A little conservative for our tastes, but I like the really big fans (though I liked the really big fans flapping around the Danish drag queen more).
This one gets points for men in skin tight, white with glitter ballroom dancing outfits and really, really, really terribly bad ‘ballroom dancing’.
eurovision 2007: czech republic
Last year we really liked the ‘metal’ monster guys.
We’re not sure about the ‘death metal’ czech republic doods. I don’t like all the hair. But I like the gravelly voices.
eurovision 2007: serbia
Androgyny is go.
I don’t like the slow songs – I like the ones with dancing and crazy costumes, not reeeeally slow Washington hand dancing and faux lesbians.
eurovision: poland
she: “don’t get crazy”
he: “Let’s party,
you got the right to party!”
Red leather, really short skirts, tartan pants, ladies in cages.
And, as The Squeeze points out, ‘crazy’ rhymes with ‘party’
live blogging eurovision
I thought I’d have lots to say, but I don’t. I’d like to think I watch this tongue-in-cheek, but I’m afraid I just think it’s wonderful. The lyrics are weird, but the costumes are fabulous. No one can sing, but they can all dance. Mostly.
And holy moley there are a lot of people there. Eurovision Helsinki.
Crap, the website is busted so I can’t provide excellent links. But you can see bits and pieces on the BBC Eurovision site.
I can’t look away. Eurovision does this to me every year. It’s like Rage. One more song… just one… more…
I love the costumes.
I love the dancing.
I love the (freaking amazing) light and sound action on the stage.
I think I’m voting for Switzerland’s Vampires are alive because they had mannequins on the stage with the five (or was it six?) singing/dancing group members. And because they sang a song as vampires. And of course, YouTube saves our lives with some truly fabulous clippage. Go here to see some amazing clips – filmed on mobile phones, Simms versions…
i know…
It’s 16 degrees and I know it’s winter because the papers are steaming as they come out of the printer.
in which i embarass myself with poorly researched comments about other people’s blogs and laugh at spideremo
It suddenly got cold yesterday and today I’ve shut the window so I don’t get cold while I work.
Last night The Squeeze and I went on a date and saw SpidermanEmo 3. It was boring, but it was nice to see Topher, who I think should have been Spiderman all along. Glen talks about it a bit and makes that joke far more effectively than I can.
Then we went to have dinner at Bismi, because I wanted something Indian and with the sort of spices and chilli levels that skips don’t like, and because I’m obsessed. It was goood: best roti in the whole world. Then we walked home (about 30minutes walk) and remembered the days when I first moved to Melbourne and walked everywhere, before I discovered bikes.
The Squeeze and I (in the days of Not Dating) would go out for dinner or a film or something interesting a couple of days a week, walking from my place in Carlton North to the Nova or Brunswick Street or whereever, carefully not touching. Then we would come back to my place, drink a lot of tea and watch some telly. Then he’d go home. It was all very 1950s and quite surprised my friends. It seems we are, therefore, an excellent advertisement for abstinence, because we’re still together four (or is it five?) years later.
Now I’m sitting at the computer, trying to ignore the laundry detergent perfume that’s rising from a pile of clean laundry next to me. I erred when purchasing the detergent, and it’s not enviro-safe. Which seems to translate to ‘way over-perfumed’. I’m also trying to finish editing that paper, but it’s not really happening.
I’m also wondering about notions of vernacularness, especially after reading about Jean’s recent conference experiences and her vernacular creativity on the street post. I really enjoy Jean’s blog and her articles. But I can’t help but giggle at that entry’s post – for me, the term ‘vernacular dance’ is really the same as saying ‘street dance’ (especially a that’s the better-known term with dancers). To see the implied surprise/delight in finding vernacular creativity on the street makes me smile. I like her enthusiasm and genuine pleasure in the drummer on a Boston street, and her sense of affinity, and fellow-buskerness. But something isn’t sitting right. I need to follow up that thought.
