We’ll just call this a Friday round up since I don’t really have anything to say. I just want to make sure I continue being a Tiny Pepper and post for Nano Poblano. It’s the 20th today, and I’ve almost made it through the entire month; I’d hate to break the streak now.
I also want to note that this week marked the birthday of one of my dear, dear friends from high school, whom I recently reconnected with on Facebook. Like so many of the people I spent those
wonderful, confusing, exciting, desperate years with, we lost touch. She got married, had kids, moved up to NorCal. . . all the usual stuff. The only reason I joined Facebook was to get back into touch in some small way with people like her, and I’m so glad I did. This is just a little shout out to her, because knowing she (and all the other old friends I found) are out there is such a nice thing.
It’s an appropriate song, in spite of the fact that Adele is singing about such heartbreak in it. I’m not heartbroken (one of the eternally pleasant byproducts of swearing off romance) about anything, and certainly not finding friends. But this is just an awesome song by an awesome artist. You might think that I’m a little behind since this has been making the rounds on the interwebs for a couple of weeks now, but the album just dropped today and I picked up a copy when I was at Target today; call it an early Christmas gift to myself. I’m very much looking forward to listening to the rest.
I have to go now, because the kettle is starting to whistle and I really want my cuppa.
Well, it’s that time of year again. The time I search for short films (animated and live action) on the Internet, and read plot summaries for documentaries. Time for the Academy Awards. See, my aunt holds an Oscar party every year–complete with ballots and prizes for whomever guesses the most winners correctly. I’ve won a couple of times, but last year I got beaten out by my nephew (damn kid). It’s great fun no matter what. Everyone has a fine time eating, drinking, and criticizing what everyone’s wearing (we’re not sexist about it either; the boys get criticized as much as the girls).
I usually at least sample all the Best Song nominees, too. This is one of those awards that usually has a clear front-runner–even if I don’t actually think it’s the best song from a film. Bob Dylan has an Oscar (for “Things Have Changed”). Eminem got one, too (“Lose Yourself” from 8 Mile). Disney movies seem to have the most Best Song awards, but that seems reasonable enough, considering how many of their films prominently feature music. Of course, the Academy has a history of bone-headed choices (don’t get me started on the “Against All Odds” fiasco). Original music from films has kind of taken a backseat to using songs that were already recorded somewhere else (one of the rules for nomination is that the song must be especially written for the film). But there’s one group of movies that always has an original song, and this year, that’s the front-runner for Oscar.
Adele has joined such popular music luminaries as Paul McCartney, Carly Simon, Shirley Bassey, and Duran Duran, and recorded the theme for a James Bond movie. I think “Skyfall” is actually one of the better Bond songs, but I’m a big Adele fan. It’s actually kind of mournful and ominous–and considering what I’ve heard about the movie, that’s pretty appropriate. It’s got the best chance of winning the award on Sunday, although the new song from Les Miserables stands a punter’s chance (Oscar does like musicals, after all). I’m voting for it, anyway.
Now, if you’ll excuse me, I’ve got to go do the rest of my Oscar research.
After visiting a local flea market with my aunt, a nice lunch out, and a nap, I got online to find out that beautiful, funny, foul-mouthed, powerhouse singer Adele has given birth to a son. You go, girl.
Adele sort of took over the world a couple of years ago when her second album just exploded onto the airwaves. A break-up album extraordinaire, 21 chronicles the anger and sadness that the end of any relationship leaves behind. “I Found a Boy” is the final track on the itunes version.
This acoustic song seems unassumingly gentle and sad at first. Until you listen to the words. She excoriates her ex for insinuating himself back into her life after she’s moved on, “look how you want me now that I don’t need you.” It’s a searing indictment of the kinds of emotional head games people play all the time. “I don’t want you , but I don’t want anybody else to have you.” We all think it, but it sounds so slimy and wrong in this song. The only instruments are a guitar and Adele’s voice, which lends an air of intimacy and immediacy to the tune. This feels real.
Of course, Adele’s reality has just changed drastically. She moved on from the broken relationship that inspired 21. She found happiness with Simon Konecki, and they made a beautiful little human together. (I don’t have to see pictures; all babies are beautiful.) She found a boy, all right. Congratulations to the happy family!
Sorry this post is so half-assed. I feel kinda crappy because my dad decided to share his cold.
The Awesome Voiced Diva torch was passed on at the 54th Grammy Awards. While everyone mourned the passing of Whitney Houston, Adele came out and performed for the first time since her surgery. She knocked it out of the park.
I was afraid her stunning voice wouldn’t be the same, but she didn’t disappoint.
Note: Link may disappear because of Youtube copyright issues. If it’s gone, I’m sure the performance can be found somewhere else. Or you can just get Adele’s album, 21.