While visiting these past few days, my dad asked which part of Melrose Avenue the old 90s soap classic, 'Melrose Place' was supposed to be. I didn't know. I guessed somewhere more in West Hollywood than where I am. Once I we got home from our excursions, I did some digging. And while Melrose Place is obviously somewhere in Hollywood, the Greenwood, where they filmed the complex is in Los Feliz. The rest was filmed in studios. I loved this show so much when it first came out. Probably because I really felt like I was getting away with something by watching it. I mean, it was even more scandalous than Beverly Hills 90210, which I still have no idea how I convinced my mom to let me watch at age 9. I wanted to friends with all my cool neighbors. And wished I could ever pull off Josie Bissett as Jane's adorable pixie cut. Thinking about the show gave me a little urge to rewatch some old Melrose Place courtesy of Netflix. What a gas I actually laughed out loud several times during the pilot at how awful it is. I mean, just watch the original intro. To their credit, they changed it immediately after the pilot to the much catchier theme song and graphic look they'd keep for the rest of the show's run. But... man. Anyhow, there's your trip down memory lane to kick off your weekend. Here are the rest of your links. - I've been exploring Melrose from my house west lately. Blu Jam is my favorite breakfast place EVER. Crunchy french toast for every meal, please! - 6 Places You'll Recognize from the background of every movie ever - My favorite eye candy blog these days - Rejecting Oxbridge - I came thiiiiiis close to adopting Hazelnut here. But she was gone. :( - Advice to young writers from Jeffrey Eugenides - I still like MY review of Les Miserables, but this is my second favorite. Stay tuned! The next three days are my Best of 2012 lists-- albums, books, movies.
When it came to Christmas dinner with Dad, I had two plans: 1. cook (rosemary roast chicken and braised Brussels sprouts) or 2. get out and explore of Los Angeles restaurants while I can. Turns out, I might always miss Britain at the holidays, so after some investigating as to what our options were, I chose The Churchill on West Third. The menu and feel just felt a bit British, even in a very LA hood.
And even though I had heard it was very 'scene-y' and crowded, we chose the right evening to try it out because it was just the right about of bustling. Reviews of the food range from mediocre and under seasoned to delicious. Being rather fond of food in the British vein though, I quite enjoyed the glazed Christmas ham, carrot, ginger and coriander soup, spiced squash, escarole and-- in a twist-- yuzu persimmon cake for dessert.
I also broke away from wine to try one of their much-discussed cocktails. I was torn between several. But finally honed in on either the Amelia (Kettle One, lemon, St Germain, violet & blackberries) or The Statesman (Famous Grouse, apricot, lemon, baked apple bitters, sparkling). Being a whisky girl, and missing Scotland, I ordered The Statesman and was quite glad I did.
One of the true luxuries and true joys of my life is the dinners I have with my dad. I think of all the cities and all the funny Christmases we've had together-- including the one where we were stranded in Yosemite with only cinnamon raisin English muffins, tuna, and packaged apple cider. Though that one goes in the books as the funnest in its own way, this one had decidedly better food.
Many of you have very kindly asked me about my new apartment and its on-going decorating. Well, I'm finally able to show you some of the lovely professional photos taken by Airbnb photographer Alex Staniloff. I'm still not 'done,' but I love my little place!
It can be exciting (of course) moving all the time. But it's also melancholy and a little lonely. Nesting is the best part. Sharing it is the best part.
Merry Christmas! Today, I'm thinking about joy. And thinking about many people coming together to create something, change something, to multiply joy or give one voice strength. In Buddhism, there is a term, itai doshin-- many in body and one in mind. And many speaking with one voice. That's what this Christmas, and this time in the world mean to me.
