CS Score: Die Hard: 30th Anniversary Edition & Harley Quinn Composer Jefferson Friedman
Yippee kay yay, soundtrack lovers! Today we’ve got an amazing batch of material for you to check out. First, a look at the soundtrack to the PBS docuseries And She Could Be Next, featuring the single “Believe” by Sa-Roc. Then, we’ll take a look at La-La Land Records’ 30th Anniversary Remastered Limited Edition of Michael Kamen’s classic Die Hard, which recently became available again. Finally, we sat down with Harley Quinn composer Jefferson Friedman who discussed the music to the popular HBO Max series and revealed his thoughts on writing a new theme for the Batman.
Listen to the Single “Believe” by Sa-Roc from the Soundtrack And She Could Be Next
Lakeshore Records has released the first single to the soundtrack for the PBS series And She Could Be Next, titled “Believe” by Sa-Roc, Ginger Shankar and D*L*P feat. Aloe Blacc. The single is available digitally by Lakeshore Records today, September 18 and the album, “She Could Be Next” will be released October 2. and features dynamic, powerful, outspoken voices from the hip hop, pop, and R&B community including Aloe Blacc, Lila Downs, Sa-Roc, Sheila E, Arabian Prince (NWA), Madame Gandhi, Saul Williams, Tarriona “Tank” Ball, Hyro the Hero, William Stanbro, Flor de Toloache, Ruby Ibarra, Judith Hill, Shawnee, Sussan Deyhim, Sarah Thawer, Vivek Maddala, Jahi Lake, Daniel French from Las Cafeteras, Sarah DeAun McCrary, Dee MC, and Nappy Nina.
And She Could Be Next is produced by and features musician and composer Gingger Shankar (The Passion of the Christ, CNN’s We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World, Akicita: The Battle of Standing Rock), who scored the two-part documentary series.
Purchase the song by clicking here!
Die Hard: 30th Anniversary Remastered Edition
Die Hard remains on of the great (if not greatest) action films ever made — an exciting spectacle boasting terrific performances from Bruce Willis and Alan Rickman, spectacular action set pieces, and a dynamic score from Hollywood great, the late Michael Kamen.
Kamen was already well established in the industry thanks to his scores for popular films such as The Dead Zone, Brazil, Highlander, Lethal Weapon and Adventures in Babysitting, as well as his work on Pink Floyd’s “The Wall”, and was a natural fit for Die Hard. And while his score was ultimately cut and pasted all over the final film, it still serves as a massive achievement in a career that spanned several decades until the composer’s untimely death in 2003.
Using a variety of instruments, including brass, woodwinds, pizzicato and arco strings, all of which are mixed with sleigh bells as well as references to the Christmas ballad “Let It Snow!”, “Singin’ in the Rain”, and Beethoven’s 9th Symphony, or “Ode to Joy,” Kamen presents a score that is both ominous and thrilling. Indeed, the score follows the beats of John McTiernan’s film in that the first half is rather minimalistic in nature as the pic’s hero, John McClane, sneaks about the massive Nakatomi Plaza in search of a means to stop Hans Gruber and his merry band of “terrorists,” while the second half of the score is decidedly more bombastic during the more elaborate, action-heavy set pieces.
La-La Land Records originally released Die Hard: 30th Anniversary Remastered Edition back in January of 2019 but with limited quantities. As such, the soundtrack was unavailable for some time, unless you wanted to spend more than twice the amount of its initial cost on eBay or Amazon. Luckily, La-La Land saw fit to re-release the score, and the results are mighty impressive.
First off, the packaging is terrific. The entire set consists of 3 CDs and each disc boasts stunning artwork featuring a character from the film — namely, McClane, Hans and Alexander Godunov’s Karl — while linear notes written by film historian Eric Lichtenfeld offer a great encapsulation of Die Hard’s production as well as its overarching legacy along with a detailed recap of each track on the album. The score itself is presented in the manner originally crafted by Kaman and spread across the first two discs. CD2 also features additional music, including alternate cues and unused takes; and even James Horner’s Resolution & Hyperspace, which is an unused track written for Aliens but was repurposed for the moment in which Sgt. Al Powell (Reginald VelJohnson) takes down Karl at the film’s climax.
