heard the other day on the radio, you have the option to spend a few cents on one song rather than spend several dollars on a whole album that you're really not interested in owning. <br />
This digital trend can be really cool. I mean, I'm not the biggest fan of electronic music, but when there's one song by Zedd that I like, it's nice to know that I can put my money where it will be most useful for me <i>as well as</i> useful to Zedd and anyone else who was involved in making that track. While I otherwise would have just skipped the purchase completely, I can at least support artists in a small way by buying what is valuable to me.<br />
This also means that a lot of time, money, and effort is put into creating very well-crafted and interesting singles. I feel like there is more variety on the radio than there used to be; in order to stand out in the musical crowd, musicians and producers are adding new things (mainly technology) to individual songs that make them memorable and interesting. This digital age has also been a blessing for indie record companies, who never would have seen the light of day if it weren't for mass consumption of digital music via the internet. Songs are super catchy these days, and they are recorded with quality sound and are given lots of publicity.<br />
There are good things that come with technology and digital media. This I know. <br />
BUT... While singles are getting better in some regards, almost everything else on a typical modern-day album is worthless. From the sound of it, not much investment is given to tracks that aren't on the docket to become singles these days. I'm thinking of the most recent albums by Daughtry, 'Lil Wayne, and (sadly) the newest work by Sara Bareilles, <i>The Blessed Unrest.</i> There are a few gems, but as album, it sucks. Even some of the more talented album creators are falling into the single trap. Take a look at the before/after shots of bands and artists like Bon Jovi, Korn, Bonnie Raitt, and Nelly. Heck, even if you look at Britney Spears's <i>Baby One More Time...</i>, you can see craftsmanship and (dare I say it?) <i>class</i> that you just don't see in her more recent albums. Albums are losing their place in today's musical marketplace. It's becoming less and less about the big picture, and more about the get-rich-quick approach of releasing single after stinking single. <br />
<a href="http://1.bp.blogspot.com/__kXuNu3oPq8/THju1zdbVII/AAAAAAAAAPo/jkPQ4nBdxwE/s1600/Katy-Perry-Teenage-Dream-Official-Album-Cover-Deutsch-Edition.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/__kXuNu3oPq8/THju1zdbVII/AAAAAAAAAPo/jkPQ4nBdxwE/s320/Katy-Perry-Teenage-Dream-Official-Album-Cover-Deutsch-Edition.jpg" width="320" /></a>What changed? Digital media. The minute you could start selling music on a track-by-track basis, the notion of the album completely changed. Suddenly it becomes only an afterthought. Or sometimes it became a vessel in which a brand could deliver a whole bunch of <i>singles</i> at one time, even though they may all be completely unrelated and disjunctive if you put them together as a whole. I'm thinking specifically of Katy Perry's <i>Teenage Dream</i>, which, while almost all of its singles were very successful, doesn't really stand up for itself as an <i>album</i>.<br />
Think of it this way: You don't usually display pieces visual art on an individual basis. Usually they appear in a gallery exhibit, surrounded by other pieces that are similar or different from it. This gives a work <i>context</i>, which is one of the biggest factors in creating valuable artistic statements. There needs to be a story. The content must have a context. <br />
This is why I think indie albums are better quality than mainstream-label records. For those who don't have the resources or publicity to keep shelling out single after single, it's all about the the impact you can give to a listener in one go with one great album. I feel like under-cover artists are usually more artistically fueled than big superstars, because money hasn't yet become a factor. When you are a band that's bone-broke and barely getting gigs, it's not like your main goal is how many millions of dollars you can make. The profit craze of big-name labels has not yet infected the fresh, creative minds of young, up-and-coming artists. When such bands or artists DO get big, they can "sell out" -- and you hear the difference. <br />
My proposition? Reward consumers for taking the risk and buying an entire album. This responsibility lies in the musician, the listener, as well as the producers, advertisers, and marketers of popular music.<br />
