http://homepage.mac.com/elisa_camahort/iblog http://blogs.law.harvard.edu/tech/rss elisa_camahort@mac.com Wed, 14 May 2008 15:23:27 -0700 Wed, 14 May 2008 15:23:53 -0700 iBlog 1.4.6 Elisa Camahort Elisa Camahort's Personal Weblog Default Dot Mac Weblog Elisa Camahort elisa_camahort@mac.com Elisa Camahort's Personal Weblog http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080514152247/index.html First DWtS, now AI...what happened to these promising seasons?!

What a terrible week on AI. Seriously, could they have picked lamer songs? The judges, the contestants, the producers. Lame.

And I did the math, by the way: This is the semi-finals, but they kept them to a minute thirty. So in an hour show, 14 minutes is singing. We know 20 minutes is commercials. That means 25 minutes is pure crap.

Grumble, grumble. Again.

Well, i guess I'm obligated to soldier on despite my personal resentment, so here goes:

1. David A. was first with the judge's pick: And So It Goes, by Billy Joel, chosen by Paula

Close your eyes. I've discovered this is the solution to my David A. problem. If I just don't look at him and his awkward, stilted, traumatized physicality, then I can enjoy his voice...in fact it can lull me into a hypnotized stupor. This was the song that killed Carmen Rasmussen in week 2, but David A. did it more justice...as long as you didn't look at him.

David's own pick for himself was With You by Chris Brown

OK, it's kinda hilarious trying to picture David A. as some smooth R&B singer. The controversial "my boo" lyric was the least of his problems. I mean at least he remembered "my boo" without trouble, because throughout much of the rest of the song he seemed very close to losing the lyrics. Which made him terminally behind the beat. There were moment when he seemed relaxed, he smiled, he was almost enjoyable to watch and listen to. But much of it was rough.

Finally, the producers saddled David A. with Longer, found in the dictionary under "treacly ballad", by Dan Fogelberg. I sang this song at quite a few weddings...IN THE LATE 70S AND EARLY 80S PEOPLE!!!! David A. was in his own little world on this one, barely listening to the background singer and therefore being always off from her. Again, close your eyes, and there is some pretty singing going on there. But keep 'em closed.

2. Syesha's judge's pick was: If I Ain't Got You, by Alicia Keys, chosen by Randy

Really? Saddle her with this song that has sent many an AI contestant out of the audition room or even off the show, head hung low? Nice work, Randy. This was a completely copycat vocal performance, and for what it was worth as that, she did fine. I like her voice...she really does do the most to bring vocal variety to her performances. Vocal range, dynamic range, different textures. But is she wildly special? Nah.

Syesha's own pick for herself was Fever by Peggy Lee (although she did more of a Madonna version.)

Good, but still copycat. She is just sucking wind at trying to communicate who she is, at making every song seems like hers, rather than trying to become what she thinks every song once was. Nice voice, and certainly nice to look at. But ultimately...do we care?

Finally, the producers saddled Syesha with Hit Me Up by I don't even know who, from the movie Happy feet. About penguins. Such a weird song choice. This frenetic song never seemed to become a song, it always seemed like she was getting through an extended intro...and then it was over. Terrible choice of song...and she seemed to know it. She looked like she was "gamely" attempting it, but that she knew it was the death knell for her. Which it probably was.

3. David C.'s Judge's pick was The First Time Ever I Saw Your Face by Roberta Flack, chosen by Simon

It was...boring in the beginning, more interesting as it went on, and finally did manage to work because he built to some really well-executed high notes.

David C.'s own pick for himself was Dare You To Move, by Switchfoot.

I like Switchfoot actually, but let's be kind and say this song doesn't lend itself to a minute thirty very well. Plus he had some vocal issues, like maybe he blew it all out on the aforementioned high notes. There were both rough notes that didn't sound nice, but also pitch issues. It was not good. (And on a side note: the sign Cougars 4 Cook? Also not good.)

Finally, the producers saddled him with I Don't Wanna Miss A Thing, by Aerosmith. zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz Oh, what? I'm sorry. See, I don't need to hear that song ever again, and I could always use a little cat nap, so you know, I'd rather catch some zzzs than hear this stupid, boring song (especially when sung pretty poorly, as David C. did.).

Gah! The whole show...what a disappointment.

Bottom line for the Bottom 2:

Well, I imagine it's a done deal that Syesha is out of here. I can't remember if they even do a bottom 2, do they?

Despite last night's roughness I still would root for David C. over David A., hands down.

But what did you think?

]]> Wed, 14 May 2008 15:22:47 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080514152247/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080513082314/index.html I'm disappointed that at this late stage they still give points for effort and exceeding expectations, rather than on skill, style and execution

But I should suck it up and face my disappointment, because this rooting for the underdog and voting for those who surprise us rather than stun us has always been a part of the equation of reality talent shows.

I just don't have to like it.

Last night I thought it was clear that Kristi Yamaguchi is in a totally different league than any of the other remaining competitors on Dancing with the Stars. The difficulty level of what she does is way harder, her precision and execution way more solid, her style and grace more fluid and natural. (Not to mention that as a woman, she can't do what the male contestants do and just let the female pro dance around her taking all the focus off awkward arms and flat feet.)

But I don't think Kristi will end up winning, and my real disappointment is that the judges contribute to that by picking on her in a way they never pick on the others, and by even giving higher scores for routines that weren't nearly as accomplished.

Is she a ringer? Yeah, I've already said I kinda think so. Then again, so is Marissa, and she didn't step up in the same way. And BTW: they went out and hired the ringers. Did they do that only to penalize them later for being reliably excellent instead of surprisingly good?

Grumble grumble.

On to the show. Each couple pulled the two dances they would have to perform from a hat (which I don't believe was truly random at all, call my cynical.) Each couple did one ballroom and one Latin dance.

1. Jason & Edyta

First, they kicked off the evening with a Foxtrot. Jason really does have excellent posture, which is nice in a man that tall. For the first half he seemed way too intense and serious for the frothy foxtrot, but about half-way through he lightened up and actually seemed to be having fun. He still is at his absolute best when he is in hold with Edyta and not having to move too much solo. I still have doubts about the grace of that free arm when she is not hanging off it!

Second, they danced the Paso Doble. This had some great moments, mostly because Jason can do Paso Doble-style intensity very well. But parts of it seemed really spastic...almost out of control. And did my eyes deceive me, or was there an obvious lift? I think there was, and it was part of the let's-prop-up-everyone-except-Kristi conspiracy to not mention it at. all.

Bottom line: I do think Jason & Edyta look great together, and that yes, it's surprising how good Jason is at this. But if you just watch him (not her) you'll see that he often isn't doing too much, and he still struggles with stiffness and awkwardness and flat-footedness. All of which he gets a free pass on.

2. Marissa & Tony

First, they danced the Quickstep. It was cute, but it really didn't seem like it had Semi-final level difficulty or panache. For much of the routine it seemed more like a foxtrot than the flashy quickstep we're used to seeing...especially this late in the competition.

Second, they danced the Rumba. Last week we had a brief chat on BlogHer about how the women professional dancers dance circles around their male stars without bothering us much, but it's much more bothersome when the male professionals outshine the female stars. I guess this is because most of these dances really are all about showcasing the woman, so it seems obnoxious to do otherwise. In this Rumba Tony was way more languorous and sensual than Marissa...it was just really noticeable that he was moving his body in that sexy, snaky way...and she just wasn't. This didn't have any real spark or chemistry, and frankly, i agreed with Carrie Anne that it was boring.