The third disc offers the score as presented (and edited) in the final film along with a drum solo titled “Wild Take” and the tracks “Roy Rogers Meets Beethoven’s Ninth,” and “Hip Hop Christmas,” with vocals by Kamen himself.
In other words: this is quite literally every single note of music written for Die Hard, edited by Bulk, remixed by Matessino, and mastered by Daniel Hersch (sourced from recently rediscovered original digital multi-track tapes) and produced in cooperation with the Michael Kamen Estate. It’s absolutely spectacular!
Tellingly, the music as originally intended by Kamen is a bit more structured in its presentation. I’m a sucker for listening to the music as heard in the film but it’s also interesting to hear how the composer approached the film versus the final result. For example, the composer originally wrote a nice bit of music for Holly and John that first appears in “Seeing Holly” and earns a reprisal in “Aftermath – Powell’s Comeback,” but that music was replaced by the aforementioned Horner cue. “The Phone Goes Dead/Party Crashers” went largely unheard in the film as well, replaced instead by music from the track “Tony and John Fight.” In all, Kamen’s music was similar to the score written by John Williams for Raiders of the Lost Ark I that it bubbles under the surface via the use of plucked strings and steel guitar (albeit with occasional bursts of action) before building to a massive finale — a structure the score as presented in the film all but eliminates. I consider Die Hard to be as close to a perfect film as one can get and wouldn’t change anything about the final release, though, as a film score enthusiast, I’d be curious to hear the music as originally intended to see how it matches up with the images on screen. And while a lot of Kamen’s music was indeed cut, including a number of darker cues that don’t quite jive with the more light-hearted nature of the pic, many of his ideas found their way into his scores for Die Hard 2: Die Harder and the equally superb Die Hard With a Vengeance.
Standout action cues include “Assault on the Tower,” “Shoot the Glass” and the thrilling “The Battle/Freeing the Hostages,” while “Message for Holly” and “I Had an Accident (Extended Version)” offer quiet, lovely string-heavy underscore.
All told, Die Hard deserves recognition as one of the finest action scores ever written and stands out as a stunning achievement in Kamen’s distinguished career. It’s a goddamned masterpiece! Click here to get it before it’s gone again!!!
Disc 1: The Film Score
Main Title :43
Seeing Holly 1:07
Terrorist Entrance 4:06
The Phone Goes Dead / Party Crashers 1:53
John’s Escape / You Want Money 6:01
The Nakatomi Plaza (Takagi’s Death) 1:45
Wiring The Roof 1:51
Approaching The Vault* :48
Fire Alarm 2:04
Tony Approaches 1:42
Tony And John Fight 1:13
He Won’t Be Joining Us 3:02
And If He Alters It 2:40
Going After John 4:32
Have A Few Laughs / Al Powell Approaches 3:32
Under The Table 1:59
Welcome To The Party 1:10
Yippee Ki-Yay** :45
Holly Meets Hans 1:20
Assault On The Tower 8:34
John Is Found Out 5:04
Attention Police 3:54
Bill Clay 4:09
Shoot The Glass** 2:20
I Had An Accident (Extended Version)** 2:56
Total Disc 1 Time: 70:08
Disc 2: The Film Score (Continued)
The Vault (Film Edit) 3:07
Message For Holly (Film Edit)** 3:13
Gun In Cheek (Extended Version)** 1:20
The Battle / Freeing The Hostages 6:53
The Fire Hose** 1:24
