There is nothing like Christmas in Utah.
Outside we're nearly freezing,
While we're singing, fa-la-la-la-la-la,
There is nothing like Christmas in Utah.
Scenes from a Christmas card.
Colored lights shine from Temple Square to Layton Park,
Brightening up the drive in the dark.
A state perfect for a Christmas card.
Farr's peppermint ice cream,
Lil Smokies, and deviled eggs for eating,
While we wrap presents with red bows.
Sugar plums invading our dreams.
A warm state surrounded by mountains of snow.
There is nothing like Christmas in Utah,
With snow and the spirit, blessing our land,
Walking while hand in hand.
There is nothing like Christmas in Utah,
With snow and the spirit, blessing our land,
Walking while hand in hand.
There is nothing like Christmas,
There is nothing like Christmas,
There is nothing like Christmas in Utah.
A state inspiring our souls
Music dancing in our radios,
And playing the church pianos.
A state inspiring our souls.
Shopping for others,
Skiing, sledding, and snowboarding,
Lots of fun places to roam.
Holding all children, fathers, and mothers,
This is our heavenly home.
Chorus
*** Synopsis: A song about Christmas in Utah.
Tuesday, November 30, 2010
Real Alarms Don't Beep
San Francisco, California,
A hotel tangled in the trees.
Cookie crumbs on our pillows at eleven,
Beep, beep, beeping at three.
Groans, walks, and evacuations,
Hundreds yawning in the street,
Out in the parking lot in pajamas,
Waiting for the false alarm's defeat.
Miami, Florida,
Suite next to a moon river.
Sandwich wrappers on the coffee table.
Beep, beep, beeping on our floor,
The only room in the whole hotel.
Waiting for the false alarm's silencer,
Repairman's away, driving the shuttle bus
We sit, watching the aquarium, in lobby chairs.
No false machine's beeping
Can compare to real alarm,
Smoke monsters invading oxygen,
Glowing fire down the mountain,
Yards away from my backyard.
The most real alarms don't beep.
Math building,
Writing puzzles on a test.
Beep, beep, beeping in the middle,
A pause to build up false stress,
Unplanned field trip on the last day.
A pesky student trying to create a jest.
Guess he wasn't prepared,
Needing extra time to rest.
Art building,
Projecting paint on mask.
Beep, beep, beeping
Twice in same class.
My brush drying in water,
Sitting uphill on the grass,
Here comes the fire truck again.
How long will this false alarm last?
Chorus
*** Synopsis: A song about how fires are the scariest when there is no beeping alarms.
Monograph
In the first verse, I took out one of the "beeps" in the fourth line and I changed "And parking lot in our pajamas" to "Out in the parking lot in pajamas." Wherever the word "alarm" appears in a verse, I added the word "false" in front of it, to make the point of the song more evident. In the second verse, I changed "The repairman away on the shuttle bus" to "Repairman's away, driving the shuttle bus," to make it less confusing. I also changed "Watching aquariums in lobby chairs" to "We sit, watching the aquarium, in lobby chairs."
In the chorus, I omitted "alarms' in "No false machine alarm's beeping" to make it "No false machine's beeping." I changed "Can compare to my eyes" to "Can compare to real alarm," to add further emphasis on the difference between false and real alarms. I changed "Smoke monsters invading my patio" to "Smoke monsters invading my oxygen," because I thought smoke ruining air would be a more fitting metaphor.
In my Layton neighborhood in 2007, one of my neighbors from up the street decided to burn bush in her backyard and started a huge fire that burned most of the mountain between two neighborhoods. Luckily for her, it started raining and put out most of the fire before it burned down any houses. Seeing fire on the mountain and tons of black smoke in my backyard was way more scary experience than hearing a smoke alarm or detector go off. I changed "Glowing runners down the mountain," to "Glowing fire down the mountain," because I thought the word fire need to be added to show more evidence of the point I am trying to make. I changed the last line of the chorus and the title from "The most alarming, alarms are silent" to "The most real alarms don't beep."
I didn't add anything or subtract anything from the third verse. In the fourth verse, I changed the line from "My brush dying in water," to "My brush drying in water," to emphasize the time I had been away from the building, waiting for the alarm to go off. I also added the false to make it say, "How long will this false alarm last?"
A hotel tangled in the trees.
Cookie crumbs on our pillows at eleven,
Beep, beep, beeping at three.
Groans, walks, and evacuations,
Hundreds yawning in the street,
Out in the parking lot in pajamas,
Waiting for the false alarm's defeat.
Miami, Florida,
Suite next to a moon river.
Sandwich wrappers on the coffee table.
Beep, beep, beeping on our floor,
The only room in the whole hotel.
Waiting for the false alarm's silencer,
Repairman's away, driving the shuttle bus
We sit, watching the aquarium, in lobby chairs.
No false machine's beeping
Can compare to real alarm,
Smoke monsters invading oxygen,
Glowing fire down the mountain,
Yards away from my backyard.
The most real alarms don't beep.
Math building,
Writing puzzles on a test.
Beep, beep, beeping in the middle,
A pause to build up false stress,
Unplanned field trip on the last day.
A pesky student trying to create a jest.
Guess he wasn't prepared,
Needing extra time to rest.
Art building,
Projecting paint on mask.
Beep, beep, beeping
Twice in same class.
My brush drying in water,
Sitting uphill on the grass,
Here comes the fire truck again.
How long will this false alarm last?
Chorus
*** Synopsis: A song about how fires are the scariest when there is no beeping alarms.
Monograph
In the first verse, I took out one of the "beeps" in the fourth line and I changed "And parking lot in our pajamas" to "Out in the parking lot in pajamas." Wherever the word "alarm" appears in a verse, I added the word "false" in front of it, to make the point of the song more evident. In the second verse, I changed "The repairman away on the shuttle bus" to "Repairman's away, driving the shuttle bus," to make it less confusing. I also changed "Watching aquariums in lobby chairs" to "We sit, watching the aquarium, in lobby chairs."
In the chorus, I omitted "alarms' in "No false machine alarm's beeping" to make it "No false machine's beeping." I changed "Can compare to my eyes" to "Can compare to real alarm," to add further emphasis on the difference between false and real alarms. I changed "Smoke monsters invading my patio" to "Smoke monsters invading my oxygen," because I thought smoke ruining air would be a more fitting metaphor.
