Friday, May 2, 2014

You Know You're a Fairy Tale Blogger When...

Graphic by Gypsy using Dore's illustrations & Debbie's vintage dust jacket project from Confessions of a Plate Addict
(text is the opening lines of Le Chat Botté)

I got tagged by Kristin from Tales of Faerie, so now it's my turn:

Gypsy's list:

You feel it's your job to watch ALL THE FAIRY TALE SHOWS every week (and movies too)
You get annoyed that googling "fairy tale" leads to sports stories at least half the time
You feel over saturated by Disney stuff/content and yet you have to read it/check it out just in case...
- Any time you have to buy shoes you get very self conscious that someone will think, that you think, that you're really a princess
- You have always owned, and will always own, a red hoodie
- ... and feel a little bit self conscious/rebellious every time you wear it.
You find ways to relate every conversation to fairy tales
You're pretty sure you wouldn't be too surprised if an animal came right out and spoke to you
You have multiple copies of Grimm's, Andersen's & Perrault's tales but cannot get rid of a single volume
You have a dream to own the complete AT index one day
You always have the urge to add a witch when making gingerbread houses
- ... and feel guilty eating gingerbread men.
- Your TBR pile is actually a mountain
You regularly have 14 tabs (or more) open at once for articles and stories you MUST blog on
- Your drafts folder is full of placeholder topic titles with one-liners/single paragraphs and half-complete essays on fairy tale issues so you won't forget to blog on them... (-sigh-)


Now tagging... HEIDI at SurLaLune!

Fairy tale bloggers' confessions so far (updated as they appear...):
What is this? From Kristin, of Tales of Faerie:After having a fairy tale blog for years, it really starts to bleed into the rest of your life. Gypsy from Once Upon a Blog and I have been enjoying sharing some of these unique results of our bloggerhood and thought some of you might also have some funny and interesting things to share as well!

The Australian Fairy Tale Society Awakens After a Hundred Year Sleep!

AFTS logo by Regan Kubecek
The world has a new Fairy Tale Society. In Australia! (Woot!!) *fistpump*

It's called, coincidentally, the Australian Fairy Tale Society. (The temporary online home, until the official launch in June, is HERE.)

Welcome to the world AFTS!

But the creation of this society is really a continuation of work that began one hundred (ish) years ago...
"One hundred years ago (or thereabouts) the eminent folklorist and fairy tale collector Joseph Jacobs might have been Australia’s answer to the Brothers Grimm. Jacobs was born, raised and university educated in Sydney but he moved to England in the late 19th Century to gather and publish fairy tales there. Meanwhile our rich tapestry of tales grew, yet there was no comprehensive endeavour to collect, analyse and preserve Australian fairy tales... until now."
To help make the organization the best possible resource for the collection and preservation of Australia fairy tales and to support current and new work, the new Australian Fairy Tale Society launched a crowd funding project on Monday April 28 to help them get off the ground.
As well as collecting folklore, the AFTS national website* will promote current events, share fairy tale news, inspire new works, and encourage a strong network of fairy tale lovers across the land. The society will hold annual conferences and encourage discussion groups to form across the country. (*To be launched at the conference.)
by Regan Kubecek
With a crowd funding project that launched on Monday April 28, an inaugural conference on Monday 9th June, and a new national website, the Australian Fairy Tale Society (AFTS) has broken the
spell."
But they don't just want your monetary help. They looking to launch an active and ongoing collection of fairy tales in Australia:
Does Grandma tell a bawdy version of Little Red Riding Hood? Did Cinderella make her way into your childhood rhyming games? Know any good Beauty and the Beast jokes? We're searching for Australian fairy tale folklore for our new collection.
Take a look at the video to see more about the new Australian Fairy Tale Society and what they (we!) hope to do with the support of contributors (and, like most crowd-funded projects, there are some great gifts and perks, according to your donation amount - see website for details HERE).
Being a long way from home myself, I am keeping my fingers crossed that there will be a way for supporters afar to participate or spectate but nothing has been confirmed as yet. If this changes and the conference participants (or attendees) jump on Twitter, Skype or Facebook for any panel or presentation (and I get a heads up) I will definitely let you know ASAP so you can plan your live participation with the time differences etc.

