jackironsides:

It’s funny when we talk about how so much of our current humour relies in oblique references to other stuff, and sometimes people are like ‘Other generations would be completely confused!’ This always makes me think that they haven’t read Dorothy Sayers OR PG Wodehouse, because both Lord Peter Wimsey and Bertie Wooster pepper their speech and jokes with quotes and fragments of poetry and literature, and if that isn’t an offline equivalent I don’t know what is.

In conclusion, am I saying that the early 20th C upper-class English tendency to liberal use of classical quotes is a type of meme? Yes.

Am I also saying that both Bertie Wooster and especially Lord Peter Wimsey would be absolute memelords if they were millennials? Also yes.

I would also point out the longstanding existence of the in-joke.

rcktpwr:

me, sitting on a throne barechested but wearing ornately engraved plate armor on my arms and legs and cloaked in fine almost translucent silks with an enormous snake draped over my shoulders: i got lost in the fantasy of this dope outfit and forgot what kinda post i was gonna make

therogueofblood:

hollyisshort:

therogueofblood:

bornunderadancingstar:

therogueofblood:

• that trill sequence from ‘for i am blithe and i am gay’, especially when it’s pulled off perfectly
• THE ENEMY OF ONE, THE, ENEMY OF ALL IS
• when ‘in a doleful train’ and ‘is this not ridiculous’ come together and its sung as a chorus duet and just. !! 
• all of bunthorne’s melody in that same song. i’m ridiculously fond of it. it’s such a bouncy tune
• patience and angela’s duet where they switch between having the melody in major and minor keys. especially when angela comes in for the first time.
• the harmony at the end of patience and grosvenor’s duet.
• ‘such-a-judge-of-blue-and-white-and-ot-her-kinds-of-pot-ter-y-’
• all of the unaccompanied harmony in the act one finale because it sounds so nice
• angela’s solo when she notices grosvenor for the first time. especially the key change.
• technically not a musical bit but the ‘oh fuck they love him’/’oh fuck they love him’/’OH FUCK THEY LOVE ME’ bit is wonderful
• “a silver churn?!”/”a silver churn!”
• jane and bunthorne’s duet. all of it. trading lines and singing over each other. it’s so good
• the low harmony in the quintette where they sing ‘x shall have to be contented with our heartfelt sympathy’ just before hitting the chorus properly
• the finale. the fact that it’s basically less than a minute long. the main melody is bouncy and catchy and when everybody joins in for the harmony it’s so loud and good.

I would make an argument for the soprano re-entry in I hear the soft note but then I would, it’s my part

valid

absolutely agreed on the above but may i also proffer:

-that bit in if you want a receipt when the colonel is just going AHHHHHHHHHHHHHHH while all the dragoons go YES YES YES YES YES YES YES

-when you have a v good tenor in the ‘a teardrop dews each martial eyyYYYyyyyyyyyye’

also not music but why is ‘we are all fond of toffee’ ‘WE ARE’ so hilarious

• also: ‘are you going a ticket for to buy’/‘most certainly i am – why shouldn’t i?’ because that octave leap is grand and impressive
• also not a music thing but ‘do you yearn?’/‘i earn my living???’ is always fucking hilarious to me

What about the repetition of the phrase “he was a little boy” with the meaning tweaked each time by placing emphasis on a different word?

fromacomrade: