#I also tried a couple Les Pauls to see if I might want to record on one

[necromancy-savant]

For the first time, I have a guitar that can split coils and do surf guitar tone. I’ve been learning surf rock songs all weekend. My neighbors must be so sick of Walk Don’t Run and Wipe Out

[noobsomeexagerjunk]

starry song breakdowns after even more listens

(date: August 11, 2020; just these two songs this time, as i am partial to them)

UNITED IN DISTASTE

the guitar riffs that punctuate Gauguin’s first full verse (and large portions of this song) can be heard again in another pitch as the instrumental backing of WHERE ARE WE GOING

when Vincent sings “a canvas with a key, to finally set us free” the piano melodies first established in IMPRESS ME are heard

the instrumentation that plays for Segatori in IMPRESS ME play again whenever she sings here, meaning those accordions are her leitmotif/markers of Le Tambourin

this is the first character introduction song I’ve encountered in a historical musical where the introductions flow rather naturally--not with those multiple forced “I am X, and X happened to me and I did X”, but with banter that IRL would be the most likely way to know a group of individuals

in short, this shows rather than tell

Gauguin’s introductory verse has a very strong use of repetitive rhyme (corner-monsieur, find-wine-divine, absinthe’s-absence-abstinence, see-me, brush-blush-lust-bust, chagrin-doctrine-Gauguin), which could be a way to frame Gauguin’s skill (and his less flattering traits from the content of the verse) given Vincent’s eventual admiration of him

Gauguin has a strong dislike for Toulouse and Bernard given Toulouse being referred to by him as “le fou,” (”the fool” in French) and Gauguin muttering “Where’s the vermouth?” after hearing Bernard

Toulouse-Lautrec’s introduction is literally interrupted with a heckle

(Only an eccentric like that him would introduce themselves in the third-person, though)

It’s also very telling how Toulouse-Lautrec is the only one who still shows interest in Vincent during the verbal volley he was engaged with the other artists, preferring to hear him than continue his introduction

Bernard being the youngest is reflected by Gauguin being very dismissive of him, his vernacular and tone, and by deadass cutting Vincent off

Bernard’s rhymes are answered in a scattered manner (contrast-vast-ass, truth-vermouth, authentic-simplistic)

Pissarro is just old, huh

Degas and Morisot rediate haughtiness and that sense of being above the people around them (which might be a display of the fact that they are rather upper class)

Degas and Pissarro’s oddly expository jabs at Gauguin clearly insinuate their relationship with each other (in that Paul Gauguin studied under Camille Pissarro and was friends with Edgar Degas)

WHERE ARE WE GOING

The title of this song is a reference to Paul Gauguin’s most popular painting “Where Do We Come From? What Are We? Where Are We Going?”

In which Paul Gauguin is literally leaving

The content of this song answers the questions posed by the title of the work being referenced (though this could just be me reaching here):

Gauguin frames himself as ahead of his fellow artists coupled with his desire to leave Montmartre for something more, so we can frame the first verse as the “Where Do We Come From?” section. He separates himself from the other artists by not just stating a deliberate desire to do so but by contrasting himself with the artists he chooses to separate from. The line “No, I’m not here to be saccharine. I’m not your Sunday painter!” invokes imagery associated with the Impressionists, particularly Gauguin’s rejection of these.

The “What Are We?” question is answered by Toulouse-Lautrec and Bernard when they are critical of Gauguin’s reasons for leaving. They point out Gauguin’s flaws in:  TOULOUSE-LAUTREC: Don’t ignore the question. You revel in bohemia, BERNARD: And live in your own facts, TOULOUSE-LAUTREC & BERNARD: While reaping all the benefits and never paying tax!

As this is Gauguin’s “I Want” song, it is by his personal yearnings throughout the song and its choruses that “Where Are We Going?” is answered--Gauguin wants recognition, fame, and the achievement of a higher, brand new style of art to his name. This want paves his personal road to freedom.

“What about integrity?” Toulouse-Lautrec’s artworks, having the nature of recording, were known for their subject matter and the realities entailed by them. It is by his experiences (simultaneous aristocrat and outcast status, his place as a young post-impressionist, his noteriety and celebrity) and the subjects that he explores in his art (prostitutes, club performers, dandies, celebrities--people from various walks of life) that this musical depiction would care about “integrity”

“What about progression?” Emile Bernard experimented and tried to develop various art styles, theories, and ideas. He was a contributor to the development of synthetism and cloisonnism, hence the concern for “progression”

“What about the artist Paul Gauguin?” Gauguin got into art out of a strong interest in it. He did not start out an artist. From what can be garnered by his character (and the one by this musical), he does art for himself. 

While “If money grew on trees, you’d be a farmer, not an artist,” is a statement the reflects Gauguin’s interest in money and status, this line may as well draw itself to the recurring themes/imagery of “the sower” throughout the musical

“You’ll understand my vision soon, right after the sermon,” references the other popular Gauguin painting “Vision After the Sermon”

if there’s anything this musical taught me, it’s that I will love Gauguin for his anarchy and hate him for his sins

[hmel78]

In conversation with John Hackett ...

Whilst John Hackett is probably best known for his work with his brother Steve Hackett (former Genesis guitarist), there is no shortage of other high profile artists with whom John has worked, and in addition he has also enjoyed a relatively successful solo career as a Flautist, guitarist, singer and composer.

