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photograpia · 6 years

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Travel Thursday: (US 2017) The J Paul Getty Museum, Los Angeles

I was in the United States for almost a month this year getting some clinical experience by shadowing physicians in psychiatry and internal medicine. It was a working trip for the most part- but I was blessed to have family and friends who made the most of the downtime when not in the clinics by exploring art and food with me.

A day after I had landed at LAX, my godmother (whom I hadn’t spent time with since a trip to Universal Studios in 1996) called and asked if I was willing to go on a spontaneous two-day adventure. She had planned for us to relive the Universal Studios trip 21 years prior on the second day (and we did, though we were sorely disappointed that the ET ride was no longer around) and told me to choose whatever I wanted to do for the first day. Without a second thought I picked what had always been on my art bucketlist: A trip to The J. Paul Getty Museum.

The J Paul Getty Museum at the Getty Center in Los Angeles houses some of the best European art in the US. Jean Paul Getty was an American industrialist, making his fortune in oil. He was an avid collector of art and antiquities, and at his death left the J Paul Getty Trust foundation as the wealthiest art institution in the world. The museum is in the Brentwood neighborhood in LA, an affluent area with homes with beautiful architecture peppered across the hills. A trip to the Getty begins with a tram ride that stretches uphill, showcasing just how lovely the area is.

Then when you emerge at the top, this is what greets you. It was a perfect day- not a cloud in the sky, sun up, a gentle breeze blowing- and for a moment I completely forgot how jetlagged I was.

Note that the Getty Center is HUGE. (Map for reference below). So before doing any exploring, we decided to fuel up at the Cafe.

It needs to be said that the Cafe selection at the Getty is pretty great. It’s cafeteria style with multiple stations- deli, kitchen (full, farm-fresh, from scratch entrees), fiesta (it’s in LA), grill, oven, and a HUGE salad bar (again, in LA).

I had my first bottle of kombucha since landing in LAX. It was a blueberry bottle from local LA-based brewery Kombuchadog- all the dogs featured on the labels are rescue pups, which is a touch I love! Yes, I am a regular kombucha drinker even if I realize it tends to smell like dank feet. I also do so carefully, because as a medical student I am aware that in excess it may lead to lactic acidosis. Kombucha carefully.

For lunch I had a grilled chicken sandwich with air-fried fries. In this moment I was reminded about how enormous US serving sizes are compared to the tiny Asian plates I grew up with as reference. But I digress. That was a pretty good (and freshly-made!) meal, giving us sufficient energy to explore the grounds.

We didn’t have all day at the museum, so we began with the sculptures in the East Pavillion. These three were my favorite:

Bust of Juliette Recamier, Joseph Chinard

The Family of General Philippe Guillame Duhesme, Joseph Chinard

Dancer, Paulo Troubetzky (I repeatedly turn to this image during tough parts of the semester, reminding myself to carry on with grace.)

I have always always loved museums, but have learned through the years that the people visiting them always also play such a big role in the experience.

It is fascinating how one piece can be understood in so many ways and invoke different emotions. Sometimes it’s passion. Sometimes it’s awe.

There were so many beautiful paintings that I stood before for such a long time in the South and West pavilions. These are some of them and the history behind them.

Study of Clouds with a Sunset near Rome, Simon Denis, 1801

I know I sound like a broken record saying this, but my all-time favorite Philippine national artist is Fernando Amorsolo. His mastery of the use of light and the integration into local landscape scenes is unparalleled- and I often find myself looking for work similar to his when I travel.

Denis painted this in Rome, and the weather an impending storm. It isn’t hard to see that in the oil painting, but his technique is seen in precisely how easy it is to see that from the use of light and textures. There is light contrasting with darkness to show the stark contrast in the change in weather. The strokes are done in a manner that you can see how fluffy the clouds are- but also how moist and heavy they must be, full of rain. Denis has a whole series of cloud paintings to hone this skill set (this is the 78th one), and it is a testament to how practice makes perfect.

Spring, Lawrence Alma-Tadema, 1894

It was the detail in this painting that really caught my attention. It’s a huge painting- almost as tall as the wall from which it hung- but a closer look shows such vibrant colors and such attention to detail. Lawrence Alma-Tadema was a Dutch painter who specialized in Merovingian and Egyptian scenes but after a trip to Rome began painting what he envisioned as lively scenes from Pompeii, as is depicted here. The women and children carrying flowers in this procession are a reference of the Victorian custom of May Day, but juxtaposed against ancient Roman architecture. Almost half a decade after Spring was painted, it inspired certain imagery used in the iconic Cecille Demille film Cleopatra.

