Erm...the queen isn't necessarily the head of state. The monarch is the head of state. Queen Elizabeth II was the head of state because she was the monarch; Anne Boleyn was a consort and therefore not the head of state. However, she was still (at least theoretically) the most powerful woman in the country, so I don't think it detracts from your point. The UK monarch in modern times is also the head of state as distinct from the head of government, which is the Prime Minister. In the US, the President is both the head of state (does symbolic things) and the head of government (leads the government). Henry VIII would also have been both the head of state and the head of government. Currently in the UK, King Charles III is the head of state; Camilla is just queen consort.
OH yes, that's a good distinction to make. Thanks! I think it does inform the meaning of "head" for the writers of Six because they wrote it when the current Queen was the Head of State, so the audience would've been aware of that. But more context is welcome!
She was a consort in that she married into the throne, yes, but she was also an anointed Queen, which Henry only did for one other woman he married, Catherine of Aragon. And that coronation came with a different level of power recognition than her unlucky successors to the position. Yes, they were all "queens," but only two of them were "Queens," if that makes sense.
@@kathyroxable Uhhhh, I'm not sure what you're into lol. Although a general thing I could recommend is Tonio Guajardo, he makes videos on mental health and stuff and posts somewhat a lot!
I’ve always interpreted the verses as Anne’s real self, while the chorus is Anne playing the role she had to in that time. Anne was quite intelligent and very politically minded, but that wasn’t a thing women were “allowed” to be at the time. She shows her brains and ambition, then walks it back by retreating into the persona of a vapid attention seeker: she doesn’t mean any of that, she just likes drama, no need to take her seriously. But then once Henry starts disrespecting her, she shows her true colors, bringing the power chords in to show that this time, she means every word she said, as well as acting as a sardonic challenge for Henry to keep his cool- a challenge he obviously fails given his later marital behavior. And honestly, his earlier behavior. Anne did some revenge flirting so Henry had her killed. Who really lost their head there?
Regarding your point about the persona she puts on in this chorus, I think the choreography is a perfect reflection of that. In the first chorus she looks like a doll or a puppet, putting on the act she needs to put on. But in the second chorus, the choreography starts off similar before she starts to let loose more, thus showing her true colours.
I was just about to comment the same thing! For me, DLYH represents feminine rage, ambition, and power breaking through the "ladylike" veneer - we may end up with our heads chopped off (mostly metaphorically, these days xD), but DAMN did it feel good to be honest, loud, and powerful for those few minutes!!
Also, Anne chose to be beheaded so Elizabeth I would have her rights to the throne, giving England one of the greatest monarchs known to this day- Which was honestly quite a smart move from Anne- she could’ve chosen to live but she didn’t
@@HowardHoMusic look at ‘justapleb’ page he’s got my favorite parts from Six (part 1) and it has Andrea performing. There’s another “My favorite parts of Six (part1)” unless it’s been edited. It had all the first almost half of the show in it.
what i also find interesting about avril being one of the inspirations for anne boleyn is that she's the epitome of "not like other girls", and that's definitely one of the traits attributed to her in pop culture
something else that wasn't mentioned here to do with the lily allen inspiration is the fact they emphasise her importance to britain through her accent! certain lines in the song have been written to fit lily's style of singing (like 'don't be bitter, cos i'm fitter') and even the parts where she says something in french are sung in a decidedly english way lol! the way that lily sings, and also how anne sings in this song (will say that i'm kinda specifically referring to the original recordings and other british versions of the musical since those are the ones i'm most familiar with lol) makes her seem more down to earth and relatable, something that pop culture depictions of anne have definitely emphasised! overall i think it just makes her feel a lot more connected to the audience, since she's probably one of the most famous (and beloved) british queens known across the world!
Even Andrea Macasaet (the OBC Anne) sings "Don't be bitter 'cos I'm fitter" with a fake British accent. I thought it's just because it's a very British expression. But great point.
BTW: My pick for the next queen is Catherine of Aragon. I'm very biased towards her as someone who's raised Catholic. Plus, she's got the Beyonce/Gloria Estefan factor!
Please do I don't need your love next - as a SIX scholar in my own right, the song delights and frustrates me with how it presents historical Parr, but I'd love to see how its musical structuring ties into that, especially given the remix at the end!
When you say frustrates you, are you referring to how in real life Catherine Parr didn't do anything when her husband Thomas abused Elizabeth when she was young?
Yeah the love song to Thomas Seymour when that relationship was really one of Parr's biggest missteps (allowing him access to and abuse of Elizabeth) and it ultimately led to her death (in childbirth, her first despite being married twice before). Parr is known as the survivor but what comes next is pretty grim.
@@annarose932 Yeah, it leaves a sour taste in my mouth especially since we just had K-Howard's song about that EXACT THING (there were FOUR!! choruses). I do get WHY Parr presents it that way. She did need to set herself up as distinct from the other Queens in some way, and it actually is a neat trick that folds into the story/reveal of the twist at the remix: she tells the sappy love story version of things because that's what audiences are trained to care about, but also acknowledges that this line of thinking SUCKS ("Why should that story be the one I have to sing about, just to win? I'm out").
