So I usually try to stay away from commenting on pop music’s latest thing, mostly because I tend to stay away from it. But I do get some exposure from Glee, which I love watching (again, if you read my posts you will know I love musical theater so this should come as no surprise). Anyways, I was catching up on the last couple episodes of Glee and the current one I’m watching (Season 5, Episode 5) is called The End of Twerk. The first major song they did was Robin Thicke’s uber-controversial song Blurred Lines, which even if you don’t listen to popular music you’ve probably heard of or at least had an inkling about because of the raunchy performance he did with Miley Cyrus at the VMA’s. Yes, it is a super sex charged song but frankly I thought it was pretty catchy (would much rather have Matthew Morrison performing it than Robin Thicke). So while trying to figure out what the song was really about, I stumbled across this other song by British pop singer Lily Allen. I had heard of her before, just realized she wrote another Glee-sung song Smile. I realize that she is making fun of the music industry and the lengths women have to go through to be successful but it was so in your face about it, I couldn’t quite decide if she was being really sarcastic or what. I’m still not sure if repeatedly using b**** is empowering or just offensive. Here are her comments, and here are her inspirations. I will give up a warning though, the video is explicit and definitely not something you want to watch with children around. I would really like to know what other people think about the video or of Robin Thicke’s song, so please leave some comments below.
Archive for November, 2013
I am a classic movie fan, have been ever since I was little. I grew up watching Hollywood musicals of the 1930s-60s, which branched out into many different kinds of pre-1970s films over the years. I took a couple film history classes in college and just like to watch classic movies whenever I am able (having only a couple in my personal movie collection and no cable does limit this). Nine days ago, I posted on my favorite Hollywood costume designer, Edith Head. Now my hubby and I have been watching this series on Netflix called Hollywood Treasures, which is about an auction company in Los Angeles that specializes in selling Hollywood/TV/pop culture artifacts. They have sold some really cool stuff and we’ve got to see people with some really cool collections. Anyways, a couple of days ago we were watching an episode where the classic screen actress Debbie Reynolds had called them up and asked them to help her sell her collection. For those who have no idea who I am talking about, she has starred in such classic films as Singing in the Rain, Tammy and the Bachelor, and The Unsinkable Molly Brown (for which she was nominated for an Oscar). She is more famously known as “Princess Leia’s mom”. She was going to create a Hollywood Museum with her artifacts, but ran out of money to fund it, so she has decided to sell the individual pieces instead. It contains a lot of really famous and lesser-known costumes, props, cameras, collectibles, books and posters. On Hollywood Treasures, they showed that she owned the most famous dress Marilyn Monroe wore in The Seven Year Itch. I thought it was sad that the collection didn’t become a museum as it had some really nice pieces in it that needed to be preserved.
So today, I was browsing through music concerts in the Phoenix area for the next 5 months and saw that Debbie Reynolds was going to be doing a performance nearby and was wondering what it was on. When found the venue and clicked on her name, it took me to her Hollywood collection shop, so I started browsing through the different section to see what she was selling, as I was curious from when I had watched the show. If only I had a spare $5-45,000 to spend on this stuff! Lol, sadly most of the stuff was out of my price range. But it was nice to look. Here were some of my favorites:
Barbara Stanwyck’s robe, designed by Edith Head, for the film The File on Thelma Jordan
Debra Paget’s dress from The Life, Loves and Adventures of Omar Khayyam
Grace Kelly’s safari outfit from Mogambo
Jean Simmons green period dress from Young Bess
Ingrid Bergman’s period dress, designed by Adrian, from Dr. Jekyll and Mr. Hyde (also worn by Angela Lansbury in Gaslight)
The other sad thing is that Debbie Reynolds’s collection would’ve been great if it had opened, as there really isn’t a large number of Hollywood-themed museums. There is The Hollywood Museum in Hollywood, at the site of the old Max Factor Building, where the makeup giant did up the stars. I totally want to check this one out whenever I finally get to visit Los Angeles. Aside from this place and the museums that the big name studios still in Hollywood have (Paramount, Universal, Fox etc) and a few celebrity museums scattered around the country, there aren’t a lot dedicated to film costumes. This is why I am so excited that this Hollywood Costumes exhibit is coming to Phoenix March – July 2014! The exhibit was originally created by the Victoria & Albert Museum in London, and is only showing in Phoenix on the West Coast and Virginia Museum of Fine Arts in Richmond on the East Coast. So if you can make it to either of these places to see it, I recommend it!
