Updated: 8/16/15; 18:58:23

pedantic nuthatch
Life in a Northern Virginia suburb of Washington, D.C. B.M.A.T.C., and Etruscan typewriter erasers. Blogged by David Gorsline.

Friday, 10 February 2006

Do not ask Sheryl Crow for help with your physics homework. Here's a chorus from her "Good Is Good:"

And every time you hear the rolling thunder
You turn around before the lightning strikes;
And does it ever make you stop and wonder
If all your good times pass you by?

Does she really not know that you see the lightning first, then hear the thunder? Or maybe she's being "«i r o n i c»!!!"

Jeez, what are they teaching these kids these days?

posted: 11:32:34 PM  

Ben Hunt rounds up the best-designed web sites of today.

(Thanks to Boing Boing.)

posted: 10:41:47 AM  

Alvin Ailey American Dance Theater, Kennedy Center Opera House, Washington

The Aileys are most successful when the choreography calls for a loose, improvisational "can-you-top-this" vibe, as in the "San Sebastian" section of Billy Wilson's The Winter in Lisbon (1992), set to Latin jazz tunes by Dizzy Gillespie and Charles Fishman. That groove is also at work in the second section of Love Stories (2004) (Jamison/Battle/Harris), made in honor of Ailey. Everybody, on stage and in the house, has fun with the following section, which uses a remix of young Stevie Wonder's "Fingertips:" it's a lyrical spazz-out.

Ailey's own Witness (1986), a solo for Renee Robinson and scored by a traditional spiritual sung by Jessye Norman, is difficult to get a read on. The piece is lit, in part, by votive candles arranged across the stage; the mood is elegiac. The opening sections are so iconic, such a recapitulation of modern dance in the 20th century, as to be almost parody. Then later, in the closing section, as all of the preceding accompanying music is mashed together, the dancer repeats the phrases. Is she a portrait of perseverance, enduring in the brutal world? Or does she descend into introspective madness?

Probably the most interesting piece on the program is Acceptance in Surrender (2005), with choreography by Hope Boykin, Abdur-Rahim Jackson, and Matthew Rushing and music by Philip Hamilton. Lit by Al Crawford at low levels of raking light, the piece shares some qualities with David Parsons' Caught, also in the company's repertory. It's a languid, abstract dance for three men and one woman, a soul walking into the light for the first and last time.

posted: 10:03:03 AM  

Sommer Mathis reports that the Source Theatre, which has been essentially dark for two years, is closing for good, the 14th Street space to be converted into a theme bar. I've seen some good shows there, including one I didn't even intend to see. Sarah, friend to Kathy and me, was performing in an off-evening show, but we came on the wrong night and saw a pretty good version of Patrick Marber's Closer.

posted: 9:34:39 AM  

February 2006
Sun Mon Tue Wed Thu Fri Sat
      1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28        
Jan   Mar

just me
D. Gorsline, Proprietor

XFN Friendly

the ageless project

theme designed by

Copyright 2003-2006 © David L. Gorsline