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|Wednesday, November 3rd, 2010|
|Saturday, November 8th, 2008|
|i miss sarah palin
that shit was comedy gold, like Dan Quayle
come back in 2012 so we can beat your behind back to Wasila, ya hear?
that busted puta...
|Wednesday, November 5th, 2008|
|And the country said
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks
Thanks, but no thanks....
|Tuesday, June 3rd, 2008|
|I dont care what happens
Hillary Clinton is a bad ass woman, and I dont care who hates her
My geeky letter to her, sent via hillaryclinton.com
Dear Hillary Clinton,
How amazing it must be to feel the love and outpouring of affection from the crowds of people gathered around you. At the same time, the immense responsibility and historical significance which accompanies your declamation. To be conscious of this duality within you as you live it, as you say it, as it transcends into the history books not as the culmination, but as the continuation of the great social achievement that we as Americans can accomplish, male or female, must be awesome indeed. Throughout this process, you have shown the world that you are indeed the fighter that our nation needs. You never gave up, even when the numbers didn't add up, when the going was tough, when the pundits kept repeating that you should drop out, that there was no way to make it, you continued to drive forth relentlessly and prove your worth in the best way humans can prove themselves: By doing and by continuing to hope. Both you and Barack Obama have managed to turn a culture that glorifies jaded cynicism and allowed us to once again be invigorated by hope and inspiration, and that is an intangible result that these primary contests have inspired. Fears that the party is divided because of this are folly: we are invigorated. We are all too happy to raise our voices along yours, along Mr Obama's, and along those of the millions of people in this country that still believe that we have this amazing opportunity to lead the world in an enlightened way. We are justice! We are tolerance! We are optimism!
We thank you for all you have done up to now, and what you will continue to do for our nation and its people. We echo your thoughts, in our hearts and through our voices. You have given America back to America, and there is no greater deed that a citizen can do for their country.
|Sunday, April 27th, 2008|
|3somes amidst a fight
So call me silly, but I am still reeling a little from this microphone thingie. I know, I should get over it, no cats were killed in the process. But really, its getting to the point now that we cant really experiment anymore. The art form is too unstable to get too cute with it. Its like introducing a third party in the bedroom when your relationship is in trouble. You can only have a 3some when everything is 100% perfect, otherwise it brings out all the cracks in the armor. We're raising a generation that is not just forgetting, but really not knowing what the artform is all about, and just like when Jean Pierre asked me 5 years ago "Kathleen Battle sang Susannah? I didnt know she sang mezzo roles" (since he saw Bartoli do it...hence it leads to this sort of confusion, and he's well informed as it is.) There's going to be a point when people dont have an understanding of what it an experiment and what the real thing is.
Which again leads to me question whether I myself know what is up. Is our golden age (the 10s, the 50s, the 70s) even come close to the original intension of the works. Milanov is a dead fly onstage next to callas, but callas is stoic next to scotto, and scotto is quite unathletic next to dessay, and dessay will be fat next to Kate Mossserina of the future. And we will all look at the Munich productions as old fashioned. Really, just look at the Chereau Bayreuth ring. Or even the Wieland Wagner production. They were spat at when they premiered, but now, theyre pretty much old school, even boring now. Hindsight is becoming 20/14, and I find myself saying "sure that was crap, but I survived it and I heard 3 notes I liked/Bravo!" and now I am feeling that things are basically sneaking by me. The management reads sad enthusiasm as success and the will of the people, and strange decisions are made to interpret modernity. I basically see Dessay's characterization and ability to adjust to the director's desires very professional, but what is that have to do with acting a part? If the Amelia in Un Ballo is asked by the director to vomit on her breasts and feed it to the Ulrica, and the singer does it, kudos to the singer for being able to accomplish this, but what does it have to do with the piece? So hence, how does that make anyone a great actor/actress if there's no relation to the work at hand? But its accepted and put forth, the dynamics change, and perhaps not for the better. What dish as we dealing with here, and why arent we cooking it correctly.
My biggest question, and really this is a post from me, to me, in self analysis...Why is modernity absurd? Why are we in a big modern oversized kitchen in order to convince today's audience that we're in the witch's lair? How does this make more sense to anyone? Should the art form convert itself to the view of what the powers that be feel we want? Frankly: why is this new/expensive dimension, being attend to an artform? And really, why is opera virtually the only art form suffering from this? I see some things in ballet too that make me raise an eyebrow or two. this lack of faith in the work, this need to change something to update/to bring to life because it surely cant be done today...because we surely could not believe today, understand today, get excited about today. Its a running commentary about who is putting the show/who is running the show/what the show is, and how I should feel about it. If you dont believe in it, and you're staging it, then I automatically cant accept it either.
