Sunday, May 24, 2009
The Difference Between School and Life
In school, you're taught a lesson and given a test. In life, you're given a test that teaches you a lesson. enough said.
Thursday, May 21, 2009
dispositions
the current song reflects upon my good friend franz's and my good friend hannah's current dispositions.
Tuesday, May 19, 2009
in just about 24 hours
one of the most influential that has ever been a part of my life is now taking his final curtain call.
i really am taking a break from music. this is just too overwhelming.
i really am taking a break from music. this is just too overwhelming.
Sunday, May 17, 2009
too much for words to express
today was emotional. we had ups and downs, an emotional rollercoaster.
tonight's show meant something to me, and my love for music has either renewed or somehow got greatly strengthened.
dude, randolph. i love you. the world you will soon leave behind will never forget you, as you have left permanent footprints on our hearts.
oh how i hate goodbyes.
lets make this "goodbye" a "see ya later" k?
tonight's show meant something to me, and my love for music has either renewed or somehow got greatly strengthened.
dude, randolph. i love you. the world you will soon leave behind will never forget you, as you have left permanent footprints on our hearts.
oh how i hate goodbyes.
lets make this "goodbye" a "see ya later" k?
Tuesday, May 12, 2009
web routine
twitter, facebook, this blog, the decadence, myspace, nba highlights, open up pandora and listen to the broken dubstep channel, and repeat.
tomorrow's itinerary:
-wake up 7am
-work out from 7:30-9:30am
-head to school by 10:30am; arrive at school by 11
-sociology class 11:40-1:20pm
-study at library 1:45-5:45
-first general meeting of the decadence crew 6:30-8
-study at starbucks on azusa 9-11
-study at home 11:30-2am
times are subject to change. good night!
tomorrow's itinerary:
-wake up 7am
-work out from 7:30-9:30am
-head to school by 10:30am; arrive at school by 11
-sociology class 11:40-1:20pm
-study at library 1:45-5:45
-first general meeting of the decadence crew 6:30-8
-study at starbucks on azusa 9-11
-study at home 11:30-2am
times are subject to change. good night!
you can't even start to fathom
and i can't even start to explain how good i am at some things. IP Address + Brute Force = Passwords passwords passwords
bitch's about to get murked.
Monday, May 11, 2009
goodbye
some people come into our lives and quickly go. some stay for a while, leave footprints on our hearts,and we're never, ever the same.
- ayala 2009
i've said it once, and i'll say it again. with my own drumline shows aside, never has an indoor show gotten me so close to the brink of tears as this one. i know the sport and art of indoor drumline is a subculture, but it is clear to me that anyone who knows even a little about music can appreciate the musicality and the caliber of ayala's show. perhaps an article from wgi.org explains the sensation of watching their show best.
With every season there tends to be one or two productions that truly hit home from an emotional perspective. Resonating with the audience, performers and judges in a perfect harmony of sorts – creating an emotional sense of urgency the binds us a through a delicate series of collective musical and visual moments. Whether we call it perfect artistry, or perhaps an honest portrait of viewing what makes us human, the fact remains that the ability to feel, see and experience these priceless memories never grows tiring, or mundane. These are recollections that tend to stay beyond the end of a show, or the conclusion of an awards ceremony. This season, however, has seen such productions in spades. There truly is a sense of hope stirring about – especially in the midst of such trying and turbulent times.
Yet, for the students, staff and parents at Ayala High School, their concert and marching programs deliver an emotional weight on multiple levels; almost as if they gathered the endless spectrum of emotions tied to this activity and wonderfully placed them in a neat and concise package. One program deals with saying Goodbye, while the other explores the Legacy we leave behind; elements we tend to deal with towards the end of a season – reflecting back on what we’ve established and saying farewell to the friends who’ve become a second family. A home away from home.
“Ayala’s marching percussion program this season is titled Goodbye, which looks at the various ways we say goodbye. Whether it’s saying goodbye to a loved one as they pass on, or learning to say goodbye to someone we’ve loved dearly, we really wanted to a look at something simple in its nature, but then place it under a microscope and examine the emotional power this word carries,” Caleb Rothe, the front ensemble instructor/arranger, explains. “Obviously the challenge for the staff was narrowing down the extensive list of ideas and trying to find the ones that really worked. It was a challenging process, but one that has yielded extremely positive results.”