"let them grumble; that is how it is going to be" would actually not be the best translation considering english has "haters gonna hate" which is a lot closer to the french original in both meaning and form.
This video is awesome! I have mixed opinions on Don't Lose Your Head (mostly because it seems like Anne Boleyn more than most of them gets stuck with the pop culture portrayal), and you articulated them perfectly in this video and provided added depth that I hadn't really thought of. I think the thing that bothers me the most is that the "politics, not my thing" line really isn't true of her. Sure, it's the perception, that she was a party girl, but part of her downfall was being too involved with politics, and unwilling to play the submissive "I'm just a woman" part like Catherine Parr was. She gets dialog lines suggesting it's not the case, but for some reason the line's inclusion in the song, what's the most memorable, just rubs me the wrong way. Her downfall was as much because she pissed off Thomas Cromwell (Henry's chief minister, basically the "hand of the king" or "royal vizier" to use other pop culture terms), who didn't like that a woman dared express her opinions to him. If Anne gets another musical adaptation, I really want to see one that can go more in depth and play off her rivalry with Cromwell. There's inspiration for some amazing counterpoint duets in their interactions, and I'm chomping at the bit for those sorts of musical interactions that AREN'T leading to some enemies to lovers trope. On what to do next: I'd love if you could do "Get Down" (although "No Way" would be a close second for my vote). Give me some Anna von Cleve living her best single life. (NGL, I have an awkward mix of interest and dread for when you get to "I Don't Need Your Love" because while I cognitively know that the point is that Catherine Parr is playing up the story people want to hear, of the two lovers who were broken up by the king's desires, Thomas Seymour was a dumpster fire of a human being. Playing up her relationship with him I think counters her other point, about how she was so much more than the dudes in her life, since she comes off as kind of an enabler in how she dealt with Seymour's predatory advances on the young teen Elizabeth. But that's my rant stemming from having a lot of interest in what happened after Henry VIII.)
It’s always struck me that DLYH is that it’s the only Queens song that isn’t recontextualized in the finale. Instead, Anne references the opening and Henry writing Greensleeves for her. This helps make it clear that by blowing Henry off and ignoring her dads advice to try to get ahead (of state in bed), Anne’s original losing of her head was trying to marry Henry at all instead of being his mistress and getting given a cushy marriage after (like her sister).
Disagree - I think knowing how things worked out for Mary Boleyn made Anne LESS inclined to want anything to do with Henry. When her first husband died, Mary’s in-laws basically tossed her out with nothing and she had to rely on Anne and their family for support. Anne ended up accepting Henry and pushing to be Queen because he scared off all her other potential suitors who didn’t want his sloppy seconds, and she didn’t want to end up disgraced and discarded like her sister.
Hey Howard, I think for analysing Six the musical, because you have done a vudeo on the two queens that were beheaded, I think you should look at the two queen who were divorced, Catherine of Aragon and Anne of Cleeves. Looking at the two queens who have been stereotyped as boring, dull and 'ugly', and how Six changes that by portraying both as confident, powerful and determined. And then to look at the portrayal of Jane Seymour and Katherine Parr, and their songs explaining their love lifes. I think that would be the best choice for your channel 😊
One of the most asked questions on the SIX subreddit is why there is such a massive tone change between Heart of Stone and Haus of Holbein, and I'd love to see that explored.
@@LadyAvalonIt’s to lighten the mood. Heart of Stone is such a somber song that if they were to go straight from it to Get Down then Get Down wouldn’t have the same power it does. It takes you out of the story so you don't dwell in the grief for too long as an audience member, to remind you that ultimately it's a musical and it's meant to be fun. It's intentionally juxtaposed that way for the pacing to work and to be able to have a break between the trios. You aren't really supposed to gain anything from the song, so it can just set up the next period without the audience still having to confront their feelings about the previous song while taking in another important one.
@@LadyAvalonidk if there is an intermission to the show but if there is, it would be between the two songs. Haus of Holbein can also serve to bring people back into the show and give them energy to get through the second act. Sometimes coming back into the theater after intermission can make you feel a bit tired, you are in the dark after all, and having an energetic scene after intermission is a good way to kick that from the audience. That’s what I’ve always thought anyway
So happy to see a video essay from you again! I didn't know Avril Lavigne was an inspiration for Anne B. It's one of my fave songs from Six! It gets stuck in my head all the time!