For musicians, this means continue to TRUST your audience by making quality music from beginning to end! Don't ignore the "connective tissue" of your album. Not every song has to be a single, but that doesn't mean every song that's not a single has to suck. And maybe it would be a good idea to fight the urge to make every radio-friendly tune you have a single. Save some stuff for the people who do take the time to buy your album. You don't need to be shoving singles down people's throats for them to listen to you... That is, if your music is good. If you make art, people will recognize it. This internet that we have makes it so easy to publicize and gain rapport. <br />
And listeners? Don't waste your time with poor music! Do your homework. We have preview options now. You can know a whole album before you ever buy it using tools like Spotify and album reviews online.Don't become complacent! Find out if an album is great. If the album is not great, don't buy it! Sure, buy the singles if you want, but don't waste your money on something not worth listening to. If an album IS worth your money, BUY IT. Don't download it for free. Don't just get the singles. BUY THE ALBUM. Support the sale of the complete work! Give artists an incentive to keep creating good music. You can talk about the brainwashing influence of the music industry all you want, but honestly it comes down to what YOU as a consumer think is good art. This is a great power! <br />
<br />
<a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS4LJ4A8-AhFzPC6XROTjY8t9cgVkvdUMscryo0uz2WjZZSkHnUWw" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS4LJ4A8-AhFzPC6XROTjY8t9cgVkvdUMscryo0uz2WjZZSkHnUWw" width="320" /></a>And marketers? You can make it easier on consumers as well. Think about successful franchises like Sam's Club, where both consumer and producer get rewarded by operating on a bulk system. Let's take a random CD available on iTunes: N*Sync's <i>Celebrity</i>, which was released in 2001.<br />
Currently, the CD is $9.99. If you were to buy every track individually, you would have to pay $13.77. So yeah, you do save money buy buying the whole album at once. But of course no one would buy every track separately when they can buy the whole album at once for a lesser price. Let's be honest here. Few people would even buy HALF of the tracks (up to around 7 bucks) individually. But they will buy the singles!<br />
<div class="separator" style="clear: both; text-align: left;">
BUT... Take a look at the singles. There are 3 of them. You can tell because these songs are priced at $1.29, rather than just 99 cents. If I were to just buy the singles (and that is assuming that I want to buy ALL THREE of them... I mean, the only song I really remember from that album is "Pop"...), iTunes would make $3.87. But then I only have 3 songs. And iTunes COULD HAVE HAD ten bucks if I bought the album. </div>
<div class="separator" style="clear: both; text-align: left;">
Here's my thought: Why not encourage the purchase of full albums by selling them for less? Rather than just marking up the single price (remember when they were 99 cents just like everything else?), why not mark DOWN the album by a greater margin? Of course it's a little unrealistic to do this for new releases, but this album is over ten years old. Why not make it five bucks? Rather than just make $3.87 for the singles, iTunes could make an additional dollar or more on an album that hardly anyone buys anymore. People would be more willing to buy an entire album for five bucks than just buy three songs for three. It would be like a digital bargain bin. </div>
<div class="separator" style="clear: both; text-align: left;">
What about the "Complete My Album" option on iTunes? Yeah, it's a nice thought, but I honestly think this could be a great opportunity for music companies to encourage album purchases. I, for one, would love to hear someone say, "Hey! You bought one song! Why not enjoy the whole album at a reduced rate??" Of course there are shortcuts that consumers can take, but what if they bought one song three years ago, and they still haven't "upgraded" to the rest of the album? Maybe you can provide album discounts for artists related to what the customer has bought? What if we mark down albums like <i>Celebrity</i> that are over a decade old and aren't making half as much money as they used to? Why not include bonus tracks that are exclusively offered to those who buy the complete album? There are lots of options for not only making money, but also encouraging consumers to expand their horizons and learn more music than just what they hear on the radio. </div>
