Author Archives: asher

The Evolved Self Eats Crappy Food (Sometimes)

I started to read this article by Benjamin Hardy on why most people will never be successful.

It caught my attention by leading with a negation of the equation “money=success”—a negation with which I concur.

A few lines further on, though,  this bit rolled in:

To be successful, you can’t continue being with low frequency people for long periods of time.

You can’t continue eating crappy food, regardless of your spouse’s or colleague’s food choices.

Your days must consistency(sic) be spent on high quality activities.

To which I say:

Shamelessly (and successfully) stolen from Know Your Meme.

The article in question goes on to prescribe a reasonably-okay definition of success centered on the verb balancing, but by then, Hardy had lost my buy-in.

Why?

Because success doesn’t necessarily mean never eating crappy food. Nor does it necessarily mean completely eschewing “low-frequency people” (whatever that means). Part of success is being able to roll with the punches (or, as autocorrupt appropriately suggests, “the lunches”)—to accept without judgment that the occasional bag of Doritos can be good for the soul, and that humility is a critical faculty.

Added a “More” tag because holy philibusters this is long.

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A Map We Can Never Lose, Or, The Dangerous Times Are The Ones When Everything Seems Fine

Content and language warnings on this one. Sorry, guys.

I’m in a weird place right now.

On one hand, I’m doing better than I have at this time of year in a while.

Fall and winter … okay, and spring … are hard for me. The whole range is loaded with difficult memories, and winter does all kinds of crazy stuff to brain chemistry. Crushing depressions studded with dizzying manias are more or less the norm.

While late summer is potentially the most dangerous season—that period when any Summer Mania shifts into agitated depression—but the winter is full of a trifecta of suck: crappy health, crappy brain chemistry, and really effing bad memories.

This year, I’m having less general trouble with the brain chemistry than usual. I’m not going to say that I’m not depressed; I am probably at least a bit depressed in the neurochemical sense. On the other hand, dancing and cirque-ing and having an actual supportive network of friends in meatspace helps, as does getting the house back in order and baking a bunch of delicious stuff all the time. Seriously, you guys, when something I cook makes D happy, the effect is weirdly magical.

Because of cirque, Winter Ballet Break doesn’t mean an abrupt halt to all the physical activity that helps keep the volume of the peaks and troughs in my brain chemistry a little lower.

I’m putting the rest of this behind a cut, y’all, partly so you have a choice about it, but also partly because it makes me feel less weird about writing about it.

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Oh, G-d, Y’all.  

In which Ballet Theater of Indiana identifies “The Nine Insufferable People You Meet Auditioning.”

Got to “the intimidation stretcher” and just about died. Yup, that’s me (though it’s usually unintentional, like, “Welp, not sure what to do with myself right now,def don’t want to make eye contact with with strangers, soooooooo… *attaches leg to head*”).

Sorry about that.

I should get back to homemakering now.

A Case for Un-Educational Viewing

I have occasionally been one of those annoying idiots who think to themselves, “Should I ever have kids, they’ll only rarely watch TV, and when they do it will be educational.

This morning, I realized that I’ve been a giant (if mostly internal) hypocrite about part of that equation.

It’s probably true that any child of mine wouldn’t watch much television. I didn’t as a kid. This was, of course, partly because we had strict rules about it at Mom’s house.

In reality, though, I didn’t watch much TV because I was usually either outside riding horses or bikes, skating, skiing, hiking, climbing, and just plain running around or was off at ballet class or gymnastics. When I wasn’t doing those things, I was usually reading, writing, or painting. Even when I did watch TV, I was usually drawing at the same time.

In short, I would take sitting around and watching TV as a sort of last-choice option when I didn’t have anything better to do. I’m not really great at enjoying passive entertainment (unless it involves watching horses, dance, or figure skating).

I like going out and doing things and running around, and I’ve noticed that many kids tend to like doing doing those things as well. It’s not that screen time is inherently evil. Rather, there’s a strong probability that any child growing up with me as a parent wouldn’t watch much TV purely because, in short, who’s got time for that?

