the dress i’m wearing sticks to the tights i’m wearing, so i had to wear a slip. can you imagine the olden tymes in the 70’s 60’s 50’s and 40’s when ladies had to wear pantyhose and slips and girdles every day?
my favorite line from any movie ever is from Indiscreet, when Ingrid Bergman’s sister is trying to cheer her up and get her to go out for a night on the town and says “you’ll feel much better once you put your girdle on.”
saying “i like jeff buckley” is probably as trite as saying “i like cheese on my pizza” or “the sun is nice.” his voice not only turns my knees to butter, but takes me back to my requisite-college-euro-backpacking trip. i’m on the train going through the swiss alps, headphones on, without a care in the world.
Deciding between this and Rufus Wainwright’s rendition as your favorite “Hallelujah” cover is like trying to decide which of your kids is your favorite, assuming your kids are soul-shattering pieces of music.
For my money, this remains the only perfectly realized version of this song.
You don’t get some kind of magical pedophilia immunity for experiencing tragedy. Or for being an occasionally brilliant filmmaker. And forgiveness from the victim doesn’t erase what you’ve done. Especially when you run off like a little coward.
Go to jail, Roman. Do not pass go. Do not collect 200 dollars.
my band obsession when i was in jr. hi and hs was U2 - walls and ceilings of my room were papered w/ concert posters, etc. i still like them i guess but don’t honestly listen to anything after joshua tree really ever.
i started loving them because they seemed authentic, and like a “gentler” punk (i’m talking october/boy). but at this point, seeing them on snl, singing songs from their new album with lyrics like “i was sleeping on the subway…” and “going from rockafeller center to west 49th” (they were shouting out nyc on their last album too, right? “going down to alphaville” or something - i mean, if they had actually ever spent time with actual new yorkers they’d know better than to call it “alphaville”. where the fuck is that!?) when they probably have not even SEEN a subway let alone been on one in MY LIFETIME is just too too much.
can they really write in the first person anymore? wouldn’t it be more like “i was traveling on a private jet plane to an exclusive club/resort/facial appointment (i mean come on, they are so groomed and botoxed)/castle/appointment with a politician and i tried to convince the people that i still lived among them.”
you know how drugs have those lists of “worst case scenario” reactions that we sometimes read or skim through, thinking “that won’t be me”. they’re the crazy contra-indications you hear in tv drug commercials, and think “why would anyone take that!?”.
all i knew was it was an antibiotic, and for the record, i DID read about the things that could happen to people-not-me.
9am: took 1 avalox, a common antibiotic.
10am: felt nausea
2pm: started to feel “overwhelmed” by emails and work
2:30pm: called work friend into office, and proceded to cry about stress. i don’t cry at work. then started sobbing. then started hyperventilating. then had a full-on panic attack. then was unable to complete thoughts, or turn them into sentences. could only say “something is not right this is not normal what’s happening to me”
3pm: co-worker/saint called husband who told me to only think about breathing, he was on his way. co-worker called dr. to tell her we were on the way. unable to complete thoughts. could think of things i wanted to say but couldn’t make the connection between brain and speech. husband arrived, walked me out and to dr. (i was filled with fear an anxiety about being around people, and was talking in a high pitched voice about a costco catalog). only able to talk about vapid things or i go to that “crazy place”.
3:30pm: dr. says in rare cases patients might experience “anxiety, depression, thoughts of suicide, extreme emotions, hallucinations…” it was an adverse neurological reaction to the drug. basically these drugs go to parts of your brain and manipulate how you respond to infection and pain. i am perscribed xanax and sent home.
English is a screwy language. There’s just no logic to it. Why is daughter pronounced daw-ter, but laughter not law-ter? How can though, through, and tough look so similar and yet sound so different? Why does I come before E except after C? What’s so effing SPECIAL about C?
This is the reason that people who speak more sensible languages approach English with stumbling trepidation. English is insane. It has the capacity to confuse even the smartest of its native speakers—including scientists, engineers, and company presidents—especially when it has to be put down on paper.
This is a useful reference list for common mistakes like you’re/your, it’s/its, and their/they’re/there. And yes, the English language is maddeningly difficult to learn because of its idiosyncrasies. But I’d be lying if I said I agreed with the title; as we like to say here at The Grammar Nazi, folks, it is not that fucking hard.
Oh, and according to Merriam-Webster, “ahold” is a word (though Dictionary.com calls its usage “informal” — it seems to be one of those words that arrived at legitimacy after an extended period of casual use).