Hey, Howard ! Yep, I picked up on the Avril Lavigne influence from the get go. I always thought "Don't Lose Your Head" sounded so much like Avril's "Girlfriend". (more on this below). However, the pizzicato, carefree side of Anne part was a revelation. I'm not sure where I read it, but apparently, Anne didn't want to seduce Henry VIII at first and (just like her cousin Katherine Howard) she was basically pimped out to Henry by her family. Perhaps, the Avril side was simply what her family wanted to use her intelligence for (power) vs. the Lily side being Anne wanting to use her intelligence to do the thing forbidden for women to do in Tudor times: have fun. Speaking of "Girlfriend", it's funny that the Avril song "Don't Lose Your Head" sounds like is a song about the bad girl persona asking a guy to leave his partner so she can be with him ---- the very thing Anne is known for. However, as you said, Anne is more than that. It could even be she never wanted any of this in the first place. I definitely would like you to break down "I Don't Need Your Love". Catherine Parr is my favourite queen from Six. Plus, well, I do love my jazzy, RnB style songs.
Honest Anne Boylen is my favorite of the queens in both the musical and history. Also was so glad she talked abour Anne's often innacurate portrayals at 14:16
Wonderful, as always! Aragon’s my favourite because I can sing her, but Catherine Howard destroys my soul every time! (And my wife has played her before in a show)
oh that's glorious. Just as glorious as Anne herself. It's a hard choice, but I'd really love to see I Don't Need Your Love or Get Down--but honestly i love all the songs so I'll eagerly watch them when you get there!
Wait why do I know all of those arias when the closest I have ever come to watching an opera is watching The Phantom of the Opera? Seriously where did I hear these? I don't even know anyone who studies music much less classical music. In fact, I have no idea how TH-cam decided to recommend this channel to me but I am glad it did.
Mad scenes are famous in all forms of western theatre and ballet as well. Giselles "mad scene" is fantastic and the "dying swan" finale to swan lake is essentially a mad scene. And of course the three most famous Shakespear plays all have a woman madness scene: we had the "Out Damned Spot" soliloquy by Lady McBeth, Ophelias suicide in Hamlet, and Juiliets first attempted suicide and later sucessful suicide. I think this writing of women as being overly emotional and quick to insanity is pretty hard baked into all elements of western society and probably extends beyond it as well.
Please tell Margaret to create a TH-cam channel! As much as I love seeing her pop up in one of yours or Brendon's videos, I would absolutely watch video essays from her discussing all things Broadway - especially vampire musicals!
this is so good! don't lose your head is one of my fave songs in the musical and im so happy you tackled it for a video! i do wanna see a video about either I Don't Need Your Love or Heart of Stone tho!
While Anne's song is my favourite, I do kinda feel like she was in a way the most done dirty by the writers in terms of her character in the show. Six in a way is all about putting queens who have been historically portrayed unfairly, even as villainous seductresses, in a new light. Still, Anne's characterization kind of makes her the villain of the show, particularly in her rivalry with Catherine of Aragon. Many of the other queens get a portrayal that feels like a completely new side: Catherine of Aragon as a rightfully scorned woman, Katherine Howard as a girl who was taken advantage of by men around her, and Catherine Parr who thinks of herself as a writer first and a wife to Henry second. Anne Boleyn, on the flip side, stays relatively close to the popular imagination of her, but she's just girlbossified. Then again, we love a villain and I would argue the girlbossification works because we're rooting for her all the way through. (My runner up for most done dirty by the show is Jane Seymour, who has my least favourite song. I feel like they could have had a lot more focus on how unhealthy Henry's obsession with her was. Who the hell commissions a family portrait featuring your dead third wife while you're on wife number 6?)
I think Anne Boleyn being the antagonist also makes sense since she is clearly the most famous of the six queens and the one that still gets dramatized in films and TV shows. In a way, she has the most to lose if she doesn't "win" the competition.
Watching these always remind me that there's an entire world of history and literature and knowledge about subjects I know nothing about. And that there's always more to learn
14:26 Was Anne's personality in The Tudors series partially historically inaccurate? I wonder what it would be like if the series was much more accurate, and could've gotten a TV14 or MA rating.
Solid analysis of a bop of a song, shame the musical itself--despite claiming every 3 seconds that its whole schtick is giving these women their due and looking at them as more than just wives to their husbands--doesn't bother to actually acknowledge that "portrait as painted by men who feared (and hated) her" vs "historical reality of her as a well educated and savvy woman" bit. The show does both her and Jane dirty tbh
Wow! I love how yoy break things down!❤️❤️ Ican actually understand while watching and it makes me sooo happy😊😊(unlike others where maybe i don't feel as smart because it's too technical for me, just someone that enjoys music) I'd love to hear all you wanna do... though if you'll eventually do all of them over time i really don't mind which one comes next😊😊
I think it is cool to point out that in the beginning of the live action, Anne Boleyn has this bratty voice. However by the last chorus the brattiness goes away and she sounds a little frantic.
Please do No Way 🙏 Catherine of Aragon and her relationship with Henry 8th and Anne Boelyn always utterly fascinated me even as a child, and while we often like to give Anne the crown for being the one to challenge the status quo, I like to think that Catherine Aragon was just as much of a pioneer as she is the one that made it fashionable/trendy to educate daughters through her giving Mary education and donating to universities.
