Under the Moons of Mars

Bellona by Nicholas Kahn and Richard Selesnick

I have long been a fan of planetary romances. The idea of ancient alien civilizations upon distant planets has captured my imagination. I've often considered writing within the genre, but I worry that I'd end up writing some imitative tripe, a Barsoom rip-off. To a degree, the entire subgenre can be described as a reiteration upon the themes that Edgar Rice Burroughs set forth in the novel A Princess of Mars.

A good planetary romance explores the concept of "civilization" by constructing alien societies and assessing them through a narrative with which the reader can closely identify. So ideas, such as decadence, patriotism, isolationism or exploitation, are integral elements of the subgenre. Yet, while these ideas play across the narrative, it is under an atmospheric mood of loneliness and yearning. The narrator is a "stranger in a strange land".

And it is the ability to capture this mood that I find so compelling in the Kopeikin Gallery's exhibit "Mars: Adrift on the Hourglass Sea. Desolation and the Sublime on a Distant Planet" by Nicholas Kahn and Richard Selesnick.



Earthrise by Nicholas Kahn and Richard Selesnick

Bigger Than Life

Thirty years ago, Kim Carnes was dominating the Billboard Hot 100 with "Bette Davis Eyes". It would spend a total of nine weeks at the top spot and win the Grammy for Song of the Year. The song is about an aggressively sexual woman, with undercurrents of deception and objectification. Behind her external charms, she's a manipulative person, willing to use you for her own gratification.

"She'll take a tumble on you

Roll you like you were dice

Until you come up blue

She's got Bette Davis eyes."

Here's the original vid:

A great deal can be said for the vocal qualities of the performance or the engaging rhythm, but I think that the thing that makes this song stand out is the evocative qualities associated with the primary cultural reference, the "Bette Davis" eyes.

Fifth Weekly Wrap Up

LJ and the Bamboo Path

Another week of fun and games has drawn to an end here at Paideia. I'm a bit mixed on my assessments of this week's production. In terms of quantity it was a let down. With only twelve posts, I averaged less than two per day. That's a slacker pace and needs to be improved.

On the other hand, I'm fairly pleased with the quality of my posts, a few of which were long articles with ample photos and vids. These mega-posts could have been broken down into multiple smaller length pieces. So, I guess that evens it out. The post count may be smaller but the amount of stuff to read is maintained.

But most importantly. . .


1969 Dodge Charger "General Lee" from the Dukes of Hazzard (credit: Warner Bros.)


I've learned how to jump!!!

This Time I'm Doing It

While You Wait for Another (2011) By Pakayla Rae Biehn

It's been a long time since I've visited a gallery on the opening night of an exhibit. I'm more of a late Thursday afternoon art haunt. Well, this Saturday I decided to change up the routine and attend an opening. Thinkspace Gallery in Culver City is one of my favorite venues and the show included art by Pakayla Rae Biehn, an artist towards whom I have great admiration. The show was entitled "Being There" and also featured the work of Jeff Ramirez, a hyperrealistic painter.

And so I braved actual contact with people to bring you this report. ;-)



Sissy Spacek (2011) by Jeff Ramirez

Both artists featured in "Being There" are big on realism in detail and figural representation, but seem to avoid clear facial depictions. This creates a tension in the image between the specific and the ambiguous. This may be the aesthetic theme of the show. The meticulous realism of the details creates a basis or "ground" for a coherent sense of actuality; there is something there. However, the missing piece or obscurement undermines this coherence. Both artists create this tension in different manners.

Space Is the Place

On this date in 1914, Sun Ra (born Herman Poole Blount) was born. Among all the jazz greats, he was the most eclectic and innovative. His utilization of an afrofuturistic blend of Egyptian/Nubian and Science Fiction elements into his persona and performances really stood out from the crowd. Stylistically, this influence can be seen during the Funk and Disco eras with such bands as Parliament/Funkadelic and Earth, Wind, and Fire. Moreover, in spite of the avant garde nature of his music, the afrofuturism always kept a playful mood, avoiding the self-important seriousness of other cutting edge jazz composers.

