Nunca tomes a nadie ni nada por sentado. Ama con todo lo que tienes, cree en ti mismo, y siempre, siempre recuerda pelear por tí y por lo que crees

Quiero que sepas que lo que sentí por ti era algo real y verdadero y maravilloso y nunca lo hubiera negado.

To send a letter is a good way to go somewhere without moving anything but your heart ~Phyllis Theroux

Por qué me gusta que me escriban cartas? Porque no son perfectas y tienen errores. Errores de escritura, puntuación y gramática que muestran nuestra vulnerabilidad.

Así que una carta dice "Este soy yo, y estoy lo suficientemente interesado en tí para mostrarte mis imperfecciones con la esperanza de que me tomes por lo que soy, pero más importante, por todo lo que no soy."

There's always better, until you find best

Talking about art is like dancing about architecture

"To love. To be loved. To never forget your own insignificance. To never get used to the unspeakable violence and vulgar disparity of life around you. To seek joy in the saddest places. To pursue beauty to its lair. To never simplify what is complicated or complicate what is simple. To respect strength, never power. Above all, to watch. To try and understand. To never look away. And never, never, to forget." - Arundhati Roy

Please

El tablero y los dados

Es un juego simple. Ganas cuando deja de importarte. Al parecer, sigo perdiendo.

Dashing

Dashing.- Ridiculously good looking or cool, at any rate. // adj. Dashing is like handsome, only faster.

But let's not ask why it's not right

Notan que cambie mi background? Forever Young. Quiza mi subconsciente no quiera cumplir años. 17. scary, pero  gu-au.

the good things in life

1. Falling asleep to the sound of rain
2. Waking up to a thunderstorm
3. Staying in your pajamas all day
4. Finding something lost
5. Noticing something you never have before
6. Feeling pretty
7. Getting scared and holding on to someone
8. Using a blanket straight out of the dryer
9. Deep talks with your best friend
10. When someone notices your haircut
11. When you turn the page of your book and it cackles
12. Finally understanding something
13. Being trusted with a secret
14. Playing your favorite song on repeat and singing along
15. Microwaved marshmallows and smiley french fries
16. Getting new glasses and seeing everything clearly

DVD flashback: Harry Potter 1 and 2

It had been almost four years since I’d seen the first twoHarry Potter films, and I’d never watched the entire series (to date) in a row.  Therefore, on the occasion of purchasing my IMAX seats for Part I of the Deathly Hallows, I decided it was finally time to re-experience this sometimes wonderful, sometimes flawed cinematic saga from start to almost-finish.  My appetite was, admittedly, also piqued by the Ultimate Edition DVDs of the third and fourth films, which Warner Bros. sent me for review (those reviews should be up by the end of the week).  But before revisiting those entries, it seemed only right to begin at the beginning, even though Chris Columbus’ directing does not make for the most auspicious of beginnings.

My first reaction upon starting Sorcerer’s Stone (my deepest apologies to my UK readers, but that is the edition that is most readily available here), was, as it always must be, “Oh my Dumbledore, how young the kids are!” Because they really are.  The sheer impact of how tiny Daniel Radcliffe, Rupert Grint, Emma Watson, et al. look in this film simply cannot be overstated. This is back when they were completely fresh, utterly green, and in some cases, untweezed.  There is something extremely refreshing about how non-Hollywood the little kidlets look in the first two films.  There they are, bushy eyebrows and all, not looking glossy or teen magazine idealized but just like the actual young children they actually are.  In later films, as they grow into their teenage years, this does change, and that’s not even necessarily a bad thing.  As people start to mature, they do tend to become more concerned about their looks, and about making themselves look appealing to the opposite or same sex, so it’s fitting.  Still, it is nice to revisit Harry, Hermione, and Ron in this more innocent section of the saga, actually looking young and innocent.