Helicopter Explosion And Showdown 4:02
Happy Trails, Hans* 1:42
Aftermath – Powell’s Comeback* 2:52
Let It Snow 1:44
Performed by Vaughn Monroe
Written by Sammy Cahn and Jule Styne
Published by WB Music Corp. OBO Cahn Music Company (ASCAP)
Chappell & Co., OBO Producers Music Publishing Co. (ASCAP)
Courtesy of Geffen Records under license from Universal Music Enterprises
Beethoven’s 9th (End Credit Excerpt) 3:53
Written by Ludwig van Beethoven; Courtesy of APM Music
Total Score Time: 100:18
Main Title (Alternate)* :40
The Nakatomi Plaza (Takagi’s Death) (Alternate)* 1:47
Approaching The Vault (Alternates)* 2:33
Tony Approaches (Alternate)* 1:43
Yippee Ki-Yay (Extended Version) 2:48
Assault On The Tower (Alternate Excerpts)* 3:44
Attention Police (Pick Up Opening)* 2:04
The Vault (Alternate)* 2:52
The Vault (Alternate Performance) 2:11
Message For Holly (Original Version)** 2:52
Message For Holly (Revised Version)** 2:58
Happy Trails (Tracked Film Edit) 1:13
We’ve Got Each Other 1:56
From the movie Man On Fire
Composed by John Patrick Scott (PRS)
Published by T C F Music Publishing, Inc. o/b/o New Regency Music (ASCAP)
Resolution and Hyperspace (Excerpt) 2:47
From the movie Aliens
Composed by James Horner (ASCAP); WB Music Corp; Rewind Music Inc.
Wild Percussion* 2:16
Roy Rogers Meets Beethoven’s 9th (Source) 1:33
Winter Wonderland (Source) 1:26
Written by Felix Bernard and Dick Smith
Let It Snow (Source) 1:58
Performed by Michael Kamen; Written by Sammy Cahn and Jule Styne
Published by WB Music Corp. OBO Cahn Music Company (ASCAP)
Chappell & Co., OBO Producers Music Publishing Co. (ASCAP)
Christmas In Hollis 2:58
Performed by RUN-DMC, Courtesy of Arista Records
Written by Joseph Simmons, Darryl McDaniels, Jason Mizell
Published by WB Music Corp. (ASCAP)
Ⓟ 1987 Arista Records LLC by arrangement with Sony Music Licensing
Total Additional Music: 42:19
Total Disc 2 Time: 72:38
Disc 3: The Vault: Bonus Music from Die Hard
Main Title (Film Edit) :36
Seeing Holly (Film Mix) 1:05
The Phone Goes Dead / Party Crashers (Extended Opening)** 2:22
The Nakatomi Plaza (Takagi’s Death) (Orchestra Only) 1:47
Wiring The Roof (Film Mix Excerpt) :58
Tony Approaches (Film Mix) 1:44
Going After John (Film Mix) 4:33
Al Powell Approaches (Film Mix) 2:32
Al Powell Approaches (Alternate)* 2:37
Under The Table (His Bag Is Missing) (Film Edit) 1:25
John Is Found Out (Film Mix) 5:54
Bill Clay Pt. 1 (Film Mix) 2:08
Bill Clay Pt. 2 (Extended)** 2:08
Shooting The Glass 1:08
Message For Holly (Original Version) (Orchestra Only)** 2:53
The Battle (Alternate Excerpt)** 1:19
Wild Take* 1:29
Roy Rogers Meets Beethoven’s Ninth (Alternate)* 1:36
Hip Hop Christmas (Source)* 1:44
Vocal by Michael Kamen
Total Disc 3 Time: 39:58
Total Three Disc Time: 182:44
* Previously Unreleased
** Contains Previously Unreleased Material
Interview with Harley Quinn Composer Jefferson Friedman
Click here to purchase Harley Quinn Season 1 soundtrack!
ComingSoon.net: How did you get involved with Harley Quinn?
Jefferson Friedman: I had worked with Pat [Schumacker] and Justin [Halpern] and Dean [Lorey] before on Powerless, and so just as we were finishing up our lists, they had mentioned to me that they just got commissioned to write a Harley Quinn pilot. And I was like, Well, I’m available. We hit it off creatively and personally, when we were working on Powerless together, and so it was a pretty natural fit for everybody, I think.