Finally, the idea here is that opera in its natural state is flawed, and that it should change. So it is, from the get go, defeated. No one likes a weak thing, and so it will die. In its ipod filled splendor, on a HD live feed, I saw a lot die and some still survive. But how the weak thing was exhaulted, so it was encouraged, and accepted as progress. Perhaps it dies a little for me and this strange thing reawakens in some. In the end, I must appreciate the appreciation of beauty by anyone. A pig is a beautiful pig when it notices the greatness of its landscape before it goes back to munching on garbage, even if the landscape is a photo and the pig lives in a small cage. And alas, the new people will get to know this as art, recognize it as no big deal, and continue with life. Until then, its me and my new Roland Hayes CD. which of course its not the real deal because its some piece of plastic of the original pressings, and I am sure much is lost.
But I look at my landscape and rejoice of the little I have. Oh so little.
|Thursday, April 24th, 2008|
|Wednesday, April 16th, 2008|
|No more BFF Jill
FYI: I have deactivated text messaging from my phone. I see no reason why i should pay 20 cents per text, or any reason why i should be on any unlimited plan so yalls ass can be passive aggressive by "communicating yet not talking". Take that shit to your shrink. If you want me, call me. If im not there, leave me a vmail. its simple. If you cannot muster the energy to open your mouth and let the air carry the sweet tones of your voice into the receiver, chances are that I dont wanna have anything to do with you anyway.
|Thursday, March 27th, 2008|
im so not corporate...
|Friday, February 22nd, 2008|
|Obama is worrying me
in singing, sometimes you can hear someone singing notes from "above", looking down and pressing the placement where the notes are. thats the kicker. then you hear another singer singing the same thing, and pretty well too, but this time, you sense that they're under the notes, looking up, and reaching up for them.
look at her face, look at his face. who is really in control here? who is really on top of the game and the psychology of it? who is digging for the best sounding answer, rather than knowing the answer inside out?
i worry about Obama vs McCain. Her experience, even when she's in the loosing side of the argument, shows.
Team Clinton/Obama 08 (in that order)
|Saturday, February 9th, 2008|
+Attila: (Roomates with the Diaz/Galvany Attila)
Jose van Dam (Attila)/ Gundula Janowitz (Odabella)/ Ignvar Wixell (Ezio)/
Franco Tagliavini (Foresto)
Chor und Orchester der Deutschen Oper Berlin
Wanker Records (2 cds)
|Thursday, January 3rd, 2008|
|Thursday, December 27th, 2007|
|email to Fox News
Yall know I never do this, but this is ridichttp://www.towleroad.com/2008/01/fox-radio-host.html
my email to the assholes
Dear Fox News folks,
I know what you're thinking: Another tired comment about Gibson's tirade on Heath Ledger's death. Well, its true, this is another one, sorry. But listen: I rarely issue emails like this one to a tv station because I feel it would just fuel the fire, but come on! Making fun of the death of a citizen on national television, for no reason at all, is beyond me. Death is a serious thing. When my father died at 53, it was devastating to me and my family. I could not imagine having some stranger spout mocking remarks about his death and life accomplishments. To those people reading this who may have had a close relative die recently: put yourself in this position. I didn't know Heath Ledger, I don't know what he died of, all I know is that he had a young child, he was quite young himself, and as far as we know, he was a decent citizen who worked for his money and was did not engage in public displays of frivolity (ie: spears et al). He was certainly talented and inspiring to a lot of people, which is quite an accomplishment in our jaded society. Making fun of his untimely death is deplorable, and I surely hope that any TRUE adult reading this message will understand what I am saying.
While I understand it's Mr. Gibson's job to be "controversial" or whatever his rating gathering agenda is comprised of, there is something to be said about being a decent person. The network obviously has not required him to make an apology about his statements. Frankly, apologies are only valid if they're honestly delivered, and we know that this would not be the case. So really, don't bother. I can only muse over the sad reality of today: How sad that Paris Hilton is a celebrity for no reason at all. How sad that a nationwide news network would put this man in front of a camera and insist this is valid news reporting.
