· Naughties
· · 2006
· · · February
· · · · 23 (2 entries)

Koyaanisqatsi · From time to time, Phil Glass goes out on tour with his en­sem­ble, play­ing the Koy­aanisqat­si sound­track live in front of the movie. We went to the show this evening and re­al­ly en­joyed it. The movie ages rea­son­ably well (although the ac­tu­al phys­i­cal print was a lit­tle tired), with the ex­cep­tion of the over-long, over-excited, un-subtle The Grid seg­ment in the mid­dle. I find I can route around the ham-handed industrial-civilization-sucks mes­sage and en­joy the el­e­gant very slow cuts—yes, look at this moun­tain (or ma­chine, or cloud­scape, or unglam­orous middle-aged face) for much longer than you thought you want­ed to and re­alise that there’s more there to see than you thought. And there’s a mes­sage in that too, about time and at­ten­tion, that seems more im­por­tant to me than the oth­er. As for the mu­sic, Philip Glass may not be ex­act­ly main­stream, but he’s not con­tro­ver­sial any more. I have a bunch of his al­bums and think that both Glass­works and Mishi­ma have some 5-✭ track­s. The band plays beau­ti­ful­ly (5 key­board­s, 3 wood­wind­s, one so­pra­no and some of the in­stru­men­tal­ists sing too); Phil doesn’t con­duct but gets to play the juicy low slow at­mo­spher­ic­s. The sound was clean and pure and solid, too. I re­al­ly en­joyed the crowd, the last cou­ple of times we’d been at that venue it was for the op­er­a, and the Phil Glass crowd was funkier, bet­ter dressed (not more ex­pen­sive­ly, bet­ter), and (dare I say it) looked more in­tel­li­gen­t.
Love Your Children · Be­cause, like Ele­na, they might be gone to­mor­row. Two nights ago when I put our lit­tle guy (the same age) to bed, he was be­ing dif­fi­cult and I was rushed so I by­passed the hug-and-kiss. No longer. It sounds like Ele­na and her par­ents didn’t by­pass many. I know Elena’s dad. I can’t be­gin to imag­ine what their world’s like just now, but a whole lot of us are feel­ing pret­ty emp­ty.
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