The Harry Potter films provide a unique and most likely unprecedented opportunity to watch actors grow up on the big screen.  It may be the only film series to function like a television series in that each year, for seven straight years (if not slightly longer) they have been in production.  Each year, year after year, the majority of the same kids return to the same fictional world, a little older, perhaps a little wiser, and certainly ever so slightly more sophisticated as actors. Daniel Radcliffe, in particular, has matured into quite a fine actor, but for all three of the main kids, it is rather fascinating to compare their performances in the more recent films with those in the first and second.  They are obviously now much better trained, from an objective standpoint, and certainly are capable of conveying greater depth of emotion than they could as children.  At the same time, however, watching the first films, one still gets a sense of just why they were chosen for the roles.  They may not be classically superb actors, but they each have a spark, sense of wonder, and authenticity about them that grounds the story perhaps even more than had they been more polished from the get-go.  And this way, we also get to see them evolve along with their characters.

The raw energy of the kids’ early performances is also one of the major reasons the first two films work as well as they do.  Now, that is not meant to denigrate or underestimate some of the genuine artistry on display in Sorcerer’s Stone andChamber of Secrets.  I watched some of the DVD documentaries on the Prisoner of Azkaban Ultimate Edition before starting the films, and I’m glad I did because they made me appreciate them in a whole new light.  In earlier viewings, I had always lamented Chris Columbus’ by-the-numbers, pedestrian direction.  Watching glimpses of the creation of the Harry Potter film universe from behind-the-scenes, however, gave me newfound respect for the sizable accomplishments of the first two.  Columbus had to take the most popular children’s book in a generation and turn it into a viable, living, breathing film property, and while I’ll be the first to admit that his direction can be hamfisted and clunky in spots (I’ll discuss this in greater detail, further down), I respect the immensity of this undertaking.

I also respect him for having been arguably the major force in defining the overall visual world of the Harry Potter film series, and that overall visual world is very difficult to fault.  Not every single creature is exactly as one might have hoped or imagined (though some certainly are), but the overall look of Hogwarts and other parts of the Wizarding World, of the characters, of the costumes are about as good as one could get short of magically lifting them straight from the pages of Rowling’s novel.  It is always difficult to tell in a production how much of the creativity comes from the director himself and how much from the ingenuity of the team he has assembled.  Whether or not Columbus came up with the film’s strongest visual moments, he did choose to surround himself with some extremely talented people and certainly made the final decisions, and he deserves a great deal of credit for that.

I was particularly impressed to learn in the documentaries, for example, that although of course computer animation is used, the creatures that we might assume to always be CGI were actually animatronic puppets in many of the shots. Examples include the crying mandrake roots, the head of the basilisk, the huge spider, Aragog, the phoenix, Fawkes, and even the unconscious body of the troll (in later films, the hippogriff, Buckbeak, the dragon, the werewolf version of Lupin, and others were also sometimes puppets).  Apparently, he was initially hesitant to use puppets but was eventually swayed by his effects team’s argument that they would help provoke more genuine responses from the children, which they certainly do.

And so there is a great deal that Chris Columbus gets right.  He conveys the right amount of childlike awe and nails the storybook tone of the first two books quite beautifully.  He even manages some spectacularly creepy and dark scenes, such as Quirrell/Voldemort drinking the unicorn’s blood, Aragog’s appearance, and Harry speaking in Parseltongue.  The major problem, however, is that while there is certainly artistry on display, the films fail to be artistically satisfying for a number of reasons.  While Chris Columbus certainly seems to be an intelligent man and can be an admirably ambitious director, his personal level of talent often doesn’t seem to quite match the level that his material calls for.  The prime example for me is always his unfairly denigrated film version of Rent, which is clearly a labor of love for him.  It shows in how it inspired him to heights of which, frankly, I did not realize him capable.  Scenes such as “Tango: Maureen” display a daring willingness to stretch the musical beyond its stagebound roots in impressively creative ways, while retaining that which made the show so loved.  At the same time, the film falters nearly as much as it flies (for example, the ill-conceived on-location Santa Fe sequence), simply because, although Columbus knows how films work and clearly knows how to tell a filmic narrative, his reach often far exceeds his grasp.