I fell in love with this Shakespearean play in middle school, after having watched Kenneth Branagh’s 1993 film version (above photo to left). I think this version of the story displays the best of the Bard’s wit, humor, drama and romance. Not only did it have a stellar predominantly British cast which included Emma Thompson as Beatrice and Branagh as Benedick (who were married off-screen while filming the movie, which is part of the reason they work so well together), but also Brian Blessed, Phyllida Law, Imelda Staunton, Denzel Washington and Keanu Reeves. And to this day, I can still remember the Balthasar’s song from the play/movie. In fact, that’s what I was singing in the shower this morning after watching a little bit more of Joss Whedon’s 2013 film version. Though I love the Branagh version, I must say that I am very impressed with Whedon’s black & white interpretation. I thought most of the selections for the cast were spot-on, plus I think they did even better with the casting of Don John, the main villain of the piece, with Sean Maher in Whedon’s version as compared to Keanu Reeves in Branagh’s. Maher comes off as an underhanded despicable bastard (both literally and figuratively) meant on destroying everyone else’s happiness, whereas Reeves is more a whiny half-hearted rogue. Plus every time I see Reeves from around this period, I can’t take him seriously because I always think of him in Bill & Ted’s Excellent Adventure. He thankfully has improved as an actor since then. Many other famous actors such as Sir John Gielgud, Sir Derek Jacobi, James Earl Jones and David Tennant have played Benedick. Tamsin Greig and Catherine Tate, who are two of my favorite British comediennes, have also played Beatrice.
For those who have never read or heard of the play, I will include a brief summary. The Folger Shakespeare Library in Washington, DC explained it the best: “Much Ado About Nothing includes two quite different stories of romantic love. Hero and Claudio fall in love almost at first sight, but an outsider, Don John, strikes out at their happiness. Beatrice and Benedick are kept apart by pride and mutual antagonism until others decide to play Cupid.” I like the characters of Hero and Claudio, but as I and I’m sure many others will agree, that the best part about the play is the verbal sparring between Beatrice and Benedick and the way Leonato, Don Pedro, Claudio, and Hero work together to convince the two that they are actually madly in love with each other. I love watching Benedick and Beatrice in both film versions, physically fall down and trip themselves up when their male or female associates discuss how they secretly love each other but are too proud to admit it.
Shakespeare borrowed elements from Ariosto’s Orlando Furioso and Edmund Spenser’s The Faerie Queene to create the story. The actual play is set in Messina, Sicily, which makes sense as Don Pedro is actually the Prince of Aragon, which was the Spanish ruling family that controlled Sicily during Shakespeare’s time. However, Branagh’s version is set in Tuscany and Whedon’s in the director’s mansion in modern day Los Angeles. The meaning of the title of the play, which I didn’t think much of before other than it being about the whole business of Hero’s alleged unfaithfulness to Claudio before the wedding. However, Shakespeare instead decided to use a play on words, as explained in this book blurb:
“In Shakespeare’s day ‘nothing’ was pronounced the same as ‘noting’, and the play contains numerous punning references to ‘noting’, both in the sense of observation and in the sense of ‘notes’ or messages. A third meaning of ‘noting’ – musical notation – is also played upon (eg in Balthazar’s speech ‘Note this before my notes/There’s not a note of mine that’s worth the noting.’) However it is a fourth use of the homonym – this time as ‘nothing’ – that is the most controversial element of the title. ‘Nothing’ was Elizabethan slang for the vagina (a vacancy, ‘no-thing’ or ‘O thing’). Virginity – a state of potentiality rather than actuality – is also much discussed in the play, and it is these twin absences – the vagina and virginity – that lead, in plot terms, to the ‘much ado’ of the title.”
Quarto for Much Ado About Nothing, 1600
Shakespeare’s play was probably written in 1598-99 and the first printed version of the play was in 1600. That book was called a quarto, which according to this website is:
“a sheet of printing paper folded twice to form eight separate pages for printing a book. To better visualize a quarto, hold before you a standard sheet of typing paper and fold it as you would a letter. You now have a rectangular piece of paper. Fold the paper again to form it into a square (or near square). Now unfold the paper and lay it flat before you. Notice that the sheet of.paper now has four sections on one side and four on the other. In Shakespeare’s time, printing paper was folded in this way. Each of the four sections on one side became a page, and each of the four sections on the other side became a page. Thus, there were eight pages in all. Each of these pages was about a foot high.”