John collaborated with Steve on his early albums, “Voyage of the Acolyte” and “Please Don’t Touch” , which led to further recordings and tours of the UK, USA and Europe playing flute, guitar and bass pedals in Steve’s live band ; also extensive tours of Japan and the USA as part of the Steve Hackett Acoustic Trio. Inbetween touring, back home in the UK, you will find a variety of incredible projects which John has been involved in ; as a composer of flute music for relaxation, he has recorded a number of solo and duo albums, plus several albums with Clive Williamson and the ambient group “Symbiosis” which has led to commissions for the BBC. John has performed concerts with international organist Marco Lo Muscio and performs regularly in a duo with classical guitar virtuoso Nick Fletcher with whom he has recorded two albums: “Overnight Snow” and “Hills of Andalucia”. 2005 saw a change of direction with John releasing, to critical acclaim, a rock album of his own songs called “Checking Out of London”, the lyrics for which were written by Nick Clabburn ; An experimental flute/dance album - “Red Planet Rhythm”- with Moodi Drury followed, and then another album of John’s compositions for flute and guitar - “Prelude to Summer”- which featured brother Steve, and Chris Glassfield. It was 10 years before John released his next solo album “Another Life”, in 2015 - which was essentially the rock follow up to “Checking Out ...” with Nick Clabburn once again providing the lyrics.   Thankfully we haven’t had to wait just as long for something else new! It’s September 2017 as I write, and I have just been handed the very first John Hackett Band album in which we see another avenue open up, on the musical map of John Hackett! For this album, John has gone beyond his usual boundary and written the lyrics, as well as the music - and it’s really very good! John is joined by Nick Fletcher on guitar,  drummer Duncan Parsons, and bass player Jeremy Richardson - who contribute their own compositions to the album, which presents us with a deluxe 2 CD album containing the new collaborative studio recording - “We Are Not Alone” -   and a live recording - “Another Live” -  of their 2016 Classic Rock Society gig. We were incredibly lucky to grab a rare chance to catch up with John about the latest release, and find out a little bit about how he arrived at this current stop on his musical journey ...

HR : I read an interview that you did some time ago, in which you describe your creative self as a bit like “Jekyll and Hyde” - in the sense that despite your focus on the classical side of music, you’ve always hung on to your inner rocker - is that still the case? “We Are Not Alone” sounds to me like you’ve found the balance...

Johh Hackett : I think you have gone straight to the heart of what I used to consider a problem … I started out from the age of 12 playing blues guitar, listening to all those amazing guitarists like Eric Clapton, Jeff Beck, and Jimi Hendrix. Then after hearing Ian McDonald play flute with King Crimson I started flute lessons and learned the classical repertoire. I used to think that one day I would have to choose between the two worlds but actually I now see that they can feed off each other.  It is like light and shade. If you have played electric guitar you know how powerful a sound it can be. So that influences my flute playing - I don’t like it to sound weak.

On the new album there is a track called “Blue skies of Marazion” which features guitar and alto flute. It has quite an impressionistic vibe. It is then followed by “Summer Lightning” which starts as a ballad but then Nick’s electric guitar takes it to a much heavier place. It is quite a contrast, and good of you to say that I have found a balance. I have Nick to thank for pushing me to include more flute on this rock album than my previous two.

HR : I’m glad he pushed you to, because it does work! Do you have a preference when writing and performing? Are you more comfortable with classical or rock ; with vocal tracks or instrumentals?

JH : There is no question that having spent most of my life whizzing up and down scales and doing all the daily technical exercises you have to do if you want to play the difficult classical repertoire, I have in the past been more comfortable with the flute. But there is nothing as exciting as being on stage with a rock band. I have never forgotten the buzz I got from my first ever rock gig with my brother’s band in Oslo in 1978. I took a conscious decision some years back to devote much more time to rock, improving my keyboard playing and learning to sing - I say learning to sing as it has been a painful process (both for me and my poor family who have had to put up with all the shrieking and wailing, not just when I am looking at my bank statements …). In all honesty I enjoy all of it, though at 62 it seems ridiculously late in life to be finding your feet. But having spent a good 90 per cent of my working life playing flute, it is frankly liberating and great fun to be starting a second career as a singer/songwriter with my own band.

HR : Well age is just a number, and I think if you’re creative you strive eternally to cover new ground ... which of course for you just now, is The John Hackett band. You’re essentially a quartet and all 4 of you write your own material; correct me if I’m wrong but none of the songs appear to have been written together for the recording - so who decided what was going to be included? Were any of the pieces written specifically for the album?

JH : The strength of the album is that, with only a couple of exceptions, we had performed all the pieces live before recording them. The way it worked is that we would bring suggestions to the rehearsal room and the band would try them out.  As everyone in the band has considerable experience writing and recording this inevitably meant bringing fairly complete compositions. It was soon obvious if a new piece could slot into our current live set or if best kept for a solo project.  With “Never Gonna Make A Dime” for example I had written this as a fairly slow song. I didn’t think it was particularly good. I played it to the guys in a simple piano and vocal arrangement and within a few minutes, like in some cheesy movie, they were rocking it up. It soon became a no-brainer for inclusion in our shows and the album.

“Castles” was a song I had written some time ago and similarly didn’t think it was anything special. I imagined it as a blues number with the kind of energy of that John Mayall’s “Bluesbreakers” album with the young fiery Eric Clapton reading the Beano on the front cover. I had recorded a demo with me playing the guitar solo on a Les Paul I had borrowed from my brother Steve. But when we tried it as a band with Nick playing a blistering guitar solo it was exactly as I had wanted it to sound. So unfortunately there is a sad end to the story –I didn’t get to play the solo, and Steve asked for his Les Paul back!

