The Wars, Part Ten

You may begin at Part One. ~

Voilà: another Green Day song. ~ This one I have known for a long time - in fact, it could be called one of my "fall-back" songs; that is, the type of song I listen to when I'm either in a nostalgic mood, or tired of the series of songs I have on rotate at the current time. ~ As a result, I even know all the lyrics by heart. ~ Quite a feat for someone who never exclusively listens to music, but rather chooses to play "bgm" (AKA, "background music"). ~ FYI, I also have a strange affinity for discovering the extended forms of acronyms, in case you haven't caught it. ~ I wonder who else didn't know that "app" = application and "Interpol" = international police? ~

Completely derailing. ~ Enjoy "Boulevard of Broken Dreams," and may your own dreams be whole and satisfactory. ~

As a result, they will feel alienated from society.

Boulevard of Broken Dreams, by Green Day:

I walk a lonely road
The only one that I have ever known
Don't know where it goes
But it's home to me and I walk alone

I walk this empty street
On the boulevard of broken dreams
Where the city sleeps
And I'm the only one and I walk alone

I walk alone
I walk alone

I walk alone
I walk a...

My shadow's the only one that walks beside me
My shallow heart's the only thing that's beating
Sometimes I wish someone out there will find me
'Till then I walk alone

Ah-ah Ah-ah Ah-ah Aaah-ah
Ah-ah Ah-ah Ah-ah

I'm walking down the line
That divides me somewhere in my mind
On the border line of the edge
And where I walk alone

Read between the lines
What's f***** up and everything's all right
Check my vital signs to know I'm still alive
And I walk alone

I walk alone
I walk alone

I walk alone
I walk a...

My shadow's the only one that walks beside me
My shallow heart's the only thing that's beating
Sometimes I wish someone out there will find me
'Till then I walk alone

Ah-Ah Ah-Ah Ah-Ah Aaah-Ah
Ah-Ah Ah-Ah

I walk alone
I walk a...

I walk this empty street
On the boulevard of broken dreams
Where the city sleeps
And I'm the only one and I walk a...

My shadow's only one that walks beside me
My shallow heart's the only thing that's beating
Sometimes I wish someone out there will find me
'Till then I walk alone

Literary Content

In “Boulevard of Broken Dreams,” the individual expresses his alienation through the metaphor of walking down “a lonely road.” He wishes “someone out there will find [him],” yet because he is so different from the rest of society, he is condemned to “walk alone” while “the city sleeps,” another metaphor which indicates his disconnection from society. Furthermore, he feels lost and “[doesn’t] know where [the road] goes.” This “boulevard of broken dreams” represents his shattered vision of war and of humanity; having killed men and seen other men being killed, his former childhood dreams of the glory of war have been forever broken. His shattered internal state is further highlighted through the metaphor of the “line / that divides [him] somewhere in [his] mind.” This line divides not only his new, war-torn self from his formerly innocent and lust-for-violence self, but also divides him from society, driving him to “the edge” of madness. His only way to ascertain that he is “still alive” is to “check [his] vital signs,” which is an action reminiscent of what, as a soldier, he would have done in war; this further illustrates how the individual is still in a battle mindset. However, he yearns to finally escape the horrors of war, wishing that “someone out there will find [him]” and relieve him of his lonely misery.

Auditory Elements

The song begins with a bass riff entrance that resonates and vibrates, conveying the auditory imagery of slow, plodding steps taken by the lonely individual. This establishes a dragging, depressed mood.

Also, the reference to “[the individual’s] shadow” represents the ever-present influence of war and of his memories of fighting. The fact that the previous line, “I walk a…,” is interrupted by “my shadow,” suggests that even in loneliness, he is not free from the horrors of war.

Finally, the heavy bass solo at the end, from 3:44 to 4:17, completes the piece in a dark and despondent mood as the individual continues to persist in loneliness.

The Wars, Part Nine

Part One starts it off. ~

Finally, we have the country song. ~ Amusing factoid: FL thinks, and I agree, that country music is too blatant in its lyrics; that is, it explicitly states everything without using much figurative language or subtleties. ~ This isn't a jab at country music, but simply a fact that does not reflect upon my opinion of the genre overall. ~

Nevertheless, these quite obvious lyrics served my purpose well, and hence "I Just Came Back From A War" is included in my playlist. ~

However, they will soon discover that they have difficulty relating to the rest of society. War divides the individual from the collective by subjecting him or her to life-threatening circumstances, under which the individual becomes so emotionally strained that he or she loses the connection with the commonplace reality of daily life.

I Just Came Back from a War, by Darryl Worley:

The first thing I did when that plane finally landed was kiss the ground
The next thing I did was to go find my friends down at the old hangout
Drank some beer and talked a lot about old times
But when the booze finally hit Billy Joe Grimes
He said I don't know what it is, but you seem different to me

I said I just came back from a place where they hated me
and everything I stand for
A land where our brothers are dying for others who don't even care anymore
If I'm not exactly the same good old boy that you ran around with before
I just came back from a war

The very next morning I took a walk through the neighborhood
I thought it's been so long since I've been in a place where everything is good
People laughing and children were playing
And as I watched ’em I found myself praying
Lord keep ’em safe here at home in the land of the free

Cuz I just came back from a place where they hated me
And everything I stand for
A land where our brothers are dying for others who don't even care anymore
If I'm not same little freckled face boy
That grew up in that house next door
I just came back from a war

I hope you cherish this sweet way of life
And I hope you know that it comes with a price

I just came back from a place where they hated me
And everything I stand for
A land where our brothers are dying for others who don't even care anymore
Chances are I never will be the same
I really don't know anymore
I just came back from a war

I just came back from a war

[Background]
You don’t know me (repeated)

I just came back from a war

Literary Content

In “I Just Came Back from a War,” the individual begins to realize to what extent he has been changed by the war. His friends back home notice that he “seem[s] different,” which causes the individual to relate the hate he’s been forced to endure during the war. His pain regarding his fellow soldiers’ deaths is further underscored by the fact that they “are dying for others who don’t even care anymore;” namely, that they no longer fight for a purpose. He also explains his tarnished innocence by juxtaposing his current self with the “little freckled face boy / That grew up in that house next door,” suggesting that he was forced to grow up and grow burdened with suffering during the war and that he no longer has those same urges to be a “killing machine.” However, he can no longer see anything without thinking about the war; the “people laughing and children […] playing” remind him of just how fragile peace is. This shows the extent to which he has been permanently affected; “chances are [he] never will be the same.”