Bottom line: Having won a Tony for starring as a chubby girl who exceeds expectations to be the best dancer on the stage and win a dancing contest in Hairspray, I think Marissa was just as much a ringer as Kristi...only she hasn't really stepped up. Since most people aren't familiar with her Broadway work, I don't think they realize she's not stepping up. Instead I feel like there's almost this patronizing thing going on...as though being a bit heavier than the other women on that stage would hamper her sense of rhythm or ability to remember steps or talent for hip action or gracefulness in general...none of which it would.

3. Cristian & Cheryl

First, they danced the Viennese Waltz. I mostly really liked that they used the song "Satellite" by the Dave Matthews Band, which is one of my favorite songs you never hear. It was OK. It seemed a bit frantic to me, and Cristian did the same thing Jason did: He danced the first half with an inappropriate furrowed brow of concern, and then loosened up about halfway through to get more relaxed, more fun and more romantic.

Second, they danced the Samba. Yes, this is the dance where Cristian injured himself 2 weeks ago...which they made a big deal out of. On this one everything from the knees up looked great. Cristian had good hip action, a nice loose upper body and seemed to be having a lot of fun. I thought his footwork got messed up on multiple occasions which, again, no one bothered to mention.

Bottom line: I think Cristian wins "most improved", no doubt about that. And here's to a strong right arm...it is pretty amazing how they can carry on with mostly only one arm and not look like they're lagging. I don't think he has the difficulty level or the consistency or the fluidity of Kristi, but he certainly has won me over a little bit, because early on I wanted him booted every week practically.

4. Kristi & Mark

First, they danced the Tango. I really just sat back and watched it. Her skill level is off the charts. It's ridiculous. I'm not saying she looks like one of the pros, but she's probably as close to it as any contestant I've seen on the show. Mario Lopez may have been the only other contestant who really seemed like he could just be dumped in with a pro number and hold his own.

Second, they danced the Jive, This was an example where I thought the male pro, Mark, was over-doing it to the couple's detriment. Either work with her on her steps so that she matches your snap and the height to which you're raising your knees, or adjust yours a bit. I mean, maybe I'm misunderstanding he dance, maybe the guy is supposed to be more extreme than the women, but I don't think so. That's my nitpick because otherwise it was cute as a bug...and really really hard.

Bottom line: I am mostly peeved because I think it's obvious that Kristi is doing stuff WAY harder than the others, and getting minimal credit from the judges for it, while making it look easy enough that the viewers may not realize it. That's the kind of skill and presentation that should, for once, win this thing...not the person who doesn't suck like you thought they would!

Bottom line for the Bottom 2:

Well, if it were me it would be Marissa/Tony and Jason/Edyta, and Marissa/Tony would go. (Yes, I'm one of those evil people always counting hr out...shows how much I know.)

I think I may have the right person going home, but I honestly don't know who else is in the bottom. My guess is that voting is very close.

But what do you think?

]]> Tue, 13 May 2008 08:23:14 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080513082314/index.html http://homepage.mac.com/elisa_camahort/iblog/C788295036/E20080507182811/index.html But if you blinked, you probably missed me

Check out the video and my thoughts here.

I have another fun post over there at Worker Bees, entitled "Sorry, dudes, I think it makes you seem kinda skeevy".

And, why yes, that is my business blog. What's your point? Dude.

]]> Wed, 07 May 2008 18:28:11 -0700 http://homepage.mac.com/elisa_camahort/iblog/C788295036/E20080507182811/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080507163532/index.html New Wave, Reggae, Doo Wop, Soul, Folk...I heard about everything except rock and roll, how about you?

Sigh. This is the American idol season that simply should have been better. Early promise has fizzled into mind-numbing same-ness. I am disappointed in you, my little Idol children.

Last night each contestant performed two songs from the Rock and Roll Hall of Fame's list of 500 most influential songs. So, can I start off by saying I am shocked that "Hungry Like the Wolf" is even ON that list?

Sigh, again.

1. David C. kicked off with the aforementioned Duran Duran song, and brought no killer energy to it. If you're going to do this overwrought, over the top disco-masquerading-as-new-wave song then how about having some of Simon LeBon's drama queen persona? 'Cause the song all on its own? Kinda boring. David C. paced back and forth more like someone on a subway platform than a caged animal. He talked about switching up the song, but it sounded pretty faithful to me. He has a great rock voice. Too bad he squandered it with this low-energy performance.

David C.'s second song was Baba O'Reilly by The Who. My S.O. strenuously disagreed with me, but I loathed this. Hated it. I'm ready to call it the worst performance by any Top 12 performer this season. Here's why: If the song can't be done justice in a minute thirty, don't fucking do it, OK...not this song, or any anthemic, iconic rock song like it. This came out like some Bryan Adams ballad for 90% of it, complete with artful rasp in the voice. Maybe, maybe, I could have lived with it if he had done the boring, slow, PREDICTABLE, "moody" first verse if at some point, any point, it had broken into that signature keyboard riff, played me some HUGE descending chords and given me even David C.'s pale imitation of a Roger Daltry wail. but no, talk about songus interruptus. What a let-down and disappointment.

Bottom line: Still safe. But dude, you have let your mid-season promise start to trickle away.

2. Syesha first sang the Tina Turner version of Proud Mary...like any of us needed to hear that ever again. Yes, it was exactly a copycat version, albeit an energetic copycat version. I thought she looked hot and sounded good...but why, oh why, just do what is bound to be a pale imitation. No one is going to match Tina Turner's muscular performance...particularly not wispy Syesha.

Syesha's second song was Change is Gonna Come. Let's all leave aside Syesha's (and Paula's) comparison of Syesha evolution as a performer to the need for change in our country's civil rights policies and racial attitudes. I'll just cut her some slack there. I thought she tried too much and too hard with her last run, which subsequently had some pitch issues. But otherwise I need to totally give Syesha some props for being the only finalist left who seems to make any effort to move beyond generalized emotional displays to actually seem like she's singing something specific and connecting to it. She also showed some good dynamic range in the song, so even in a minute 30 one can git various levels, vocally and emotionally. Fancy that.

Bottom line: She's at risk. but I called it weeks and weeks ago: Syesha is this season's Kimberly Locke. She can't get no respect; she's always in the Bottom 2 or 3...but she will end up coming in third, just like K-Lo.

3. Jason first sang what should have been a brilliant choice: Bob Marley's I Shot the Sheriff. I really didn't get why the judges were so down on him. I thought it was an intelligent performance, with more guts and energy in his vocal than he's shown in weeks. The guitar was really just a prop, but he's better with a guitar strapped on than when he's just standing there, so it didn't bother me. Jason is my chief disappointment of this season...the guy I thought I would continue to love who just seemed to stop trying early on. Yet I can still say I might actually buy his album, and I can't say that about the other three at this point.

Jason's second song was another apt choice, Boby Dylan's Mr. Tambourine Man. What a boring song. Did I mention i think Dylan is totally overrated? This was kinda cute, but it had no meaning. I couldn't remember what he sang or why milliseconds after it was over. Although several blogs I read made a BIG HUGE DEAL that Jason forgot a BIG HUGE CHUNK of lyrics, he really only mumbled his way through one line. Which was barely differentiable form how he sang the rest of, actually. I really like the timbre of his voice and his basic vocal styling. But he could at least pretend to care...even Daughtry pretended to care.

