Everyone wish my old BF good luck Grammy vibes tomorrow!

My very "first BF" (see note below), Americana Country Music Legend Jim Lauderdale, is currently in the running to win a Grammy tomorrow.

(It also happens to be my birthday tomorrow, as well, so I'm feeling lucky for him and asking everyone to wish him happy-winning vibes, as well.)

His album, "Could We Get Any Closer?" is nominated for Best Bluegrass Album in the 52nd Grammy Awards, and if he wins it will be his third. (Interestingly, he's up against Steve Martin, also nominated in the same category.)

I just wanted to say that Jim's a terrific person, and one of the finest, most driven and talented musicians on the planet and nobody deserves more recognition for his consistently perfect contributions to the world of music than Lauderdale does.

So we're rooting for him tomorrow and asking you to keep your fingers crossed for him, as well.

Here's a link to his awesome Web site where you'll find information on his nominated album, "Could We Get Any Closer?" nominated for a Grammy for Could We Get Any Closer?

And you can also click this link to hear some clips from this amazing album.

Good luck, Jim!

Note: The term "Boyfriend" is 100% laughable, because the truth is there really isn't anyone less inclined to be mistaken as anyone's BF, ever, than Jim Lauderdale. The guy has always eaten, slept and, breathed work, but as a 17 yr. old college freshman, it was a comforting illusion. (Yes, that's right. I did say 17.)

Origins of Moonwalk

I realize this dance video has been out there for ages, but I just saw it now.

Barry Lyndon, Schubert and Kubrick: Timeless perfection.

The first time I saw Kubrick's gorgeous film, Barry Lyndon when I was an impressionable fourteen.

And so it should not be too surprising to learn that it profoundly changed the way I thought about all film and theater. I had not realized how much music contributes to bringing something to life.

In the case of this film, the music IS it's life. I can't imagine this film without it's soundtrack. The only other filmmaker who has this kind of understanding of how intwined the two mediums are is Martin Scorsese.

However, seeing Kubrick's Barry Lyndon for the first time was also the moment I saw that something visual could be experienced also as classical music. So much so, that it could quite possibly, become upstaged by it's soundtrack.

In any case, lately I have been thinking about film experiences that changed me, and I think this one film may have been contributed to my falling madly in love all things classical. (That, and all those Metropolitan Operas my father took me to.)

Barry Lyndon was unlike any opera. It was rich with all kinds of historical detail. The narrative was complex and yet the exacting eye of Kubrick forced the characters in this lush, romantic film to shimmer with a very economical reality.

I was gobsmacked. Lush historical drama did not need to be over the top. And it could be so romantic. So beautiful.

I was a goner.

So, here's a clip from Barry Lyndon by Schubert. Piano trio in e flat.

Watch:

When I am a Republican senator I promise not to do this...

Dear daughters,

The next time I'm elected a Republican senator I promise not to announce that both of you "are available" in my acceptance speech.

Watch:



The only silver-lining to having people this wacky in the public eye is that they usually just end up just shooting themselves in the foot before doing too much harm.

So, I give this guy a year or two of driving Democrats nuts before we all discover he's got a mistress in Argentina or is spending way too much time in airport men's rooms. Or both.

Nice speech, "Dad."

I give him two years, max.

Eric Schaeffer in upcoming new series: "Gravity" on Starz

Recently, I was forwarded an interesting press release regarding Eric Schaeffer's upcoming new "dramady" called "Gravity," produced by Starz Media, and felt that it may be time to revisit this subject again.

Besides, as luck would have it, it turns out that tomorrow is Schaeffer's birthday (1/22/62). How best to celebrate a filmmaker than by paying homage to his work while awaiting the premiere of his soon to be aired, Gravity.

Listed below are some of Schaeffer's previous film trailers along as well as some of these trailer's "hits and misses."

Trailers below: from Fall, (1997), If Lucy Fell, (1996) and Wirey Spindell,(2000)

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Trailer from If Lucy Fell (1996)

IF LUCY FELL trailer hits and misses:

Best moment in trailer: Ben Stiller: "I -- art."

Worst moment in trailer: Sarah Jessica Parker: "Joe, would you drink my spit?"

Most redundant theme in trailer: Mad love with super models. Trying to make suicide funny. Again.

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Trailer from Fall (1997)

FALL trailer hits and misses:

Best line(s) in trailer:

Eric Schaeffer:

"You're Sarah Easton. Super model. I see you everywhere."

Amanda De Cadenet :

"You're Michael Shiver. Cab driver. I see you nowhere."

