as a white dude i'm careful not to overstep my bounds and pass judgement on another culture. buts thats not to say i can't appreciate someone from that community doing so, which is basically what THE BOONDOCKS (CARTOON NETWORK, 2005-2014) animated series on ADULT SWIM was for the AFRICAN-AMERICAN community during its initial run of four seasons. in my estimation, this series (which is based on show creator AARON MCGRUDER's syndicated comic strip of the same name) is one of the most intelligent extended examinations of society in the animated genre, only rivaled by SOUTH PARK.
first off, its more than obvious the amount of love MCGRUDER has for his community. just the sheer scope of the animated world he created, with several characters designed to showcase the fault-lines in his community, whether they be along traditional economic and generational divides or rival gangs/rap cliques that resemble each other more than they don't, each episode is a vignette of sorts into some aspect of examined daily life through the eyes of a black child.
and that childlike perspective is the real genius of the show. where other shows (THE SIMPSONS, FAMILY GUY) use children as props ineffective in affecting change in their communities, THE BOONDOCKS instead utilizes young brothers HUEY and RILEY FREEMAN as two young black boys attempting to figure out how to assimilate into AMERICAN culture after moving in with their grandfather into a white suburban neighborhood. their trials in making sense of black culture and establishing their own identity mirror that of the broader community as well.
could not recommend this show any stronger. just don't be an idiot and think that the language they used gives you permission to do so as well. sorry, doesnt work like that STATEN ISLAND, no matter what contrived justification you attempt to make. its called white privilege.
cover by nacrowe
if you were ever a fan of the animated series SEALAB 2021 (CARTOON NETWORK/ADULT SWIM) or ARCHER (FX) then you are pretty much beholden to seek out its more insane antecedent FRISKY DINGO (CARTOON NETWORK/ADULT SWIM).
the show deals with a would-be hapless super villain named KILLFACE who is hellbent on enslaving the people of earth if he can just get over his complete incompetence and terrible people skills. there is also a playboy tycoon/superhero named XANDER CREWS/AWESOME-X that can't support his fighting force the X-TACLES after conquering the last of his villains. much like ARCHER deals with the mundane internal paper-pushing business of being an international super-spy, FRISKY DINGO equally finds humor mined from efficient PR strategies and the business implications of being too good at your job of being a superhero. basically, FRISKY DINGO takes the superhero construct to its logical conclusion and mines it for all its worth comedically.
unlike ARCHER, FRISKY DINGO has basically little to no character development and an ever expanding internal network of inside jokes and catch phrases. in fact the whole show just seems to be an excuse to expand on these in unexpected situations. the plot is minuscule and largely not the point. whether or not KILLFACE is successful is not the point. his futile efforts in organizational management and networking allies in his evil deeds is far more interesting. perhaps this is why this show was killed off after its second season, a blunder not made in the aforementioned follow-up series ARCHER, which uses its characters to parody a myriad of films, locations and tv shows.
but i prefer FRISKY DINGO for its almost MONTY PYTHON level of insanity and ever shifting plot points to no avail. it was quite the ride.
parody by nacrowe
since returning stateside roughly three years ago after teaching and living overseas for over eight years i was unceremoniously introduced to the new generation of HIP HOP which left me largely underwhelmed. gone where the clever lyricism and focus on the community that seemed emblematic of the 80S & 90s artists i grew up on (A TRIBE CALLED QUEST, TUPAC, PUBLIC ENEMY, DE LA SOUL, N.W.A.). in its place was a new class more driven by the politics of hype, branding, self-aggrandizement and the goal of personal financial security.
one bright spot was discovering idiosyncratic videographer COLE BENNETT and his LYRICAL LEMONADE channel on YOUTUBE that showcased (mostly) upcoming talent of note with his inspired, conked-out visuals.
i invite you to check out his channel and dive into his clever visual aesthetic.
i wrote this the day after the untimely passing of KOBE BRYANT and his daughter to be published at some undecided point in the future:
i have written before here on this blog about my formative experiences playing basketball at a young age and the undue pressures i saw being placed on my peers. i even had the opportunity in 6th grade to relate such to KURT RAMBIS at a league event (link to that entry HERE).