Bottom line: Jason probably finally sealed his doom last night.

4. David A. first sang Stand By Me. Listen, the kid has a nice voice. Performance-wise, though, he seriously needs help. Of course, who can forget that Ruben Studdard had basically one arm move and merely alternated which arm reached out palm up at various points in each song? So, if that's any indication, the kid should be just fine. One other thing is that ALW cured David A. of his eyes-closed singing style, which has revealed to us all that he's dead behind those eyes. Seriously, I hate to say it: But I know what Paula is talking about when she bugs David A. to show us more joy in his singing.

David A.'s second song was Love Me Tender. Again, nice sweet voice. Again, I'm just completely over his style, his Johnny-one-note boy band lite performances. It's funny, I usually give people crap for inappropriately smiling through songs that are sad or serious. David inappropriately looks tragic during songs that aren't. And not in an intentional way.

I mean I once saw this amazing cabaret singer...she was probably in her 60s. She had MS or something else that required her to use crutches to stand there at the mic. She sang "I'm Just a Cock-Eyed Optimist" from South Pacific. Normally, that's just about as perky a song as you can come by. Sung by Nellie Forbush, a young nurse from the sticks.

Imagine these lyrics:

When the skies are brighter canary yellow
I forget ev'ry cloud I've ever seen,
So they called me a cockeyed optimist
Immature and incurably green.

I have heard people rant and rave and bellow
That we're done and we might as well be dead,
But I'm only a cockeyed optimist
And I can't get it into my head.

I hear the human race
Is fallin' on its face
And hasn't very far to go,
But ev'ry whippoorwill
Is sellin' me a bill,
And tellin' me it just ain't so.

I could say life is just a bowl of Jello
And appear more intelligent and smart,
But I'm stuck like a dope
With a thing called hope,
And I can't get it out of my heart!
Not this heart...

Imagine them being sung by a woman who has lived, and probably had a tough life. Sung by a woman with lines on her face, a smile on her lips, but a tear in her eye. Imagine them sung in a slowed down, rueful way. Imagine the concept of being "stuck" with hope when sung in with this subtext. Imagine that, in her version, she "can't" get it into her head...no matter how hard she's tried...because it would certainly make life easier to stop being an optimist and stop being hopeful, in the face of all the evidence that, for her, such optimism and hope is unfounded.

I will never forget that performance. I have tried to emulate that performance with other songs. I totally GET turning a song around and having the subtext play against the text. It can be stunning when done well. But David A. just looks like a guy that finds it slightly traumatic to sing.

Bottom line: OK, forgive my rant: Clearly he's safe.

Bottom line for the Bottom 2:

Seems clear: Syesha and Jason in the Bottom 2 (the Davids have been untouchable, haven't they?) and Jason going home. Wouldn't be shocked if Syesha went home, but I think it will be Jason.

But what did you think?

]]> Wed, 07 May 2008 16:35:32 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080507163532/index.html http://homepage.mac.com/elisa_camahort/iblog/C1529287931/E20080507144618/index.html How I ended up with a children's music album

Yesterday Barenaked Ladies released a new album, entitled Snacktime.

Barenaked Ladies is a quirky group to begin with, so I didn't think much about the title. I just clicked to "buy" without even clicking through to the album description.

Yes, it's a children's music album. OK, it's cute and it's still Barenaked Ladies, but honestly...I wouldn't have bought it had I checked a little further, and I will likely never listen to it again having now listened to it once.

Although you gotta love a song entitled "Polywog in a Bog", don't you?

Check before you buy. So noted.

]]> Wed, 07 May 2008 14:46:18 -0700 http://homepage.mac.com/elisa_camahort/iblog/C1529287931/E20080507144618/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080506081820/index.html And somehow the guy with the injury comes out on top! Can you say Dra. Ma.

I have been pretty accurate with the elimination prognostication so far, but I don't know if I'll get it right this week. This due to a crop of mostly strong performances, and a group of judges who seemed to be seeing very different performances than I did.

Let's dig in:

1. Kristi and Mark

First they danced the Quick Step. This looked pretty near perfect to me. It was quick, it was precise, it was charming. Given Kristi's skills I was secretly hoping for something even harder, even more flashy, but what they did doo seemed perfectly executed to me (and I'm sure it was quite hard...she just makes it look easy.)

Second they danced the Samba. I don't know what Len and Carrie Ann were talking about here. I thought this was great. Mark is a bit more flamboyant than Kristi, which I suppose I would have curbed given the choice, but I didn't see that as forced or awkward, just a slight energy mis-match. I actually enjoyed Kristi's energy a lot. To give Mark credit, he choreographed this like a master, making amazing use of her spinning skills, She was out there doing things no other star on Dancing with the Stars has ever attempted.

Bottom line: The judges seem to want to make this more competitive by knocking her down a peg, but she is still head and shoulders above anyone else out there. It's manufacture drama all the way.

2. Mario and Karina

First they danced the Viennese Waltz. I thought Mario had some footwork issues, but other than that this was lovely. There was a real sense of romance, and the lift was a wonderful climax to the routine. Karina did a very nice job with the choreography all the way around. I enjoy watching Mario dance, he has a really well-proportioned body for a dancer. I've always thought his posture and bearing were quite elegant, so again, I think the judges have always been a bit harsher on him than he deservse.

Second they danced the Jive. Everything that worked about the lift for Mario and Karina in round one, didn't work in round two. They tried something really hard, and it was really awkward. That being said, Mario, to me, is one of the most fun to watch. He has great personal style, and seems to dance with a sense of fun and joy that the other guys lack. Even in a serious ballroom dance Mario bring a sense of joy to it, and that means more to me than a few footwork problems.

Bottom line: I think they're at risk, and I continue to think it's a shame. They're next in line after Kristi on my favorites list.

3. Marisa and Tony

First they danced the Foxtrot. This was a bit simple, and a bit stompy, just as Bruno said. She hit every step, but in a very flat-footed way. There wasn't a lot of the smooth and debonair about it. She has improved, and they certainly have gotten kinder with the hair and costume, but this didn't do it for me.

Second they danced the Mambo. This was a failed attempt to up the ante difficulty-wise. It's better to add more difficult things she can be good at, or to skip it. There was lots of leg-flinging, but her passes weren't tight (when she lifted her foot to her knee, her foot didn't actually sit right against her knee, it was kind of flopping away from it) and her kicks weren't elongated with properly pointed feet. And if you're going to try that "pepper pot" spin (who knew it was called that?) like Carrie Anne said: better be able to at least d it smoothly, if not quickly. Having just seen Kristi execute it well, Marissa's version stood out...in a bad way. She looked really cute, but that was about all that worked well on this.

Bottom line: Defintely in danger...possibly going home?

4. Jason and Edyta

First they danced the Tango. He has great intensity and posture, but let's face it: She did all the work here. He stood around a lot and had some footwork issues when he did try to do the tougher stuff. We are all being blinded a bit by their god-like proportions :)

Second they danced the Samba. This was a tough one. There was an air of sex about it, but it's totally true that he was looking down a lot, thinking very hard, and had some issues knowing exactly what to do with his free arm. The lift looked too dangerous and was off-kilter, and he just didn't have the loose, fun style required. They look good together, but Edyta is surely working her butt off this season.