As regards his music, he was a prolific composer and performer willing to try out all kinds of new styles. Usually, the result is very engaging. And that's the crux to appreciating Sun Ra's work. Given the vast diverse influences that he incorporates into his music and the experimental improvisation of his performances, it is really difficult to make recommendations in regards to his music. Personally, I like his proto-space music music most, with their rich ambient drones and and exotic rhythms.

Here are two of my favorite pieces:

I hope you check out his music. Sun Ra is unfairly overlooked in surveys of jazz. I only heard of him when he passed away in 1993. That boggles my mind because I had a decent awareness of the history of jazz. And yet somehow this fantastic innovator totally escaped my awareness.

Here's a link to Sun Ra's Wikipedia page.

Enjoy!!!

Flying Elbow Drop

I'm not one for in memoriam-style posts, but, as an advertising enthusiast, I'd like to remember the genius of the Slim Jim commercials featuring Randy Savage. They were crazy. The tagline "Snap into a Slim Jim!" followed by random explosions and devastation could only appeal to a young teen male, which was the target audience. Seriously, how can anybody think that vigorously chomping into a nasty "meat" stick handed to you by a weird "muscle man" with a beard was cool? Yet, for all its absurdity, the commercials pulled it off.

Check out the first ad of the series, "Art Thou Bored?":

Sadly, after about five years, the ad campaign played itself out as Randy Savage was summoning up tornadoes and cattle stampedes with a "snap!"

Nevertheless, check out the lameness of the following ad campaigns, like "Eat Me":

Or the idiotic Snapalope:

Or the Edge and his "Spicy Side":

It's clear that the outrageous exuberance of the Macho Man was an essential part of the Slim Jim charm that mere aggressive wackiness cannot duplicate. We mourn his passing.

Here's are a few links:

Randy Savage's Wikipedia page.

The Slim Jim Wikipedia page.

Enjoy!!!

Eight Dance Songs for May

I'm a fan of dance music. Popular songs that are specifically designed for dancing have a certain functionality that no amount of hype can fake. It needs to get you up on your feet and kickin'. Even with horrendous lyrics or rough vocals, if it makes you move to the groove, it is a successful dance song.

So, let's check out some tunes from the month of May over the decades:

In 1971, we have Funk music coming onto the scene.

In 1976, the Diva of Disco is ascendant with her second dance hit.

In 1981, Disco is dying.

In 1986, Freestyle has gone semi-mainstream. (BTW, it's weird to think of Buttercup of the Powerpuff Girls or Tommy Pickles of the Rugrats as a "lolita").

In 1991, this is House music! ;-)

In 1996, we have to beginnings of Trip-Hop.

In 2001, the era of bland prepackaged pop music has even weakened the Dance charts.

In 2006, a House resurgence, with more of an electronica feel?

Anyways, it's interesting to do a quick survey of the trends of the past. It's like looking at a map that shows a fascinating geography of style and time. Of these eight songs, my favorite is Vanessa Daou.

Enjoy!!!

Nature and Circles, Jazz and Lights

Last Saturday, I was able to attend LACMA's ArtWalk festivities. Being a member, the free admission doesn't do much for me, but I do appreciate the opportunity to enjoy some performance art. This year I was able to catch four performances, as well as poke around the galleries.

Now, I'm not well versed in interpretive dance and the techniques of expressive motion. Often times, while looking at a performance, I find myself confused as to the premise of the piece. I'm rarely comfortable determining the choreographer's "meaning" or intent. Therefore, I no longer try. When experiencing performance art, it's all about what the piece means to me.

That being said, here's what I saw:

Skin and Nature



Audience looks down from above.

 This piece took place at the parking structure elevators, across all three levels. Choreographed by Michel Kouakou, this piece featured performances by the choreographer, Nerissa Castelija, Wilfried Souly, Dorothy Chen, Alexandra Mathews, and Samantha Mohr. The music was Raag Jog and Raag Behaag, works of Indian classical music.