one of the aspects of BRYANT's post-playing career i admired was his advocacy against the growing tracking of young athletes. more and more for promising young athletes they are put in high pressure situations with coaches and leagues designed to garner attention of prominent college coaches and thereafter a route to the NBA. it was BRYANT's belief that such a system was destructive to the players and the game as a whole as it deprived the ability to experience being a kid and growing up in a non-professional environment.
as a THIRD CULTURE KID growing up in ITALY, BRYANT was lucky enough to experience basketball from his father, a journeyman professional basketball player, as well as take in the native soccer/football. these experiences informed his preparation and view of possible moves (especially footwork) down the line and in turn, his legacy crosses over into the realm of EUROPEAN FOOTBALL as well. its quite incredible.
i guess the point is that being a child means being given the opportunity to develop and be nurtured and given the opportunity to try different things. that seemed from what i read, to be the point of his academy. it wasn't so much a basketball camp as it was a leadership academy, where participants could develop the discipline and curiosity needed to excel at anything, basketball included.
the fact that he was using his name and legacy to help combat and transform children's athletics in southern CALIFORNIA is something i respect immensely. it very much reminds me of how my own parents navigated my early forays into competitive sports, they taught me that lessons learned in games were transferrable to real life. and i know for a fact that message was lost on my peers and their parents growing up.
safe travels KOBE. rest in peace.
i always find it slightly odd to see AMY POEHLER attempting to hawk cable internet services in commercials, but maybe that is because i am her target demographic. perhaps most are familiar with her 7-year run on SATURDAY NIGHT LIVE which was highlighted by her turn co-hosting WEEKEND UPDATE with partner-in-crime TINA FEY, but for me her work in the subversive UPRIGHT CITIZENS BRIGADE sketch show was the high-water mark.
along with MATT BESSER, IAN ROBERTS and MATT WALSH, their brand of comedy was not unlike the MONTY PYTHON-esque brand of oddly juxtaposed sketch routines common to peers like MR. SHOW. whereas MR. SHOW definitely had a bitter streak that informed their comedy, where the subjects of their routines were almost being eviscerated for full impact, UCB had a more distant perspective that seemed to highlight life's innate absurdity without passing judgement. this was achieved through the ongoing connecting narrative that the members were part of some god-like, all-powerful chorus of extra-terrestrial beings that manipulated human history. the sketches were essentially their observations on human emotions, desires and relationships.
for me, neither show was better, more differing perspectives that made up a generation of comedians that were attempting to navigate their way in the 90s through a new media landscape and burgeoning internet revolution that would only prove to fragment society as time wore on. i still feel that as a culture we are dealing with how to find common ground with one another, as ultimately comedy is a unifying art form. to find something funny it is a requisite that you share an outlook with the comedian. in the end comedy is about empathy.
one of the other more concrete achievements of this troupe is the ongoing UCB Theatre in MANHATTAN which caters to underground improvisational comedy. in grad school i went once to watch a colleague's comedy troupe and was taken aback by the atmosphere of the place. it really felt like a clubhouse. a place where people connect. seems emblematic of their brand of comedy as well.
i've written before about my deep admiration for NORM MCDONALD, CHRIS FARLEY and BOB ODENKIRK & DAVID CROSS of MR. SHOW, but right up there as well is ROBERT SMIGEL.
never heard of him? he was a writer for SNL for a number of years but is probably most famous for his quick barbs as TRIUMPH THE INSULT COMIC DOG. in my opinion this sock puppet is the modern equivalent of HUNTER S. THOMPSON, as it can gain access to any cultural or political event and cast aspersions and biting commentary in real-time in a manner GONZO JOURNALISM could only dream. after all, he is only a sock puppet. who gets mad at a sock puppet. answer: EMINEM.
oh my god. i was crying laughing so hard rewatching these, especially the one below where he visits CHICAGO's WEINER's CIRCLE. i had to stop because i was going to faint.
just watch them and thank me later.
i always find it interesting how as a child you are able to identify quality in the art you are taken by without regard for things like context. as a pre-teen having just arrived in NIGERIA, i saw NICHOLAS RAY's iconic REBEL WITHOUT A CAUSE (WARNER BROS, 1955) and, like everyone else for several generations, was immediately hooked on JAMES DEAN and his emotional performance as a troubled young person attempting to find his way in a hostile new environment.