Here are some event details confirmed to date (more details on papers & panels below the poster):



  • Best selling and award-winning author Kate Forsyth will present her paper 'Rapunzel in the Antipodes' and be on our discussion panel looking at 'Cultural Editing: How some fairy tales get lost in the woods'.
  • Sarah Gibson - Jungian analyst, creator of Re-enchantment and the Fairy Tales Re-imagined Symposiums - will address the 'Ways of Interpreting Fairy Tales', with a focus on Australian visual artists.
  • Rebecca-Anne Do Rozario, who researches and teaches fairy tale, children's and fantasy literature at Monash University in Melbourne, will break open the definition of fairy tale in her exploration of 'Baroque in Oz: From Giambattista Basile to Shaun Tan'.
  • Belinda Calderone, who runs the Monash Fairy Tale Salon and is completing her PhD on motherhood in fairy tales, will present her paper 'Strange Lands: The transportation of European fairy tales into the Australian landscape'.
  • Jo Henwood, storyteller and co-founder of the AFTS, will tell 'An Australian Thumbelina' replete with "dingoes, wombats, echidnas and lorikeets" at the June conference.
  • Vasilisa Fair by Regan Kubecek
      Jenni Cargill-Strong - storyteller, singer, and founder of The Storytree Company - will share her research on the Little Red Riding Hood tale on our discussion panel looking at 'Cultural Editing: How some fairy tales get lost in the woods'.
    • Griffith University Honours student Sophie MacNeill will complete our discussion panel looking at 'Cultural Editing: How some fairy tales get lost in the woods' with her extensive knowledge of Snow White.
    • Storyteller and researcher, Tobias Eccles, will look at a common thread weaving through locally collected tales in his paper 'Stealing from the Sky, Stealing from the Underworld: The heroic thief in Australian fairy tales'.
    • Danielle Wood, who is working on her second collection of original fairy tales, will present a reading of her latest book 'Mothers Grimm' at the conference.
    • Robyn Floyd will be presenting her paper 'Constructing Australian Fantasy from a Grimm Perspective: Olga Ernst' followed by a storytelling performance of one of Olga's stories.

    There will also be some fairy tale artists and writers present for panels, meet and greets and signings of their works and books.

    If you're not in Australia, but still want to show your support for this new (and huge!) fairy tale endeavor, please feel free to contact the lovely and very friendly duo who got AFTS off the ground, Reilly McCarron and Jo Henwood, either via the AFTS Facebook page HERE or the crowd funder site HERE.

    Although I dearly wish I could be there in person, I will most definitely be there in spirit. 

    Note: all the art shown is, as credited below the images, by Aussie illustrator Regan Kubecek, who both created the AFTS logo and is the (unofficial at this time) AFTS artist. Ms. Kubecek also recently created a set of fairy tale illustrations which you can see HERE.

    Thursday, May 1, 2014

    Tons of "Fables" News: Movie Update, Willingham Teases End Of Series Details, the Fables Game "Levels Up" + Bonus Awesome Cosplay

    Bigby Wolf & Snow White of Fables, "The Wolf Among Us" video game cosplay by Saskeks-Cosplay
    The Fables movie news is pretty small but very significant. Warners is now in direct competition with Disney, now that Disney has bought Marvel so the amp up on superhero movies is expected and speculated on. The big question is, since it's Warner's property: will they be doing a Wonder Woman movie? The answer is "not yet" because there are a bunch of others already in production ahead in the cue, including...
    ...several other movies in development unconnected to the Justice League that are based on DC superheroes and fantasy and crime titles from its Vertigo line of genre comics, said Mr. Silverman and Toby Emmerich, president of Warner’s New Line Cinema label. They include “Shazam,” “Metal Men,” “100 Bullets,” and “Fables.” (Wall Street Journal)
    What does that tell you? That Warners are confident enough in how the Fables movie is going that it's been put forward as a major property, currently in active development, and that other likely-to-be-hot properties (aka Wonder Woman) are going to have to wait their turn until after Fables is complete (or at least well established in actual production).