The program notes read:

"In this piece, the dancers explore the ground in contact with their body and mind, trying to create a connection with the earth. The performance is a representation of the mother of all humanity who gives birth to bodies and also receives those bodies in the afterlife."

Alright. I think I get that. Certainly, contact with the ground was an important element to the performance. For instance, there was a part where two of the dancers faced each other, but separated by the window of the elevator. One was on the ground, while the other was enclosed within the elevator.

Was the elevator ascended, the dancers were separated and each began moving with frantic energy. The dancer on the ground moved against the window as though in anguish, while the dancer ascending continued her motions as before.

I think this signifies that the ascending dancer is ignorant of her alienation from the ground, while her partner feels pain at this loss. Alternatively, perhaps the ascending dancer represents Transcendence into the afterlife while the grounded dancer mourns. In any case, the utilization of the three levels of the elevator was well done. Leaving the ground, looking down upon the ground, and moving upon the ground had clear significances.

For instance:

At the base of the palm tree, two dancers move in the "rain" and mud in a manner evocative of both conflict and sex, while two other dancers look on from above. Finally, a third dancer travels in-between levels, climbing from post to post and avoiding the ground. I have no suggestions as to what this signifies, but it is an intriguing arrangement.

Finally, it all ends in the "rain" and mud at the base of the palm tree. I suppose that the palm symbolizes the Mother and the "wetness" is the primordial grounds of creation. The bodies have returned in death to their place of birth. This was a good performance. I really enjoyed Skins and Nature.

Collaborative Improvisation at the Urban Lights

This piece was much more challenging for me. Two rows of colorfully attired performers lined up in opposition at the north and south sections of the Urban Lights sculpture, similar to chessboard pieces. They began a slow back and forth movement along their designated column. (Row = X-Axis, Column = Y-Axis). Then the pace started to pick up and the performers began to occasionally leave their columns and travel in a perpendicular angle along the rows. However, this variation of speed and direction was not universal.

Moreover, sometimes a perform would kneel, sit, or lie down.

At that point, I started wondering if the performance was about the bustle of modern life. Among the dominating structures of Urban Lights, the paths are well defined but lead nowhere. One area of the Lights is more or less the same as any other. The constant drive of moving within this realm of futility is tiring, causing some to pause or even "fall" along the way.

As the movements became more frantic and chaotic, the interactions between the performers grew more dramatic, turning into chases or amiable convergences.

Finally, the performers came together in a positive and affirming group. Once they became a community rather than frantically moving individuals, the performers were free to leave the confine of the Urban Lights, finishing the performance.

I really enjoyed this piece. It was very intellectually stimulating and engaging to watch. The utilization of the performance space was superb. My thanks go out to the performers: Alexandra Shilling, Alison D'Amato, Alissa Cardone, Allison Wyper, Elizabeth Terschuur, Flannery Gregg, Heather Coker, Joe Small, Lisa Wahlander, Maria Gillespie, Nguyen Nguyen, Sara Stranovsky, and Tida Sripanich. Most of these performers seem to be associated with UCLA's Department of World Arts and Culture.

Concentric Circles (After David Smith)

This was a musical performance for three lock-groove lacquers and string trio. This isn't my thing, but I can appreciate it. The lacquers were provide an auditory "ground" upon which the string trio would build harmonic textures. I really wish that I could see it again to fully appreciate the nuances. My first hearing was spent working out the compositional structure so I'm certain that I missed plenty.

There were segments that made me think of Morton Feldman's "Rothko Chapel" and, at one point, the strings reminded me of George Crumb's "Black Angels". There was one area where the lacquers became a dominating drone that had a voice-like pulse, sounding like a sentient rotor saying "Shame. Shame. Shame. Shame. Shame."

Again, this really isn't my type of music. And I can't say it was pleasant listening. However, I'm happy that I got to experience it. My thanks to Scott Benzel (composer), Heather Lockie (viola), Cassia Streb (viola), and Jessica Catron (cello).