I also think I need to read more about this vernacular stuff that those doods have been doing in Brisvegas, esp in reference to flickr. I just know those big brains are saying something really neat. But somewhere, I’m feeling uncomfortable with the way the term vernacular is being used. There is the implication that people are writing from outside a vernacular culture, and all the resistant stuff of ‘vernacular’ is getting lost. I know that’s probably completely inaccurate, but I just… I just feel like I’ve missed something. In fact, I’m pretty certain it’s my error in comprehension, rather than their error in writing, and I need to fix it. But not right now – when I’ve finished this article, ok? Or maybe I should read it all now, before I publish this…
Seeing as how this is what I’m writing about in my paper right now, here’s a chunk where I define ‘vernacular dance’:
Lindy hop began in Africa, where dance was firmly planted in the everyday life of every person. Some ten million men, women and children were sent into slavery to the Americas from Africa – primarily west Africa – between the sixteenth and nineteenth centuries. They brought with them the music and dance traditions of a number of different African nations and cultures, as well as a history of slavery prior to the European invasions. Dance in west Africa was a significant part of public and community life, and Katrina Hazzard-Gordon writes in Jookin’: the Rise of Social Dance Formations in African-American Culture that “We can say without exaggeration that dance competency, if not proficiency, is required of all individuals in west African society” (1990, pp. 4), and she extrapolates from this to site dance in all west African descended communities. Africanist dance forms – dances brought to various other communities throughout the Americas and beyond – not only share steps and specific movements, but also more general tropes in terms of aesthetics of choreography and physiology. They also share similar approaches to the social function of dance. Dance is seen not as a ‘leisure’ activity or ‘work’ or ‘performance’, bracketed from normal life as it is in mainstream Australian culture today. It is in everyday life as rhythmic movement. This everydayness is read as a key feature of vernacular dance, wherever and in whichever culture it is found. A study of vernacular dance as everyday cultural practice seems the natural preserve of a cultural studies project, and in the following discussion I will both refine my definition of the concept of vernacular dance, and therefore its role as a public discourse for the representation of individuals’ identities and ideas and the negotiation of consensual ideology in public space.
The word ‘vernacular’ is commonly associated with discussions of language and dialect, referring to the language used by ordinary or everyday people. In a discussion of dance, the essence of the term is taken to refer to the everyday or ordinary common dances of a particular dance or culture. Though I take African American vernacular dance as my central concern, there is a substantial body of dance studies literature discussing vernacular dance in other cultures, including Sheenagh Pietrobruno’s work on salsa. Vernacular dance is distinguished from concert or theatre dance through its positioning in everyday spaces, rather than existing only as a formalised, and usually choreographed performance of a particular dance on a concert stage. It is intrinsically participatory and happens in all sorts of spaces, both public and private.
Vernacular dance also always exists in a state of constant change, responding to the desires, interests and needs of its participants, reflecting the ideological and social values of a particular community at a particular time. This rhythmic hybridity (to use the term in Stuart Hall’s sense) and mutability offers evidence for dance as social discourse. All dance serves as a public forum for the presentation and discussion competing ideological positions, the representation of the self and the representation of ideology on the social dance floor, in the bodies of dancers. Its mutability and reflexivity allows performers to improvise and rework or introduce new steps to suit their cultural and social needs. Ralph Ellison describes African American vernacular in the following terms in Going to the Territory:I see the vernacular as a dynamic process in which the most refined styles from the past are continually merged with the play-it-by-ear improvisations from which we invent in our efforts to control our efforts to control our environment and entertain ourselves. And this is not only in language and literature, but in architecture and cuisine, in music, costume, and dance, and in tools and technology. In it the styles and techniques of the past are adjusted to the needs of the present, and in its integrative action the high styles of the past are democratized… Wherever we find the vernacular process operating we also find individuals who act as transmitters between it and earlier styles, tastes, and techniques. In the United States all social barriers are vulnerable to cultural styles (1986, pp. 139–41).
quick freakout
Right now I have some pretty nasty anxiety.
Got a sore neck and an achey head. And even some stomach churning.
Why?
I’m trying to finish the editing on an article for an important journal I’ve had accepted. It’s neat, but the pressure, the pressure! I’m out of academic practice and I can’t remember how to think, let alone make articles wonderful.
