This will be a short post because my brain is in the process of exploding.
(DISCLAIMER: I REALIZE THAT I HAVE A GOOD LIFE, I HAVE MANY BLESSINGS, I AM THANKFUL FOR EVERYTHING, I AM AT LEAST NOT STARVING IN SOME POST-APOCALYPTIC OR EQUIVALENT DUNG HEAP, THANK YOU.)
The thing is, there is so much going on right now (ALTHOUGH IT IS ALL GOOD), and it is showing no signs of stopping (THANK GOD I KNOW RIGHT BLESSINGS EVERYWHERE), that I have pretty much just been alternating between writing feverishly on The October Year . . . and curling up with chips or cheese or some other thing I should not be snacking on and watching YouTube videos (like this one).
Plus, since I’m feeling overwhelmed just in general, and since general overwhelmed . . . ness . . . can lead to more specific kinds of whelm, I also have these random moments of like, “OH MY GOD. My first book is coming out THIS YEAR and I’m not doing enough and I’m so unprepared and no one will like it and there are so many other books coming out that are so much cooler than mine and HOW WILL I EVER BE HEARD?”
Plus there is the moving and the saying good-bye to friends and family. More chips. More cheese. More YouTube videos (like this one).
Thankfully, I also discovered Battlestar Galactica this week. Now, this is one of those shows that everyone and their tauntaun has been telling me I should watch since, I don’t know, forever. I just never made the time for it, though; committing to a multi-season show is asking a lot at this point in my life. But in a recent moment of particularly potent whelm, I decided I was just going to go ahead and start watching it. I needed something to do with myself between bouts of frenetic writing and cheese-snarfling.
Well, lo and behold, everyone and their tauntaun was RIGHT. It is SO GOOD. Jaw-droppingly so, even.
But a couple of episodes in, I remembered that, in my rush of rebellious excitement, I’d forgotten that I’d promised The Boy we would watch it together. So I halted my watching, and will resume later. I know, right? Twue wuv. Agent Lady was impressed by my willpower.
I’ve been listening to the score, though — mainly the miniseries score, by Richard Gibbs. I’ve thus far managed to keep from shelling out the $50+ for the entire series’ scores. We’ll see how long that lasts.
Check it, and be INSPIRED (and then send me some cheese?):
A couple of years ago, my roommate introduced me to the wonderful world of Firefly, and I’m not exaggerating when I say that it changed my creative life forever.
It was unlike anything I’d ever seen before, a delightful mishmash of genres that shouldn’t have worked but did — because of the heart in it, the soul, the chemistry amongst the impeccably assembled cast. Everything from the special effects to the lovingly crafted sets to the elaborate world-building is top-notch. If you haven’t watched this show, and its accompanying film, Serenity, you really, really must.
Perhaps the most memorable aspect of the show, at least for me, is the score. The music for both the television show Firefly (composed by Greg Edmonson) and the film Serenity (composed by David Newman) is full of just as much passion as every other element of the show. Like the storyworld they accompany, these scores combine Asian, western, and traditional science fiction elements to create a musical palette unlike any other. Whenever I listen to this music, I feel immediately comforted, like I’ve come home after being away for far too long.
Although Edmonson and Newman bring their own unique flavors to their scores, and it’s impossible to confuse the two, they are both utterly, unmistakably Firefly.
Check out these tracks:
“Main Theme” - This beautiful opening sequence showcases a theme song written by creator Joss Whedon himself. The lyrics are poignant, wistful, bittersweet, and perfectly set the tone for the score (and the show!) to come.
“Big Bar Fight” – For a prime example of Firefly‘s western flair, check out this track, accompanying — you guessed it — a bar fight in which people are thrown out holographic windows and our heroes are rescued by fake spaceship guns.
“The Funeral” – Although this music accompanies an extremely moving scene in the episode “The Message,” the real story behind this track is even more poignant. Edmonson wrote it as a farewell to the show after learning of its cancellation.
“Inara’s Suite” – The mysterious Companion Inara Serra is one of my favorite characters. I don’t think she’s one of the more popular characters with most fans, but I find her incredibly complex. If the show had had the life it deserves, the exploration of her character would, in my opinion, have been one of the most fascinating. This track is sumptuous, exotic, and, like Inara, seems to hold a secret sadness that we may never understand.