The world is too full of trees that need to be climbed; of knees that want skinning.

So that’s not the hypocritical bit. It’s the “educational” part that I rather ought to rethink.

Here’s the thing: as kids, my sister and I had a fairly limited selection of videos, and literally none of them were specifically “educational”—and yet I learned a great deal from them.

We subverted Mom’s rules by watching hours and hours of movies at Dad’s, though we also read books aloud every weekend, went to parks and museums, and listened and danced to 20th-century jazz greats like Thelonius Monk and Charles Mingus. There were a few wildly inappropriate choices—I vaguely remember some version of Samson & Delilah that was terrible, had terrible music, and struck me as inappropriate, which is saying something, given that my parents pretty clearly regarded kids as Adults, Only Smaller®(1).

  1. Conversely, I often feel that adults are basically just Kids, Only Bigger®. I suppose it’s a matter of perspective. At any rate, I still have no idea what I’m doing as a so-called adult.

To be fair, most of these were seminal 80s coming-of-age movies that Dad bought because he liked them. We had The Explorers(2), The Goonies, The Labyrinth, and The Never-Ending Story(3) at our fingertips and we watched at least one of them just about every weekend(4).

  1. Curiously, I didn’t like The Explorers the first time I saw it. I think I might have just been too young to “get” it. I was about five, and very into The Rules, and very annoyed at the characters for flouting The Rules and risking Getting In Trouble. Later, it became one of my favorites, except [SPOILER ALERT!] for the icky kissing part. Because ew, gross, kissing, amirite?
  2. I eventually developed a crush on a character in every last one of these movies: Wolfgang, Data, Jared (because David Bowie, ffs), and Atreyu. Much later I decided that Sarah was pretty cute, too. It’s kind of weird to realize that my penchants for Nerdy Dudes With Glasses and Tough-Pretty Boys In Leather goes back that far, though.
  3. …Usually while gorging ourselves on soda, chips, and (in my case) gummy worms. Oh, yeah, and ice cream. At Dad’s place, we were all bachelors.

The Explorers taught me (among other things) that persistence and ingenuity can accomplish almost anything. It also taught me one of the greatest Dad Jokes known to humankind, the infamous “Rolls-Canardly Gambit.” I have been known to use this joke on bike rides.

The Goonies (and an entire childhood as The Weird Kid) taught me that it’s okay to be weird, and that sometimes it takes a weirdo who refuses to accept “reality” to solve big problems. Like, you know, saving the town from landgrabbing golf-course mavens and relocating everyone to “Murder City” (it takes a child to save a village?).

The Labyrinth taught me that imagination and reason aren’t enemies; that they can overcome adversity; and that mistakes are no reason to give up.

The Never-Ending Story taught me to believe with conviction in the unbelievable, and never to allow the outside world to crush my imagination. It also spoke to the power of grit in the face of hardship. It taught me that when your heart friend sinks in the Swamps of Sadness, you GTFup and keep pushing forward in his memory.

On the outside, it also kind of taught me that first impressions aren’t everything, since Bastian struck me as an insufferable, whiny git at the outset but grew on me. I think that’s what’s supposed to happen, though, as he learns to believe in himself.

We also watched anime, from which I learned to value stoicism, teamwork, protocol, and even moar grit. And teamwork. And protocol. Because Japan. Also Giant Robots.

Nature shows, red in tooth and claw, imparted important lessons about the distinction between the acts of predation that animals undertake to survive and cruelty, which is largely a human invention—not to mention the fact that suffering and death are parts of life.

Even when I was foru years old, nobody shielded my eyes when the gazelle or the bunny got whacked. I think that probably made me a better person than I might have been. Life is hard, and you have to practice looking at hard things if you’re going to face up to them someday.