His films are also practically devoid of any interesting camera moves.  The camera always stays relatively static, moving up or down or to the left or to the right, perhaps tilting if it has to, but almost never making any truly kinetic motions.  Most of the scenes contain the standard establishing shot, then a two or three shot (meaning two or three people in camera), then alternating one or two shots (for example, shot of Harry talking, shot of Ron reacting, shot of Harry talking, shot of Ron talking, shot of Harry reacting), with perhaps an over-the-shoulder shot (meaning, as it sounds, shot from behind and over someone’s shoulder, so you see that shoulder in frame, as if the camera is a person, peering over it from behind) thrown in for good measure.  This is fairly reductive and doesn’t describe every scene in the film, of course, but it describes far too many of them.  The job of bringing the story to the screen is done, but with only scattered moments of true visual flair or style. Diagon Alley seems nicely and properly Dickensian but also rather tame, whereas it should have been stuffed to the brim with magical happenings.

Compare this to Alfonso Cuaron’s direction of Prisoner of Azkaban, in which the camera circles around a scene, zooms in, weaves up and down and in and around, and in which practically every part of the frame contains some tiny wonder or delight, from a student performing a minor spell to a picture coming to life in the far right or lefthand side of the shot.  This is a world completely infused with magic.  Note Cuaron’s depiction of Harry flying on Buckbeak–how the camera swoops and curves, perfectly conveying the epic grandeur of flight, in the most awe-inspiring sense of the word.  Columbus’ depiction of flight in Quidditch matches, on the other hand, get the job done but lack sweep. Except for the fact that the kids are on broomsticks, it could be a depiction of any sport on film. Columbus is far too literal. He has an awesome world to work in, with wonderful set, costume, and creature design, and he films it with very little panache.

Directly related to this is the fact that Columbus’ films don’t really say much. They devotedly bring the books to life but this is also at the expense of making them intrinsically interesting on their own.  They each do their very best to fit in as many of the books’ scenes as possible and yet there seems to be little rhyme or reason as to why Columbus chose to leave some parts in or take others out, besides time constraints.  The mysteries seem underdeveloped. The big Ginny reveal at the end of the second film, for example, seems to come completely out of the blue, having only been established by one line in the Weasley home regarding Ginny’s schoolgirl crush on Harry, and one later reaction shot in which she looks incredibly guilty.  How she found the diary, the fact that she had been writing in it about her love for Harry–this is all chopped out, and without it, her motivation truly suffers.  The film also inexplicably glosses over the sense of alienation Harry is supposed to feel when the school starts to believe he might be the heir of Slytherin.  Capturing this sense of paranoia and the crushing weight of the entire school turning on Harry–the former boy hero being ostracized–surely should have been more important to Columbus than, for example, recreating the mostly unnecessary mandrake scene.

Returning again to Prisoner of Azkaban, this film actually includes many more cuts to the source material than either of the first two films, and yet they are done with far more intelligence and grace.  The key to making a good dramatic adaptation of preexisting material that is too lengthy to be captured in full is for the creative team to decide on what themes most interest them and to focus the work around them.  A great example is the Broadway musical of Gregory Maguire’s Wicked, which is a quite sprawling novel.  The writers of the musical decided to make their musical about one particular relationship in the book, that of the “Wicked Witch of the West,” Elphaba, and Glinda, and only included those parts of the novel that were central to that arc. Similarly, Cuaron decides to make Harry’s impending adulthood the primary theme of his film, and he shoots everything through this lens, so to speak.  The Dementors are used to reflect a world growing ever darker and more adult, as Harry ages.  The Hogwarts clock is used as a repeated visual motif to reflect the passage of time, along with the Whomping Willow–each season is marked by the cycle of this sentient tree.  And Cuaron also brilliantly ties this into the time travel sequence in the latter portion of the film, taking what could have been a simple plot twist and weaving it into the core theme of his film–that the kids are growing up (Cuaron even gets away with an ingenious masturbation metaphor at the start of Azkaban, Harry playing with his wand underneath the covers) and no matter how one may try to freeze time or turn it back, literally or metaphorically, it moves ever onward. The darker visual palette with which he shoots takes the entire series to a new level of maturity and depth.

