Missy | June 30, 2004
Comments have been temporarily turned off again. I can’t keep up with the spam.
Missy | June 23, 2004
When life stresses me out, I go shopping. Remember when I kind of railed against The Da Vinci Code? Well, today I did what I swore I’d never do: I picked up another bestseller, and one that (from what I understand) models itself after aforementioned bestseller. It’s The Rule of Four. Maybe I’ll be pleasantly surprised, and it’ll resemble one of my all-time favorites, The Secret History. In any case, I wanted something I could read quickly. I’ll let you know how it goes.
Also, I passed by the storefront of a boutique down the street where, for over a week now, I have been eyeing a vintage dress in the window. Today I tried it on and it fit perfectly so I bought it. It was much pricier than a vintage dress should be, in my opinion. Some girls freak out over shoes and handbags, but with me it’s vintage dresses. Now I just need a handbag and some shoes to go with the new dress.
Missy | June 22, 2004
Holy freaking ouch. Lileks points to Christopher Hitchens’ unsparing piece on Fahrenheit 9/11. (I also like Lileks’ colorful characterization of Hitchens.)
That reminds me. The other day I finally put my finger on why, exactly, Moore bothers me so much: he is not smarter than me (and I think it’s safe to identify myself as being a typical American), though he thinks that he is.
To wit: when I see a documentary I want to learn something, or be provoked not to react but to think. Instead, he’s full of either obvious-isms or underdeveloped (and often conveniently edited), emotionally-driven thought. I get the feeling that F9/11 is a bunch of factoids culled together to poke fun and make a vague point (but as long as the rage is there, it’s okay!)
You’d think–I mean, really, you would think–that someone with my political persuasion (which is to say, greatly dissatisfied with what I, as a libertarian, have always considered my “fallback” party) and someone who remains pretty cynical towards lawmakers and media in general could embrace what Moore is trying to get across. I can’t. I will always associate the words “Michael Moore” with “dubious”.
UPDATE (6/24):
Welcome, again, Instapundit readers. Quick note of clarification: I haven’t yet seen the film (as noted in my comments portion) but I do enjoy spouting off prematurely. If nothing else (and dare I say it, I am indirectly giving Michael Moore some props), the dialogue everywhere has already certainly intensified, although probably not in the way Moore hopes.
Missy | June 21, 2004
Metallica: Some Kind of Touchy-Feely Crap:
I’ll be honest here: with the exception of about 5 minutes in high school, I’ve never been a Metallica fan. I think most heavy metal music is ridiculous (and I don’t mean that just in a post-ironic way…I truly hate just about anything that is not Led Zeppelin); had Metallica completely imploded during the making of their last record, St. Anger, I’d have scarcely noticed, much less cared. But thanks to documentary directors Joe Berlinger and Bruce Sinofsky (the duo who gave us the excellent Paradise Lost documentaries that in turn led to a national movement), I was not only rooting for success, but I wanted to give them all big hugs. The band, seemingly in a panic over what they were going to do next–their bassist had left the band, their drummer launched a now-famous crusade against Napster–not only decided to hire a $40,000 per month group therapist/coach, but they let filmmakers film the whole thing. And this went on for two years while they made a record, fought, in one case went into rehab, fought some more, discussed and discussed their feelings, and completed the record.
In one of the more touching moments we get to see a still-bitter Dave Mustaine put Lars Ulrich in his place, and Lars visibly feeling bad about the whole thing (Mustaine was kicked out of the band in the early 80’s). It’s a sappy yet squirm-in-your-seat kind of moment. Even when I was laughing at the band rather than with them (and there were several of those moments), you really do get to see the cycles of a family and of the creative process once the lines of communication burst open so that nothing goes unsaid.
