Saw this live once at a community theater performance and loved it. Still love the movie–fantastic dancing. And the humor in this musical is just excellent.
I still think this is catchy and sweet as all get out.
I’ve watched this whole concert many times. Beautiful. And it doesn’t hurt that it was in my neck of the woods!
Still one of the coolest, catchiest songs ever.
I’ve been enjoying Nathan Rabin’s loving analyses of classic Simpsons episodes over at the AV Club. Right now he’s in the middle of season 5, and his musings are making me realize that that one might be the best season overall. Just wall to wall perfection. Looking forward to more of these.
From yesterday’s brilliant summary of “Bart Gets An Elephant:”
Later, Bill and Marty, the premiere chatter-monkeys of KBBL, face down their greatest threat in the form of DJ 3000, a computer that plays CDs and boasts three different kinds of inane chatter and consequently represents a grave challenge to their jobs after the gabby twosome end up in hot water with management when Bart shocks everyone by taking the crazy gag gift offered in a radio contest (a free elephant) rather than ten thousand dollars.
I don’t know much about dance as an art form. Despite some effort, I still can’t get into ballet, for example.
But I love watching Gene Kelly dance. I love how totally he controls every aspect of form and movement. He must be aware of every muscle in his body, and his work is perfectly balanced–unlike any other dancer I can think of, his dancing is both graceful and macho.
Yes, macho, in the sense of forceful and aggressive. But his aggression is still restrained by suave control. But the control is so relaxed!
So Gene Kelly’s work is a mobius strip of awesomeness; the best of all worlds. A true gentle man.
Case in point: An American in Paris is not a great movie–the plot is thin and so are the characters. But this movie is a joy to watch because it lets Kelly’s dancing show off!
Decent 80′s track; excellent live acoustic performance.
James F. Cooper, in the last chapter of his Knights of the Brush: The Hudson River School and the Moral Landscape, says this of the role of art in renewing our society’s disoriented moral compass:
A revolution of beauty, truth, and goodness requires leadership from all parts of society–parents, educators, politicians, business people. Solutions for the crisis in contemporary culture cannot be successfully addressed only by looking to the past. We must use language that speaks directly to the people of today. We must create public and private spaces that invite worship, civility, education, virtue, love, and fidelity.
Cooper then mentions two fascinating historical precedents for what he envisions. First,
The emperor Augustus dramatically revitalized the faltering Roman Empire, beset by internal chaos and civil strife, by embarking on an ambitious “cultural program.” Refurbishing old temples, creating beautiful new works of civic architecture and public sculpture, he found a way to express the longing of the Romans for the virtues of the past.
I saw the 2002 version of The Time Machine over the weekend. Talk about plot holes!
So apparently Steve Martin plays a pretty mean banjo.
My vote for most romantic song ever:
“A nation’s leaders must be constantly reminded by artists and intellectuals not to mistake political correctness for eternal truths. In the absence of a genuine aesthetic, spiritual, and moral culture, the vision of the people will be shaped by the prevailing political ideology….Americans who yearn for renewal must understand that real and lasting change begins within the minds and imaginations of gifted artists of all disciplines. They in turn need a cultural milieu that welcomes subtlety and beauty of thought and form….
“The influence of even the most powerful government is dwarfed by the influence of great art, literature, architecture, music, and drama to give shape and meaning to the world we inhabit.”
–James F. Cooper, Knights of the Brush: The Hudson River School and the Moral Landscape