Now, maybe it isn’t fair to focus on Azkaban so much in a review that is ostensibly meant to be about the first two Harry Potter films, but I think it’s important to illustrate the contrast between the first two films and the third and beyond.  It makes the difference between a film that stands on its own as a work of art, while forwarding the central themes and plots of the entire saga, and a film which, like the first two, is merely a faithful adaptation of a book–Cliffs Notes brought to life, if you will, but lacking the full passion of the source material from which they came.  The first two films are entertaining, sure, but they are also narratively redundant.  They bring very little to the table that one wouldn’t have gotten from simply reading the books, whereasAzkaban and the later films are personal interpretations and riffs on the books–as the greatest film adaptations are–in which one can see the director interacting with the text, putting his or her own spin on it, and telling it from a perspective that says just as much about him or her as it does about the author.  Watching Azkaban, I can tell that Cuaron is fascinated by that liminal period between childhood and adulthood, where one still revels in the joys of youth but starts to feel tugged in the direction of the beckoning adult world. Watching Sorcerer’s Stone and Chamber of Secrets, I can tell nothing about Chris Columbus other than that he most likely really enjoyed readingHarry Potter and thinks J. K. Rowling is totally awesome.

With that said, the less sophisticated work of Columbus nicely mirrors the less sophisticated world of the first two Harry Potter books, in which Harry and his friends are still very much children.  The looming threats of Voldemort await them, but it all seems so far in the future, just as high school graduation looks to a middle schooler.  As the children gradually grow up, so do the actors who portray them, and so do the books and films in which they exist.  From that perspective, Chris Columbus’ entries to the series are better than I remembered them.  Knowing the greatness that comes later, it is easier to forgive the earlier shortcomings, for they are merely setting the stage for some truly fantastic later films, just as the first two Harry Potters set the stage for surprisingly dark and mature later books.  Think of the first two as elementary school yearbooks.  Parts of them might make us cringe at how awkward and immature we once were, but they are also filled with warm nostalgia for a time when we were more innocent and carefree.  Every now and then, it’s nice to look back to a time when we were still on the way to being who we are now.

Source

cause they got nothin on you baby

Como dice la cancion: I think that possibly maybe I'm falling for you, yes there's a chance that I've fallen quite hard over you.

Editor's note

Esta no soy yo extrañandote. Lo que extraño es lo que solía ser.

No soy yo.

You can replace me now

feed the soul, starve the ego

Dejar ir no es olvidar, no pensar en esa persona, o ignorar a esa persona. No deja sentimientos de enojo, celos, o arrepentimiento. Dejar ir no es ganar, pero tampoco es perder. No es acerca del orgullo, y tampoco es de cómo te verás. No es acerca de obsesionarse o pelear con el pasado. Dejar ir no es bloquear recuerdos o pensar cosas tristes, no deja un vacío, dolor o tristeza. No es rendirse o ceder. Dejar ir no es acerca de pérdida, y no es derrota. Dejar ir algo es apreciar los recuerdos, de superarlo y seguir adelante. Es tener una mente abierta y confianza en el futuro. Dejar ir es aceptar, aprender, es experimentar. Dejar ir es estar agradecido por las experiencias que alguna vez te hicieron llorar, reir, amar y crecer. Es acerca de todo lo que tenías, y todo lo que todavía tienes. Dejar ir es tener el coraje de aceptar el cambio y la fuerza para seguir adelante. Es crecer, dandose cuenta que un corazón a veces puede cambiar y que tambien puede ser el remedio más potente. Dejar ir es abrir una puerta, despejar el camino, y liberarte.

a year without rain

Di que sientes cuando pienso en ti una y otra vez cada instante que no estas junto a mi, mi mundo está al revés, camino por un desierto cuando tu te vas, no se si es un espejismo, te siento tan real.


Quiero volverte a ver para calmar mi sed, un día sin tí es como un año sin ver llover; si escapas otra vez no sobreviviré, un día sin tí es como un año sin ver llover.