What was Christmas Eve like when you were growing up? When I lived with my mom, it was considered just as important as Christmas. We made and put out cookies for Santa. We got to open one present from family before we went to sleep to dream of Santa and his reindeer. It had its own ritual, so much so that I genuinely thought Christmas was a two day holiday. That is, until I moved in with my dad and a step family. There were absolutely, under no circumstances, no presents one could open on Christmas Eve. This rigidity was apparently as important a ritual to them as mine, it precluded mine, and that was probably when I started to dread Christmas. Instead of being a time to think of what I had, it became a reminder of what had been taken away. There was no place for my Christmas in their Christmas. The way I decorated, the way I wrapped, the way I shopped, the way I celebrated. Since then, I've done my own things to forge rituals around the Christmas experience that were a combination and culmination of my years of Christmases-- the ones where I was sick, the golden ones I started spending with my grandparents (I always miss my Grandfather most around now) and the ones I chose to spend alone in my adulthood, or reeling in Scotland, or with the family of my choice-- mostly Emily & Tigerlily. My bosses have reflected this roller coaster thought process about the importance of Christmas Eve. Today, for example, we're going in for a bit, mostly just to go over our game plan for the new year and eat. Then my dad and I are going to watch Gone with the Wind with Kade & James. But most of my bosses have been like my stepmother (Scrooge). I've spent most of them at work. All day. What about you? Do you have a separate/equal Christmas ritual? Do you have to work?
In case you do, here are some other Christmas Eve treats:
Christmas seemed like an appropriate time to revisit Twin Peaks. In fact, ever since I've moved to LA, I've been revisiting the works of David Lynch. No one understands the deep creepiness of something like Christmas in Hollywood as much as David Lynch. Not to mention, the odd presence of Sherilyn Fenn has entered my life and I couldn't resist going back to check it out. I'll elaborate. One of the projects I'm editing at one time had her in a starring role. Without saying too much (I'll let her do it) she's no longer associated with the project. But at least we have her blog to keep company. Please do yourself a favor and read this. Then go watch Twin Peaks. (Rewatching it, I was struck by how much Sherilyn Fenn resembles serious-face Ginnifer Goodwin. Also, how much more she resembles Liz Taylor than Lindsay Lohan.) Or if you're bored, come over to my house and I'll make you some boozey cider and do a dramatic reading of the piece.
Today's meditation is on displaced natural elements. Dutch artist Berndnaut Smilde brings the outdoors indoors with these cloud art/experiments. Using an artist's imagination and a scientist's methods, Smilde created Nimbus clouds in abandoned gallery spaces and churches across Amsterdam. The result has a lot of people talking, and me having a daydream riff on the thought of.... For more, click here and here.
Heavens, I miss this beautiful city! From the initial success of professor Walid Salhab's first Kinetic Edinburgh video, featured on BBC, to his latest effort-- a new time-lapse video of Edinburgh in winter-- Salhab shows why Edinburgh is hands down one of the most beautiful cities in the world. He calls the newest video a "Christmas present to Edinburgh's residents and those around the world that love Scotland's capital." I'm not sure about his music choices, but oh, those views! And under the snow! For more click here and here. Photo is by my friend, George Ferns.
Obviously resources for actors and producers (especially the ones who are trying to make their way in the world) are near and dear to my heart. That's why I'm super excited to be working with EveryDayActors.com.
Essentially, it pairs creators of video content (Ad agencies, PR firms, filmmakers, producers, web designers, or brands themselves) with willing "everyday actors".
It's a great free tool for the agency that allows them to search the database and find exactly who they need (based on union affiliation, location, gender, age, ethnicity, special features and style like "geek chic") and negotiate the gig direct. The site doesn't take any kind of back-end % or charge a fee, making it really attractive to the agency-side to use this service often.
For the ACTOR, this is a low-effort way to get fun gigs and make extra cash $$$ on the side, and potentially build-up a reel or make industry contacts. Actors just have to create a profile, upload some photos or video, and wait to be matched up and contacted!
For example... Say there's a local L.A. business looking to a shoot a "How it works" video for their new shopping website, and they dont have big budget, but they do have $500 cash for the first sassy young fashionable blonde they can find to play the part. So they enter their search criteria into the site and you come up in the results. You're on the site because you're new to the city, freelancing, and into making a few extra bucks in your pocket where you can. Successful match is made. We're not necessarily talking about actors with hollywood aspirations, but just cool camera-friendly people who are down to take random gigs.
There is usually a $20 annual subscription fee on the actor side ($1.66/month-- still pretty low cost, when you think about it), designed to ensure the seriousness/willingness and quality of the actors who participate.
Isn't that a great idea? And they are set up to run in ALL my favorite actor cities and past/present homes: NYC, LA, LONDON! Actor friends-- even ones who are way past this level-- I'm super curious to hear your thoughts. Please let me know if you join too! This is a site I plan on following the trajectory of.