Utilizing a daring combination of swift drill and unique musical choices, the program begins with the simple and casual gesture of saying goodbye to random people, or friends – eventually developing an emotionally stirring and poignant production that examines the irrevocable power of one word. The ambient and propelling rhythm of Radiohead’s Everything’s in its Right Place creates a sense of ambience that allows the program to branch out into various directions; each more compelling than the last and further amplified by the undeniable energy of the performers.
“For us I think it’s been really special because this is something the kids can relate to. This is something we know everyone has to deal with – saying goodbye. Everyone has had to say goodbye to a loved one, or to someone passing on, or maybe even someone on the street. Creating that emotional connection was the first step and luckily the kids have been great in taking this idea and really running with it. It’s been a special experience because as instructors and designers we sit and have these ideas. Sometimes they work, other times they don’t, but because of the emotional weight this show carries I think the kids understand this is something you can’t fake. This is a show that comes from a honest place because it means something different to everyone else, but at the same time the emotional urgency is always present and the kids have gotten better every single time and we feel fortunate to witness them enjoy each performance.”
Yet what people will recall most in discussing Ayala’s program is the closing segment, where a boy reaches out for a girl, drifting further and further away as the familiar melody from Boys II Men’s hit single, End of the Road, provides a devastating – but extremely effective emotional backdrop. The lyrics are beautifully blended with the musical and visual package, creating a borderline theatrical closer that possesses enough power to compel audience members to tears. But even with the emotionally stirring power of Ayala’s percussion program creating a fair amount of discussion, their concert percussion program is equally as engaging.
“The concert program is called Legacy and it means a lot of things. Especially to me,” Caleb proudly states. “One of the things it looks at is the entire idea of the legacy of the concert class in the activity. On another level it observes the legacy of America. I’ve always loved my country and been thankful for all the freedoms we’ve been granted and it’s been my dream to do an Americana-type show, so this was definitely the time to take the plunge. I wanted to pay homage to what the class has inspired in terms of musicianship and artistry, but also looking at the compelling works of these wonderful American composers and placing them into a show everyone can enjoy.”
There’s an immediate sense of intrigue as the soft, warm ripple rolls establish the mood for Aaron Copland’s Fanfare for the Common Man. With carefully selected narrative passages providing the path, the music responds to quotes from historically significant figures as President Obama and Martin Luther King, Jr. In essence, it’s a musical history lesson of America’s finest moments and in some way the music that was unconsciously inspired by such moments. While one can rant and rave about the brilliance of the musical selections from the likes of Copland, John Adams, Frank Ticheli and American folk songs, witnessing the sheer artistry and mastery of the performers is what allows the program to retain its emotional core. There are subtleties at every corner and the ensemble tackles difficulty in a different light. Not solely relying on a flurry of sixteenth note flourishes, but an exploration of musical exposition and the ability to draw out as much emotional and sound as humanly possible.
“The emotional significance of the show and the title is looking back at Ayala’s involvement in the concert class. The legacy they’ve established for themselves. It’s been four years since they last came out here and won their first gold medal. It was an amazing moment and I wanted to pay tribute to that. I even used strains of Ticheli’s Blue Shades, just like I did back in 2006,” Caleb recalls with a huge smile. “For some of these seniors now that was one of the first songs they ever played, so it was nostalgic and emotional at the same time. Ideally, this show is also dedicated to my family. Specifically my father and my son, Cameron. My father was the one who introduced me to music, so I know where I am now is due in part to his influence in my life. And just recently I was blessed with a beautiful boy and in a way looking at the fact that now I’m going to start another legacy – being a father myself. “
“It’s really about looking at the various things in our lives that are meaningful to us and how they affect us across the course of time. And at the same time looking at what we leave behind when we move onto various stages in our lives. There’s tons of depth and symbolism – most of which won’t come across in the show – but these unseen, or unheard elements, made it easier to connect with the purpose of the show. To give another emotional aesthetic for the kids to connect to, along with myself. That’s what really this is all about. Going beyond the parameters of what is expected and connecting not with just a small group, but everyone involved.”
In essence every program carries its own emotional weight and significance. Yet, it’s rare to find not one – but two – programs that truly capitalize on aspects performers, parents and staff members deal with year after year; season after season; ensemble after ensemble. There’s an emotional connection we carry along the months of endless practice and sacrifice, but it all culminates to joining as an ensemble for those last few performances and leaving nothing to chance; to simply perform with such intensity and passion that in a sense you “leave it all on the floor” as they say. Besides, it’s never easy to say goodbye to those who’ve become like a second family – no matter how many times one may have experienced the ordeal.