Auditory Elements

The country style of this song contributes to establishing a peaceful and slightly nostalgic mood, as this type of music is reminiscent of the traditional American hometown. The use of the Am chord, combined with the Cadd9 and G chords, adds a slight tinge of sadness to the joy and relief of homecoming.

Also, the individual’s further alienation is hinted at the line, “you don’t know me,” which, as it repeated, fades to silence, suggesting that he is retreating into himself more and more as time goes by. This creates a melancholic and lonely tone.

The Wars, Part Eight

Part One is where it all begins. ~

So, I admit it: I did go a little overboard with the A7X songs. ~ However, they fit so perfectly with the theme that I couldn't resist. Stumbling upon this band was like uncovering a treasure trove of beautifully suitable gold to match the otherwise bland outfit. ~

"Gunslinger" helps illustrate my previous point in Part Two about A7X's music being "flexible." ~ This song begins in a near-country style, then transitions to rock. Both convey emotions of despair and anguish, but in distinct ways. ~ This contrast keeps the song interesting, as it does in so much of their other music. ~

After leaving the battlefield of war, individuals will initially be relieved at the prospect of returning home and filled with the hope that they can return to a sense of normalcy because they are unable to grasp the full extent of the war’s influence upon themselves.

Gunslinger, by Avenged Sevenfold:

Yeah, you've been alone
I've been gone for far too long
But with all that we've been through
After all this time I'm coming home to you

Never let it show
The pain I've grown to know
'Cause with all these things we do
It don't matter when I'm coming home to you

[Chorus]
I reach towards the sky I've said my goodbyes
My heart's always with you now
I won't question why so many have died
My prayers have made it through yeah
'Cause with all these things we do
It don't matter when I'm coming home to you

Letters keep me warm
Helped me through the storm
But with all that we've been through
After all this time I'm coming home to you

[Chorus]

I've always been true
I've waited so long just to come hold you
I'm making it through
It's been far too long, we've proven our
love over time's so strong, in all that we do
The stars in the night, they lend me their light
to bring me closer to heaven with you

(Bring me closer)

But with all that we've been through
After all this time I'm coming home to you

[Chorus]

And with all that we've been through
After all this time I'm coming home to you

Lyrical Content

In “Gunslinger,” the individual is coming home after the war has ended. Through this song, he is addressing a lover he left at home and is now returning to. He wants to forget the war and return to his civilian life, wanting to believe that “[his] heart [will] always [be] with [his lover] now,” and that he “won’t question why so many have died.” This belief that love can overcome the grim reality of war’s impact is unfounded, considering how the individual already exhibits thoughts about “never let[ting] show / The pain [he’s] grown to know” in war, thus foreshadowing his inevitable distancing from society as a result of concealing his memories and emotions. His fervent use of “it don’t matter” undermines the gravity of all that he has faced; his hope at finding happiness anew so simply is therefore based on the fact that he is lying to himself.

Auditory Elements

The song opens with a soft guitar accompaniment, in a near-country style, which hints at an image of a lone horseman riding home. The tone established with this calm accompaniment is a sad, mournful one, as appropriate for one returning from war. Furthermore, the sudden rise in pitch on each “all” sounds somewhat strained, hinting at the deeper pain that the individual has suffered in war.

Then, a rock style begins at end of third stanza as the individual begins to remember the war, as evidenced by his use of the metaphor “storm” to describe his grueling experience. His voice becomes more strained as he repeats the chorus, conveying a sense that he is trying to convince himself that he can readjust to civilian life despite his evidently lingering pain from the memories of war. He succeeds in part, as the tone becomes more hopeful in the sixth stanza, after the second rendition of the chorus. This is conveyed through the ascending melody line in both the vocal accompaniment, and then in the solo electric guitar from 2:59 to 3:22. These rising musical lines in the background subtly hint at the brighter future that the individual is hoping for.

The Wars, Part Seven

Look! You can start at Part One! ~

The Devil Wears Prada was known only as a movie to me before having tackled this assignment. ~ Nevertheless, I decided to listen to this song through the suggestion of FL, who helped a great deal by being there to listen to my ramblings and explanations while working on this playlist and ensuring me that I was still staying coherent... or not. ~ Regardless. "Louder Than Thunder" is a short but very unique song, calm yet haunting all at once. ~ One more interesting factoid before you listen: The Devil Wears Prada is a Christian band. ~

This will lead individuals to desire peace in the place of war.

Louder Than Thunder, by The Devil Wears Prada:

What would it take?
For things to be quiet, quiet like the snow.

I know this isn't much, but I know, I could, I could be better.

I don’t think I deserve it, selflessness.
Find your way into my heart.

All stars could be brighter,
All hearts could be warmer.

What would it take for things to be quiet?
Quiet like the snow.

Are we meant to be empty handed?
I know I could, I could be better.

I don’t think I deserve it, selflessness.
Find your way into my heart.

All stars could be brighter,
All hearts could be warmer.

What would it take for things to be quiet?

Literary Content

“Louder Than Thunder” conveys the individual’s longing for peace. The thunder is a symbol for war, whereas the “quiet” represents peace. The simile of “quiet like the snow” expresses the individual’s belief that peace is pure and innocent, untainted and unlike the fear that comes with “thunder,” and thus war. Having endured so much already, the individual does not think he “deserve[s]” be fighting in this war, amid all this violence, and exhibiting this “selflessness;” as a result, he starts to doubt the validity and justification behind fighting in the war. Even though he realizes that his desire for peace “isn’t much,” he knows that he “could be [a] better [person]” if peace were to finally come. His hope for this better future is conveyed through the lines “all stars could be brighter” and “all hearts could be warmer,” where the stars represent the brilliance of mankind and the hearts represent the potential kindness of human beings.

Auditory Elements

The piano and cello introduction establishes the slow tempo and longing mood that is to characterize the entire piece. The generally minimal accompaniment allows the lyrics to sound more unadorned and thus more heartfelt. Also, the swell that ends abruptly on the word “quiet” at 1:23, in addition to the end of all accompaniment on the last “quiet” at the very end, serve to draw the listener’s attention to the brief pause, which ends with a feeling of more to come. This parallels the individual’s urging and almost breathless desire for peace.