“Dying Ship/Naked Mal” – The opening of this track is solemn and elegiac, from my absolute favorite episode of Firefly, “Out of Gas.” The second half of the track is more cheerful, more tongue-in-cheek, and ends the album on a positive note, from a scene when we see — ahem — a good deal more of Nathan Fillion’s Captain Malcolm Reynolds than we have ever seen before.
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The score for Serenity, as I previously mentioned, is in some ways very different from the Firefly score, and in other ways, obviously related. One unique thing that David Newman did for this score is omit the use of woodwinds. What we’re left with is brass, strings, percussion, and electronics, without any of the woodwind instruments’ characteristic warmth — an interesting choice for a story set in the cold black of outer space. But the presence of those trademark Firefly fiddles keeps the score accessible and familiar.
“Into the River” / “Escape” – The first two tracks of the score, “Into the River” and “Escape” accompany the film’s incredible prologue. “Into the River” is eerie and mysterious, as we get some insight into River Tam’s tormented past, and “Escape” is action-packed and suspenseful, accompanying a fantastic escape sequence that will leave you on the edge of your seat.
“Serenity” – This brief but incredible track gloriously showcases the theme for the ship herself, our beloved Serenity. She soars through the stars, a scrappy, inimitable, classy lady, the heart and soul that binds the Firefly characters together.
“Going for a Ride” – LOVE this track! As our heroes set out for yet another caper (which, unbeknownst to them, but fairly predictably for us, turns out to go…not so smoothly), this rollicking track gets their — and our — blood pumping. I especially enjoy the tender moment about three-quarters of the way through that accompanies the little longing glance Kaylee gives to the ever-oblivious Simon.
“River and Simon in Locker” – I really love what Newman did thematically for River in Serenity. Just as Edmonson did in Firefly, Newman creates an eerie yet innocent tone for our favorite…well…perhaps I shouldn’t say for the sake of those who haven’t seen the show. Let’s just say that River Tam is not what she first appears to be.
“Run to Black” – There is some really fantastic action music in Serenity, and this track is one of them. If you sense tragic undertones…you’re dead on.
“Love” – This track is just absolutely lovely, and accompanies a wonderful moment between two of the most important members of the Serenity crew. “You know what the first rule of flying is? … Love.”
~*~
I can’t say enough wonderful things about this show, this movie, and the scores for each. There isn’t anything else like Firefly. It’s a truly special work of art, a world unlike any other and one that you will never, ever forget. Give it a try if you haven’t already, and if you’re a Browncoat and you don’t have these scores, what are you waiting for??
If you’ve been following my blog, Twitter, or Tumblr for any length of time, you’ve probably noticed me talking a lot about my latest obsession, George R. R. Martin’s A Song of Ice and Fire:
Don’t even get me started on the cover art for these books. I mean, some editions are better than others, but the ones above look like Microsoft Office WordArt from the 90s. I will never understand why many epic fantasy covers tend to look either incredibly cheesy or just plain ugly.
/aestheticsnobbery
Anyway, I’m now obsessed with these books and the HBO TV series, and I’m so psyched about the fifth book, A Dance With Dragons, coming out TODAY. That’s right: TODAY, BABY.
My latest obsession in this series of related obsessions is Ramin Djawadi’s score for the HBO series. It’s gritty and creepy and lovely, and the theme for the Starks somewhat reminds me of Howard Shore’s theme for Rohan in Lord of the Rings: The Two Towers, but not in a plagiaristic way; rather, in a AHHHH THE RUSTIC FIDDLES AND STUFF THEY MAKE ME FEEL NOBLE WHERE IS MY HORSE DAMMIT way.
In case you haven’t watched the show or heard the music (or even if you have, and you just want to listen again because you’re kind of obsessed with it, too), I’ve listed some of my favorite tracks below for your listening pleasure. If you like what you hear, you might want to check out the full score on iTunes or Amazon or your local media store. It’s great writing fodder. For that matter, it’s also great “How can I make cleaning my room more exciting?” fodder.
Now, if you’ll excuse me, A DANCE WITH DRAGONS awaits.