Bottom line: They're safe, I would guess, but he needs to regain some of his previous poise.

5. Cristian and Cheryl

First they danced the Tango. This was nervewracking for me, given Cristian's injury. I thought it was fine, well-executed, but lacking a bit in a real sense of flair. The Tango to me always seems like a dance-off between the two dancers, each seeking dominance. Cristian couldn't really try to keep up, so Cherly did all the dominating.

Second they dance the Mambo. Again, he didn't do much at all, while she was great to watch. The judges gave them a total pass on how little he did in both numbers, and I suppose I might have too, because it was amazing that they figured out how to make it work at all.

Bottom line: I think they're totally safe because of the injury factor.

Bottom line for the Bottom 2:

If it were me, the Bottom 2 would be Marisa/Tony and Jason/Edyta, and it would be Marisa's turn to go home.

Probably Mario and Karina will be in the Bottom 2 instead of Jason and Edyta, but I think I'm right about who will go home.

But what did you think?

]]> Tue, 06 May 2008 08:18:20 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080506081820/index.html http://homepage.mac.com/elisa_camahort/iblog/C1799219521/E20080505075727/index.html Video_050408_003.3g2 Sure, the sound quality is pretty crappy, and I took this on my Treo, not a camera, so i couldn't zoom in very far, but this is a 13-14 minute segment of composer Stephen Schwartz describing how Elphaba's opening number in the musical Wicked evolved throughout their early readings of the show, complete with him playing musical snippets of earlier versions of the song.If you turn the volume way up I think you'll be able to hear his story...complete with his amusing recollection of seeing the original pre-Broadway A Chorus Line for the first time, an example of how a musical theatre master (Michael Bennett) manipulated an audience that thought they were above that (or at least Schwartz did.)This was all at a benefit evening for The Choral Project, a San Jose group. Enjoy. ]]> Mon, 05 May 2008 07:57:27 -0700 http://homepage.mac.com/elisa_camahort/iblog/C1799219521/E20080505075727/index.html http://homepage.mac.com/elisa_camahort/iblog/C787600738/E20080504111243/index.html Turns out you can't call it "abdication" if we went ahead and gave them the permission to abdicate!

Close on the heels of my post yesterday complaining about how the media tweaks our perspectives and rarely really offers "fair and balanced" reporting, there's a long post over at Speak Out California on the same issue. Particularly about my teaser closing point about Jeremiah Wright vs. John Hagee.

Blogger Dave Johnson lays out the long history of corporate control of the airwaves...and how it used to be a requirement that corporate interests broadcast content for the public good in order to have a certain number of hours per day when they could broadcast entertainment that was purely profit-driven.

Johnson outlines how this requirement was lifted during the Reagan years and efforts to revive it have died ever since, whether via Republican veto or Republican filibuster.

I believe it, but I wish Dave had provided one eensy teensy cite for this log post. Just one hyperlink to a source for the travails of Washington DC as it acted like a corporate whore for big media.

So, I went and found a few links to try to give you some source docs:

From Wikipedia:

The Fairness Doctrine, which is mostly what is being referred to in the Speak Out California post. The Wikipedia entry is in dispute as being not objective, and yes, you can smell a bit of right-wing nutjobbiness in the current description.

The Equal Time rule (often confused with the Fairness Doctrine, but also somewhat germane to this discussion.)

Other sources:

Fairness Doctrine section of the Museum of Broadcast Communications site, which also provides a hefty bibliography if you're interested in learning even more

History of the Fairness Doctrine, from the PBS site.

I will say that despite finding sources that confirm the battle over the Fairness Doctrine in DC, I think it is something else entirely that must have dictated broadcasting content for the public good as a trade-off for commercial use of the airwaves.

Grumble.

Bottom line, if you're a conspiracy theorist type, then you probably think the right-wingers have done a masterful job of creating and executing on a long-trm vision to take over the country...and the world. Talk about chickens coming home to roost...those deregulatory actions of the first Reagan Administration lead directly to the kind of crappy, unilateral media coverage we get today.

Thank goodness for the blogosphere...am I right?!

]]> Sun, 04 May 2008 11:12:43 -0700 http://homepage.mac.com/elisa_camahort/iblog/C787600738/E20080504111243/index.html http://homepage.mac.com/elisa_camahort/iblog/C787600738/E20080503101848/index.html The concerns of working moms? Just some silly "girl talk" or "chick chat" if you will

Well, Beth Fouhy from the Associated Press certainly will.

When I saw the headline in my RSS reader, "Clinton takes time for girl talk", I thought there were two possibilities.

1. If I was lucky Clinton had actually visited a girl's school and talked about oh, I don't know, running for President, being a Senator, being a lawyer, working for child advocacy group...you know, all the things a girl can do.

2. If I was unlucky, Clinton decided to appear on QVC and talk about shoes, jewelry and maybe make-up to round out the discussion.

But no, there was option #3: I am really unlucky. I am so unlucky that the AP clearly wants my head to EXPLODE.

Because in this case the very fact that Clinton was meeting with a mom's group qualified this as something to be trivialized from word one.

Now maybe if the questions had been about the aforementioned fashion, beauty and do on, some trivialization would be earned.

But the questions are those recurring ones that moms, especially working moms actually care very much about: balancing work and home, especially as our children get older and their lives get more complicated too. Throw in a little discussion of how one gets through family troubles in the public eye and a dash of discussion of recent disturbing trends amongst girls towards violent behavior, especially those sensationalized stories involving the Internet, and I'm not sure why this campaign stop deserved quite the approach it got. Oh, right, it deserved it because the audience was women.

Sadly, I do think it really is that simple.

When Obama talks about how he balances raising two small children while campaigning, do we call it "boy banter"? Oh, no. We all sit and listen to him with grave expressions on his face, because all of a sudden work-life balance is serious business when a man has to consider it!

It is neither candidate who controls this part of the campaign...this, the media can claim for their very own.

Just as, let's be clear, it is the media who has decided that the Jeremiah Wright/Barack Obama connection is WAY more interesting than the John McCain connection to a psycho nutjob reverend of his own, John Hagee.

La, la, la, nothing to see there, move along now.

So, so annoyed. not a good way to start a weekend, you know?

]]> Sat, 03 May 2008 10:18:48 -0700 http://homepage.mac.com/elisa_camahort/iblog/C787600738/E20080503101848/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080430103145/index.html And no one cared, not even the chair

I'll admit it, I didn't have high hopes for Neil Diamond night. He of the bombastic ballads and cheesy uptempos. Not that I can't think of Neil Diamond songs I like, I can, but I was pretty convinced none of the Top 5 would actually choose those songs. (Note to David Cook: Why you wouldn't sing the Chris Isaak version of Solitary Man, I have no idea.)

The format of the show was whack last night too. Each contestant sang the first song, they were brought out on stage all together, and the judges were asked to do a quick rundown of all five at once. Then after their second song, they reverted to the normal format of having all three judges critique that one song before moving on to the next person.

That led to the Paula-Abdul-on-crack moment where she read her notes to Jason on both of his songs, even though they were only at the point of critiquing the first round. People can speculate all they want, but the explanation seems clear to me: The judges watch the rehearsal and make notes, so they don't really have to try to be insightful and articulate (if we can call Paula that) live and in real time. not a huge scandal...you didn't really think that nothing about this show was scripted, did you?