Contando estrellas, oigo en mi mente tu voz, oyes tú la mía? mi corazón esta sufriendo la soledad. Soy un desorden, camino en hojas secas si no estás aquí, regresa que yo un diluvio lloraré por tí.


Regresa aquí, abrazame, soy un desierto sin tu querer. Vuelve pronto a mí, no seas así porque un día sin tí es como un año sin ver llover.

just hi.

I say everyday

"Lo superarás..." son los clichés los que causan el problema. Perder a alguien que amas es alterar tu vida por siempre. No lo superas porque "esa" es la persona que amabas. El dolor para, conoces nuevas personas, pero el agujero nunca cierra. Cómo podría? La particularidad de alguien que importó lo suficiente como para lamentarse tanto, no es para seguir así hasta la muerte. Este agujero en mi corazón tiene tu forma y nadie más lo puede arreglar. Por qué querrían hacerlo?

Handle with care

La gente dice que cuando amas a alguien, nada en el mundo importa. Pero eso no es cierto, o si? Tú sabes, y yo sé, que cuando amas a alguien, todo en el mundo importa un poco más.

An Atheist Professor of Philosophy was speaking to his Class on the problem Science has with God, the Almighty. He asked one of his new Christian students to stand

Professor: You are a Christian, aren't you, son? 
Student: Yes, sir. 
Professor: So, you believe in God? 
Student: Absolutely, sir. 
Professor: Is God good? 
Student: Sure. 
Professor: My brother died of cancer, even though he prayed to God to heal him. Most of us would attempt to help others who are ill. But God didn't. How is God good, then? Hmm? 
(Student was silent) 
Professor: You can't answer, can you? Let's start again, young fella. Is God good? 
Student: Yes. 
Professor: Is Satan good? 
Student: No. 
Professor: Where does Satan come from? 
Student: From.. God. 
Professor: That's right. Tell me son, is there evil in this world? 
Student: Yes. 
Professor: Evil is everywhere, isn't it? And God did make everything. Correct? 
Student: Yes. 
Professor: So who created evil? 
(Student didn't answer) 
Professor: Is there sickness? Immortality? Hatred? Ugliness? All these terrible things exist in the world, don't they? 
Student: Yes, sir. 
Professor: So, who created them? 
(Student had no answer) 
Professor: Science says you have 5 senses you use to identify and observe the world around you. Tell me, son.. have you ever seen God? 
Student: No, sir. 
Professor: Tell us if you have ever heard your God. 
Student: No, sir. 
Professor: Have you ever felt your God, tasted your God, smelt your God? Have you ever had any sensory perception of God, for that matter? 
Student: No, sir. I'm afraid I haven't. 
Professor: Yet you still believe in Him? 
Student: Yes. 
Professor: According to empirical, testable, demonstrable protocol, Science says your God doesn't exist. What do you say to that, son? 
Student: Nothing. I only have my Faith. 
Professor: Yes, Faith. And that is the problem Science has. 
Student: Professor, is there such a thing as Heat? 
Professor: Yes. 
Student: And is there such a thing as Cold? 
Professor: Yes. 
Student: No, sir, there isn't. 
(The Lecture Theatre became very quiet with this turn of events) 
Student: Sir, you can have lots of heat, even more heat, superheat, mega heat, white heat, a little heat or no heat. But we don't have anything called cold. We can hit 458 Degrees below Zero which is no heat, but we can't go any further after that. There is no such thing as cold. Cold is only a word we use to describe the absence of Heat. We cannot measure cold. Heat is energy. Cold is not the opposite of heat, sir, just the absence of it. 
(There was a pon-drop silence in the Lecture Theatre) 
Student: What about darkness, Professor? Is there such a thing as darkness? 
Professor: Yes. What is night if there isn't darkness? 
Student: You're wrong again, sir. Darkness is the absence of something. You can have Low Light, Normal Light, Bright Light, Flashing Light... But if you have No Light constantly, you have nothing and it's called Darkness, isn't it? In reality, darkness isn't. If it is, You would be able to make darkness darker, wouldn't you? 
Professor: So what is the point you are making, young man? 
Student: Sir, my point is, your Philosophical Premise is flawed. 
Professor: Flawed? Can you explain how? 
Student: Sir, you are working on the Premise of Duality. You argue there is Life and then there is Death, a good God and a bad God. You are viewing the concept of God as something finite, something we can measure. Sir, Science can't even explain a thought. It uses electricity and magnetism, but has never seen, much less fully understood either one. To view death as the opposite of life is to be ignorant of the fact that death cannot exist as a substantive thing. Death is not the opposite of life, just the absence of it. Now tell me, Professor, do you teach your students that they evolved from a monkey? 
Professor: If you are referring to the Natural Evolutionary Process, yes of course, I do. 
Student: Have you ever observed Evolution with your own eyes, sir? 
(The professor shook his head with a smile, beginning to realize where the argument was going) 
Student: Since no one has ever observed the Process of Evolution at work and cannot even prove that this process is an on-going endeavor, are you not teaching your opinion, sir? Are you not a Scientist but a Preacher? 
(The class was in uproar) 
Student: Is there anyone in the class who has ever seen the Professor's brain? 
(The class broke out into laughter) 
Student: Is there anyone here who has ever heard the Professor's brain, felt it, touched or smelt it? .. No one appears to have done so. So, according to the established Rules of Empirical, Stable and Demonstrable Protocol, Science says that you have no brain, sir. With all due respect, sir, how do we then trust your lectures? 
(The room was silent. The Professor stared at the student, his face unfathomable) 
Professor: I guess you'll have to take them on Faith, son. 
Student: That is it, sir.. exactly! The link between man and God is Faith. That is all that keeps things alive and moving! 
That student was Albert Einstein.

