The Magic of the KonMari Method

If you’re an avid Netflix-watcher, life-organizer, or overall tidy-enthusiast, you’ve probably heard of the KonMari Method. Developed by expert, author, and star of the new series “Tidying Up With Marie Kondo,” this method of cleaning is aimed to transform your living space and your life. In the new Netflix show, Marie and a translator visit a new family each episode, and help them to organize various belongings and get rid of junk. I, for one, am drawn to Marie’s respectful and orderly fashion; it appears that everything she says and does has a clear purpose. At the end, the participants find themselves happier, and their relationships are stronger, also bringing joy to the viewer. Who knew that this show could be so alluring? (I may have spent three hours cleaning my dorm room after watching a few episodes).

The simple approach centers around this philosophy: if the item does not spark joy, throw it out (after you thank it!). It also encourages people to start with clothes, then books, miscellaneous items, and finally sentimental items.

On first glance, the KonMari Method seems extremely simple; I was a skeptic at first–why is the concept of tidying up driving everyone wild? The central idea of KonMari speaks volumes to people around the world to change their lifestyles and declutter. Its effectiveness comes from the significance Kondo places on mindfulness. A lot of times people find themselves accumulating things they don’t use over the years, piling up in their homes. Taking the KonMari approach allows you to reflect on your belongings and life experiences, while moving on to a new chapter.

So, take some time to relax, tune in to Marie Kondo’s Netflix series, and perhaps go to town on your living space after. And don’t forget to be thankful!

Six the Musical

It’s no secret that the type of music I listen to consists of “showtunes,” otherwise known as songs from musicals. The other day, a friend of mine introduced me to a new set of showtunes from the musical Six. She had been listening to its music for a few weeks, raving about its catchiness and creative spin on history. Written by Toby Marlow and Lucy Moss, Six features a creative retelling of the lives of the six wives of Henry VIII. In case you need a refresher, there are quite a few rhymes and mnemonics to remember Henry VIII’s wives. Here are two I like:

King Henry VIII,
To six wives he was wedded.
One died, one survived,
Two divorced, two beheaded.

 

Boleyn and Howard lost their heads,
Anne of Cleves he would not bed,
Jane Seymour gave him a son – but died before the week was done,
Aragon he did divorce,
Which just left Catherine Parr, of course!

While “divorced” actually refers to annulment, these rhymes are catchy and fairly easy to remember. In Six, the wives (Katherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard, and Catherine Parr) all have songs recounting their tales. After listening to Six for a day or two, I found the music interesting enough to add to my Spotify playlist. The musical varies from others in its pop-concert style, and has a modern take on the history behind the wives of Henry VIII. On the negative side, some of the music is repetitive, and there are moments that seem too similar to Hamilton. Despite this, being a mash-up between Hamilton and a saucy girl band makes the musical pretty ingenious. Sassy lyrics and high energy scream for attention as the wives recount their lives from their perspectives, being seen as more than just reproductive vessels or victims of Henry VIII.

After giving it a chance, I’d say the musical is worth listening to at least once or twice. Six is a relatively new musical, having premiered in 2017 at the Edinburgh Festival Fringe before making its professional debut on off-West End. While it’s currently only being performed in London, Six is available to listen to on iTunes, Amazon Music, and other music services. It has also won and been nominated for various awards, such as Best UK Cast Recording and Best Ensemble in a Play or Musical.

“From Tudor Queens to Pop Princesses, the six wives of Henry VIII take to the mic to tell their tales, remixing five hundred years of historical heartbreak into a 75-minute celebration of 21st century girl power. These Queens may have green sleeves but their lipstick is rebellious red.”

– https://www.sixthemusical.com/

 

America’s Got Talent

The tv show Americas Got Talent (AGT) is a popular summer show that the whole family can enjoy.  It has been running for 12 seasons and has gone through many changes in judges, sponsors, and now hosts, but one thing that has remained constant throughout the show is that singers dominate the competition, particularly child singers.