CS: When you first came aboard Harley Quinn did you know exactly how you were going to score this series?
Friedman: I think that there are two answers to that, the short answer being that like, literally in that moment, on the mixing stage for the last episode of Powerless, I had a bright vision of what the show should sound like. Then, two years passed I think between the time that they said it was being developed and the time that we started working on it. And so over the course of those two years, it’s just, you know, sort of ideas kept popping into my head and the ones that remained at the end of those two years ended up becoming the sound of the show, which ended up being like, very similar to like the flash of inspiration I had at the very beginning.
CS: Were you given a clear set of instructions on how to handle the material or were you free to do what you wanted to do?
Friedman: I mean, the process is different for every, you know, show runner/composer team. We sat down in a room, the four of us — the three guys and then Jen Coyle who is a supervising animator on the show. I presented a pitch to them of what I thought the music should sound like, and they bit. They were like, Yep, that’s great! And then and I went home and started, you know, maybe a month later, after I’d finished some of the major themes for the show, I played it for some of the guys and they were like, That’s great. That doesn’t always happen! But, you know, on this project, I think we all sort of understood from the beginning what what it’s supposed to be. And I don’t just mean the music. I mean, I think everybody worked on the show. It just had this kind of synergy with each other and just kind of knew what the show needed to be.
CS: How much fun was it to score a series like Harley Quinn that features all of these wild, even iconic comic book characters?
Friedman: I mean, it couldn’t have been more fun. It’s the most fun I’ve ever had doing my job. Not only was it fun, but it was really special to be able to contribute to the canon of music for these iconic heroes and doing my own particular take on it. But yeah, I mean, the variety of the score was there. Every episode had a bunch of new and different challenges and that helps keep you engaged as a composer. I had a blast.
CS: So what were some of the challenges you faced? Did feel the pressure of writing music for these famed characters?
Friedman: Yeah, for sure. I mean, the Batman theme was sort of the most intimidating. And funnily enough, the one that came out the quickest of all the major characters teams. I just remember sitting down in my studio and I just said out loud to myself, “I’m writing a Batman theme for Batman.” And it just kind of occurred to me that like, that’s kind of a crazy thing that not very many people in the history of the world have had the opportunity to do. So yeah, I definitely tried to rise to the occasion.
CS: Speaking a little more on that, we’ve had so many iterations of Batman by the likes of Danny Elfman and Hans Zimmer. How do you separate yourself from what they’ve already done? Are those scores constantly floating around in the back of your brain? Or is there an urge to mimic those styles?
Friedman: I wouldn’t say mimic those styles. I’ve said this in a few other interviews — I didn’t listen to any DC related music as soon as I started working on the project until it was over because I wanted my memory of those themes to inform the score versus like literally inform the score. So, it’s some sort of abstract idea of, like you say, like rolling around the back of my head what Danny Elfman’s theme sounds like what Zimmer’s theme sounded like etc, etc. Batman was kind of a special case, because for some of the other characters that were like fully reinvented for the show, I felt like I had the opportunity to also fully reinvent their sound. But Batman is played as such a straight guy on the show that my concept for his theme was just like, write a proper straight up the middle Batman theme. And so that theme I think sounds similar to all the other bat themes because it was by design that way.
CS: What were the what were the challenges with Season 2?
Friedman: For Season 1, and I think on the show narratively as well, you have to spend a lot of time establishing characters and establishing the world; and establishing the relationships between characters. And so, my job is to write themes that sound like those characters and then stick to the themes and only change them if I need to change them for some sort of dramatic reasons, some sort of reason to like push the story forward. Once Season 2 started, most of the main character themes were already written. So, at that point, it’s just a matter of using that material. Not coming up with it. Coming up with it obviously takes way more time than just using something that you’ve already created. So, having all the themes done for Season 1 allowed me freed me up time wise and creatively to go in bigger and deeper directions. And for that matter, I think the story of Season 2 warrants that because it’s just it’s a bigger, deeper story too.