    AKA: it's very good news! At least, that's where it stands right now, anyway. These things change so quickly but for the present it's full steam ahead on another fairy tale film of major proportions. *fistpump*

    And regarding the long-running, critically acclaimed, Eisner Award-winning, fan-favorite comic book series, Fables ,wrap -up (cue wailing and gnashing of teeth), here's a little teaser that came out on Monday (April 29th), care of ComicBookMovie.com and DC All Access:
    In this exclusive clip from DC All Access, Bill Willingham and Mark Buckingham reminisce about their long running Vertigo fantasy series and share some hints on where it's going in its final year. Plus, look for an exclusive announcement about Fables #150 and the final arc of Fables!
    Did they just say "I guess there MIGHT BE A POSSIBILITY of returning to those (surviving) characters..."? I hear more fairy tale possibilities for the future care of Willingham & Co... *double fistpump!*

    By the way, the images are cosplay for the TellTale Games video game Fables prequel The Wolf Among Us. The talented cosplayers are Saskeks-Cosplay team and aren't the only cosplay I've seen for the game (though their comicbook-line approach is pretty cool and unique). And you know what they say about cosplay, right? OK, I don't know what the phrase is exactly but it's akin to someone tattooing one of your characters on their body. It's considered a "level-up". 
    Note: the most recent episode of The Wolf Among Us, A Crooked Mile, is getting amazing reviews. It's been called addicting and akin to The Walking Dead (which TellTale Games won Game of the Year for last year). The Wolf Among Us seemed to slump slightly with the second chapter but people are revved all over again and demanding the next chapter release dates be moved up. (I'm sure they're adding a pretty please in there somewhere... with bared fangs..)

    Additional sources: HERE & HERE (and a ton of other reviews from gamers - official and amateur)

    Wednesday, April 30, 2014

    Dear Ursula (Women of the World Poetry Slam 2014)

    The Little Mermaid (The Sea Witch) by Nadezhda Illarionova

    In the Hans Christian Andersen tale the Sea Witch does, indeed, advise the Little Mermaid how to enchant the prince. Although the mermaid is beautiful and good hearted, she is naive in the ways of love and language. It's the Witch who tells her what to do when she cannot use her voice.

    When the Little Mermaid visited the Sea Witch and was given advice, there was definitely an "ah ha!" moment for me as a girl. Although Princes culture wasn't as pervasive then as it is now, I still somehow had this idea of what an attractive fairy tale girl was like, and I knew I wasn't it. Of course, I loved Clever Kate, the princess who served her father Meat Without Salt and Tatterhood but I always felt unless I was being actively witty or daringly brave, there wasn't much going for me. The following passage opened my eyes to the fact that those weren't my only options:

    “But if you take away my voice,” said the little mermaid, “what is left for me?”
    “Your beautiful form, your graceful walk, and your expressive eyes; surely with these you can enchain a man’s heart. Well, have you lost your courage? Put out your little tongue that I may cut it off as my payment; then you shall have the powerful draught.”
    “It shall be,” said the little mermaid.

    You know what? It DOES take courage to put yourself out there this way. When you're not exactly princess-y, being confident in a culture of pretty-and-petite-rules is intimidating (seriously - I'm a size 2 to 3 and I feel like an overweight lump in LA! How ridiculous is that?). And this is one of the big things the Little Mermaid needed to learn. She had to mature and take charge of her whole self, and not rely on nature-given gifts.

    When this descriptive scene from Andersen's story (see HERE to read the many details) was put on screen by Disney with a larger-than-life Ursula, shaking her, um, "head" at the naivety of the little Ariel, ("...BODY LANGUAGE! HA!") is it any wonder that Ursula resonated with so many? As I watched the movie, as a still-not-small-enough-or-pretty-enough girl, it was one of those moments that brought home to me, the fact that it wasn't ALL about beauty, perfect hair and a gorgeous (especially singing) voice. Ariel had a lot to learn, as do many pretty girls who have gotten by only on their looks (something we all have to contend with one way or another as we get older, looks or no looks).

    Not only was she worldly-wise but she was confident and knew how to use her full body in all it's glory. I could easily see how such a character would illicit a cheer from full-figured girls. In Ursula's song, Poor Unfortunate Soul, she vividly demonstrates just how to use curves and wiles, while using her forceful presence to intimidate Ariel into doing exactly what she wants her to do right there and then.