Ah! Christmas is in a week and I haven't shopped for anyone! Just kidding. I don't really do Christmas in that sense and I already bought a few little things for the people I do exchange gifts with. My last Christmas in NYC, in fact, I spent it by myself (like I'll do again this year) in my one bedroom in Astoria. I watched the neighborhood lights blink and read in bed a book I had bought myself as a present. I ordered Chinese food. It was a perfect hybrid of a loner writer and a New York Jewish Christmas. Not that I'm necessarily either of those things. What it really was, for me, was a luxurious Christmas where I answered to no one and spent some time in reflection. But in the even that you're panicing, here's a place to start. I think these are safe. I know I'd be happy to find any one of these under the wrapping paper. - Heart of Gold - Portable Turn Tables - Zodiac Calendar cuff - These City Quilts are the awesomest. - California Cutting Board... or any of them really. - Dinner Party in a Box - How to Find Flower Fairies - Vintage Book Clocks (We saw some at Melrose Flea) - Wee Heart Ring in rose gold - 40% off all sale items today through Thursday at BHLDN - Anything you order today from Hemingway + Pickett will arrive by Christmas Eve! (Personally, I'm a big fan of this one.) (Also, this.) (Okay, fine, and these.)
You've heard me talk about my friend Pete before. Not only is he my super talented musician friend, my friend I made in the subway, and my friend whose wedding to my other awesome friend Suz in May in LA is going to be gorrrrrrgeous, he's also an utter fabulous photographer of people, places and events.
He did a session with Steven and me back in September where he got just a few of me alone. I posted one, and immediately felt the love. Thanks. Your facebook comments on this photo have made me smile, so thanks! And thanks to Pete! He's a delight to work with and very creative on the shoot. The amazing news is that Pete is running a headshot special! All you actor/entertainment people in New York AND Los Angeles. He's in both. Here's your chance. Here are the deets:
Here's how adding a song to a movie (This is 40) completely changed what I thought about that song. When Ryan Adams's album Ashes & Fire came out last year, it took its place immediately on the shelf with all the other Ryan Adams-- near the end. And it never got all that much deliberate rotation. He's prolific and though he puts out a lot, most of it is wonderful background texture, but not much more. Then I heard "Lucky Now" isolated acoustically on the radio and began to notice the lyrics. Then the song was performed live in a key final scene of This Is 40. I can't say that seeing the song in the film changed my opinion of it-- (though the presence of Paul Rudd does cast a magical glow on everything near him) -- no, it was the addition of a simple steel guitar (and played by a lady steel guitarist, no less.) The song is a country song. It lives and breathes there and it is miraculous. It does not exist on the internet in video form. So instead, I provide for you there merely meh studio version and a link to the This Is 40 soundtrack-- which I recommend in its entirety, actually-- and where you can get said live version, which I have been listening to on repeat for a week. It's just so damn applicable.
Back in April, I was too busy dealing with turning 30 to deal with Bonnie Raitt's newest (19th) release, Slipstream. But as the year when on, the drama piled on, and I sought out more quiet moments, I turned to old friends of my life who've been part of the fabric and on in the background since before I was born. Slipstream is everything you want a Bonnie Raitt album to be-- complete with two Bob Dylan covers and some Bonnie Raitt versions of two songs by the album's producer, Joe Henry. Long held up as a critical darling, this North Carolina boy moved to Detroit at a young age and I think his sound has always been a fusion of those two local flavors. He's been married to Madonna's sister since the eighties and has bounced back and forth between Brooklyn and Los Angeles for years working with practically everyone. (Including Loudon Wainwright, also featured as a writer on this album.) Joe Henry can write a simple, straightforward song like nobody's business. I thought this Thursday could use one. This one's my favorite. It's been picking up a lot of TV time lately-- not to mention, a Grammy Nomination-- and I think it's a perfect winter song. I love Joe Henry's rendition also. But I prefer Bonnie on almost any song almost any day. I loved what Rolling Stone says about Slipstream:
"A loose and adventurous reminder of everything she does well... it's mood music with a razor edge, pain fronting as bliss, delivered by a vet who understands that the blues are often about just that."
As a musical theatre lover of the first order, I have to
tell you, though I’m always in eager anticipation of the next show-to-movie
musical adaptation, I’ve never come out of one and not been a little
disappointed. Basically, when you’ve been that close up to musicals, it makes
it hard to enjoy-- seeing the places where their seams show. (And they all have seams.