I’m still not sure how they won me over, since the film runs a lengthy 2 hours & 20 minutes and features a lot of ear-splitting music (not to mention goofy lyrics-writing sessions) that makes me want to run off to a desert island with, like, some Bach and nothing else. On the one hand it’s a process movie–always interesting as far as I am concerned–but I admit it’s got some heft in terms of working through interpersonal relationships and the definitions of roles (like in any organization, you know), as well as the questions concerning success, expectations, and priorities. (Guitarist Kirk Hammett has the film’s best & funniest comment, with respect to his own role in the band.)
In other words, Metallica are people, too.
In other news, somebody stole my copy of this week’s issue of The Economist. I’m pissed. That is not nice, neighbor!
Missy | June 19, 2004
Ballett Frankfurt (6/17/2004):
It is unfortunate that Ballett Frankfurt will exist no more in current form (due to removal of funding) after this summer, because this is some of the most exciting choreography going on in the world today. Fortunately, artistic director William Forsythe creating a new company that will continue to tour.
The Room as it Was is a piece for eight dancers and it, like two of the other pieces, has no overt score. In effect, the dancers’ movements form the phrasing, and their breathing creates a rhythm, and as they move on & off the stage, the sentences they create become constantly changing & adapting, ultimately fleeting. As I mentioned in the comments below, the choreography was wonderfully weird and difficult. Incredibly difficult. Forsythe, being a post-Balanchine style choreographer (with some Merce Cunninghamisms thrown in) pushes the limits of classical & natural movement. The dancers are so well trained and rehearsed, that even the most mind-boggling series of steps and duets were rock-solid. Red pants girl was the most thrilling dancer, being hurled about like a doll, and yet steely in her command over the movement.
DUO is a piece for two women in sheer topped-leotards, but it is not at all a sexual piece. Like the first piece it is about time, though here it is more obvious, their bodies at times representing the hands of a clock. The choreography here tended toward classical ballet positions, thought they were not pushed to their extremes such as in In the Middle, Somewhat Elevated, which I saw on the Washington Ballet last fall. The moments when they are slowly writhing on the floor (again, non-sexually) are subtle in their effect–a leg twisted oddly here, a foot flexed awkwardly there. I really liked this piece.
(N.N.N.N.)
My companion for the evening, Jens, suggested that the ‘N’s stand for Neuron Neuron Neuron Neuron, because this piece, for four men, is wildly playful and spastic. At times the four are physically joined together in incredibly complicated movements. Jens saw some homo-erotic overtones, but I saw it more as male roughhousing. We did get a glimpse of some man-panties, though, when one guy’s pants started to fall down a bit. What were those things, dude. What.
I initially had my doubts with One Flat Thing, Reproduced, with the screech of 20 large tables being dragged downstage at the start and the bombastic score. But the sheer number of bodies on stage kept one’s eyes darting and excited as the dancers moved over and under the tables and raced through the alleys between the tables. I was also intrigued by the vast differences in the bodies of the dancers–unlike with the more traditional ballet companies, no two bodies were alike; in fact, there were some striking differences. (I also couldn’t help thinking about the vast number of bruises and banged heads, teeth, whatever that certainly must have occurred during the rehearsal process.)
In the end, watching these kinds of pieces is inspiring for would-be choreographers: it makes me want to try my hand at it. The problem, however, is not just being inspired to create imaginitive ways to move the body, but how to create a comprehensive and contained whole, even if (and especially when) a piece lacks a distinct narrative.
UPDATE: I forgot to mention that Jens and I decided it would be a good idea to walk home (actually, to the Local 16 for drinks) from the Kennedy Center, in super humid weather. Also, I was not wearing especially comfortable shoes.
UPDATE #2 (6/24): Quoth my dance teacher before class on Tuesday: “William is my idol”. Indeed.
Missy | June 19, 2004
What happened? A seemingly innocuous happy hour that started at around 4:30 today and that I intended to stay at for a mere 20 minutes turned into me at the Capitol Lounge until after midnight. That’s the other side of the Hill. (Technically, I work in the Hill neighborhood but I am not a Hill girl. Hill Schmill.) I am so not waking up until I wake up tomorrow.