    When the Disney Dream Portraits series featured Queen Latifah as Ursula there was a strong rumble of approval from the internet and beyond, as the Sea Witch got even even higher notch on her sexy-icon status.

    But then, a redesign:

    In 2012 Ursula (Ursula!) got a princess-ish makeover and lost half her curves for the Disney Villains Designer collection doll line. (!!!)

    I wasn't surprised to see outrage on the internet. I was right there with everyone. (See HERE, HERE and HERE for starters.) The redesign trend onDisney dolls and marketing images outrage, continues from character to character for various reasons (Merida, Mulan and even Snow White) but while Disney has responded (albeit, cagily) to the outrage over Merida (which, it should be noted, has people riled for similar reasons), I haven't found any response to the Ursula madness. That doesn't mean it's gone away though.

    One poet, Melissa May, who always saw Ursula as somewhat of a personal hero, decided it was high time to air her outrage at the Women of the World Poetry Slam this year (2014) and it's one performance I think is worth seeing and listening to, despite a small amount a strong language. (FYI she placed 7th.)

    Highlighted recently on UpWorthy, a website that is dedicated to bringing uplifting things to their readers and making the world a little bit of a better place, here's what they had to say about this:
    Ursula (the sea witch from "The Little Mermaid") has always been considered a villain, but after listening to this, I'm thinking she's kiiiiiiind of a hero. To more people than you'd think. 
    "Sure, Ariel had her itty-bitty seashell bikini, but Ursula "made back fat f*cking sexy." 
    And we need more of that kind of bravery in pop culture, if you ask me.
    *LANGUAGE ADVISORY*
    (Transcript below*)
    And it should be noted, Ursula herself would probably have something to say about this too, as in, speak up about things that matter to you, like this... because you can.

    *In 2012, Disney released a line of villain dolls depicting Ursula, the classically full-figured Sea Witch from The Little Mermaid as a designer, couture, size zero.
    From one rolling midsection and tameless will to another, my sweet Ursula — I cannot imagine the sick flip of your stomach, to see your image dissected, chins shaved waist cinched, your silhouette robbed of every ounce of delicious curve.
    To find after two decades of existence that your evil was more worthy of preservation than the iconic body that held you, you — big lady, were the only Disney character who ever looked like me.

    And while you may not have had the waist-line of a princess I'll be goddamned if you didn't have the swagger of a Queen.

    The way you sashayed around your lair in full makeup black flamenco number cut so low in the back that your every twist and shimmy displayed the gorgeous tuck of your rolls.
    You made back-fat look f*cking sexy.
    You made living in this body a little less like a curse.
    I wonder how they told you, did they sit you down over tea, delicately frosted cakes lining your chipped porcelain? Explain it as a marketing technique, a vehicle to make you more palatable to a culture that demands perfection?
    I hope you crushed the f*cking teapot in the clench of your fist.
    I hope you grew a thousand feet tall and drowned them in the whirlpool of your rage.
    I wish I could have watched you suck the voices from their tiny, breakable throats.
    But I know you wept, I know you licked the icing from each and every cake, I know you broke, like a slow burn.
    Wasn't it enough that they made you a witch? That you were already beyond the bounds of their franchise royalty? They expected little girls to recoil from the wicked inside your laugh, when instead, they worshiped your honesty.
    Ursula, I don't want you cut down into bite-sized pieces.
    You weren't easy to swallow for a reason.
    I want you larger than life, flaming red lips, black flamenco dress — I want the thick of your tentacles, your conjurer's hands, the jiggle of your ample bust. I want you dressed to the nines on a runway, I want every little girl to see a heroine in a size 24.
    Ursula, Queen of the Ocean, you were never just a witch to me. You were perfect — every pound, every inch, every swell, perfect.
    And I pity the poor, unfortunate soul who would dare paint you as anything less.