I was raised to believe that we should look up to the men and women delivering news and commenting on the state of our nation. Maybe that was so 5 minutes ago.
We were better 6 minutes ago.
if you want to write your own, address it to:
firstname.lastname@example.org, email@example.com, firstname.lastname@example.org
|Monday, December 24th, 2007|
my hair is long. too long for comfort
im 31 in less than 2 month. Old age, come to me.
-road trips: Aida in early February at Opera Carolina (any of my NC people interested?)
-march: new york hell. its going to be call, opera companies are going to close. I am there.
god...i really dont like updating in this thing anymore. I just ran out of posting juice. What happened?
|Friday, December 7th, 2007|
|what I have to offer
is not bound on technique, and thats the big flaw that will slice this floor one day. It occurs by exhaustion alone, and somehow I feel that the process itself cause a bloom of sorts, and if speaks to some people. So fine. Never one to go for plurality. I don't expect my work to be universally praised. I am and will never be John Steane. I never studied, I absorbed the sound and it was thus filtered by my personality. It may not be relevant to all, but it is unique. And I want it to shine just as that. This is pie I made, I grew the raisins. Its a little burnt, but this milk will help.
Weak me, tonight. Weak everything, tomorrow. It is perfect since its wrong, wordy, talky. It doesnt need to impress. it doesnt pretend to be so. I want you to exist and spring the existance of others. I dont want to be paid for the conversation, I want to be charged for a thought.
Should I even spell check this post.
|Thursday, December 6th, 2007|
|Monday, November 26th, 2007|
Saw what was probably one of the best horror movies on saturday but its score of 5 boiled down to a 3.5 due to poor CGI.
Also, its official. Lisa Gerard ruins every movie with the wailing. This is of course not the fault of the divine Lisa, but directors who forget that horror movie audiences can go from screaming to giggling in a snap. Bad choice.
The ending is true horror. In the best sense of the word.
Don't miss the Mist.
Guess what? I locked myself out of your house just now (1:30 am). Fun part is: i have your table. Part of it is in your house, the other part is now in my house (emer effer weights a ton), and tomorrow morning (prolly 9 am ish) I will be calling yo ubecause you need to tell the concierge that I need access to your key. I cant believe this has happened. Ugh
|Wednesday, November 14th, 2007|
|ohime, morir mi sento
leaving now...i rather be there early than late.
omg why is she so damn scary?
every one hum casta diva for me starting at 3:55 pm today I need to bring this home
|NY 11/10 through 11/13. insanity
11/10 arrived to ny at 10 3 pm and managed to make it to matthewmarks and get the keys for Will's place from Philip. the way to Will's pad was complicated by some rail repair issues, but pookie has a college degree and he figured it out. Talked with Adam for a bit, and eventually ended up hanging with Justin at riceny.com well into 11 pm. A nice quiet walk in the night was basically what I needed to settle my brain. the next day, Sunday, was the big Aprile Millo interview, and I had to relax. Came back to Will's/talked to him for a good hour and passed out. The games would start on Friday.
woke up early and wrote 4 more questions for Millo/Rewrote 5 more. I have this incredible feeling of "in less than 6 hours, this will all be over thnx god". Philip and Bill call, we set up a date to go to lunch at a southern cooking restaurant. Since I havent had southern food in GA, i jump at the idea to have my first exposure to it in a civilized northern setting. As I am buying the cat fish, i get the call. Its Millo: She is sick and has to cancel. I tell her to go ahead and do what she has to do in order to perform on tuesday. We agree to reschedule for 11/14 same time/same place.
Catfish is good. Philip and I basically hang out for the rest of the afternoon and agree to meet up with Bill later for a movie theater screening of BLADE RUNNER which ive never seen in its entirety. During our walk, we run into sophia coppola and Johnny knoxville. Philip also took me to the Frick house. Just when I thought that Mariah Carey's pad on cribs was ridiculous...ha...thats a maid's quarters compared to this. we walked around some more. OMG we end up in front of the DEMASK store (demask.com) and as some of you may know, I used to googoogaagaa over their catalog years ago. Plus I really do need a corset. so we walk in, talk to the sales guy and I keep trying to explain to him what I need. He goes "hmmmm you should take advantage that we're empty today". That should have been a warning sign but I missed it. So all of my fetish people reading this: you know that if you havent been corset training for, say, 4 years, and you're walking into a store that sells them for 800 bucks+, the sales guy saying "Oh that one is a size 3, and it SHOULD fit you" is not good enough to make to make you buy it. You got to try things on. Also, who knows what the fit of their manufacturing brand is. my thoughts here were to try a couple of pieces on, figure out the best fit, and do some online shopping in their website to most likely return later int he week and either place an order or buy it on the spot. so I say: "well, do you have any corsets already laced so I can figure out the fit? I am here all week" Cut to him pulling out this odd sentence : "well, thats a really odd set of cards you're holding in your hand"
"you're in essence asking me to engage myself in a rather time consuming process of lacing a corset just so you can try it and do what we call ' a vanity fitting'"
"do you understand?"