Portrait of Maria Frederike van Reede-Athlone at Seven Years of Age, Jean Etienne Liotard, 1756

I’m not even going to pretend to have a deep reason for liking this painting- I saw it and loved it because it was about a girl and her dog. I liked it so much I ended up buying the magnet at the museum gift shop and it is currently on my refrigerator, holding up the Rustans sticker sheet for the Goodness Gang vegetable plushie I have yet to claim.

Historically though, this portrait is a good example of changing attitudes toward children in the late 18th century Europe, and how commissions for children began then. Liotard used pastels for this portrait- as he often did for portraits of children because it was easy to manipulate quickly in case of interruptions- and let’s be real- with kids there’s bound to be a number. Also need to point out that while Maria is seen here as shy, her dog appears unabashedly curious and is looking straight out to the artist AND SMILING.

Pepilla the Gypsy and Her Daughter, Joaquin Sorolla, 1910

It was my boyfriend who introduced me to Joaquin Sorolla’s work on his last trip to Spain. Sorolla’s work is mostly impressionist and he’s best known for his beach scenes (an example below). I loved this because of the warm Mediterranean colors and the tenderness that it shows. This made me miss my mom.

La Promenade, Pierre-Auguste Renoir, 1870

You remember that scene in Frozen where Anna and Elsa are preparing for the ball, and Anna jumps by the giant portrait of a girl on a swing in her excitement? No disrespect to any one who hates Frozen, but that delight pretty much encapsulates what I feel each time I stand before a Renoir. And I personally really love Frozen as a film, so this is a compliment more than anything.

Promenade (not the name the painter gave this piece) is a homage to the artists he was working with. The light and luminous palette with the feathery brushwork is akin to Claude Monet. You see the greens and browns of Gustave Courbet. The subject- a jaunt through the garden, is inspired by the work of Jean-Antoine Watteau and Jean-Honoré Fragonard that Renoir studied at the Lourve. The couple gazes at each other- to convey a sort of intimacy and depth.

Jeanne (Spring), Edouard Manet, 1881

Jeanne in this portrait is Jeanne Demarsay, a popular Parisian actress from the 1880s. She’s best remembered for having sat for portraits for both Manet and Renoir (Portrait of Mlle de Marsy).

Spring was one of Manet’s last works, and is one where you can clearly see his mastery of the art form. It is a dance of the modern (seen in the fashion, that Manet pieced together himself) and the traditional (the painting style, that early Italian Renaissance profile). It is such a sensual and bright portrait.

Portrait of Leonilla, Princess of Sayn-Wittgenstein-Sayn, Franz Xaver Winterhalter, 1843

It needs to be said that if Leonilla were not a princess, this pose would have never been allowed for a portrait of its time. Reclining on a low Turkish sofa at a veranda, this scene was often in reference to harems and odalisques. That this was made at Leonilla’s insistence says so much about her strength and tenacity as well. Known for her great beauty and intellect, she sits confidently in ivory silk, casually reaching for the pearls on her neck while holding a steady, strong gaze.

Irises, Vincent Van Gogh

Two weeks ago I saw the film Loving Vincent, which is art in itself (the first fully painted animated feature film) and looks back on the circumstances surrounding Van Gogh’s death. I also found it to be a subconscious treastise on mental health, which I think is of value to consider when one looks at Van Gogh’s art.

Irises was one of the first paintings Vincent Van Gogh made after he checked himself into the asylum n Saint-Rémy, France. He had been going through bouts of depression and self-mutilation prior to this and his art became part of his healing at the asylum. It was inspired by Japanese woodblock prints and is notable for the curves and waves of the irises- people remark that it is as though he fully understood what it meant for flowers to move. I love this painting more so after realizing the context- that despite the circumstances and the darkness he evidently felt at the time, he managed to create art that showed such air and life.

My jetlagged but thrilled self at the gardens, heart full after being surrounded by such art. If you find yourself in LA and haven’t gone yet, you must must must go visit the Getty!