    Tuesday, April 29, 2014

    "Visualising Little Red Riding Hood" A Paper by Sarah Bonner - UPDATED LINKS (& additional excerpts)

    Daughter by Kiki Smith 1999
    UPDATED LINKS FOR ACADEMIC PAPER POST FROM 2009:
    Apparently the article that I originally posted on HERE has gone out of date where it was originally hosted but, after a reader recently asked for help, I've found it again HERE, complete with references. 

    Here's my original note regarding the paper: 
    This is a pretty fascinating exploration for anyone interested in fairy tales being interpreted in a visual medium. While academic in tone, it's still very readable and looks at everything from advertising and fashion to artistic renderings.

    Visualising Little Red Riding Hood

    Gérard Rancinan. Little Red Riding Hood, 2003
    ©Gerard Rancinan
    In recent years contemporary artists have been appropriating and re-inventing traditional fairy tales. 

    Subverting and interrogating received meanings, artists are challenging the traditional parameters of tales which convey ideas of gender role and racial identity. The fairy tale is being translated from literary text into visual culture. 

    The artists recoding the tales address shifts in cultural attitude, engaging predominantly with issues of identity and discrimination.

    Some additional excerpts:
    The visual fairy tale has developed extensively in the twentieth century through advances in film and animation technologies. Improved technology has also led to wider dissemination of the fairy tale. The language and motifs of the tales are internalised within the culture, rendering fairy tales sophisticated communications devices that influence consumer trends, lifestyle choices and gender models. The translation from text to image relies on the repeated use of tropes particular to “Little Red Riding Hood.” The presence of the wolf and red hood is sufficient to identify the tale to the reader/viewer. Where the written text demands an investment of time and offers an accumulated meaning, the image, in contrast, imposes a direct communication: the presence of a red hood immediately identifies the tale to our cultural unconscious. The simplicity of these motifs belies the complex history and interpretation that lend the tale its meaning; and despite changing historical contexts, these tropes endure. One effect of fairy tales’ adoption by visual media is that their significance is underestimated: they are rendered invisible by their very ubiquity.  
    The visual aspect of the literary fairy tale began with the inclusion of illustrations printed alongside the text. At this juncture a visual language was introduced to the tales. The broad print dissemination ensured the association and consumption of the accompanying image, effectively creating a visual language, a series of motifs immediately recognisable to the viewer. The illustrator’s selection of significant scenes has served to internalise the images in a collective unconscious to the extent that the images can exist without the text as reference.
    And with regard to the image shown above:
    Taking the traditional fairy tale, artists are reviewing and re-inventing the tales in both parody and critique. Gérard Rancinan, Paula Rego and Kiki Smith have all produced significant bodies of work referencing fairy tales, and all respond subversively to recent cultural pressures, particularly in relation to identity construction. In their work on “Little Red Riding Hood,” a dialogue about identity and discrimination engages viewers, challenging their experience of fairy tales and introducing cultural revelations. Rancinan’s interpretation of “Little Red Riding Hood” [Figure 1] engages with the literary tale and subverts its meaning. Surrounded by blood-spattered hanging sheets and dangling from a hook, Red Riding Hood is cast as a cross-dressing male ballet dancer watched by a wolf behind bars. The traditional tale echoes through the motifs, and Rancinan, through selection and inversion (female cast male, wild animal caged) renders meaning ambiguous. Referencing the violence of to this tale, Rancinan upsets the formulaic and saccharine fairy tales as offered by Disney. Rendered like a crime scene, Rancian’s image abandons the forest and suspends the ominous relationship between Red Riding Hood and the wolf against a backdrop of polythene sheeting. Barthes’ anxiety returns as questions outnumber answers. 
    Kiki Smith. Daughter, 1999
    And with regard to Kiki Smith's work:
    Daughter (1999) is a four foot high sculpture of a girl wearing the tell-tale red cape and hood [Figure 8]. Despite the fact that she is immediately identifiable as Little Red Riding Hood, there remains an uncertainty as her face sprouts hair suggesting a morphing bestiality, invoking both the werewolf myth and the freakish bearded lady of the circus arena. In this work Smith undermines the clear cut definitions of wolf and girl as given in the literary tale, instead inviting the possibility of duality. 
    By her difference Daughter is made a spectacle as something other. The viewer is challenged to accommodate and reconcile what we know of Little Red Riding Hood and the wolf. The opposites of predator and prey embodied in Daughter force the viewer to review their experience of the tale and, to an extent, themselves, recognising the equal presence of innocence and malignance. In this work the artist imagines that Little Red Riding Hood and the wolf have come together as outcasts and given birth to Daughter. Helaine Posner suggests that “their improbable offspring becomes the embodiment of male, female, and animal characteristics, the unique progeny of disparate beings” (10). In Daughter unification is found to challenge the parameters of good and evil predicated in the traditional Grimm tale.
    There is MUCH more fascinating commentary to read so, if you haven't already, please do. 