Plus, what do you do when one referee says “perfect – change nothing” and the other says “this sounds like a rough draft”? I vote with doing the latter’s changes – no article is ever perfect. But at least it makes me sound like my ideas are clever, even if I can’t seem to use the English language properly.
Other anxiety issue? The MLX is coming a bit slowly – we are a bit behind schedule and it’s causing me anxiety. We don’t have our logo done yet (argh! we got on it too late!), we haven’t started operation PR Snowstorm yet, we have some decisions to make about venues and bands, I have to do the website (www.mlx-7.com btw) and…
Now I write about it, it’s actually not very important stuff. Certainly nothing that can’t be solved quite simply. We have a meeting on Friday night where we’ll make new decisions. I want to write about our new MLX apprentice/handover scheme, but I don’t really have time now (The Squeeze is patiently waiting for me to come back to the last half of a West Wing episode while I send of a freaky email), nor am I sure it’s appropriate.
But it’s making me think more about a paper I wanted to write about labour and administrative management in events management in swing dance culture. Whatsit who writes about girls and raves in the UK (Birmingham school – can never remember her name… Mcsomething?) talks about cottage industries and rave culture. I have some stuff I’ve written about volunteer labour and exploitation of volunteers by for-profit bodies and individuals in swing, and how that’s justified by the communitarian bullshit that gets around… I also want to write some stuff about gender and volunteering and event management – is it any surprise that there are only 2 men on the 8/6 person MLX committee?
…and I need to start sending off emails getting some serious facts about women DJs in Australia in swing culture – I need to do some follow up research stuff (I think there’s been some serious changes lately). How come Melbourne has a zillion female DJs, but nationally there are about 4 who are well known? How come Perth has so few DJs? I suspect it’s because Melbourne has so many social DJing opportunities – DJing has become lower status/more accessible. There’s also a strong network of new women DJs. And all that illicit file-sharing and music swapping? It’s definitely an important counter measure for high-priced and inaccessible CDs and the ‘high art’ ‘professional knowledge’ ‘heirarchy of knowledge’ thing in swing DJ culture. No one’s bothered to tell these Melbourne chicks that you have to know every major song by Artie Shaw before you can DJ, or that you have to have been dancing for 5 years or have 60 thousand CDs. So they’re just getting on in there and learning on the job. Often in pairs or buddies – all-girl buddy partnerships.
Ok, CJ calls….
i know there are only about 3 of you who have never seen this
But I feel it is my duty to open this particular world for you.
excessive sensuality
Last night I did some fancy cooking.
It’s been a while since I really cooked – you know, the sort of cooking where you use every single pot and pan, the blender, the food processor and at least sixty zillion ingredients. Sure, I cook regularly, and have people over for meals, but I’m talking serious cooking. And for me, serious cooking means Indian cooking.
When I first moved to Melbourne I lived in a 4 person vegetarian share house. I took to it with a will, and relished our proximity to the Vic Markets. But it didn’t take long for me to get into dancing hardcore, and then I discovered that not everyone in Melbourne likes to eat. I was incredibly disappointed by swing dancers’ dining habits. And still am. There’s far too much bullshit pizza and ordinary pasta. No Indian. No Very little Asian (meaning any Asian cuisine) and far too many over-priced variations on meat and three veg.
The hours that I kept, as a hardcore dancer, meant that there wasn’t time to cook fancy food, and there wasn’t really much point when I wasn’t home long enough or often enough to enjoy it. I did enjoy the household – which had shifted from vegetarian to vegan, heavy on the co-op. I liked going to the co-op at UniMelb to pick up grains or to make my own peanut butter. I liked the Vic Markets very much, and eating sixty zillion types of veggie slop a week. But my inner epicure missed the challenge of serious cooking.
Seeing as how I’m now living the patriarchy’s dream – the little housewife* staying home to keep house while her man goes off to hunt down the bacon** – I’ve started getting serious about my domestic duties. I’ve started cleaning again (and now I’m thinking of PavCat and her post which sticks in my mind – I should print it out and stick it up on the wall), so our house is nice and I don’t have to wear thongs inside. I’ve been buying groceries regularly so we don’t get scurvy. I’ve been doing laundry regularly as well. And I’ve decided I needed to step it up, culinary-wise.