I keep wanting to write about the ballet, but I haven’t had the chance. I think maybe I will go see it again tomorrow. Seriously. I was so entranced that I think I’m ready to quit my job and become a full-time choreographer/dancer. Please, I wish.
Missy | June 17, 2004
Tonight, four words: William Forsythe. Ballett Frankfurt.
The Beastie Boys may be in town at the 9:30 Club (was anyone successful in ticket-getting?) but Ballett Frankfurt is THE must-see event of the season. To say I have been waiting for this day for a long, long time would be an understatement.
Also, it is raining elephants and gorillas out right now. My goodness. Please stop before I have to walk anywhere.
Missy | June 13, 2004
The AFI’s Silverdocs is running this week. Unfortunately, I cannot attend Rithy Panh’s The People of Angkor, a companion piece to the excellent S21: The Khmer Rouge Death Machine (which is now in release and which I saw a couple of days ago) because it is showing during the day on Friday. I do have every intention to see Control Room and Metallica: Some Kind of Monster (which Josh saw at Sundance and looooved…he also met the band’s therapist, and apparently he got all therapisty on Josh. It’s funnier when he tells the story.) I also kind of want to see Children Will Listen, about young students producing Sondheim’s Into the Woods, although I have a feeling that it is probably already sold out, since the kids in the film are from the DC public schools. Actually, I should probably look into getting tickets *now* for any of the films.
Missy | June 11, 2004
I’m worried that I may have given myself two black eyes. I wish I could say that I walked away the champion of some nasty but deserved bar brawl. But no, instead I am the victim of a quick, punctuated bonk to the upper bridge of my nose (right between the eyes!) from an opened cabinet door whilst scrubbing my bathroom floor. After yelling really loudly for about 30 seconds, I ran to the ice pack, and now I keep checking the mirror about every minute and a half. “Are my eyes getting darker? What color is my skin normally when I don’t wear any make-up? Let’s change the light and see what happens. What am I going to tell people?” I know, it’s not like I’ve got the prom coming up, but a fully-grown woman with black eyes suggests one of two things: one of them tragic, and the other tragically comic.
Missy | June 9, 2004
I didn’t heed the advice to take liberal government leave and go home early today. I joined the throngs of people in the heat along Constitution Avenue to see former President Reagan’s processional. It was worth the 90 degree weather and the 1.5 hours on my feet, because I had a nice view from the steps of the National Archives, and I had my camera battery charged and ready to go. It was quite a solemn and moving affair, especially seeing Nancy among the black cars–her windows were not tinted–to whom everyone waived their condolences. The caisson and the symbolic caparisoned horse, in particular, were incredibly moving along with the fighter jets, one of the final ones which shot up into the air and out of sight….and save for a few people who aren’t yet old enough to know better, you could hear a pin drop from the silence. I’ve got photos here (warning: 25 pictures, long download time if you’re not on a fast connection….I did not alter any of the photos, so I apologize in advance for my non-craftiness).
Before anyone gets all curmudgeonly in my comments, I am no Reagan-worshipper, but he did serve during a momentous time, he talked the type of libertarian talk I find appealing of any president in my lifetime (even if he didn’t necessarily follow through), and his battle with Alzheimers is something that most everyone can relate to. This is a funeral, so I think it goes without saying to please show some respect. (I know, I just said it.)
Missy | June 6, 2004
The Sopranos:
Okay, then. It would appear that I spoke too soon last week, because this was the summation of a season. And finally, that black bear metaphor came to an amusing close.
UPDATE: Please tell me I’m not making up what was the funniest moment of the episode:
Carmela knocks and enters A.J.’s room while he is on the phone.
A.J.: Don’t you knock?
