The Dysfunctional Pilgrim

Story 1: I had lent my student my copy of "Eldest", because he, in his words, "got obsessed with it". I didn't think too much of it. He came back after holidays and said "Miss, I read it like 5 TIMES I CAN'T BELIEVE *spoiler spoiler* HAPPENED. And miss, I can't stop using 'ancient language' (like 'thee' 'thyself', etc)" Ahaha kid, you're cute. You sound like me when I was your age (gosh I'm so old). We discussed some parts of the book together and I had to stop myself from chatting too long to avoid showing favoritism. I'm really grateful that I grew up in a reading environment. Having read widely, I have a small catalogue of books and authors in my head. It's easy now to figure out which book my student would like and recommend them quickly. I've been doing that for a number of my students who told me they didn't know what to read. It's almost like prescribing medicine based on what their int

Seventeen's made a comeback. I have enjoyed their mini albums so far. There's good funky music there. Also, whoever's playing the bass in their tracks should get a raise 'cause those basslines can make a pianist convert to electric bass forever. I think what I appreciate from this group's music is their layering. There's a lot going in their tracks - chord progressions, melody lines, the vocal harmonies and ad-libs. The sound is always full. Not in this track. I find a lot of new music experimenting with the idea of space. Well, I call it space, but more accurately it's the use of silence. There's a lot of gaps in between the synth chords, a longer pause before the jump into the chorus, a drop with only light beats in the verse, before a stronger bass drum in the pre-chorus. Everything then hits a strong climax during the bridge, and that's when we can hear some of the quintessential SVT layering again. Melodies that have a back-and-