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The up-and-down, hot-and-cold, never-really-know-what-to-expect-ness of a Gemini is loud! Just as the contestants vied for the attention and love of Addi so they could be his number one, so do Virgos as they strive towards ultimate perfection and being number one in everything that they do.
Given the combative lyrics of this single, I imagine this is exactly how two Scorpios would argue yikes! I mean, no one saw this record coming in when, at the time, no Jamaican dancehall artist spoke openly about receiving oral. This bold record embodies the essence of Sagittarians who are always going against grain, marching to the beat of their own drum with no regard for the opinions of others. Fall 20th Anniversary Issue.
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Music Style Culture Video. Taurus: just woke up messy hair attitude i dont care should i even get up and start the day does it matter if i do shit anyway. Virgo: but not you youre alive not dead i hear all the voices that go on in your head they never calm but you find peace in them taking their words of wisdom they sing inside your lovely mind you hum along intertwined. Libra: im sitting in front of the man of my dreams love his dick give me that cream his face is amazing it makes me want to sing his voice is as lovely spring.
Sagittarius: if i could see your soul im sure itd be a work of art like a painting on a canvas painted by the heart you know youre a masterpiece a genius in disguise i wish i could see what you see through your eyes.
Capricorn: if theres one last thing i gotta sing its that theres no possibly just possible i am the unstoppable incomparable hear these words and know its me i do not go unseen this ones written by my boyfriend. Aquarius: im so tired everyday i want life to be so extraordinary that more than half the time i wouldnt know what to feel or say wheres my burning passion melancholy my minds gray why care when you feel useless why give a fuck this world is strange. Pisces: you got me and you got me down for you and you only baby look at me i want you to be the one to own me devil or angel youre my sweet lovely baby tell me angel have you looked in a mirror lately.
The latest astrology meme will help you assemble your sign's perfect playlist
Although The Planets remains Holst's most popular work, the composer himself did not count it among his best creations and later in life complained that its popularity had completely surpassed his other works. He was, however, partial to his own favourite movement, Saturn. Adrian Boult . Balfour Gardiner. It was hastily rehearsed; the musicians of the Queen's Hall Orchestra first saw the complicated music only two hours before the performance, and the choir for Neptune was recruited from pupils from Morley College and St Paul's Girls' School where Holst taught.
It was a comparatively intimate affair, attended by around invited associates,    but Holst regarded it as the public premiere, inscribing Boult's copy of the score, "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst.
A public concert was given in London under the auspices of the Royal Philharmonic Society on 27 February , conducted by Boult. He felt that when the public were being given a totally new language like that, "half an hour of it was as much as they could take in".
It is not clear whether this performance was conducted by Appleby Matthews  or the composer. His daughter Imogen recalled, "He hated incomplete performances of The Planets , though on several occasions he had to agree to conduct three or four movements at Queen's Hall concerts.
He particularly disliked having to finish with Jupiter, to make a 'happy ending', for, as he himself said, 'in the real world the end is not happy at all'". This was the first time the movement Neptune had been heard in a public performance, all the other movements having been given earlier public airings. The composer conducted a complete performance for the first time on 13 October , with the Queen's Hall Orchestra at a Promenade Concert.
Holst conducted the LSO in two recorded performances of The Planets : the first was an acoustic recording made in sessions between and now available on Pavilion Records' Pearl label ; the second was made in , and utilised the then-new electrical recording process in , this was released on compact disc by IMP and later on Naxos outside the United States.
The work is scored for a large orchestra consisting of the following instrumentation. The movements vary in the combinations of instruments used. In "Neptune", two three-part women's choruses each comprising two soprano sections and one alto section located in an adjoining room which is to be screened from the audience are added. The suite has seven movements, each named after a planet and its corresponding astrological character see Planets in astrology :. Holst's original title, as seen on the handwritten full score, was "Seven Pieces for Large Orchestra".
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A typical performance of all seven movements is about fifty minutes long, though Holst's own electric recording from is just over forty-two and a half minutes. One explanation for the suite's structure, presented by Holst scholar Raymond Head, is the ruling of astrological signs of the zodiac by the planets:  if the signs are listed along with their ruling planets in the traditional order starting with Aries , ignoring duplication and the luminaries the Sun and Moon , the order of the movements corresponds.
Critic David Hurwitz offers an alternative explanation for the piece's structure: that Jupiter is the centrepoint of the suite and that the movements on either side are in mirror images. Thus Mars involves motion and Neptune is static; Venus is sublime while Uranus is vulgar, and Mercury is light and scherzando while Saturn is heavy and plodding.
This hypothesis is lent credence by the fact that the two outer movements, Mars and Neptune, are both written in rather unusual quintuple meter. Holst suffered neuritis in his right arm, which caused him to seek help from Vally Lasker and Nora Day, two amanuenses , in scoring The Planets. Neptune was one of the first pieces of orchestral music to have a fade-out ending,  although several composers including Joseph Haydn in the finale of his Farewell Symphony had achieved a similar effect by different means.
Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar scored for choruses alone is "to be repeated until the sound is lost in the distance". Several attempts have been made, for a variety of reasons, to append further music to Holst's suite, though by far the most common presentation of the music in the concert hall and on record remains Holst's original seven-movement version. Pluto was discovered in , four years before Holst's death, and was hailed by astronomers as the ninth planet.
Holst, however, expressed no interest in writing a movement for the new planet. He had become disillusioned by the popularity of the suite, believing that it took too much attention away from his other works.
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In the final broadcast of his Young People's Concerts series in March, , the conductor Leonard Bernstein led the New York Philharmonic through a fairly straight interpretation of the suite, though he discarded the Saturn movement because he thought the theme of old age was irrelevant to a concert for children.
The broadcast concluded with an improvised performance he called "Pluto, the Unpredictable". Matthews also changed the ending of Neptune slightly so that movement would lead directly into Pluto.
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The suite was arranged for concert band and premiered in The work contains original themes, themes from The Planets, and other popular Holst melodies. This definition excluded Pluto as a planet and added it as a member of the new category of " dwarf planets ", along with Eris and Ceres. Wilson composed a trombone quintet piece titled "Songs of Distant Earth". Clarke 's novel of the same name. Unlike Matthews' composition, this work is not intended to be incorporated into a performance of Holst's suite.
The composition contains five movements, each named after one of the five then-known dwarf planets:.