Similarly Duncan’s piece “Queenie and Elmo’s Perfect Day” was a flute melody I had always liked and wanted to record.  So when we got the band together it fitted in perfectly, especially as it gave the band free reign for improvisation.

“Take Control”, the opening track, I wrote specifically for the band and the album. I wanted something that would go through a number of changes . It is really in two parts the lyric being the link so there is plenty of scope for time signature changes, guitar solos and changes of texture ...

HR : It does have that, in fact the whole album is quite eclectic, which is what I love about it. It crosses genres and has a good balance of vocal and instrumental tracks. 2 out of 3 of the instrumental numbers were written by guitarist Nick Fletcher ; the 3rd in collaboration with yourself - how did you two meet and subsequently begin performing and writing together? He’s quite phenomenal ...

JH : I first heard Nick playing solo classical guitar without the aid of a microphone or Marshall stack in the fantastic acoustics of Sheffield Cathedral . I thought his playing was absolutely wonderful and wondered that day, as you do, if we might ever work together. Like myself, Nick started out in rock, then studied classical guitar so maybe I heard a kindred spirit. We did some concerts together as a guitar and flute duo, but it wasn’t until the release of my previous album “Another Life” that I found out what a fabulous electric player he is. I had decided to play some of the songs solo at the album launch with just me singing and playing  piano but as it got closer to the time I wasn’t so sure if I could make it work.  Anthony Phillips had played on one track of the album called “Satellite”.  I knew he was going to be there that night so I felt a little nervous ... Nick was round at my house, I played him a few songs, he picked up a Stratocaster and suddenly it was so much easier. Duncan joined us on percussion, so we performed as a trio for the launch. And then it was simply, “Well, where’s the bass player? We could form a band!” Duncan immediately suggested his old school friend Jeremy.  So that’s how we all got together - quite by accident really.

HR : The song “Jericho”, which was written by Jeremy Richardson, changes the vibe of the album a little - given that you sing lead vocal on the other 4 tracks, why didn’t you sing this one too?

JH : Yes “Jericho” was written by Jeremy and sung by him, with Duncan, as part of our live set.  It really suits his voice so there was never any question who would sing the lead vocal on the album. On stage Jeremy and I take a fairly equal share of the vocals which comes over particularly on the second CD (it is a double album package) “Another Live” recorded live at the Classic Rock Society in Maltby in 2016. He is a terrific singer with a harder edge to his voice when he needs it, which contrasts well with my sound.

HR : The second track on the album interested me too ; “Never Gonna Make A Dime” tells of your family’s move to Canada - you must only have been a baby at the time, but do you remember it at all? What prompted you to pen the song?

JH : The song is based on our short stay in Canada in 1957. I was only 2 years old so unfortunately I cannot remember it but Steve was 7 and has good memories of our time there. Our dad had gone on ahead to Vancouver to find work while mum, her sister Betty, Steve and I followed by ship. Our mother missed London so much that after just 4 months we came back to London. I have always admired them for taking the risk of going in the first place and then having the courage to return.

HR : Sure, it’s big life stuff! The track features Steve on Harmonica - which isn’t the first instrument that most people would associate with him  ... JH : Ah well , Steve used to disappear for long periods on board ship only to return with loads of cash. My mother asked him what on earth was going on - apparently he had been playing his harmonica to the crew and they had dug into their pockets for him. This must have given him an early taste for the music business. HR : Clearly! Haha. You’re both multi-instrumentalists - were your parents musical at all?  Who / what inspired you become musicians?

JH : It was our dad Peter Hackett who sparked our interest in music. We came back from Canada while dad stayed on for a while to work. He arrived back with an enormous black box which looked more like a coffin but actually contained a guitar. He had played bugle as a boy, then clarinet, and harmonica - though his main interest was painting. Mum didn’t play anything but always showed a great love of music. She is 87 now and still comes to our rock concerts. Steve and I have been blessed to have parents who have always supported us in our music careers.

HR : And your careers have seen you spend quite a great deal of time together over the years. It seems to be the way with brothers in bands together, that it inevitably results in some sort of falling out, and attracts an ensuing media circus! I thankfully don’t see much evidence of that with yourself and Steve - onstage, or offstage - is there a secret to getting on?

JH : Steve in his role as the older brother has always been kind enough to include me. I used to sit in on rehearsals with his first recording band ‘Quiet World’ ; I was there when he did his audition for Peter Gabriel and Tony Banks at our little flat in London - I even got to play a bit of flute for them that day.   I don’t think there has ever been any rivalry between us. I took the decision in my teens to concentrate on the flute, which has taken me in a different direction from him. So although we do work together from time to time, we are mostly involved in our own projects - But when we do get together inevitably we talk music, with all the enthusiasm as when we shared a bedroom as teenagers!

HR : You’re taking the JHB on the road with a handful of shows coming up - do you enjoy playing the more intimate venues?

JH : We currently have dates every few weeks for up until this time next year.  Certainly regarding venues it is always much nicer to play places where you can talk to the audience after.  Their enthusiasm is what it is all about.

HR : What’s your most memorable show to date?

The most memorable gig is perhaps the one for the Classic Rock Society captured on our live CD. It was only about the fourth gig we had done as a band and it felt great that we were being taken seriously by the Society who have always championed new progressive music. More importantly it was the last John Hackett Band gig our friend Steph Kennedy was able to come to - she travelled all over the country with the help of husband Dave and brother-in-law Glen in her final year. A humble reminder in this sometimes brutal world of how music can bring us together.