In my Layton neighborhood in 2007, one of my neighbors from up the street decided to burn bush in her backyard and started a huge fire that burned most of the mountain between two neighborhoods. Luckily for her, it started raining and put out most of the fire before it burned down any houses. Seeing fire on the mountain and tons of black smoke in my backyard was way more scary experience than hearing a smoke alarm or detector go off. I changed "Glowing runners down the mountain," to "Glowing fire down the mountain," because I thought the word fire need to be added to show more evidence of the point I am trying to make. I changed the last line of the chorus and the title from "The most alarming, alarms are silent" to "The most real alarms don't beep."
I didn't add anything or subtract anything from the third verse. In the fourth verse, I changed the line from "My brush dying in water," to "My brush drying in water," to emphasize the time I had been away from the building, waiting for the alarm to go off. I also added the false to make it say, "How long will this false alarm last?"
Random Lines
I gave you everything
You gave me nothing
They started out in the same airport
She took off while he just landed
Money and power mean more than love
She's off in the clouds leaving him grounded
I'd be sitting pretty, I'd be feeling fine
If I had a dust pan and laundry matt
If I had a dust pan and laundry matt
I'm sure my love would come back
He wants love, she don't.
She wants change, he won't.
Now in this moment
Our hearts are bent
We're feeling blue
We've been down this road before
Had our hearts broken in two
Here you are walking through my door
Thoughts clearing into few
I can't take it anymore
We need a different view
You've been buying presents
And sending them away to mail
Hoping to please,
But none of them are for me
Give me another chance
Before you strike a match
So if your life is troubled
And you can't sing along
Listen to another lyric
So you can clear the static
You dumped me and I feel sad
I hold your door
I gave you a key
Please move in already
You're the lock for me
Hope leaves us and doesn't say goodbye
Cotton candy clouds
The heart of my life needs a transplant
On the road of life, there are no rest stops
The music pulled me into the room
Full of melody and a tune
Harmony starts to flow
Rhythm tells me not to go
But I have obligations at home
I don't want to leave the beauty
I like music more than reality
I fight a lot with you
To think you could be tame
Stars melt in the sky
I taste your lips
I hug your fingertips
You are a wonderful sight
You gave me nothing
They started out in the same airport
She took off while he just landed
Money and power mean more than love
She's off in the clouds leaving him grounded
I'd be sitting pretty, I'd be feeling fine
If I had a dust pan and laundry matt
If I had a dust pan and laundry matt
I'm sure my love would come back
He wants love, she don't.
She wants change, he won't.
Now in this moment
Our hearts are bent
We're feeling blue
We've been down this road before
Had our hearts broken in two
Here you are walking through my door
Thoughts clearing into few
I can't take it anymore
We need a different view
You've been buying presents
And sending them away to mail
Hoping to please,
But none of them are for me
Give me another chance
Before you strike a match
So if your life is troubled
And you can't sing along
Listen to another lyric
So you can clear the static
You dumped me and I feel sad
I hold your door
I gave you a key
Please move in already
You're the lock for me
Hope leaves us and doesn't say goodbye
Cotton candy clouds
The heart of my life needs a transplant
On the road of life, there are no rest stops
The music pulled me into the room
Full of melody and a tune
Harmony starts to flow
Rhythm tells me not to go
But I have obligations at home
I don't want to leave the beauty
I like music more than reality
I fight a lot with you
To think you could be tame
Stars melt in the sky
I taste your lips
I hug your fingertips
You are a wonderful sight
Lives of the Saints by Jeannette Winterson
In "Lives of the Saints" by Jeannette Winterson, there are four intertwining stories of the narrator, the narrator with the woman, the Jews and their pasta machine, and the woman's impregnated affair with her handyman. I believe the narrator of all the stories is one person, who interacted with all these people in his or her world. It could be the story of his or her life, from one decade or life to next, and him processing it beyond death.
The title comes from a quote from Saint Teresa of Ávila, who says, "In the lives of saints I look for confirmation of excess. . .They know there is no passion without pain." I believe she is saying this, because everybody must hurt in order to know joy and every saint has sinned. I wondered if the author was saying that just because someone might sin, that doesn't make them ineligible to be a saint? I believe these stories show a degree of righteousness on all levels and how they can become saints if they repent.
I believe the title is a reference to modern day people being compared to the saints of the past. There are references from the Bible such as Shadrach, Meshach, and Abednego, the "desert," "black coats and black hats," and Saint Teresa of Ávila, as examples of saintly figures and locations of stories of the past. I was unfamiliar to most of these people, so I'm glad the footnotes summarized their stories. There is also two references to Leonardo Da Vinci, which I took as symbol for people who view the world and make designs based on it.
I looked at the "we" of the story, as trinity of God, death, and/or guardian angels watching these people, especially since the woman was "oblivious" to the narrator, but slowly began to see and hear more from her obsessed follower. Maybe she wasn't saintly enough to see him at first, but then slowly became righteous. I believe her telling the narrator about her affair is a confession of her sins. As I was reading these stories, they felt like they had familiar resemblances to the parable of the Good Samaritan, and the story of the Virgin Mary. I don't know if the author was trying to emulate those stories or not.
The magic realism in the story is the distance between heaven and earth. There is a dream like quality to these stories, and even the narrator says, "Time is not constant" and "we walked through the hours," making me wonder if time for the narrator moves faster than the living people he interacts with in these stories. The narrator says, "The sun also diminishes the pupils to pinpricks, letting the light in less," making it seem like we are blinded by the light. He or she also says, "When we can hardly see we are most like to fall in love," as if when we are farther from God, we follow our passions.
There are references to "moats," the sky, a "magic kingdom," candles, which makes me think of Gothicism, magic, and fairy tales. The narrator says, "The world itself with roll up like a scroll taking time and space away," making the world seem temporary like a dream. I wondered if the narrator is telling us, we can be a saint or a sinner, but it won't matter anyway once we're dead.
The title comes from a quote from Saint Teresa of Ávila, who says, "In the lives of saints I look for confirmation of excess. . .They know there is no passion without pain." I believe she is saying this, because everybody must hurt in order to know joy and every saint has sinned. I wondered if the author was saying that just because someone might sin, that doesn't make them ineligible to be a saint? I believe these stories show a degree of righteousness on all levels and how they can become saints if they repent.
I believe the title is a reference to modern day people being compared to the saints of the past. There are references from the Bible such as Shadrach, Meshach, and Abednego, the "desert," "black coats and black hats," and Saint Teresa of Ávila, as examples of saintly figures and locations of stories of the past. I was unfamiliar to most of these people, so I'm glad the footnotes summarized their stories. There is also two references to Leonardo Da Vinci, which I took as symbol for people who view the world and make designs based on it.