We even watched some plain old cartoons, like Thundercats and (for some reason) old reruns of Thundarr the Barbarian(4). They were pretty good at imparting lessons about loyalty, kindness, empathy, and integrity (between awesome battle scenes).

  1. I’m not sure how this happened. This show was before my time, and yet there it was at some weird hour. Was there a programming exec secretly crushing on Ookla the Mok? Was someone magically beaming it straight into our TV? Was there a timewarp inside our TV (I favor this explanation; the TV was old)? Who knows?

There are any number of intentionally-educational shows that attempt to teach the same lessons I learned from a bunch of 80s fantasy-adventure flicks. Often, they fail: they’re trying so hard that they come across as preachy or even a bit smug. They’re like shredded wheat(5)—good for you (if you don’t have celiac), but tasteless and hard to swallow.

  1. I keep dying of laughter because Autocorrupt insists that this phrase should be “shredded what,” and I always hear it in my head like, “Shredded whaaaaaaat?”

You know what you get, though, if you iron your shredded wheat into crunchy squares and add a little oil (FAT! NOOOOO!) and salt (OMG! SODIUM! DEADLY!)?

You get Triscuits, which are freaking delicious (and still good for you: I like to eat them for breakfast).

So if I ever have kids, I’m not going to make them only ever watch the video equivalent of Shredded Wheat. In going to introduce them to Triscuits in the form of the 80s movies my Dad showed me, along with 90s classics like … um, are there any? I apparently missed the 90s entirely (sounds about right; I was too busy riding horses, dancing, abs playing the violin). I think The Lion King might make the cut. And, of course, they will know the joys of Harry Potter in both the written and the visual form. And eventually Monty Python, if I play my cards right.

And because it was one of the greatest gifts our Dad gave us, I will read them The Wind in the Willows, The Hobbit, andThe Lord of the Rings.

Probably none of these things are, in the strictest sense, “educational.”

But what a poor world this would be if all we ever ate was shredded wheat(6).

  1. Say it with me: “Shredded whaaaaaaaaaaat?!”


Balances 

Tried Aerial A’s exercise with my worst balance, coupé (avant), today. 

Holy Entrechats, Bournonville-man! It works! 

The exercise in question(1), by the way, is a painfully slow piqué into whatever balance.

So, with Turnout Mode Engaged:

  • point (with all your heart, all your mind, and all your soul) through the entire leg that’s going to be the supporting leg
  • keep the hip socket engaged 
  • soft demi-plié the other leg
  • keep the hip socket engaged 
  • push (don’t spring!) onto the demi-point of the supporting leg 
  • KEEP THE HIP SOCKET ENGAGED(2)!!! 
  • slowly lift-rotate the working leg into place 

This gives you time to think about what your back, hips, etc are doing. 

I’ve realized the my back is totally my nemesis in coupé—in retiré, I automatically engage the bejeezus out of my core (because that is part of the recipe for a high retiré), but in coupé I don’t, and then my tendency to throw my shoulders and head back just screws the whole thing right up. 

The various  arabesques and attitude arrière are easier because they’re counter-balances, which means you can fake ’em’ til you make ’em, to an extent. 

Meanwhile, attitude avant and simple balance à la seconde are hard enough that I have to think about them (and both require intense core engagement). Likewise, balances in extension (usually via développé) in the various directions engage the core automagically for me. 

Hence, coupé balance is hard because it’s easy. 

Ah, yes. That’s right. This is ballet, the art of counter-intuition, isn’t it?


  1. I’ll see if I can get Aerial A to collaborate on a video for this!
  2. If you’re like me and you like to show off your flexibility and hyperextensions and beautiful lines and you have intermittent issues with your supporting leg feeling squidgy at the top, you might be failing to extend from the hip socket, and instead making your whole pelvis go all cattywampus and sideways ‘n’ shizzle. See below. 

This visualization works well for me. Also … My handwriting. So very terrible. Sorry.

Ballet Goals for 2017

We’re on break for the next couple of weeks, so this seems like a good time to sit down and set some ballet goals for next year.