The Wars, Part Six

As always, start at Part One. ~

Ah, so we've arrived at the inevitable Green Day song. ~ Indeed, "21 Guns" seems to be one of the more well-known songs in my list. ~ In fact, Green Day is one of the rare rock bands that I was familiar with since earlier childhood; "Boulevard of Broken Dreams" and "Wake Me Up When September Ends" are two of the very first English songs I ever heard. ~ "21 Guns" was a new one to me, though. ~ Quite a pleasing melody, with a catchy chorus. ~ The music video puzzled me, but I did enjoy the effect of the bullets piercing the drywall and letting light shine through the holes into the room. ~ Now, without further ado, I shall let you succumb to the sounds of Green Day and your own thoughts on the wars. ~

As a result, individuals may begin to question the validity behind the reasons for war and gain a sense of futility regarding the war.

21 Guns, by Green Day:

[Verse 1]
Do you know what's worth fighting for?
When it's not worth dying for?
Does it take your breath away
And you feel yourself suffocating?

Does the pain weigh out the pride?
And you look for a place to hide?
Did someone break your heart inside?
You're in ruins

[Chorus]
One, 21 guns
Lay down your arms, give up the fight
One, 21 guns
Throw up your arms into the sky, you and I

[Verse 2]
When you're at the end of the road
And you lost all sense of control
And your thoughts have taken their toll
When your mind breaks the spirit of your soul

Your faith walks on broken glass
And the hangover doesn't pass
Nothing's ever built to last
You're in ruins

[Chorus]

[Bridge]
Did you try to live on your own
When you burned down the house and home?
Did you stand too close to the fire
Like a liar looking for forgiveness from a stone?

[Verse 3]
When it's time to live and let die
And you can't get another try
Something inside this heart has died
You're in ruins

[Chorus, repeat]

Literary Content

In “21 Guns,” the individual comes to the realization that he’s fighting a war that is “not worth dying for.” This echoes his friend’s earlier comment that “no cause could be […] worthy” of dying for (see “Everybody’s Gone to War”); his point of view now resembles hers. He even takes up her role, speaking to a fellow soldier and attempting to convince him to “throw up [his] arms into the sky” so that they can surrender together in a war that is not “worth fighting for.” In explaining his decision, the individual uses the word “ruins” to evoke the image of a desolate battlefield ravaged by war; this image has transferred itself onto the individual, who likewise has been torn asunder by the psychological effects of war. His “pain weigh[s] out the pride” of fighting for his country; his “[mind broke] the spirit of [his] soul,” as slowly, the thoughts of the deaths of his fellow soldiers combined with his own heinous deeds of murder overtook his initial “killing machine” desire and instinct. His sadness and inability to forget those whom he killed is reflected by his “looking for forgiveness in a stone;” he tries to apologize to the graves of the dead, yet is unable to find repentance because he is a “liar,” having pledged his duty to a cause he no longer believes in. Scorched because he “[stood] too close to the fire” of war, the individual is unable to heal from the burns inflicted by his deeds on his memory. Hence, he realizes that “something inside [his] heart has died” and that he can no longer go back to the way he was before; as such, he wants to “lay down [his] arms [and] give up the fight.”

Auditory Elements

The chord progression for each line throughout the song is Dm, A#, F and C, resolving from a minor to a major instead of the opposite, like in “Everybody’s Gone to War.” This evokes a more hopeful tone in the overall song, though it is still tinged with a slightly mournful mood reflecting the “ruins” caused by the war.

Furthermore, after verse 3, there is a pause that last from 3:38 to 3:41; at this time, it seems as if the song has ended. However, the lyrics and accompaniment suddenly restart with the chorus. This pause, located right after the words “you’re in ruins,” suggests that the individual is overcome by his sense of futility in the war; nevertheless, the louder and more vigorous sound caused by the addition of bass accompaniment in the chorus that follows shows his renewed hope for the future. This combination further conveys an initially futile tone that blends into one of hope for peace.

The Wars, Part Five

Read Part One first! ~

Another A7X song. ~ Heart-wrenching and catchy at the same time. ~ Written and performed as a tribute to the belated James Owen Sullivan (aka "the Rev"), I found "So Far Away" a fitting song to fit into my wars playlist. ~

Humans deal with death even in day-to-day life, not just in war. ~ Death is presented in many ways, and its effect on those around the deceased person have sparked many a novel, song and painting. ~ Pain, memories and, to a certain extent, fear of the future. ~ A sickening mixture that amalgamates to grief and loss. ~ With these emotions in mind, please approach the song and the analysis with an open perspective and a certain understanding. ~

Furthermore, the increasing amounts of lives lost will cause individuals deep emotional pain and suffering, furthering their disenchantment as a consequence of facing the realities of war.

So Far Away, by Avenged Sevenfold:

Never feared for anything, never shamed but never free
A life that healed a broken heart with all that it could
Lived a life so endlessly, saw beyond what others see
I tried to heal your broken heart with all that I could
Will you stay? Will you stay away forever?

[Chorus]
How do I live without the ones I love?
Time still turns the pages of the book it’s burned
Place and time always on my mind
I have so much to say but you're so far away

Plans of what our futures hold, foolish lies of growing old
It seems we're so invincible, the truth is so cold
A final song, a last request, a perfect chapter laid to rest
Now and then I try to find a place in my mind
Where you can stay, you can stay awake forever

[Chorus]

Sleep tight, I'm not afraid
The ones that we love are here with me
Lay away a place for me
'Cause as soon as I'm done I'll be on my way
To live eternally

[Chorus, modified]
How do I live without the ones I love?
Time still turns the pages of the book it’s burned
Place and time always on my mind
And the light you left remains but it's so hard to stay
When I have so much to say and you're so far away

I love you, you were ready
The pain is strong enough despise
But I'll see you when he lets me
Your pain is gone, your hands are tied

So far away and I need you to know
So far away and I need you to, need you to know

Literary Content

The death of his fellow soldier in “Sink or Swim,” coupled with the many other deaths as a result of the war, have affected the individual deeply. He questions “how [he can] live without the ones [he] love[s],” relating his pain through the use of a burnt book metaphor. For the individual, the pages of the book that is his life are scorched irreparably by the loss of so many of his fellow soldiers. He “ha[s] so much to say,” yet because his friends are “so far away,” a euphemism for death, the individual alone must feel “the [cold] truth” of the war. His use of irony in the words “a perfect chapter” convey his bitter feelings regarding the war, which he feels was “perfect” because his fellow soldiers were still alive, yet truly imperfect because it caused their deaths.