<div class="separator" style="clear: both; text-align: left;">
At this rate, the album will be dead in a decade. Let's not let this happen! Support the movement of the album by being smart consumers! </div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-29385542077258979152013-07-13T11:31:00.003-07:002013-07-13T11:31:46.315-07:00Soundtrack of the Summer (So Far)"Effect and Cause" -- White Stripes<br />
"Clarity" -- Zedd ft. Foxes<br />
"Ya Hey" -- Vampire Weekend<br />
"At Least I'm Not as Sad" -- Fun.<br />
"How Come You Don't Want Me Now" -- Tegan and Sara<br />
"I Think I Love You" -- The Partridge Family<br />
"As Time Goes By" -- Louis Armstrong<br />
"It's Only a Paper Moon" -- Miles Davis<br />
"I'm Shakin'" -- Jack White<br />
"Caroline, Dress in Blue" -- Officer Jenny<br />
"Wagon Wheel" -- Old Crow Medicine Show<br />
"I've Got a Ways to Go" -- Grouplove<br />
"Scars from an Old Love" -- Hazel Dickens<br />
"Boys with Girlfriends" -- Meiko<br />
"Not Your Fault" -- AWOLNATION<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcRt_8HOjkEaP27nxAQTbBFcwo9osboC-OtXS8s9ZNxc6PGQvX-v" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcRt_8HOjkEaP27nxAQTbBFcwo9osboC-OtXS8s9ZNxc6PGQvX-v" title="" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Make a Wish</td></tr>
</tbody></table>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-68301313712700406742013-07-04T08:27:00.001-07:002013-07-04T08:27:24.507-07:00A Journal Gem: June 25, 2006 -- To wipe away EVERYONE'S tears. I was 15 years old when I wrote the following entry in <i>Aubrey</i>:<br />
<br />
[In choir today,] we sang "I Know that My Redeemer Lives." That's my new favorite hymn. There is one verse that hit me so hard it brought me to tears during practice once. <br />
<blockquote class="tr_bq">
He lives to grant me rich supply.<br />
He lives to guide me with his eye.<br />
He lives to comfort me when faint.<br />
He lives to hear my soul's complaint.<br />
He lives to silence all my fears.<br />
He lives to wipe away my tears.<br />
He lives to calm my troubled heart.<br />
He lives, all blessings to impart. </blockquote>
There are couple of reasons why I love this verse so much. The first one my mom explained during practice to the choir. He's there to comfort <i>me. </i>To wipe away <i>my </i>tears, to calm <i>my </i>troubled heart. Not just as a congregation, but <i>me</i> personally. He lives for <i>me.</i> It makes me feel like a true daughter of God and that he loves <i>me.</i> <br />
But you can take it another way, too. You see, I'm not the only one singing the song. The people in our ward choir sang it this morning, and all over the world, people are probably singing the song. That means <i>everyone's</i> soul is important to God as well.<br />
Everyone's! Shannon's, Mom's, Mr. Bob's, Ian's, David's... Just the thought of David made me cry. When I sang that song last week, I imagined Christ looking straight into David's tear-stricken eyes, and he lifted David's head up with his gentle hand. Then I saw me, sitting with my head in my hands, apparently upset, stressed, and discouraged about something, and then Christ is there, putting his hand on my shoulder, and smiles at me. <br />
And then -- and this is the part that really to to me -- I saw Brett. Yep, Brett. He was crying, but they were happy tears. They were tears of joy. Christ was there, again, facing Brett and smiling. Then he put both his hands on Brett's shoulders, grasping firmly, but gently. Then they embrace. That's when I realized what a fool I've been, holding a grudge over Brett like that. Sure, he had hurt me, made me feel bad about myself, but he's God's son. Just like I'm his daughter.<br />
He's my brother.<br />
How should I treat my brother? <br />
Not with anger and loathing, like I was.<br />
And that goes for everyone I know. They are all my siblings, and I should treat them just as kindly and respectfully as I do my blood family. I've changed my whole outlook on how I should act towards others. When school starts, there will be no more gossip, backbiting, cruel remarks, or arguing. Regardless of what they have done to me. He lives for them. God created them. They are each individual sons and daughters of God. God doesn't make mistakes. Jesus loves them to the end. I want everyone to know that. I want everyone to know that our Redeemer lives to wipe away each and everyone's tears. I don't ant anyone to not know that. How could I live without knowing that? It makes me <i>really</i> want to spread the gospel. <br />
