BMM 23 - But Mr Adams

 

ADAMS: 

All right, gentlemen, let's get on with it. 

Which of us will write our Declaration of Independence? 

 

FRANKLIN: 

Mr. Adams, I say you should write it

To your legal mind 

And brilliance we defer 

 

ADAMS: 

Is that so? 

Well, if I'm the one to do it, 

They'll run their quill pens through it

I'm obnoxious and disliked

You know that, sir 

 

FRANKLIN: 

Yes, I know 

 

ADAMS: 

But I say you should write it, Franklin

Yes, you 

 

FRANKLIN: 

Hell, no! 

 

ADAMS: 

Yes, you, Dr. Franklin, you

 (But) you, (but) you, but— 

 

FRANKLIN: 

Mr. Adams, but Mr. Adams,

The things I write 

Are only light extemporania

I won't put politics on paper

It's a mania!

So, I refuse to use the pen

In Pennsylvania

 

 OTHERS: 

Pennsylvania!

Pennsylvania!

Refuse to use the pen!

 

 ADAMS: 

Mr. Sherman, I say you should write it

You are never controversial 

As it were 

 

SHERMAN: 

That is true  

 

ADAMS: 

Whereas if I'm the one to do it, 

They'll run their quill pens through it

I'm obnoxious and disliked

You know that, sir 

 

SHERMAN: 

Yes, I do  

 

ADAMS: 

Then I say you should write it, Roger,

Yes, you 

 

SHERMAN: 

Good heavens, no! 

 

ADAMS:

Yes, you, Roger Sherman, you

(But) you, (but) you, but—

 

 SHERMAN:

Mr. Adams, but Mr. Adams,

I cannot write with any style 

Or proper etiquette

I don't know a participle 

From a predicate

I am just a simple cobbler 

From Connecticut 

 

OTHERS: 

Connecticut!

Connecticut!

A simple cobbler he! 

 

ADAMS: 

Mr. Livingston, maybe you should write it

You have many friends

And you're a diplomat 

 

FRANKLIN: 

Oh, that word! 

 

ADAMS:

 Whereas if I'm the one to do it,

They'll run their quill pens through it  

 

OTHERS: 

He's obnoxious and disliked

Did you know that? 

 

LIVINGSTON: 

I hadn't heard! 

 

ADAMS: 

So, I say you should write it, Robert

Yes, you 

 

LIVINGSTON: 

Not me, Johnny! 

 

ADAMS: 

Yes, you, Robert Livingston, you

(But) you, (but) you, but— 

 

LIVINGSTON: 

Mr. Adams, dear Mr. Adams, 

I've been presented with a new son 

By the noble stork

So, I am going home to celebrate

And pop the cork

With all the Livingstons together 

Back in old New York 

 

OTHERS: 

New York!

New York!

Livingston's going to pop a cork! 

 

ADAMS: 

Well, Mr. Jefferson— 

 

JEFFERSON:

Mr. Adams, leave me alone! 

 

ADAMS:

 Mr. Jefferson— 

 

JEFFERSON:

Mr. Adams, I have not seen my wife for the past six months! I beg of you— 

 

ADAMS: 

"And we solemnly declare that we will preserve our liberties being with one mind resolve to die free men rather than to live slaves." Thomas Jefferson, on the Necessity of Taking Up Arms, 1775. Magnificent! You write ten times better than any man in Congress, including me. For a man of only thirty-three years, you have a happy talent of composition and a remarkable felicity of expression. Now then, sir, will you a patriot or a lover? 

 

JEFFERSON: 

Lover! 

 

ADAMS: 

No! 

 

JEFFERSON:

But I burn, Mr. A! 

 

ADAMS: 

So do I, Mr. J!

 

 JEFFERSON:

You?

 

 SHERMAN: 

You do? 

 

JEFFERSON:

 John! 

 

LIVINGSTON: 

Who'd have thought it? 

 

ADAMS: 

Mr. Jefferson, dear Mr. Jefferson,

 I'm only forty-one

I still have my virility

And I can romp through Cupid's Grove 

With great agility

But life is more than sexual combustibility

 

 OTHERS: 

Combustibility

Combustibility

Combustibili— 

 

JEFFERSON: 

QUIET!