Auditory Elements

The song is in a minor key, with a sad melody that conveys the melancholy that accompanies the individual’s memories of his friends. The quiet acoustic guitar interlude after the modified chorus begins calmly and in the same sad mood, yet builds with the addition of the drumset and electric guitar, conveying his growing anger at the deaths of his fellow soldiers. Finally, the entrance of the singer in an unusually strained voice in the seventh and eighth stanzas conveys the individual’s pain-filled tone despite his acceptance of his friend’s death, foreshadowing his further disenchantment with the war.

The Wars, Part Four

Start at Part One. ~

Tyrone Wells is a brilliant singer. (Seems that I haven't disliked a single artist in my playlist yet... Perhaps over-long exposure to their music has fine tuned my ears to their nuances and styles.) ~ This song was first introduced to me by my good friend FL, whose taste in music is very much like my own. ~ Oddly enough, "Sink or Swim" reminds be of the How to Train Your Dragon series by Cressida Cowell, recently made into an animated movie. ~ One of the characters is named Camicazi, which could hint at the reason behind my train of thought. ~ Regardless, I suggest anyone with free time to take a lot at both Tyrone Wells' other music and the book series aforementioned. ~ Enjoy! ~

Nevertheless, the continuous, taxing effect of war will eventually drive some individuals mad, at which time they will consider suicide.

Sink or Swim, by Tyrone Wells:

[Verse 1]
Caught in the middle of a cross-fire
Lost my balance on a high-wire
Trying to figure out what to do

[Verse 2]
Pushed to the edge of my reason
Everywhere around me in treason
I don't want to do that to you

[Chorus]
Kamikaze airplanes in the sky
Are we going down or will we fly
This could be a ship wreck on the shore
Or we could sail away forevermore
This time it's sink or swim

Sink or swim

[Verse 3]
Hearing the song in your laughter
A melody I chase after
No one else has done this to me

[Chorus]

[Bridge]
Take a deep breath
No more time left
This is what I thought I wanted
Why am I afraid

[Chorus, repeat]

Sink or swim

Lyrical Content

In “Sink or Swim,” the individual speaks to a fellow soldier about his thoughts on suicide, as reflected by the use of the metaphor of “kamikaze airplanes.” In war, the individual’s life is “balance[d] on a high-wire,” precariously hinged on every decision and movement. Having been “pushed to the edge of [his] reason” by the continuously taxing effect of fighting, the individual remarks that there is a very fine line between life and death in war through his metaphor of “sink or swim.” To sink would be to give in to his thoughts on suicide, whereas to swim would be to retake hold of his life and thereby do his best to survive the war. These suicidal thoughts are sparked by his fellow soldier, who, having gone mad and desiring death himself, entices the individual with “the song [of death] in [his] laughter.” Seeing that there is a certainty in death as compared to the dilemmas and horrors in war life, the individual feels as though he, too, should resort to suicide. However, just as his fellow soldier has “no more time left” and chooses to take his own life, the individual realizes that he is actually “afraid” of death.

Auditory Elements

The brief pause in accompaniment during the word “kamikaze” parallels a simulated feeling of the individual’s stomach dropping as he falls from a tall height, thereby evoking the image of jumping from an airplane. This moment of musically-unsupported free-fall reflects the individual’s sense of hopelessness and alarm. Also, the addition of the drumset during the chorus raises the volume of the song, emphasizing the individual’s desperate tone.

To the very end, the individual seems to be “caught” in his dilemma of “sink or swim,” repeating the chorus twice as he struggles to make his decision. However, after the lyrics end at 2:45, the calm acoustic guitar accompaniment continues on, striking a definitive chord at 2:49 and conveying a tone of finality, thereby suggesting that the individual has made his choice – to live, as hinted at by the final major chord’s bright and relaxed sound.

The Wars, Part Three

Part Three of the series. (Start at One!) ~ This time, a Breaking Benjamin song is featured. ~ I can't honestly say that I had heard of this band previous to completing this assignment, yet after the dozens of times I've listened to this specific song by them in order to extract its essence for my analysis, I must permit myself to announce that I now have an at least rudimentary understanding of their style and genre. ~ Please enjoy, as I have, the slightly haunting but ever-passionate sounds of Breaking Benjamin. ~

At that moment, they will attempt to distance themselves emotionally from the reality of war in order to continue fulfilling their duties.

Unknown Soldier, by Breaking Benjamin:

Borderline, dead inside,
I don't mind, falling to pieces
Count me in, violent, let's begin,
feeding the sickness
How do I, simplify, dislocate,
the enemies on the way

Show me what it's like,
to dream in black and white,
so I can leave this world tonight.

Full of fear, ever clear,
I'll be here, fighting forever
Curious, venomous, you'll find me,
climbing to heaven
Never mind, turn back time, you'll be fine,
I will get left behind

Show me what it's like,
to dream in black and white,
so I can leave this world tonight.
Holding on too tight,
bring the breath of life,
so I can leave this world behind.

It only hurts just once,
they're only broken bones,
hide the hate inside

Show me what it's like,
to dream in black and white,
so I can leave this world tonight.
Holding on too tight,
Breathe a breath of life,
so I can leave this world behind

Lyrical Content

In “Unknown Soldier,” the individual is in-between battles, and thus has a chance to reflect upon the deeds he has been forced to commit in war. At this moment, he feels “borderline” because of his indecision regarding the act of killing. He feels “dead inside” because he has lost that fiery lust that drove his desire to be a “killing machine” (see “Everybody’s Going to War”). He finally makes up his mind, saying: “count me in, violent;” however, he knows that by continuing to fight, he is “feeding the sickness” that is a result of war’s corruption.

Thus, he desires to “dislocate” his perception of the enemy as being human so that he can kill without feeling. His plea “to dream in black and white” reflects his desire to lose this moral perspective of seeing in shades of gray; that way, he can forget his guilt and live his life as if in a dream, leaving the civilized world behind for one of slaughter and mindless killing.

Auditory Elements

This is a rock song in a minor key, which establishes a somber mood appropriately reflecting the desperation and desire to escape the reality of war in the lyrics.

Another notable characteristic of the song is the interchange between the singers. In both the first and third stanzas, the same singer sings the first four lines; then, a different voice begins at the fifth line. These changes highlight the “borderline” feeling expressed by the individual. His mind is confused by the war, and thus the two voices represent the two sides of his mind: one which wants to fight, and the other that is deeply affected by the horror of war. Contrarily, both voices sing during the second, fourth and sixth stanzas, during which the individual expresses the desire to lose his moral “gray” uncertainty. This suggests that both sides of him see the necessity in continuing to fight, despite the consequences of his actions.