Worst line(s) in trailer:

Schaeffer: "We had sex last night."

Chick friend: "Really?"

Most redundant theme in trailer: Annoying super models pestering him with wild mad love.

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And then there's Wirey Spindell (2000)

WIREY SPINDELL trailer hits and misses:

Best line in Trailer: Schaeffer: "My therapist says it's because of my weird childhood...."

Worst line in trailer: Voiceover: "Wirey Spindell. Just give him a little time...I did."

Most redundant theme in trailer: More gorgeous women madly in love with Schaeffer who are "totally smart" combined with sex talk more bizarre than erotic.

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So, I wish Mr. Schaeffer a happy birthday and continued luck with Gravity, his new Starz cable series based on suicide and depression, which we all know is a real knee-slapper. I'm sure pharmaceutical companies will be lining up to sponsor it.

Actually, maybe they will be. Given the depravity of marketing of psychopharmaceuticals these days perhaps a "dramady" based on depression and suicide will actually turn out to be a marketing magnet. Stranger things have happened.

Nothing remotely ordinary about "Ordinary Days" at SCR.

Recently I was fortunate enough to attend opening night of Adam Gwon’s new musical “Ordinary Days,”currently enjoying its West Coast premiere at South Coast Rep in the Julianne Argyros Stage through January 24

I went with my theater buddy (and blogging guru) Prince Gomolvilas of Bamboo Nation without either of us really knowing too much about the show to start with other than it was a “Chamber Musical” (whatever that meant) about “people from New York.”

I was curious how a story about New Yorkers struggling to bring meaning to their lives against a backdrop of the usual pathos and passion in the city that never sleeps could actually be something new, something that we haven’t heard before.

Not only has this tale already been examined in other musicals, such as in "Rent" or "Company," I also spent my twenties in Manhattan, and felt pretty confident that this might be a theme I was all too familiar with by now. I was a bit concerned that telling this same story in a refreshing way to a post-"Sex in the City" audience could be something of a tall order. Or, so I thought.

However, right from the opening number of this lovely, engaging musical I knew we were in good hands and this was going to be a wonderful, interesting evening of theater that I would remember for some time to come.

Due to a very talented cast of four actors and the tight direction of Ethan McSweeny, "Ordinary Days" captured the audience’s admiration and won a well-deserved standing ovation by the end of the show.

What also struck me as we left the theater was how sophisticated a concept of the "Chamber Musical” really is. It’s a full musical scaled down to just a piano and the vocalists. (Duh.) Sounds like you’re getting less, but it doesn't feel that way in the slightest. In fact, I felt that it allowed us a more poetic examination of the story by virtue of paring down the production numbers to just voice and piano.

No, these days I like my musical theater just the way I found it in South Coast Rep’s wonderful run of “Ordinary People": Lyrical, engaging, moving and, yet, intimate. A perfect blend of what we’ve come to love from watching the small screen combined with the kind of theatricality one can only get by going to a stage performance.

If I had to list one of standout impressions I had from the show it was that each and every actor was so interesting and talented. The actors may have had a slightly more challenging job given Gwon's writing. The male characters are penned as both warm and vulnerable. The female characters required more work from the actresses playing them in order to make sure the writing didn't create female characters who could be perceived as being inexplicably cold or neurotic. (Does Gwon know me?) But the actresses and director are up to the task of balancing out this slight imbalance and bring to life four people we all wanted to know more about by the end of the show.

I don't want to spoil the final few moments in the play, but I did feel that the "a-ha" moment about why Jason (played by the young and handsome cougar magnet, David Burnham) was so head over heels for his love interest Claire (played by the also extremely talented Nancy Anderson.) should perhaps have come along a tiny bit sooner. Or in time not to think that Jason is a bit touched in the head with his fixation with Claire.

I thought the last one or two scenes, which encompassed both couples both outside and in the museum, were touching, lovely and inspirational. I won't say more because I don't want to ruin it. But, the theatricality of those few moments were truly inspiring. You don't get that kind of rush from the movies. I keep forgetting how relevant theater remains.

And I should also mention that the set design by Fred Kinney, was really terrific. I loved the idea of projecting images of New York onto moving silhouettes that neatly moved in and out in time to the pace of the show.

The pace and energy of the performances were flawless and I'm so glad I went.

Note: I never once here stooped to the level of my buddy Prince in his blog review of "Ordinary Days", by flat out stating that the guys were "hot." (They were.)