HR : Absolutely ... And if you could bring together anyone, living or deceased,  to perform with you on stage - a dream line-up - who would it be?

JH : If we were talking football I would probably start with Pavarotti in goal.

Of course, I would have to say my current band - But I wouldn’t mind having J.S. Bach on keyboards as long as he didn’t get any powder from his wig on my synths!

[figureskatingqueen]

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My Worlds recap

Here I was, on March 30th, in my hometown Riga with bus and ferry tickets and most importantly - tickets to Ladies practice and Short Dance in my pocket. I could not believe I was going to Worlds after many years of living and breathing figure skating. This was a dream of mine that I thought would never come to life. It felt so surreal I had to pinch myself a few times. 😅

When me and my mom made it to the arena at 8 AM on March 31st, it was so difficult to hold back tears ( i am literally tearing up as i'm writing this 😂). Watching figure skating has been one of the biggest parts of my life for five (!!!) years now and I don't think I can put my feelings towards it in just some sentences. It is better than all the movies because it's the real life - but with the spectrum of emotions I only get to see in the cinema. It doesn't only show "the movie" (aka the performance) but also every behind the scenes action (like the emotions before and after the performance, the training process, the challenges along the way) which makes it so much more interesting. So when I walked in the arena it felt like a dream come true. They didn't have doors heading to each sector, but a curtain instead (to not make a sound every time someone enters or exits) and because it was the practice time for Ladies the curtains weren't closed but fully open instead. So even when I had just come in the arena, I could already see a glimpse of the ice rink which felt so surreal and that was the first time it hit me so hard that I was actually really here - at the World Championships.

It felt fantastic to see stars like Ashley Wagner, Kaetlyn Osmond, Gabrielle Daleman, Evgenia Medvedeva, Anna Pogorilaya and Carolina Kostner skate so close to me (we were seated really close to the ice), to see their determined faces and to live through their great performances. Incomparably mesmerizing.

Before the short dance there was some time to kill so we just walked around and enjoyed the atmosphere which is SO unique! There is this buzzing feeling which makes you feel warm and welcomed and everyone looks nervously excited. We walked through every booth/shop there was, I even got some beautiful postcards from John Wilson Blades booth (they were handing them out for free?! 😧) with Ashley, Patrick, the Shibs and Chock/Bates. There I met a lovely French fan and we had a brief talk about our journeys as fans and let me add that it feels so weird to actually talk with someone about figure skating after you've mostly only shared your opinions online and have never had a legit conversation live??! 😂

Then it was the time for the short dance (oh my, hearing the ISU fanfare live was hands down the best experience ever 😂😂😂) . I have been a massive ice dance fan since forever and I am a big supporter of Tessa&Scott. They are the main reason I was actually here - I can't put into words what they've done to me in these past years - they have held me up every time I felt down in various ways - with their performances, life stories or just small interviews. I just wanted to give back to them a little with my heartfelt support. However, I joined the V/M fandom in 2012 when everyone was furious about D/W and their success (which would happen in 2013 and 2014) and I quickly learned to be as bitter as everyone else. It feels sad to look back now and think that we used so much time to just talk about Meryl and Charlie - more than about great things of Tessa and Scott. I only understood this after T&S took a break after 2014 and I just became this casual ice dance fan who wanted to see the best in everyone and was listening to everyone's stories of ups and downs. It was the same fantastic atmosphere - just without all the rage. During this period of time I really fell in love with Kaitlyn&Andrew, Maia&Alex and Gabriella&Guillaume. When Tessa&Scott came back I couldn't believe how great I felt during the season - it was now 100 times more exciting as I had so many couples I loved and supported throughout (...well, i did love t&s a little more than anyone else though 😆) . And you have NO idea how much I loved the theme of this years SD. SOOOO much spunk and sass! I hope you don't mind me saying that pretty much all of these were the best short dances I have ever seen from the top teams.

First of all, let me say a word about the atmosphere live. It is absolutely incomparable to the TV. The audience noises are lowered for about ten thousand times and are almost inaudible in the TV which is the biggest change. The ovations are so impressive you can't believe them at first. Second of all, the skating skills and the speed is insane live. And thirdly of all, the costumes look SO. MUCH. DIFFERENT. (they are much more sparkly and colorful 😍✨).

I was actually worried that I might not last for seven freaking groups but the time went so fast. I still can't believe the zamboni breaks. I swear to god they didn't last more than five minutes 😅 (I always get cranky during the resurfacing breaks when I watch TV - feels like hours). From the first four groups couples that stood out for me the most were Smart/Diaz, Kaliszek/Spodyriev and Lauriault/Le Gac - they all had great stage presence and superb feel to the music.