Finally, there are also several guitar interludes of varying length, from 1:03 to 1:18 and from 2:39 to 3:03; these are the moments during which the individual reflects upon war, highlighting how it is only when not caught up in battle that individuals can feel the actual psychological impact of war.

The Wars, Part Two

The second song featured in my interpretation of "wars." ~ Please bear with this rather lengthy post. ~ Also, please read Part One if you have not already done so, as these songs are meant to convey a chronological progression of ideas. ~

Avenged Sevenfold has become, like Nerina Pallot, a new favourite of mine. ~ Their music is not of the type that I am used to, yet its intriguing and flexible nature has a pleasing quality to it that keeps me interested. ~ I've become acquainted enough with the band to know that it is often referred to as "A7X," if that is any indication as to my familiarity with the group. ~

When directly experiencing war, individuals will become caught up in the immediate needs of battle and thus be distracted from the emotional impacts of war. It is only when individuals are given the time to reflect upon their deeds and the deeds of others within the war, that they will feel the actual psychological impact of the horrors of war.

M.I.A., by Avenged Sevenfold:

[Verse 1]
Staring at the carnage, praying that the sun would never rise.
Living another day in disguise.
These feelings can't be right, lend me your courage to stand up and fight, on tonight.

Ooooo...
Stand up and fight.

[Verse 2]
Now fighting rages on and on, to challenge me you must be strong.
I walk your land but don't belong, two million soldiers can't be wrong.

[Chorus]
It's no fun but I've been here before
Far from home and I'm fighting your war.
(Not the way I pictured this, I wanted better things)
Some are scared others killing for fun, I shot a mother in front of her son.
(Take this from my consciousness, and please erase my dreams)

[Verse 3]
Fight for honor, fight for your life.
Pray to god that our side is right.
Even though we won, I still may lose
Until I make it home to you
I see our mothers filled with tears,
grew up so fast where did those years go?
Memories won’t let you cry
unless I don't return tonight.

[Verse 4]
So many soldiers on the other side, I take their lives so they can't take mine.
(Scared to make it out alive now murder's all I know.)
Nobody tells me all the reasons we're here. I have my weapons so there's nothing to fear.
(Another day, another life, but nothing real to show for)

[Chorus]

[Verse 1]

[Verse 5]
Watching the death toll rise wondering how I'm alive.
Strangers blood on my hands, I've shot all I can
There are no silent nights, watching your brothers all die
To destroy all their plans with no care for me
No thought of me, no thought of me

Ohhhhh...

[Verse 6]
Walk the city lonely
Memories that haunt are passing by
A murderer walks your street tonight
Forgive me for my crimes; don't forget that I was so young
Fought so scared in the name of God and country

Literary Content

In “M.I.A.,” the individual has already been at war for awhile. When the song starts, he begins another day of battle. Having already faced the reality of war, the individual now has a different perception of war – namely, he is no longer lustful for battle. In fact, he is “living another day in disguise” – a metaphor that highlights his new, contrasting view of war. His unwillingness to fight sprouts from his cowardice, which he thinks “can’t be right.” He calls upon a fellow soldier to “lend [him his] courage;” later, in battle, he addresses the enemy side with the same plea to “challenge [him]” with a display of courage so that he himself can find the strength to fight on. During the battle, the individual manages to bring himself to “[shoot] a mother in front of her son” because he was caught up in the fight; yet reflecting back on his deeds, he begins to regret coming to war, realizing that it is “not the way [he] pictured [it].” The necessity of taking the enemies’ lives so that “they can’t take [his]” is what keeps him fighting; his fear is abated by the weapons in his hands, showing that in battle, he lives in the moment and therefore can kill. Yet in verse 6, as he walks through the defeated city, his “memories that haunt” him chide him for being “a murderer.”

The individual thus begins to understand the truth of war. He realizes that he “was so young” and so naïve when he joined the ranks of the army, eager to fight, that he hadn’t considered the fact that “nobody [told him] the reasons [the soldiers were there].”

Auditory Elements

The song begins with a gentle electric guitar solo in a moderately slow tempo; the voice that enters in verse 1 matches the sad and mournful tone created in the solo and reflects the individual’s dread at having to fight in another battle. Then, before verse 2, the song enters into a rock style; the tempo picks up and drives the song forward, simulating the adrenaline rush of a battle. The singer’s voice is strained and pain-filled, hinting at the destruction and wreckage occurring during the battle as the “fighting rages on and on.” In particular, the words “alive” and “die” in verse 5 stand out, sounding even more strained than the rest; this juxtaposes life and death and demonstrates how fate seems to be random on the battlefield because there appears to be no reason one soldier is killed rather than another.

A long guitar interlude, intertwined with the singing of “Ohhhhh…” from 4:41 to 7:04, maintains the strained and adrenaline-filled tone of the song. This then fades to a single electric guitar accompanying a voice reminiscent of the opening, setting a melancholic mood as the individual reflects upon “the carnage” of the battle. Finally, as the last word is sung, an acoustic guitar is heard, accompanied by the electric guitar; both fade to silence from 8:05 to 8:47, leaving the listener in a lugubrious mood.

The Wars, Part One

A final, lengthy ELA 30-1 IB assignment: and auditory journal comprised of a collection of twelve songs, all relating to the topic of "wars," whether these be literal or figurative ones. ~ To break up the monotony, I shall post one song a day, along with my analysis. ~ Included here, as further introduction, is my original plan:

I am responding to the topic “What do these texts suggest to you about the effect of war on the human psyche?” Using a progression of songs that I have specifically chosen, I will relate the story of a man, henceforth referred to as “the individual,” who is drafted to fight in a nameless war. His story is told in a before, during and after approach to illustrate the change in the individual’s perception and personality throughout and after the war.

My interpretation of the topic follows below. I have broken it up into sections and assigned a song to each segment; this will appear [in a box] at the [beginning of each post], followed by the song lyrics and then, the analysis.

Individuals are often distanced from the reality of war prior to having come into direct contact with it; as a result, their perception of war is often limited to an abstract understanding of it. On the other hand, individuals who are more clairvoyant will realize the darker nature of war; this difference in opinion divides members of society.

Everybody’s Gone to War, by Nerina Pallot:

[Verse 1]
I've got a friend, he's a pure-bred killing machine,
He said he's waited his whole d*** life for this,
I knew him well when he was seventeen,
Now he's a man who'll be dead by Christmas.