CS: Do you view these villains in a sympathetic light? Does that change your approach to how you score them?
Friedman: For sure! I mean, how do people become super villains? You know, like what drives someone to become a super villain? It’s obviously some pain or sadness or something … to be that evil? I think it’s probably a defense mechanism for something lacking on the inside of the villain. So, I think there’s always this kind of tragic sadness to supervillains. I’m not sure I write the music in such a manner so literally or consciously. But that’s the theory or the case inside of my head. Supervillains are tragic. There’s that one episode where it flashes back inside Ivy’s brain to her childhood and shows her a little sad girl who has a birthday party of one and her father’s a monster. That requires a certain amount of pathos to the character.
CS: Do you have any news on season three?
Friedman: I have no information about season three, I’m sorry to say. That’s my way above way, way above my pay grade. As far as if we get to season three, I think at this point, some of the main themes that I established for these characters could be due for a little bit of freshening up or changing things slightly. It really all depends on on what the story is gonna be. Obviously, if it’s sort of a return to the Season 1standalone episode style, I’ll think of the season in a different way than if it’s more like the through line narrative they used on Season 2.
CS: What do you believe is the most challenging aspect of composing music for film or TV?
Friedman: I think the most challenging aspect of it is the turnaround — the quick turnaround — that everything needs to get done so quickly in this town that you always feel like you’re just barely getting everything done. We did Season 1 and Season 2 back-to-back and I got two weeks for each episode. There were 26 episodes, so it was just like a year’s worth of steady work for seven days a week. You need a lot of stamina to do it. With that said, it’s one of my favorite things about this version of my job as a composer. Because when I was a classical composer you had all the time in the world to do whatever you wanted and that can be as difficult as a short deadline. Sometimes it can be even more difficult. Deadlines are a good thing!
The Advantages of Online Casino Welcome Bonuses
When it comes to online gambling, the industry is thriving in 2020. Although casinos are banned in many countries, people still find ways to enjoy their favorite games of chance. However, considering the level of competition on the market, it may be difficult for a beginner to find a good online platform and take advantage of all offers. In this article, you will learn the benefits of casinos’ welcome bonuses.
What Is a Sign-Up Bonus?
As we have already established, the industry is growing rapidly and companies are desperately looking for new ways to attract customers. A welcome bonus is often used by online casinos to get new leads and players in the future. However, the best casino bonuses can be easily used to the player’s advantage. Here are the main reasons you should not neglect this offer.
- It saves your money
Quite obvious, right? Well, this is the main reason why you should always use welcome bonuses in online gambling: it is always better to not risk your own money. It is especially true for beginners. Since they have no experience, it is fairly common for beginners to lose their initial investment and be done with gambling for good. However, if you use your welcome bonus as a way of getting the basics skills, the chances of success will rise significantly.
- It allows you to try several games
Another common issue beginners face is a lack of understanding of which types of games they want to try: slots, roulette, baccarat, blackjack, etc. If you use your sign-up bonus, you will be able to play several games and choose the ones you like better. Moreover, you can take advantage of a welcome bonus on several online gambling platforms. That way you will try out even more options.
- It will make future gambling more profitable
Besides beneficial sign-up bonuses, good online casinos usually have great loyalty programs. For instance, the company may double up to five first deposits on the platform. If you invest 100 USD, you will get 200 USD to your account. More money — more games — more chances of winning.
Although a welcome bonus is a great way of upping your gambling game, there are a few things you should pay attention to. Firstly, a good bonus does not equal a good platform. Before choosing a casino, make sure that the company is legal and trustworthy. Since there are many scams right now, it is essential if you want to save your money. Moreover, check the available deposit/withdrawal methods and their terms.
We hope that this article has shown the true power of online casinos’ welcome bonuses and how you can use them to your own advantage. Follow our tips while choosing a platform and enjoy the best gambling experience.
3 Key Mistakes to Avoid When Playing Blackjack
Blackjack is the most popular casino game in the world. The card game, sometimes referred to as ‘21’, accounts for an average of 31 percent of all casino table traffic – this is consistent both online and in physical casinos. For reference, the second most popular is roulette (24%) followed by poker (21%).
