My Current Favorite Thing
I am an obsessive person. That's just a facet of my personality that I've always dealt with. As a kid I obsessed over Amelia Earhart and Disney princesses and I haven't gone through a day in my life with an obscure thing clouding my every thought (recently it's been Emile Bernard's 1886 trek around Brittany), but the obsession that has stuck the most with me is Theo van Gogh.
I wrote my college essay about this. I wrote my Extended Essay about this. I have dipped into his story and the surrounding worlds so many times that I can't even explain it all without going into a multi-thousand word explanation.
Recently, I've been reading through the diaries of Jo Bonger (who would become Jo van Gogh-Bonger when she married Theo) and they're amazing, but that's not even what I'm talking about. I happened to stumble upon a tweet about a concept album for a musical about the Van Gogh brothers, and that's what I need to talk about.
The album is called Starry, and I have not stopped listening to it for at least two weeks. The musical, through 15 songs, tells the story of the lives of Vincent and Theo van Gogh and it is wholly a joy to listen to.
This album feels like a compliment to the 2018 movie At Eternity's Gate. At Eternity's Gate focused almost solely on the madness and mental illness of Vincent van Gogh, while the album is more about the art and the love. Both of these things were parts of his life, and I think they work well together.
It is bright and emotional and moving and catchy and really fun to listen to.
Listening Notes:
Prologue - I'm not a musical person, but this is a purely cinematic opening. It feels like a Disney movie or a joyous on-screen musical. It introduces the tonal cues of the rest of the musical in a spectacular way.
Impress Me - this song makes me want to pack my bags and move to Paris right now. This song focuses on Theo's career as an art dealer, something that does not get enough attention in all the Van Gogh adaptations. Fun Fact: the lyrics say "find me in Montmartre, high above the madness of Paris." Theo's art dealership, Goupil & Cie, was on Boulevard Montmartre, which is completely unrelated to the neighborhood Montmartre which is, atop a hill, literally "high above the madness of Paris." However, he LIVED in the real Montmartre. Anyway, this song introduces attitudes in Paris towards art while summing up the 19th century in French history. A catchy and joyful tune, this deals out exposition in such a way that always makes me smile. Since I already know all the facts, it's pure fun to watch them come around, like finding a way to stuff "Goupil & Cie" in a song. Also, the fact that Theo sings "when will I break through?" along with the artists *chef's kiss* "Sure as the passage of the river Seine, the future will be forged with brushes, pencils, and pens."
A New Horizon - this is the ballad that emphasizes for the first time that this is a musical. It's dramatic and melodic with powerful harmonies. It introduces Vincent's hopeful tone and the way he approaches making art. This optimism is factually accurate to his attitude in early art-making. It wasn't until later that the madness set in. And, I'm a simple person, when they call each other "brother" I melt.
United In Distaste - the fun ensemble piece that sets up characterization for all of the minor characters! It's the My Shot of Starry! A quick and stomp-y beat with characters constantly talking -or singing- over each other, playing into fun historical facts such as the rivalry between Gauguin and Bernard, or Pissarro being a great deal older than the rest of the impressionist club, or someone saying "speaking of size-" to five foot nothing Henri de Toulouse-Lautrec. The written chemistry is so great and fun, especially when they all come together for the chorus. "We say that it's a brotherhood but we're all full of shit" historical accuracy!
Something After All - I feel like this song is about Theo proposing for the first time (unsuccessfully) to Jo Bonger, but really it is a ballad about his hesitating nature and finally taking control of his own life. "A life of joy and disarray."
Enlightenment - oh! I get it! This is the first time I'm listening to it in order, and this must be Jo's response to being proposed to. This is Jo's ballad about her life story, containing modern notes of feminism. I feel bad but something about the music reminds me of High School Musical 2 I can't pinpoint it but it's there. This is Jo's goal song, we stan. "Those searching for simplicity will never write a page of history!" When Jo was 17 (I'm taking this from her diaries), her friend died, which prompted some self questioning that led to the decision that the most important thing you can be is good.