With an abundance of singing shows like The Voice, The X-Factor, and American Idol one would think that someone aspiring to be a singer would audition for one of those shows.  But a very large amount singers audition for AGT. Singers dominate that competition on the talent show to the point that it almost certain that there will be at least one if not two singers in the final three.  Singers have won the show over half of the time. In the past several seasons, child singers have begun to dominate the field. Child singers have won the past two seasons of the show. This has become a trend in the past several seasons but the very first winner of AGT on season 1 was an 11 year old singer named Bianca Ryan.  These children are very talented but they get a lot of their votes on their “cute factor” instead of only their talent. There voices may also change and they can’t grow into an amazing career, which is the goal of the show.

All of the singers present and competing on the show leave less room for the unique and variety acts that AGT was created to discover.  Perhaps there should be some limit on the number of singers that can be let through to the finals, because it’s not that these singers don’t have talent, there are just many other options for them to show their talent.  Where other acts don’t have that platform, like magicians and dog trainers. For true off the wall and unique acts AGT is the only place to show off their gift, and season after season they are overshadowed by the singers who come on the show.

Waters

“You look very comfortable in water”, said my dive master as we surfaced from the first scuba diving practice. The waves were rough that day and I was constantly swept away by them as we practiced breathing using the equipment. Like a small dingy on the ocean, I was being slowly washed back again to the shores.

I suppose he was right, I am comfortable in water, perhaps because I had learned swimming when I was smaller. Later, I was chosen as the 12 people who get to dive off a small island near Tioman. The view underwater was nothing like the earlier dive, numerous fishes dotted the corals, two turtles were spotted during the entire time we were diving and a castle of corals everywhere. Forget snorkeling, diving is clearly a superior experience.

When first diving underwater, 7m below sea level, you have to remember to breathe. Clearly, you would die if you forgot. Breathing is different when you have to only do it through a mouthpiece wired to oxygen. The cold oxygen dried my throat, made me feel a little anxious about remembering to breathe but soon after I was breathing without consciously reminding myself to as the marine life caught my attention.

Although I couldn’t replicate the diving experience back in my apartment swimming pool, I definitely skimmed the floor of the pool when no one else was around, taking a deep breath before surfacing. I did some laps, practiced my freestyle and most importantly, I never forgot to breathe.

 

 

To Read

Oh, if only I could read a person as easily as a book. If only their personalities were as solid as black typed letters and their intentions as clear as a blank white sheet. If only they didn’t shift so, back and forth, until you wonder if you are the one whipping back and forth. If only you could re-read a situation until you found its secret meanings, instead of having to endure endless fleeting conversations that never quite satisfy. Interactions with people, real people, always feel as if they are moving a few seconds too fast. It is a lot to process sometimes, when a friend is chattering away. What is she saying with that tone? Why did she use this word instead of that? Can I ask for a few moments of silence while I am analyzing, endlessly analyzing? The difference between a person and a book is that a book will always give you time. It will move at your pace, straight forward always. A book only has one ending in mind, while a person is an endlessly splitting path. All I am asking for is some consistency. All I am asking for is some patience. Just give me some time. Enough to figure out what you mean, enough to let me gather my sprawling thoughts into a sentence, so we can talk like human beings.

 It is not as if I wouldn’t be fair. I would let people read me too. I would allow them to peruse freely through my past, flipping through the chapters of youth and adolescence and adulthood. If I could, I would spill myself like a glass of milk so I could avoid the awkwardness of trying to explain myself one awkward word at a time. There would be no need to explain the insecurities that come out as barbed sarcasm, no need to apologize for the absent-minded gap in the conversation when I got distracted by another passing thought. But there is always something that stops me too. I hesitate because I, too, cannot express who I am. So, I understand. I understand that there will never be a way to guide someone else into the maze of my own head. I sit in the classroom every day, next to so many minds, twisting and winding like so many strings. And all I can see, all I can read is the barest exterior. An intense stare here, a nodding head there. Oh, if only, like a book, we could understand and be understood.

I’m Growing Skeptical of The Marvelous Mrs. Maisel…

[Warning: Spoilers ahead. Please read only if you’re familiar with the show– I don’t want to ruin it for anyone!]