Neil Diamond was on hand but got a miniscule amount of airtime. Then again, so did everyone else...the show was paced most frenetically...each song seemed very curtailed, Ryan was talking like a meth addict on dexatrim, and the judges were obviously addled.

So, let's take a look at how the singing was, shall we?

1. Jason

First Jason sang Forever in Blue Jeans. not my favorite song...repetitive, trivial, unrelentingly sweet and mellow. And therefore perfect for Jason! He had that dude with the acoustic guitar vibe going, and you know that's his favorite place to be. He's adorable, I still think he's cute as a bug. But even I, an early supporter, would have hoped to have seen something more from him by now. Some dynamic range, a little more power, a little more energy in his performances? I enjoyed hearing (as Paula apparently did) his lower range on the verses of this song, and some day I'll probably enjoy his album of songs by the campfire. But to stand out in this competition, I'd think he needs to show just a little more oomph.

Second Jason sang September Morn. The less said about it the better. There was no power, no drive, no intensity, no build, not variety to his sound. It was extremely dreary, to use a Simon word. Yes, he's authentic and charming, but he is just no professional-grade.

Bottom line: Well, i would have guessed he was an obvious bottom 2 last week, and he wasn't, so all bets are off. But once again, it seems obvious to me that he should be in the Bottom 2, not matter how much I personally like him and wish he would do better than he has for weeks now.

2. David C.

First David C. sang I'm Alive (with electric guitar in tow.) Unlike Jason, David is not particularly well-served when he plays the guitar. It just makes him seem rooted to the spot and less dynamic than when he can move around the stage a bit. This song was bo. ring. No range. No energy, and I couldn't understand a word he was saying. Not one of his better performances, that is for sure.

Second David C. sang All I Really Need Is You. This time he played acoustic guitar, which was a little better than electric. The entire key of this felt a little high to me...he seemed strained when he reached for those top notes, except for when he brought out his falsetto, which is very nice. This was OK. not great. Not bad. Certinaly not one of his better ones.

Bottom line: Not one of David C.'s better nights, but I think he's safe nonetheless.

3. Brooke

First Brooke sang I'm a Believer with her acoustic guitar in tow. This was dreadful. Honestly she looks so uncomfortable and so forced. When she smiles it is a painful, someone-told-me-to-smile grin. The verses were too low, and she was being totally drowned out, which considering the fact that vocally she sounded incredibly mediocre, was probably to her benefit. But mostly i was disturbed by her wiggy facial expressions and uncomfortable physicality. It honestly seems like it would be putting her out of her misery to eliminate her.

Second Brooke sang I Am, I Said, sitting at the piano. I've already shared that I don't think she's a great pianist, and that it inevitably seems to distract her from her vocal when she plays. This was no exception. It was miles better than the first song or her performances the last couple of weeks, but it only solidified the impression that she is a really mediocre singer with very pretty hair. (And apparently a winsome personality that many many people are not already sick of.) As for choosing a difficult song due to the octave jumps in the chorus? Yes, it's true. props for trying something hard, but those octave jumps were rough for her, so two steps forward for trying and one step back for actual execution.

Bottom line: I am so ready for Brooke to go home, and feel like she has deserved it for a couple of weeks now. But America keeps thwarting my will, and they probably will again tonight.

4. David A.

First David A. sang Sweet Caroline. Color me officially and totally over David A. I am now filled with ennui at the idea of one more boy band rendition of a song...as every week goes by and he adheres to the actual melodies less and less. I am now creeped out by his physical awkwardness, from the way they try to dress him to look cool, to his lip-licking, eye-closing, Up-With-People hand gesturing. And I am most bothered by the fact that here is a young guy who really does have quite an instrument, and yet I find no joy in his singing. He seems more like an automaton trying to please people than someone who is filled with the spirit of the music he is singing. Those eyes are dead, baby. On this song, all I could think is: Where is the melody of this song? And where is the joy?

Second David A. sang America. As calculated a song choice as KL Cook's God Bless the USA, without the desperate need behind it. Again, no denying the guy has a good voice. But it's all blended into one performance, it all sounds the same. And i continue to ask: Wheres the melody? Where's the joy?

Bottom line: Oh sure, he's safe, but my interest is plummeting as his ensconcement (is that a word?) in the Top 2 seems assured.

5. Syesha

First Syesha sang Hello Again. Syesha is this season's whipping girl. She is actually a very consistent and very good vocalist with confident, professional performance skills. Yawn. Or at least that's how the judges and the viewers seem to react. she could, as I've said before, be this season's Kimberly Locke...landing in the bottom again and again, but just managing to eke it out until the Top 3. I don't think she needed to repeat her barefoot schtick, but whatever. This song was confident, easy, lovely. She definitely can sing...and you know what? She sang the melody and let it shine through. So, I guess the knock on her will be that her rendition was too "straight" and she didn't "make it her own", but I much prefer someone who can actually sing a song as written and tell its story to someone who has to change every note until it's all about the voice, not the story of the song.

Second Syesha sang Thank the Lord for the Nightime. personality-wise, this was charming and full of verve, but vocally it was bit low-key. She got to wail a bit near the end, but mostly it was a bit careful, and a bit drowned out by the band. I would have liked her to throw in more of her high range.

Bottom line: Syesha seems destine to go every week, and yet she doesn't. She certainly doesn't deserve to this week, compared to the performances by Jason and Brooke.

Bottom line for the Bottom 2:

Well, I'm going to sound like a broken record. it seems obvious to me that Brooke and Jason gave the weakest performances (although i wouldn't mind if David A. got a little bit humbled by a trip to the Bottom 2.) And Brooke has the least potential to entertain me of the lot, so again, I would send her home.

I think Syesha is saving one of them from both the bottom 2 and going home, though. Sadly.

Then again, I say that every week, and it doesn't happen, so maybe the girl just knows how to hang on!

What did you think?

]]> Wed, 30 Apr 2008 10:31:45 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080430103145/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080429080654/index.html And most of them pull it off (even if one of them pulls a muscle)

This week was the first week that the remaining couples had to learn two routines (if you don't count the horrifying spectacle that was their group country dance...which I don't.) For the most part everyone rose to the challenge. I certainly hope that sympathy and fascination with some backstage romance doesn't keep the wrong couples in too long, but so far America has been pretty smart on this one.

Let's dig in:

1. Marisa and Tony

First they danced the Tango. I have to say I like it when they pull her back and let her look a little more elegant and like a serious contender. Sometimes everything about her is so big...her hair, her smile, her eyes...that it feels clownish even when it's not. I thought she did get the intensity of this dance, and there was some good, complex, intricate footwork going on. That being said, she was a bit flat-footed, even stompy, on parts of it, so I'm not sure I would have gone so far in my praise as the judges.

Second they danced the Rumba. This one did not work for me. I hate to sound like Len, but I really wanted to see more content. I didn't actually see much dancing of any kind going on, and it all felt a bit slow, safe and boring. This reminded me of their earlier routines.

Bottom line: She has definitely been the comeback kid, but I didn't think she had a stellar evening.