80% of my mother wanted to go all apeshit, but the 20% of "ohhhh i get it, you work at junkman's daughter, you're 55 but you still work here because 'you can wear whatever you want' for 7 dollars an hour" kicked into my brain and I realized that NY FOLK and ATL FOLK are the same monkey with a different dress. so I just nodded twice and said "oh no, i totally understand where you're coming from" I turn to Philip (who cant believe he just said all that to me) and I go "hmmm what time is it? 6 pm...and the movie starts at 9? well we DEFINITELY need to leave now"
the sales guy I think figured out that he had sort of fucked up and gave me this "omg this is our flyer/take it"
this is our flyer...wtf. i took it and we left. I just couldnt believe it.
Blade runner, btw, was fantastic.
First night of Norma
Where did the druids get the satin?
Oh man, was last night confusing. The Norma maniac in me wanted to stand up over and over and over and say "WTF is going on? sing bitch!" and the other part of me, the sober, optimistic part of me wanted to concentrate on the fact that it IS a lovely lovely voice.
The production premiered in 2001 with Zajick and Eaglen. I would do much service to it by describing it, so I wont. Let it suffice that visually it got in the way of the situations, major aspects of the props were deleted (no norma striking the gong, no big funeral pyre), and really I dont understand how a major house would have looked at those sketches approved it. Nothing really made much sense, but I dont think it was a "concept" production either. It was mosly just really ugly, colors didnt work well...the floor was shiny..Think of the "claw" hairdoes that girls used to have in the early 90s. Poofed up bangs, and feathered on the sides. it was 'why?"
Maurizio Benini was conducting Norma like a bat out of helll. I am convinced that everyone onstage wanted to go home rather quickly last night. Hasmik Papian has a lovely lovely voice, but as we all know, norma is a bit more than that. Time after time after time, Papian's middle and lower notes were not up to par in the sonority department. They were there, but not as big as the top (which was decent norma size). The voice is basically too lyric and too sweet to be a convincing norma. Now, even then a singer can take what she has and make something work. This was not the case last night. Sediziose voci recit was nervous, the dig down to the chest was attempted and this weird cough noise took place, almost a warning to the singer that 'she best not try that again". So she's more lyric, so SELL casta diva, right? hmmm. choppy, little arch, its like she didnt negotiate the pacing with the conductor, who was flying through it, so they were sometimes out of synch. Some phrases were inexplicably delivered longer than others. Things that should have been one column of sound were divided, it was all rather strange, she held the last note for years, it was gorgeous, but a case of "well why didnt you do the whole thing like this?" The Cabaletta was a disaster in my view, but I think much of the blame goes to the director. She steps forward and delivers it like a mixture of the Habanera (think hand on the hips, come do me) and Adina in L'elisir d'amore (traveling on this little dance from the left to the right). she had this weird grin on her face as she did this which was so incredibly disney, i couldnt believe it. She had managed to make norma into an ingenue part. Oh but maybe we could forgive the singing for it? not really, the runs were smudgy, it wasnt real bravura singing, but a gentle attempt that delivering notes and mostly succeding. It was all very strange. Polite applause from me. Some people from the Armenian Consul behind me were freaking out.
Before her entrance, Franco Farina had cut another oddness as Pollione, but one that I at least could understand. Its a big voice, but it goes off pitch rather quickly. its basically the meat of the sound that you wanted to hear, finally you heard something that was honest to goodness VOICE. we want to make cake, here's the flour. however, the oven is uneven. (In papian's case, we dont have flour..we have chalk..and the oven is made by mattel). Farina suffers a lot in the top register and the alternate extreme high notes were not attempted. It was definitely a B Pollione, but at least one that satisfied some requirements. His Flavio, Edoardo Valdes, is a character singer how really cut the orchestra way better then just about anyone onstage. Its funny when THAT happens..