I WANT YOU BACK

It's a world full of chances

Eres el único al que han amado, el único por el que se preocupaban.

El único que incluso importó.

I'm not telling you it's going to be easy. I'm just telling you it's gonna be worth it.

Hay pocos momentos en mi vida en los que no se que decir, pero este es uno de ellos. Y necesito una manera de decirle que todo va a estar bien. Porque sé lo que es perder a alguien que amas. Y duele, duele en todas las partes de tu cuerpo, todos los segundos, todos los dias; y tu crees que no va a estar bien otra vez, pero yo se que si. No ahora, no mañana, probablemente tampoco en un año. Pero algun dia, eventualmente, todo estara bien. Perfecto. Y necesito hacer que ella lo sepa.

Sorry, I only kiss superheroes

Estoy obsesionada con Spiderman. Es en serio. Y cuando vi estas fotos, me obsesione mas.

see what I mean?

Means there's no second chance

Te menti cuando te dije que olvide. Se que no parece como si fuera un gran problema pero queria decirte la verdad y nunca, nunca mentirte mas.

Porque asi es como empieza.

John 3:16 1 John 4:8

Once in a while

Les ha pasado que conocen a alguien con quien no se llevaban bien, luego si, luego no, pero luego si y mucho? A mi si. Y la verdad no me arrepiento porque se que nuestra amistad es verdadera, porque a pesar de todo seguimos siendo como antes.

Sometimes I wish that I could freeze the picture

Ayer fue el 6º cumpleaños de Fer (mi primita) y fuimos a Peter Piper Pizza con sus amigas, Melissa, Cristina, Ary y Regina. Hace muchisimo que no me divertia tanto como ayer. Estuve un rato con sus mamas, que estan bien locas, sobre todo Caro (mama de Ary), Janeth (mama de Melissa) y Gaby (mama de Regina). Estuvimos como 7 horas en PPP y comimos demasiada pizza. Despues fuimos a casa de Ary y comimos palomitas, galletas y tomamos leche... ah y jugamos con su perrito Skipper. Luego, en la noche fuimos a casa de Fer y comimos mas, y tuvimos otra mini fiesta. Childish much? haha lo se :)

Glee: las mejores 10 actuaciones de la primera temporada

Ya que termino oficialmente la primera temporada de Glee para latinoamerica, queria hacer algo que me ayude a superar mis meses sin Glee. Decidi discutir y mostrarles mis 10 presentaciones favoritas de la primera temporada. Una cosa que deben saber es que no tome solo la cancion misma para la lista, si no tambien las secuencias, como fueron grabadas, y como los integraron en los episodios. Me sorprendi al terminar la lista, que no puse canciones que pense que iba a poner, como las de "Power of Madonna" y "Don't stop believing" del episodio piloto, ya que otras canciones terminaron siendo mas memorables.