But not all tears are composed of sadness and each of us leaves behind a legacy. It does not have to a grand gesture etched into the pages of history for all to read. It’s about noting personal satisfaction and finding emotional closure. To look back, smile and be proud of the actions as an individual, as well as a group. It’s perfectly noted in the closing seconds of Ayala’s program, thankfully reminding us “that some people come and go quickly, while others stay for awhile, leave footprints on our hearts and we are never, ever the same.”
it kinda makes me want to drum again, but my time has passed.
- ayala 2009
i've said it once, and i'll say it again. with my own drumline shows aside, never has an indoor show gotten me so close to the brink of tears as this one. i know the sport and art of indoor drumline is a subculture, but it is clear to me that anyone who knows even a little about music can appreciate the musicality and the caliber of ayala's show. perhaps an article from wgi.org explains the sensation of watching their show best.
With every season there tends to be one or two productions that truly hit home from an emotional perspective. Resonating with the audience, performers and judges in a perfect harmony of sorts – creating an emotional sense of urgency the binds us a through a delicate series of collective musical and visual moments. Whether we call it perfect artistry, or perhaps an honest portrait of viewing what makes us human, the fact remains that the ability to feel, see and experience these priceless memories never grows tiring, or mundane. These are recollections that tend to stay beyond the end of a show, or the conclusion of an awards ceremony. This season, however, has seen such productions in spades. There truly is a sense of hope stirring about – especially in the midst of such trying and turbulent times.
Yet, for the students, staff and parents at Ayala High School, their concert and marching programs deliver an emotional weight on multiple levels; almost as if they gathered the endless spectrum of emotions tied to this activity and wonderfully placed them in a neat and concise package. One program deals with saying Goodbye, while the other explores the Legacy we leave behind; elements we tend to deal with towards the end of a season – reflecting back on what we’ve established and saying farewell to the friends who’ve become a second family. A home away from home.
“Ayala’s marching percussion program this season is titled Goodbye, which looks at the various ways we say goodbye. Whether it’s saying goodbye to a loved one as they pass on, or learning to say goodbye to someone we’ve loved dearly, we really wanted to a look at something simple in its nature, but then place it under a microscope and examine the emotional power this word carries,” Caleb Rothe, the front ensemble instructor/arranger, explains. “Obviously the challenge for the staff was narrowing down the extensive list of ideas and trying to find the ones that really worked. It was a challenging process, but one that has yielded extremely positive results.”
Utilizing a daring combination of swift drill and unique musical choices, the program begins with the simple and casual gesture of saying goodbye to random people, or friends – eventually developing an emotionally stirring and poignant production that examines the irrevocable power of one word. The ambient and propelling rhythm of Radiohead’s Everything’s in its Right Place creates a sense of ambience that allows the program to branch out into various directions; each more compelling than the last and further amplified by the undeniable energy of the performers.
“For us I think it’s been really special because this is something the kids can relate to. This is something we know everyone has to deal with – saying goodbye. Everyone has had to say goodbye to a loved one, or to someone passing on, or maybe even someone on the street. Creating that emotional connection was the first step and luckily the kids have been great in taking this idea and really running with it. It’s been a special experience because as instructors and designers we sit and have these ideas. Sometimes they work, other times they don’t, but because of the emotional weight this show carries I think the kids understand this is something you can’t fake. This is a show that comes from a honest place because it means something different to everyone else, but at the same time the emotional urgency is always present and the kids have gotten better every single time and we feel fortunate to witness them enjoy each performance.”
Yet what people will recall most in discussing Ayala’s program is the closing segment, where a boy reaches out for a girl, drifting further and further away as the familiar melody from Boys II Men’s hit single, End of the Road, provides a devastating – but extremely effective emotional backdrop. The lyrics are beautifully blended with the musical and visual package, creating a borderline theatrical closer that possesses enough power to compel audience members to tears. But even with the emotionally stirring power of Ayala’s percussion program creating a fair amount of discussion, their concert percussion program is equally as engaging.
“The concert program is called Legacy and it means a lot of things. Especially to me,” Caleb proudly states. “One of the things it looks at is the entire idea of the legacy of the concert class in the activity. On another level it observes the legacy of America. I’ve always loved my country and been thankful for all the freedoms we’ve been granted and it’s been my dream to do an Americana-type show, so this was definitely the time to take the plunge. I wanted to pay homage to what the class has inspired in terms of musicianship and artistry, but also looking at the compelling works of these wonderful American composers and placing them into a show everyone can enjoy.”