I think I set some last year, but I’m not sure what they were (because I’m too lazy to look them up right now). Anyway, I may not have included all of these on whatever list I made, but I know these were all things I hoped to achieve in 2016:

  • Reliable double turns. Check.
  • Suck less at port de bras. Hella check. I realize now that this is a really, really vague, but still. The nice part about being actually terrible at something is that you can improve really fast if you put in the work.
  • Suck less at petit allegro. Kinda check? This one was too vague as well. I am less bad at petit allegro than I used to be, but it is not my forté. Not at all. Got beats, though, and at least least it’s usually just bad petit allegro these days and not the desperate flailings of a a baby giraffe on rollerskates. 
  • Barrel turns. Oddly enough, I did manage to learn these. I wouldn’t call them reliable—they’re still squarely in the “can do it if I don’t try to think about it” department. 
  • Tombé-coupé-jeté. See “barrel turns.”
  • Saut de basque. Check. Like a boss, mofos. I have one heck of a nice saut de basque. 
  • Ditto pas de chat Italien. I didn’t know this was a goal until someone asked me if I could do it. Then it was a goal for the 5 minutes it took me to remember how.
  • Ditto also renversé. I don’t know why it’s so hard to “get,” but once you really have it, you want to put it in everything. It’s like saffron or fleur du sel. 

So my first goal for 2017 is to make my goals for next year less vague (pretty sure that’s basically like wishing for more wishes).

So here we go.

Steps & Stuff

  • Double tours.
  • Double cabrioles avant and arrière (edit: see footnote 1)
  • Reliable triple turns.
  • Unreliable quarduples.
  • Reliable turns à la seconde.
  • Entrechats six et plus. This should be doable; my quatre is reliable.
  • Brisée—this needs to be reliable. Right now, it’s …. Yeah. Let’s not talk about that.
  • Maybe revoltade? I feel like fewer of my goals should be grand allegro pyrotechnics, since that’s basically playing to my strengths. 
  • Solve the infuriating problem of being good at circular/grand port de bras without the barre and less good with.
  • Overcome my turns-at-the-barre phobia. Seriously.
  • Balances. All of them. Today in Sunday class I slow-piquéd into a first arabesque, slowly brought my working leg up above 90, and just hung out there until my head pretty much exploded with amazement thanks to a very simple exercise that Aerial A gave us. Then I failli-ed out like it was no big deal. 
  • Temp de puisse. Stop turning it into a funky Sissone.
  • Sissones. Review them. ALL OF THEM. 

Specifically for BW:

  • Directional stuff. BW is basically the reason I can now reliably describe whether something is croisé or effacé without having to freaking well get up offa that thing and dance til ya feel better  out of my seat, draw my imaginary box, and then execute the movement in question. 
  • Strengthen them turnouts.
  • Use that crazy-high passé/retiré without having to think about it.
  • Dat sus-sous, though. I feel feel that BW will be happy with me when he never, ever has to remind me to tighten my sus-sous (for the record, he’s the one who helped me solve my sus-sous versus knees problem, so I’m glad he calls me out on it).
  • Effing devil turns.  Chainês. Be good at them, because I want BW to be proud of me, and whenever I do chainês he looks vaguely horrified. I think this is exacerbated by the fact fact that we usually precede them with My Favorite Thing, piqué turns, at which I rock 

Variations 

  • Revisit Albrecht’s variation. Work out the kinks. Specifically: connect the steps and passes better; get the arms sequenced so I don’t do stupid flappy hands after jumps.
  • Revisit the first act Peasant Pas from Giselle. See above. No flappy hands and no half-assing the balances. 
  • Learn at least 2 more solo or duo variations. This should be no problem. I should look at the repertoire and see what’s what. Probably not Le Corsaire, though miracles do happen. I could probably learn the trepak from one Nutcracker or another. Maybe something from Swan Lake? Or from La Dame aux Camélias.
  • Learn at least one pas de deux. This will probably depend on whether we get rep class and partnering class to happen; otherwise it’s just going to be a thing that maybe happens at summer intensive, I guess?