Zajick steps in and we hope to have the old style back. We're not dissapointed. She shows what bel canto is: she acts with the voice, she puts color into the phrases that matter, she phrases well (ie: its like when you write a sentence, she completes a full thought each time). Still I feel she holding back a fair deal of voice here, when Farina joins her in the duet, he does not bother to do this, he sings out a lot and in the final note he holds it way longer than she does, which makes her turn to him with "say what?" Regardless of how musically blah their duet is (bellini made no secret that he didnt care for it) I was able to get a fair idea of the tension between these two characters. Zajick is 8 sizes larger than Papian, and I got a sense of acting, relationship to the text, relationship with the other character onstage, relationship with the staging (she loves cripples) . she somehow delivered a character with the little she had to work with. But I thought the consensus was that only skinny people knew how to act?
THe matchup between Papian and Zajick showed up Papian's flaws all the more. Its hard to put your finger on it until you did some sort of checklist: Zajick bigger voice, Zajick more in control of the voice, Zajick better acting, Zajick better understanding of the situation, Zajick makes singing mirror the situation, Zajick acts better, Zajick better coloratura...OMG it just went on and on. Papian really looked like this skinny lady next to her who had little idea who she was. I also said this over and over last night: NOWHERE DID I EVER GET THE IMPRESSION FROM THIS SINGER THAT HER CHARACTER WAS AN EXTRAORDINARY WOMAN. ever. she could have been a mayor maybe...but not a high priestess, someone that was elected to the post for a short period of time. It was so dissapointing in so many ways. The one thing that really was nailed is the fact that when she was singing with little orchestration, she DOES have a beautiful voice, but its really a Contessa voice right now, not Norma. Its gotta be dirtier for norma, you know? when Pollione comes onstage, the orchestra goes "OH SHIT, YOUVE PISSED OFF NORMA, YOU ARE GONNA GET IT NOW" and then Papian's body movement and vocal delivery said "you vill get this kind warning"...it wasnt the thunder, the fear, the destruction, no one was trembling under her. I mean..wtf. I remember when i saw martile rowland do this mess in Atlanta back in 1994 and she SOLD IT, hell they all sold it...what happened here? it was very soft soft kleenex charming commercial.
Again I noted that Farina and Zajick cut a presence onstage. They're hefty people, you can see them on a big stage, like chess pieces on a chess board, Between them was Papian in a size 6 dress looking like a lost plastic GIJOE. just very bizarre
I know im kind of freaking out a little because ive been wrestling with what I saw all night. I wanted so much to like it, but it just didnt gel for me at all. and something as universally sacred as Norma you d think they would have been careful as to who they cast and made sure they at least tried to convince you onstage that this was the real deal (fake it till you make it) but it really was just below, and its true:without norma, the opera really just falls completely flat.
The Bass scenes were weird ( Vitalij Kowaljow) too in the sense that the staging was just , almost fruity to me. the blocking, what the chorus was made to do...ugh wtf. are we in high school musical? the music is so hushed and elegant and really poignant (this is, after all, the plight of a whole nation against a greater power) why have them play with toothpicks like that? And this is a John Copley production? not understanding
I would say more, I would attempt to describe the mira o norma moment (which was actually one of the few times Papian sounded committed) or the strange gong sans gong moment, or the 'lets RUN to the flames so we can go home" dingo...It would be too exhausting. I am hoping Teatro Grattacielo helps me out tonight.
L'oracolo: 3. L'incantesimo: 5 (outta 5)
The doubts that Norma caused in me on monday (that opera hates me) were all done with today.
At 3 I met up with Soprano Brenda Harris, the artist whom I think is one of the most underrated singers around today. She really is the closest thing to Leonie Rysanek morphed with Joan Sutherland that I have ever heard (just to give an idea of what she's capable of). As always she was amazing to talk to, we caught up with what we were doing (she just finished a run of toscas and is now wondering if sieglinde is next) We had a wonderful meal at cafe Mozart (amazing bean pole stew, and cheap!) and then I walked her to her car. We stood by her car for another hour. We kept talking and talking about singing/teaching today, and this whole issue that today's singers give too much "vanilla". best quote of the night "I mean, come on guys, give me something. Offend me. I am ready to be offended" Our talk really had me on cloud nine for most of the day/night.
