clap clap blog: we have moved |
HOME |
ARCHIVES |
E-mail Me: TSC | MP3
 
THE DAILY ROUTINE: Flux | Hillary | Zoilus | Jesse | Sasha F/J | PopText |  Tom B. | Popjustice | Bryan |  Anthony Recidivism | Boing | Stereo | Chris | Tiny |  Todd | DYFLY? |  Brooks |  Banana | Le Fou PUBLICATIONS I LIKE: Salon | PF | Stylus | OHINY | Gawker | Wonkette | Defame MP3BLOGS: Robots | Grammophone | Tofu | Bubblegum | Ticket | Catch | Douglas | Daughters | TTIKTDA | Byron | IHOP I SHOULD CHECK MORE OFTEN: Nate | be.jazz | Rambler | Some | Cyn | Simon | jaymc | Matos | Casper Gardner |  Keith | Marshall | No Fun | Diva | Waking | Marcello | Jakarta | A. Ross | Whatevs | Gutter RIP: NYLPM | Vadimus | Flyboy | TMFTML | Harm | Black Table |  Nick |
Monday, February 07, 2005
This isn't the MIA post, but let me offer you a brief equation formed at the show Saturday night:
(Chorus of "Pull Up The People") = (Ending of "My Man's Gone Now") Specifically, the way she says "poooooooor" as compared with this bit from the below-referenced Gershwin article: Performing in the climax of that scene, the soprano Ruby Elzy was widely praised This is it: Gerhwin to MIA, beautiful sadness transmogrified into giddy triumphalism. The blues' variations on tragedy moving through jazz's mimesis towards hip-hop's all-embracing comedy. And standing on top of it all, here we have MIA, mimetically describing tragedy in the service of a very real comedy. In a glittery lightning-bolt pantsuit, no less. (Pic via Amy.)
|
|