Where Are We Going? - It's Gauguin's turn for a ballad now. This man was a revolutionary without a revolution, and was therefore exploding in dramatic ways whenever anyone would listen, and I feel like this incredibly dramatic song is a reflection of that. "What about the artist Paul Gauguin?" immortality themes. "If money grew on trees, you'd be a farmer not an artist. If you really knew Paris, you'd be a royal not a marxist." Gauguin wanted to move to Madagascar in fact because he was that dramatic, but settled for Arles. This song highlights the dramatic reshaping of the art market that was happening at the time, the battle between traditional and new and what people wanted to see vs. what artists thought they needed to see. There's also an art history joke in this one! The lyrics say "you'll understand my vision soon, right after the sermon," and Vision After the Sermon is a Gauguin painting.
The Sower - This is the first indication that it is Jo who is telling the story, based on her opening the song with narration, the first song that is not a character confession or conversation. After Vincent and Theo died, Jo was the one who collected and sold Vincent's paintings and published the letters, which were largely to thank for Van Gogh's fame. And I know this is an obvious trope but Jo and Theo trading lyrics in their songs is Love At It's Finest and it makes me happy every time, especially when they're talking about art dealing because that was Theo's job and Jo took it over after his death. If this was a stage musical, I'm pretty sure this would be the end of act 1.
The Road - This is the kind of song you mime dramatically in your bedroom, and yes, I am speaking from experience. "With a brain like a blizzard in June: fascinating, but maybe just a little too soon," what a strange but encapsulating line; it works. This song really feels like a narrative in the way that it unfolds like it clearly changes themes and musical tones but maintains the binding factors.
The Yellow House - The structure of this one is really fun. The majority of information of Van Gogh's life comes from letters that he wrote to Theo and other impressionist artists, so this song plays off of that. It's a poppy song after so many ballads, there are sharp digs at other characters within the song, and double meanings really shine in wonderful ways. Also there is the most subtle but devastating insult when Vincent says "a place that I can finally call home," about the Yellow House after living in Theo's apartment for two years. "You innovate!" "You pay our rent!"
Sunlight and Storms - Jo's back! They're married! Everything is wonderful! And the line "I confess I'm a mess more often than not, burned the rice maybe twice from not stirring the pot but we're happy, and that's enough" always makes me happy and want to cry at the same time. And because I'm just like this, this is where they got that from: "and I — I’ll confess honestly — I can’t do anything — I’ve already burnt the rice twice and the plums once — that poor Theo, he just has to swallow everything!" Letter from Jo Bonger to Vincent van Gogh, May 1889.
On The Threshold of Eternity - This is the one that feels most like every movie adaptation of the Vincent van Gogh story. It sounds like rich blue and bright yellows on a Cafe Terrace or a portrait of Dr. Gachet. I can't really tell which character is singing at every point, but I feel like they might be acknowledging Theo's mental illness? Something that almost never happens in other adaptations until after Vincent is dead.
The Red Vineyard - The Red Vineyard was the first and only Van Gogh painting sold in his lifetime. It was very different from what we consider Van Gogh's masterpieces today, but really highlights tastes at the time and how hard it was to sell Vincent's work. In the song, this is treated as a real turning point but also an opportunity for everyone to take a breath, and it's really nice. It's the climb, right after the midpoint, where the goal becomes visible again.
The Starry Night - This song feels most like the Doctor Who Van Gogh episode; it's the most surface level, appealing to what most people know, not the deep cuts for art history nerds like me. I think there's something special about pieces of art about appreciating art, and this is a prime example of this. "When what's hanging on a wall, is the only thing that's left of me." I've probably already mentioned it, but immortality and legacy are big themes of the musical. There are also lines that are taken basically directly from Van Gogh quotes and props to them for finding a way to make that rhyme and sound good you go.
Wheat Fields / Finale Ultimo - aw, well, after we climbed that big mountain we've fallen, but I guess that was what it was always going to be. The song opens with Jo finishing telling the story and reminds me of the very last scene of Titanic. This is also an ensemble piece, bringing back previous characters, yay! It's incredibly dramatic and really feels like a finale. And the revived musical cues make me cry. BUT a pet peeve of mine is that Van Gogh adaptations never fully explain what happened to Theo (he lost his mind and died 6 months later) and this implies it by calling Jo "the widow" but you know.