2. Cristian and Cheryl

First they danced the Viennese Waltz. It had a very nice and flashy ending that really woke me up. They were also very disciplined about the "no lifts!" rule. I still find his free arm to be overly stiff (and when you see him in sleeveless shirts and see how muscle-bound he is, it makes perfect sense.) He has achieved much-improved fluidity in his movements with his lower body, but not always his upper body.

Second they danced the Samba. This was the big, dramatic moment when he obviously injured himself during the dance, tried to finish, but ended up in a bit of a heap by the end. I played it back and really couldn't see a point where he might have pulled the muscle, so the cramp explanation makes sense. Up until the point of the injury I had really the same feedback as with the ballroom dance...he has a nice fluid lower body, including nice speedy footwork and, obviously, highly capable hip action. But his upper body is stiff and a little uncomfortable.

I saw a transcript of a Q&A Cristian did over a new role he's going to be playing on a USA Network TV show, and he did throw out one little tidbit about DWtS that was interesting. You probably already know they are given the dance style...and the music to use. So sometimes they are just stuck with what they got. And in the case of the rumba Cristian and Cheryl did a few weeks back (back when I said "This didn't do much for me or for him") he really didn't like the song, which impacted the dance.

Bottom line: I think he'll get a lot of sympathy votes, so unless he really injured himself seriously, he'll be back.

3. Kristi and Mark

First they danced the Viennese Waltz. I agreed this wasn't her best. Mostly because I felt she seemed to be fighting the tempo, and sometimes even a bit behind it. But I also agree that she had some lovely expressiveness and emotion in the dance which did indeed compensate for this being less than her technical best.

Second they danced the Cha Cha. Len's an old fuddy duddy. I loved this. She has totally overcome her shyness, especially around shaking her booty. But at the same time there was a speed, precision and intricacy that made this more than a couple folks out there doing hootchie dancing.

Bottom line: Still the one to beat.

4. Mario and Karina

First they danced the Foxtrot. Yes, they had a missed handhold or two, but in general I found this both charming and kinda hot. He has such great posture and bearing. I don't get what Len means at all when he says Mario isn't elegant. I thought they wuz robbed to be in the bottom 2 last week, so I hope it doesn't happen again.

Second they danced the Mambo. I really like watching this couple. He's a pleasure to watch...he's very comfortable in his body and not afraid to loosen up. Meanwhile they also do really hard and intricate choreography, which compared to some of the couples shows how seriously he takes this competition.

Bottom line: LIke I said: I think it would be a shame if he was in the Bottom 2 or eliminated tonight. To me he is actually Top 2 material.

5. Shannon and Derek

First they danced the Tango. Shannon seems to be going downhill not uphill in this battle. While intense, aggressive and energetic, this also seemed overly tense and stiff and anxious to me. Not in a good, dramatic way. Derek was extremely sharp and impressive, but he does have this tendency to kind of outshine his partner...which isn't very chivalrous, you know?

Second they dance the Mambo. This was just terrible. All that booty-shaking in the judges' faces was obnoxious, but not even sexy or loose enough to make it effective. The fact is that she is just not good at those hip-action-oriented Latin dances. it's totally true, and the judges pegged it.

Bottom line: I really liked Shannon during the early weeks, but it's been a few weeks since I thought she really excelled. I hope intrigue over their backstage romance doesn't keep them on longer than the dancing deserves.

6. Jason and Edyta

First they danced the Quickstep. At first Jason was stiff, and in fact it almost looked like you could see him counting the steps out loud. but about halfway through he loosened up, and this got really fun and exciting.

Second they danced the Paso Doble (to the tune of the Monday Night Football theme and dress in football themed costumes.) Meh. This totally reminded me of Edyta and Joey's Star Wars schtick...down to the ending pose. I prefer less schtick, more content. I thought he looked a bit confused the whole time. he had the scary intensity, but I think so much so that e lost focus on the choreography. I didn't think this one was one of his best.

Bottom line: This wasn't Jason's best night, but I'm not sure it matters because he has been such a pleasant surprise, and people really respect that. Dare I say they also respect it more coming from a guy, because it's as though women are just expected to be able to pick up something girly like ballroom dancing, but guys aren't.

Bottom line for the Bottom 2:

If it were me, the Bottom 2 would be Shannon/Derek and Cristian/Cheryl, and it would be Shannon's turn to go home.

I'm a little apprehensive that somehow Mario and Karina will be penalized for I-don't-know-what and sent home instead though. Which would be a damn shame.

]]> Tue, 29 Apr 2008 08:06:54 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080429080654/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080423080100/index.html Bias check: Yup, I'm one of those effete musical theatre snobs who idolizes Sondheim and loathes Andrew Lloyd Webber.

I lived in NYC in the late 80s and was pursing that starving artist dream, mostly focused on Broadway musical theatre glory. Sad to say there was very little Broadway glory to be found in those days, and I really lay much of the decline of innovative and original Broadway work at the feet of god old ALW. It was he and his producing partner who introduced the concept of the "blockbuster" to Broadway, and figured if they gave people some kind of spectacle, be it falling chandeliers, helicopters landing on stage, women belting it out at impossible registers and the like, they wouldn't notice the derivative music and florid lyrics.

Sadly, he was right about that.

So when Ryan said "the man responsible for most of the important musicals of our time" I about fell out of my chair. Important? No. Schlocky? Yes.

Doesn't help that ALW is a creepy little gnome of a guy too. There, I said it.

All that being said: he did have some good advice for the Idols, and it wasn't as horrific an evening as it could have been. Frankly his songs come off better when NOT sung by straining divas and whiny pop tenors. I thought he had some great things to say about communicating, knowing the story about which you're singing and so on.

So, there. I did have something positive to say.

But, how did they do:

1. Syesha sang One Rock and Roll Too Many from Starlight Express

Starlight Express is an utterly forgettable show about train cars on roller skates. I don't remember this song from it at all. About all I remember from this show is that an actor got injured partway through the show, and someone else just rolled on in to replace them. Also, Andrea McArdle was in the broadway production, and it was kind of odd to see Annie all grown up as the roller skating tramp train car. Maybe this song was that character's? Anyway, Syesha looked very cute in her red dress and bare feet. While she was off from the band in the very beginning she quickly recovered to deliver a sassy, sexy-in-a-sweet-not-sultry-way performance. And Ricky Minor was all over being in the spotlight for once, didn't you think? Definitely one of the stronger performances.

Bottom line: Despite being one of the stronger performances, I still think Syesha is at risk. At this point half of them have to be in the Bottom 3, and the two Davids seem absolutely unstoppable.

2. Jason sang Memory from Cats

Cats. What everything aspires to be "much better than." Cats is cute if you like cats. And like to see humans imitating cats. I do like cats, so I didn't particularly dislike seeing this. But would I see it again? No need, my friends, there would be nothing new to mine from that material. Anyway, back to Jason: Oh my. This was very Joe Cocker "You Are So Beautiful To Me", and I wrote that down before Paula babbled it. Only problem is: I hate that song. This was a weird song choice for Jason...who is probably the most disappointing idol to me, because I really really loved him early on. There was no dynamic range whatsoever. I mean, this approach could have worked, but somewhere he had to deliver some power, somewhere he at elast had to deliver some dynamics. It made me feel very uncomfortable.

Bottom line: I don't see how he avoids the Bottom 3, do you?