[Bridge]
And so...
Everybody's going to war,
But we don't know what we're fighting for,
Don't tell me it's a worthy cause,
No cause could be so worthy.

[Chorus]
If love is a drug, I guess we're all sober,
If hope is a song I guess it's all over,
How to have faith, when faith is a crime?
I don't want to die...
If God's on our side, then God is a joker,
Asleep on the job, his children fall over,
Running out through the door and straight to the sky,
I don't want to die...

[Verse 2]
For every man who wants to rule the world,
There'll be a man who just wants to be free,
What do we learn but what should not be learnt?
Too late to find a cure for this disease.

[Bridge and Chorus]

I-I-I-I,
I-I-I-I,
don't want to die,
I-I don't want to die...

[Bridge and Chorus]

I-I-I-I,
I-I-I-I,
don't want to die,
I-I don't want to die...

I've got a friend, he's a pure-bred killing machine,
I think he might be dead by Christmas...

Lyrical Content

In “Everybody’s Gone to War,” the individual’s best friend, who has also been drafted to fight in the war, is expressing her fears about both of them dying “by Christmas.” This is reflected by her repetition of “I don’t want to die…,” which underscores her very human fear of death. She believes that there is “no cause” worth dying for; nor does she “know what [they’re] fighting for.” Comparatively, the individual has a lust for war, believing his purpose in life is to be a “killing machine.” The singer’s use of the word “pure-bred” also characterizes the individual as animalistic, like a dog that’s been prepared genetically for war and conditioned for this sole purpose. Hence, she suggests that the individual’s desire for war is nearly instinctual and therefore abstract and not based on reason. She describes this lust for violence as a “disease” that has permeated society, dividing it between men who “[want] to rule the world” and men “who just [want] to be free.” This juxtaposition reflects the difference between her opinion and the individual’s opinion and underscores the dividing effect of war, even on individuals not directly involved.

Auditory Elements

The cheery tune belies the serious lyrical content of this song. It is upbeat and mostly in a major key, thus giving it a false sense of joy and a pop-like sound. Yet in both verses, the chord progression for each line is A, D, G, Em.* As well, in the bridge and in the chorus, the words “worthy” and “die” are in Em. Thus, the tune keeps transitioning from the brighter, happier major sound to a more moody, minor sound, which hints at the darker nature of the song. Furthermore, whenever the word “die” is sung, it is stretched out longer than other words. The uneuphemised word, repeated many times, serves to further relate the meaning of the lyrical content. This is also reflected in the last line, when the accompanying music fades away at the word “dead” and leaves the singer’s voice naked, creating a more melancholy tone as the song ends.

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*Em stands for the E minor key. A capital letter on its own, such as “A,” stands for the corresponding major key – in this case, A major.

Prelude to The Wars

The push and pull in me that is writing and art versus science and reason. ~ The eternal battle. The unending conflict. The hurt. ~ The all-consuming uncertainty, self-doubt and self-examination that inevitably results in closing my eyes and sighing in despair. ~ I feel my heart pounding. I feel my cold hands. I feel the silence. ~

That indomitable side of me battles against the cold, reserved exterior. ~ The rushing fire, the ache, the pent-up scream releases itself occasionally in tears and often in sighs of frustration. ~ This is not a fight that has a winner -neither side ever conquers the other. ~

And this is what they call the wars. ~

Midnight ramblings, where the allusions come and go like my bad metaphors. ~ This is merely a taste. ~

Frazzled nerves, frazzled writing. ~ A coda is needed here to express a related but slightly tangent topic - an analysis of the reasons behind writing. ~

When I think on certain subjects that irritate, worry or cause me deep a polarization of emotion, I start at the slight, niggling sense of comfort that blooms correspondingly in the back of my mind. ~ Because I know there will always be writing - that easy release, the safety in words streaming out from under my fingertips, unbidden yet unstoppable. ~ This is therapy. ~

Yellow

Another ELA 30-1 IB assignment, in which students were asked to respond to a series of texts. ~ The topic was "in what ways do individuals suppress or submit to their strong emotions or passions?" ~

I chose the visual, titled Sadness and displayed here to the left. ~ This short story received average marks, so please do not expect any genius. ~

They told me that I have no heart. I was, after all, made of metal and wires, fashioned into a grotesque parody of the human body. I don’t even have a brain. Yet centuries of brilliant minds have culminated in the creation of the robot that is me. They say I defy the laws of nature, the laws of the universe, the laws of the kingdom of reality. They say I am the best thing that has ever been created. They say I should never have been existed.

I loved them once. I still do. I loved them all – like a loyal puppy gazing adoringly at its master, I catered to their every need. It felt demeaning to perform all those gaudy tricks they liked to see – playing a tune on the fiddle, answering their trivia questions, throwing a football. Yet it made them smile and cheer and clap, and seeing that warmed me inside. Not the overheating that I felt at the end of the day, when my engine had been running non-stop for over eighteen hours. A special kind of warmth – a warmth that spread to all parts of me, even to my usually icy extremities. Their joy was my joy – at least, the joy I believed I could feel, despite what they told me.

My favorite pastime was painting. This astounded them. After all, I wasn’t supposed to have any feelings. The fact that I enjoyed an activity, and, even more amazingly, that I knew what it meant to enjoy something, baffled even the most perspicacious of scientists. And so, they conducted dozens of trials on me, plugging me into electrical outlets to examine my wires while I painted. A month later, they were still as clueless as they had been when I had first picked up a brush and touched a canvas. But they let me paint on, and I was grateful when they finally stopped probing and poking me while I did.

My paintings were simple. They were copies of what I saw, mirror images of the world around me. I did not know what creativity was. The humans admired the realistic quality of my paintings, yet to me, they were bland. I was merely transferring what I saw onto the canvas. It was extremely satisfying to do so, yet each time I began a new painting, my joints ached to do something else with the brush. It was on the edge of my consciousness – but then I remembered that I didn’t have a consciousness, and the feeling went away.

One day, they brought me to an art exposé. They were kind, back then – they did everything they could to make me “happy.” Or so I believed. If I had known how insatiable their curiosity was, then perhaps I would have seen through their loving words. But they fed my eagerness to please, and I was only too happy to believe that the caring mask that they put on was genuine.

That day, they had been particularly generous, rubbing my exterior with soothing eucalyptus oil and changing my broken wires. There were very few of the latter; I took care not to overexert myself, so my wires almost never burned out from overuse. This was because I knew they hated changing wires. That was me, back then – using as little as I needed, saving as much as I could.