<br />
Listening to: "Sail" by AWOLNATION<br />
Things Going On Today: Happy Fourth of July! I'm probably going to see little Daniel Hale today.<br />
Blessings: VCRs.<br />
Learned: You can resolve to I from ii! Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-28224609653384727382013-06-30T23:00:00.002-07:002013-06-30T23:03:46.688-07:00How I Found Happiness and began the Best Year of My Life -- My Discovery of Christ's AtonementI'm so thankful to my freshman Bishop, Bishop Armstrong. Back in 2009, I had some trouble with the notion of repentance. In response, he challenged me to read and study out of the book <i>Preach My Gospel</i>. Well, it has been almost four years, and I still haven't completely read it yet. But I did make the right choice in following the promptings of the Spirit that invited me to begin reading it again in January. For several weeks, I got up a little earlier than normal and read the scriptures, using <i>Preach My Gospel</i> as a guide. <br />
<br />
The cool thing about <i>Preach My Gospel</i> is that it's designed as a tool to help you teach others about the church. People who have never heard about Jesus Christ of the notion of pre-existence or the idea of baptism need to be informed about these kinds of things in very simple, basic terms. They can then build from that solid, straightforward foundation and, line upon line, precept upon precept, they can learn more until they have gained a full-blown testimony of the Gospel of Jesus Christ.<br />
<br />
As I was reading about the Atonement in <i>Preach My Gospel</i>, I came to an astounding and somewhat horrifying discovery: I, myself, did not know very much about the Atonement. Not enough to teach anyone else about it at least, that's for sure. How could I ever teach someone about something I didn't even remotely understand? It's true, you can't ever <i>completely</i> understand the Atonement, but I didn't even feel like I understood even the most basic parts of it; mainly, how it applied to me, and to people in general. <br />
<br />
Furthermore, how could I much less have a <i>testimony</i> of something like the Atonement while remaining so ignorant about it?<br />
<br />
DO I have a testimony of the Atonement? Suddenly my whole spiritual center was called onto the carpet for questioning. Alma talks about conversion -- a change of heart -- a receiving of Christ's image in our countenance -- a spiritual rebirth. Have I truly experienced these things? <i>Am I truly converted? Do I really have a testimony of the Atonement of Jesus Christ? </i><br />
<br />
I've been a member of the church all my life. For twenty-two years I have worked under the assumption that I was a child of God and that the Gospel was true... but I don't think I ever TRULY believed it in my heart. <br />
<br />
So I started doing some research. I learned a little bit more about what the Atonement actually entailed. My memory was refreshed about a couple of things, like how the Atonement overcomes both physical AND spiritual death. I learned that Christ not only suffered for our sins, but also for every other unfairness, struggle, or pain we've ever suffered or will suffer. He was able to do this because He, Himself was not only <i>capable</i> of doing it (due to the fact that<i> </i>He is God's Only Begotten and he led a perfectly sinless life) but also because he was <i>willing</i> to do it. The Atonement was indeed a choice. It did not HAVE to happen. Christ could have damned us all by being selfish and not finishing the work he was appointed to do. But he was willing to suffer all of that sin, heartache, and hurt because he loved us. And, as hard as it is for us as humans to wrap our brains around that kind of love, it is <i>SO IMPORTANT. </i><br />
<br />
By the time I had to leave for school the morning after reading all of this stuff and coming to all of these epiphanies, I asked myself the following questions:<br />
<br />
<i>So if the Atonement is super important and vital to our salvation (which I assume it is), what can I do to actually get it to work in my life? What must I PHYSICALLY DO to implement the Atonement? How do I use it? </i><br />
<br />