There’s an immediate sense of intrigue as the soft, warm ripple rolls establish the mood for Aaron Copland’s Fanfare for the Common Man. With carefully selected narrative passages providing the path, the music responds to quotes from historically significant figures as President Obama and Martin Luther King, Jr. In essence, it’s a musical history lesson of America’s finest moments and in some way the music that was unconsciously inspired by such moments. While one can rant and rave about the brilliance of the musical selections from the likes of Copland, John Adams, Frank Ticheli and American folk songs, witnessing the sheer artistry and mastery of the performers is what allows the program to retain its emotional core. There are subtleties at every corner and the ensemble tackles difficulty in a different light. Not solely relying on a flurry of sixteenth note flourishes, but an exploration of musical exposition and the ability to draw out as much emotional and sound as humanly possible.
“The emotional significance of the show and the title is looking back at Ayala’s involvement in the concert class. The legacy they’ve established for themselves. It’s been four years since they last came out here and won their first gold medal. It was an amazing moment and I wanted to pay tribute to that. I even used strains of Ticheli’s Blue Shades, just like I did back in 2006,” Caleb recalls with a huge smile. “For some of these seniors now that was one of the first songs they ever played, so it was nostalgic and emotional at the same time. Ideally, this show is also dedicated to my family. Specifically my father and my son, Cameron. My father was the one who introduced me to music, so I know where I am now is due in part to his influence in my life. And just recently I was blessed with a beautiful boy and in a way looking at the fact that now I’m going to start another legacy – being a father myself. “
“It’s really about looking at the various things in our lives that are meaningful to us and how they affect us across the course of time. And at the same time looking at what we leave behind when we move onto various stages in our lives. There’s tons of depth and symbolism – most of which won’t come across in the show – but these unseen, or unheard elements, made it easier to connect with the purpose of the show. To give another emotional aesthetic for the kids to connect to, along with myself. That’s what really this is all about. Going beyond the parameters of what is expected and connecting not with just a small group, but everyone involved.”
In essence every program carries its own emotional weight and significance. Yet, it’s rare to find not one – but two – programs that truly capitalize on aspects performers, parents and staff members deal with year after year; season after season; ensemble after ensemble. There’s an emotional connection we carry along the months of endless practice and sacrifice, but it all culminates to joining as an ensemble for those last few performances and leaving nothing to chance; to simply perform with such intensity and passion that in a sense you “leave it all on the floor” as they say. Besides, it’s never easy to say goodbye to those who’ve become like a second family – no matter how many times one may have experienced the ordeal.
But not all tears are composed of sadness and each of us leaves behind a legacy. It does not have to a grand gesture etched into the pages of history for all to read. It’s about noting personal satisfaction and finding emotional closure. To look back, smile and be proud of the actions as an individual, as well as a group. It’s perfectly noted in the closing seconds of Ayala’s program, thankfully reminding us “that some people come and go quickly, while others stay for awhile, leave footprints on our hearts and we are never, ever the same.”
it kinda makes me want to drum again, but my time has passed.
ballsy
should've thought twice when i decided to wear my pi rho phi shirt to an event hosted my csulb zetas
Saturday, May 9, 2009
Friday, May 8, 2009
social life remodeling in progress
we were learning about the plasticity of the brain in developmental psychology today. the entire concept loosely means that if ever a hemisphere of a brain is severely damaged and unable to repair itself, the functions, motor and cognitive, that the damaged hemisphere was previously responsible for will matriculate to the other side of the brain, and that hemisphere will control all functions, along with the functions it was primarily responsible for.
in various ways, social life is a bit like that. if friends become distant, you will find ways to recuperate. this is done either by vaguely keeping in touch or catching up by reading posts on things like this. i find it odd how i always seem to feel balanced socially when, in recollective reality, my group of friends fluctuate as much as the bipolar weather has been.
i always find the end of a depressive period in my life to be some sort of renewed sense of balance. i am usually reluctant at first, but i come to terms with everyone else's dispositions as opposed to mine. i then realize things i've already established a long while ago, and those monumental first lines of that one song made by those three androgynous boys start repeating in my head, and i am again at a state of social callousness. mmm.....!