Other random observations about the show and it's performers, in no order of importance

Nick Gabriel (Warren) Adorable, extremely talented and gifted. I felt like we were going to see this guy for a long time to come. For some reason also reminded also a bit of Steve Carell. Or maybe that was just Steve from "Blues Clues" (No worries: That was a compliment)

Deborah S. Craig (Deb) Super talented and funny actress, when she was not being just a wee bit pitchy or two dimensional. But, that wasn't all the time. Sometimes she substituted emotion for articulation and got a bit slushy, but it could have just been opening night jitters. All in all, it was a great part. For the record, I happened to identify greatly with her character. (Again, have I met Gwon before?)

Nancy Anderson (Claire) Super amazing voice. Beautiful musical presence and sound. Very strong actress. Really gifted, however, occasionally I wondered if the director was actively seeking a Hamlet/Gertrude thing with this casting? I don't know. Maybe not

David Burnham (Jason) Sexy. Talented. Musically right on the mark. Great performance. Going places. See him now before he gets too expensive.

Ethan McSweeny (Director) Very talented. But, as I've already said, perhaps the women's parts could have used something to enhance their charm and likeability factors earlier on, not that this was easy, given that Gwon's writing gave the male parts an advantage for this. Amazing pace, and rhythm to fast moving scenes keeping the storyline taught, the characters engaging, moving and never once boring from start to standing ovation.

Listen theater goers and Orange County, you have about four days to catch the end of this terrific West Coast premiere before it closes and moves on. And you'll really want to see these performers now, because I have no doubt they're all headed for big things in their future.

Rain be damned. Hurry up and buy a ticket to see Ordinary Days, at South Coast Rep, right now, or you'll hate yourself in the morning if you don't.

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Tickets to ORDINARY DAYS can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa. Performances continue through January 24.

Zen and the art of being "Auntie 'Em."

Today: Storm clouds gather in mid to late morning.

It became very quiet then started to rain, moderately for about an hour, then very heavily.

It grew darker.

I knew something substantial was headed our way. I felt it. In my sinuses. My head acts like a barometric bar when there's a rapid change in the weather.

I went online to see why my head was pounding just so.

At around 12:30 P.M. I checked with Weather Underground (Highly recommend for those weather obsessed moments in your life) and sent a concerned email to my husband that I noticed something unusual on the radar headed our way. And I include handy link to a local radar map.

I mention in this hastily written email to my husband that what caught my attention was the sizable pocket of tiny fuscia squares on the radar firmly ensconced within a sizable mass of little red squares. This colorful gathering just crossed over Catalina a bit quicker than I thought it was reasonable. In my humble opinion it seems to be headed over the ocean directly toward us.

I surmised landfall looks to be somewhere between Long Beach and Huntington Beach. You know, where our third grader goes to school. Where we live. Where carpooling was just about to take place.

He seems mildly interested by this information. Perhaps he was just impressed I knew how to email links to local radar maps.

By 1:25 I could see large city garbage cans floating down the sides of our streets like half-sunk toyboats. I marvel objects this utilitarian can appear so graceful in the water.

The street in front of the house tops the sidewalks and trucks seemed to be having trouble passing by. It was, without a doubt, officially now "pouring." The front windows in the living room could have use windshield wipers. The color of the sky went from gray to very-dark-gray.

I watch more garbage bags float by and wondered if there would be a story about weather calamities happening on the same day a Garbage Pick-Up Day. How inconvenient. It was a wet, cold mess. Even Travis Bickle would be impressed.

Then, hear thunder and the distant wail of sirens. Just when it seems to be at it's most dramatic, the phone calls start to come in. Not from humans, that would have been less alarming. No, this is a series of automated emergency alerts from the city of Westminster, from the Los Alamitos School District declaring there was a tornado alert in Seal Beach (LAUSD) and that all the children in school are now in lock down. "In lock down?" I'm so relieved.

What really scares me the most was that right then, right at 1:30 I knew my other daughter was about leave her school to get into a carpool headed several miles across Orange County, from Santa Ana to where we live just below Seal Beach right at that moment. What frightens me is her safety on the roads just then.

Normally, I don't trust other drivers in California, especially when it's raining. Let alone raining like this. We don't get weather for years in Southern California, then when we do it all seems to arrive within an hour and a half.

Then it hits me: I can't do anything to protect anyone. I mean, big deal, people have gotten this newsflash plenty of times before, but I realize just how uncomfortable I am with this one reality. My kids are everything to me. Trusting others with their safety is an art I've yet to master.