Fascinating as always. I have no idea how much of these the composers and orchestrators actually thought of, but the use of distorted power chords at the end is definitely impactful.
Mad Scenes are also very much a thing in musical theatre still. They're often some of my favorite numbers when everything is going wrong and the character completely breaks. Roses Turn, No Good Deed, Last Midnight, Cabaret. It's funny, they often are the 11:00 number because of what they mean character and story wise.
Hey I love your analysis! Just wanted to point out a little error you've made. At 13:30 you write that Turandot dies, but that is not the case. Liù dies not Turandot.
If you read that graph as intended, it doesn't say that Turandot dies. The left column are not names of female characters but titles of operas. So it says that in the opera titled Turandot, "she dies" meaning that a prominent female character dies which as you point out can refer to Liu.
@@HowardHoMusic Ok now I get it, I'm sorry ,english is not my first language. I was just confused by the fact that in the other operas you've mentioned it's always the female character which also entitles the opera who dies.
Is there any way you still know on what page this quote from Catherine Clement is? "She is the very pure, very free, Carmen. My best friend, my favorite … She is the image, foreseen and doomed, of a woman who refuses masculine yokes and who must pay for it with her life" Also great video
Thank you for your Six the Musical series. Doesn’t matter which song you do next - just ever grateful for all of your insights and hard work. Hanging in here until the next one! X
Erm...the queen isn't necessarily the head of state. The monarch is the head of state. Queen Elizabeth II was the head of state because she was the monarch; Anne Boleyn was a consort and therefore not the head of state. However, she was still (at least theoretically) the most powerful woman in the country, so I don't think it detracts from your point.
The UK monarch in modern times is also the head of state as distinct from the head of government, which is the Prime Minister. In the US, the President is both the head of state (does symbolic things) and the head of government (leads the government). Henry VIII would also have been both the head of state and the head of government.
Currently in the UK, King Charles III is the head of state; Camilla is just queen consort.
OH yes, that's a good distinction to make. Thanks! I think it does inform the meaning of "head" for the writers of Six because they wrote it when the current Queen was the Head of State, so the audience would've been aware of that. But more context is welcome!
That's a good point! It's also a meaning of the phrase that I hadn't considered before, so I'm really glad you noted it!
She was a consort in that she married into the throne, yes, but she was also an anointed Queen, which Henry only did for one other woman he married, Catherine of Aragon. And that coronation came with a different level of power recognition than her unlucky successors to the position. Yes, they were all "queens," but only two of them were "Queens," if that makes sense.
even then she was still never head of state. Henry was.@@LaFemmeFictionale
Another “head of state” is the Pope, which they lost when they severed their ties with the Catholic Church
Good content creators only upload like once a year, so finding them is a blessing and a curse.
Don't worry, there are plenty of good content creators out there that have a consistent schedule! You'll find some. :D
@@EmmaPlayzRoblox suggestions?
@@kathyroxable Uhhhh, I'm not sure what you're into lol. Although a general thing I could recommend is Tonio Guajardo, he makes videos on mental health and stuff and posts somewhat a lot!
I’ve always interpreted the verses as Anne’s real self, while the chorus is Anne playing the role she had to in that time. Anne was quite intelligent and very politically minded, but that wasn’t a thing women were “allowed” to be at the time. She shows her brains and ambition, then walks it back by retreating into the persona of a vapid attention seeker: she doesn’t mean any of that, she just likes drama, no need to take her seriously. But then once Henry starts disrespecting her, she shows her true colors, bringing the power chords in to show that this time, she means every word she said, as well as acting as a sardonic challenge for Henry to keep his cool- a challenge he obviously fails given his later marital behavior. And honestly, his earlier behavior. Anne did some revenge flirting so Henry had her killed. Who really lost their head there?
He definitely lost his head more!
Regarding your point about the persona she puts on in this chorus, I think the choreography is a perfect reflection of that. In the first chorus she looks like a doll or a puppet, putting on the act she needs to put on. But in the second chorus, the choreography starts off similar before she starts to let loose more, thus showing her true colours.
I was just about to comment the same thing! For me, DLYH represents feminine rage, ambition, and power breaking through the "ladylike" veneer - we may end up with our heads chopped off (mostly metaphorically, these days xD), but DAMN did it feel good to be honest, loud, and powerful for those few minutes!!
Also, Anne chose to be beheaded so Elizabeth I would have her rights to the throne, giving England one of the greatest monarchs known to this day- Which was honestly quite a smart move from Anne- she could’ve chosen to live but she didn’t
Yes yes yes my fav song in SIX!
I would love to see your break down of every Queen ❤ thank you for your videos!
Hooktheory is MY FAVORITE. i love this app and learning music theory even more by my favorite pop songs and artists.