I am more than a little ob-con. I like order, I like strucure, I like tidying and sorting and putting things in containers. When we moved into this house The Squeeze was worried he’d come home one day to find his underwear in jars, lined up with the flour and sugar and lentils in their brand new Arc homes. If I’m working on something acka, it doesn’t matter if the house is blown up and there’s nothing to eat, so long as the words are all lining up nicely and carefully divided into chapters. But now that the whole writing thing isn’t working so well…
I’ve decided that I need to get into the hardcore cooking.
Last time I was into hardcore cooking, the rest of my domestic life wasn’t going so great. My seven year relationship was crumbling, my Masters was being squeeezed out of me, very slowly, and my family was kind of exploding. But fuck, I was eating like a princess. Home made pasta. Six course Indian feasts. Chutneys. Baked goods out the wazoo. Etcetera, etcetera.
Now I realise all that was seven years ago – it’s not long til I’ve been living in Melbourne for ten years. Ten years! I’d never made a definite plan for how long I’d live here, nor where I’d go next. Right now, I’d really like to go somewhere new, do something new. But that’s not really an option. Melbourne is great – I love it. But it’s getting kind of … old.
But, look, I’m off track, and wandering on with the introspection in a way that’s making my male readers uncomfortable…. holy crap, can you believe I actually wrote that?!?! GEEEZus. I really am slipping.
So anyway, back to me and what I want to cook.
Now I have this time on my hands, I’m thinking about getting jiggy with the food. Last night I was home alone for the third or fourth time this week (it’s been a busy week for The Squeeze, what with APPA and work meetings and interviews and things), and decided that I wasn’t going to cook stupid pasta again for my dinner, nor would I buy some dumb takeaway. I was going to use some of the neat veggies I’d just bought and get some curry action happening.
I have a few favourite Indian recipe books. Madhur Jaffrey, of course. A couple of others. And this great job. This is Camellia Panjabi’s 50 Great Curries of India (though mine’s cover looks more like this). It’s one of those lovely books with lots of useful desriptions and histories and tips. The recipes, though, are freakin’ hardcore. No canned coconut milk here – only fresh, grated coconut (which is kind of hard to get in Brunswick). Six zillion spices per dish. Whole Spices, though – no ground action. You roast them, then you grind them up. And spices and ingredients I’ve never, ever heard of. We’re talking a level above black cardamon here, at least.
So last night (at about 7pm, I should add), I decide that I’d like to whip up a veggie curry. At first I was kind of clumsy. I couldn’t figure out how to fit all the jars of spice on the counter. Then I realised all those spices were kind of old and neglected. Then I found my two cans of coconut milk had gone off (I subbed in a bit of dessicated coconut and some canned coconut milk for the fresh coconut – you have to fry the grated coconut a bit and the flavour is incredible. But adding too much dessicated coconut to a curry gives you a big pot of all-bran – chewy, kind of flavourless, frustrating). Things weren’t looking too great, so I swapped recipes. And then it was like my fingers and some unconscious part of my brain suddenly remembered what to do. I was the queen of frying whole spices, grating ginger, chopping cauliflower.
Midway through, I realised that I’d made this recipe before and not really liked it (I should have removed the cinamon stick rather than blending it in – it’s too strong), so I decided to whip up a quick chickpea curry. Do you know how long it’s been since I made chickpea curry?! That’s how far I’ve fallen. It took me about 10 seconds and I even remembered the recipe, after at least five years! But then I needed some greens. There was cauliflower, sweet potato and carrots in the curry, I’d found some frozen peas in the freezer (ask The Squeeze about those) and I had a big stack of spinach. So, while the rice was cooking (brown rice, because we’d run out of Basmati (!!) and I felt like it), I threw some chopped garlic and mustard seeds into some olive oil, then some chopped spinach into that. And I cooked it just right – still bright green and full of watery goodness, but not underdone – and it was perfect!
And then I sat down to a plate full of lovely goodness and at least three episodes of Gilmore Girls (did you know that Sam from Supernatural was Rory’s boyfriend? Or that Peter Petrelli from Heroes was her other boyfriend?!).