Even the classics. Sometimes especially.)
The close up of film normally removes the immediacy of
singing. And something is lost. Tom Hooper was essentially always asking for a
world of dilemma by taking on one of the world’s most beloved musicals—a show
that has always walked a fine line between gut-wrenching and melodrama. (Or as
Steven might say, “High, high retro drama. Get ready for it.”) When I saw the revival on Broadway, though I much loved it, and met some of my best friends from that show, I felt it lost something in a smaller house. The barricade didn't intimidate me. It was just a set piece. I was simply too close to believe.
My personal
attachment to the show, coupled with my long standing reservations about it, made my viewing of Les Miserables full of anxiety. (“Almost NO Broadway
people. Only Aaron. All London people. On principle, this felt like another
snobby British moment. And would it prove to be too stunt cast-y? Remember that minute when Taylor Swift was almost going to be Eponine? Yeah.)
But Tom Hooper—who pointed out in conversation after the
film that this was technically ‘low budget’-- made several huge, game-changing,
instinct-driven decisions. First is the much-discussed live singing. I won’t go
into that in much detail, because everyone else has, but I will say this. We
should never make movie musicals any other way ever again. Ever.
Second-- and in some ways, I think this one might be more
important-- is a decision about perspective. The camera is always somewhere I
didn’t expect it to be. It holds longer than you’d think. It never cuts when you think it will. It zooms in and stays
there. This movie is unflinching.
Tom Hooper chose to shoot all the solos in extreme close up.
Anne Hathaway’s rendition of “I Dreamed a Dream,” plays without cuts, and in a single
take. You’ve probably heard whispers or grumblings of this, but it’s true:
throw everything you’ve ever thought about Anne Hathaway out the window. She’s
fine-to-good in everything leading up that song—one of the best in musical
theatre history. But, while no vocal power house, I assure you, you will not
care. It’s the rawest thing I’ve
ever seen filmed.
A close second is “Look Down.” The images of that opener are
still with me. And it’s where Hugh Jackman won me over completely which helped
as the movie went on. Because, for me, Jackman gets less compelling as the film
goes on, until his death scene. (Spoiler. Jean Valjean dies.) The biggest let down of the film for me was his "Bring Him Home."
But the Hugh Jackman of “Look Down” is arresting. All bloodshot
eyes and soaking wet and patchy hair with visible scalp scars. From that song into the convent section
where he experiences a redemption at the mercy of the priest and prays at the alter
to his own transformation, it's a juggernaut. And then, the scene is immediately transformed in the way that
shows Jean Valjean’s vision of the world and his place in it. When he leaves
the convent--a place we had previously a bleak, tight scope on-- to reveal the full
world, and Valjean casts his ripped up convict papers and scatters them to the
wind... that shot is…. Magnificent.
And here's the real and deeply satisfying revelation of choosing to shoot the film this way. Not only does it trust the actor to tell the story plainly, it trusts the song. Just typing those words, I well up a little, because isn't that the point? Isn't that what every musical theatre writer hopes for? A trust that the song is enough. That the song is the ultimate expression. And I smile, thanking Tom Hooper for knowing that it is.
My only concerns with the film are the concerns I have about
Les Mis as a stage show as well. Namely, its pacing in the second act and the
very nature of a sung through show. For the record, I think that device works
better in a film adaptation than a stage show. In the medium of the close up, it’s harder to justify the
intense emotion that necessitates only one method of release: song. That’s why
they sing on the stage. But in film, you have the close up. That much emotion
close up…. it can be overwhelming. It can backfire and make you uncomfortable.
My issue with an entirely sung through show—particularly
this show—is that it becomes too sing-song, that it feels naked and not in a
good way, was largely washed away when I heard director Tom Hooper explain it.
Rather than make a deal with the audience that asks us to
forgive or understand why sometimes the characters sing and sometimes they
speak, (sometimes a contradiction that’s easy to forgive and sometimes not) or
a trope like fantasy (Chicago) or the confines of a performative group of
people (Dream Girls) instead you create an alternate reality where singing is
essentially the only way that people communicate.
