(no subject)

hurricanes seem to move quickly until you think of them on sort of a planetary scale. in a 24-hour period, Texas travels much, much farther than any texas-to-hurricane (or texas-to-anywhere-on-earth) distance.


it's like the earth is some drunk, dizzy sorority chick (four times the size of the moon) falling down a staircase, and hurricanes are skinspiders traveling the rate of a conglomeration-of-cells per hour, scraping up the edible material in the Gulf of Zygomatic Arch and gaining strength before making hairfall at the Temporomandibular Joint (which was sacked and looted by a similar skinspider in the year 1900).


so. you know. basic hurricane prevention: wash your damn face, you dipsomaniacal-albeit-saved-from-the-terrible-secret-of-space ( two-legs )

whose mass makes all sorts of tricky gravitational math problems possible.

(no subject)

[Antonio Vivaldi - Gloria in D Major, RV 589: VIII. Qui tollis peccata mundi] is only about [one minute] long, but if I could only write one minute of music in my life, I wouldn't mind having that one minute be this minute. I hardly think of it as a song; it's more of an effect (in the sense, say, that Strauss's inimitable Also Sprach Zarathustra is less a song than an effect).

The soprano line is used to brutal emotional (whining?) effect around 15s, and to structural flippancy at 20s with its preview of the following bit of text. i mean, may as well just yell "OMGOMG RON KILLS LUNA ON PAGE TWENTY-SIXTY-ELEVENDY-FOUR LOL" and get it over with. (note how angry the rest of the choir sounds after the information sinks in?) but really, the soprano line is the rock star of this whole violent mayhem. which is interesting, as i do not hear it as being the melody in the latter half.

not that one may discount the other voices; no one's dying of SIDS in /that/ cradle of love. (. . . i'm going to hell, aren't I.) even the Picardy third at the end (49s)- which, under normal circumstances, I consider to be a violent, mocking stomp to my musical jaw- is appropriately used. the strong perfect-authentic cadence which occurs a few bars before the ending (37s-40s) is what hands Vivaldi a Jump-Into-Pants-Of-Parallel-Major-Free card; he can have a fling with that major third because he's had such appropriate public closure with the minor tonality. besides, the altos were total bitches for not leaving well enough alone at 41s and instead going and gossiping around about the breakup.. in my book, by THAT point, Antonio can do whatever the hell he pleases with his tonic chord in the privacy of his own Gloria, and no one has a right to judge him. Not even Mr. Groatman.

It took me about ten times hearing it to really begin to appreciate it... but it's really quite exceptional. or really boring, if that's your call on it. I'm not going to pluck anyone's eyelashes over something like a little baroque music. (not an idiomatic expression, and for good reason, but that doesn't mean i can't use it theoretically.)

aack.