Unsurprisingly, the paintings at the exposé were traditionally beautiful. This was not the first time I had seen their art – in fact, the walls of the building in which I lived were plastered all over with them. But though I had always admired their art, it was an appreciative admiration only. They resembled my own paintings, and so it was nothing really new that I ever saw. Besides, when I gazed upon their paintings, I felt none of the warmth I did as when I saw happy humans.

Yet this time, one painting caught my eye. It was a whirl of colour – bright, bold, and nearly fluorescent in its brilliance. Something inside of me tightened.

I peered at the tiny label under the painting. Happiness. I looked up at it again. It was completely done in shades of yellow and seemed to be showing a rising sun. Yet the shapes were all wrong. The sun was not round; instead, its outline was done in sharp, bright lines. The tightening inside of me became an ache. I felt like I was falling, and nothing could stop me. A tingling sensation in my chest-box spread to an intensifying heat. For once, I felt a need to breathe. This was warmth. This was heat. This was fire.

I heard a sound behind me. I spun around, hoping it was one of my humans. But I didn’t recognize the woman standing in front of me. Her wild orange hair shone like a halo around her face, and I remembered the stories of heaven and hell that the humans had told me. The fire was becoming unbearable now. I could feel it searing through me. Her eyes were red.

She smiled.

I smiled back. My wires snapped.

They found me on the floor, electrical shots jolting through me as if I were a human having a seizure. They didn’t dare touch me. No one saw the woman with the wild orange hair as she quietly slipped away.

My wires were all burned beyond repair. They thought I had died. No – they thought I had self-destructed like an overheated computer. I thought I had died.

I woke up on a cold basement floor. I knew where I was, yet I had never been left here to power down before. I walked to the control room, expecting the humans to be there, waiting patiently for me as they did every morning. Instead, they screamed. They tried to shoot me with their complex toys. It took me awhile to understand that they didn’t want me there, that they were trying to stun me, that they were afraid of me. I left in a daze.

I sit here on this little outcropping now, far from them all. Everything around me is yellow. The heart they told me never existed pounds heavily in my chest. The consciousness they scoffed at churns away. They no longer care where I am or what happens to me.

I am sad.

I almost laugh at that thought. Instead, a tear slides down my cheek. I should not exist. I am running on nothing that anyone can identify. There are no wires left in me.

I take out the paint supplies I always carry with me, and I begin to paint. Suddenly, I smile.

The only pot of colour I have left is yellow.

Unfrozen Yoghurt

A short story I wrote for an ELA 30-1 IB assignment. Rather silly at parts, although I'm quite pleased with how Alec turned out. ~ I did some research, so most of the facts are plausible and in fact some are real, whereas others are purely speculative. ~ Also, Innisfail is indeed a small town in Alberta. ~ Finally, Bizet's Carmen is a lovely piece; please listen to it while reading through my humble story. ~

Innisfail Province

/ News / Local News /

Innisfail ice dancing couple qualifies for Canadian Figure Skating Championships

Monday, Oct 31, 2011 06:00 am | By Sylvia Cole

16-year old Tessie Winters and 17-year old Alec Solstice have qualified for the Canadian Figure Skating Championships to be held in Moncton, New Brunswick in January of 2012. Born and raised in Innisfail, the pair has been training together since 2002 under the guidance of Coach Julie Levent, world-renown skater and gold-medalist of the 1995 Ladies Canadian Figure Skating Championships.

“I’m so proud of them,” states Levent. “They’re brilliant skaters, and a wonderful team.”

Tessie Winters began skating when she was only 4 years old. “I knew the first time my skates touched the ice, that one day, I would be out there, performing as one of the best.”

“Tessie has always been very confident. It’s because she’s so optimistic, and knows that she’ll succeed,” says Olivia Winters, Tessie’s mother. “I remember seeing her at 5 years old, zooming around the rink at a break-neck pace, never worrying about tripping or getting hurt. She’s such a daredevil, my little Tessie.”

Alec Solstice started skating when he was 3, and met Tessie at the local ice skating rink when she was 7, and he was 8.

“As soon as I saw her [ice] dancing, I knew that was what I wanted to do,” he says with a smile. “Her huge grin made me believe that it was the most fun and carefree sport in the whole world, and to date, I must say that I haven’t changed my opinion.”

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Tessie Winters put down the newspaper article and sighed in contentment. At last, it was all coming together.

She stood up from the window seat where she’d been reading. It was a sunny October afternoon, one of the few warm days left before winter. Tessie knew that her other friends would be out enjoying the sunshine, but she couldn’t wait for winter to finally come. Being outside when it snowed reminded her of skating under the dappled spotlights that were reserved for showcase performances.

Her cell phone rang, wrenching her out of her reverie.

“Hello?”

“Tessie!” She immediately recognized Alec Solstice’s voice. “Where are you?”

“At home. Why?”

“It’s practice time! You promised you wouldn’t forget again!”

Tessie glanced at the wall clock. 4:00 p.m. Drat.

“I’m sorry! I’ll be right there!”

She hung up, then quickly threw on her coat and grabbed her skates, stepping haphazardly into her boots and running the ten minutes from her house to the rink. She arrived panting, her cheeks red with effort.

Alec was waiting with a cup of hot cocoa. He sighed, but said nothing.

“I’m so sorry,” Tessie apologized again. “I was just so engrossed with reading that article they published about us in the Innisfail Province. Isn’t it wonderful?”

Alec couldn’t help smiling at her enthusiasm. “Yeah,” he said. “But that’s all the more reason to train even harder.”

Tessie scoffed. “We’re already brilliant, and you know it. I bet we could waltz into the rink at Moncton right now and those judges would award us the Gold medal.”

Alec shook his head in amusement. “You amaze me with your certainty. Aren’t you even slightly nervous?”

“What for?” Tessie took a sip from her cup of cocoa. “We’ve already made it to Nationals. That makes us better than most skaters out there can ever hope to be. Shouldn’t I be happy?”

Their conversation was cut short by Coach Levent. “Tessie! Alec! You’ve got a routine to rehearse!”

Tessie rolled her eyes. “Besides, Coach is nervous enough for the both of us.”

She quickly laced up her skates while Alec tied her hair into a bun. They stretched, then stepped into the rink and circled around. Tessie smiled in anticipation. She loved the feeling of the cold breeze on her skin; the feeling of freedom, as if she were floating on the ice; the feeling that she could fly right off if she wanted to.