I looked at the "we" of the story, as trinity of God, death, and/or guardian angels watching these people, especially since the woman was "oblivious" to the narrator, but slowly began to see and hear more from her obsessed follower. Maybe she wasn't saintly enough to see him at first, but then slowly became righteous. I believe her telling the narrator about her affair is a confession of her sins. As I was reading these stories, they felt like they had familiar resemblances to the parable of the Good Samaritan, and the story of the Virgin Mary. I don't know if the author was trying to emulate those stories or not.
The magic realism in the story is the distance between heaven and earth. There is a dream like quality to these stories, and even the narrator says, "Time is not constant" and "we walked through the hours," making me wonder if time for the narrator moves faster than the living people he interacts with in these stories. The narrator says, "The sun also diminishes the pupils to pinpricks, letting the light in less," making it seem like we are blinded by the light. He or she also says, "When we can hardly see we are most like to fall in love," as if when we are farther from God, we follow our passions.
There are references to "moats," the sky, a "magic kingdom," candles, which makes me think of Gothicism, magic, and fairy tales. The narrator says, "The world itself with roll up like a scroll taking time and space away," making the world seem temporary like a dream. I wondered if the narrator is telling us, we can be a saint or a sinner, but it won't matter anyway once we're dead.
The Office (UK)
While watching "Pilot" episode of The Office, I thought it was very similar to the American version. I have seen every episode of the American version, but haven't watched the British one before. I think the American producers did a pretty good job adapting and casting the pilot to make the characters, setting, and premise seem similar. It would be interesting to see how much all the other versions throughout the world relate to the original as well.
There were similar jokes such as putting staplers into jell-o and David fake firing Dawn for stealing post-it notes. There is a lot of unprofessional behavior coming from the employees, but mostly it is Brent that reminds us a "real bosses." David seeks validation from his co-workers, looking to be friends instead of a boss.
I noticed that David Brent comes up with funny nicknames for himself, like "Brent Master General" and makes up puns for other people's names like Michael Scott does. I find both Ricky Gervais and Steve Carell both hysterical and they both make both their characters outrageous and goofy. Sometimes they make me cringe, but other times I find them loveable.
Like Are You Being Served? and Fawlty Towers, The Office also has humor based on awkward situations and workplace behavior. They all feature bosses with narcissistic personalities who try either to befriend or annoy their coworkers. This episode dealt with themes such as middle class, identity, and gender roles in the office with a woman as a receptionist and as a corporate boss.
There were references to downsizing, Ali G, calling people "mental," the singing fish on the wall and the "wassup?" and the show being set up like a mockumentary reality show are pop culture references to the 2000's. The only British reference I really picked up on was the characters calling jell-o, "jelly."
There were similar jokes such as putting staplers into jell-o and David fake firing Dawn for stealing post-it notes. There is a lot of unprofessional behavior coming from the employees, but mostly it is Brent that reminds us a "real bosses." David seeks validation from his co-workers, looking to be friends instead of a boss.
I noticed that David Brent comes up with funny nicknames for himself, like "Brent Master General" and makes up puns for other people's names like Michael Scott does. I find both Ricky Gervais and Steve Carell both hysterical and they both make both their characters outrageous and goofy. Sometimes they make me cringe, but other times I find them loveable.
Like Are You Being Served? and Fawlty Towers, The Office also has humor based on awkward situations and workplace behavior. They all feature bosses with narcissistic personalities who try either to befriend or annoy their coworkers. This episode dealt with themes such as middle class, identity, and gender roles in the office with a woman as a receptionist and as a corporate boss.
There were references to downsizing, Ali G, calling people "mental," the singing fish on the wall and the "wassup?" and the show being set up like a mockumentary reality show are pop culture references to the 2000's. The only British reference I really picked up on was the characters calling jell-o, "jelly."
Tuesday, November 23, 2010
Set a Place for You
We could have
A giant table,
White cloth and candles,
Turkey shaped salt shakers.
Leaves lining the middle.
More chairs than we can handle,
But they couldn't replace you.
All these Thanksgiving decorations,
Food, people. and attractions,
Don't make me miss you any less.
(Don't make me miss you any less)
I wish I could set,
Set a place for you.
We could have
Pineapple lime jell-o,
Turkey and potatoes,
Grape juice mixed with soda,
Pumpkin pie with crusted bows.
Made from scratch, buttered rolls,
But they couldn't replace you.
Chorus
We could be
In Las Vegas at a buffet,
Riding rides at Disney,
Driving up to Idaho,
To a cabin by a lake.
Or cruising the bay,
But they couldn't replace you.
Don't make me miss you any less.
(Don't make me miss you any less)
(Don't make me miss you any less)
A giant table,
White cloth and candles,
Turkey shaped salt shakers.
Leaves lining the middle.
More chairs than we can handle,
But they couldn't replace you.
All these Thanksgiving decorations,
Food, people. and attractions,
Don't make me miss you any less.
(Don't make me miss you any less)
I wish I could set,
Set a place for you.
We could have
Pineapple lime jell-o,
Turkey and potatoes,
Grape juice mixed with soda,
Pumpkin pie with crusted bows.
Made from scratch, buttered rolls,
But they couldn't replace you.
Chorus
We could be
In Las Vegas at a buffet,
Riding rides at Disney,
Driving up to Idaho,
To a cabin by a lake.
Or cruising the bay,
But they couldn't replace you.
Don't make me miss you any less.
(Don't make me miss you any less)
(Don't make me miss you any less)
Thursday, November 18, 2010
A Curse Without A Cure
My eyes are frozen open,
Shadows dance around my bed,
I suffer hallucinations,
Anxiety popping into my head.
My legs are restless pests,
Wanting to kick the covers.
I share words with the darkness,
About friends, enemies, and lovers.
I must be an insomniac,
For I can never fall asleep,
Between ten and two,
Before the dawn is back.
I, like the shadows, creep,
Not having any dreaming to do.
Perhaps it is my destiny,
Becoming a creature running,
Up and down the stairs,
Trying to exist without care.
Reckless in the middle,
Not holding on to the handle.
There's nothing to dream about,
between eleven and light.
Six knocking on my door,
A curse without a cure.
When I'm able to dream,
It's usually a nightmare.
Flashbacks of horror movies,
I shouldn't have watched, but I dared.
Feeling what the world is like,
When everyone else is asleep,
Is incredible divine,
But I'd rather not make a peep.
Bridge
Chorus
*** Synopsis: Song about not being able to sleep at night.
Shadows dance around my bed,
I suffer hallucinations,
Anxiety popping into my head.