#travel #art #arthistory #monet #renoir #getty #travelthursdays

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thewhizzyhead · 3 years

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HELLO SOME OF YOU GUYS LIKED MISFITS AND SOME OF YOU GUYS LIKED GRADE 11 (i posted about that musical draft thingy back in march and um yea there have been a lot of changes fjxjf) AND GUESS WHAT DUDES I HAVE MORE MUSICAL CONCEPT SHITS TO RAMBLE ABOUT BECAUSE MY BRAIN IS WAY TOO HYPERACTIVE FOR MY OWN GOOD SO SIT BACK, RELAX AND ENJOY THIS CLUSTERFUCK

@ari-is-anxious have fun with this and i wish you the best of luck in trying to comprehend this-

+ Kasaysayan (which means History) - this is the 2nd musical concept thingy i made (the first one being Misfits) and yea i started thinking of this went I was 14. I kinda wanted it to tell a story of like the entirety of philippine history as narrated by students and i wanted to kinda emphasize how history has many faces and how many different factors essentially blur our perspective of what we view as the past. I also wanted to like draw parallels between what our ancestors have experienced and what we currently experience esp when it comes to sociopolitical and economic stuffs and I wanted to like correct a lot of misconceptions about ph history and provide more insight and info about ph's past (i.e how centuries of colonialism have affected our current culture and overall social mindset esp in regards to our want for validation from foreigners aka the whole #PinoyPride thing; how even though activism and revolution is like the main reason on as to why the Philippines even exists, it continues to be demonized here; the ideologies of some of our revolutionary heroes and presidents and why some of them are dicks; etc etc). Also I wanted to showcase like um PH music, art, and dance and how that has progressed and also regressed throughout the years (*shakes fist at colonizers*) and um YEA YOU CAN SEE WHY I EVENTUALLY AND RATHER QUICKLY DISCONTINUED THIS TJCJSJF THIS IS *NOT* DOABLE AT ALL THSJFHF it could work as a concept album and a one-time performance BUT NOT LIKE A LEGIT PRODUCTION SO YEA FOR NOW IT WILL STAY IN THE DRAFT FOLDER FJXNSJF but yea this idea then led to the next two ideas woo

+ Noli/Fili - started wanting to make this at the start of quarantine so like um march 2020 heck i even made a wholeass word doc for this fjdjdv so it's basically a ph-rock-rap-based musical adaptation of Jose Rizal's Noli Me Tangere (Touch Me Not) and El Filibusterismo (The Filibuster) (yes these two novels are like tne national novels here since rizal is our national here and yea these were originally written in Spanish) but the protagonist of El Fili (Simoun) takes charge of telling Noli's story in Act 1 while Noli's protag (Crisostomo Ibarra) takes charge of telling Fili's story in Act 2. Those two books have very different tones and those two characters have um VERY DIFFERENT world views so i thought it would be interesting to tell one's story through the eyes of someone different and yet also the same to provide a lot more insight on how the events in the novels affected these two protags (there is a Good Reason for this and um Filipinos who studied this in 9th and 10th grade know what i'm talking about fhshf if u wanna um know what i'm talking about and don't wanna read the novels (they are very long) i suggest looking up El Filibusterismo and um yea check out Simoun fjsjf). Like for example, there would be times that Noli's narrator (Simoun) (whose general demeanor is like um a lot more cunning and cynical and a lot more resentful of the events that have happened compared to Fili's narrator) would directly question the Noli protag's (Ibarra) actions while Fili's narrator (Ibarra) (he is a lot more um hopeful and peaceful compared to Simoun) often questions how Fili's protag (Simoun) turned into well um a very cynical and cunning person with a taste for revenge (I am trying my hardest to NOT spoil the novels here gjdjf) and yea because the story is set in Spanish Colonial times here, i wanna focus more on the sociopolitical aspects and problems in the novels and how those still remain relevant here, hence the ph-rock-rap-based music. Also I would like to point out that the curriculum here barely like goes into depth about the subject matter of the novels (esp the sociopolitcal parts) and how said subject matter shaped the characters here and HOW EVERY SINGLE THING IN THIS DAMN NOVEL IS STILL RELEVANT,,,so um basically the curriculum is currently missing the entire point of the novels since Rizal wrote these two with the intent to provide socioecononic and political commentary on the pure shit that many of the Filipinos experienced under Spanish colonial rule,,,SO THIS THINGY IS BASICALLY MY MIDDLE FINGER TO THE CURRICULUM AND ESSENTIALLY MY ATTEMPT TO SHOW MORE OF THE NOVELS COMPARED TO WHAT HAS BEEN TAUGHT TO US FJJSJFV this is gonna be a nightmare to write tho cause wow those novels are jampacked