That's it! I really like this concept album and if it becomes the next Hamilton I can proudly say that I knew it before it was popular!
I wrote my college essay about this. I wrote my Extended Essay about this. I have dipped into his story and the surrounding worlds so many times that I can't even explain it all without going into a multi-thousand word explanation.
Recently, I've been reading through the diaries of Jo Bonger (who would become Jo van Gogh-Bonger when she married Theo) and they're amazing, but that's not even what I'm talking about. I happened to stumble upon a tweet about a concept album for a musical about the Van Gogh brothers, and that's what I need to talk about.
The album is called Starry, and I have not stopped listening to it for at least two weeks. The musical, through 15 songs, tells the story of the lives of Vincent and Theo van Gogh and it is wholly a joy to listen to.
This album feels like a compliment to the 2018 movie At Eternity's Gate. At Eternity's Gate focused almost solely on the madness and mental illness of Vincent van Gogh, while the album is more about the art and the love. Both of these things were parts of his life, and I think they work well together.
It is bright and emotional and moving and catchy and really fun to listen to.
Prologue - I'm not a musical person, but this is a purely cinematic opening. It feels like a Disney movie or a joyous on-screen musical. It introduces the tonal cues of the rest of the musical in a spectacular way.
Impress Me - this song makes me want to pack my bags and move to Paris right now. This song focuses on Theo's career as an art dealer, something that does not get enough attention in all the Van Gogh adaptations. Fun Fact: the lyrics say "find me in Montmartre, high above the madness of Paris." Theo's art dealership, Goupil & Cie, was on Boulevard Montmartre, which is completely unrelated to the neighborhood Montmartre which is, atop a hill, literally "high above the madness of Paris." However, he LIVED in the real Montmartre. Anyway, this song introduces attitudes in Paris towards art while summing up the 19th century in French history. A catchy and joyful tune, this deals out exposition in such a way that always makes me smile. Since I already know all the facts, it's pure fun to watch them come around, like finding a way to stuff "Goupil & Cie" in a song. Also, the fact that Theo sings "when will I break through?" along with the artists *chef's kiss* "Sure as the passage of the river Seine, the future will be forged with brushes, pencils, and pens."
A New Horizon - this is the ballad that emphasizes for the first time that this is a musical. It's dramatic and melodic with powerful harmonies. It introduces Vincent's hopeful tone and the way he approaches making art. This optimism is factually accurate to his attitude in early art-making. It wasn't until later that the madness set in. And, I'm a simple person, when they call each other "brother" I melt.
United In Distaste - the fun ensemble piece that sets up characterization for all of the minor characters! It's the My Shot of Starry! A quick and stomp-y beat with characters constantly talking -or singing- over each other, playing into fun historical facts such as the rivalry between Gauguin and Bernard, or Pissarro being a great deal older than the rest of the impressionist club, or someone saying "speaking of size-" to five foot nothing Henri de Toulouse-Lautrec. The written chemistry is so great and fun, especially when they all come together for the chorus. "We say that it's a brotherhood but we're all full of shit" historical accuracy!
Something After All - I feel like this song is about Theo proposing for the first time (unsuccessfully) to Jo Bonger, but really it is a ballad about his hesitating nature and finally taking control of his own life. "A life of joy and disarray."
Enlightenment - oh! I get it! This is the first time I'm listening to it in order, and this must be Jo's response to being proposed to. This is Jo's ballad about her life story, containing modern notes of feminism. I feel bad but something about the music reminds me of High School Musical 2 I can't pinpoint it but it's there. This is Jo's goal song, we stan. "Those searching for simplicity will never write a page of history!" When Jo was 17 (I'm taking this from her diaries), her friend died, which prompted some self questioning that led to the decision that the most important thing you can be is good.