it felt like my situation. in the world of REBEL the locale was SOUTHERN CALIFORNIA hooliganism with knives, fast cars and macho posturing. for me it was living on a remote compound surrounded by the racist redneck offspring of TEXAS and LOUISIANA oilmen where the weapons were words and micro-aggressions against our AFRICAN hosts. it was hard to deal with.
after watching REBEL i quickly sought out ELIA KAZAN's cinemascope epic retelling of JOHN STEINBECK's CAIN and ABEL-inspired EAST OF EDEN (WARNER BROS, 1955) which similarly found DEAN's character a trouble miscreant in search of identity. the film finds his character seeking out his mother, the owner of a gambling-and-lord-knows-what-else establishment on the wrong side of town, who is the polar opposite of his preaching, holier-than-thou father, only to be rejected.
what i found compelling about the work of DEAN, then and now was his ability to capture the emotional integrity of a scene. in true METHOD ACTING fashion his acting was more about being, it was more about reacting. i appreciate tons of other actors that have followed his lead over the years including JOHNNY DEPP, DANIEL DAY-LEWIS, PHILIP SEYMOUR HOFFMAN, SEAN PENN, EDWARD NORTON, JOAQUIN PHEONIX and DENNIS HOPPER as well as his peers like MARLON BRANDO and MONTGOMERY CLIFT. what separates those two perfect touchstone performances was his intensity.
because of that he has been my favorite actor since childhood.
in an age of CANCEL CULTURE and ideological purity tests that border on the insane, i think it is as crucial a time as ever to revisit the figure of legendary film director ELIA KAZAN and his complicated legacy during the HOUSE UN-AMERICAN ACTIVITIES COMMITTEE hearings of the 1950s. for those unfamiliar with MCCARTHYISM, there was a wave of fear, much like our own current frenzied political climate, in the immediate post-WWII period related to our global rivalry with the SOVIETS dubbed the COLD WAR. there was always the threat of violence and massive attacks of the nuclear variety but ultimately it never got hot (i.e. conventional military conflict).
this state of affairs found the UNITED STATES turn in on itself and attempt to weed out anyone of note in major industries (politics, entertainment, journalism, etc.) who may have ever dabbled or supported socialist causes. it should be noted that in the immediate aftermath of the THE GREAT DEPRESSION in the 1930s, anyone with half a brain questioned the long-term viability of MARKET CAPITALISM.
this purity test famously heralded by WISCONSIN senator EUGENE MCCARTHY (who not ironically shared a counsel, ROY COHN, with DONALD TRUMP) was highly destructive to AMERICAN ideals of freedom and jurisprudence and resulted in ten JEWISH career professionals (screenwriters, directors, producers) known as the HOLLYWOOD TEN being BLACKLISTED and publicly vilified due to hearsay and innuendo. many film historians believe the SOCIALIST-bating histrionics was just a public smokescreen to ostracize JEWS in positions of influence, which marks this as a very dark period in our history.
KAZAN is famous for being a deft film director who specialized in character-driven narratives that touched on the struggles of working people (A STREETCAR NAMED DESIRE, ON THE WATERFRONT, EAST OF EDEN). his career dovetailed with the rise of METHOD ACTING and benefited from his collaborations with screen legends such as MARLON BRANDO and JAMES DEAN. basically he is a director of the highest order and his films are admired, studied and dissected by aspiring and working directors and random film junkies (like me) to date. he also dabbled in socialist circles in the 30s and was even a member of the communist party in NYC very briefly during that period.
now the names of members of were already known to the HUAC committee, but he was pressured to name names. and unfortunately he did. to this day he is a controversial figure for crossing that line and even during his acceptance of an award at the OSCARS over 50 years later, actors still turned their back in full view of the cameras. its a touchy subject and one that will forever be.
we like to think that people will make good choices in the face of tyranny and injustice, even at the expense to one's own self. fellow immigrant director BILLY WILDER (DOUBLE INDEMNITY, SUNSET BOULEVARD, SOME LIKE IT HOT) did such. he told HUAC to stuff themselves and he rightfully celebrated for such, but i think realistically the world is imperfect and people make imperfect decisions in imperfect situations.
did KAZAN deserve to be a pariah the rest of his life in the HOLLYWOOD community? i don't know, but i tend to side with empathy.