+ Patron - if this ever becomes a thing, I will consider it the greatest thing i'll ever write gjcjdbc I REALLY WANT THIS TO BE A THINGY AAAA so the plot is barebones atm but it's basically about journalism and activism here in the Philippines (and how both can get you killed fjjsjf i'm not kidding these two can legit get you killed wah redtagging sucks shit and the anti terror law can suck even more shit) and how the youth are expected to be purveyors of the country's advancement and improvement despite the fact that our voices are oftentimes dismissed and even permanently silenced when what we say goes against what those in power want us to say,,,those this is basically Misfit's spiritual successor fjxjdjf both of those musicals share similar themes fjxns so yea expect me ranting about a lot of political stuff here and a lot of talking about the ideologies of past and present politics and revolutions and how those affect the masses and how the masses can shape them in return. There will also be talk on how journalism's role in shaping society and how proper dissemination of information and lack thereof can affect people's mindsets aND HOW JOURNALISM IS OFTENTIMES MANIPULATED TO MANIPULATE PEOPLE'S MINDSETS (STUDENT JOURNALIST AND ASPIRING PROFESSIONAL JOURNALIST'S RANTS GO BRRRRR YEA I HAVE A LOT TO RANT ABOUT).

Oh and also this musical is heavily inspired by both the noli and el fili novels and by spring awakening (Everything I Write Will Be Inspired By Spring Awakening dbjxd) in a sense that Act 1's active protagonist (who then becomes Act 2's passive protag) is named Elias and is based on both Elias from Rizal's novels and on Melchior Gabor (which is funny cause rizal's elias is NOTHING LIKE MELCHIOR GABOR SO UM LOOK IT'S GONNA BE HARD TO EXPLAIN JUST UM YEA IT'S MESSY) while the passive protagonist (who becomes the active protag by the end of act 1 and throughout the entire 2nd act) is named Cris Ibarra and is based on Moritz Stiefel and Rizal's Ibarra (more specifically um Rizal's Ibarra's growth into a very different character throughout the events of the two novels).

ALSOOO there is this one concept that made me really REAALLY want to make Patron an actual thingy and that is the existence of um Shadows in the show. Inspired by the voices in Deaf West Speing Awakening, these Shadows can always be found lurking on stage alongside their respective characters like um if Elias is in a scene, his shadow can also be found on stage somewhere. I kinda want them to like represent the characters' innermost thoughts and the other parts of themselves the characters' would like to hide through how the Shadows act on stage and um yea choreography gjsjf Patron is porbably gonna be very dance heavy so um yea it's a bit hard to explain so i'll just point to Alex Boniello and Daniel Durant's Moritz fjxjjf i kinda want it to be like that. The Shadows would be part of the show's ensemble and um yea lots of dancing and prop moving woo also at times they would be singing for the character they are assigned to like um while Elias would be in the middle of doing something on stage, his Shadow would be the one singing in his stead and when his Shadow sings, that's when the character becomes the most vulnerable to the audience because the Shadows often expose their characters' thoughts and worries to the audience that the characters themselves wouldn't really express. So like um the Shadows address the audience a lot gjxjsjd except for one aka Ibarra's Shadow. Instead of addressing the audience, Ibarra's shadow addresses IBARRA directly, often questioning Ibarra's actions (especially their hesitance in Act 1). ig ibarra's shadow is rather representative of what Ibarra would turn into in Act 2 when they take over as the Active protag. But um Ibarra's shadow still questions Ibarra frequently esp in regards to their risky actions so um yea Ibarra's shadow is kinda like the Fates the hadestown wherein they serve to sow doubt but over here Ibarra's shadow is meant to symbolize how insecure they feel in regards to their decisions which well, as the protag, make and break the show. Also um yea the rest of the characters' shadows also start addressing their characters more while the characters themselves start addressing the audience more so woo switcheroo! Also the dynamic that the characters have with each other is similar to the dynamics between the kids in Spring Awakening wherein they are just kids (well in this cause young adults aged 18-20) trying to figure out life in general and all that so woo