<i> </i>I know obedience is part of it. I know God wants us to show that we care about what the Savior did for us by following His example and obeying His commandments. Sure. I get that. But there are people all over the world who do amazing, good things; people who lose themselves in service to others, who keep themselves clean and chaste. People who are truly sorry when they make mistakes. People who love the God that they know, without ever hearing about Christ or the Atonement. People who are <i>good, </i>yet <i>ignorant</i>. They exist all over the world. Some die without ever hearing the good news of the Gospel. Why is it that we so strongly encourage people to hear about it? Why is it that we send out thousands upon thousands of missionaries every year so that they can tell these ignorant people all about it? What important missing piece does the Atonement provide in our lives?<br />
<br />
WHAT DOES HAVING AN AWARENESS OF CHRIST'S ATONEMENT DO FOR US?<br />
<br />
I guess knowing about the Atonement allows us to <i>use </i>it. But then there's that question, how is it that a person can USE the Atonement? It's not like a pill you can take or a hat you can put on. It's not a physical thing as much as it is an eternal, esoteric and ambiguous <i>idea. </i>And it's hard to wholly implicate an <i>idea</i> into your life in a way that yields any tangible, perceivable results. It's like faith in the fact that you must trust that the Atonement works without seeing or hearing or touching any physical evidence of its working.<br />
<br />
This sort of makes me jealous of the Catholics. They believe in the idea of TRANSUBSTANTIATION. It's a long word that basically references the idea that the Eucharistic emblems of bread and water <i>literally</i> change into the blood and body of the Savior as they are partaken by worthy members of the church. It's a false doctrine, I know, but it interests me. The idea that you are actually eating the blood and body of Christ may be wrong and even a little grotesque, but I can understand why people might like to think that the Sacrament works that way. This idea of making Christ a PHYSICAL PART of us -- of having him be a part of our own physical bodies -- helps us make him a part of our soul. It makes coming unto Christ seem just a little more possible. To change something that cannot be physically perceived or handled is a challenge for us, so we seek some way of making our desire to be like Christ as physical of a thing as possible. We may believe in a physical change, in hopes that the spiritual change may soon follow.<br />
<br />
Now it's never as literal as transubstantiation, but I do believe there is some truth in that notion. Performing a physical act helps the promises we make and the mindsets we adopt seem more REAL. That may be a reason why God has us perform ordinances like baptism, confirmation, and rituals done in the temple. Doing something physical helps us remember the spiritual experience better, but I think it also results in a physical change within us. Change only happens with action. Again, inertia. We must fight it with movement. Physical transformation. As I have learned about the Gospel of Jesus Christ, I have concluded that Spirit itself has matter. They say God is <i>light </i>as well as <i>truth. </i>And while truth may not have any physical properties, light does. Perhaps God manifests his spirit physically through light... Perhaps our spirits within us -- which, incidentally, are in the possession of the Light of Christ -- have physical properties as well. Perhaps the neurons, cell structures, and molecular foundations of our physical bodies are fueled by this physical spiritual matter. Perhaps when we talk about being "quickened by the Spirit," we are referring to the way the spirit physically enlivens a human being.<br />
<br />
I guess my point here is this: Maybe spiritual things like the Atonement aren't as esoteric and abstract as I initially believed. But this really is all beside the point. That discovery was made after the fact -- after I experienced what I experienced on Wednesday, January 9, 2013. <br />
<br />
Nothing earth-shattering happened. No large miracle took place. I saw no angel, witnessed no amazing wonder... heck, I didn't even physically hear that still, small voice that people sometimes hear.<br />
<br />
It was like everything was the same, but at the same time, everything was different.<br />
<br />
I got up from that period of studying about the Atonement. I got dressed and got in my care and drove to school. I can't remember what I wore, but I know it was black and white... no, it was gray! I remember! I was wearing my new skinny jeans -- gray ones -- that mom gave me for Christmas, as well as a gray-and-black flannel T-shirt... I felt <i>very </i>comfortable. Beautiful, even. My new short haircyt actually looked like it belonged to me that day. I walked into Music 305 (first-semester of Western music history), and I felt like smiling at everyone... I sat and listened to Doctor Howard, and every word that came out of his mouth seemed to fascinate and excite me.<br />
