TeaTimeSunday
TEA TIME in L.A. THE BRONZE / 3.20-5.22.02
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(midday preview) A VERY SPECIAL TEA TIME: Writing "The Ballad of Sarah Michelle Gellar"


midday preview of this evening's TEA TIME in L.A. hour * 7-8PM Bronze Time *
Posted by: forensicpopouri - Apr 02, 2002, 3:21 PM

A VERY SPECIAL TEA TIME: Writing The Ballad of SMG
[rhetorical verse in Shakespearean sonnet form]

LAST NIGHT I scanned the Bronze and watched "The Witch."

About "The Witch," I choose to hold my tongue.

But in the Bronze I found a post for which

I felt compelled to post what must be sung.


             http://www.buffy.com/bronze_posts.jsp?tid=54315

THE TOPIC POSTER whom had caught my eye

was going_through_the_motions (their Bronze name).

An English-class assignment made them sigh.

They had to write a ballad which would frame . . .


. . . the story of our Buffy's S.M.G.

Now, ballads have more slack than sonnets do,

and so I told them that a useful key

to telling Gellar's tale was Going Through . . .


. . . The Motions'
tune. Rewrite that great song's lines

for TEA TIME:
Write G's song in those confines!
# # # <smile>


FOR EXAMPLE: SUNG TO THE TUNE OF
GOING THROUGH THE MOTIONS


Once upon a time, a girl named Gellar

got a job at sweet sixteen.

Acting on TV -- so well, so stellar

Won an Emmy fast. First year on the scene.


The OLD STAR on the show said "No. No. No. . . ."

"Sweet Sarah's got to go."


"Young Sarah Gellar's too precocious, for her own damned good."

"I must run Miss Gellar from my hood."
. . . . . .



TO BE CONTINUED . . . BY YOU? . . . AT TEA TIME


you speak



Responses


REPOST of SMG bio information (that I'm using as the basis to write an SMG ballad)
Posted by: forensicpopouri - Apr 02, 2002, 4:15 PM 1 of 2

[REPOST]
What You ask is difficult
Posted by: Ron_j_d - Apr 02, 2002, 12:38 AM


That's a pretty tall order but here's some info on her...

She Played Kendel Hart, Long lost daughter of Erica Kane on "All My Children" when she was 16.

She started on the show playing a 16 year old but people complained that Erica couldn't have a secret 16 year old since she was on the show for about 18 or so years and never been away long enough to have a baby off-camera so the writers quickly made Kendel 22 which put Sarah in an ironic spot... she played over 21 when she was really 16 then on buffy she played 16 when she was really over 21. (I don't know how you can make THAT rhyme but I thought it was interesting)

She won a Daytime Emmy for the role her first year on TV.

That pissed off Susan Lucci who played her mom "Erica" for almost 20 years with no Emmies to her credit to that point (since then I think she finaly won one).

Suddenly Kendel became "Bad.. real bad" so bad that soon she had to be written off the show. (I hope your proud of yourself Susan)

But that turned out to be a blessing in disguise. She was now free to audition for a roll on a TV series based on a movie about a girl who hunts Vampires.

She auditioned for the role of a Cordelia.

She got the part of Buffy.

That's a few tidbits of what I know... hope you can use it in your assignment.

[END OF REPOST]



FOR EDUCATIONAL PURPOSES ONLY (some songwriting commentary)
Posted by: forensicpopouri - Apr 02, 2002, 3:25 PM 2 of 2

Let's analyze Going Through The Motions
for a few lines, until we understand better just what
Joss was doing when he composed the words to the
first song in Once More, With Feeling (BtVS #107).

BUFFY SINGS:

  (1) Ev'ry single night, the same arrangement

  (2) I go out and fight the fight.

  (3) Still I always feel the same estrangement:

  (4) Nothing here is real. Nothing here is right.


FIRST, LET'S ANALYZE THE RHYTHM BUFFY SINGS

  (1) EV'ry sin-gle NIGHT . . . . THE SAME . . ar-RANGE-MENT

  (2) I go out and FIGHT . . . THE FIGHT.

  (3) STILL I always FEEL . . . . THE SAME . . es-TRANGE- MENT

  (4) NOTHing here is REAL . . . NOTHing here is RIGHT.


TO CLARIFY THE RHYTHMIC "DRUM BEATS" . . . IMAGINE A SNARE DRUM

  (1) TA-ta ta-ta TA . . . . TA TA . . ta TA TA

  (2) TA ta ta ta TA . . . . TA TA.

  (3) TA ta ta ta TA . . . . TA TA . . ta TA TA

  (4) TA ta ta ta TA . . . . TA ta ta ta TA.


NOW MAKE UP SOME LINES FOR THE BALLAD OF SARAH MICHELLE GELLAR
USING THE SAME RHYTHM (and yes, I'll leave you to note the rhyme).


  (1) SING with all my MIGHT . . . OF SAR- . . -ah GEL-LAR.

  (2) (GOSH I hope I WRITE . . THIS RIGHT.)

  (3) LOVE her pretty FACE. . . . HER GRACE, so STEL-LAR.

  (4) (PRAY I write good LINES . . . PRAY I keep them LIGHT.)




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