My legs are restless pests,
Wanting to kick the covers.
I share words with the darkness,
About friends, enemies, and lovers.
I must be an insomniac,
For I can never fall asleep,
Between ten and two,
Before the dawn is back.
I, like the shadows, creep,
Not having any dreaming to do.
Perhaps it is my destiny,
Becoming a creature running,
Up and down the stairs,
Trying to exist without care.
Reckless in the middle,
Not holding on to the handle.
There's nothing to dream about,
between eleven and light.
Six knocking on my door,
A curse without a cure.
When I'm able to dream,
It's usually a nightmare.
Flashbacks of horror movies,
I shouldn't have watched, but I dared.
Feeling what the world is like,
When everyone else is asleep,
Is incredible divine,
But I'd rather not make a peep.
Bridge
Chorus
*** Synopsis: Song about not being able to sleep at night.
Ab Fab
While watching "the Birthday" episode of AbFab, I thought it was funny because the characters were so outrageous. I thought there were a lot of stereotypical and funny characters like the other two sitcoms. It was very similar to Fawlty Towers and Are You Being Served?, because they all deal with the dysfunction of relationships and funny, outspoken characters. The characters all seem to have dry wit and insult their friends with their tongues. Like Are You Being Served?, it ended with the characters singing, which is sort of a happy ending.
The main character, Edina has turned forty and made jokes about dying and menopause, asking her daughter, "Do you think we ought to get some hormone replacement packs in for emergencies?" Her house is being paid for by her two ex-husbands and she only uses to the "cooker" to light her cigarettes.
Edina is very narcissistic, talking to her daughter about her birthday, "This is something that is happening to me. This is something that I've got to deal with, alright. I'm sorry if that sounds selfish, but it's me, me, me!" I think her dreading her age is very relatable, but she became slightly annoying by going over the top with her loony antics.
Her daughter, Saffron, seems like the maid, chef, and mother figure for her. I thought it was mean when Edina told her daughter that her son is her "pride and joy." When Edina's mother arrives, she tells Saffron she'd "rather kiss a baboon's bottom" than spend actual time with her daughter. Edina doesn't seem to get along with any of her friends but Patsy. This sitcom is poking fun at families, generational gaps, and friendship circles.
There are several references to the 1990's within the show. Patsy and Edina's fashion and big beehive hair and curls reminds me of Madonna and Cher. Edina is wearing a green earth sweatshirt with a question mark and she eats "vegetarian tarts." She has a gay white ex-husband with a black boyfriend and she says to the audience, "all my friends are gay." Edina makes fun of "The Waltons."
Edina and Patsy talk about how much they dislike Morgan Fairchild, Jane Fonda, Kathleen Turner, and Marisa Berenson. They also talk about how everyone their age are getting plastic surgery to enhance their faces and breasts. At the end of the episode, Edina and Patsy sing karaoke after smoking marijuana, which is very relevant for the time period. Communication, gender roles, sexual identity, feminism, humor, and class are contemporary themes and issues appearing in this sitcom.
The main character, Edina has turned forty and made jokes about dying and menopause, asking her daughter, "Do you think we ought to get some hormone replacement packs in for emergencies?" Her house is being paid for by her two ex-husbands and she only uses to the "cooker" to light her cigarettes.
Edina is very narcissistic, talking to her daughter about her birthday, "This is something that is happening to me. This is something that I've got to deal with, alright. I'm sorry if that sounds selfish, but it's me, me, me!" I think her dreading her age is very relatable, but she became slightly annoying by going over the top with her loony antics.
Her daughter, Saffron, seems like the maid, chef, and mother figure for her. I thought it was mean when Edina told her daughter that her son is her "pride and joy." When Edina's mother arrives, she tells Saffron she'd "rather kiss a baboon's bottom" than spend actual time with her daughter. Edina doesn't seem to get along with any of her friends but Patsy. This sitcom is poking fun at families, generational gaps, and friendship circles.
There are several references to the 1990's within the show. Patsy and Edina's fashion and big beehive hair and curls reminds me of Madonna and Cher. Edina is wearing a green earth sweatshirt with a question mark and she eats "vegetarian tarts." She has a gay white ex-husband with a black boyfriend and she says to the audience, "all my friends are gay." Edina makes fun of "The Waltons."
Edina and Patsy talk about how much they dislike Morgan Fairchild, Jane Fonda, Kathleen Turner, and Marisa Berenson. They also talk about how everyone their age are getting plastic surgery to enhance their faces and breasts. At the end of the episode, Edina and Patsy sing karaoke after smoking marijuana, which is very relevant for the time period. Communication, gender roles, sexual identity, feminism, humor, and class are contemporary themes and issues appearing in this sitcom.
Tuesday, November 16, 2010
Perfect Record
A cool pool in the summertime.
The deep end looking' grim,
Jumping off the board like I'm a dime,
Am I going to sink or swim?
Floating in the waves,
I see Sal is on duty,
I hope that he really behaves,
Watching all the guests, not just the cuties.
How could I not feel safe,
At a life guarder's party?
Carrying cans in my swim trunks,
Too much beer and I'm drunk,
Is the pool spinning me in a blender?
As my head goes under,
As my head goes under,
As my head goes under.
So I put my arms up,
But they didn't seem to care.
I'm frantically screaming,
but the dance music keeps on playing,
Who knew I was at a deadly resort?
So I put my arms up,
But they didn't seem to care.
They're too busy celebrating,
Their summer of no drowning,
And I'm ruining their perfect record.
And I'm ruining their perfect record.
I wait for rescue, but no whistle chimes.
I'm passing people, face down,
They say, "Who's that guy, whose body is lime?,
He must have drowned."
I see my body in the deep end, while I'm standing outside the pool
Whatever dream this is, it isn't cool
That's when Sal gets off his high chair
And he tries to do CPR.
And he tries to do CPR.
And he tries to do CPR.
Chorus
Feeling detached from my body,
I know something is not right.
I try to say to Sal, "I'm okay,"
"But could someone turn off that spotlight?"
Chorus
*** Synopsis: Song about a drowning victim at a lifeguard's party.
The deep end looking' grim,
Jumping off the board like I'm a dime,
Am I going to sink or swim?
Floating in the waves,
I see Sal is on duty,
I hope that he really behaves,
Watching all the guests, not just the cuties.
How could I not feel safe,
At a life guarder's party?
Carrying cans in my swim trunks,
Too much beer and I'm drunk,
Is the pool spinning me in a blender?