the people i find no empathy for are those that deliberately foster a divisive climate based on self-serving considerations such as power, which is definitely the case with MCCARTHY, COHN, TRUMP and all of his sycophants. perhaps a day will come when the waves of hatred will subside and our national wounds will have healed, but these people will still deserve our scorn and not those that got caught up in the hailstorm against their will. just saying.
i came across the works of COLUMBIA UNIVERSITY literature professor EDWARD SAID while still in high school, which made since given that he also attended NORTHFIELD MOUNT HERMON. he is primarily celebrated for his post-colonial book ORIENTALISM (PANTHEON, 1979) which discusses the ways in which the west misperceives and distorts their perceptions of near-eastern cultures based on various remnants of outdated colonial thinking.
i believe i read it as part of a history or comparative religions class my sophomore year, but what it did embed in me, much like the work of HOWARD ZINN which i read years later, was the idea that my perception of the world was based on narratives with agendas.
within a year of being exposed to ORIENTALISM i was living in KUWAIT and unfortunately i was there on 9/11. my family lived in a PALESTINIAN enclave (most people don't know that KUWAIT has a large PALESTINIAN population, YASSER ARAFAT being one before returning to run the PLO) and on that fateful day people around me were celebrating. it twas my understanding of SAID that made me not go ballistic, especially at school the next day. the world is complicated and there are competing narratives, one of which was the UNICEF figure of 500,000 IRAQI children dead as a direct result of AMERICAN sanctions on SADAM HUSSEIN. i don't remember that being spoken about much in the aftermath of 9/11. i'm not promoting any conspiracy theories here, i am an AMERICAN who knew someone that passed on that terrible and was worried about the safety of my family, as we were physically in the MIDDLE EAST during that period. what i am saying is that just like in GESTALT PYSCHOLOGY and POST-STRUCTURALISM, the same event/sign can have different interpretations and both can be true.
being abroad most of my life i was always searching for these native understandings and narratives, not that i agreed with them but i certainly made an effort to acknowledge and understand them. to me that is the legacy of SAID.
the baroque, JAPANESE-print inspired pen and ink drawings that famed 19th century ENGLISH illustrator AUBREY BEARDSLEY made to accompany the published plays and assorted writings of OSCAR WILDE are legendary. expertly conceived and meticulously drafted with flowing lines so deft that even SANDRO BOTTICELLI or ALBRECHT DURER would be envious.
what always drew me to the work of BEARDSLEY was its immense emotion. they seemed to evoke a world that was stark, impossibly elegant and sophisticated yet uncannily debauched. it is the art of power through the prism of sex.
much like the work of WILDE showcases human folly through the extreme hubris and egoism of the aristocracy, the work of BEARDSLEY similarly evokes a coded world were subterranean powers struggles are hinted at yet paradoxically on full display. this was very much transgressive against the societal mores of proper VICTORIAN society, where it was unbecoming to touch on such subjects.
my personal favorite of his drawings is the revered illustration of the biblical execution of JOHN THE BAPTIST by KING HEROD as a gift for his wife upon being asked for it. to me it crystallized most of the themes of his other work and his greatest parody of VICTORIAN values. where power and debauchery trump moral purity (as represented by JOHN THE BAPTIST).
for me this is a very modern illustration and worked seamlessly with WILDE's play SALOME which covers similar themes. hard to believe such a work was completed at age 12. could only imagine what his career would have been like if he had survived longer, having succumbed to TUBERCULOSIS at 25.
again for me his work is on a short list of my favorite artists, including FRANCIS BACON, GOYA and CARAVAGGIO. its too bad the originals are mostly owned by HARVARD UNIVERSITY and virtually never on display. i don't blame them.
if you do anything creative (not that i am claiming to be such), there will come a point at which you feel like you've cornered yourself into a pattern and can't get out of self-imposed rut. during my teaching career this was something i was aware of an constantly attempting to shift from, even though the smart thing to do would have been to codify my plans and never experiement or stray away from that which worked before. sadly most successful educators i came across in the field did the later and not the former, which is partly why i am still so down on the profession.
maybe i blame CAPTAIN BEEFHEART. he is the ultimate tinkerer and was a gifted multi-instrumentalist/composer that is renowned for his solo recordings and vague association with FRANK ZAPPA and his merry band of musical freaks back in the 1960s and 70s. the dude was attuned to what was going on in the FREE JAZZ and AVANT-GARDE worlds as well as the then-current BLUES-based BRITISH INVASION-influenced music of the time. but he was unconventional. he was constantly messing with the formula. on his renowned TROUT MASK REPLICA (STRAIGHT RECORDS, 1969), which quite honestly is required listening for any music fan of any genre, he had his band play instruments they weren't familiar with in order to garner an "unbiased sound." in my family calling anyone "unbiased," whether they be a politician or critic, means they are unbiased by previous knowledge or in other words, completely clueless.