<br />
I have this bad habit of attaching meaning to everything. I may talk more about this in another post, but I tend to associate simple objects, places, and events with negative experiences that I've had previously with them. If I watch a movie with a boyfriend and we end up having a bad break-up, I usually can't watch that movie again without feeling sick inside. But today, it was like the opposite was happening. Everything around me seemed to remind me of happy things.<br />
<br />
The experience reached its climax directly after class was done. I was sitting in the foyer of the Madsen Recital Hall, reading about chant. Back in the medieval period, monks would sing a lot of psalms in a chant. Oftentimes, they end with something called the Lesser Doxology. Essentially, it's a little tag that is added at the end of the psalm that praises the Trinity ("Praise Father, Son, and Holy Ghost"). But sometimes the Doxology doesn't quite mesh with a given chant melody; sometimes the modes are different. So what writers of chant would do is create alternate endings to the doxology so that you could go straight from the Doxology into a new verse of chant. It all makes lots of sense now, but as I read about it that morning, it didn't make much sense right away. <br />
<br />
But then, after re-reading a few things, thinking about it for a moment, and exerting a little bit of patience, it was suddenly like a lightbulb went off in my head and everything made sense. There were alternate endings for the doxology to help ease musical motion between chant verses! DUH!<br />
<br />
And then, without warning, I found myself crying. I'm having trouble finding words for what I felt in that moment. JOY, definitely, but more than just joy. I remembered, in that moment, where the joy came from. I found myself saying prayer after thankful prayer to my Heavenly Father. I thanked him for music, for chant, for the class, for the book, for my brain!<br />
<br />
And suddenly the world around me changed.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/1melu9D3BF0" width="420"></iframe>
<br />
Have you seen these commercials? There's this allergy medicine called Claritin, and I feel like the commercial for this drug provides a good demonstration for what seemed to happen to me in that moment as I was studying. Watch and see how the beginning picture is different from the end. Yes, the invisible strip pulls away and suddenly everything is brighter and more colorful than it was before, but the cool thing is you probably wouldn't have realized that the first part of the commercial really <i>was</i> a little dull and blurry until you saw the drastic difference. That's kind of how it happened to me. The world I was looking at before, it was okay. But when you start seeing things in an eternal perspective, everything GLOWS. Suddenly everything around me was bearing testimony of Jesus Christ, and I could actually see it. It's like those little toys you get at McDonalds, where all you see is red dots unless you put it under this screen that makes a picture. I was finally seeing the picture! My perspective had changed so that I could get a glimpse of the world the way God sees it. It was like I put on a pair of glasses that makes the entire world
clearer and more vibrant. I didn't even know that the lenses I was
using before were that bad! But now that I had seen this, I could never go back to the old way of looking at things. Why look through lenses that make things seem dull and unfocused? Lenses of anger, regret, jealousy, or heartbreak -- you'll never see the beauty of things unless we choose to see things in a way that makes them beautiful.<br />
<br />
<br />
The Atonement makes things Claritin clear. <br />
<br />
I discovered that I had figured out more than simply how to use a lesser doxology. I had figured out how the Atonement can work in my everyday life. There was the REAL miracle...<br />
<br />
Using the atonement involves discovering the deeper meanings behind why we do things. The deeper meanings behind existence.<br />
<br />
Elder Bednar puts it best when he says that the Atonement has <i>enabling</i> power. Not just <i>healing</i> power. It doesn't just fix your sins and overcome death. It makes you capable of DOING THINGS. I like to think of the Atonement as a TRANSFORMING AGENT that allows those very real, physical transformations to happen.<br />