As my head goes under,
As my head goes under,
As my head goes under.
So I put my arms up,
But they didn't seem to care.
I'm frantically screaming,
but the dance music keeps on playing,
Who knew I was at a deadly resort?
So I put my arms up,
But they didn't seem to care.
They're too busy celebrating,
Their summer of no drowning,
And I'm ruining their perfect record.
And I'm ruining their perfect record.
I wait for rescue, but no whistle chimes.
I'm passing people, face down,
They say, "Who's that guy, whose body is lime?,
He must have drowned."
I see my body in the deep end, while I'm standing outside the pool
Whatever dream this is, it isn't cool
That's when Sal gets off his high chair
And he tries to do CPR.
And he tries to do CPR.
And he tries to do CPR.
Chorus
Feeling detached from my body,
I know something is not right.
I try to say to Sal, "I'm okay,"
"But could someone turn off that spotlight?"
Chorus
*** Synopsis: Song about a drowning victim at a lifeguard's party.
Step on Me
They hide in the shadows,
Waiting for me.
My eyes look around,
Searching for safety.
My eyes look around,
Searching for safety.
I tell myself to run,
As voices come closer.
Slow footsteps behind me,
Taunting whispers.
Slow footsteps behind me,
Taunting whispers.
I wish I could fight back, telling them,
Leave me alone.
They trip me, push me, call me names,
Trying to step on me.
I wish I could fight back, telling them,
Leave me alone.
They trip me, push me, call me names,
Trying to step on me.
They can see the dread,
On my face.
Prowling the sidewalk,
Loving the chase.
Prowling the sidewalk,
Loving the chase.
Chorus
Looking for trouble,
Their smiles are bent.
I'm screaming inside,
But surface silent.
I'm screaming inside,
But surface silent.
They try to put me down,
But they are wrong.
I tell myself,
That I am strong.
They aren't worth getting upset over,
I am strong.
They aren't worth getting upset over,
I am strong.
Chorus
You bullies,
Just leave, leave me alone
Trip me, push me, call me names
Trying to step on me.
But on this walk of life,
Nobody will ever step,
Step on me.
*** Synopsis: Song about bullies who used to call me "Step-On-Me" instead of Stephanie.
Waiting for me.
My eyes look around,
Searching for safety.
My eyes look around,
Searching for safety.
I tell myself to run,
As voices come closer.
Slow footsteps behind me,
Taunting whispers.
Slow footsteps behind me,
Taunting whispers.
I wish I could fight back, telling them,
Leave me alone.
They trip me, push me, call me names,
Trying to step on me.
I wish I could fight back, telling them,
Leave me alone.
They trip me, push me, call me names,
Trying to step on me.
They can see the dread,
On my face.
Prowling the sidewalk,
Loving the chase.
Prowling the sidewalk,
Loving the chase.
Chorus
Looking for trouble,
Their smiles are bent.
I'm screaming inside,
But surface silent.
I'm screaming inside,
But surface silent.
They try to put me down,
But they are wrong.
I tell myself,
That I am strong.
They aren't worth getting upset over,
I am strong.
They aren't worth getting upset over,
I am strong.
Chorus
You bullies,
Just leave, leave me alone
Trip me, push me, call me names
Trying to step on me.
But on this walk of life,
Nobody will ever step,
Step on me.
*** Synopsis: Song about bullies who used to call me "Step-On-Me" instead of Stephanie.
Friday, November 12, 2010
Open Mic
On Friday, I went to the open mic night at Grounds for Coffee in Clearfield for my songs lyrics class. There was about thirty people in the building and sitting outside on the patio. I'd never been to an open mic night before, so I didn't really know what to expect. We saw about four musical acts in the hour we were there. There was a rock band playing with five people, performing "Aqualung" by Jethro Tull with lots of musical interludes. The next performer was a guy named Darren, who was probably my favorite performer of the night, performing two original songs and then "It's Probably Me" by Sting. Then came the country western band of three men who performed renditions of "I'm No Stranger to the Rain" by Keith Whitley, "You Are My Sunshine, " and "Just a Closer Walk with Thee." The last group I saw was a family of three: a dad playing guitar, a son playing, and a daughter singing "House of the Rising Sun."
Wednesday, November 10, 2010
Tuesday, November 9, 2010
Apologize by One Republic & Timbaland
"Apologize" by OneRepublic, is a breakup song about appreciating what you have before it is gone and how hard it is to forgive and forget. I chose to analyze this song, because the message of the song is very relatable to someone who has been hurt by people and how difficult it is to be reminded of what happened every time you see them or hear about them. We as humans, want to lash out at the ones who have hurt us, telling them exactly how they have made us feel. I feel like that's what the singer is doing in this song.
The first verse is the back story of the relationship up to the moment where the singee dumped the singer. "I'm hangin' on your rope,/ Got me ten feet off the ground," is a metaphor to the singer having a natural high from his relationship with the singee, where his life is wonderful and they had no known problems. It could also be a reference to how bonded he once felt to her or how now he wants to hang himself because of all of her drama. He puts his relationship with her on a pedestal where there is only room for breaking.
"And I'm hearin' what you say,/ But I just can't make a sound," is about the silence of a shocking realization that the relationship is over and the relationship was not as happy as he thought it was. The singee wasn't feeling the same high when it came to the relationship, only feeling the lows. He makes another reference to the rope, saying, "You tell me that you need me,/Then you go and cut me down...," which made me wonder if she was abusive to him during their relationship or she ruined every happy moment by being moody and overly emotional. A lot of girls expect to have a fairy tale romance and wonder why their guys don't act like princes or treat them like a princess every moment of everyday.
"But wait. . ./ You tell me that you're sorry," makes it seem like the singee woke up and realized what she was losing while she was breaking up with him or she realized it shortly after. He builds a climb to the chorus at the end of the verse by saying, "Didn't think I'd turn around.../ And say...," alluding to the fact that sometimes there are no second chances and how he finally stood up for himself after a long period of time of neglect or abuse. People can't expect to not have consequences to their actions, especially if it involves hurting the ones who love them.
The chorus repeats "too late" four times in its five lines, trying to emphasize what's done is done. She can try to "apologize" all she wants, but her apologies aren't going to change the hurt he feels for the way she treated him, or make him forget. The way he adds "yeah!" as the end line, it makes it seem like he is trying to talk himself into sticking with his decision, tempted to go back to her, because he still loves her, but knowing deep down he is making the right decision.