Then the fifth group came. All of a sudden Tessa and Scott were on the ice and I was like one of these crazy Bieber fans who can't stop their tears. I tried my hardest to bring the tears back but I miserably failed (I had promised myself that I would act NORMALLY NOT START CRYING ON MY FIRST OPPORTUNITY I AM SO WEIRDED OUT OF THE SUDDEN EMOTIONS THAT CAME OUTSIDE IN THAT MOMENT - I am a very reserved person who always puts herself together 😂). Tessa's costume is SO much more beautiful live. I wasn't a fan of it when I first saw it but DAMN she looked hot. Also the golden sparkles around the cutouts on the pants are basically not seen at all in the usual professional pics but they were actually unbelievably shiny. And Scott just has this amazing aura around himself. He seemed to ooze confidence but also some sort of humbleness. And OMG - they're fast. But the thing that struck me the most was the non-touching step sequence. They did it once in the warm up and I legit thought it was some "easy version of this sequence without the hard steps just to get warmed up" and you can't imagine how surprised I was when they performed it in the actual dance. It WAS the sequence. I swear it looked like anyone could do it. So light and easy. Now THAT was the moment I understood how superior they actually are. Everybody else's StSq looked, you know, like a StSq should look like - a hard element hard to execute (don't get me wrong - they were mostly done beautifully but it was visible that this is a hard element - which it is 😆). After the warm up ended I was probably still in shock so I have no recollection of the first two pairs in that group. Sorry. 😁 Then they came up on ice for a short warm up again while the previous teams scores were announced. And this includes the moment I think nobody has caught on camera (I don't think I have seen any pre-sd videos at all which is such a shame). They were just gliding on ice separately with Tessa slightly in front of Scott. Then they started to slow down because they were coming to Marie France. And while they're slowing down, Scott skates right in front of me with the biggest grin ever and his lovey-dovey eyes focused on Tessa's back slightly in front of him. And that is the moment I calm down. His eyes bring the sense to me that everything is going to be okay and he is confident about it (i swear to god he's a magician or whatever but that look was SO calming and surreal). And Tessa just turns her head, looks at his face and literally rolls her eyes with a smile on her face (okay i might've imagined the eye rolling but you all know that face when tessa looks at scott and thinks 'god you're such an idiot i love you') and then they're already with Marie France with last words before performance. The actual performance was unreal. They did their beginning moves right in front of me and that was SO sharp. Also when they did these moves there were quite few "eeeaaaww" kind of shouts or whatever the Michael Jackson kind of short screams sound. That was superb and I'm so sad NONE of them are audible during the actual recording. It gave a great atmosphere. Scott did the kneeling thing right before the end of the first section right in front of me which left such an impact. SOO much control. The blues sequence was hella smooth (and twizzles were ok but i was so scared about them) BUT THE LIFT. THE STADIUM FREAKING ERUPTED DURING THE LIFT. I felt as if I had wings and had been accepted into paradise. And then it ended and I was on my feet and there was an ocean of tears (whoops😅). It was an experience I will never forget.

Then it was time for Group number 6. I have to be honest - I was a little disappointed with Stepanova/Bukin. I've been a huge fan of their SD but seeing it live was a little bit underwhelming. It's the way of skating - they skate "small". However I still loved the choreography and their chemistry is certainly the best in the younger ice dancers field. If they can improve their skating skills, I'm completely on board.

Piper and Paul were a huge surprise for me. Even when they were warming up with everyone else, you could feel their presence the most. And let me just say this - Canadian men are superior dancers. Scott, Paul and Andrew all felt a bit similar to me. They makes themselves look extremely confident (i mean their skating skills also are 😍) and they lead their ladies better than anyone else - it just feels extremely natural. So, back to Piper&Paul. This was a huge hit in the arena (and for me!). The feeling was great throughout the performance and I just want to say it one more time - the skating skills (piper has improved so much)!! the twizzles! they took my breath. I have to admit I didn't think this dance would actually work for me but it did.

Another team which surprised me in a good way were Bobrova&Soloviev. As the season progressed, I always felt as this program was a little "pushed". They tried to bring the sass, but instead it came off as a vulgarity. However the forms they create on ice are very clean and blade work is beautiful so I was actually scratching my head after watching these two because I've never really liked them but somehow they look better live (I just don't understand why?)

I was also delighted by Anna&Luca's performance. That dress looked even more beautiful live and they also made me like them more than on TV. They just draw you in and you can't do anything about it. I just wish they would be more versatile (but i still love them!)

The seventh group started with the Shibs who I think had the very close second short dance choreography-and-idea-wise behind T&S. I've absolutely adored this dance all the times this season and this was no exception. That lift was badass and man, those twizzles... I didn't think that was going to leave such a big impact on me. SO sharp in every movement. Alex just needs improve his facial expressions a bit and then they'd be even more perfect (also maia is a literal goddess).

I have to say my sentimental favorites of the night were Kaitlyn&Andrew. Their skating on TV looks a bit like Stepanova/Bukin's so I was a little bit worried that it would fall flat. It was the DIRECT opposite. I think their skating skills were second only to VM that night because damn, they skated with so much speed. And their chemistry just went sky high. Also that lift made the arena erupt (again😂). It looked so much more powerful than on TV. The move where Andrew just rolls Kaitlyn on his back was hands down one of the coolest of the night. I was just so happy to see them perform the best they can after some disappointing starts. It was truly wonderful and after they finished I was standing and in tears again. I thought they were terribly underscored, but oh well, #twizzles. (they are both also incredibly hot 😏🔥)

Gabriella&Guillaume were also amazing live. I loved that they did the most program to the blues music which I truly respect because it is so much harder to keep an audience interested with blues than with hip hop. But the slow section was amazing - the attention to details and the blade work was soooo smooth. I've got to say although Guillaume's skating skills and dance moves are through the roof fantastic, he doesn't "lead" his partner that well - the Canadian guys do it so much better. I don't think he has any rivals in the "best male ice dancer by himself" category, but he has a lot to learn to be the best in the "best male partner in ice dance" nomination - he isn't the full package yet. However I'm a big fan of hard work and dedication (and I'm sad people only appreciate Guillaume's because he is the more gifted one) so I'm a big fan of Gabi, her personality and facial expressions during the performance. She sells everything better than Guillaume but I don't think she's being recognized enough for that.