Where Are We Going? - It's Gauguin's turn for a ballad now. This man was a revolutionary without a revolution, and was therefore exploding in dramatic ways whenever anyone would listen, and I feel like this incredibly dramatic song is a reflection of that. "What about the artist Paul Gauguin?" immortality themes. "If money grew on trees, you'd be a farmer not an artist. If you really knew Paris, you'd be a royal not a marxist." Gauguin wanted to move to Madagascar in fact because he was that dramatic, but settled for Arles. This song highlights the dramatic reshaping of the art market that was happening at the time, the battle between traditional and new and what people wanted to see vs. what artists thought they needed to see. There's also an art history joke in this one! The lyrics say "you'll understand my vision soon, right after the sermon," and Vision After the Sermon is a Gauguin painting.
The Sower - This is the first indication that it is Jo who is telling the story, based on her opening the song with narration, the first song that is not a character confession or conversation. After Vincent and Theo died, Jo was the one who collected and sold Vincent's paintings and published the letters, which were largely to thank for Van Gogh's fame. And I know this is an obvious trope but Jo and Theo trading lyrics in their songs is Love At It's Finest and it makes me happy every time, especially when they're talking about art dealing because that was Theo's job and Jo took it over after his death. If this was a stage musical, I'm pretty sure this would be the end of act 1.
The Road - This is the kind of song you mime dramatically in your bedroom, and yes, I am speaking from experience. "With a brain like a blizzard in June: fascinating, but maybe just a little too soon," what a strange but encapsulating line; it works. This song really feels like a narrative in the way that it unfolds like it clearly changes themes and musical tones but maintains the binding factors.
The Yellow House - The structure of this one is really fun. The majority of information of Van Gogh's life comes from letters that he wrote to Theo and other impressionist artists, so this song plays off of that. It's a poppy song after so many ballads, there are sharp digs at other characters within the song, and double meanings really shine in wonderful ways. Also there is the most subtle but devastating insult when Vincent says "a place that I can finally call home," about the Yellow House after living in Theo's apartment for two years. "You innovate!" "You pay our rent!"
Sunlight and Storms - Jo's back! They're married! Everything is wonderful! And the line "I confess I'm a mess more often than not, burned the rice maybe twice from not stirring the pot but we're happy, and that's enough" always makes me happy and want to cry at the same time. And because I'm just like this, this is where they got that from: "and I — I’ll confess honestly — I can’t do anything — I’ve already burnt the rice twice and the plums once — that poor Theo, he just has to swallow everything!" Letter from Jo Bonger to Vincent van Gogh, May 1889.
On The Threshold of Eternity - This is the one that feels most like every movie adaptation of the Vincent van Gogh story. It sounds like rich blue and bright yellows on a Cafe Terrace or a portrait of Dr. Gachet. I can't really tell which character is singing at every point, but I feel like they might be acknowledging Theo's mental illness? Something that almost never happens in other adaptations until after Vincent is dead.
The Red Vineyard - The Red Vineyard was the first and only Van Gogh painting sold in his lifetime. It was very different from what we consider Van Gogh's masterpieces today, but really highlights tastes at the time and how hard it was to sell Vincent's work. In the song, this is treated as a real turning point but also an opportunity for everyone to take a breath, and it's really nice. It's the climb, right after the midpoint, where the goal becomes visible again.
The Starry Night - This song feels most like the Doctor Who Van Gogh episode; it's the most surface level, appealing to what most people know, not the deep cuts for art history nerds like me. I think there's something special about pieces of art about appreciating art, and this is a prime example of this. "When what's hanging on a wall, is the only thing that's left of me." I've probably already mentioned it, but immortality and legacy are big themes of the musical. There are also lines that are taken basically directly from Van Gogh quotes and props to them for finding a way to make that rhyme and sound good you go.
Wheat Fields / Finale Ultimo - aw, well, after we climbed that big mountain we've fallen, but I guess that was what it was always going to be. The song opens with Jo finishing telling the story and reminds me of the very last scene of Titanic. This is also an ensemble piece, bringing back previous characters, yay! It's incredibly dramatic and really feels like a finale. And the revived musical cues make me cry. BUT a pet peeve of mine is that Van Gogh adaptations never fully explain what happened to Theo (he lost his mind and died 6 months later) and this implies it by calling Jo "the widow" but you know.
That's it! I really like this concept album and if it becomes the next Hamilton I can proudly say that I knew it before it was popular!
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