The second verse is about how he made his decision to leave her behind and her reaction. "I'd take another chance,/ Take a fall, take a shot for you," seems like he is contemplating what would happen if he gave her another chance, wondering if she would hurt him again. "I need you like a heart needs a beat, But it's nothin' new," is referencing how his life is hard without her in it, but his life would be hard with her in it as well. "I loved you with a fire red,/ Now it's turnin' blue..." is emphasizing the love he had for her is dying, lessening over the time they've been apart. He makes it seem like he resents her now.
He tells us about the singee's reaction to his decision, "And you say. . .Sorry, you're not the angel/Heaven let me think was you...," I was a little confused by all of the uses of "you'" in these sentences, but I think she is saying, is she isn't as perfect as he thought she was, which would make sense in relation to the pedestal back story. Maybe he was expecting her to be perfect, and when she revealed her true colors, he ran, not being able to deal with the reality of the situation either. If that is so, then the relationship ending was both of their faults, because of their impossible expectations. He says, "But I'm afraid...," before he leads into the chorus again, emphasizing his fear of her hurting again and the fact that the relationship is over.
The last verse is a combination of lines from the first verse and the chorus. By having "I'm holdin' on your rope,/ got me ten feet off the ground," as the first and last two lines of the song overall,. The second time he says it feels like he's critiquing himself for being so hung up on a girl or taunting her directly. I think he is using these lines as his overall message, saying, "See what fun we used to have and how much I cared about you. Well too bad you blew it!"
The first verse is the back story of the relationship up to the moment where the singee dumped the singer. "I'm hangin' on your rope,/ Got me ten feet off the ground," is a metaphor to the singer having a natural high from his relationship with the singee, where his life is wonderful and they had no known problems. It could also be a reference to how bonded he once felt to her or how now he wants to hang himself because of all of her drama. He puts his relationship with her on a pedestal where there is only room for breaking.
"And I'm hearin' what you say,/ But I just can't make a sound," is about the silence of a shocking realization that the relationship is over and the relationship was not as happy as he thought it was. The singee wasn't feeling the same high when it came to the relationship, only feeling the lows. He makes another reference to the rope, saying, "You tell me that you need me,/Then you go and cut me down...," which made me wonder if she was abusive to him during their relationship or she ruined every happy moment by being moody and overly emotional. A lot of girls expect to have a fairy tale romance and wonder why their guys don't act like princes or treat them like a princess every moment of everyday.
"But wait. . ./ You tell me that you're sorry," makes it seem like the singee woke up and realized what she was losing while she was breaking up with him or she realized it shortly after. He builds a climb to the chorus at the end of the verse by saying, "Didn't think I'd turn around.../ And say...," alluding to the fact that sometimes there are no second chances and how he finally stood up for himself after a long period of time of neglect or abuse. People can't expect to not have consequences to their actions, especially if it involves hurting the ones who love them.
The chorus repeats "too late" four times in its five lines, trying to emphasize what's done is done. She can try to "apologize" all she wants, but her apologies aren't going to change the hurt he feels for the way she treated him, or make him forget. The way he adds "yeah!" as the end line, it makes it seem like he is trying to talk himself into sticking with his decision, tempted to go back to her, because he still loves her, but knowing deep down he is making the right decision.
The second verse is about how he made his decision to leave her behind and her reaction. "I'd take another chance,/ Take a fall, take a shot for you," seems like he is contemplating what would happen if he gave her another chance, wondering if she would hurt him again. "I need you like a heart needs a beat, But it's nothin' new," is referencing how his life is hard without her in it, but his life would be hard with her in it as well. "I loved you with a fire red,/ Now it's turnin' blue..." is emphasizing the love he had for her is dying, lessening over the time they've been apart. He makes it seem like he resents her now.
He tells us about the singee's reaction to his decision, "And you say. . .Sorry, you're not the angel/Heaven let me think was you...," I was a little confused by all of the uses of "you'" in these sentences, but I think she is saying, is she isn't as perfect as he thought she was, which would make sense in relation to the pedestal back story. Maybe he was expecting her to be perfect, and when she revealed her true colors, he ran, not being able to deal with the reality of the situation either. If that is so, then the relationship ending was both of their faults, because of their impossible expectations. He says, "But I'm afraid...," before he leads into the chorus again, emphasizing his fear of her hurting again and the fact that the relationship is over.
The last verse is a combination of lines from the first verse and the chorus. By having "I'm holdin' on your rope,/ got me ten feet off the ground," as the first and last two lines of the song overall,. The second time he says it feels like he's critiquing himself for being so hung up on a girl or taunting her directly. I think he is using these lines as his overall message, saying, "See what fun we used to have and how much I cared about you. Well too bad you blew it!"
Thursday, November 4, 2010
More Than Hello
Sitting in class at my desk,
A fist knocking my shoulder.
Turning my head at the pest,
A boy with dreadlocked hair,
Green eyes like a crest,
And a student officer sweater.
Noah asked me for my name,
And If I was related to a boy,
With the same surname.
I said "not that I know of"
He said "that is okay . . .,"
People are still cool,
With your last name."
Noah said hello to me in the hall,
I said hey back.
I wish I could have said,
More than hello to him.
That whole semester Noah sat,
In chair in front of me.
He used my desk,
To open his folder.
With me, falling fast,
Tempted to speak,
Tongue ripped by a cat.
I'd see his blue truck,
Every time I went to the mall,
At the restaurant parking lot,
Where he worked.
Noah asked me, one day at lunch.
If I thought he was a dork.
I said no, trying not to blush,
He probably thought I was a jerk.
Chorus
Riding in my mom's van,
I saw Noah on Libby's lawn.
Throwing snowballs at kids,
On their way home.
When I saw Libby at church,
She gushed about him,
About how he asked her,
To go to the prom.
When I came back in the fall,
Noah had graduated in the spring,
No one said hello to me in the hall,
And the silence still stings.
Chorus
** Synopsis: A girl wishes she would have had courage enough to tell her crush she liked him in high school.
A fist knocking my shoulder.
Turning my head at the pest,
A boy with dreadlocked hair,
Green eyes like a crest,
And a student officer sweater.
Noah asked me for my name,
And If I was related to a boy,
With the same surname.
I said "not that I know of"
He said "that is okay . . .,"
People are still cool,
With your last name."
Noah said hello to me in the hall,
I said hey back.
I wish I could have said,
More than hello to him.
That whole semester Noah sat,
In chair in front of me.
He used my desk,
To open his folder.
With me, falling fast,
Tempted to speak,
Tongue ripped by a cat.
