Ballet mistresses and Web masters.

Over the break, I took over webmaster responsibilities for my ballerina sister’s website from my parents. And after a move over to Cornerhost (whom I can ‘t say enough good things about. It’s a great place to reside.) and a quick redesign, GillianMurphy.com is open for business. If you’re interested in ballet at all, you might want to check it out.

It’s Alright, Ma (He’s only from Yemen.)


Caught the first of Bob Dylan’s two NYC shows last night, and as always it was a powerful experience. Dylan (who spent most of the night on piano) definitely had an agenda for the evening. For one, the war in Iraq weighed heavily on the early part of the set. A cover of Don Henley’s “End of the Innocence” (?!) at the 4-spot led into the always-excellent “Things Have Changed” (as in the The-Times-They-Are-NOT-A’-Changin’) and, after a surprisingly rockin’ version of the Stones’ “Brown Sugar,” (?!), Bob gave us the one-two punch of “Masters of War” (self-explanatory) and “It’s Alright Ma (I’m only Bleedin’)” (in which he yelled the line “And even the President of the United States must have to stand NAKED.”)

For another, Dylan spent an inordinate amount of time playing other peoples’ songs, with Neil Young (“Old Man“) and Warren Zevon (“Mutineer“) tunes at the back end of the set. Considering also that the encore was “Knockin’ on Heaven’s Door” and “All Along the Watchtower” – two songs noted for other peoples’ versions of them – and it seems like Bob felt like paying credit to his colleagues tonight.

All in all, a great show, with “Just Like a Woman” and “Shelter from the Storm” also deserving special attention (The really hardcore Dylan fans’ highlight seemed to be the second song, “Yea! Heavy and a Bottle of Bread,” from The Basement Tapes…but to be honest, I didn’t recognize it until I saw the setlist.) The night also featured the following misheard exchange between me and my sister during a very loud “Drifter’s Escape:” Her (pointing at guy a few rows over dancing like crazy): “He’s jamming!” Me: “He’s from Yemen?” Ah well, I guess you had to be there. (Picture courtesy of Jim Lawhead.)

Swans and Toddlers.

Gillian gets a very positive review in the NYT for her performance as Odette/Odile (the lead) in Swan Lake over the weekend. No mention is made of the ridiculously bratty kid who was screaming through most of Act II, nor of the overly reactive shushs and gasps of utter disbelief made by most of the ballet cognoscenti at the child’s behavior. Gill and her partner (Jose Carreno) were real troopers through it, though, and it definitely got the crowd even more behind them for the rest of the show.