Television news and the automated weather warnings come in fast now from both our city and my children's school district. Three, four, five calls. What was I supposed to do about this tornado alert? My kids were not with me. Was I supposed to fly there? Crawl into the root cellar and wait for Dorothy to get home safely?

Clearly this was an "Auntie Em" moment. I had so much more empathy today for poor "Aunty Em" for having to go down into that root cellar knowing Dorothy wasn't there with them. Why didn't I notice the horror of this moment before?

I realized then, that we just do not have any control over anything and to pretend we do at all is simply a necessary illusion. We don't have control over much, actually.

We have to just give it up and trust the universe to protect our loved ones because we can't do it all. This is all part of the zen of motherhood: Learning when to reach out and protect and when to just let it go. Learning how to coast along hoping everyone knows what they're doing because you don't have much power, after all.

Not that I'm complaining.

Not with Haiti. Not with our world currently as shaken and in tatters as it is these days, but again, I was reminded: We are not in charge.

I know I don't have a clue what real fear and trauma is like, but, it was a sharp reminder that we really control little to nothing.

And that when having to rely on "the kindness of strangers" is most pressing, it is then that we need some kind of familiarity the most.

"Auntie Em" has my respect today.

The past is never dead. It is not even past.

Best moment from the Golden Globes: The Cecil B. Demille award being given to Martin Scorsese last night. I have to say, this was the one moment that ended up staying with me.

I mean, consider you have (film titan) Scorsese quoting (literary great) Faulkner. (go to clip at minute 2:25) If you watch nothing else from the Golden Globes, you have to see this because it's so rich with inspiration.

(And it sort-of makes up for Avatar winning best picture.)

I've been mulling this quote over all day. To a rainy, southern-Californian, subconscious soundtrack to "Taxi Driver."

"The past is never dead. It's not even past."

So simple. So liberating.

You know, after years of trying to get by in a world propelled by decades of "Oprah" self-help bullshit, I just can't get past how liberating it is to hear someone of substance say this.

So, thank you, Scorsese. And Faulkner. And Cecil B. DeMille, and every great artist for bringing us the priceless imagery with which we can then project our own deepest dreams, longings, fears and sorrows.

We desperately need artists, like you, to tell our stories. Especially now.

And, whether or not we know it or not, we are all eternally grateful.

Happy for "Avatar" Golden Globes win, but still think "Hurt Locker" was best film.

If you haven't seen it, yet, just get it. Rent it. See it. It's amazing, riveting, moving and is the kind of film that stays with you a very, very long time. This is the kind of work that really does transform the viewer.

And, God forbid you one of those lucky bastards who get to actually VOTE for these kinds of things, make sure you view all your screeners and vote with your heart.

"Glee" creator reminds us to keep the arts in education

Tonight, "Glee" creator Ryan Murphy reminded the Golden Globe audience of the importance of keeping the arts in education. (1:27)

And, in light of California's massive budget cuts, we grateful parents of kids lucky enough attend schools, like Orange High School of the Arts, we all say "thank you!"

Keep the arts in education.

The truth is, we just can't know how great people can be unless we invest in them.

Gwen Verdon pops, locks and can still bust a move!

Gwen's got that "boom, boom, pow!"



But, she then she just "walks it out."

So Many Stars

Sometimes I become a bit discouraged , then I remember that time is relative.

For instance, jazz great, Sarah Vaughan didn't even get around to recording her breathtakingly romantic album, Brazilian Romance until she was in her sixties.

I couldn't find a version from this album to embed here, so you'll have to make do with this grainy cover of the same song from an awards show, below.

(Or just order her entire CD, Brazilian Romance, yourself off the links here. It's worth it.)

In her sixties.

Display of patriotism via woman's unique musical talent

*Note: Not exactly for kids.

I always wondered how I could sing a duet with myself.

Now, I know.

Grandma Tweaky flies home for Foxworthy family reunion

Prelude to a Nutcase



Grand Finale: The Landing

Transcript of Mariah Carey's dopey ramble in Palm Desert

My last blog post was regarding a clip from a foreign film simply titled, "Diva,"

and, today, I'd like to comment on a different sort of "diva;" Diva, Mariah Carey.

Yes, apparently Miss Carey won a "Breakthrough Performance Award" this week for her work in "Precious."

Regretfully, nobody I know will go see "a movie about abuse" with me, so I haven't had the chance to see Precious, myself, yet, but I've heard the film is amazing and I, for one, am really looking forward to seeing it with or without a movie buddy.