Matt Witek Quintet

Now, this is my type of music. I finished the evening off with some jazz! I had seen Matt Witek (drums) and Katie Thiroux (bass, vocals) previously. Both are excellent performers. I'm especially fond of Thiroux's cool vocals. Chuck Manning was on tenor sax. Josh Welchez played trumpet. Vicky Nguyen was keyboard.

The performance was only for an hour, with six pieces, but it was a fine hour of good music. After a day of puzzling through conceptual pieces, I was glad to be back on familiar territory. Good stuff!

Here are some links:

UCLA Depratment of World Arts and Cultures

Scott Benzel's website

Cassia Streb's website

Matt Witek's website

Katie Thiroux's website

Chuck Manning's website

Josh Welchez's website

Enjoy!!!

Friday's Flower Never Fades

Sonnet 18
(William Shakespeare)

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed.
But thy eternal summer shall not fade
Nor lose possession of that fair thou ow'st;
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

Shakespeare's Sonnets were first published on this date in 1609. Here's a Wikipedia link.

Enjoy!!!

Heart in Hand

I saw this ad today on the back of a magazine. It was at a bit of a distance, so I couldn't make out most of the writing. I found it disturbing. It looks to me like a heart, torn from a chest and washed over a martini glass. Look at that thick, spiky bracelet and those long, sharp crimson nails. Combined with the red background and the manner in which the dragon fruit is held, it seems to be an intentional subtext, as if it wants to seem "dangerous".

I like Skyy vodka, but this doesn't work for me. There is nothing pleasant about ripping hearts out. Gross!!!

However, it is an improvement over the previous Skyy ad campaign:

Seriously, how does this make us want to drink Skyy? "Ladies love the bottle and, if you drink Skyy, they'll love you!" Maybe, but the image is freakish. If the intention is to create a transference of quality from the vodka to the consumer, then it shouldn't be so crass.

Anyways, there is a time and place for things. Heart-ripping doesn't belong in vodka ads. Here's where it belongs:

and the classic heart-rip scene:

LOL!!!

Here's a link to the Dragon Fruit (Pitaya) Wikipedia page.

Enjoy!!!

Whippet! Whippet Good!

Photo of leaping whippet from the Whippet Club of Great Britain.

Although I am not a big fan of owning pets, I am very fond of dogs. I think that they are amazing companion creatures. Each breed seems to have a strong and distinct personality type. Consider the whippet. This breed is known for its gentle temperament, but energetic disposition. They are traditionally bred for hunting and running.

Personally, I admire their sleek appearance. Their long faces are extremely expressive. That's why this commercial caught my attention:

The unimpressed look on the whippet's face is wonderful. I actually dislike the ad because it feels very mean-spirited, but I can't help chuckling when the whippet takes off at the end. The guy is such a loser that even his dog abandons him.

Anyways, here's a vid of some whippets racing:

Here's the Whippet Wikipedia page.

And here's a link to the American Whippet Club.

Enjoy!

True Love's First Kiss

Theatrical Release Poster

Wow! It's been a decade since the first Shrek movie was released. It had a production budget of $60 million, but earned $42.3 million on the US opening weekend alone. It went on to earn $267.6 million domestic and $484.4 million worldwide, spawning a multi-movie franchise.

Although it came out at a time when I was not going to the cinema, even I ended up seeing it on the Big Screen. Yeah, I had to be dragged out to the theater, but I actually really enjoyed it. The mix of fantasy, humor, and action was just right. And the animation was exquisite.

Sadly, the sequels have been of significantly lower story quality. (Note: I have not yet seen the fourth movie, although I've heard that it is an improvement over the second and third.) Really, heads should roll for creating the giant Gingerbread Man scene of the second movie. Stoooopid!!!!!

Anyways, Dreamworks ain't cryin' over sequel quality. The film franchise has earned $2.9 billion!!!!!

Here's a snip of my favorite scene from the movies:

Here are some links for more Shrek info: Box Office Mojo, Internet Movie Database, and Wikipedia.

Enjoy!!!