i like to think that i strive for an unbiased opinion as much as possible diving into things i wasn't trained or schooled in, such as photo manipulation or video editing. when i was teaching i would have a skillset i was attempting to impart and would attempt to think of new ways that would benefit my students as well as me intellectually. remember, i taught in unfamiliar places such as MYANMAR, VENEZUELA, ALBANIA and JAPAN and i know from feedback over the years that that my former students enjoyed teaching me about their culture. to me those experiences are invaluable but would not have been possible without accepting and giving in to my ignorance.
to that i thank and blame CAPTAIN BEEFHEART. his music as well as its production was unique and no doubt influenced countless musicians since such as JOHN FRUSCIANTE, DEVO, PJ HARVEY, THE BUTTHOLE SURFERS, SONIC YOUTH, PRIMUS, THE RESIDENTS, MARS VOLTA, THE BIRTHDAY PARTY and FAUST among many, many other freaks.
the longer this TRUMP national nightmare rages on the more i realize what a treasure JON STEWART was when he was host of THE DAILY SHOW. some may contend that his influential show contributed to a modern national discourse that puts a premium on humiliation via parody and satire as a means of pushing a political perspective, but this misses the point. much like 18th century BRITISH pictorial satirist WILLIAM HOGARTH, utilized satire to lambast the the hollow soaring rhetoric aristocracy with the grime and filth the defined the lives of their subjects, so has STEWART utilized similar tools to point out hypocrisy and violations of the public trust in both AMERICAN ruling parties. i also liken him to a modern day H.L. MENCKEN, whereby utilizing intelligent wordplay and the power of the written/spoken word as a righteous cudgel against his opponents.
what always amazes me is how the right attempts to mimic STEWART to promote their repressive agenda and myopic, self-satisfying policies. it always fails, whether its DENNIS MILLER, GREG GUTFIELD, BILL BURR, TIM ALLEN, ADAM CAROLLA, NICK DIPAOLO or even JIM NORTON. comedy seems to be at its core about empathy. the idea that you and i see the ridiculousness of some aspect of daily life enough to laugh about it. if you have a closed mind, or rely on others that share your shuttered perspective than thats no longer comedy any more, or at the very least its an inferior version of it in mind because there is no friction, only confirmation of a rigid belief system.
when STEWART was at his best was when he was lampooning his targets with their own words, often replacing his role as the presenter of the joke to that of a commentator on the joke. i loved it when this meta-discussion happened because it confirmed the cognitive dissonance and verbal gymnastics that conservative politicians had to go through pre-TRUMP.
now, nothing matters. facts. truth. shame. accountability. its a sad time.
we need STEWART back, not that his brand of comedy would somehow change the political landscape. but his return would bring hope at a time when such is in short supply.
as an aside his work on behalf of 9/11 first responders is the work of a true PATRIOT. not the phony flag-waving, jingoistic bullshit we have come to associate with that word. an actual PATRIOT. god bless him.
when most think of GONZO journalist and famed american writer HUNTER S. THOMPSON, my guess is that usually some mental image appears of an indulgent eccentric that did everything in excess: women, drugs and firearms. this largely self-perpetuated caricature (even literally a character in the DOONSEBURY comic strip) as a crackpot by some belied a public image that never quite did his intellect justice.
it is my argument that added to the above list should be two further things he did in excess: freedom and empathy. it were these two indulgences that helped inform his ability to become a singular writer in the vein of era-defining authors like JACK KEROUAC and F. SCOTT FITZGERALD.
he cared deeply as only an author could for the words of the united states constitution, which he held sacrosanct, and chose to pursue those freedoms allotted to us as AMERICAN citizens. THOMPSON can almost be seen as a high priest of the constitution and for him running for public office, shooting his firearms and even the act of writing were all part of his adoration at the altar of the ENLIGHTENMENT and specifically THOMAS JEFFERSON, ALEXANDER HAMILTON and JOHN LOCKE-ian liberal political philosophy. what i am trying to express is that THOMPSON was a deeply moral thinker who cared very much about those very freedoms he pursued to excess.