Choreography

  • Finish and stage “Work Song.” I should should be able to fully check this one off in March!
  • Finish at least the first act of Simon Crane. Possibly look into setting and staging a few pieces.
  • Finish Peace, set it, and perform it.

And, of course, I will endeavor to actually be good at port de bras and épaulement, in accordance with the scriptures, and to focus on making my petit allegro light, precise, and clean, instead of always approaching it as “grand allegro, but faster and with a million fussy steps.” (Read: tone down the elevation and the travel.)

That might prevent Eric Bruhn, Bournonville, and Vaganova visiting me from beyond the grave to stare at me in silent disappointment. Not that this has happened, of course, but I feel that it’s what should happen to bad little boys who don’t work on their petit allegro.

Lastly, I will attempt to remember that attacking turns does not mean we’re trying to kill them. Or, rather, to remember that when it counts, and not after class or in bed at 11 PM.

Um, that’s probably enough for one year.


  1. Turns out I can do double cabrioles arrière using the “hands on the barre (or shopping cart)” approach that we use to convince ourselves we can do any cabrioles at all as little kids. This doesn’t actually buy me any air time, so apparently this is entirely a mental thing. Avant on the other hand? Dunno yet.

    Bonus: it’s Hella fun doing shopping-cart double cabrioles across a parking lot in winter boots 😀

    Pathetic Fanboy Redux; Also, How Do Armband? 

    A bazillion (okay, six) years ago, when I was training in Muay Thai(1), there was a “How Do Armbar” meme that circulated the Mixed Martial Arts forums and made us all snicker uncontrollably and snorf our drinks at school and work. 

    1. If you dance and are looking for an effective stand-up fighting game(because who isn’t, I guess?), I highly recommend Muay Thai, because A) it’s hella fun and B) your existing flexibility, rond-de-jambe, grand battement, and ridiculously powerful legs give you a totally unfair advantage starting out. Basically, Muay Thai is a lot like ballet, only when you kick people in the head (for which, btw, you use your shins, not your feet), it’s on purpose and sometimes they grin at you and your instructor gets all joyfully goggle-eyed. Also, you get to learn the arcane art of hand-wrapping and how to legitimately punch a mofo, should need arise. There is much less face-punching in ballet. Usually. 

    Anyway, I apologize for committing not only meme necromancy, but obscure meme necromancy, in my title.

    Regarding which: OMG, you guys! Why did I never think of recycling worn-out socks into phone armbands? 

    It literally couldn’t be easier.  Here’s the source (lots of other amazing Mixed Martial Homemaking stuff on this blog, too, by the way):

    The Art of Doing Stuff: DIY Armband for Your Phone 

    For dancers, this is probably also a good way to repurpose that pair of legwarmers that looked amazing at the store, but started unraveling as soon as you took them off after class (I’m looking at you, sparkly legwarmers.)

    Because I can’t leave well enough alone, I think I’m going to work on a version that folds over at the top and buttons, because dance, amirite? No way my phone is going to stay in an unsecured sock-based armband during tombé-coupé-jeté. Not for a minute. 

    But this kind of thing could be incredibly useful for earphones-required rehearsals (Bluetooth earbuds are the best invention ever) and backstage warm-ups and everyday life (and running, and bike rides). Maybe I’ll sew them into pockets, too. Easy hand-sewing project, there. There are so many possibilities, here. 

    I may never have to wear actual trousers with actual pockets again!

    ~

    In other news, I went and got my Pathetic Fanboy on last night, and it was so worth it (though the music for “Mother Ginger” always gets stuck in my head, presumably because #AncientAliens).

    First, it’s weird watching The Nutcracker year after year and ticking off the parts you could actually do (and those you could do if you just had a reliable tombé-coupé-jeté: regarding which—in men’s technique, tombé in second to achieve maximum liftoff, apparently; forgot to mention that yesterday). 