Mr. Adams

Damn you, Mr. Adams

You're obnoxious and disliked

That cannot be denied

Once again, you stand between me

And my lovely bride

Oh, Mr. Adams,

You are driving me to homicide! 

 

OTHERS: 

Homicide!

Homicide!

We may see murder yet! 

 

From Wikipedia: 1776 is a musical with music and lyrics by Sherman Edwards and a book by Peter Stone. The show is based on the events leading up to the signing of the Declaration of Independence, telling a story of the efforts of John Adams to persuade his colleagues to vote for American independence and to sign the document. The show premiered on Broadway in 1969 where it received acclaim and won three Tony Awards, including Best Musical.

 

Looking for a way to save the independence movement, Adams moves to postpone the vote to allow for the creation of a formal Declaration of Independence that can be used in the courts of Europe to rally favor and assistance to the cause of American independence (this will also grant Adams time to persuade the anti-independence delegates to his side). Hancock votes with Adams, as many in Congress would like to have a break.

 

Before they adjourn, John Hancock appoints a committee of Adams, Benjamin Franklin, Roger Sherman of Connecticut, Robert Livingston of New York, and Thomas Jefferson (who is on the point of going home to see his wife, whom he has not seen in six months) to draft the declaration. The five argue about who should write the declaration ("But, Mr. Adams"); the choice falls on a reluctant Jefferson, since Adams is "obnoxious and disliked," Franklin won't write politics, Sherman has no writing ability, and Livingston is headed home to celebrate the birth of his new son. 

 

My own thoughts: I never saw this musical or heard any songs from it before. In essence, this was a random pick from a Googled list of popular Broadway songs. 

 

I listened to this song to make sure I got the lyrics right, and I'll admit it's pretty catchy. It has a sort of Monty Python feel to it, and I don't really care for Monty Python at all. But it's funny, it's got good rhythm, and there's a little history tucked away for anyone who's a bit of a history nut.

 

So, if nothing else, this song is good. Far from spectacular but just as far from awful. 

 

BMM 22 - The Music of the Night

 

Nighttime sharpens

Heightens each sensation 

Darkness wakes

And stirs imagination

 

Silently the senses

Abandon their defenses 

Helpless to resist

The notes I write 

For I compose 

The music of the night

 

Slowly, gently

Night unfurls its splendor 

Grasp it, sense it

Tremulous and tender

 

Hearing is believing

Music is deceiving

 Hard as lightning

Soft as candlelight 

Dare you trust

The music of the night?

 

Close your eyes

For your eyes will only tell the truth 

And the truth isn't what you want to see

 In the dark, it is easy to pretend 

That the truth is what it ought to be

 

Softly, deftly,

Music shall caress you 

Hear it, feel it

Secretly possess you

 

Open up your mind

Let your fantasies unwind 

In this darkness which you know

You cannot fight

 The darkness of the music of the night

 

Close your eyes 

Start a journey to a strange new world

 Leave all thoughts of the world you knew before 

Close your eyes and let music set you free 

Only then can you belong to me

 

Floating, falling

Sweet intoxication 

Touch me, trust me

Savor each sensation

 

Let the dream begin

Let your darker side give in 

To the power of the music that I write 

The power of the music of the night

 

You alone can make my song take flight 

Help me make the music of the night 

 

From Wikipedia: "The Music of the Night" (also labeled as just "Music of the Night" and originally labeled as "Married Man") is a major song from the 1986 musical The Phantom of the Opera. The music was written by Andrew Lloyd Webber, with lyrics by Charles Hart and Richard Stilgoe. Initially made famous by Michael Crawford, the actor who originated the role of the Phantom both in the West End and on Broadway, "The Music of the Night" has appeared on many cast recordings of the musical, sold millions of copies worldwide, and has been translated into many languages. 

 

My own thoughts: As of right now, this is the only other song from this musical that I've heard, the version sung by Michael Crawford and Susan Boyle. I found it very nice, and it helps that I'm already a bit in love with Michael Crawford's voice.

 

I imagine my character Malachi with a similar voice. 