(also I would like to note that I really want Ibarra's role to be open to all genders in order to like make a statement that anyone can grow into the character Ibarra becomes throughout Patron but rn hmm i'm still thinking about how that will play out especially given that I kinda wanted Patron's Ibarra to have two love interests here aka Elias and Clara (kiiiiinda based on Maria Clara aka Ibarra's actual love interest from Rizal's novels but um YEA THERE ARE A LOT OF DEVIATIONS GJXSF) but tbh i'm still figuring out a way to make Clara have a much larger role here in terms of pushing the plot cause rn the Elias and Ibarra dynamic have an advantage since um active-passive protagonist switcheroo so I'm kinda thinking of a way to make Clara a secret 3rd protag that is both an active and a passive one? I dunno fjsjd honestly i'm still trying to figure out what Maria Clara represents in the novels cause I know for certain that Rizal did not write her to be a mere demure love interest so um yea WORK IN PROGRESS AND UM ALL IN ALL IBARRA CAN BE PLAYED BY ANY AND ALL GENDERS AND IBARRA IS PANSEXUAL BECAUSE I FUCKING WANT THEM TO BE GJSJJF)

+ Grade 12 - OKI SO LIKE I'VE POSTED ABOUT THIS BEFORE BACK IN MARCH BUT UM I'VE CHANGED SOME STUFF GJXJJD so anyways Grade 12 is well um designed to be a campy-please-don't-take-this-seriously-this-is-just-for-laughs-and-gags musical about 12th graders (i changed the grade to raise the stakes) that makes fun of Filipino TV tropes esp when related to teenagers while also providing a lit more insight on ad to what teenagers go through on a daily basis in terms of trying to grow into the person they want themselves to be while also trying to change to adapt to a world that more often that not goes against them. So yea it's not as heavy as the other musicals, heck I designed this after Preston Max Allen's Carrie 2 musical (dude check it out it has jenny rose baker and it's gold) so woo funsies but i also like this to mean something. Oh and also this is basically me ranting about Everything Wrong In The Philippine Education System (how it more often than not is really detrimental to the students' personal wellbeings through constant overwork and disregard of physical, mental and emotional health issues, its accessibility issues esp the issues experiences by those of the poorer sectors, the um very outdated info at times, how the system perpetuates classism and a shit ton of very detrimental social hierarchy bullshits esp through the implementation of the star sections (speaking as someone who's been in the "lower" sections and has also been in the star sections, I HAVE A LOT TO RANT ABOUT THIS ONE OH BOY FUN FACT I WANTED TO MAKE AN ACADEMIC PAPER ON THIS BUT MY 10TH GRADE TEACHER WOULDN'T LET ME) etc etc) plot is mainly barebones atm but um yea here are some of the updates to the characters: Kyla (formerly named Kate), Noel and Ella haven't changed that much but um I've decided to give the Halos Lagi Nalang number to Kyla and Max (nonbinary student that serves as a foil to Kyla in which Max is constantly being denied opportunities that they want while Kyla constantly refuses opportunities that Max wants; also yea i'll be talking about stories that trans and nonbinary students have experienced in both of my high schools through Max cause i really wanna bring attention to how the trans and nonbinary community is really being shat on despite the um sliiight improvement in the way schools treat the (cisgender) members of the lgbtq+ community; also they are just as ambitious as Ella (i envision her to be like um Draft Eva + Riley jfhdf) um yea major plot pusher woo I'd compare them to Draft Eva + Reese but um I Sincerely And Solemnly Promise To Not Screw Them Over In Act 2 fjjxfj) instead because they will be the ones with queerness being a much bigger factor to their individual plotlines compared to Noel and Ella.

The other main characters are um Marco (typical jock dude who's actually one of the more philosophical and introspective characters in the show; i want to like um highlight the whole sports scholarships debacle, how stereotypes can affect how people are treated in real life and also touch on the machismo culture that's um really being enforced here esp with him being an athlete and all; also he's really good friends with Max and through that friendship he learns that him slightly questioning his sexuality is a good thing so yea), Ruben & Lexi (i don't have that much planned for them atm because woo barebones plot but i do imagine them to be initially framed as the more antagonistic characters and have that like stereotype be taken apart as the show goes on esp considering that both are in the "lower sections" and are um more prone to stereotyping) aND A NARRATOR CHARACTER HMMM WHERE HAVE WE SEEN THIS BEFORE GJXJD oki but this Narrator (can be played by any gender as long as the actor IS VERY FUNNY LIKE COMEDIC TIMING IS A *MUST*) is based on the Narrator in PMA's Carrie 2 but I also want the narrator to be like um more crucial to the plot as the story progresses esp as they interact with both the audience and the characters a lot more so like um it's a bit hard to describe their exact role here because um BAREBONES PLOT FJXJD but altho they can't directly affect the story they are telling (cause so far my plan for them is like um they were a former classmate of 7/8 of the characters here but unfortunately they died due to a car accident), they can and do indeed influence the characters in it and all of the characters (except Kyla) know who they are (especially Ruben) so um yea. Also the solo I have planned for them is called Live On (which is um yea a spin off of Move On fjxjd) and through them, I plan to explore the tragedy of unexpected deaths and what happens to those left behind (this will be based on observations and accounts from many of my former schoolmates) and how many have yet to move on and how they choose to live on despite of that because they know that's what their former classmate, schoolmate, and loved on would've wanted.