Other takeaways for me: Eddie Redmayne was exactly what
Marius should be (though watch out, they’ve cut the instrum intro to ‘Empty
Chairs.’) but nevertheless, Enjolras is the more compelling character, and I
think Aaron steals the scenes away from Eddie a lot. Maybe I’m bias. Samantha Barks
was just okay. BLESS Anne Dudley and Stephen Metcalfe for giving us a Les Mis with red-blooded orchestrations. I need never hear those synths again. Gavroche has always been the coolest kid to ever run Paris, but this Gavroche is so blued-eyed and vivid and alive that he's almost too real. Sacha Baron Cohen & Helena Bonham Carter as the Thenardiers seemed like they were from another movie, but I nevvvvver cared.Bonus points for Colm Wilkinson's cameo.
The packed theatre was audibly sobbing at multiple moments.
Even the men. Normally, when I recommend a movie musical, I do so for the
people who don’t love musicals, thinking: oh, this is removed enough. Maybe it
will give them a way in. But it is with pleasure that today I say, I’m not sure
what non musical theatre people will think of this movie and I don’t care. But
we geeky musis of the world, this is a film for us. And a film we can be proud of. Go see it. Though I know I
don’t have to tell you that.
As I'm looking back over this year and making my Best Of lists, I realize I never talked about one of my favorite albums of the year. It will surely be on my Best of 2012 Albums list, but I thought I'd devote some proper space to it here.
As Poliça, for all their European mood & sound, is a band from Minneapolis. Fronted by Channy Leaneagh-- part gamine, part enigma; depending on the light-- Poliça came together after her last band died and has only been in existence for about two years. In that time, they've managed to record "Give You The Ghost" an album as moody and ethereal as the name would suggest.(Or alienating-- in a good way-- as one reviewer coined. I'd agree. There is lot of distancing, refracted distortion and unapologetic use of autotune, not that we're not used to that by now.) But Poliça (the name means policy in Polish) also has some authority to it. And the non-stop lap beats don't hurt. It's my favorite night driving album of the year. I didn't even really appreciate it until I got here. From their initial appeal in their hometown, followed by a pretty legendary SXSW showing, they've basically been touring the US and Europe ever since. If I were still living in London, I'd go see them there in March. Or maybe I'd use it as an excuse for a trip to Paris. They're the perfect band to see on a winter Paris night. "Lay Your Cards Out" may or may not be my favorite song on the album. It's hard to decide. But perhaps you've heard it. It's been making the rounds. Enjoy.
All the cool kids are obsessed with Scotland. Recently, Chanel hosted their yearly 'secret show' at the birthplace of Mary Stuart-- Linlithgow Palace. The guests were treated to a feast before viewing the Scottish themed line. As I watched the clothes head around the runway (I do not miss the word 'round' used for the word around) I thought to myself, "Yeah, that's pretty much how you have to dress in Scotland. Certainly how I dressed. A combination of Bunny MacDougall from Sex & The City, Molly MacDonald, and the Olsen Twins. AKA-- a cross between a starlet and a multi-layered tartan hobo.) Basically, if I were rich, and didn't live in LA, I'd wear it. And the show was a beautiful little piece of theatre. Unfortunately, the show and its press were as steeped in inaccuracies as it was history (and layers.) The header of the show says Paris + Edimbourg. Which, while I can see their point, isn't totally true, as Linlithgow Palace is in West Lothian, technically. My favorite comes courtesy Vogue (UK Vogue no less! Something about this seemed so typical of England and Scotland.) where almost everything they said about Linlithgow was wrong. My favorite was a commenter who called them out in a quite Scottish manner. "It is Linlithgow Palace... not a ruined castle and never has been. It's Linlithgow Loch, not a lake and never has been. The Park is called The Peel," ...and always has been. You go, Brenda McMeechan. John Paul Gaultier may have an on-going fascination with Scotland, even saving clothing manufacturers in the borders, but I bet he doesn't know the town he saved (Hawick) is pronounced Hake.
From the adorable St Andrews boy vocal group that brought you "Royal Romance," with nearly a million views, we now have the delight of "Christmas Gets Worse Every Year." That's right. The Other Guys are at it again, and this time they're aiming for Britain's coveted Christmas Number One. The song is mostly heartfelt, but built around a tongue and cheek joke. It's always nice to have some new tunes to add to the Christmas canon. Especially one with a modern sensibility. Not to mention, they really outdid themselves with this video, directed by Maia Krall Fry. From beautiful lights to the whole lot of them standing atop The Cairngorms Mountain range in Scotland. That's commitment. Americans, you probably know about the Christmas Number One as a phenomenon from the movie, Love Actually. But it's really a thing. So get it on itunes. Best of luck to you boys! Here's my little push towards your Christmas Number One.
