Time Heals All Wounds.. And Then Kills the Patient
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Dawn
Dawn
Thu Dec 27 03:52:55 2001
Half and Half
Topics:

One plus one equals one. And logic is learned, not intrinsic. Well, no, the second is part of a rather long-winded essay that I wrote some time ago that's not on my website yet. There's a heck of a lot of stuff like that. I need a philosophical secretary. Care to dig through tons of paper with my scribblings on them and assemble them in the right order, bothering me whenever something doesn't look quite finished? Oh, and do it for free? Any takers? Didn't think so.

On the other hand, if any of you people out there want a copy of the packet of my scribblings that I handed out ages ago to a few select people, plus whatever more recent scribbles I have made, I'll loan them to you and you can take them to Kinkos or something. Argh. I just cannot get to the topic today.

Have you ever noticed how sometimes in musicals, they have a song that leads into another, yet the first is very different from the second in style? If you have shock treatment, "Breaking Out" is like this to "Duel Duet". If you have Hedwig, "Hedwigs Lament" is like this to "Exquisite Corpse". If you have Rocky Horror, "Superheroes" is like this to the reprise of "Science Fiction/Double Feature". Ahh. That reprise. I love it so much. In the movie form, it actually has a music box playing it. Such joy -- the tones are so thin, and contrast with the wide tones of the guitar. In the play revival sountrack, the piano walks delicately and spread out, like a spider on its web.

I'm not sure if I actually said whatever it was I wanted to say when I started to write this, but I sure had fun saying whatever I said.

Hmm. There's something interesting about the openings and closings of musicals. And no, I don't mean in the way that Selma from Dancer in the Dark meant. They are probably the most important pieces. A crappy musical wouldn't become grand if you replaced its opening and closing songs (unless it were a very short musical with only two or three songs), but they do suggest a mood to which one may evaluate the entire musical. Hedwig, for example, opens with Tear Me Down, and introduces the exterior of Hedwig, the way he wants the world to think of him. The rest of the film, amusingly, then proceeds to tear down this image of what looks to modern society to be a freakish, easily dismissed monster, and reveal a deep and beautiful person. It's appropriate that it ends on the deepest song, Midnight Radio, a song in which Hedwig in a sense tosses off his Cocoon. Rocky Horror, well, you do the math (it's kosher to mostly ignore SF/Dbl and its reprise). Shock Treatment opens with consumerism (Denton, and closes with a celebration of liberation from it (Anyhow, Anyhow). Oh blah. Again I'm talking, and having fun doing so, but I don't know if I'm going anymore. It's probably a sign that I'm too tired to be writing things that are broadcast to the world. Who knows what I might write if I continue?