it usually works that way, and thug life, but i can't help but feel that if all of my assumptions about pseudointimacy of friendships are true, then we really do live in such a sad and demeaning world. i can't help but empathize for those people who are so reliant on other people to bring balance in their lives. i guess that's most people. and i guess it's just me who believes otherwise, but like i said, thug life.
whatever that had to be said was said in the allotted time we were predestined to be friends, then you will only exist to me as a skewed memory, biased with joy, laughter, and all those the times we felt on top of the world.
in various ways, social life is a bit like that. if friends become distant, you will find ways to recuperate. this is done either by vaguely keeping in touch or catching up by reading posts on things like this. i find it odd how i always seem to feel balanced socially when, in recollective reality, my group of friends fluctuate as much as the bipolar weather has been.
i always find the end of a depressive period in my life to be some sort of renewed sense of balance. i am usually reluctant at first, but i come to terms with everyone else's dispositions as opposed to mine. i then realize things i've already established a long while ago, and those monumental first lines of that one song made by those three androgynous boys start repeating in my head, and i am again at a state of social callousness. mmm.....!
it usually works that way, and thug life, but i can't help but feel that if all of my assumptions about pseudointimacy of friendships are true, then we really do live in such a sad and demeaning world. i can't help but empathize for those people who are so reliant on other people to bring balance in their lives. i guess that's most people. and i guess it's just me who believes otherwise, but like i said, thug life.
whatever that had to be said was said in the allotted time we were predestined to be friends, then you will only exist to me as a skewed memory, biased with joy, laughter, and all those the times we felt on top of the world.
Monday, May 4, 2009
yup,
the actual pursuit of lurking is a humbling endeavor, paved with discoveries of seemingly obvious truths about the world around us.
with each face we see, with each person we meet, is an invisible backpack filled with stories, recollections, and values that that person bases the decisions they make on their lives upon.
i'll keep it short, because they're coming back.
however, with this said, it's safe to say that alanna bautista is the homegirl.
wsup.
with each face we see, with each person we meet, is an invisible backpack filled with stories, recollections, and values that that person bases the decisions they make on their lives upon.
i'll keep it short, because they're coming back.
however, with this said, it's safe to say that alanna bautista is the homegirl.
wsup.
and the moral of the story is:
although peter isn't perfect, it's important to be proud.
-dumbfoundead
tandom rhoughts before bed:
tinnitus from 2 nights ago's foray seems to be dying down, and i'm glad.
benadryl helps you sleep? hopefully.
flows are getting more potent thanks to ongoing battles with ryan basilio.
my metabolism isn't built the way other's are, so i've come to the realization that not everything is possible. genetics and formula feeding also promotes the causality of my disposition. i'm content on where i'm at now.
it's not giving up. it's being realistic.
i keep reminded time and time again that maintaining friendships are not worth the time, but stories of ongoing hilarity makes life worthwhile.
all midterms are currently aced; i have to keep at it.
comment from rachel le? dope dope dope.
my fans are working overtime to drown out the ringing from my ears for one more night only; then it's back to only 1 fan.
it's a grind tonight reminded me of the sinatra stuff they always play at the americana.
tomorrow is glendale all day for tuesday's midterm.
may 16th and may 30th are my next shows. norwalk hs (again) and chino hills high school for a benefit concert. lesgo.
i'm writing songs again :]
-dumbfoundead
tandom rhoughts before bed:
tinnitus from 2 nights ago's foray seems to be dying down, and i'm glad.
benadryl helps you sleep? hopefully.
flows are getting more potent thanks to ongoing battles with ryan basilio.
my metabolism isn't built the way other's are, so i've come to the realization that not everything is possible. genetics and formula feeding also promotes the causality of my disposition. i'm content on where i'm at now.
it's not giving up. it's being realistic.
i keep reminded time and time again that maintaining friendships are not worth the time, but stories of ongoing hilarity makes life worthwhile.
all midterms are currently aced; i have to keep at it.
comment from rachel le? dope dope dope.
my fans are working overtime to drown out the ringing from my ears for one more night only; then it's back to only 1 fan.
it's a grind tonight reminded me of the sinatra stuff they always play at the americana.
tomorrow is glendale all day for tuesday's midterm.
may 16th and may 30th are my next shows. norwalk hs (again) and chino hills high school for a benefit concert. lesgo.
i'm writing songs again :]
Saturday, May 2, 2009
manny pacquiao
under 3 minutes? the legend of the pacman continues to roam the fields of the philippine archipelago.
not worth the 50.
not worth the 50.
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