image from lazygeek.net.
I had an awesome, awesome time on Saturday night. Out ALL night. Two or so hours of sleep. Then slept til about 4:00pm the next day. :) Many thanks to those involved.
In my hangover haze, I watched *The Terminal* yesterday. What a shitty movie. Seriously! I can't believe how many "professional" movie critics gave it a good review! I admit to laughing hard at all the people falling on the wet floors, and the accent was cute for awhile....but there's far too many stupid, poorly-written, poorly-executed portions....and it's horribly, horribly drippingly romantic in an idiot-romantic way. And what's with all the SHIT about Napoleon and Josephine?!?!?!?!? Napoleon was a big prick, a big (actually, quite small!) horrible dude, who was awful to many people. The Catherine Zeta-Jones character is terribly cliche, terrible lines, terrible terrible!!!! One-dimensional, dumb female character. I hate it when women are written this way!!!! Infuriating. She reads long history books on her long flights, and she particularly loves reading about Napoleon. Oh how great he is!!! What a role model!!! Fuck right. Anyway, so after she explains this to the Tom Hanks character, the parallels to Napoleon and Josephine then run through the remainder of the movie!!!! I almost gagged at every reference....because they got it all wrong. The whole Napoleon-Josephine connection was romanticized and idealized...and totally wrecked any redeeming qualities of the film for me (NOT MANY, I might add). It reminded me of really bad, totally overly-hyped, unrealistic, shitty shitty 80s films.
A movie that is utterly beyond all hope whatsoever.
image from toriphoria.
image from Everything Tori.
Musically, things are going much better! The new Tori Amos album, *American Doll Posse,* is wonderful. She does epic, and disturbing, and ecstatic, and whimsical, SO so well -- and all at once, and all combined. Divine recipe of lovely. Thus far, my favourite songs from the new album are *Bouncing Off Clouds,* *Big Wheel,* and *Programmable Soda.* She harkens back a bit to *Boys for Pele,* -- not so much instrumentally, but lyrically, and rhythmically, and also in terms of the shorter, often more playful songs she distributes amongst the longer songs. The trickster, noTORIous Tori is back. (She actually got her name because people called her "Notorious" in church for wearing tight leather pants when she was younger!!! She kicks ass. I hate that the imposter, Tori Spelling, actually stole this idea, or her "people" did...either way, it pisses me off.) *American Doll Posse* is more upbeat than *Scarlet's Walk* and more playful than *The Beekeeper.* I will fall in love with anything and everything she puts out. Kick ass, talented, genius, independent woman. Long live the Tori. And I need to see her in concert again. She is AMAZING. Amazing. She dances WITH her piano, or against it, or something. When two become one.
image from Vancouver Wine and Jazz Festival web site.
I've also gotten heavily into Mavis Staples's newest album, *We'll Never Turn Back.* Her voice fucking has me in tears. I don't know why, but I cry easily when music is very beautiful -- whether it's a voice, or an instrument, or some kind of combination of sounds. The production of *We'll Never Turn Back* is brilliant! I'm particularly in love with the song, I'll Be Rested. Her music is classified as soul, with gospel roots, specifically Urban Contemporary Gospel, or "Black Gospel." And Urban Contemporary Gospel's roots are in slave spirituals and hymns. Anyway, Mavis Staples's voice is honey. Mmmm, mmm, mmmm.