<br />
What can the Atonement transform? Well, it turns something simple like saying you're sorry into something meaningful: Repentance. And repentance is something that can change the physical nature of your soul. The Atonement changes something simple like service into something meaningful: Charity. And Charity can change the physical nature of your soul. It turns marriage into sealing. It turns temporal into eternal. It changes a simple thing like a promise into a covenant. It turns a seed of faith into a tree of testimony. It changes belief into perfect knowledge. It turns trials into blessings. It changes hard hearts into soft ones. It turns happiness into joy. It turns death into life. The Atonement provides reason, meaning, significance, and satisfaction for every experience we have, every thing we learn, and every relationship we develop.<br />
<br />
So, with my aptitude for attaching meaning to everything... I, of all people, should be capable of inserting this powerful transforming agent into my everyday life. All it takes is a little change -- just remembering that amazing Atonement, allowing it to transform that which is ordinary into something EXTRAordinary.<br />
<br />
I think that's what conversion is. Funny. I've been a member of the church all my life and only NOW do I recognize that I have yet to be converted to the Gospel -- to receive this change of heart.<br />
<br />
Elder Bednar says something I really like in his talk called "The Atonement and the Journey through Mortality." He says that Christ has the power to TRANSFORM us (TRANSFORM!) into what we could NEVER have become by ourselves.<br />
<br />
I've seen that in my own life! Here I have been working my butt off trying to be happy without involving Christ... I'm working so hard, and all that work will never get me as far as the Atonement will.<br />
<br />
But now, here I was, rejoicing in a tiny happy moment while studying. My joy was so full. I never could have imagined being this happy so quickly after such a horrible year of break-ups, abandonment, eating disorder, and depression. The change was almost immediate. Just gaining a tiny bit of awareness of what Christ has done for me had <i>immediate, exponential, positive results. </i><br />
<i> </i><br />
I was happy all day. I was happy all week. I was happy all month. And I am still happy now, six months later. I haven't cried, I haven't hurt, I have learned to forgive my enemies, love my neighbor, and rejoice in trials. And people have noticed. "You seem to glow, Hannah," a friend of mine told me the other day. "Your sharp edges have softened. You're not as fearful as I remember you being when I met you." I have formed closer relationships with people; I don't think I would have made some of the friends I have made if it weren't for this new attitude. <i> </i>I don't think I would have gotten through some of the new trials I have had to experience this year without this new attitude. Everything has changed. I am healed, but even more important, I have been enabled by the power of the Atonement.<br />
<br />
Now I know why members of the Church are so excited about going on missions. They want other people to feel this same joy that they have felt through gaining an awareness of and using the Atonement. <br />
<br />
It is so real. There is no doubt in my mind that Christ not only loves us, but understands us with complete and perfect empathy. I testify that God has given us this Gospel to be happy. It is the Atonement that makes us happy. We are the ones who choose to use the Atonement, and therefore, we are the ones who in the end determine our own happiness. I have learned that I can choose to keep this eternal perspective. It's not about control anymore. It's not about trying to force the transformation. It's now about trusting. It's about patience. It's about loving what you have. Feeling peace and joy from the ultimate source, rather than having faith in things that will not make us eternally happy. I am a new person. I really am. I am happy. I am thankful. I am whole.<br />
<br />
It's real. I know it. I love it. <br />
<br />Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-80638117683738007862013-06-30T18:56:00.003-07:002013-06-30T18:57:34.434-07:00Eleven -- A Poem by MeNumber One was joy. <br />
Number Two was just a boy.<br />
Both were barely seventeen.<br />
And I was very young then,<br />
So I kept it clean.<br />
<br />
Number Three?<br />
Don't get me started.<br />
Number Four was a one-night stand.<br />