3. Brooke sang You Must Love Me from the movie, Evita

I saw the original production of Evita back in 1979 the night after I saw the original production of Sweeney Todd. No doubt about it that Patti LuPone and Mandy Patinkin were absolute stars. Amazing vocalists and performers. But the show tried so hard to be POWERFUL and IMPACTFUL and STIRRING. and it wasn't really. I left Sweeney Todd shaken to the core and emotionally worn out. Evita tried to take me there and couldn't. Half a dozen years later I was in Evita in summer stock theatre with future Broadway star Marin Mazzie as Evita. The show is hella fun to be in. I really enjoyed it on stage. But when I went to see it again as an audience member, thinking my appraisal would be much different now that I had been in it, and my appraisal was exactly the same. Some shows are like that: More fun to be in than to see. But back to Brooke: Wow, I thought Jason was a train wreck until I saw this one that immediately followed him. For the record, I agree with Paula: Starting and stopping and re-starting is unprofessional. You don't see professionals do that, and there's a reason. OK, once, Bonnie Raitt performed You Can't Love Me over again in concert up in oakland. But that was because she was recording her album Road Tested and thought she could do a better version. And she did the whole song over. And that's an awesome song one doesn't mind hearing twice. The starting over didn't help Brooke...this was another cringe-in-you-chair performance because she seemed so uncomfortable and her emotion seems disturbing, not stirring. Vocally it really wasn't bad, although her vowel sounds are getting increasingly weird and affected, but she just seemed so awkward. And I'm bored of her post-performance "poor me" routines that Ryan certainly feeds.

Bottom line: I think it may be bye-bye Brooke, and as you know, I won't be too sad.

4. David A. sang Think of Me from The Phantom of the Opera

I can't say too much about Phantom, since I nearly fell asleep when I saw it in NY. Of course I was in the nosebleed section, which just isn't the way to see anything. Later I saw it from house seats in San Francisco because I knew someone in the cast, and it was much better to actually be able to see the actors' faces. But that whole chandelier thing? Not scary. I'm just sayin'. So before David A. started I was thinking I was getting a bit tired of him, and that seeing him next to ALW made him look like a mini-me creepy gnome. I did think the whole "open your eyes" thing was spot on and hilarious...and boy did he try! Then he performed, and I will totally give him his props. He did his thing with it (albeit a pretty trite pop ballad thing) and he sounded pretty.

Bottom line: Oh, he'll be safe. Really? Ar you wondering?

5. Carly sang Superstar from Jesus Christ Superstar

This is my S.O.'s favorite musical, and I hate it. The S.O. loves to sing it at me. But given the show's inherent obnoxious fake-rock quality, one should really call it shouting it at me. Anyway, I thought it was a good call for Carly to sing this, although I'm not sure singing "Jesus Christ Superstar, do you think you're who they say you are" is going to have quite the warm, fuzzy effect that KL Cook singing "God Bless the USA" did. Carly obviously can wail, and the wailing fit this song. My only question, then, is why didn't the mix let her vocals pop a bit more over the background singers. david C. gets reverb and echo galore, and Carly is mixed right into a blend with the singers. Conspiracy!! Once again another horrible outfit, but after a trio of plaintive, maudlin craptastic ALW ballads, this was at least energizing and fun.

Bottom line: I'm thinking Syesha may save Carly from the Bottom 3.

6. David C. sang Music of the Night from The Phatom of the Opera

Oh, one other thing to mention about Phantom: I so did not get the Michael Crawford mania that swept the world after he debuted as the Phantom. Thin, unappealing voice and more caricature than character. Did. Not. Get. So back to David C.: I've mentioned how impressed I've been wit his smooth, effortless vocals and easy use of his full range many times. This song did show that off. Other people seemed surprised by it, but I feel like he has displayed that quality in other vocals plenty of times. But this vocal was so smooth it was kind of boring. Her certainly didn't bring anything unique or new to the song...until he decided to rock-itup at the end with a really bad choice of last two notes. OK, sure, they were high, but they were ugly and didn't fit the entire rest of the performance choices. I found this a bit expressionless and not sexy. So, great vocal, mediocre everything else.

Bottom line: Does it really matter? He's safe.

Bottom line for the Bottom 3:

If it were me, it'd be:
Brooke, Jason and David C, actually, just to throw some motivation his way.

And it wold definitely be Brooke going home, although I could understand if Jason did.

But I think it will be:
Brooke, Jason and Syesha, and still Brooke going home.

But what did you think?

]]> Wed, 23 Apr 2008 08:01:00 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080423080100/index.html http://homepage.mac.com/elisa_camahort/iblog/C1023857155/E20080423072528/index.html And this weekend she was featured in the Washington Post

You might not know it, because certainly it's not being screamed at us as loudly as, say Administrative Professional's Day, but April is National Poetry Month. The Washington post very kindly threw this less well publicized art form a bone this weekend with a feature on various recently published poetry collections and anthologies.

And there, on page 3 of the article, they list my aunt Barbara Goldberg's latest poetry collection, The Royal Baker's Daughter.

Since the WaPo didn't bother to really review the Award Winners that they listed, here are a couple of the reviews from Amazon:

Editorial Reviews
Review
“In Barbara Goldberg’s marvelous collection, The Royal Baker’s Daughter, cooking itself stands as a metaphor for devotion to the fruits of the earth and to the creation of human hopes. Never didactic and always scrupulous, these poems stand as a kind of testimony to the transformative alchemy of both cuisine and the natural world. Barbara Goldberg understands that, at times, only a sense of fable allows us to fully understand our own shifting, incomprehensible lives. Within and against the constellation of the family, with special resonance given to the presiding presence of the father, these poems show us how we sometimes choose to devour—over and over again, often relishing their texture—those very wounds that have made us who we are and what we have come to believe.”—David St. John, Felix Pollak Prize judge
 
Book Description
Winner of the 2008 Felix Pollak Prize in Poetry, selected by David St. John
These poems, at once elegant and earthy, reveal the inner workings of the human psyche and show us that sometimes the best defense against terror is making mischief. The Royal Baker’s Daughter was raised on a diet of stone soup and the occasional leftover royal treat. This leaves her with an appetite for authenticity. With nothing but her two deft hands to guide her, she embarks on a journey into the dark forest, “where sticks and stones and absolutes reign and nothing, even sin, is original.”

Barbara has written other poetry works, which are all listed here.

And no, no poems about me that I'm aware of. :)

]]> Wed, 23 Apr 2008 07:25:28 -0700 http://homepage.mac.com/elisa_camahort/iblog/C1023857155/E20080423072528/index.html http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080422073335/index.html Ignore that country group dancing in the corner...nothing to see here, move along now.

It's nice, this season, that there is no inexplicable, linger bad dancer hanging around to make my head explode every week. No billy Ray, no Jerry Springer. Everybody has basic skills, and mot of them are really quite good. Which is nice.

This week they each had to dance a style they hadn't danced before, and then they had to harm our eyes with a group country dance. That included lots of flailing and flinging, and we shall speak no more about it! Instead we will get to the Top 7 and their "real" dances of the night.

1. Jason & Edyta danced the Cha Cha

Well, when the judges said they needed to see Jason dance a bit more without the distraction of Edyta spinning and writhing about him, they nailed it. Because on his own, you do see his weaknesses a lot more starkly. He's a bit awkward. He can hit poses with long, elegant lines, but in between hitting those poses his arms seem a bit disconcerted, like they don't know how to get there as elegantly as they are when they arrive. All that being said, you can't deny he is charming and definitely understands the words "hip action."