In any case, regarding Ms. Carey's acceptance speech for her work in this film this week, I think it's obvious that Mariah Carey and Paula Abdul share more in common than just a love of plunging necklines.

And so, for this post I decided to write out the entire transcript of her Palm Desert Film Festival acceptance speech. It's a doozy.

And, to be honest, I always find it rather astonishing to read speeches like hers, when boiled down to mere text.

So, we start with Miss Carey being presented with her award alongside her “Precious” director, Lee Daniels.

____________________________________________

Carey: "Oh my Goooooooooness!

Lee: "For you, Mar-Eye-Ya Kitten!" (In tone of voice best suited for addressing three year olds.)

Carey: "I don't think they understand the kitten and cotton thang."

Lee: "I don't think we do."

Carey: "No, we dont. (Carey both gropes and/or leans on Lee. Lee's hand remains on her back while he moves his mouth silently, as if she is his drunken Ventriloquist dummy.)

Carey: "Okay. I love you...I have to say, this is...(pause. looks up into the lights. Perhaps her next thought is on a cue card up there? No? Okay. Moving right along.)

....and please forgive me because I'm a little bit,.....(man shouts something from audience resembling the phrase "fucked up?")

She laughs and points to him, "Yeah!"

Audience giggles. She cackles. She guffaws.

Carey: "OOOOOOOOOOOOOOH, MA GOODNESSSSSS!" (Still gazing upwards looking for that miracle cue card.)

Carey: "I jist honestly. I read this book "Push," which is now "Precious." And out in the stores. When IIIIIIIIye, ah, a long time ago, because my friend Rhonda said, "If you don't read this book, you ain't leavin', and I was like 'whaaaaaa?' and I read the book, and I criiiiied my eyes out and I read the book again and I criiiiied my eyes out, and Saphire, the author, when I first met her I was like "I can't believe it's Saphire! I can't believe is Saph- Right? Was I? (to Lee)...I mean,"

Lee: (wipes sweat off his brow) "You embarrassed me." (?!)

Carey: "I embarrassed him. And, you know, he can handle it, but the thing is is that, (drunken laughter)the thing is is that, uhm, honestly, this material was so amazing to me that when Lee called me. Two days. Before (drunken laughter)...was it not two days?"

(Vantriloquist hand has since been removed from back)

Lee: (laughing) "Thank you Helen Mirren." (meaning??)

Carey: "Ha, ha, ha, cackle, cackle...I met Helen Mirren tonight. I was so excited. I couldn't believe it. The genius Helen Mirren."

Lee: "From the queen to a diva!" (Oops. Meaning?)

Carey: "Ha, ha, ha, ha....Yes, that's right! (clapping) You need to be clapping. Uh, sorry, sometimes I get you know a little, uh, difficult, but...uhm. ha, ha, ha, but honestly, when Lee told me, okay, you need to do this, this movie (Carey now leaning on podium with both arms for support)... and it's gonna be ah three days from now and I need you to listen to me, I need you to, uh (to Lee) to, uh, whaddya call it?... (She's looking for which word? --"Act?")

Lee: "Take your make up off."

Carey: "No! I don't think that's what, you can take my make up off, boyfrie- 'N I don't look like that bitch from the thing...(Thumbs gesture behind them on stage)

Lee: "Oh, God."

Carey cackles and returns to a two arm support on podium.
Lee turns to "mock" storm off stage. He had good instincts.

Carey: "No, he said I am going to reinvent you the way you look the way you you know you speak and everything and it's going to be our thing and it was our thing. (She starts to stroke his face and sway. He gazes at her longingly or drunkenly, or both)....And it was, you know, pink eyes here (touches his eyes)...

Lee: "Moustache, here? Lil' moustache"

Carey: "Meeshky(?)....And I just said, 'You know what? I am so thankful. So thankful....for Lee Daniels. And I really have to thank The Palm Springs, please, please, The Palm Springs Film Festival, and Lions Gate. Really have to thank Lions Gate, because I know they they they they cared and they put everything into this film.

Lee: "And the Magnesses my producers who put money into Mariah Carey acting."

Carey: "Exactly. Ha, ha, ha...so, I'm very grateful, I thank you all for listening to my little Shpiel and uhm God bless you. Okay, yeah. Take care."

______________________________________________________

Or, you could just watch it all for yourself, below.

Thanks to Matt Wolf for posting the video, and thanks to my daughter for letting me find the time to actually write this all out while she recovers from the stomach flu. And thank you for the Disney Channel for your fine programming so that I can blog next to her without interruption.