Already waiting to see about "get down" and "I don't need your love"
this is fantastic
Plz do Parr’s song I Don’t Need Your Love (my favorite song from Six!!)
Same. Honestly, it's the "sadder" songs from Six (so, "I Don't Need Your Love" and "Heart of Stone") that are my favourites.
If you can, can you do “get down” by Anne of Cleeves.
No way
heart of stone.
Should have stayed with Andrea Macassets (sp) version of Anne B. It was the best!
I love Andrea too, but I couldn't find a legit version of her singing Don't Lose Ur Head.
@@HowardHoMusic look at ‘justapleb’ page he’s got my favorite parts from Six (part 1) and it has Andrea performing. There’s another “My favorite parts of Six (part1)” unless it’s been edited. It had all the first almost half of the show in it.
Just do all of them.
what i also find interesting about avril being one of the inspirations for anne boleyn is that she's the epitome of "not like other girls", and that's definitely one of the traits attributed to her in pop culture
something else that wasn't mentioned here to do with the lily allen inspiration is the fact they emphasise her importance to britain through her accent! certain lines in the song have been written to fit lily's style of singing (like 'don't be bitter, cos i'm fitter') and even the parts where she says something in french are sung in a decidedly english way lol!
the way that lily sings, and also how anne sings in this song (will say that i'm kinda specifically referring to the original recordings and other british versions of the musical since those are the ones i'm most familiar with lol) makes her seem more down to earth and relatable, something that pop culture depictions of anne have definitely emphasised! overall i think it just makes her feel a lot more connected to the audience, since she's probably one of the most famous (and beloved) british queens known across the world!
Oh good point! I love that!
Even Andrea Macasaet (the OBC Anne) sings "Don't be bitter 'cos I'm fitter" with a fake British accent. I thought it's just because it's a very British expression. But great point.
When she sings "sent me a letter and" it hits very different in an English vs American accent.
BTW: My pick for the next queen is Catherine of Aragon. I'm very biased towards her as someone who's raised Catholic. Plus, she's got the Beyonce/Gloria Estefan factor!
nope! it's Beyonce and Shakira (as shown in the video) not Gloria Estefan
I like how, even with Anne's song divided up into verses and chorus, it's still in six parts. I don't know it it's intentional or not, but it is fun!
Boom!
Please do I don't need your love next - as a SIX scholar in my own right, the song delights and frustrates me with how it presents historical Parr, but I'd love to see how its musical structuring ties into that, especially given the remix at the end!
I wouldn’t complain getting a deep dive of every queen’s song.
When you say frustrates you, are you referring to how in real life Catherine Parr didn't do anything when her husband Thomas abused Elizabeth when she was young?
Yeah the love song to Thomas Seymour when that relationship was really one of Parr's biggest missteps (allowing him access to and abuse of Elizabeth) and it ultimately led to her death (in childbirth, her first despite being married twice before). Parr is known as the survivor but what comes next is pretty grim.
Very interesting. Yes, I Don't Need Your Love is a big turning point in the show and would definitely make for a great video!
@@annarose932 Yeah, it leaves a sour taste in my mouth especially since we just had K-Howard's song about that EXACT THING (there were FOUR!! choruses). I do get WHY Parr presents it that way. She did need to set herself up as distinct from the other Queens in some way, and it actually is a neat trick that folds into the story/reveal of the twist at the remix: she tells the sappy love story version of things because that's what audiences are trained to care about, but also acknowledges that this line of thinking SUCKS ("Why should that story be the one I have to sing about, just to win? I'm out").
"let them grumble; that is how it is going to be" would actually not be the best translation considering english has "haters gonna hate" which is a lot closer to the french original in both meaning and form.
Very cool! Love that it still sounds so modern.
This video is awesome! I have mixed opinions on Don't Lose Your Head (mostly because it seems like Anne Boleyn more than most of them gets stuck with the pop culture portrayal), and you articulated them perfectly in this video and provided added depth that I hadn't really thought of. I think the thing that bothers me the most is that the "politics, not my thing" line really isn't true of her. Sure, it's the perception, that she was a party girl, but part of her downfall was being too involved with politics, and unwilling to play the submissive "I'm just a woman" part like Catherine Parr was. She gets dialog lines suggesting it's not the case, but for some reason the line's inclusion in the song, what's the most memorable, just rubs me the wrong way.
Her downfall was as much because she pissed off Thomas Cromwell (Henry's chief minister, basically the "hand of the king" or "royal vizier" to use other pop culture terms), who didn't like that a woman dared express her opinions to him. If Anne gets another musical adaptation, I really want to see one that can go more in depth and play off her rivalry with Cromwell. There's inspiration for some amazing counterpoint duets in their interactions, and I'm chomping at the bit for those sorts of musical interactions that AREN'T leading to some enemies to lovers trope.
On what to do next: I'd love if you could do "Get Down" (although "No Way" would be a close second for my vote). Give me some Anna von Cleve living her best single life.