Madi&Zach also surprised me live by looking far more polished than on TV. The movements were sharp and they've got this weirdly different blade quality compared to others that I can't explain (but i liked it). I certainly was a bit cringey about the music at the beginning of the season, but I've got to say that crowd really appreciated it and I was also on board. I smiled so hard when the scores came up because I absolutely love it when underdogs show everyone what they're capable of.

Last up were Madi&Evan and this unfortunately turned out the same way I felt about Stepanova/Bukin. I had also been a big fan of this SD all season but their way of skating didn't seem to impress me. I had also liked how Evan just tossed around Madi various times in the program but live it just seemed a little too much? BUT I totally respect that they have worked so much with their chemistry because it was nonexistent some years ago but now they just scream the word "FIIIIREEEEEE". 😉

Afterwards there were about a hundred of people making a crowd close to the door which skaters entered to go to the draw for the FD. Well, I think it's not a very good way to get a skaters autograph. They are very tired after the competition and it's not even over - there's still the FD so they got to keep focused. I think a moment between a skater and a fan should be much more personal than just blocking an entrance just to get your autograph. I don't know, it just made me a little uncomfortable when everyone was waiting for them just to come like they're some sort of zoo animals or whatever. I didn't want any autographs or anything, it was just SO hard to get through the far-too-excited crowd (to the exit of the arena) I decided to wait until they go away. I didn't even register that I was standing right after the entrance to the draw (where it wasn't crowded at all, in fact I was like the only person there) and the wall was from glass so you could see the skaters after they entered the "closed zone". And then I turned my head and saw FREAKING TESSA AND SCOTT in the closed zone. About a meter from me there was this crazy crowd waiting for skaters and turning their heads in the other direction while I was enjoying my view of Tessa and Scott having a conversation. 😄 They were kind of afar from me though and I was trying my best not to stare ('they are not animals and it is rude to do that' I muttered to myself) - I don't think they even saw me because they looked completely in ease as the glass wall separated them from everyone. Then they left further for the draw and I couldn't see them anymore. Tessa&Scott were already in the closed zone because they skated early but the skaters from the last group still had to come. I've got to say it was a bit sad to see the guards having a hard time taking the skaters from the crowd to the closed zone. People went crazy every time someone came. But I, still not accompanied by anyone, just had the best view of my life of skaters like Maia&Alex, Kaitlyn&Andrew, Gabi (Guillaume didn't show up because he was getting his hand stitched) , Piper&Paul, Madi&Evan and Madi&Zach after they had gone through the crowd. Madison Hubbell actually turned around to see the crowd once again, laughed, then turned in the other direction, saw me all by myself, smiled and waved at me! 😎😱 I was so surprised but also very thankful for such a nice gesture! (jeez, but I hope I didn't look like those weird, creepy stalkers 😁). The crowd finally went away and I got to walk out normally.

My journey was over but the memories were never going to fade. It was an experience I wouldn't trade for anything in the world as it brought the whole spectrum of emotions to me. It was the best day of my life. I can never thank enough to my mom who came up with this idea and travelled with me. We had the most fantastic time ever. ❤️

(thanks for reading, this was suuuuper long 😂)

[mediationhamptonroads]

The Unwitnessed Miracle of Mediation (Originally Published March 2001)

Readers of the Bible know of early-day miracles — the cripples who could suddenly walk, the sightless who could finally see, the virgin who gave birth. They may not, however, remember a mention of another small miracle of sorts — the miracle of mediation, the process of a neutral third party balancing the scales of justice for two people faced with a problem. Yes, the apostle Paul suggested to the Corinthians mil-

lennia ago that disputes should be settled by community members rather than through adjudication. So why haven’t more people witnessed the magic of mediation — and why aren’t more reaping its rewards?

Paul Warren points his index fingers toward each other and tries to make them meet. They miss by about six inches and he stops in a ciassic “they-went-that-a-way” pose.

Wanren then pulls back his hands, spreads out his fingers and tries again. This time his right pinky glides into the groove between his left index and middle fingers. He smiles.

Warren isn’t a bored man passing time. He’s not a clown entertaining children. He’s the founder of the Commercial Mediation Association in Norfolk, and he’s demonstrating how people can resolve their problems when they think of multiple solutions — not just one — and then work to link their ideas.

Wairen’s demonstration makes mediation look painless, and as long as one hand doesn’t try to claw the other, it can be.

All that’s needed is a mediator, a room, the two parties, and a few hours. Essentially, it’s a process made dp of a lot of listening on the mediator’s part, and a lot of talking or» the disputants’ part. And talking isn’t hard. Who. after all, doesn’t like to talk, especially about himself?

Certainly not Curtis Clark.* He participated in his first mediation session two weeks ago. At stake was his six-year-old son, and he wanted to be sure the mediators understood his position. He read from a journal he had kept through the years:

Curtis divorced Theresa, his son’s mother, four years ago. They argued regularly throughout the years about the boy’s care — what type of car seat was best, who the boy could play with, how late be should stay up. Somehow, though, Curtis and Theresa had always been able to compromise.

But something had changed in the last five months: Theresa is now living with a boyfriend, one she’s thinking about marrying. Suddenly she and Curtis are fighting more than ever. If Theresa forgets to have her son do his homework on a night he stays with her. Curtis refuses to let her have another overnight visit for weeks. When she returned the boy to Curtis house a few hours late (because of car trouble, Theresa says), she was told she would need to start visiting the boy at Curtis’ house, instead of hers.