These quartos were produced quickly and cheaply and 18 out of 38 plays appeared this way, and were probably produced without his permission. According to the Folger Library, “they were not much larger than modern paperbacks. About half of the early quartos list the playwright, Shakespeare; almost all give the name of the acting company that performed the play.” The much-larger Folio versions, whose pages were about 15 inches high, was first published in 1623 and included thirty-six of the author’s plays. They included eighteen plays that had never before been published.
First Folio collection of Shakespearean plays, 1623 (reader’s note facing the famous portrait is by poet/playwright Ben Johnson)
My favorite bit of dialogue from the play is when Beatrice & Benedick first meet at her uncle Leonato’s house:
I wonder that you will still be talking, Signior
Benedick: nobody marks you.
What, my dear Lady Disdain! are you yet living?
Is it possible disdain should die while she hath
such meet food to feed it as Signior Benedick?
Courtesy itself must convert to disdain, if you come
in her presence.
Then is courtesy a turncoat. But it is certain I
am loved of all ladies, only you excepted: and I
would I could find in my heart that I had not a hard
heart; for, truly, I love none.
A dear happiness to women: they would else have
been troubled with a pernicious suitor. I thank God
and my cold blood, I am of your humour for that: I
had rather hear my dog bark at a crow than a man
swear he loves me.
God keep your ladyship still in that mind! so some
gentleman or other shall ‘scape a predestinate
Scratching could not make it worse, an ’twere such
a face as yours were.
Well, you are a rare parrot-teacher.
A bird of my tongue is better than a beast of yours.
I would my horse had the speed of your tongue, and
so good a continuer. But keep your way, i’ God’s
name; I have done.
You always end with a jade’s trick: I know you of old.
You know, I never really noticed until I started watching Joss Whedon’s film adaptation that Beatrice and Benedick were probably in love with each other before, but things did not turn out so well. This makes their love-hate relationship more meaningful, especially in that last line above mentioned by Beatrice, “I know you of old.” I guess I always just thought they casually knew each other because they were in the same social circles. If you are interested in further commentary on the play, check out this article, which I enjoyed reading while researching this post.
Ten days ago was 2 yr anniversary of having a blog on WordPress! Lol, I’m a little behind in celebrating that, but I’ve been swamped at work and at home. So for all my followers, thank you for being patient and checking out the blog!
Last Monday’s (Oct 28) Google Doodle is dedicated to Edith Head, one of classic Hollywood’s most famous costume designers. The Doodle celebrates her 116th birthday. I learned of her when I was in high school, as she designed so many amazing costumes in from the 1930s-70s, and I prefer classic movies. She got a Masters Degree in French from Stanford University in 1920 and started her career teaching French before she bluffed her way onto Paramount. She started working for Paramount in 1923 and was the head of the department by 1938. Edith stayed there for 44 years, before moving on to Universal Studios. According to this article on the CS Monitor, “Despite making a living dressing others, her personal style also lent her a bit of notoriety in Tinsel Town. She favored pulled back dark hair with short blunt bangs, and was never without her thick, black-rimmed round glasses.” She wore her trademark glasses, which were not sunglasses but rather blue tinted regular glasses to help with how a color would photograph on film.
Edith made Jean Harlow and Mae West sex symbols, and glamourized Marlene Dietrich in tailored suits. She outfitted pretty much all the Hitchcock women: Grace Kelly in Rear Window and To Catch a Thief, Kim Novak in Vertigo, and Tippi Hedren in The Birds and my favorite of her films Marnie (with Sean Connery). She is quoted to have said this about Grace Kelly, “I’ve dressed thousands of actors, actresses and animals, but whenever I am asked which star is my personal favorite, I answer, ‘Grace Kelly.’ She is a charming lady, a most gifted actress and, to me, a valued friend.”
Edith dressed Barbara Stanwyck in one of my favorite film noir movies, Double Indemnity. Even though I’m not a big Audrey Hepburn fan, she did help create her iconic looks in films like Roman Holiday and Breakfast at Tiffany’s. She costumed over 750 films. She was nominated 28-35 times for an Academy Award and won 8 times. Her final Oscar was for the 1974 film The Sting, with Paul Newman and Robert Redford. She was the inspiration for the Disney/Pixar 2004 film The Incredibles character, Edna Mode.
Mae West in Go West, Young Man 1936
Barbara Stanwyck and Fred McMurray in Double Indemnity, 1944
Edith Head and Elizabeth Taylor with a dress from A Place in the Sun, 1951
Grace Kelly in one of my favorite dresses from To Catch a Thief, 1955
Paul Newman and Robert Redford in The Sting, 1974