It’s easy to understand blackjack’s popularity. It’s a simple game to grasp and offers players a mix of luck and skill: luck in the cards that are drawn, skill over how those cards are dealt and a player’s eventual hand. Compare that to roulette, which is based entirely on luck, and poker, which has a huge skill element to it.
However, while the beauty of blackjack is in its simplicity, there are also a number of complexities to the game, and as is the case with almost anything in life, you learn more from mistakes than successes.
With that in mind, here are three key mistakes to avoid when playing blackjack that can significantly increase your chances of winning, while limiting your losses.
Choosing the Wrong Table
Before a single card is drawn, being at the wrong table – whether live or online – is the first mistake to avoid.
First of all, each blackjack table will have different minimum bet requirements so avoid choosing one that is out of your budget. For instance, if you choose a table with a $100 minimum bet and your budget is $200, you might only play two hands.
Secondly, check the payout odds on the blackjack table. These are typically 6:5 and 3:2 and will affect how much gets paid out when you hit blackjack and land other bonus wins. Where possible, choose a 3:2 table as it pays out higher.
Thirdly, choose between a virtual and a live table. This is not so much a mistake to avoid but more comes down to personal preference. Virtual tables allow players to play against an automated computer, so you can play at your own pace, while live tables are usually quicker paced as human dealers are keen to move the game along.
When to Hit and Stand
As a general rule, most blackjack players know to hit when the hand is 12 and to stand when the hand equals 17. However, there are plenty of variables to consider that could influence when to hit and stand. Getting these right can really boost your chances of beating the house, while getting it wrong could prove costly.
One key move to implement is to always hit on a soft 17 – when the two cards are an ace and a six. This means that if you draw a 10 or picture card (jack, queen, king), then you convert your hand into a hard 17. It also gives greater flexibility if you draw a smaller value card as the ace can be used as a one.
While many players adopt a strict ‘never bust’ policy, meaning they always stand when their hand equals 12 or more, this can be ill-advised as it depends almost entirely on the dealer going bust.
Instead, analyze the value of your two cards compared to the dealer’s first card and weigh up the risk factor in drawing another card before the dealer draws their second. As a strict rule, if your first two cards equal 17 or more, then stand – anything else can be hit depending on the situation.
When to Split and Double
If you are playing in a blackjack tournament, either online or live, learning when to split and double can make all the difference to your chances of success. The same also applies to individual games of blackjack.
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Splitting is when you split two cards when dealt the same value cards, so a pair of eights for example. Doubling is when you are given the option to double your bet after being dealt your initial two cards.
While it can be tempting to split and double at every opportunity to increase your winning, doing at the right time is the key.
It is not recommended to split when:
- You are dealt two picture cards or two 10s
- You are dealt two 9s
- You are dealt two 5s
- The dealer holds a 10 or picture card
It is best to split when:
- You are dealt two 8s
- You are dealt two aces
- The dealer holds a 5 or 6 (as this is the highest probability of a bust)
Similar to knowing when to hit and stand, take a brief moment to assess the dealer’s drawn card compared to your own two cards and determine whether the probabilities are in your favour.
Likewise, knowing when to double down – when not to double down – can change the complexities of your blackjack game. A simple rule to know when to double is if your two cards equal 10 and the dealer’s card is between 2-9. Additionally, if you hold an ace, you can consider a double as these have the flexibility of playing as 11 or 1. But if the dealer’s card is an ace, ignore the double.
Blackjack may be a simple game but there are some important strategies to keep in mind next time you head to the virtual or live table. The game itself is still rooted in luck so there are never any guarantees to long-term success. However, by keeping these three important rules in mind, you can at least avoid making avoidable mistakes.