After more than a dozen similar “judgment lapses,” as be calls them, Curtis has had enough: He wants the ban on overnight and out-of-sight visits enforceable by law, even though the couple has joint custody of the boy. He’s filed a case with the Norfolk Juvenile and Domestic Relations District Court, and they’ve referred him to mediation.

The two mediators listen, take notes and keep Theresa from interrupting while Curtis talks. (“Remember to write it in your note pad if (here’s something you’d like to say when Curtis is done speaking.”) When he’s finally finished, one of the mediators summarizes his story. (“What I hear you saying is...”) When it’s Theresa’s turn, they do the same for her. (“I just heard you say ...”).

In a moment of anger, Curtis raises his voice and addresses Theresa directly. Before Theresa responds, die mediator calmly suggests an alternative to Curtis: “Why don’t you just talk to me and (the other mediator.]” When Theresa mentions the time Curtis smashed a plate in anger, Curtis shoots back with sarcasm: “I’m allowed one mark on my record.” But the exchange stops there, again thanks to one of the mediator’s superior “hearing”: “What I heard, Curtis, and I’m not sure if you heard this, is that Theresa says she’s done stuff, too.”

The mediators used what’s called a facili- tative approach while working with Curtis and Theresa. Their goal was to keep them talking and to pinpoint what each wants and why — without offering any possible solu¬tions, not even subtly. With the evaluative approach, mediators cover the same ground but gently present ideas: “Have you thought about... "What if we..." "Why don't you try..."

Both approaches yield good results. According to the American Bar Association,

mediation’s success rate is 80 to 90 percent. Compliance, not because mediation is le-

gally-binding but because the parties decide the outcome, is estimated to be at 99 percent.

And on a practical note, mediation is less expensive, approximately one-tenth that of hiring a lawyer. (Lawyers are welcomed, but not required, at mediation sessions). Prices can range from $25 to $200 an hour for a mediator, and some even work for free.

Yet die thing people (end (c like the most about mediation is being heard, and therefore, valued.

In family courts, judges have approximately seven minutes per case. No matter how hard he would have tried, Curtis never could have read the journal entries he felt were important to his case in a brief, cook- two-microwave-meals time span. He had the chance to let go of anger in a safe, constructive manner, at his own pace.

By gently coaching Curtis and Theresa to listen to each other’s concerns and ideas, tire mediators were in a way teaching them skills they might use in the future -r- skills* that are particularly important in an ongoing relationship.

But mediation can help even in cases where the parties most likely won’t be in contact again. Wjth extra-sensitive disputes like those involving sexual harassment, mediation is ideal for both sides. The alleged victim can tell her story in a more private setting, and because mediation is confidential, the process is shielded from the news media. There's a lot of flexibility, too, when thinking of ways to settle a dispute. (See re lated story.)

Another benefit of mediation is that a dispute can be resolved in a matter of days or weeks - not months. A session can generally be scheduled within a day or two, which is rarely the case with a court hearing. In Norfolk, disputants generally wait four or five weeks for a court date. Virginia Beach's courts are even more crowded. There the wait is three or four months. In the meantime, the problem that needs solving can grow* much worse. In a dispute over an ongoing construction project, a months-long wait can mean million-dollar loses. In a dispute over the care of a child, it can mean irreparable damage to the youngster’s psyche.

Recent participants in mediation seem to agree with the experts who tout the process’ benefits. On evaluation forms, they wrote: *I felt the mediation process was a great al-tentative to appearing in court. We were both able to express our concerns in an informal environment. I would recommend all cases go through mediation.” “I believe that mediation is a very resourceful tool to open up communication and empower both parties." “It was a comfortable atmosphere that helped relax me and made discussing our issues much easier. I’d definitely recommend it for everyone.

It's easy to see why mediation has been used die world over for centuries. Before the Renaissance, the Catholic church in Western Europe was considered the central

mediation and conflict management organization in Western society, with clergy medi-

ating family disputes, criminal cases and diplomatic disputes for nobility. Other reli- '

gious leaders, including Jewish rabbis in Europe, also embraced the concept

In America, the Puritans, Quakers and Chinese and Jewish ethnic groups have long employed dispute resolutions techniques. Even before Europeans arrived, Indian tribes were practicing mediation. The Na-. vajo Nation is credited with establishing a program in their tribe, known today as the Navajo Peacemaker Court, in which a tribal leader will mediate to reduce conflict within the community.

So why them, with all the benefits that mediation offers and its long track record, aren’t even more people opting for it? Can we blame it on Judge Judy? Bobby O’Donnell on The Practice? Richard Fish on Ally McBeaYl Greg on Dharma and Greg? Lowell “The Hammer” Stanley? It seems every other program and every other commercial on every other station delivers the same message: Sue, sue, sue.

David McDonald, the founder of the Mediation Center of Hampton Roads, which handles about 50 cases a month, thinks part of the problem is just the nature of native Virginians. Yes, slowly but surely we’re getting more cosmopolitan, especially in Hampton Roads, but many will never be ready to let go of the past.

“Ben Franklin wanted to be in Virginia at the end of the world because he knew it would take 50 years for it to catch on here,” McDonald jokes. “That’s definitely the case in Virginia with mediation.”