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“Main Title” - Obviously, this is the main title theme for the show, and contributes to one of the greatest title sequences I’ve ever seen. I mean, talk about an earworm. Combined with the sweeping, steampunkian map showcasing the various story locations, this infectious, stirring main theme sets the tone perfectly for what’s to come.
“The King’s Arrival” – This theme plays when King Robert, Queen Cersei, their children (…), and all their attendants make their grand entrance at Winterfell, home of the Stark family. Generally stoic and down-to-earth, the Stark family watches (the parents and older kids, uncomfortably; the younger kids, with awe) as this somewhat intimidating assemblage invades their privacy, setting off an unstoppable chain of tragic events. I love when the music gets somewhat blustery around 2:37; you can just picture red-faced Robert striding toward the Starks, right before he says to Ned, straight-faced: “You got fat.”
“Love in the Eyes” – In which the exiled princess Daenerys learns how to assert her power over the barbarian lord she was forced to marry. I love the primal, roiling rhythm, the menace of the drums, and, at 1:40, the crystalline tones that represent the dragon eggs and Dany herself. She may have been forced into an awful situation, but she manages to turn that same situation into something empowering.
“A Golden Crown” – Although I thought the scene with Viserys talking about dragons in the bath was kind of silly (but it is HBO, after all), the music playing while he spoke of the dragons of old and their massive skulls gives me chills every time. The role of the supernatural is at first minimal in this series, but this track hints at the magic yet to come.
“You’ll Be Queen One Day” – Poor Sansa. I’ll admit, she annoyed the frak out of me while I read A Game of Thrones, but I think her character arc will be one of the most interesting and potentially powerful ones by the end of the series. This track is delicate and lovely, just like Sansa, but the tragic undertones hint at the incredible hardship she will soon endure. I also love how, at :36, we hear a subdued, tender, and somewhat foreboding variation on the “King’s Arrival” theme, symbolizing Sansa’s deep love of the capital city and her daydreams of being a beautiful queen. A lot of people dislike Sansa, but I think the amount of courage she displays for someone so young and in such an impossible situation is staggering. Not all strength lies with a sword.
“Kill Them All” – From the last episode in the series, after the shock of the penultimate episode, this track practically aches with tragedy, grief, and the genesis of a bone-deep rage. I won’t say anything more than that so as to avoid spoilers, but the emotion in this track is definitely one of the highlights of the score. Coincidentally, this is one of the tracks that so reminds me of Howard Shore’s Rohan theme.
“The Pointy End” – This is quite possibly my favorite track, for what is quite possibly my favorite scene: Arya (quite possibly my favorite character) practicing with her “dancing master,” Syrio Forel. At first, the track is playful, inquisitive, energetic, and even somewhat childish — but danger lurks beneath that playful surface, most especially near the end of the track, as observing dad Ned Stark begins to imagine the clash of real swords instead of play ones.
“Finale” – This track accompanies the final scene of the season, which includes (and does in the book as well) one of the most powerful, jaw-dropping images ever, and the music is perfect. Beginning with the crystalline theme for Dany, the dragon eggs, and the Targaryen family, it transitions into an epic choral theme before finishing with the most emotional, poignant variation of the main title theme we’ve heard throughout the entire show. I remember that, when reading, I kept wondering how the ending could possibly compare to the shocker of an event that occurs about 3/4 of the way through the book. Well…this is how:
~*~
P.S. You should buy this score. Also, you should watch the show. But first, you should read the books. It is known.
Claire is a Texan living in New York City! She writes fantastical stories, and her daemon is an ocelot but sometimes a unicorn. When presented with the choice to high five or not to high five, she will always choose TO HIGH FIVE. Her first novel, THE CAVENDISH HOME FOR BOYS AND GIRLS, due out August 28, 2012 from Simon & Schuster BFYR, will probably give you nightmares. Or at the very least make you buy a nightlight. Her second novel, THE OCTOBER YEAR, due out Fall 2013, also from S&S, involves several ghosts, a girl obsessed with Death, and a rather irascible cat.
Claire is a Texan living in New York City! She writes fantastical stories, and her daemon is an ocelot but sometimes a unicorn. When presented with the choice to high five or not to high five, she will always choose TO HIGH FIVE. Her first novel, THE CAVENDISH HOME FOR BOYS AND GIRLS, due out August 28, 2012 from 