    As it gave me the option to embed, I am doing so below. Hope it's helpful!

    Sleeping Beauty Needs Her Coffee...

    by CassandreBolan
    I, like most other people, have been unable to resist at least a few of those Zimbio questionnaires, including the ridiculous, yet enticing Which Disney Princess Are You? 

    First of all, being in LA you are constantly reminded that even being average looking is below average here so.. let's just skip that part. I'm definitely not a chirpy-and-together morning person (I'm more "If you expect me to function in the AM, I'm going to need more than one cup of java..." kinda gal) and while 3 inch heels are great because I'm so short that wearing them stops people from patting me on the head (no touchy!), it's been so long since wearing a skirt they now feel downright unsafe in case I should ever need to wrangle a wild.. anything (happens here more often than you'd think). I've also never been exactly passive (fencing? kick boxing? archery? YES!) so I was completely expecting Merida, but no. Not even close. Instead,  my (first) answer - and I laughed out loud at this - was Aurora. Although nothing in the description sounded remotely like me, the last line, however, WAS a perfect fit.
    "You're also always tired, but that's not your fault."
    So very, very true.
    Oh, but getting Maleficent for the villain quiz? That makes much more sense.
    Thank Zimbio. You finally figured me out.

    PS I'll have that coffee now please. Before my inner dragon gets out...

    [Oh -and if you want to go do that quiz for yourself, (if you haven't yet gotten the princess you really WANTED to be..) the link is HERE. ;) ]

    Note: By the way, doesn't Zimbio remind you of the word "bimbo"? Yet, I still can't resist... *headdesk* As a slight vindication, every time I've repeated this one, I've gotten Mulan. But you'll also notice I did the test again to get a different result... *double-headdesk*

    Note for the fairy tale folk who are appalled/disappointed that I posted something so frivolous today: Have you noticed just how many people are talking about what a real fairy tale princess would do or what a real fairy tale hero does? And what about what a "kickass princess" from that time would really do, considering her upbringing and world view or why a person with superpowers (like a 13th fairy) would stoop to being so spiteful and what the repercussions of such an action would truly be? Right now, and specifically because of the upcoming Maleficent film, people are discussing human behavior and their own choices with fairy tales as the measuring stick. Best of all they're realizing fairy tales aren't as black 'n' white/happily-ever-easy as they originally thought. The popularity of these silly memes and quizzes on fairy tales themes (and there are a TON right now) are symptomatic of the larger conversation du jour happening in society. When you understand that these are signs of fairy tales circulating with more-than-average consideration in pop culture right now, it's something fairy tale folk can rightly get a little excited about. It's also an indication that now might be a good time to get involved in the conversation if you want to have any influence on the way it turns out. While watching history happen is exciting, being part of it, is even better. See you in the social media trenches!

    Monday, April 28, 2014

    Fairy Tale Fashion Shoot Retrospective: Annie Leibovitz & Grace Coddington's Wizard Of Oz