 

Besides his acting skills, he's a superb singer, to the point where even the people who don't like him can't really find anything to criticize about his singing. He puts his beautiful, well-trained voice to excellent use inside and outside church, he and Joanna make an especially lovely duet, and he was Reid's unofficial singing coach as well as one of his swimming coaches.

 

When his children were young, they have many wonderful memories of their father singing lullabies to them. It never failed to relax them or comfort them if they'd just had a terrible dream or were upset about something. He could even compose some nice songs all his own, and Jonathan learned well enough from his dad and got good enough on his own to where people were quite surprised that he decided to be a soldier instead of an entertainer when he grew up. All Jonathan can say is that he feels like being a soldier is his true calling, though he sees no reason why he can't sing and dance on the side for fun.

Warming Up to Bluey

While I'm a natural skeptic when it comes to movies, books, and TV shows, sometimes I'm in for a very pleasant surprise. Such was the case with The Super Mario Bros. Movie, Puss In Boots: The Last Wish, and now such is the case with the Australian cartoon, Bluey. 

I decided I'd give this cartoon a try since it seemed very family-friendly, incredibly cute, and the episodes are super-short, no longer than seven minutes. Besides, stories about family love are my favorites and serve as much more appealing bait for me.

I can't say I'm an official fan now. But I can tell you that I do like it, that it's a real breath of fresh air. Sometimes the potty humor is a bit much, but at least they don't take it too far. It is a show aimed at preschoolers after all, though you don't have to be a little kid or even a parent to enjoy it. 

My favorite character is most definitely Bandit. I love the way he talks, he's one of the good dads out there, and he absolutely steals the show. 

Bingo comes pretty close, though; she's just so darn cute!

 

I haven't seen all the episodes yet, but I really enjoyed "Unicorse" and it's safe to say that one's my favorite.

 

I also enjoyed "The Pool," "Daddy Robot," "Butterflies," "Yoga Ball," "Duck Cake," "Camping," "Baby Race," "Sleepytime," "Curry Quest," and "Dad Baby" was surprisingly bold but amazingly done. 

"Onesies" also hit home for me because I don't have kids (or a spouse for that matter) and that line, "Because it's not meant to be," almost made me cry. 

If there are any more Bluey episodes in the foreseeable future, I'll be sure to keep my eyes peeled. But for now, I think we really could use more wholesome, educational, humorous, downright sweet shows like this. 

BMM 21 - You'll Never Walk Alone

When you walk through a storm,
Hold your head up high
And don't be afraid of the dark
At the end of the storm,
There's a golden sky
And the sweet silver song of a lark

Walk on through the wind
Walk on through the rain
Though your dreams be tossed and blown,
Walk on, walk on
With hope in your heart
And you'll never walk alone
You'll never walk alone

Walk on, walk on
With hope in your heart
And you'll never walk alone
You'll never walk alone

From Wikipedia: "You'll Never Walk Alone" is a show tune from the 1945 Rodgers and Hammerstein musical Carousel. In the second act of the musical, Nettie Fowler, the cousin of the protagonist Julie Jordan, sings "You'll Never Walk Alone" to comfort and encourage Julie when her husband, Billy Bigelow, the male lead, stabs himself with a knife whilst trying to run away after attempting a robbery with his mate Jigger and dies in her arms. 

The song is reprised in the final scene to encourage a graduation class of which Louise (Billy and Julie's daughter) is a member. The now invisible Billy, who has been granted the chance to return to Earth for one day in order to redeem himself, watches the ceremony and is able to silently motivate Louise and Julie to join in with the song. 

The song is also sung at association football clubs around the world, where it is performed by a massed chorus of supporters on match day; this tradition developed at Liverpool F.C. after the chart success of the 1963 single of the song by the local Liverpool group Gerry and the Pacemakers. 

In some areas of the United Kingdom and Europe, "You'll Never Walk Alone" became the anthem of support for medical staff, first responders, and those in quarantine during the COVID-19 pandemic. The composition is sometimes treated by performers as a religious song, such as with the 1967 version by Elvis Presley, which was featured on several of his gospel albums. 

My own thoughts: While I can hardly sit through an entire Rodgers and Hammerstein musical (with maybe the exception of Cinderella), I do enjoy their songs. Most of their songs, anyway. 