Queen for a day
Missy | June 6, 2004
I’m watching the first hour of the Tony awards before The Sopranos (and at about that point I will get bored anyway), and I’m struck by how much more composed and professional these stage actors are when they receive their awards, compared with television and screen actors. It goes to show that a professional actor needn’t completely lose their sh!t to demonstrate how gracious they are. And, so far, the speeches aren’t even boring!
UPDATE: Choreographer Kathleen Marshall’s pumpkin-colored dress is gorgeous. Also: Swoosie Kurtz needs to eat something. Also: Wicked looks dumb.
UPDATE #2: Hahahahahahaha. Hahahahaha. Hah. Hah.
Missy | June 6, 2004
Remember last year when the U.S. women gymnasts won Worlds with only five people because of injuries and not enough alternates? This year’s team, regardless of its final composition (which is yet to be determined) looks to repeat last year’s success again in Athens this summer. How do I know? Why, I watched the U.S. Nationals this weekend! The U.S. strategy has shifted from letting individual stars have their glory to prioritizing the goals of the collective. That may sound a little too communist bloc-y, but it’s one reason why, at least until 1996, the U.S. women never won team medals. There were the Mary Lous, the Shannons, etc, but now individual gymnasts retain their individual coaches while spending weekends every month training together at the Karolyi gym and constantly competing against each other. Competition is good, in other words. The result is that the team will have more depth than ever, and there are still a handful of stars that stand good chances of medaling in the all-around and on individual events. The only thing I can think of that will hurt the team is injury, which seems to plague every competition (two top gymnasts had to sit this competition out).
A few notable things I saw: for once, the women are strong on vault, which is traditionally their weakest element, with teams being staffed with a gymnast or two who doesn’t really belong, simply because she can vault her team’s way onto the podium. Also, the floor routines are finally starting to get interesting. I’m seeing some unusual qualities in the music & choreography. That’s always been a personal pet peeve of mine. The beam…..in my younger days I spent some time on that thing, and I don’t think I could ever overstate how truly terrifying that apparatus is, making what these girls are doing (especially Carly Patterson, aka “queen of the arabians”) downright shocking.
Missy | June 2, 2004
Hey, have I ever mentioned how much I adore Michael Sicinski? I didn’t think so. Perusing through his site will take you hours, but it’s worth it, even if you’ve never heard of some of the stuff he sees (I include myself in that camp, so don’t worry). No frills, just the words, man. (By the way, if he could make me appreciate Irreversible, which I admit I already sorta liked, then I will maybe one day see Brown Bunny. And maybe Dogville, too.)
Also, Treacher reviews trailers.
Meanwhile, I finally saw Le Fils. And it was every bit as slow, somber, and intense as I’d hoped. Also: the DVD extras, which is to say, interviews with the Dardennes and lead actor Olivier Gourmet, are particularly enlightening (not that the movie needs additional explanation). Enlightening, that is, if you’re into process (I am). I love how Gourmet refers to Jean-Pierre & Luc Dardenne as “the brothers”. (Initially, I felt like writing more, but alas, it’s nearing my bedtime, and contrary to actors giving their best, most natural performances when they are tired, Missy-as-psuedo-writer does not function on such a level.)
One last thing: the comments for this post at Ryan’s site are a pisser.
97X–BAM! The Future of Rock & Roll….
Missy | June 2, 2004
WOXY is gone. I’m pretty much devastated, since it was the only radio station I’ve ever heard on the airwaves worth listening to day in and day out. For the five years I lived in Oxford, OH, it was THE source of music information, and while the internet proliferates that kind of thing these days, WOXY was the place I went to where, in just one day’s worth of listening, I could get a sampling of all that is hip and happening right now, plus injections of stuff I hadn’t heard in ten years.
I’d love some recommendations, if you’ve got ‘em, for live radio streams you’re particularly fond of.
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Listening
Unmap
Volcano Choir
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Reading
A Supposedly Fun Thing I'll Never Do Again
David Foster Wallace