    I have a very busy week this week so if I end up missing a bit of news, don't worry, it's only temporary! In the meantime, here's something I've had in my archive files for ages and never posted, but seeing as MGM's The Wizard Of Oz is having it's 75th anniversary is this year, and so much is happening on the Oz theme, I didn't think people would mind a little retro post.
    It's a Twister
    (with Actress Alba Clemente as Auntie Em and her husband,
    Painter Francesco Clemente, as Uncle Henry)
    "I love our December issues. We always mark the holidays with a fantastic, and fantastical, fashion portfolio; and this year Creative Director Grace Coddington has conspired with Annie Leibovitz to produce a stunningly dramatic spin on the Wizard of Oz. The project began in the summer, when Grace was captivated by the idea of a very specific look -- in her words, "Bonpoint for grown-ups" -- on the lovely Kiera Knightley. Grace got going, as tends to: instructing our top designers to make sweet Empire dresses that transitioned from nursery to cocktail; persuading artists such as Jasper Johns and Chuck Close to take part in the photographic pantomime."
    - Anna Wintour's Letter from the Editor, December 2005 
    Munchkinland
    (with Artist Kara Walker as Glinda the Good Witch
    & the Penn State Marching Band)
    Here, photographed by the always amazing Annie Leibovitz, is Keira Knightley in the role of Dorothy in various iconic scenes from The Wizard of Oz for December 2005 issue of Vogue Magazine.
    If I Only Had a Brain
    (with Painter Brice Marden as the Scarecrow)
    Oil Me, Please
    (with Painter John Currin as the Tin Man)
    Oh, My!
    (with Sculptor Jasper Johns as the Cowardly Lion)
    I had collected them all to post together at some point, as most blogs and articles didn't seem to have the whole collection, but "news of the moment" just keeps happening with fairy tales these days (yay!) and I never got around to it.
    Emerald City
    (The Lion, Dorothy, The Tin Man, and The Scarecrow)
    The Wonderful Things He Does
    (with Painter and Photographer Chuck Close as the Wizard)
    I wish I had some interview notes from Ms. Knightley or Ms. Leibovitz on the shoot, but in the absence of that, I've included a very short (and sadly low quality) video below, but I've also researched a little and included the supporting cast names and where they hail from to give you an idea of how wonderful a shoot this really is.
    I'll Get You My Pretty
    (with Artist Jeff Koons as the Winged Monkey)
    Ding Dong!
    (with Artist Kiki Smith as The Wicked Witch of the West)
    It's nice to have it up for this year, though I think.
    Troubles Melt Like Lemon Drops
    (Dorothy, Auntie Em, Uncle Henry)
    Here's the quick behind-the-scene video:
    From one blog entry (of many!) devoted to the amazing fashion shoot, this writer encapsulated what it was about this shoot that was so incredible at the time. It's not just the styling but just how many artists were involved (emphasis in bold is mine):
    The Annie Leibovitz treatment of the L. Frank Baum novel turned film has never been so in vogue as when it appeared in the December 2005 issue of “Vogue.” This portfolio rocked the world and especially the “Art World.” Leibovitz is famous for her photo spreads and celebrity portraits but it is rare to almost non-existent for “A-List” artistic luminaries to be featured as stars in such a mass media venue. All the stops were pulled out for this one as Annie; such a prolific and passionate professional scores big.
    Hope you enjoyed the little look back to 2005.  (I have to say, the white rose pattern on the white dress in the twister photos is just stunning.)

    What are your favorite reinterpretations of Oz?

    Note: the photo above was for the cover. As lovely as freesias are, I only wish it had been shot in one of California's famous poppy fields during spring to make the entire shoot perfect.

    Saturday, April 26, 2014

    Philip Glass' Rescore of Cocteau's "La Belle et la Bête" Performed Live to the Film in Santa Barbara This Wednesday

    One of the most celebrated and unique works in Philip Glass’ recent career, his live interpretation of Jean Cocteau’s masterpieceLa Belle et la Bête is also his most deeply personal and romantic. For this production, Glass removed the film’s soundtrack and replaced it with his own musical score played live by the Philip Glass Ensemble. The dialogue is also performed live by the vocalists who are synchronized with the actors in the film. This mythical, lush and sweeping love story is a tale for the ages.
    Oh wow. I would LOVE to see/hear this! Although Beauty and the Beast isn't my absolute favorite fairy tale of all time, and I pick and choose my opera viewing rather carefully, I'd go to this performance in a heartbeat. Cocteau's film is one of my absolute favorites ever (I have, I think four? five? slightly different presentations of it... and I can't get rid of a single one) and seeing/hearing the different score and vocal track, inspired by the film and made for the film, to match mood, action and dialogue and meant to be heard ONLY as you see the film (ie it's not supposed to be a separate work) and to hear it being played and sung LIVE? Well, that's just.. goose bump worthy.