this is why his suicide was so truly upsetting due to the fact that he likely felt the constitution he so held in high esteem was being trampled upon by charlatans like GEORGE W. BUSH and his cronies in DONALD RUMSFELD, DICK CHENEY, ALBERTO GONZALEZ and KARL ROVE among others. its hard to imagine how he would have felt about the current TRUMP ADMINISTRATION which makes BUSH and his ilk feel like the JV team of nefarious corruption. it is truly shocking how defiled and divided our national name has become in the last few years.
had he survived my hop is that THOMPSON would have continued to use his pen in the tradition of JONATHAN SWIFT or THOMAS PAINE. his absence is still deafening nearly 15 years after his death. can't think of anyone who has taken on the challenge which is depressing. almost as depressing as the thought of how few AMERICANS actually read, instead glued to their cable news bubbles or worse, social networks.
perhaps we as a nation have lost the power to think for ourselves. perhaps the language of the spectacle is the only thing that unites us. the idea of the communal event around the hearth of the tv. as a former english teacher myself, i question regularly the importance of the written word in an era where communication is devalued. perhaps it is better that THOMPSON didn't live long enough to witness the rise of the EMOJI and GIF and the TWEET. perhaps he is a different era.
the more i think about it the more depressed it makes me. so i'll stop now.
CHARLIE CHAPLIN seems to get all the shine.
much of it deservedly so, especially given the transcendent greatness of films like MODERN TIMES and THE GREAT DICTATOR with which he used to levy criticism at capitalism and fascism at the height of his powers. it one thing to be supremely gifted and something completely different to take big risks and potentially bite the hand that feeds by critiquing your new country as an immigrant (see SPOTLIGHT on BILLY WILDER).
all that being said, watching BUSTER KEATON is akin to listening to LEADBELLY or HOWLIN' WOLF recording. at first you are mesmerized by the power of the art and then it hits you eventually how primitive the means of production where when this was made. in a sense it becomes that much more authentic and pure in its intention, although you eventually come to realize to them this was just what you did. one take. one microphone.
same with watching KEATON who wrote and directed his film which often display staggering set-pieces with stunts and acrobatics that are still thrilling and mesmerizing. when you see him throwing multiple logs from a moving train to display other logs lying on the tracks, that was actually him doing that.
whenever i feel like i've seen it all i tend to look back, way back to the early days of cinema (HAROLD LLOYD, GEORGES MÉLIÈS, JOSEF VON STERNBERG, ERICH VON STROHEIM) because there you really get a sense of the creative abandonment and potential they say in their craft. the rules hadn't been set yet.
and that's a nice place to be creatively for any artist.
pro skateboarding legend RODNEY MULLEN is a magician without peer. widely regarded as one of the most inventive riders to have ever taken up the sport, he is credited with combining street and freestyle skating into a hybrid arsenal of tricks, all of which are the language of the sport today. its true that other skaters have acquired bigger fanbases, but basically everyone is speaking in the lexicon he invented.
but that is not what makes MULLEN interesting to me. if you know his background than you are aware that he was isolated growing up in a strict household and his board was his singular focus in life. in fact, his disciplinarian father let him pursue it only to demand that he hang up his passion if he couldn't make a living from it. after winning contest after contest his father took such as further proof that such were not meaningful. it is truly remarkable how such a transcendent generational talent endured despite having little to no support from those he cared most about, given his isolated upbringing. in comparison TONY HAWK grew up in a household where skateboarding was their family business, his father being the head of competitions funny enough. MULLEN sadly was in a family where skateboarding wasn't encouraged but outright dismissed.
when i think of MULLEN, i think of passion and innovation. i think of survival. i think of someone that pursued their passion with a singular drive and saw opportunities for artistic expression where others saw a common toy. for me its that vision of his that separates him from the pack for me in the same way that a MAGIC JOHNSON no-look side pass bespeaks a mind that can look ahead at what will come to pass and execute such with conviction. most of all he is an artist whose dedication is rooted in a deep love for his craft, which is impossible not to respect.
when watching his tricks i get inspired to create. his abilities transcend sport, its more like ballet. its artistic expression in motion. MARTHA GRAHAM eat your heart out.