(NGL, I have an awkward mix of interest and dread for when you get to "I Don't Need Your Love" because while I cognitively know that the point is that Catherine Parr is playing up the story people want to hear, of the two lovers who were broken up by the king's desires, Thomas Seymour was a dumpster fire of a human being. Playing up her relationship with him I think counters her other point, about how she was so much more than the dudes in her life, since she comes off as kind of an enabler in how she dealt with Seymour's predatory advances on the young teen Elizabeth. But that's my rant stemming from having a lot of interest in what happened after Henry VIII.)
It’s always struck me that DLYH is that it’s the only Queens song that isn’t recontextualized in the finale. Instead, Anne references the opening and Henry writing Greensleeves for her. This helps make it clear that by blowing Henry off and ignoring her dads advice to try to get ahead (of state in bed), Anne’s original losing of her head was trying to marry Henry at all instead of being his mistress and getting given a cushy marriage after (like her sister).
Disagree - I think knowing how things worked out for Mary Boleyn made Anne LESS inclined to want anything to do with Henry. When her first husband died, Mary’s in-laws basically tossed her out with nothing and she had to rely on Anne and their family for support. Anne ended up accepting Henry and pushing to be Queen because he scared off all her other potential suitors who didn’t want his sloppy seconds, and she didn’t want to end up disgraced and discarded like her sister.
@@LaFemmeFictionale that’s kind of what I was thinking
Don't lose your head is loosely referenced in "the song blew their minds"
Hey Howard, I think for analysing Six the musical, because you have done a vudeo on the two queens that were beheaded, I think you should look at the two queen who were divorced, Catherine of Aragon and Anne of Cleeves. Looking at the two queens who have been stereotyped as boring, dull and 'ugly', and how Six changes that by portraying both as confident, powerful and determined. And then to look at the portrayal of Jane Seymour and Katherine Parr, and their songs explaining their love lifes. I think that would be the best choice for your channel 😊
Solid game plan! I may steal this!
If you’re up for it, I’d love to see this kind of analysis for Haus of Holbein! It’s the song from SIX I find myself humming the most, it’s so catchy.
One of the most asked questions on the SIX subreddit is why there is such a massive tone change between Heart of Stone and Haus of Holbein, and I'd love to see that explored.
@@LadyAvalonIt’s to lighten the mood. Heart of Stone is such a somber song that if they were to go straight from it to Get Down then Get Down wouldn’t have the same power it does. It takes you out of the story so you don't dwell in the grief for too long as an audience member, to remind you that ultimately it's a musical and it's meant to be fun. It's intentionally juxtaposed that way for the pacing to work and to be able to have a break between the trios. You aren't really supposed to gain anything from the song, so it can just set up the next period without the audience still having to confront their feelings about the previous song while taking in another important one.
@@LadyAvalonidk if there is an intermission to the show but if there is, it would be between the two songs. Haus of Holbein can also serve to bring people back into the show and give them energy to get through the second act. Sometimes coming back into the theater after intermission can make you feel a bit tired, you are in the dark after all, and having an energetic scene after intermission is a good way to kick that from the audience. That’s what I’ve always thought anyway
So happy to see a video essay from you again! I didn't know Avril Lavigne was an inspiration for Anne B. It's one of my fave songs from Six! It gets stuck in my head all the time!
Hey, Howard ! Yep, I picked up on the Avril Lavigne influence from the get go. I always thought "Don't Lose Your Head" sounded so much like Avril's "Girlfriend". (more on this below). However, the pizzicato, carefree side of Anne part was a revelation. I'm not sure where I read it, but apparently, Anne didn't want to seduce Henry VIII at first and (just like her cousin Katherine Howard) she was basically pimped out to Henry by her family. Perhaps, the Avril side was simply what her family wanted to use her intelligence for (power) vs. the Lily side being Anne wanting to use her intelligence to do the thing forbidden for women to do in Tudor times: have fun.
Speaking of "Girlfriend", it's funny that the Avril song "Don't Lose Your Head" sounds like is a song about the bad girl persona asking a guy to leave his partner so she can be with him ---- the very thing Anne is known for. However, as you said, Anne is more than that. It could even be she never wanted any of this in the first place.
I definitely would like you to break down "I Don't Need Your Love". Catherine Parr is my favourite queen from Six. Plus, well, I do love my jazzy, RnB style songs.
I need Heart of Stone. It's so unique in the whole musical as it offers a sombre, emotional moment in an otherwise hyper-energetic and positive piece.
same! i need an analysis of jane due to how overlooked she is
OMG PLEASE 😭
Honest Anne Boylen is my favorite of the queens in both the musical and history. Also was so glad she talked abour Anne's often innacurate portrayals at 14:16
I'm also excited for you doing "Get Down" by Anna of Cleves next
Even my partner, who is not the biggest musical fan, left the West End performance saying "I loved the German queen!"
I need an in depth analysis of NO WAY, which is my favorite.
