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@into-september
I got my copy of Persepolis second hand probably almost a decade ago and was delighted at how much the previous owner had notated it. I treasure this book as one of the most poignant pieces of illustrated storytelling but also as a small bridge that connects me to an unknown girl named Natalie and to the magic of Marjane's life & work, all three of us with incredibly different backgrounds.
Here are some of my favorite notations by Natalie:
"She wants to help people + make them feel equal"
"Everyone involved with those fighting for freedom had it rough"
"Conflict: GOV vs the people"
"She wants people to live equally"
"Friendship is key"
Rest in peace Marjane Satrapi, your humanity will live forever đ€
fanfiction.gov
archiveofourown.edu
all anastasia musical motifs, sorted chronologically
*this does not have explanations, it's just a list
in the prologue, "crossing a bridge" can be heard as the dowager empress discusses le pont alexandre.
the "home, love, family" theme from journey to the past (will be referred to as 'jtp' for the whole post) can be heard as the dowager empress tells anastasia what their adventures in paris will be like.
once upon a december's (to be referred to as 'ouad' through the post) tune can be heard in the background as the tsarina alexandra talks with anastasia
briefly, in my dreams' (imd) tune can be heard has the dowager empress exits the stage.
there is a chime when the tsar lifts anastasia
*not a motif, but interesting, is that the last dance of the romanovs (to be referred to as (ldor) has a traditional russian tune and style. i also love to hear them sing. actual motif in ldor is that ouad can be heard as the royal family takes photos.
in both the overture and last dance of the romanovs, the tune of stay i pray you (sipy) is heard - this is because sipy actually directly takes some melody from In The Dark of the Night, rasputin's song in the 1997 film.
ouad can be heard as the dowager empress reads the letter disclosing what happened to her family
the neva flows (tnf) is sung at the beginning (haha) of rumor in st petersburg as gleb begins his intro monologue
the ghosts of the romanovs can be heard singing in the background of in my dreams
there is a chime signaling that anya is remembering on "paris" in imd, she goes on to describe what her grandmother told her in the prologue
not a motif, but i always notice that imd seems to be in a different key than in the cast recording, and i notice that it's placed differently in the recording, on bway stage, and in hartford
the tune of ouad can be heard during gleb and anya's first interaction, which takes place in the middle of a rumor in st petersburg
the song rumors never end is technically a motif seen later during the press conference but is not addressed otherwise
a bit of ouad can be heard in the rumors never end
you can hear the tune of tnf playing as that very scene begins
there is a cut song from hartford into broadway that gleb sang about anya's name. it adds a lot of context as to why gleb will randomly add musical lines with "anya," such as at the end of the tnf scene
you can hear rumors never end immediately post tnf, along with the tune of tnf. they're melded together as the scene changes
tnf is then briefly reprised by the drunkards
the ghosts of the romanovs are heard in the background of ouad, just like in imd. also crazy crescendo
a secret she kept (assk) is to the tune of imd
immediately after, the tune of ouad is heard
when vlad comes onstage post assk, a version of a rumor in st petersburg starts playing in the background
sipy tune plays at the beginning of its scene
we'll go from there (wgft) backtrack ish is heard at the beginning of that scene on the train. there's also a little bit of learn to do it (ltdi)
the sequence song of vlad, dmitry, and anya running away, the one w gleb and his boss, is to the tune of a rumor in st petersburg
the tune that plays as gleb salutes the bolsheviks seems to be still into a rumor in st petersburg
learn to do it's tune plays as they enter paris for the first time
the tune of journey to the past only starts to play as a motif during this song; they don't especially soft launch later songs with motifs
WHEN ANYA SAYS "thank you, dmitry" THE "HOME LOVE FAMILY" TUNE PLAYS. GOODBYE.