Or, a finger could be pointed not at the natives but at the fly-by-nighters. While the military does much to boost Hampton Roads’ economy, it doesn’t always allow people to grow roots — and that means fewer people are inclined to build strong relationships with others in the community. If they encounter a problem, they’d rather go tb court than work on their relationship through mediation. “We’re so transient here, it’s challenging “ says Bob Glover, executive director of the Dispute Settlement Center, Hampton Roads’ only not-for-profit community mediation center. “The idea behind mediation is to connect with other people and for people in the community to help solve community problems.”

Even though no one headed to court over it, the debate surrounding a new location for the Union Mission was a missed opportunity for mediation, says Glover. “They let people talk about their concerns,” he notes, “but that wasn’t enough. A mediator could have listened, too, and worked with both sides to find a solution that everyone could have been happy with.”

Paul Warren, who specializes in commercial mediation, may face even greater challenges than those who generally work on family, community and small-business disputes. In 1993, Virginia passed a law that allows trial courts to refer parties to an evaluation session in which the possibility of mediation can be explored. However, courts that do make referrals generally do so only for domestic cases.

"Because the Virginia system (of mediation) is (linked primarily to) family courts." Warren says, "Virginia i literally 25 years behind in commercial mediation."

Not to far away, up in Washington D.C., where Warren worked in the 80s and early ’90s, things are much different In 1987, a program was started to encourage the use of alternative dispute resolution — which includes case evaluation, mediation, and arbitration.

It was a simple program: Every case had to go through some form of alternative dispute resolution. It was found that a single two-hour session reduced the court’s caseload by well over 50 percent, reports Warren, and for him, it meant he was able to work on hundreds of cases. Today, Warren, who is also a lawyer, splits his time evenly between litigating and mediating.

But don’t get the wrong idea: He, Glover and McDonald aren't all gloom and doom about the state of mediation in Hampton Roads, and they’re certainly not sitting back waiting for Virginians to embrace the concept on their own.

Warren is encouraged that the American Institute of Architects has added to its standard contract a clause stating that any claim can be subject to mediation. (About 50 percent of construction contracts copy the Institute’s standard contract.) He’s also working to get more experts in various commercial fields certified by the Supreme Court of Virginia in mediation. If someone is trained in mediation and understands the business involved in a dispute, he helps the parties save even more time and money because he understands the language they’re speaking. This month, Warren’s teaching a mediation class just for construction professionals.

Glover and the Dispute Settlement Center train mediators as well and are reaching out to agencies like the Norfolk Office of Neighborhoods and Catholic Charities. Through the Office of Neighborhoods, his staff is training civic organizations on how to be more effective when faced with disputes, and at Catholic Charities of Hampton Roads, social worker Alice Alvord is working on her mediation certification, which involves a 20-hour training class, two observations and five co-mediations. She plans to mediate custody disputes between grandparents and parents right at the Catholic Charities office, instead of referring them out.

Glover could be putting himself out of business. One of the mediator trainees at the Settlement Center, Brenda Exmore, is part of a team of seven Norfolk State University faculty and staff members that is seeking mediator certification. The school's goal is to form its own center as a resource for students, faculty and staff.

“Maybe this could be a community resource as well,” speculates Marvin Feit, dean of NSU’s Ethelyn R. Strong School of Social Work. “People could come in from the local community and possibly work on things like police disputes.”

If given the chance, Glover would most likely congratulate Feit for trying to be a competitor of sorts. “We want a cultural understanding of mediation ” he explains. “We want people to have greater access to mediation, and to think of it first for their neighborhood and business disputes.”

McDonald, who opened the Mediation Center of Hampton Roads eight years ago while he also worked in the Virginia Beach Consumer Affairs Division, may have the most reasons to feel optimistic about the future of mediation in Hampton Roads. One year ago, business was good enough for him to leave his day job. And it’s still going strong, even though McDonald jokes about wishing he could afford a billboard on 264 that says “Mediate. Don’t Litigate ”

In July, judges began referring aJI contested cases filed in the Norfolk Juvenile and Domestic Relations District Court for mediation orientation. As of the end of December, that meant 140 cases were given the chance to mediate.

McDonald is campaigning to get all cases '— not just contested ones — referred, and he's looking forward to the possible enact¬ment of the Virginia Administrative Dispute Resolution Act of2001. If it passes, all state agencies issuing contracts would be required to include a clause saying that disputes would be handled through mediation.

In the meantime, McDonald continues to serve clients like the United States Postal Service, to train mediators, and to talk to groups such as the DePaul Medical Center Employee Assistance Program and the elementary guidance counselors in Virginia Beach.

“I was actually talking to the counselors about a co-parenting class I teach,” says McDonald of a presentation in late February, “and what they seemed most interested in was peer mediation.”

It’s a subject McDonald knows about as a professional — and as a parent. His daughter, 10-year-old Marlee, is following in Daddy’s footsteps. She’s a peer mediator at Larchmont Elementary, one of 16 students trained to work with third, fourth and fifth graders facing a dispute.

According to Anne Christie, the school’s guidance counselor, discipline isn’t a problem at Larchmont, but mediation helps im¬prove the students' relationships with one another.

“Mostly we hear things like ‘he stole my crayon,* or ‘he’s teasing me’” Marlee says, careful not to reveal too much information because mediation is confidential, she reminds a questioner. She attended the two training sessions required for new mediators, but she may not have needed them.

“When I was in second grade, two of my neighbors were fighting ” she explains. “We arranged some chairs like a mediation and I was die mediator. They didn’t fight anymore, and that’s when I thought ’mediation is cool.*” Maybe Dad can put that on a billboard.*

•Names and other details have been changed to protect the parties 'identities.