I'd see his blue truck,
Every time I went to the mall,
At the restaurant parking lot,
Where he worked.
Noah asked me, one day at lunch.
If I thought he was a dork.
I said no, trying not to blush,
He probably thought I was a jerk.
Chorus
Riding in my mom's van,
I saw Noah on Libby's lawn.
Throwing snowballs at kids,
On their way home.
When I saw Libby at church,
She gushed about him,
About how he asked her,
To go to the prom.
When I came back in the fall,
Noah had graduated in the spring,
No one said hello to me in the hall,
And the silence still stings.
Chorus
** Synopsis: A girl wishes she would have had courage enough to tell her crush she liked him in high school.
Tuesday, November 2, 2010
I'll Even Hide the Sharks
Won't you to come see me?
I will not let you drown in my sea.
You used to visit me every summer
On my Atlantic and Pacific sides.
I used to give you seashells,
And take you on rides with my tide.
I see you up there, on that ship (mmm)
I sparkle for you to come in for a dip (mmm),
You'd rather stay dry than spend time wet with me
When you reject my waves, I'm left feeling green
(I'd rather be bright blue with you)
I beg you to come see me.
I will not let you drown in my sea,
Let your dark fears wash away,
Keep them at the bay.
If you stay, I'll even hide the sharks
Ever since you saw Jaws,
You've been afraid of my creatures.
I have turtles, stingrays, and dolphins,
Like you visit in the water park.
Why do you judge me for my sharks?
Go ahead, ditch that sailing trip.
Just play in my crescent waves
Come on, take a dip.
Chorus
I'll meet you on the land.
Embracing your toes on the sand,
Till you want to come in.
Let your fears wash away,
Keep them at the bay.
If you stay, I'll even hide the sharks
***Synopsis: An ocean is trying to get someone, who is afraid of water, to come back.
Monograph
I changed the title from "Why Don't You Want to Swim Anymore?" to "I'll Even Hide the Sharks," based on your suggestion. In the refrain I took out the "baby" and made a reference to sea, to identify the singer, and I also changed the similar lines in the chorus and added the last verse to the chorus to put the title in a power position. I changed the boat from a cruise ship to a "ship" and a "sailing trip," because you suggested to make it a smaller boat. I added a new first verse to have more of a back story of the relationship between the singer and the singee.
In the second verse, I changed "looking green" to "feeling green," as a reference to seasickness. My initial thought was that the ocean would be jealous of the ship and turn green. I changed "(I'd rather be turquoise for you)" to "(I'd rather be bright blue for you)," to emphasize the change of colors on the surface.
In the third verse, I took out "that movie," and I took out the line, "I'm okay if you don't want to swim in the dark," cause I didn't think it made any sense. I also added "I have" to the line "turtles, stingrays, and dolphins," to emphasize that not all the creatures of the ocean are menacing like the sharks. I added, "Like you visit in the water park," to show emphasis of the friendly creatures' safety.
In the seventh verse, I took out "promising," because it clunked and changed the line to "Embracing your toes on the sand," because if the shore is going to meet her on the beach, it would reach her toes first with its water. I changed the first line to "I will meet you on the land." I changed the refrain two from "Why don't you want to swim," adding it to the seventh verse, saying "Till you want to come in." Then I changed the seventh verse to the six verse, because I thought it was out of order.
I will not let you drown in my sea.
You used to visit me every summer
On my Atlantic and Pacific sides.
I used to give you seashells,
And take you on rides with my tide.
I see you up there, on that ship (mmm)
I sparkle for you to come in for a dip (mmm),
You'd rather stay dry than spend time wet with me
When you reject my waves, I'm left feeling green
(I'd rather be bright blue with you)
I beg you to come see me.
I will not let you drown in my sea,
Let your dark fears wash away,
Keep them at the bay.
If you stay, I'll even hide the sharks
Ever since you saw Jaws,
You've been afraid of my creatures.
I have turtles, stingrays, and dolphins,
Like you visit in the water park.
Why do you judge me for my sharks?
Go ahead, ditch that sailing trip.
Just play in my crescent waves
Come on, take a dip.
Chorus
I'll meet you on the land.
Embracing your toes on the sand,
Till you want to come in.
Let your fears wash away,
Keep them at the bay.
If you stay, I'll even hide the sharks
***Synopsis: An ocean is trying to get someone, who is afraid of water, to come back.
Monograph
I changed the title from "Why Don't You Want to Swim Anymore?" to "I'll Even Hide the Sharks," based on your suggestion. In the refrain I took out the "baby" and made a reference to sea, to identify the singer, and I also changed the similar lines in the chorus and added the last verse to the chorus to put the title in a power position. I changed the boat from a cruise ship to a "ship" and a "sailing trip," because you suggested to make it a smaller boat. I added a new first verse to have more of a back story of the relationship between the singer and the singee.
In the second verse, I changed "looking green" to "feeling green," as a reference to seasickness. My initial thought was that the ocean would be jealous of the ship and turn green. I changed "(I'd rather be turquoise for you)" to "(I'd rather be bright blue for you)," to emphasize the change of colors on the surface.
In the third verse, I took out "that movie," and I took out the line, "I'm okay if you don't want to swim in the dark," cause I didn't think it made any sense. I also added "I have" to the line "turtles, stingrays, and dolphins," to emphasize that not all the creatures of the ocean are menacing like the sharks. I added, "Like you visit in the water park," to show emphasis of the friendly creatures' safety.
In the seventh verse, I took out "promising," because it clunked and changed the line to "Embracing your toes on the sand," because if the shore is going to meet her on the beach, it would reach her toes first with its water. I changed the first line to "I will meet you on the land." I changed the refrain two from "Why don't you want to swim," adding it to the seventh verse, saying "Till you want to come in." Then I changed the seventh verse to the six verse, because I thought it was out of order.
No Shoe Fits Me Like You
I saw a pair of shoes and thought of you.
They were flashy, sharp tongued, and blue.
A worn sole hiding in the back,
The littlest box in a big bargain rack.
If I were to buy them and take them home,
Would they let me control them or try to roam?
Like I tried with you in the past.
Like us, would the shoes not last?
Shopping for shoes is tough
Even if I selected a few,
They might be the right price and width,
But no shoe fits me like you.
Don't need expensive ones, just comfort,
Feel like I can be me and babble in leather.
Making our love bonded together with laces,
Around the track of life in daily races.
Chorus
If I had those shoes,
I'd make them come unglued.
I'd never wear them or share,
Keeping their souls bare.
I'd keep them in a box,
With the lid and bottom as locks.