Or GET DOWN🤩🤩🤩
How about Get Down? Great, great video, as always.
Wonderful, as always!
Aragon’s my favourite because I can sing her, but Catherine Howard destroys my soul every time! (And my wife has played her before in a show)
Aragon and Seymour are my two absolute favorite queens, and would love for you to cover either one of these two queen’s songs.
Great once again, understandable even for music theory noobs like me
oh that's glorious. Just as glorious as Anne herself. It's a hard choice, but I'd really love to see I Don't Need Your Love or Get Down--but honestly i love all the songs so I'll eagerly watch them when you get there!
You including the horrible histories clip made my British kid heart happy 😂
Wait why do I know all of those arias when the closest I have ever come to watching an opera is watching The Phantom of the Opera? Seriously where did I hear these? I don't even know anyone who studies music much less classical music. In fact, I have no idea how TH-cam decided to recommend this channel to me but I am glad it did.
One of the songs was in Total Recall.
Yeah, they have definitely crossed over into popular culture. That's how catchy and well-known they are.
So, the composers for this musical were just like, “Fuck the historical Anne, we’re going with the bullshit propaganda version.”
If anybody needs me I’ll be over here patiently awaiting Howard Ho’s “How the Perfect Fifth Works”
This was great! I always enjoy your videos. Next I would love to hear you analyze "Get Down."
Nicely done. These ideas are precisely when I wrote my Anne Boleyn musical! (“The King’s Legacy”) Thanks for going deeper on this
Mad scenes are famous in all forms of western theatre and ballet as well. Giselles "mad scene" is fantastic and the "dying swan" finale to swan lake is essentially a mad scene. And of course the three most famous Shakespear plays all have a woman madness scene: we had the "Out Damned Spot" soliloquy by Lady McBeth, Ophelias suicide in Hamlet, and Juiliets first attempted suicide and later sucessful suicide. I think this writing of women as being overly emotional and quick to insanity is pretty hard baked into all elements of western society and probably extends beyond it as well.
Very good point!
Please tell Margaret to create a TH-cam channel! As much as I love seeing her pop up in one of yours or Brendon's videos, I would absolutely watch video essays from her discussing all things Broadway - especially vampire musicals!
this is so good! don't lose your head is one of my fave songs in the musical and im so happy you tackled it for a video!
i do wanna see a video about either I Don't Need Your Love or Heart of Stone tho!
While Anne's song is my favourite, I do kinda feel like she was in a way the most done dirty by the writers in terms of her character in the show. Six in a way is all about putting queens who have been historically portrayed unfairly, even as villainous seductresses, in a new light. Still, Anne's characterization kind of makes her the villain of the show, particularly in her rivalry with Catherine of Aragon. Many of the other queens get a portrayal that feels like a completely new side: Catherine of Aragon as a rightfully scorned woman, Katherine Howard as a girl who was taken advantage of by men around her, and Catherine Parr who thinks of herself as a writer first and a wife to Henry second. Anne Boleyn, on the flip side, stays relatively close to the popular imagination of her, but she's just girlbossified. Then again, we love a villain and I would argue the girlbossification works because we're rooting for her all the way through.
(My runner up for most done dirty by the show is Jane Seymour, who has my least favourite song. I feel like they could have had a lot more focus on how unhealthy Henry's obsession with her was. Who the hell commissions a family portrait featuring your dead third wife while you're on wife number 6?)
I think Anne Boleyn being the antagonist also makes sense since she is clearly the most famous of the six queens and the one that still gets dramatized in films and TV shows. In a way, she has the most to lose if she doesn't "win" the competition.
Watching these always remind me that there's an entire world of history and literature and knowledge about subjects I know nothing about. And that there's always more to learn
Amazing video
14:26 Was Anne's personality in The Tudors series partially historically inaccurate? I wonder what it would be like if the series was much more accurate, and could've gotten a TV14 or MA rating.
Solid analysis of a bop of a song, shame the musical itself--despite claiming every 3 seconds that its whole schtick is giving these women their due and looking at them as more than just wives to their husbands--doesn't bother to actually acknowledge that "portrait as painted by men who feared (and hated) her" vs "historical reality of her as a well educated and savvy woman" bit.
The show does both her and Jane dirty tbh
Great work Howard, every video is an education
Would love if you'd continue working through the songs! I'd love you to do Heart of Stone!! ❤ Thanks for this incredible exploration.
You might be in luck very soon!
Love how you talk about SIX the Musical's second most popular songs. Will really love to watch you continue talking about all of the rest
Amazing analysis! Hope you continue to analyze the rest of the Six songs
Lucia di Lammermoor's mad scene is also featured in Gankutsuou, a sci-fi anime adaptation of The Count of Monte Cristo!
Hey I know you’re working on six the musical rn but I would love if someone you covered be more chill
I'm a fan of Be More Chill. Definitely will consider it!