paris holds the key has chimes, which we've established signify anya remembering. while they could also mean this here, they do play when dmitry watches anya dance because this is when he really starts to realize he loves her
not a musical motif but to make up for the lack of eiffel tower onstage like they had in hartford, they mime traveling up the eiffel tower's elevator - nobody else has seemed to notice this when we watch it until i point it out to them. hell, it took me around 15 watches to notice
crossing a bridge's musical motif can be heard in that scene before she sings, just like with jttp. it's also heard leading into the next scene
land of yesterday's tune plays throughout the scene regardless of if they're singing it - also, like last dance of the romanovs, it has a traditional russian dance style
paris holds the key plays as they enter the neva club
paris holds the key's tune plays for a second as the countess & the common man scene starts
the land of yesterday reprise obvi has a motif of loy but also the cut song 'anya' that i mentioned earlier in this post
the exit music is a combination of still, loy, and ouad
i cannot fucking figure out what the dream sequence's music draws from someone please tell me. it very will could be original but that just doesn't seem to fit right
acot has the same remembering chime
instrumental of paris holds the key at the beginning of ballet scene
when the dowager empress enters the ballet, the tune that plays is close the door
A CROWD OF THOUSANDS IS THE TUNE THAT PLAYS WHEN DMITRY WALKS IN and yes i will be making a post about the significance of his theme musics...
a cut song from the musical, when she walks in, is what plays when anya walks into the ballet
the swan lake music has anastasia's score woven into it
anya's first verse in quartet at the ballet has the tune of imd
dmitry's first verse in quartet at the ballet is to the tune of ouad
the dowager's verse starts as ouad and becomes close the door which is amazing symbolism
gleb's first verse is to the neva flows
gleb and dima's verse is to the tune of ouad
dima's tune in the overlap bit is ORIGINAL!
from what i can tell gleb's tune is also an original
anya's bit is to ouad
"with everything to win, the only thing i lose..."... [home love family tune plays]
when the dowager empress says, "take me home, lily" THE HOME LOVE FAMILY TUNE PLAYS BECAUSE SHE GOES TO ANYA WHO IS HER HOME LOVE FAMILY FUUUUUUCUKKKKK
i can't decipher what the music is when the dowager walks in again so i think it's an original
obviously ouad reprise is ouad, and the tune also plays in their small convo after they finish singing
once again, ouad plays as the intro to the photos scene
shocker, still/the neva flows reprise uses the tunes of still and tnf
the original draft of ntf from hartford is also included
sipy/in the dark of the night plays after gleb doesn't shoot anya, admits he believes she's anastasia, and after he says "long life, comrade"
AT THE BEGINNING FROM ANASTASIA 1997 PLAYS AS ANYA RUSHES TO FIND DIMA AT THE TRAIN STATION AND INTO THE NEXT SCENE UNTIL VLAD COMES
when vlad delivers the music box to the dowager empress, the 'home love family' tune plays once again and jttp continues through that scene
a crowd of thousands plays as dmitry walks onstage in the final scene
THE CHIME PLAYS WHEN ANYA RUSHES ONSTAGE
ouad plays through the finale scene obviously
the dowager empress reclaims things that gleb says twice: first, when she says be very careful to anya in their reunion scene, and next when she says still... as the final spoken word in the musical
also, 'close the door' is used in both the song close the door and sipy
nicole and the ensemble's bow is to a rumor in st petersburg
from what i could make out, the tune that plays for caroline o'connors bow is paris holds the key
learn to do it is what plays for john bolton's bow
the neva flows is what plays for ramin karimloo's bow
ouad is what plays for mary beth peil's bow
my petersburg plays for derek klena's bow
journey to the past plays for anya's bow
this masterpost took me months because it was such an undertaking. here she is
I wanted to draw Anya and Dimitry and Vlad; I have no context for whatever's going on here
Youâre telling me that my dream of a butchfemme Anya and Dimitri in Anastasia the musical was achieved through an all female Japanese theater company???
every time something is happening but I have to go to discord to find it
Oh my gosh look at this!!!
The animation is so smooth!!!
I tried to think of everything I just forgot romance I never should have let them dance
Me, at the end of the Anastasia musical: How lovely that we're invited to imagine that the tragedy got a soft ending, and that even if history says she didn't survive, there's the possibility that in some world, she got to live and love a man who loves her for the royal she was and the woman she became in this changed world.
Also me: Anya, that man has no job.