Top 5 Entertainment Activities for College Students
The life of college students is sometimes too complicated. They have to face tons of homework assignments that steal their time. Many students get stressed because of continuous learning. They seem to forget how to relax. If you’re a busy student, you should remember that you’re still young and shouldn’t waste this precious life stage. You can undertake some entertainment activities sometimes. Take your friends and organize funny games to unwind and let off some pressure. We asked writing experts from a professional essay service Smart Writing Service to share their ideas and provide you with top-5 entertainment activities for college students you may like.
Who Are You?
Students, especially freshmen, don’t know each other perfectly. They may be taken by surprise when some of them tell something quite unexpected about their hobbies, preferences, and so on. If you want to know other students better, suggest playing a game called “Who Are You”.
Form at least three teams. If there are many folks, you can form more teams. Choose a speaker of the game. It may be even one of your teachers or professors. All groups will be given topics to discuss. The speaker is supposed to announce a new topic every few minutes. You may discuss and answer the following topics:
- What is the greatest challenge you are facing?
- What do you like or hate most about yourself?
- What is your greatest value in life?
- What emotions do you express easily?
- What is the most valuable thing in friendship?
- Who you want to become in five years?
- What is your major objective for next year?
- Is there something you want to improve about yourself?
- What motto do you try to live by?
- Where would you like to travel?
- If you were to study abroad, what country would that be?
Students should write their answers on index cards. The speaker should gather the answers of every student and shuffle them. Afterward, he/she redistributes them randomly to students. Each person should guess whose card he/she is holding. Play this game after you spend some time together and already know at least something about one another.
Another fun activity is “Sentence Completion.” Most people like it because it’s commonly accompanied by laughter and good mood. It’s necessary to prepare a list of sentences. Those sentences should have a beginning, but with no end. Every student should finish the sentence he/she gets. Oftentimes, students give funny answers. At times, they are quite serious, and we can learn something important about other students. Here are several sentence beginnings you may choose:
- Before I came to college, I was interested in…
- When I was a child, I wanted to become…
- The best moment I remember most about high school is…
- My favorite pet is…
- The things I value most are…
- Five years from now I hope to be…
- My greatest personality trait is…
- My favorite subject at high school was…
- If I could change one thing in the world, it would be…
- My greatest fear is…
- After I graduate from college, I…
The Reception Line
You may likewise try another entertaining activity for college students. It is called “The Reception Line.” Gather all the mates eager to participate. Divide yourselves into two groups. If you form more, it won’t fit the rules of the game. Each person talks to the person in front of him/her until he/she must move. The person at the end of one line goes to the end of the other line. This method makes it possible to meet new people. Thus, students will learn more about each other. You can make shifts every next topic or set a limit. For example, the pair should discuss 5 topics and afterward move to change partners. Here are some interesting topics to discuss:
- Where would you like to travel?
- What motto do you try to follow?
- What is your favorite movie?
- What music do you like?
- What is your favorite hobby?
- Why did you choose this college?
- What do you like about college life the most?
You can likewise suggest a game, which offers only two options. It’s called “Take Sides.” Create a list of questions with two answers. Students should obligatorily choose one of them. Afterward, you may discuss the answers. Let everyone explain his/her choices. Thus, you’ll learn more about each other, and it will bring you closer. Here are several suggestions:
- Watermelon or banana?
- Sweat or bitter?
- Short trips every weekend or a journey around the world for three months?
- Partying or hiking?
- Listen or speak?
- Rock or pop?
- Morning or night?
- Superman or Batman?
- Robocop or Terminator?
- Harry Potter or the Lord of the Rings?
- Los Angeles or New York?
- Liberal or conservative?
- American football or ice hockey?
My Most Embarrassing Moment
You can likewise tell each other about the most embarrassing moments. It’s important to be honest and don’t imagine a story that never took place. All the participants should agree on this term. Commonly, it is a very entertaining activity. Students tell funny stories they’ve been through. It commonly makes them closer.
These activities for college students are very simple to follow. They are really entertaining. Mind that we have mentioned only 5 of them. However, you can try a hundred activities more. Use our examples to have fun and relax. They may inspire you and your friends to look for other entertaining activities.