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Feb. 19th, 2005 12:15 amOkay, Constantine is gonna suck, but it's gonna suck fiiiiiiiiiiine......
http://www.journalfen.net/users/dragonkal/31872.html
http://www.journalfen.net/users/dragonkal/31872.html
Feb. 19th, 2005
(no subject)
Feb. 19th, 2005 12:11 pmLooking at the ring tones catalogue on the Sprint website is a weirdly good indicator of the state of pop-culture. They have a subcategory of "Bling Tones." A girl can't make this crap up.
They also have "When I Meet the Wizard" from Wicked. Oddly (or perhaps not), this makes me sad.
Tangentally, I was listing to La Boheme for the first time in ages the other day, and it really took me back to that summer of sitting on the sidewalk outside the Broadway Theatre, and what's astounding about it, is how much of right now, I can really trace back to that time in terms of the friendships, relationships, endeavors and successes. And I guess what's funny about that is that's what I wanted that summer to mean when it was happening, but I don't think I realized 'til the other day that it really had. Of course, we were all a lot more fucking innocent back then and the narrative seemed a lot more linear.
When I was a NIDA one of the lectures I went to was with the head of the acting program there, and one of the things he talked about is how there was no way you could be in this room without having had at some point some moment in the dark that changed your life, and I knew that mine was so oddly recently, because all that brilliant theatre I saw as a small kid -- well obviously, it put this desire into me, but it didn't change anything, as there was simply nothing to change then, not for a girl so young, who just lived all the time in the back of her head.
I'm working on the short play today in my (very messy) house with the other actor in it, and I feel moderately anxious about it, but I suspect it's displaced stress from other sources.
They also have "When I Meet the Wizard" from Wicked. Oddly (or perhaps not), this makes me sad.
Tangentally, I was listing to La Boheme for the first time in ages the other day, and it really took me back to that summer of sitting on the sidewalk outside the Broadway Theatre, and what's astounding about it, is how much of right now, I can really trace back to that time in terms of the friendships, relationships, endeavors and successes. And I guess what's funny about that is that's what I wanted that summer to mean when it was happening, but I don't think I realized 'til the other day that it really had. Of course, we were all a lot more fucking innocent back then and the narrative seemed a lot more linear.
When I was a NIDA one of the lectures I went to was with the head of the acting program there, and one of the things he talked about is how there was no way you could be in this room without having had at some point some moment in the dark that changed your life, and I knew that mine was so oddly recently, because all that brilliant theatre I saw as a small kid -- well obviously, it put this desire into me, but it didn't change anything, as there was simply nothing to change then, not for a girl so young, who just lived all the time in the back of her head.
I'm working on the short play today in my (very messy) house with the other actor in it, and I feel moderately anxious about it, but I suspect it's displaced stress from other sources.
Lagerfeld profile
Feb. 19th, 2005 06:09 pmLots of fantastic stuff in the Times today, but _fantastic_ article about Karl Lagerfeld (who's been slowly creeping up my list of personal heroes for a while now -- if you read this piece the reasons are stunningly obvious). Just reading about his schedule makes me a) tired and b) want to work about twenty times harder than I do.
But really, it's a gorgeous piece, mainly for how both its author and Lagerfeld seem to understand that most of a story exists in the spaces between details.
http://www.nytimes.com/2005/02/20/style/tmagazine/TW141315L.html
A final German story: this from 1948, the year the mark was put back on the international scale, causing massive devaluation.
''It was summer,'' Lagerfeld said. ''My father came home and he got out of his car. He looked very pale. I said to my mother, 'Is he sick?'
And she said, 'If I took away your savings, you wouldn't look the same.' He had lost 90 percent of his fortune that day. My mother said, 'Go and change your money, you will see how little you will get.' So, I took what I had in my little savings box to the bank and changed it for new money. And with the money, you know what I did? I went to see a movie. I was the only person in the movie house because nobody had any money. It was an English movie with Margaret Lockwood. Don't ask me any other details.'' He laughed. ''Who remembers Margaret Lockwood?''
''Yes, who remembers?'' I said.
''Me.''
Seperately, I feel smugly ahead of the fashion curve yet again: http://graphics8.nytimes.com/images/2005/02/17/style/tmagazine/20clash_slide1.jpg although let me state for the record that if I would ever wear those boots (unlikely) I would definitely never wear them with that.
But really, it's a gorgeous piece, mainly for how both its author and Lagerfeld seem to understand that most of a story exists in the spaces between details.
http://www.nytimes.com/2005/02/20/style/tmagazine/TW141315L.html
A final German story: this from 1948, the year the mark was put back on the international scale, causing massive devaluation.
''It was summer,'' Lagerfeld said. ''My father came home and he got out of his car. He looked very pale. I said to my mother, 'Is he sick?'
And she said, 'If I took away your savings, you wouldn't look the same.' He had lost 90 percent of his fortune that day. My mother said, 'Go and change your money, you will see how little you will get.' So, I took what I had in my little savings box to the bank and changed it for new money. And with the money, you know what I did? I went to see a movie. I was the only person in the movie house because nobody had any money. It was an English movie with Margaret Lockwood. Don't ask me any other details.'' He laughed. ''Who remembers Margaret Lockwood?''
''Yes, who remembers?'' I said.
''Me.''
Seperately, I feel smugly ahead of the fashion curve yet again: http://graphics8.nytimes.com/images/2005/02/17/style/tmagazine/20clash_slide1.jpg although let me state for the record that if I would ever wear those boots (unlikely) I would definitely never wear them with that.
music and soldiers in Iraq
Feb. 19th, 2005 07:20 pmhttp://www.nytimes.com/2005/02/19/nyregion/19band.html
The flute went to war. So did the oboe, the clarinet, the bass, the French horn, the euphonium and a good number of the saxophones.
The 199th Army Band has had to cut back on its repertory these days. After all, it is not easy playing Sousa when half your woodwinds and a quarter of your brass are in Iraq.
http://www.nytimes.com/2005/02/20/arts/music/20dave.html
If rock 'n' roll, the sounds of Jimi Hendrix, Jefferson Airplane and Creedence Clearwater Revival, was the music of American service members in Vietnam, rap may become the defining pulse for the war in Iraq. It has emerged as a rare realm where soldiers and marines, hardly known for talking about their feelings, are voicing the full range of their emotions and reactions to war. They rap about their resentment of the military hierarchy. But they also rap about their pride, their invincibility, their fallen brothers, their disdain for the enemy and their determination to succeed.
The flute went to war. So did the oboe, the clarinet, the bass, the French horn, the euphonium and a good number of the saxophones.
The 199th Army Band has had to cut back on its repertory these days. After all, it is not easy playing Sousa when half your woodwinds and a quarter of your brass are in Iraq.
http://www.nytimes.com/2005/02/20/arts/music/20dave.html
If rock 'n' roll, the sounds of Jimi Hendrix, Jefferson Airplane and Creedence Clearwater Revival, was the music of American service members in Vietnam, rap may become the defining pulse for the war in Iraq. It has emerged as a rare realm where soldiers and marines, hardly known for talking about their feelings, are voicing the full range of their emotions and reactions to war. They rap about their resentment of the military hierarchy. But they also rap about their pride, their invincibility, their fallen brothers, their disdain for the enemy and their determination to succeed.