Bottom line: Despite some mistakes and some awkwardness I think he'll be safe.

2. Shannon & Derek danced the Rumba

Speaking of "hip action", Shannon truly has none. And I find that ironic, don't you? Not that I've seen anything in the Shannon Elizabeth ouevre, but doesn't she typically play the vixen role? Or at least the airhead bombshell role? Am I thinking of someone else? Shannon is very good at the sharp moves and spins, but she doesn't seem to be sustaining the gracefulness that marked her earliest performances (maybe a nice long dress really does hide a multitude of flaws.) And they completely missed what I think of as the slinky nature of the Rumba.

Bottom line: Could be at risk...not least because she always acts quite put out when the judges criticize her, as though she thinks she was perfect. That never goes over well.

3. Marlee & Fabian danced the Mambo

Another quick, highly rhythmic dance. Not a lucky draw for Marlee. This was better than last week, but it was still tough to watch. Those fast rhythms give her a hard time, and those little inaccuracies add up, make it awkward and therefore difficult to watch. She clearly has a lot of people rooting for her, but she's gotta be hoping that next week she can go back to doing some nice Ballroom instead of the Latin dances!

Bottom line: I would think she's at risk, but I was wrong about that last week.

4. Cristian & Cheryl danced the Foxtrot

OK, I guess I need glasses, I really didn't understand the raving and ranting about how great this was. I thought that indeed he was charming and light on his feet half the time, but I also thought he was stiff and mechanical half the time. Sometimes his face looked like he was about to be marched off to a firing squad, instead of to do another spin.

Bottom line: Well, since I clearly saw a different performance than the judges, I'm a bit stumped. It was definitely better than last week, so he'll probably be saved.

5. Marissa and Tony danced the Viennese Waltz

This was her best performance yet, and it showed off her actual dancing talent, not just shimmying and smiling. She was quite graceful and lovely. Not that her costume helped her any. They were back to hating her this week.

Bottom line: She may be the comback kid, because I think she'll be safe.

6. Kristi & Mark danced the Jive

Wow. Kristi is really just miles beyond the others. She looks like a Pro pretty much. Great footwork, great spins, great speed, great choreography, greta spunk and sparkle. I thought this was terrific.

Bottom line: safe, safe, safe.

7. Mario & Karina danced the Rumba

There goes Len with his crochety, prudish reaction to true sex appeal on stage. OK, I admit it was a bit creepy for Mario to dedicate this dance to his little brother...I mean, if he has to close his eyes, then he doesn't get much out of the dedication, now does he? But I thought this was very hot, with lots of actual dancing content. Mario has great posture and great hip action, and just a great sense of confidence and masculinity on that stage. I bought it. (I will also admit I was distracted by that horrible white sheet tacked to Karina's costume...what was up with that look?)

Bottom line: Safity, safe, safe, safe

Bottom Line for the Bottom 2:

If it were me the Bottom 2 would be Shannon and Marlee, and I still think that Marlee is the least capable of the remaining, if the most admirable.

It's hard to predict who will really go. Maybe Shannon? Two bad weeks in a row never bodes well, and she may not have the fan base of Marlee, who also had two bad weeks.

]]> Tue, 22 Apr 2008 07:33:35 -0700 http://homepage.mac.com/elisa_camahort/iblog/C597745786/E20080422073335/index.html http://homepage.mac.com/elisa_camahort/iblog/C326499484/E20080420094515/index.html Throughout the 3 hours I was at the Studio 54 theatre earlier this month, watching the Broadway revival of Sondheim's Sunday in the Park with George, I often had the strange feeling that my emotional responses to the production were not really about that individual production happening in real time, but rather about my memories of this piece.I remember when I first watched the PBS broadcast of the original Broadway production. I watched it with a bunch of fellow actors on one of our rare nights off from the summer stock theatre where we were all working. I remember how much the piece's ruminations on art and being an artist and love and meaning in one's life moved me. I remember how the score washed over me, and I couldn't believe anyone could ever say that Sondheim didn't write beautiful melodies. I remember thinking that I had never seen a performance quite like Bernadette Peters'. I remember how robbed I thought the show was at the Tony Awards that year...the show and Bernadette...totally robbed.I remember that Sunday in the Park was the first show I saw performed at Foothill Music Theatre after moving back from NYC to the Bay Area. I remember thinking that this director and production were spot on, and that i would like to work with them. Which I ended up doing in eight productions over eight years (three of them Sondheim.)And I remember that when Foothill musical director Phil Garay died, a group of dozens of Foothill alums were pulled together to sing the stirring Act 1 finale, Sunday, at his funeral in San Francisco. The song has such dynamic range, and by the end, so much power and emotion...I don't know how we all got through it. May I say especially we sopranos who had to hit those high notes while avoiding a throat tightening with tears. But we did it. And we held that last note forever. And when we were done I, and many of the fellow performers and friends of Phil around me, burst into tears.So, all it took, as I sat in the dark two weeks ago, to get me emotionally worked up, was the opening chords of any of a number of beautiful art songs within the show. I was always seeing and hearing Bernadette and Mandy Patinkin in my mind...remembering each of my favorite moments in their storied performances. And I was remembering all of my wonderful and poignant memories associated with this show.So, was this an incredible production that stood on its own and would move anyone to become the sodden mess I was by the end? I honestly couldn't say.I liked Jenna Russell as Dot/Marie, although her voice seemed a bit tired during Dot's demanding Act 1. Her Marie was more droll and memorable than her Dot, in fact...while for Peters it was her Dot that is indelibly etched in my brain.Daniel Evans as George seemed a bit of a (paler) Mandy imitator in Act 1, but I think captured the modern-day Act 2 George, and his melancholy, perfectly...perhaps more movingly than Mandy, who always seems like he has it together really. My only distraction was in how different the Act 1 and Act 2 Georges looked from one another. And Evans in Act 2 reminded me very much of The Daily Show's Rob Corddry. I know, weird, but there it is. I kept having visions of Rob Corddry as George. Not Evans' fault, of course. I will also say that I was very enthralled with the work of the very small ensemble playing the show. This is a piano-driven score, which is fairly rare, and with only the pianist, a violinist, a cellist and one woodwinds player, they created an intimate, chamber version of what I think is one of the most beautiful scores ever written. Lovely, absolutely lovely.And you might have heard about the use of projections to create the visuals of this piece in 2008 (as opposed to the use of various flats and drops and cutouts back 20 years ago.) It really was used so effectively, mostly because it was not over-used. The audience reacted with wonder and pleasure to each creative and often mind-bloggling use of projection to create art on stage.But most of the pleasures of this show, make no mistake, are entirely human and in the moment. If you've been to Broadway or to see any big national theatre production you might have been there during one of the times they're fundraising for Broadway Cares/Equity Fights Aids. The cast members go out into the house and encourage you to donate money for this fine charitable organization. often they're also "selling" autographed Playbills and posters in exchange for donations of varying levels.For this show, they also offered all of the sketches that Daniel Evans made as George Seurat in Act 1 in exchange for varying donations. How could I resist?Voila: ]]> Sun, 20 Apr 2008 09:45:15 -0700 http://homepage.mac.com/elisa_camahort/iblog/C326499484/E20080420094515/index.html