Can you talk plis about get down and I don’t need your love 💙❤️💙❤️
Please do No Way next!
Wow! I love how yoy break things down!❤️❤️ Ican actually understand while watching and it makes me sooo happy😊😊(unlike others where maybe i don't feel as smart because it's too technical for me, just someone that enjoys music)
I'd love to hear all you wanna do... though if you'll eventually do all of them over time i really don't mind which one comes next😊😊
Thank you! And you're in luck! I've done a video on All You Wanna Do here: th-cam.com/video/2bdyVcE9V24/w-d-xo.html
Your videos are amazing. Congrats. And please, make a video on your thesis "The Perfect Fifth"!!
I think it is cool to point out that in the beginning of the live action, Anne Boleyn has this bratty voice. However by the last chorus the brattiness goes away and she sounds a little frantic.
I want a musical analysis of each Monogatari OP, if that's possible. How well-versed are you in Japanese?
Please do No Way 🙏 Catherine of Aragon and her relationship with Henry 8th and Anne Boelyn always utterly fascinated me even as a child, and while we often like to give Anne the crown for being the one to challenge the status quo, I like to think that Catherine Aragon was just as much of a pioneer as she is the one that made it fashionable/trendy to educate daughters through her giving Mary education and donating to universities.
Oh yes, Catherine of Aragon was badass in many ways!
ive always loved your musical contents, especially Six!
Turandot
Fascinating as always. I have no idea how much of these the composers and orchestrators actually thought of, but the use of distorted power chords at the end is definitely impactful.
Dang now I need to listen to this song again just to fully appreciate the genius behind it.
I don't need you love~~~ pleeeease
I would love for you to make a video about "no way", Aragon has a lot of interesting facts that it wasnt showed in the play.
I would love to hear a deep dive into NY NY! One day...
Interesting! I actually had thoughts about it!
Love your videos for their clear and colorful graphics! Wish these historical TV shows could do the same, or at least light a couple more candles. 😩
Horrrribbllleeee historeeeeeeeeeeeeeeeeeeeeeessssssss 😊
Stunning analysis! I would love Heart of Stone next! Jane is my favorite
I love your analysis.
5:41 sooo she’s basicly saying ,, it is what is is”
Heart Of Stone
I don't need your love please
Mad Scenes are also very much a thing in musical theatre still. They're often some of my favorite numbers when everything is going wrong and the character completely breaks. Roses Turn, No Good Deed, Last Midnight, Cabaret. It's funny, they often are the 11:00 number because of what they mean character and story wise.
Interesting take on it.
Benn waiting days for this. Let's goooooooooooo. Or maybe let's Hooooooooo. Thanks so much for your videos. They are amazing.
I’ve been waiting for this! Thank you for all you do!
Love these videos! So informative and make me appreciate the musical more than I already do!
Would love any of the Queen Songs analyzed next, or even Haus of Holbein!
This was fantastic! Well researched, and written.
I would love to see your analysis of Heart of Stone next! 💜👑
Hey I love your analysis! Just wanted to point out a little error you've made. At 13:30 you write that Turandot dies, but that is not the case. Liù dies not Turandot.
If you read that graph as intended, it doesn't say that Turandot dies. The left column are not names of female characters but titles of operas. So it says that in the opera titled Turandot, "she dies" meaning that a prominent female character dies which as you point out can refer to Liu.
@@HowardHoMusic Ok now I get it, I'm sorry ,english is not my first language. I was just confused by the fact that in the other operas you've mentioned it's always the female character which also entitles the opera who dies.
Looooved this. Would love to see something on get down!
This was great - Cleeves next, please!!
Always love to watch your videos. love you Howard!😊😊😊😊😊😊
Is there any way you still know on what page this quote from Catherine Clement is? "She is the very pure, very free, Carmen. My best friend, my favorite … She is the image, foreseen and doomed, of a woman who refuses masculine yokes and who must pay for it with her life"
Also great video
NOT YOY BRINGING ANOUSHKA SHANKAR TO TALK ABOUT SIX YESS
Haha...yes, thanks for shouting her out!
Thank you for your Six the Musical series. Doesn’t matter which song you do next - just ever grateful for all of your insights and hard work. Hanging in here until the next one! X
I love your analysis of these songs! Please continue! I will be eagerly awaiting the next installment!
please do IDNYL next! love love love that song!
I really hope you do one for each queen, they all have so much to them!
That is the eventual plan!
Boleyn is my fave queen and knowing this makes me love her more
Oh please do “all you wanna do” (the Samantha paully version) it is so so powerful at the end!!!❤
I feel so smart watching your videos. Your content appeals the music nerd in me, i just love them so much.
Please do Get Down next
YAAASSS
I hope we get the other queen songs
"Men are scared of strong, independent women". So true no matter what time and place you are living in...
mad scenes, also known as supporting women’s wrongs,
100% yes
Please do Heart Of Stone next!!! Love you videos and thanks for all your hard work!!