“You don’t start out in music with the Ferraris. Instead you get a huge debt from your record company, which you spend years working your arse off to repay. When you manage to get a contract, all those pretty videos and posters advertising your album have to be paid for and as the artist, you have to pay for them. I’ve only just finished paying off all the money I owe my record company. I’m lucky that I’ve been successful and managed to pay it back, but not everyone’s so lucky. You might not care about this, but the more difficult it is for new artists to make it, the less new artists you’ll see and the more British music will be nothing but puppets paid for by Simon Cowell.”—
speaking as a music industry person: YES. THIS IS TRUE. Artists are quick to sign contracts because that’s how they “make it”. but if you write your own songs and have talent, own your masters, at least part of your publishing, and get a distrubution deal through a major label, don’t sign directly with one. another point is that you’re only going to make money if they are marketing your album. they’re only going to give your album the right marketing if they think they can make a lot of $$. so, sign w/ an indie label, control your album, then get a distribution deal. by halina.
i think the most important thing is commitment - on stage and off, rehearsal or performance. it’s so easy to get lazy and think “it’s just improv! it’s our friends! it doesn’t matter” and for reals, i guess it doesn’t. but that’s a slippery slope - it leads to lack of commitment and it doesn’t matter what type of performance you’re talking about, if you’re half-assing it, why bother? why show up? and i’m talking commitment to choices, characters, and to the group as a whole.
in my years as a singer, my least favorite thing to do was sing a solo. i lost my bearings and confidence if i didn’t feel like i was part of an ensemble. i come from a big family, so maybe that’s part of it. but being a part of a group - improv or othwerwise - for me is all about the energy that comes from the group, and the incredible creations that come from the group mind. if the group is not united and commited, the result is just not satisfying, and futher, probably not as impressive to the audience.
the only way to really hone that group mind, in my mind, is to spend time as a group, exploring your boundaries together, your personal challenges, your triumphs, experiments, etc…so i guess my question is; why WOULDN’T you want to rehearse together? there is no perfection in improv, but there can be bliss, and it can be found both in the practice room and on stage…practice may not lead to perfection, but to me - practice definitely leads to happiness. and i’m all about being happy as much as possible.
I’ve been wondering this myself. I think the way I’ve viewed it is that if you’re on a team more than a year old and you’re all friends and know how each other play and almost every member is in another practicing group or enrolled in a class, it COULD work if you don’t have practice since essentially you’re still getting proper training individually and already have a group mind set with that group. HOWEVER, I find that indie teams (including the ones I’m a part of) fall in the trap of doing sloppy fuck-around Creek-prov.
Think about it. We’re performing on a weekly basis, but at places like The Creek where there’s no real stakes. We’re performing in front of friends who improvise and are supportive and laughing at the things we do. Most of the time it’s funny, but is it good improv? Most of the time, no. I think it’s starting to become a problem. Especially with younger groups who see these older groups and think, this is what we can do.
It’s great to have fun and be able to fuck around. But if you want to get any better, discipline IS needed. That’s why I think it’s important to try and be a part of at least one practice group or a class where you work on doing the proper training for improv. Sure, doing these weekend indie show are a nice break from the things that are drilled inside our head from our respective training centers, but in my opinion, I don’t want to be JUST funny. I want to be impressive too.
Harold teams (for the most part) have that discipline because they have higher stakes. They’re being viewed and judged weekly by the people in charge, coaches, peers and hundreds of students. At any time could they lose their spot. The difference in performance is almost night and day.
Take for example Robber Barron at The Creek last Sunday. One of my groups was performing with them. They (RB) think they had an OK show, but even with their “OK” show there was a discipline and a form that was respectable to what they were doing on stage that the rest of the groups didn’t have. On top of that, they were the funniest.
You need that balance of being able to be funny but have that impressive discipline. People should be constantly trying to challenge themselves. We’re still so young to this and learning the tricks of the trade. Why be satisfied and complacent with how you’re doing in front of your friends at The Creek? Just coasting because you know you’ll at least get a few laughs. NO! If you want to be anywhere near the level of a group like Death By Roo Roo, Stepfathers, Reuben, etc. you have to keep pushing yourself and wanting to get better, rather than just comfortable making your friends laugh.
I know that sounds like a lot and like I’m saying “don’t have fun”, but I’m not saying that. You should love this and have fun, but at the same time, have that desire to grow and get better. The newer generation is looking at US. We want to be responsible for great improv, not laziness.
This has been on my mind a lot lately, and with the hiatus (?) of my only still practicing improv group currently in full inactive swing, I want to get other people’s opinion on this.
How necessary are weekly practices for an improv group?
Two years ago when the teams of “my generation” were all in their formative states, we all practiced weekly. Actually, we all practiced on Sundays at noon. It was always humorous to me to see the Penguins, Robots, S&CCers and us Datans out on Saturday night partying and simultaneously moaning about having to get up early. Then there we’d all be, nine hours later, hungover at the UCB training center. But that doesn’t seem to be the case anymore. Of those groups, I think only Fat Penguin practices weekly still (please correct me if I’m wrong).
Fast forward to 2009 and there are now one bajillion teams, almost none of which practice. A lot of them are two-to-three person teams, but it seems like there are now a ton of side projects. Every improviser is on at least three teams. And as all of our careers take off, be they real world or UCB world related, there’s no time for practice with your indie team anymore. Is this a bad thing?
Coming from the mindset I had back in early 2007 and still have to this day (for right now at least), I think so. I think practicing instills a sense of importance and commitment to your team. You are paying money, you are spending time together. So many bits and rituals and team-building things come out of the hang out time before and after practice (and not to mention those e-mail threads). I think this is crucial.
Also, is this just because the scene that I started with back in October 2006 is now almost three years old? Do the people of the “generation” after me (let’s say, people who took 101 after April 2007) still practice regularly with a group?
What say everyone? Do improv groups need to practice to be good? Is the dissolution of the weekly practice inevitable after a group has been together for too long? Is this happening to the teams that are now hitting their 1 year anniversary marks?