So we come to bummer #1
. Brandon texts me with news that Millo is still ill and has cancelled. The newly arrived Mike, will and Phillip go into Avery Fischer Hall to see leoni's l'oracolo and l'incantesimo. Before the performance started, we were told that a "japanese soprano" would be covering for MILLO (wtf, cant believe the announcer couldnt look up her name) The soprano for both operas ended up being Japanese soprano Asako Tamura. She walked onstage wearing a DRESS (i mean..damn) and her hair was beaten into submission with untold amounts of shelac into prom curls. Almost beehive big. She is young and lovely and cut a striking figure, but you were instantly concerned that here came a lyric asian soprano that may maybe end up singing a couple of Lius at the met and dissapear. Oh no. out came this, surely, lyric voice but it had a spinto kick and VOLUME omg. She at times harked back to an Italian Lyric with a kick, think Carla Gavazzi and Marcella Pobbe, but cleaner of course. But the attack on certain notes was definitely very "I have studied my recordings and I aint trying to sound like Renee".
We started with the once popular/now nearly extinct L'oracole. I love seeing people's first reactions to that opera, with its three loud as hell chords and rooster letting it rip. everyone jumped. Its an incredibly loud work. A lot of crowd scenes, and in the middle there is basically this odd romance/tragedy and murder that happens in it for reasons that really make no sense. I think we're supposed to attribute it all to "those crazy asians" and just shake our heads at the idea that the big tragedy is the fact that this aint nothing but another day in the life of these people and no one cares because they are so many of them/etc. gong. I mean, I do find it moving because of all those concepts. its very "man vs society vs the drunk". I personally would love to see this work staged and be given its due chance. (if American Tragedy can get the funding...). L'oracolo didnt do too well with the QOPers (except for me, i love it) and one mysteriously dissapeared after it. TIRED...
Too bad so sad for him, because the second opera L'incantesimo, is truly exquisite. Here all the singers were singing as if inspired, and the orchestra wrapped them on that sexy 1940s Italian post flapper glamour ala Sofia Lauren. I always find L'incantesimo to be more overwhelming than L'amore di tre rei. The score is so lush, the story so archaic yet impossibly glamorous. Its just sexy sexy music. I read the insert in the program and do agree that it is a bit of an italian Frau Ohne Schatten. Everyone in the cast was strong, and Tamura was truly able to ride the wave of sound without much apparent forcing, even managed a gorgeous dolce high C piano, all wrapped in this Frenish tone. Without having heard Netrebko live, Id much rather see this girl onstage anywhere. The conductor's baton, btw, almost got stuck into her prom hair do, it was more gay that we could have hoped for. After the performance we waited for Tamura to come out so we could brava her, she came out after a 30 minutes with 9 bouquets, 4 family members (gong) and 2 suitcases. We instantly bust out with BRAVA. She was so shocked we were out there. She goes "you stand here for me? you wait for me? " and we were all "of course, you were awesome. gorgeous voice. Omg hi". she goes 'weallly???" and may god strike me down she started jumping up and down, her bouquets bouncing like crazy, and her family was all laughing and smiling...we were all like "omg wtf this is amazing". And then, she goes " i give you something you so nice" and SHE GIVES ME ONE OF HER BOUQUETS! the diva gave ME flowers.
Then...holy shit, then she goes "what you do? you singer? " and I say, no, I write for this magazine/i am interviewing Aprile" and then Mike (he such a troublemaker) goes "And he's really picky, so you know he totally loved you if he waited for you for an hour" and MAY GOD STRIKE ME DEAD she says:
"OMG YOU WRITE? WILL YOU DO ME?
(insanely long pause)
"I MEAN, WILL YOU INTAHVIEW ME?"
Cut to me: of course OMG ARE YOU KIDDING?
"Its my dream!"
she hands me a card, we do the brava/kissy thing and she leaves. She was so awesome and so cute. More on her:http://www.asakotamura.com/
Her website needs a little help, BUT I would say that one of our friends has worked with her in Sarasota...QOP 2 degrees of separation?
Afterwards, we all had sbarros (from class to ass)
and all of this just on a Tuesday...my god.
Today: MILLO INTERVIEW (dont all cancellations come in 3s?)
|Wednesday, October 17th, 2007|