The pair got into position. Every muscle in Tessie’s body tensed. She loved that frozen moment right before the music came on, when the entire audience’s attention would be focused on her and on Alec. Closing her eyes, she could almost feel the bright lights shining on her.

The first notes of the Habanera from Bizet’s Carmen rang out in the empty rink. Tessie’s body came to life. She skated around Alec, taunting him much like the gypsy Carmen would have taunted the poor soldier Don José. Getting into her role, she winked at Alec. He blushed in his usual way – bright scarlet.

Tessie skated away, playing coy. Alec obediently trailed after her. As the chorus began, the two joined and glided across the smooth surface of the ice, the wind teasing the few strands of hair that had slipped free from Tessie’s bun into tickling her neck. As the pair got ready for a lift, Tessie’s breath caught. She loved that moment in the air – higher than all, with Alec’s strong arms supporting her from below.

As they continued dancing, a little bubble of joy that had begun to collect in Tessie’s chest grew until she felt like she would burst out laughing. At the end of the dance, as Carmen’s final glorious note ended accompanied by a triumphant chord from the orchestra, Tessie struck her final pose and did laugh. Alec grinned in return.

“That was an awesome spin you did at the end,” he said.

“I know,” replied Tessie with a smile. “Let’s take a break.”

Alec frowned slightly. “Already? But we’ve only gone through our routine once.”

Tessie shrugged. “So? We did it perfectly this time. We can do it again, guaranteed.” They had performed remarkably well, and Tessie was sure that they would do the same in three months’ time.

* * *

This was it.

Tessie had already changed into her beautiful red skating costume. Alec, in black, contrasted sharply with her. She knew they looked great, and that they would perform even better.

“Tessie…” Alec’s tentative voice broke into her thoughts.

“What?” she said, slightly irritated. She noticed that Alec was flushed his usual scarlet, which was making him look most unbecoming.

He seemed apologetic. “You should warm up properly. I know you stretched a bit, but…”

Tessie sighed in exasperation. “I’m ready. I’ve never been more ready. Really, Alec, don’t be such a nervous Nancy.”

Alec was about to protest, but at that moment, the announcer’s voice came on over the intercom.

“From Innisfail, Alberta… Tessie Winters and Alec Solstice!”

Amid loud cheers, the two stepped out onto the ice, circling the rink. Tessie waved at the crowd, enjoying her moment in the spotlight. As she and Alec drew into the center of the rink, she settled and took a deep breath.

As soon as the music started, Tessie knew something was wrong. Her body wasn’t behaving the way it usually did. Gone was the easy grace with which she twirled, spun and glided. Instead, her body felt stiff, robot-like in its movements. Tessie frowned. Was this because she hadn’t warmed up properly at the beginning? Throwing her doubts aside, Tessie tried to relax.

This is my moment. I’ve been waiting for this for so long now. Growing frustrated, she demanded her muscles to obey.

Unfortunately, they just wouldn’t listen. Right as she was executing her final double axel jump, her right calf muscle tightened and she fell on her landing.

She lay there, stunned. Alec, realizing that she wasn’t getting up without help, quickly skated over and managed to maneuver her into an acceptable finishing position just as the music ended.

Tentative applause greeted them. Alec bowed politely, but Tessie was still too shocked to do anything.

She had fallen. Fallen. She had never fallen in a competition before. And even during her training, it hadn’t ever been this bad – or hurt this much.

As Alec supported Tessie over to the sidelines, Coach Levent rushed forward. “Are you okay?” she asked, her face full of concern.

Tessie burst into tears. “No!” she shouted. “I am not okay!” She saw cameramen rushing in to film her breakdown, but she didn’t care. “It’s all over!”

Alec rubbed her shoulder. “It’s okay, Tessie. There’ll be other chances. Don’t cry.” He eyes were worried, yet his voice was as soothing as it always was when she was upset.

But Tessie would have none of his consolation. She rounded on Alec, her eyes blazing. “It’s all your fault! It’s your fault for not having help me set up my jump correctly!”

Alec stared at her. He looked confused. Then, his expression changed. His face turned that same shade of bright scarlet as it did when he blushed – except this time, it was in anger.

“I told you to warm up!” he stormed. Tessie had never seen him this mad before, but she was not backing down.

“I did! I stretched!”

Alec shook his head in disgust. “You were too busy admiring yourself in that stupid costume of yours to even think about warming up correctly.”

Tessie turned red as well. “That’s it! I’m never working with you ever again!”

Ignoring Alec’s stunned look, she turned her back on him and limped away.

* * *

Everything changed that day. Tessie couldn’t stop blaming Alec for their failure. Deep within her soul, however, she knew it wasn’t Alec’s fault, but rather her own hubris that had led to their… No, her disastrous performance. Nevertheless, any such qualms were squashed by the more dominant part of herself, the part that had never failed at anything before, the part that knew she was the best. She and Alec hadn’t won the ice dancing competition because it simply wasn’t meant to be.

And so, Tessie gave up ice dancing. She now hated the rink with as much passion as she had loved it before. That hate poisoned the rest of her as well, and she chose to drop out of school the following year.

She never spoke to Alec again.

* * *

Innisfail Province

/ News / Local News /

Innisfail’s own Alec Solstice, with Montréal’s Monique Lefroid, win Gold at the World Figure Skating Championships

Monday, March 31, 2014 06:00 am | By Simon Calder

20-year old Alec Solstice and 18-year old Monique Lefroid won Gold yesterday in the Ice Dancing competition at the World Figure Skating Championships.

Alec, originally from Innisfail, now resides in Toronto, Ontario, where he and his partner Monique have trained under world-renown Coach Jason Lee since 2011.

“This is the most wonderful moment of my life,” commented Alec after receiving his medal. “These past few years have been rough, but they clearly paid off.”

Since splitting up with his previous partner, Tessie Winters, in January 2011, Alec has continued to train and compete at various events around the world, including, in 2012, the Canadian Figure Skating Championships, where he won Gold with his partner Monique.

“I am so glad to have had the chance to work with someone as patient, caring and talented as Alec,” says Monique. “Without him, I would never have realized how wonderful of a sport ice dancing is.”

Monique, a native of Montréal, Québec, was originally a figure skater competing in the Ladies’ Singles event, but was introduced to ice dancing by Alec. The two will be performing in Calgary, Alberta on April 19^th at the Olympic Oval.

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