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grand entrances, grand exits

working on a film is just the latest thing that's made me aware of the importance of music in establishing mood, making a statement about what action is occurring, the people involved and the reaction that the viewer is supposed to have. Melding music with action gives you a great deal of control over how a viewer, any viewer, perceives a scene, because the music is an important cue to how s/he should interpret what is going on. (Try this at home: Find a scene from a movie and turn off the sound off. Pick two songs that are very different from one another and related, at least tangentially, to what is going on in the scene.)

now wouldn't it be fun if you could set a soundtrack to your own life, to let those around you know how they should interpret what's happening? people might react differently at work if they heard the death star theme playing when they came to talk to you. of course, it could also get kind of noisy, but since we're strictly in the realm of the imaginary, let's have a little fun. what song would you choose for...

yourself (day-to-day)
yourself under stress
your love theme
making a dramatic entrance
birth if your child (personally, i'm taking ave satanas from the omen)
you in a moment of triumph
you in a moment of sadness
your funeral

answer whatever questions you like, all or just one (you might want to specify which category it belongs in though). let's see what you got...

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dj kali & mr. dna @ casa del popolo post-punk night

last night was a blast! a big thank you to dj tyg for letting us guest star on her monthly night, because we had a great time. my set was a little more reminiscent of the sets that i used to do at katacombes [i.e., less prone to strange meanderings than what you normally hear at the caustic lounge]. i actually invited someone to the night with the promise "don't worry, it'll be normal". which also gives you an idea of what to expect at the caustic lounge. behold my marketing genius.

mr. dna started off putting the "punk" into the night [which i think technically means i was responsible for the post, which doesn't sound quite so exciting]. i'd say that he definitely had the edge in the bouncy energy department.

many thanks to those who stopped in throughout the night to share in the tunes, the booze and the remarkably tasty nachos and a special thank you to the ska boss who stuck it out until the end of the night and gave our weary bones a ride home…

it continues... [part one]

so we're back at it with the democratic debates. last night saw cnn take their first crack at presenting ten candidates on one stage after msnbc led the charge last month. a lot of people were critical of the first debate because it seemed there were moments when moderators got such tunnel vision about keeping things moving that they stopped thinking about what was happening on stage. [the prime example being kamala harris having to insist that she be allowed to speak on the issue of racism, being the only person of colour on stage.] the other problem that many identified was that the time given to candidates wasn't even close to equal. i feel like cnn wasn't a lot better with the former, although they avoided any serious gaffes, and that they did an excellent job of fixing the latter. [that said, some of the outlying candidates might be wishing they hadn't had as much time as they did.] as with last time, i'll start off with a few general observations.

how importa…

making faces :: fall for all, part 2 [a seasonal colour analysis experiment]

well, installment one was the easy part: coming up with autumn looks for the autumn seasons. now we move into seasonal colour types that aren't as well-aligned with the typical autumn palette. first up, we deal with the winter seasons: dark, true and bright.

in colour analysis, each "parent" season- spring, summer, autumn, winter- overlap with each other season in one colour dimension- hue [warm/ cool], value [light/ dark] and chroma [saturated/ muted]. autumn is warm, dark and muted [relatively speaking], whereas winter is cool, dark and saturated. so you can see that the points of crossover in palettes, the places where you can emphasize autumn's attributes, is in the darker shades.

it's unsurprising that as fall transitions into winter, you get the darkest shades of all. we've seen the warmer equivalent in the dark autumn look from last time, so from there, as with all neutral seasons, we move from the warmer to the cooler cognate...