LADRIEN HALF REVEAL
"[creator] said you're thinking too deep about it and they didn't mean it like that" i didn't become a lit major because i cared about what the creator had to say on the matter, stfu
She played bass on 10,000 songs, including the most-played track of the twentieth century. She was paid $55 per session. Her name never appeared on the albums.
Gold Star Studios, Los Angeles, 1964. A woman in a cardigan walks past the receptionist, a Fender Precision bass in her hand like a briefcase. She doesnât sign autographs. She signs a timesheet.
Her name is Carol Kaye. In three hours, she will record what will become the most-played track of the twentieth century. Sheâll pocket fifty-five dollars and head to another studio, on the other side of town, for the next session.
The record label will never put her name on the album.
Between 1957 and 1973, Carol Kaye took part in roughly 10,000 recording sessions. Not as the featured artist, not as a guest, but as a hired hand. She was part of an anonymous collective nicknamed The Wrecking Crewâelite studio musicians who actually played the instruments on your favorite records while the famous bands posed for promotional photos.
The work was relentless. Three albums before the day was over. Stale coffee in paper cups. No rehearsal. The charts arrived minutes before the tape rolled. If you couldnât read a chart and nail the take in two tries, you didnât get called for the next session.
Carol could do it on the first try.
She started playing guitar in grimy bars at fourteen because her family couldnât pay the electric bill. Music wasnât a romantic dream for her. It was survival. It was a jobâfactory work with better acoustics and lower pay.
But she was faster and sharper than almost everyone else. She corrected charts in pencil while the producer was still explaining what he wanted. In one session in 1968, she told a famous producer his arrangement sounded like a dying dog. She chose her own line. They kept her version.
That descending bass line that drives the Beach Boysâ âWouldnât It Be Niceâ? Carol Kaye. The propulsive groove of âThese Boots Are Made for Walkinââ? Carol Kaye. The acoustic-guitar intro to âLa Bambaâ? Carol Kaye. The iconic theme from Mission: Impossible? Carol Kaye.
She invented techniques on the spot, out of sheer necessity. When the bass sound was too muddy for AM radio, she stuck felt under the strings and used a hard pick instead of her fingers. The tone cut through the static like a blade. It became the sonic signature that defined 1960s pop.
Bassists spent yearsâdecadesâtrying to crack the secret of the Beach Boysâ gear to get that sound. They were studying the wrong people. They should have been studying Carol.
She received no royalties. No residuals. No gold-record ceremony. No credit on the album sleeves. When âYouâve Lost That Lovinâ Feelinââ hit number one, Carol was already back in a studio cutting a soap jingle.
The biggest bands mimed her bass lines on TV variety shows. New York marketing departments decided a mom in classic clothes didnât fit the rebellious-youth image they were selling. So they simply left her name off the album credits.
For thirty years, almost no one cared. The truth only began to surface in the late 1990s, when music researchers found the same union contract numbers on thousands of hit records. The very documents meant to preserve studio musiciansâ anonymity betrayed them.
Think about it. Every time you heard âGood Vibrations,â âRiver Deep â Mountain High,â the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generationâs youth.
And yet the records still say nothing. Sheâs now over eighty. She wrote instructional books. She trained countless bassists. She is finally starting to be recognized by music historians who uncovered the truth about The Wrecking Crew.
But she never got what she deserved: her name on those albums. Credit for the music that defined an era. Recognition that those bass lines everyone associates with the âBeach Boysâ were, in fact, Carol Kayeâs.
Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.
And the world didnât know her name.
She was admitted to the Rock & Roll Hall of Fame in 2025 but refused, fuck yeah, Carol. Her official website is incredible.
@demilypyro
Wow.
I haven't messed with anything AI in a long time and this is hysterical
It's even worse with other words
I'm losing my shit at "one 'g' (twice)"
it has just hit me that one reason I'm baffled about why anyone would prefer the AI summary is, I'm baffled by people who prefer confident wrong answers over "I don't know, let's find out" from other people, too
Any TGV (high-speed train), France
Have you been here?
I have been here
I have not been here
Shitty Adrienette doodle to clear your dash