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From the very first episode of Amazon’s The Marvelous Mrs. Maisel starring Rachel Brosnahan, I was utterly, breathlessly hooked. From the cinematography to the flouncy ‘50s costume design to the vibrant pastels to the gorgeous New York landscapes– from the premise of a high-spirited, hilarious young mom who finds herself suddenly divorced by her flighty jerk of a husband, to her assent into New York’s comedy scene as a woman– from her caustically funny manager to her down-to-earth father and her new season 2 boyfriend– the jokes, the conversation, the writing– everything about this TV show, at first glance, is extremely well done. I loved it, and still do. But Season 2 made me suddenly weary of all its flaws. I found out, moreover, that the show is written by Amy Sherman-Palladino, of Gilmore Girls fame. From where Season 2 of The Marvelous Mrs. Maisel ended, knowing the poor large-scale writing for Gilmore Girls, and after deconstructing the subtly problematic premises of Midge’s character, I’ve come to seriously fear for the fate of the rest of The Marvelous Mrs. Maisel.

The last episode of Season 2 ended with Midge getting a call from a famous singer asking her to tour with him in Europe for six months. This is big break she’s been waiting for a year now since she’d seriously started doing comedy. However, by the end of the episode and season, she realizes that her focus on her career necessarily means she’ll lose her domestic family life. The last minute of the series shows Midge going back to her ex-husband to spend only one night with someone who she knows loves her. Theoretically, a woman being torn between domestic, conventional life and pursuing a career in comedy in the fifties could be a very compelling and believable conflict, especially in the midst of a divorce– but this really isn’t the case for Midge. If there’s anything that Susie Meyerson reminds us of over and over again, it’s that Midge is extremely well off and has multiple support systems. She doesn’t really need to choose between her career and her family– she has parents and a maid at home who basically provide totally free child care and housing, she has an ex-husband who is still gaga over her and willing to beat up any blundering male comic who gets in her way, a boyfriend who– on top of being an accomplished surgeon and owning a mansion of a New York apartment– is head over heels for Midge and wants her to live out her dreams of being a comedian, she has a manager who works tirelessly to book her in the best gigs in and out of New York– and yet– you really expect me, an intelligent audience member, to believe that Midge has to choose between her career and the rest of her life? It’s bullshit.

And… this is where I remember that the show was written by Amy Sherman-Palladino. She’s a fantastic writer and director, always seamlessly building engaging and funny dialogue, directing gorgeous scenes and settings. It’s all fun to watch episode to episode. But her work breaks down upon closer inspection, and, if there’s anything I know from watching Gilmore Girls, Palladino’s writing meanders and gets lost somewhere in the middle of the series, and I’m worried this will also be the fate of The Marvelous Mrs. Maisel. Both series center around a powerful female character archetype– like smart, good-natured, and hard-working Rory Gilmore and lively, stunning, hilarious Miriam Maisel– who have huge networks of support, wealth, and privilege, and whose only downfall, apparently, is being a woman. These characters don’t seem to have a lot of flaws, they’re perfectly poised. In short, it’s just a fantasy that it becomes a little hard to believe at some point. Emily Nussbaum in an article called “Hello, Gorgeous!” for The New Yorker sums it up perfectly: “The verbal anachronisms (“totally”), the sitcom clams (“Good talk!”), the cloying Disneyfication of Midge’s Jewish family…. Her marvellousness comes from the fact that she’s immune, a self-adoring alpha whose routines feel like feminist TED talks, with some “fucks” thrown in.”

The Marvelous Mrs. Maisel, is, like Gilmore Girls, a sweeping, glittering fantasy of a powerful and ambitious young woman storming the world that Americans, and especially American women, seem to want to right now. It’s not a bad fantasy– in fact, it’s quite good and engaging and hilarious, a distraction from exhausting dystopias like The Handmaid’s Tale. But like all fantasies, it’s not an accurate reflection of sexism or the stakes of chasing a reckless dream. I’ll definitely keep watching the show– but not without a grain of salt.