I never saw Carousel, but I always love a feel-good song with the powerful message, "You're not alone."

And I wanted to do something really quick and easy, with minimal detail. Can you believe there's only 10 days left in the month? Time really does fly when you're having fun, doesn't it? 

BMM 20 - Tomorrow

The sun'll come out
Tomorrow
Bet your bottom dollar
That tomorrow there'll be sun

Just thinkin' about
Tomorrow
Clears away the cobwebs
And the sorrow
'Til there's none

When I'm stuck with a day
That's gray and lonely,
I just stick out my chin
And grin
And say, oh

The sun'll come out
Tomorrow
So ya gotta hang on
'Til tomorrow
Come what may

Tomorrow, tomorrow
I love ya tomorrow
You're always a day away
The sun'll come out
Tomorrow
So ya gotta hang on
'Til tomorrow
Come what may

Tomorrow, tomorrow
I love ya tomorrow
You're always a day away
Tomorrow, tomorrow
I love ya tomorrow
You're always a day away 

From Wikipedia: "Tomorrow" is a show tune from the musical Annie, with music by Charles Strouse and lyrics by Martin Charnin, published in 1977. The number was originally written as "Replay" (The Way We Live Now) for the 1970 short film Replay, with both music and lyrics by Strouse. 

The range, volume and repeated interval jumps make it a particularly demanding solo, especially for a younger voice. 

The song has always been prominently featured in productions of the musical throughout its history: several variations of the song were performed in the original 1977 Broadway production, including being the show's finale. Its lyrics are repeated as a personal motto by the character of Annie in Thomas Meehan's 1980 novelization. It was the entry and concluding credits score for the 1982 film adaptation; an acapella version of the song was performed by Aileen Quinn as Annie during the scene at the White House where Annie and Warbucks meet Franklin D. Roosevelt. 

The song pronounces an optimistic view of life through its main themes and the phrases 'hang on until tomorrow' and 'when I'm stuck with a day that's gray and lonely, I just stick out my chin and grin [and say]'. It appears to be in unison with another song in the score, "You're Never Fully Dressed Without a Smile," which again pronounces the importance of smiling, though in a much lighter and cheerful tone. 

My own thoughts: Heard plenty about this musical and this song, though I never saw the musical or heard the song all the way through (until just now). 

Believe it or not, I had a greater struggle to figure out how to illustrate this one. But I think looking out a window at a night sky conveys the message of the song rather nicely, don't you?

BMM 19 - Anything You Can Do

And now little lady, if you'll kindly step up to the parapet,
I'll give you a lesson in marksmanship.​ 

You couldn't give me a lesson in long distance spittin'! 

Anything you can do,
I can do better!
I can do anything
Better than you! 

No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
Yes, I can! 

Anything you can be,
I can be greater!
Sooner or later,
I'm greater than you! 

No, you're not! (Yes, I am!)
No, you're not! (Yes, I am!)
No, you're not! (Yes, I am!)
Yes, I am! 

I can shoot a partridge
With a single cartridge
I can get a sparrow
With a bow and arrow
I can live on bread and cheese
(And only on that?)
Yes!
(So can a rat!) 

Any note you can reach,
I can go higher!
I can sing anything
Higher than you! 

No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I CAN!) 

Anything you can buy,
I can buy cheaper!
I can buy anything
Cheaper than you! 

Fifty cents? (Forty cents!)
Thirty cents? (Twenty cents!)
No, you can't!(Yes, I can!)
Yes, I can! 

Anything you can say,
I can say softer!
I can say anything
Softer than you! 

No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
YES, I CAN! 

I can drink my liquor
Faster than a flicker!
I can do it quicker
And get even sicker!
I can open any safe
(Without bein' caught?)
Sure!
(That's what I thought, you crook!) 

Any note you can hold,
I can hold longer!
I can hold any note
Longer than you! 

No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
YES, I-I-I-I-I-I-I-I-I CA-A-A-A-N!
NO, YOU C-A-A-A-A-A-A-A-A-A-A-A-A-N'T--
Yes, you ca-a-a-an!

 Anything you can wear,
I can wear better!
In what you wear,
I'd look better than you!