The smells! The aromas! How could I have gone so long without this?! I haven’t cooked Indian from complete scratch in years – there’s nothing at all like it. Nothing so sensual, so pleasing. And when you’re in there, making that spice paste, about an hour in and with at least an hour to go before you even put the rice on, you think this is complete indulgence. No freaking housewife would take this much time and effort! Cooking like this is pure indulgence. It is luxury. It is taking a whole lot of time to do something that could take half an hour. It’s taking cheap ingredients (all those vegetables) and making something truly special. And I didn’t even get into naan (of which I am a master) or sweets!
But really, this sort of cooking is cooking for pleasure. When it’s not the cooking you were raised with, or the sort of cooking you’re expected to do, it’s extravagance. Profligance even. And it makes me think about the way cooking means different things in different moments. It’s the luxury of time – to cook, to hunt down ingredients, to research recipes and particular food items and utensils. It’s also a marker of affluence and social opportunity. And when you get into things like Jamie Oliver and Nigella Lawson, it’s about ideas of luxury and being wealthy enough to afford Oliver’s cuts of meat in London, or Nigella’s kitchen accessories. Or – perhaps more importantly for women – being able to simply indulge, indulge, indulge. Without consequence. No calory counting. No expanding girth. No increasing weight. No guilt. It’s the complete and selfish absorption in a utterly sensual and unnecessary activity. This isn’t subsistence cooking, it’s intensive gastronomy. It is about waste. There’s time alone, cloistered in a lovely clean kitchen with just the right tools and raw materials. There are the physical sensations – the softness of fresh dough, the sting of cut chilli, the earthiness of ground spices. The intellectual and creative stimulation – considering how it will taste, making decisions about which ingredient to omit or increase and knowing how this will effect the end product. And the pleasure of expectation – imagining how it will taste, how it will look, how it will smell when it is done and displayed on just the right plate.
It all sounds very artyfarty, wanky, ridiculous. And that’s because it is, and that is what sells television like Nigella’s stupidly ill-focused and unsteadily filmed program and creates cults for cooks and chefs. There’s certainly an element of power and control – at least for me. When I’m cooking, I’m the boss. If there are mistakes, they’re my mistakes. If there are successes, they’re my successes. And there are always new and uncharted territories to explore. Or more excitingly, reams and reams of charts to be ferreted out of bookshelves, stalked in book shops and television guides and on the internet.
So I’m off to the shops in a minute. The Indian grocer is next door to the fresh pasta guy on Lygon Street, just up from a middle eastern nut shop. And then I have to get to the greengrocer on Sydney Road before I finish off at the Halal butcher for some goat. Or perhaps some lamb mince – Madhur has a nice recipe for boiled eggs wrapped in mince and then cooked in curry. Something The Squeeze would like.
Or perhaps, even better, I’ll just get a bunch of things I know I’ll like and make them for myself.
*I should point out here that ‘housewife’ is meant to refer to that imaginary beast who happily spends her entire existence thinking only of others, cooking, cleaning, entertaining, buying white goods, fetching, carrying for children and husband. Career? Are you kidding?! She doesn’t write books (or blogs) or draw pictures or sew anything other than clothes for her children or herself. She doesn’t teach or talk about anything more interesting than which brand of soap she should buy. She aspires to nothing more than domestic harmony and pleasing other people.
This housewife is not the same person as the woman who chooses to be the primary caregiver in her family yet doesn’t switch off her brain. This housewife is the person whose entire being is validated and justified by her service to her family, and she would never, ever consider dropping it all for a quick trip across to Richmond to chase down Japanese quilting fabrics, or that mythical Jazz shop in St Kilda or to take photos of installation art in the CBD.
**There is more than a little bitterness here. All that tertiary education and no corrections, and for what? A clean fucking house? Nice. Glad I put that effort in. Sure, being a housewife is fine, but not for me. In fact, for me, it’s like the world is saying “hey, you know how you’re really clever and can really write and research and stuff? It means nothing. Everything you are – it is worth less than your ability to wield a broom.