Ahora, aqui va la lista:

10) "Safety dance" (Dream On)
El sueño de Artie de pararse de su silla de ruedas y bailar, es uno de esos momentos maravillosos que solo pasan en Glee. Un mall entero lleno de personas bailando al ritmo de "Safety Dance" de los 80s. Podemos entender por que, para alguien que no puede caminar, le emocione la parte de la cancion que dice "we can dance if we want to we can leave your friends behind cause your friends don't dance and if they don't dance, they're no friends of mine." Kevin McHale tambien tiene la oportunidad de mostrarnos sus pasos de baile, y su voz.

9) "Imagine" (Hairography)
Cuando las personas sordas se paran para cantar "Imagine" de John Lennon inmediatamente despues de que los de New Directions hacen su mezcla de "Hair/Crazy in love", los de ND y Will se sienten como tontos. Los niños sordos no tienen un vestuario impresionante, ni una coreografia que aturde, ni mucho menos cantan canciones como las de ND. Hacen las señas de la letra de John Lennon, mientras un muchacho dice la letra. Aun asi, se las arreglan para ser un momento musical muy conmovedor. Los niños se ven tan conmovidos por el poder de la cancion que cantan, a pesar de que se ve que les habian negado la posibilidad de cantar. A su vez, los de New Directions se conmueven por lo que ven en los otros, que se unen a cantar con ellos. La cancion de Lennon es acerca de un mundo sin fronteras, ni dividido, y en ese momento, las fronteras desaparecen entre los dos grupos tambien. La competencia no importa. Ganar no importa. El hecho de que no se pueden comunicar con los otros por los metodos normales no importa. Lo unico que importa es un cuarto lleno de gente, unido por un amor compartido y abriendose a la alegria. Glee.

8) "Maybe this Time" (The Rhodes not Taken)
"Maybe this time" de Cabaret marco la primera vez desde que el show regreso despues de que salio al aire su episodio piloto, transmitido antes del verano pasado. En el momento en que bajan las luces, y Kristin Chenoweth muestra el glorioso poder de su increible voz es magia pura. Y entonces se convierte en un dueto entre Rachel y April, y nos damos cuenta en la union de estos personajes. April es la oscura posibilidad en la que la vida de Rachel se puede transformar si no sigue sus sueños. Y la manera en que la letra de la cancion hace referencia a sus vidas, es brillante (Rachel esperando que la acepten y aprecien en la escuela, y April esperando que pueda reiniciar su vida).

7) "Bad Romance" (Theatricality)
Viste a todas las chicas de New Directions y a Kurt en diferentes atuendos hechos en casa e inspirados en Lady Gaga, y hazlos que presenten el sin duda el definitivo numero de Lady Gaga, y vas a tener uno de los momentos mas epicos de la historia de Glee. Honestamente, no tengo mas que decir.

6) "Defying Gravity" (Wheels)
Rachel y Kurt cantando "Defying Gravity" de wicked es uno de los mejores momentos de la primera temporada de Glee. Lea Michele no solo nos muestra por que haria una buena Elphaba, y Chris Colfer nos muestra por primera vez en la serie su asombrosa voz, si no que la cancion habla perfectamente de los temas del episodio, y de Glee mismo. Ademas, la decision de Kurt de tirar la competencia agrega el poder emocional para terminar con la ultima nota.