 In my coat? (In your vest!)
In my shoes? (In your hat!)
No, you can't! (Yes, I can!)
Yes, I CAN!

 Anything you say,
I can say faster!
I can say anything
Faster than you! 

No-you-can't! (Yes-I-can!)
No-you-can't! (Yes-I-can!)
No-you-can't! (Yes-I-can!)
YES-I-CAN!

 I can jump a hurdle!
I can wear a girdle!
I can knit a sweater!
I can fill it better!
I can do most anything!
(Can you bake a pie?)
No.
(Neither can I.) 

Anything you can sing,
I can sing sweeter!
I can sing anything
Sweeter than you! 

No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't! (Yes, I can!)
No, you can't, can't, can't!
Yes, I can, can, can! 

Yes, I can!
No, you can't! 

From Wikipedia: "Anything You Can Do (I Can Do Better)" is a show tune composed by Irving Berlin for the 1946 Broadway musical Annie Get Your Gun. The song is a duet, with one male singer and one female singer attempting to outdo each other in increasingly complex tasks.

 In the musical, the song sets the scene for the climactic sharpshooting contest between Annie Oakley and Frank Butler. The song was first performed by Ethel Merman and Ray Middleton. 

During the song, they argue playfully about who can, for example, sing softer, sing higher, sing sweeter, and hold a note for longer, and boast of their abilities and accomplishments, such as opening safes and living on bread and cheese, although Annie almost always seems to counter Frank's argument. Neither can bake a pie, though. 

My own thoughts: I never really liked "Battles of the Sexes." I think it's ridiculous that each gender should ever feel the need to one-up the other, but on occasion, a little banter between a male and a female can be very amusing. 

If anything, I find this song a perfect fit for Kaylee Drummond and her sister Catherine. Catherine, the biggest brat of the Drummond bunch, all but lives to see Kaylee taken down a peg or two or three. Kaylee hardly ever makes the effort to outshine Catherine, but Catherine still cultivates an unflattering competitive streak. 

So, I can very easily hear Catherine singing, "Anything she can do, I can do better! I should do anything better than her!" 

Growing up, Catherine often put herself through unnecessary public humiliation and even physical discomfort. When Kaylee befriended Prince Troy, that only added a truckload of fuel to Catherine's fire; Catherine tried everything to get Troy's attention (and affection) for herself even after Troy made it plain enough that he saw her for what she really was and harbored zero interest in her. 

For example, Kaylee has a nice singing voice; not quite professional, but at least she can stay on-key. When Catherine tries to show off her own so-called singing talent, Troy tells her she sings just like a bird...a crow on its deathbed, to be exact.

Probably Catherine's funniest and most pathetic antic occurred when she was sixteen and Kaylee was fifteen, roughly two years after Kaylee's royal friendship was kindled. 

Kaylee got very sick that summer. It wasn't enough to require hospitalization but she did miss out on the usual summer trip to Cairbre, Cecily's childhood home by the ocean. Naturally, Catherine was feeling none too sympathetic, and then she had the audacity to get upset when Kaylee's royal friends delivered a huge package full of get-well-soon gifts, including a big box of highly expensive chocolates. 

One day, when Kaylee was out of the room, Catherine stole that box of chocolates for herself. By the time she was found out, every single piece had already been eaten.

Besides Kaylee's protest that she would have gladly shared with Catherine and the other girls if they had just asked, she was truly amazed that her sister had been able to eat that much candy in one sitting. This box held at least five kilos' worth of chocolate, which equates to a little more than eleven pounds. 

Needless to say, Catherine got one heck of a stomachache, and she can hardly bring herself to touch chocolate again afterward. So, her self-inflicted sickness served as her main punishment, although Philip made her buy a replacement box for Kaylee with her own allowance. As I said, those chocolates were the expensive kind, so Catherine also forfeited a month's worth of allowance.

Later, Kaylee is able to look back on this story and laugh, while her friends continue to express amazement at Catherine's little confectionery achievement. Not even Lavinia, the official sweet tooth, could have managed a feat like that. Even Shea was impressed. 

From a glance, anyone can see that Kaylee is better than Catherine by far. The problem is Catherine tries way too hard to convince herself (and prove herself) and her only accomplishment at the end of the day is making an utter fool of herself.