Maybe then the shoes would stay,
Out of regret to be repaid.
Chorus
***Synopsis: A girl compares her past relationship to a pair of shoes.
They were flashy, sharp tongued, and blue.
A worn sole hiding in the back,
The littlest box in a big bargain rack.
If I were to buy them and take them home,
Would they let me control them or try to roam?
Like I tried with you in the past.
Like us, would the shoes not last?
Shopping for shoes is tough
Even if I selected a few,
They might be the right price and width,
But no shoe fits me like you.
Don't need expensive ones, just comfort,
Feel like I can be me and babble in leather.
Making our love bonded together with laces,
Around the track of life in daily races.
Chorus
If I had those shoes,
I'd make them come unglued.
I'd never wear them or share,
Keeping their souls bare.
I'd keep them in a box,
With the lid and bottom as locks.
Maybe then the shoes would stay,
Out of regret to be repaid.
Chorus
***Synopsis: A girl compares her past relationship to a pair of shoes.
Angela Carter's The Blood Chamber
"The Bloody Chamber" by Angela Carter is a retelling of the legend of Bluebeard. I had never heard this story of Bluebeard before, though I have seen Bluebeard's Castle, a hotel named after the legend in St. Thomas in the US Virgin Islands. Before reading this, I thought Bluebeard was a pirate. I guess I was confusing him with Blackbeard.
I thought it was an interesting and gothic story and a great read to read during Halloween weekend when I expect to be scared by films and music. It was very suspenseful because the husband was so creepy, being such a cat, trying to seduce, trap, and kill his bride, his mouse. Bluebeard reminded me of Charles Boyer's character, Gregory Anton, from the movie Gaslight, because they both are hauntingly trying to make their wives go insane, when the husbands are the ones who are crazy.
Angela Carter keeps all the characteristic details of Bluebeard and his bride the same as the tradition legend, but cuts out minor characters and changes a couple of the key scenes of the plot. Bluebeard is described as rich and "older" than his bride, who his bride sees as a "lily," which is a weird metaphor for the horrible man. The bride seems naive at first, not knowing what she is getting herself into, describing her experiences with him as feeling "disheveled by the loss" of her pureness. After she gets to know him, she describes him as a "white" lily, that will leave a "stain", seeming like she knows he will kill her and rotten her soul.
His castle has "turrets of blue," in Carter's version, but is not described in the legend summary, so I don't know if that is traditional or not. I would imagine if someone had a bluebeard, he would decorate his house with blue as well. I thought her version was more sexual which made Bluebeard seem more aggressive and cruel to his wife. The legend summary from Wikipedia doesn't mention the original legend as being overly sexual, so I don't know if it traditional or not. Carter's version starts out with the wedding night with a back story of the wedding, but not how she came to marry him.
There's a lot of references to the keys in Carter's version as well as the legend. I wondered if it is a metaphor for throwing back the curtain and finding out who and what the person you are married to, really is who he says he is. I think any bride would have been curious what lies in lock rooms, she is "forbidden" to enter. She wants to go through his stuff, to see what he is hiding and see why he is so secretive. In Carter's version, the bride finds the previous wives bleeding in coffins instead of hanging on hooks like the legend says. I think her finding them on hooks would be even more terrifying to the bride and would have sent her screaming from the castle, to get as far away as possible. With her finding them in coffins, it is more subtle and makes the bride only question if he killed them or not. The hooks would have been more obvious.
In Carter's version, the bride has no siblings and she hides with the piano tuner instead of a sister. In Carter's version, the bride's mother shoots Bluebeard, while in the legend, the bride's brothers kill Bluebeard with a sword. I don't think who kills Bluebeard, really matters. The story makes women seem weak, marrying evil men for money, who take advantage of them sexually. These weak women have to have their mothers or siblings fight their battles and bail them out. If the bride was the one who killed Bluebeard, it would have made more sense, because it would make us as readers believe the bridge had grown as a character and would be able to stand up for herself.
I thought it was an interesting and gothic story and a great read to read during Halloween weekend when I expect to be scared by films and music. It was very suspenseful because the husband was so creepy, being such a cat, trying to seduce, trap, and kill his bride, his mouse. Bluebeard reminded me of Charles Boyer's character, Gregory Anton, from the movie Gaslight, because they both are hauntingly trying to make their wives go insane, when the husbands are the ones who are crazy.
Angela Carter keeps all the characteristic details of Bluebeard and his bride the same as the tradition legend, but cuts out minor characters and changes a couple of the key scenes of the plot. Bluebeard is described as rich and "older" than his bride, who his bride sees as a "lily," which is a weird metaphor for the horrible man. The bride seems naive at first, not knowing what she is getting herself into, describing her experiences with him as feeling "disheveled by the loss" of her pureness. After she gets to know him, she describes him as a "white" lily, that will leave a "stain", seeming like she knows he will kill her and rotten her soul.
His castle has "turrets of blue," in Carter's version, but is not described in the legend summary, so I don't know if that is traditional or not. I would imagine if someone had a bluebeard, he would decorate his house with blue as well. I thought her version was more sexual which made Bluebeard seem more aggressive and cruel to his wife. The legend summary from Wikipedia doesn't mention the original legend as being overly sexual, so I don't know if it traditional or not. Carter's version starts out with the wedding night with a back story of the wedding, but not how she came to marry him.
There's a lot of references to the keys in Carter's version as well as the legend. I wondered if it is a metaphor for throwing back the curtain and finding out who and what the person you are married to, really is who he says he is. I think any bride would have been curious what lies in lock rooms, she is "forbidden" to enter. She wants to go through his stuff, to see what he is hiding and see why he is so secretive. In Carter's version, the bride finds the previous wives bleeding in coffins instead of hanging on hooks like the legend says. I think her finding them on hooks would be even more terrifying to the bride and would have sent her screaming from the castle, to get as far away as possible. With her finding them in coffins, it is more subtle and makes the bride only question if he killed them or not. The hooks would have been more obvious.
In Carter's version, the bride has no siblings and she hides with the piano tuner instead of a sister. In Carter's version, the bride's mother shoots Bluebeard, while in the legend, the bride's brothers kill Bluebeard with a sword. I don't think who kills Bluebeard, really matters. The story makes women seem weak, marrying evil men for money, who take advantage of them sexually. These weak women have to have their mothers or siblings fight their battles and bail them out. If the bride was the one who killed Bluebeard, it would have made more sense, because it would make us as readers believe the bridge had grown as a character and would be able to stand up for herself.
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