SO OBVIOUSLY I OWE GRADE 12 TO SIR PRESTON MAX ALLEN GJXJFJD THANK YOU PMA FOR ONCE AGAIN INFLUENCING MY WORK WOO

+ Concepts - oki so this is the only musical so far that i wanna write solely in English nfjsj so this is inspired by Fun Home in which there are like versions of characters in different ages right? Over here there are 2 versions of 6 characters: the 17-18 year old ones, and the 27-28 year old ones. Through them, this musical will explore two main things: (1) the sad and depressing reality of having to give up one's artistic dreams and passions for the sake of practicality and (2) choosing to take a leap of faith and try to grasp on to whatever chances one may have left to live a life that means more than just making ends meet. Act 1 has the teenagers focus on Point 2 while the adults focus on Point 1; Act 2 has the teenagers focus on Point 1 while the adults end up focusing on Act 2. Once again, um barebones plot with even more barebones characters (heck i dont even have NAMES for them gnxnd) but i think it'll be pretty cool to elaborate upon the shitty circumstances here in the ph when it comes to artistic pursuits and how most of the kids I know are terrified of growing up because they don't want to give up dreaming even though that they know that they have to wake up. I also think it'll be cool to point out thay even though that yea situations like these suck, it'll never ever be too late to pick up the pieces and try again cause at the end of the day, life only ends when you say it will end: there will always be chances, you just need to be gutsy enough to grasp them. Also um yea I originally planned to post like a shit ton of poems this month that would basically be the lyrics of the songs that would go into this musical bUT I'M LAZY SO I'M THROWING AWAY THE POSTING SCHEDULE FJXJSJD anyways here r 2 of the poems/songs that i wanna make for this:

+ In 10 Years - a duet between one of the teenagers and their adult counterpart which is um basically the teen singing their optimistic yet really in-depth and mature perspective on chasing Point 2 while the adult sings about Point 1, wishing that they could tell their teen self about how disappointed they will be; i imagine this to be um kinda like the first version of Dear Theodosia but um more intense maybe fjdjf

+ Run - a duet between two teens who are best friends where one girl tries to convince the other to run and play with her in the nearby playground AND YES THIS DUET IS VERY FUCKING GAY JDJSJDF this was um originally part of Grade 12 tbh and it was supposed to be sung by Lexi and it was supposed to be about a 9th grade event that i personally was a part of where um 9th grade student researchers at a research seminar at a different freaking university took over the elementary students' playground when the seminar finished (I SHALL TREASURE THAT MEMORY FOREVER) and um yea it was basically about holding on to your childhood while you still can...aND THEN I UNINTENTIONALLY MADE IT GAY JFJSJSF Lexi is still getting that song about the research seminar event tho but um it won't be Run cause Run basically turned into a song that's not only about holding on to what's left of your childhood but also to the people you treasure that you know you have to leave behind sooner or later and um yea the girl that the one girl tries to convince to go to the playground agrees to that and then boom go duet stylized after 21 and Alone Now + I Don't Care by freaking preston max allen once again woo (i promise that this won't be plagiarism gndnd) (also altho the two girls have to go their separate ways by their graduation, they eventually meet again at the end of act 2 so woo hopeful ending for the sapphics

OKI THAT'S ALL FOR TODAY FHXHSHD THIS IS WAY TOO FUCKING LONG OF A RAMBLE GOOD GOD AAAAA SO UM IF ANYONE ELSE MADE IT TO THE END, I ONCE AGAIN WILL SEND YOU A SHIT TON OF CARBONARA-

#ari i'm so sorry but this is like...so unbelievably long and convoluted tjxjs GOODLUCK #AND I HOPE YOU ENJOY THIS TJXJSF #so moral of the story is: my brain is too hyperactive for my own good #God help me #also God help those who are gonna try to read this fjxjs #so woo more musical concept rambles aaa #move on tw #move on #ask to tag #izzy's rambles and shit

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