Tangerine Toast

cherryghost

Is actually purple.

Discuss.

themadchef

Purple like Barney? Because that would be ok... i'd love to butter Barney up

cherryghost

barney is made of caviar :mad:

joes girls

PURPLE is the new black........or was that last season???

holly1

Purple makes me thirsty.

Jay P

Blackcurrants are purprle.

Sarky

Jay P wrote: »

Blackcurrants are purprle.

World... View... Crumbling...
Previously held beliefs... Overturned...

*falls over*

sNarah

I like purple.
I also like toast.

Win!

Matt Holck

holly1 wrote: »

Purple makes me thirsty.

blue and purple were themes of Mesa'a dance concert

RolandIRL

<insert bloop here>

Matt Holck

never had we'd been able to sit so close to the dancers
there on the black floor below
patterns arranged in the boxed depth of the stage
to drawl out the 3 dimensions of live dance

most engaging of the dance were the conductors
dancer that seemed to hod power over their domain

The first in act one, a goddess on a pedestal smooth and shining
is worshiped by the others ragged and crouched in tribal revelry.
They pull their idle to the floor with them but she still stands taller.
She's followed about until interest is lost and tribal council decides on its own
as she peaks in under
to exile their fallen goddess
and then replace her.

In act two, te dancers are sprawled akimbo on the stage
like life with a march
where walks a force of nature
raising dancers with hand drawn up to live
so arch under her command
the creaking of the wet lands
a symphony of pulse and breath and lust

Matt Holck

San Diego Mesa Dance Concert spring 2011

The dance concert was at the Jewish Com unity in La Jolla.The Stage was ideal of tor dance: a black slate unraised floor with the seats cluster close rising at a steep incline. Never before had we'd been able to sit so close to the dancers as the see the arch in their feet. The stage extend back beyond the square opening of red curtain. The space, a unit cube would accent the depth of the stage and the position of the dancers. The choreography took advantage of this depth in several performances.

The dances which engaged me most were the two where the dancers followed a leader Each leader dancer that seemed to hold invisible power over their domain. The first dance was in act one. The leader stands shear and shining as a goddess on a pedestal. The other dancers gather below crouched and dressed raggedly. Always low to the ground, they worship, rally and ravel as the leader stands tall and still upon the pedestal until another pulls her down. Once on the ground, the leader still stands tall above the others while the other remain low. They want to follow and she leads them for a while. And as the marches progress, the tribes begins to loose interest and gather to discuss what is to be done next, Now on the ground, The leader watches the counsel from outside their huddled shoulders. She looks over and under but can not be with them. So they turn and depose her, appoint a new leader and end falling back down to their new idol.

The second dance in act two. brings forth a different sort of leader. In the first dance, the power and energy of the tribe brought life to an idol. In the second dance the leader calls energy for the dancers. The second dance opens with the dancer are sprawled and scattered akimbo across the depth of the stage. A music of sticks conjures the idea of life on the marsh. The leader enters as a goddess with hand gestures others rise and arch as if drawl by invisible strings. She is a force of nature conducting a symphony of pulse, breath and lust. Watching these connection between dancers commanding and reacting in a physical manifestation was magical. Life burst and yearned on the flat stage below us.

Sarky

That has nothing to do with tangerine, purple or toast. What the hell did you post that for?

Matt Holck

It's my homework

one wonders

Storminateacup

La jolla and Jews, OH MAAAAAAHHHNNNNN!!

Matt Holck

Sarky wrote: »

That has nothing to do with tangerine, purple or toast. What the hell did you post that for?

I agree. I kept looking for it in Blam and Bloop


Abstract of "A Soprano on Her Head" Chapter 12
by Matt Holck
for Intermediate Voice Class spring 2011 Richard Chagnon


This chapter is about the excuses and settlements we make when facing our problems preforming.

The chapter opens with a student, Valarie wailing that she hates the Brahms piece because she can never play it properly. Other students make suggestions but Valerie has grown tired of playing the music over. She cannot muster the energy to hear the song as new. She plods through again and again making the same mistakes in the same places. She is caught. Valarie has been asked to play the Brahmas piece for an audition, but she is already beating by that music. The teacher suggests that she could choose not to audition, and this allows Valarie a little freedom with the music she hadn't considered. She was intimately familiar with the problem in the music. She played the musics straight through over and over. The teacher give her a different challenge to face: the audition. Her focus could be moved off the music and onto the performance. Valarie knew she wanted the audition and this give her a fresh approach. The teacher also told her not to practice for a week so Valarie could disengage from running over the same mistakes and gain perspective.

The chapter then moves onto another student, Barry. Barry was unable to hear that he was improving musically. He was stuck on an old image of himself and never thought of himself as good enough. Again, he held himself to expectations he was unable to achieve. While Barry could hear the improvement in others, Barry had set his own expectations at perfect so his own improvements never measured up and registered.

The chapter sets both these students as examples of people defeated by frustration with their own imperfection. It suggest that people embrace their problems and become stuck and comfortable with them. That people can become complacent with their problems and fail to move onward in different directions beyond them. How we often let our problems keep us from progressing when we don't need to.

Sarky

Take it to Creative Writing. This is The Cuckoo's Nest.

Matt Holck

I've been over that

twice