Practice:
SWEDISH HOUSE MAFIA - DON'T YOU WORRY CHILD
SWEDISH HOUSE MAFIA - DON'T YOU WORRY CHILD
[Verse 1]
There was a time, I used to look into my father's
eyes
In a happy home, I was a king I had a gold throne
Those days are gone, nowthe memories are on the
wall
I hear the sounds from the places where I was born
[Chorus]
Up on the hill across the blue lake,
thats where I had my first heart break
I still remember how it all changed
my father said
Don't you worry, don't you worry child
See heaven's got a plan for you
Don't you worry, don't you worry now
Yeah!
[Breakdown 1]
Don't you worry, don't you worry now
Yeah!
Ooh ooh ooh ooooh!
See heaven's got a plan for you
Ooh ooh ooh ooooh!
[Verse 2]
There was a time, I met a girl of a different kind
We ruled the world,
Thought I'll never lose her out of sight, we were
so young
I think of her now and then
Still hear the song [...]
[Chorus]
Up on the hill across the blue lake,
thats where I had my first heart break
I still remember how it all changed
my father said
Don't you worry, don't you worry child
See heaven's got a plan for you
Don't you worry, don't you worry now
Yeah!
[Breakdown 2]
Don't you worry, don't you worry child
See heaven's got a plan for you
Don't you worry, don't you worry now
Yeah!
Ooh ooh ooh ooooh!
See heaven's got a plan for you
Ooh ooh ooh ooooh!
Yeah!
http://en.wikipedia.org/wiki/Don't_You_Worry_Child
http://www.lyrics007.com/Swedish%20House%20Mafia%20Lyrics/Don't%20You%20Worry%20Child%20Lyrics.html
http://www.beatmyday.com/2012/07/15/live-preview-swedish-house-mafia-dont-you-worry-child/#axzz2IkU7IhpJ
http://www.beatmyday.com/2012/07/15/live-preview-swedish-house-mafia-dont-you-worry-child/#axzz2IkU7IhpJ
"Don't You Worry Child" is a
song by Swedish electronic
dance group, Swedish House Mafia.
It is the sixth and final single released before their indefinite hiatus,
featuring vocals from Swedish singer John Martin.
In the United States, it is the act's second number-one single on Billboard's Dance/Mix
Show Airplay chart, following "Save the
World."[1] It received a Grammy nomination for Best Dance
Recording in the 2013 Grammy Awards.
The song was announced during the Swedish House
Mafia's tour of Australia
in early 2012 whilst they played at Future Music
Festival 2012. They say it was made from the inspiration they took
from the beauty of Australia and was said to have made grown men cry. The title
"Don't You Worry Child" was mentioned a few times, with hints from
the Swedes themselves on their Twitter
pages. When it was announced that the tour the Swedish House Mafia was about to
set on would be their last, a farewell single was also announced –
"Don't You Worry Child" being that single. The song had its live
debut at the Swedish House Mafia's Milton Keynes Bowl concert
and its radio debut on Pete Tong's
BBC Radio 1 show on 10
August 2012. It was written by John Martin and Max Kennedy, and the sheet music
is available to download for free as a PDF
file.
In the UK, "Don't You
Worry Child" made is debut at number one with first week sales of 135,000
copies.[3] It has sold 632,000 copies in the UK in 2012, the 13th best-selling
single of the year.[4]
In the US, the song has sold over 1 million
copies as of January 2013.
The music video released on 14 September 2012
features footage recorded entirely at their recent performance at Milton Keynes Bowl.»
 |
| http://en.wikipedia.org/wiki/Don't_You_Worry_Child |
Ideas for the Lights/Color:
1) The curtains are closed. The lights turn off. Silence.
Then the music starts and they lift up. Swirling tendrils of glistening fog cover the lunge stage, and dim purple light illuminates the scene. Their faces are in shadow, the background is as black as night. The music speeds up, and bright red, deep purple, sea blue, pink and green lasers flash across the stage and above the crowd keeping time with the beat of the music. The fog continues rolling.
Eventually lights fade into white, and the fog thickens to fill the stage, covering the DJ's, shrouding them in bright white mist.
End.
2) An image of feet walking along a sandy beach, waves lapping at their heels, projected on white curtains covering the stage. Shots of nostalgic and beautiful scenes - a grassy hillside, a mountain trail, a ripple in the lake. Always the same feet - never seeing the person. Images of smiling children, a kissing couple's silhouette against a sunset.
Then, when the refrain hits, the lights flare bright white and the curtain lifts suddenly. Silver fireworks explode above the outdoor theater, and different colored lights fill the night sky, the beams moving in time with the beat of the music.
An explosion of color and fireworks mark the end of the performance.
3) Darkness. The song begins in the dark, the audience quiet - the song starts, and the stage floor lights up - it's made of thick glass and light blue lights, illuminating everything from below. The figures walk around the sloped stage, their silhouette's framed against the light. The song plays out. The stage turns off with after the finale is punctuated by a shower of silver confetti shot out over the stage. It drifts down in the darkness. Applause.
Practice:
If
If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too:
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or being hated don't give way to hating,
And yet don't look too good, nor talk too wise;
If you can dream---and not make dreams your master;
If you can think---and not make thoughts your aim,
If you can meet with Triumph and Disaster
And treat those two impostors just the same:.
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build'em up with worn-out tools;
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings,
And never breathe a word about your loss:
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue,
Or walk with Kings---nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much:
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And---which is more---you'll be a Man, my son!
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too:
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or being hated don't give way to hating,
And yet don't look too good, nor talk too wise;
If you can dream---and not make dreams your master;
If you can think---and not make thoughts your aim,
If you can meet with Triumph and Disaster
And treat those two impostors just the same:.
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build'em up with worn-out tools;
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings,
And never breathe a word about your loss:
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue,
Or walk with Kings---nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much:
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And---which is more---you'll be a Man, my son!
- Rudyard Kipling
http://www.poemhunter.com/poem/if/
Pitch:
Picture a dark, hexagonal thrust stage. There’s an old man
siting on the edge in a pearly grey kimono, the mirror image of a stereotypical
Asian Wiseman, which lends wisdom and weight to the poem he delivers slowly, in
measured tones. His perch on the edge helps to undermine the importance of his
physical presence on stage, strengthening the power of his voice and words. The
soft spot that illuminates his features separates the man from the other
actors; a dozen females embodying the essence of an ancient Greek chorus
complete with the traditional white garb, who silently enacts the scenes
described. Each woman, a gateway of emotion, is a channel for the emotion
expressed in each stanza, the color of her hair being a symbolic
representation. The lack of a use of props, their free faces and their fluid,
dancing, almost dream like motions before a simple thick black curtain along
with a separate, sharper lighting than the old man, suggest that the audience
is viewing inside the old man’s head. The gentle ambiance music of a gurgling
spring echoes around the theater throughout the play, and at the end rain
begins the fall over the old man’s head, highlighting the distinction between
himself and the mind chorus. The rain brings him back to reality and the lights
over the chorus fades as he is pulled back to the present and the ambiance
noises increase. The spot and rain follows the man as he moves towards center
stage. Blackout.
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