    The last time I saw Nutcracker was two years ago. It was a totally different thing. I was really just climbing back into ballet, optimistically (and impatiently) forging my way back through all the stuff I’d learned as a kid. I had no experience of partnering. A lot of the men’s technique, in particular, still seemed further from my reach (let alone my grasp) than I cared to admit to myself. 

    This year, much of the choreography seemed reasonably in reach—partly thanks to simply having learned a lot, and partly because learning Albrecht’s variation taught me that I’m more capable than I think (though, like Albrecht’s variation, maybe I would have to learn things with single tours subbed in ’til I have solid doubles).

    Anyway, watching BW dance was, as always, enlightening. 

    First, I think it may have given me some insight into nailing down my double cabriole, which is one of next year’s #BalletGoals. 

    Second, BW’s technique is beautiful and clean and classical. Likewise, he legitimately makes partnering look so natural and effortless that it could be the kind of thing that just happens while you’re walking down the street or what have you(2).

    1. I don’t recommend just, like, ambush-partnering people, though. That might be taken wrongly, all things considered. So, in short, don’t roll up to the bus stop and be like, “Greetings, my good lady/fellow/etc,” and loft people above your head. They really might not appreciate it.

    And he seriously has the most beautiful legs. He has gigantor thighs like mine instead of sylph-like, Hallbergian ones, which rather flies in the face of our collective assumptions about what ballet bodies look like(3). They’re robust, yet so finely sculpted that you can practically see the individual muscle fibers(4, 5).

    1. Though maybe less so for people who don’t constantly simmer in a vat of ballet. Honestly, I’m pretty convinced that when the average American pictures a male ballet dancer, they always picture Baryshnikov, Nureyev, or possibly Carmen Miranda, although she was neither male nor a ballet dancer.
    2. To my great vexation, a month of sitting on my butt has largely de-sculpted mine :/ #FirstWorldDancerProblems
    3. Also, no, I didn’t just spend the whole ballet creeping on BW, though it totally sounds like I did. White tights, you guys. They hide nothing(6).
    4. Which is why(7) we have dance belts.
    5. Well, that, hernias, and testicular torsion.

    The other bit that seemed interesting: I noticed a few moments in which things subtly Didn’t Go According To Plan, and also why. I don’t know if that’s just a function of two years’ more experience and technique, or if it comes in part of watching painful video of myself dancing and thus learning to see why tiny error A leads to less tiny error B(8). Possibly both?

    1. As a whole, I think only one of these would have been visible to audience members who are neither dancers nor true balletomanes. 

     The second-act Sugar Plum pas de Deux wasn’t quite on form, though. I haven’t seen BR do classical partnering before, so I’m not sure if it’s not his thing or if it was just an off night. 

    The casting for Arabian seemed a bit strange. BB commented that this may have been intentional; our new AD is into pushing dancers out of their comfort zones. 

    Anyway, MK is the company’s resident Central Casting Classical Ballet Prince—and I mean that in a good way. That said, he’s not by nature the sinuous kind of mover the music demands. To my eye, he looked uncomfortable, and it translated into a stiff-ish performance. 

    His partner, on the other hand, was perfectly cast. If I remember correctly, she also danced Sugar Plum opposite BW’s cavalier in the other cast, though I can’t remember her initials right now to save my life.

     Also, an errant paper snowflake drifted down from the rigging and upstaged (well, technically, downstaged) everyone during the last part of the pas de deux. If there had been, like, ten snowflakes, it wouldn’t have been quite as funny. Instead, it was just just the one snowflake that maybe was asleep or something during the snow scene.

    Frankly, it was pretty hilarious, but I refrained from from laughing out out loud or narrating (“Omigosh, how did I miss my cue? Well, the show must go on—BANZAAAAAAIIIIIIIIIIII!”).

    On the other hand, no little kids waved to their parents.  Apparently that happened once last year, and will now circulate in the Horror Story annals of the company and the school forever. 