    From The Independent:
    “No one had ever done this before: take a talking film, turn off the soundtrack, and create a new one from start to finish,” said Michael Riesman, who has been part of the project since its inception in 1995. He will conduct the Philip Glass Ensemble in a live performance of the score — accompanied by the film, of course — this Wednesday at the Granada Theatre. 
    The film is the 1946 classic La belle et la bête, directed by Jean Cocteau — a genius whose work Glass found continually inspiring. As Riesman noted in a recent interview, the composer turned one Cocteau screenplay into a more conventional opera and another into a ballet/opera. For this one, he decided to overlay new music onto the ethereal imagery. 
    “It was quite a complicated process,” Riesman recalled. “[After we received the first draft of the score] we found there were lots of problems. The bed of music was okay, but the vocal parts weren’t close enough [to the actors’ dialogue] to be convincing. I thought we needed to at least do as good a job as a badly dubbed film. The right person’s mouth had to be moving!
    “Sometimes we shifted the vocal line; in other cases, we threw it back to Philip, who would totally rewrite the section. This went on for weeks. We were already in rehearsals, so it was pretty scary. Fresh pages were coming in daily.”
     
    However hurried, the results were magnificent. In the New York Times, Allan Kozinn praised the way Glass’s music reflected the film’s “visual and atmospheric touches.” 
    Here's a brief video explaining this new production (fresh cast, I believe), premiering this coming Wednesday at The Granada Theater:
    Although Philip Glass will not be appearing with The Philip Glass Ensemble for this event in Santa Barbara at The Granada Theater, (at the University of Santa Barbara) Michael Riesman, who has led over one hundred live performances of the score to the film since 1995, will be conducting.
    For more information and tickets, please see HERE.

    Friday, April 25, 2014

    A Wonderful Reading Of Oz - Tonight (Friday, April 25th - Arizona USA)

    The (rotten) Nome King (no 'G')

     The main write up (most transcribed from the above poster, the rest from HERE):
    Night of Fairy Tales: A Wonderful Reading of Oz 
    Friday, April 25, 20146-8 p.m. 
    Come travel with us from Kansas to The Emerald City through film, art, music, and stories in an evening celebrating the 75th anniversary of the movie The Wizard of Oz.  This event features readings from L. Frank Baum’s wonderful Oz series, on which the movie was based.  Excerpts feature—of course—beloved Dorothy and her “meat dog,” as Toto’s referred to early on in this weird little book. And have you heard about Queen Zixi of Ix, the Patchwork Girl, King Rinkitink, and the Shaggy Man? They’re featured at Night of Fairy Tales too!
    Readers include University of Arizona students and faculty.  Visual ephemera—and video commentaries from poets, actors, economists, and others—will accompany the readings.
     
    Please join us for a Wonderful Reading of Oz and find yourself spellbound by Oz, as by poppies in a vast field. 
    Dessert reception, games, and music will follow the reading at 7 p.m. This event is free and open to the public. 
    Registration is strongly encouraged.
    From Fairy Tale Review:

    The Patchwork Girl & Woozy
    Some of you may remember last year’s debut Night of Fairy Tales: A Very Grimm Reading. This year, we’re celebrating the 75th anniversary of The Wizard of Oz film with a reading from the original books by L. Frank Baum, on which the movie was based. Excerpts feature–of course–beloved Dorothy and her “meat dog,” as Toto’s referred to early on in this weird little book. But have you heard about Queen Zixi of Ix, the Patchwork Girl, King Rinkitink, and the Shaggy Man? They’re featured atNight of Fairy Tales too! 
    Local to Tucson, the event will take place tomorrow night (Friday, April 25th) at the UA Poetry Center and will feature readings by UA faculty and students, special guests Brent Hendricks and Timothy Schaffert, along with live music from the Greasy Light Orkestra, and food from Amelia Grey’s Cafe & Catering. 
    As with last year’s event, we expect a magical evening, filled with wonderment and awe, but also some due seriousness and a critical look at the legacy of L. Frank Baum’s seminal Oz series.