5) "Journey Medley" (Journey)
Lo que hace esta presentacion tan maravillosa, es que representa lo mejor de New Directions, empezando con "Faithfully", cantada por Rachel y Finn mientras caminan por los pasillos del teatro, en un movimiento que recuerda "Don't Rain on my Parade" de Rachel en los seccionales, convirtiendose en una mezcla de "Any Way You Want It/Loving Touching Squeezing" que recuerda la mezcla de amores de la serie, y trae un recuerdo de la infancia de Finn, y culmina con "Don't Stop Believin", la cancion que lo empezo todo. La teatralidad de Journey es muy bien adaptada a Glee como un espectaculo, y proporciona un gran musical resumiendo toda la temporada.

4) "Bohemian Rhapsody" (Journey)
Si, se que es raro clasificar una cancion de Vocal Adrenaline mas alta que cualquiera del grupo de New Directions, pero esta cancion se lo merece por ser la mas ambiciosa, la mejor coreografiada, y la mejor secuencia musical editada en la historia de Glee. Todo el numero musical esta unido con Quinn en trabajo de parto, siendo trasladada al hospital, y finalmente teniendo a su bebe. La secuencia se siente como la apoteosis de todo lo que ha pasado antes en la temporada. Lo potente de la rock opera "Bohemian Rhapsody" proporciona al nacimiento de Beth una coreografia que reflejan las contracciones, mientras que la letra reflejan las emociones de Quinn y Rachel, sin mencionar el tema social de la serie. Genius.

3) "One Less Bell To Answer/A House Is Not A Home" (Home)
El dueto de April y Will es uno de los mas epicos de la temporada. Lo que empieza con April cantando junto al radio se transforma en un gran numero, con Will y April expresando sus emociones compartidas de perdida y dolor. Me gusto que el show pusiera la cancion completa, y por el estilo en que es filmada, recuerda los clasicos musicales de Hollywood, con tomas largas y trucos minimos de edicion. Este es, sin duda, uno de los momentos mas clasicos de la serie.

2) "A House Is Not A Home" (Home)
La version sencilla, pero hermosa de Kurt de "A House Is Not A Home" tiene mi voto para la segunda mejor actuacion del año, por muchas razones. Para empezar, la cancion es perfectamente ajustada al tono de voz de Chris Colfer, y suena absolutamente asombroso cantandola. Mas importante, su actuacion es magnifica. La cancion infunde con nostalgia la añoraza y anhelo de Kurt, el dolor de no poder estar con el chico que ama escrito en rostro, su voz y su alma. Chris Cofler crecio en un pueblo pequeño, y siendo gay, parece cantar directamente de su propia experiencia y con el dolor de su pasado, convirtiendose en uno de los momentos musicales mas reales en la corta historia de la serie.

1) "Don't Rain On My Parade/You Can't Always Get What You Want" (Sectionals)
Cuando Rachel Berry canta por el pasillo la cancion de Barbra Streisand de Funny Girl, es pura magia de principio a fin. Desafiante y poderosa, demuestra como una actuacion en vivo debe ser. Lea Michele es una fuerza de la naturaleza en escena, de hecho, por un momento podemos olvidar la magnifica actuacion de Barbra Streisand, sin mencionar que estamos viendo una pantalla de television y no estamos realmente en la audiencia de los seccionales. Esta cancion es una muestra del conjunto del personaje, la eleccion de la cancion, y de la actuacion. La letra es muy Rachel Berry, y demuestra de una muy buena manera la determinacion de New Directions para ganar, a pesar de las probabilidades. Y eso es antes de empezar a cantar en el tono emocional perfecto "You Can't Always Get What You Want" (que tambien sirve como excelente presagio para el resultado de las regionales).


Menciones honorables:
"Don't Stand So Close To Me/Young Girl" (Ballad)
"Somebody To Love" (The Rhodes Not Taken)
"All The Single Ladies" (Preggers)
"Don't Stop Believin" (Pilot)
"Proud Mary" (Wheels)
"Like A Virgin" (The Power Of Madonna)
"Vogue" (The Power Of Madonna)
"Home" (Home)
"Rose's Turn" (Laryngitis)
"Dream On" (Dream On)
"Run Joey, Run" (Bad Reputation)
"Total Eclipse Of The Heart" (Bad Reputation)
"Give Up The Funk" (Funk)
"Poker Face" (Theatricality)