    Of course, Nutcracker doesn’t close ’til the 22nd, so a wave could still roll in.

    The flowers, on the other hand, were really lovely this year, as were the flutes or Merlitons or whatever they are in our production (I suppose I could go find my program?). Tea—a solo in this company—was playful and skilful, while Spanish chocolate—a quartet—danced with brilliance and playful flirtation.

    On the whole, everything was beautiful and magical, as it should be. HUK shined as a very non-creepy Drosselmeyer, and one of my favorite dancers, SV, owned the Russian dance (our company’s rendition isn’t my favorite, but it’s still pretty fun).
    So that was Nutcracker, and now it’s on to whatever’s next. I know The Sleeping Beauty is coming up, and I’m looking forward to that.

    Huzzah

    Finally feeling up to Saturday Class, so I figured I’d make it a double. We’re off for the next two weeks (Winter Break, booooooo).

    In Advanced Class, barre, adagio, turns, waltz, and terre-a-terre were pretty darned good, petit allegro was acceptable, and grand-ish allegro was a disaster en mènage. I kept alternately effing up tombé-coupé-jeté and leaving out the transitional step that came after. Blargh. Going left, I kept doing my balancé en tournant inside out like a total n00b, which then forced me to do my t-c-j backwards.

    At least I haven’t done any backwards turns(1) in a while?

    1. I have no idea when backwards turns stopped happening, but they did, at least for now.

    In Nominally-Beginner-But-Actually-Intermediate Class, everything was good except petit allegro, by which time my legs weighed approximately 1,354 kilograms each. I couldn’t get them to do things quickly. In fact, they were not terribly willing to do things at all. 

    Nonetheless, the entire day was completely redeemed by the girl who asked me after class, “Are you in the company?” (She was my partner for all all the across-the-floor stuff, and she was also pretty good.) 

    I refrained, of course, from asking her to marry me on the spot, since I’m already married, etc. But it was a very welcome thing to hear, especially on a day when I’m not feeling at my best.

    Speaking of The Company, tonight we get to see BW and TB Nutcrackering. Yaaaaaay!

    I’m a little sad that we didn’t we get to see BW as the Cavalier last night (because A) broke and B) so freaking insanely busy), but we still get to see one of his Partnering Masterclass performances.

    My introduction to BW, by the way, followed the first performance in which I saw him dance a pas de deux. The very next class, he showed up and, if I remember correctly, installed himself on my barre (we were on portables, 4 or 6 to a barre,because there were like 30 people in class). 

    I proceeded to quietly have a heart attack throughout class. I am marginally ashamed to admit that I felt felt more or less how a teenaged girl in the 1960s would have felt if John Lennon sat next to her in music class. Only, you know, ballet, so both we were both more or less in our underwear.(2)

    1. Ballet: because hero worship isn’t awkward enough.

    Yeah, I know. #PatheticFanboy 

    But I kept it all inside, because I’m cool like dat. 

    B|  <— my cool face 

    Anyway, I need to go takeashowerchangeandbuyflowersforBW, so that’s it for now.

    And then, two weeks to clean, finish the book-keeping for the year, and get back in shape (because holy cow, soooooooo out of shape right now). 

    My Shortest Post Ever, Probably 

    I’m a member of the “believe in yourself” generation, but I don’t. 

    I mostly talk a good game, though.  

    A Very Brief Public Service Announcement 

    Epi-con-DYYYYYYYYYYYYYLE

    Only don’t be all swaybacked ‘n’ shizzle.

    Ceci n’est pas un pun.

    This last drawing turned out looking too much like just coupé arrière, but as you can probably tell, I was done effing around in S-Note by then.

    In short, though, if your instructor shouts, “BACK OF THE KNEE!!!” when you’re firing off your pique turns, make sure you’re not the party poupé-er attaching your foot halfway between passé and coupé.

    We now return to our regularly-scheduled Break Week.