While The Hour has been thirst-quenching for basic British television watching needs, nothing can fill the gaping hole that is always left by Downton Abbey when it goes. Luckily, it's almost time for the Christmas special! Smartly, Julian Fellowes finally decided there needed to be an episode in Scotland. So this year, we see the Crawleys packing up and heading north to what is actually Inverary Castle (or In-a-ray-ra as you apparently pronounce it.) , seat of Clan Campbell and home to the Duke of Argyll. It is also my favorite castle-- one of the top 3 most beautiful places I've ever seen. Who knows what Inverary will be standing in for according to the Downton world. My guess is its to do with the parents of libertine cousin Lady Rose. For those of you Americans who haven't yet watched season 3, you'll find out who she is soon enough. I also loved this great article in the Scotsman recalling Scotland's place as the swank vacation destination of the day. I'm only sad this was not written by my pal Sandy or any one of his various pseudonyms-- Tibby Redfern, et al. The special is feature length, too. So two whole hours of Lady Edith embracing her new freedom as a lady journalist, Branson getting a little somethin-somethin, and whatever dramatic miscommunication they've (surely) drummed up for Lady Mary and Matthew. I just hope no one dies. :) Click here for an extended preview. Thanks as always to Period Movies for the head's up!
After a week spent working, learning the ropes, wrong maps directions and hours and hours in traffic, putting together a very complicated bed myself, getting a parking ticket on street cleaning day TWO MINUTES into the window this morning, (they don't actually clean the streets in this neighborhood. Just give out tickets) and trying to adapt to/build my new life schedule, I have to tell you, I am mentally and physically exhausted. Now that I have a princess bed, all I want to do is hibernate in it. Too bad I have a weekend full of editing. The only thing I really have energy to say is HAPPY BIRTHDAY, IONA!! Oh, how I miss that girl. Bring a bit of Scotland to LA, would ya? Links! - Here's the NYTimes Notable Books of 2012. I'll have mine out soon. - 2012 was Broadway's Best Year Ever. Sad I missed it. More of these, please. - I still dream of the black version of this Perroquet wallpaper for my entryway. - Good one, Jezabel. - And this. You're hot this week, Jezabel. - The definitive Bill Murray character matrix. - This is just deeply depressing. Royals. Sigh. - This guy entered a design contest and basically just copied Timorous Beasties.
What could I ever say about Dave Brubeck that "To Hope!" doesn't tell you? Or "Take Five?" Nothing I could say could duplicate, convey, or explain those feelings (and many many more) so let's just listen in honor the great man, Mr. Dave Brubeck. If I still lived in New York, I'd put on "Take Five" and wander through Rockfeller Center. Something about Dave always made me think of New York during the holidays.
One of the pianos referred to in one of the most famously fabricated movie quotes of all time is up for sale. Sotheby's in NYC will put up for auction, Sam's piano from Casablanca next Friday, Dec 14. The Japanese collector who holds the piano currently purchased it in 1998 for $154,000 is now expected to get $1.2 million at auction for one of two pianos that Sam (Dooley Wilson) played in the film. (The other is down the street at Warner Bros here in LA.) Do you find it interesting that two of the most famously misquoted movie lines ("Play it again, Sam" and "you know how to whistle don't you?") were uttered (or NOT uttered) by real life couple Bogie & Bacall? For more on Sam's piano check out here and here.
Rachael Yamagata is an artist I'm a bit ashamed to say I forgot about. I was a huge fan of her 2004 album, Happenstance, but in my mind, other than a few duets with folks I like, and this baller album she did with KCRW in 2005, she wasn't really putting out any new music. Not so. Whoops. With the release of her newest album, and her busting back onto my radar in a major way, I did some looking into my old musical friend, and turns out I missed albums in 2008 (Elephants...Teeth Sinking Into Heart) and 2011 (Crowd funded Chesapeake). Again, whoops. But Heavyweight. What a beautiful EP. Same earthy, sensual sound. Her voice, still like smoke slowly rolling out of a bottle. Same deliberate, if pregnantly pausing piano. I'm personally loving Falling In Love Again and It'll Do. She's in New York this week.