Number Five was smart, but I broke his heart<br />
When I refused his hand.<br />
<br />
Number Six should not have happened,<br />
But happened nonetheless.<br />
Number Seven should have been better<br />
But he was a hot hot mess.<br />
<br />
Number Eight came sort of late.<br />
But he was new to the game.<br />
He turned out to be a coward<br />
Who shrank at the sight of my shame.<br />
<br />
Number Nine,<br />
He was mighty fine.<br />
And I thought he loved me then.<br />
But his web of lies left me unraveled<br />
To be put back together by Ten.<br />
<br />
But now?<br />
<br />
Now I feel I've touched a star<br />
And found a piece of heaven.<br />
<br />
On a scale of one to ten,<br />
You're Eleven. <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/yYUoYJeANq4" width="420"></iframe>Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-25255263276773218322013-05-25T07:47:00.000-07:002013-05-25T07:47:24.674-07:00Fiji WaterOnce upon a time, I went to High School. I had crushes on many boys, but for a while I had a thing for this kid named Grant who sat in front of me in English class. His birthday was 3 days before mine, and he played lots of sports. He had big blue eyes and a kind smile. I would use every possible excuse to talk to him. <br />
<br />
Near the beginning of the year, my mom indulged herself while shopping and got a pack of really fancy Fiji water bottles. The bottles themselves were square. Of course the water inside didn't last very long. I brought my bottle, unopened, to school and I decided to crack it open during English class. As I sipped, Grant looked behind, saw what I was drinking, and said, "Hey! I've heard about that Fiji stuff! Mind if I had a sip?" <br />
<br />
Of course, I couldn't say no, so I handed him my bottle and he very carefully let a few teaspoons of water flow out of the bottle and between his lips without them touching each other. His eyes were on me as he did so. When he finished, he gave me back the bottle and said, "That's good stuff! Much better than regular water!"<br />
<br />
These Fiji water bottles were very durable, so mom thought it would be a good idea for me to re-use them and just fill them up again with water from the tap. During school, I would finish a bottle and then refill it at a drinking fountain. During English class one day, I left my bottle on the table and Grant turned and grabbed it without asking for my permission. He brought the bottle to his lips, swallowed a few gulps, and then closed it up again with a satisfying sigh. <br />
<br />
"Yep," he said. "There's definitely a difference." <br />
<br />
To this day, he does not know that what he drank wasn't Fiji, but tap water from the fountain down the hall. Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0tag:blogger.com,1999:blog-6671995727798614453.post-41563305629765789932013-05-24T19:02:00.001-07:002013-05-24T19:07:54.998-07:00I wrote some Journals in Junior High... ...and I called them <i>Heart </i>and <i>Amy.</i> Their contents span from Summer of 2004 to Spring 2005. The interesting thing about this journal was how I signed my name after each entry. Sometimes I signed them as "Hannah" or "Hannah Johnson," but sometimes things got interesting. Here are all of the names I signed at the end of <i>Heart</i>'s journal entries:<br />
<br />
<br />
<ul>
<li>Hannah</li>
<li>Broken-hearted in Burnsville</li>
<li>Annie McNeal</li>
<li>Winona</li>
<li>Aaron-less Annie</li>
<li>Zahn the Electric Warrior</li>
<li>Clay-Crazy in Burnsville</li>
<li>Claymate</li>
<li>Zahn</li>
<li>Ben-Crazy</li>
<li>Hannah: But why?</li>
<li>Hanna</li>
<li>Hannah Johnson AKA ANTI-Overachiever</li>
<li>Hannah Johnson</li>
<li>Hannah Mark-less</li>
<li>Aubrey/Amy Wannabe</li>
<li>"Christine I Love You" CRAZY! Hannah</li>
<li>Paulbegone</li>
<li>Mother-Abbess-to-be</li>
<li>Hannah Jarett Lover</li>
<li>Claymate (Hannah)</li>
<li>Non-poser (I hope.)</li>
<li>Hannah <3's Mark</li>
<li>Hyde Lover</li>
<li>A very upset, depressed, and angry person who loved you. I loved you.</li>
<li>Furious Hannah who hates Mark and economics!</li>
<li>Lillian Helena Hannah Johnson (my name)</li>
</ul>
<div>
There are other things interesting about this journal. I will list them: </div>
<div>
<br /></div>
<div>
<br /></div>
<div>
Listening to: "Kidney Now!"</div>
<div>
Learned: How to make blondies!</div>
<div>
Blessings: Free bananas and discounted blinker-light repair.</div>
<div>
Things going on: Work, celebration of a birthday, and car shopped. </div>
Hannahhttp://www.blogger.com/profile/08982372250735220459noreply@blogger.com0