Lobenthal.com

It was Kavanaugh and Judge’s behavior.

And Susan Collins is a time-serving political hack who has no interest in anything but towing the GOP party line.

Thanks goodness she’ll be out in 2020–probably she’ll announce her retirement before then.

We need more than one unauthorized bio of Kavanaugh1

Yes, Sassy, this vote IS a referendum on the GOP’s concern for women’s safety and women’s rights.

And you and the rest of your party failed the referendum.

and, btw, does the right thing: she’s a NO on Kavanaugh.

Now Sen. Heitkamp, ride that vote to victory by explaining how dangerous and unfit Kavanaugh is.

that Trump is so concerned about —

If they’re so afraid of being accused of sexual assault, why don’t they start by —

NOT ASSAULTING ANYONE!

Only Senators will be able to read the FBI report.

The investigation itself, wrapping up today or tomorrow to conform to the McConnell timetable, appears to be a complete stand-down operation.

As Joan McCarter writes at Daily Kos, “This ‘investigation’ is such a sham, not even Flake or Collins could believe they could convincingly use it as cover for their yes vote.”

With every press conference, he drags the country down further.

He acts in ways that most American humans were schooled not to act–and so does that provide some jollies in the way of vicarious release for his cult?

You betcha.

First, the sheer chutzpah of it: not that she won’t be good, but the heft the role requires is awesome.

I don’t much care how she hits the high C in O Patria Mia. After all, great sopranos like Tebaldi and Crespin could barely get that particularly exposed note in that aria right.

I’m more curious how she projects her voice through the massive ensemble of the Triumphal Scene.

I first heard Aida live in 1973–or rather act 3, when Leontyne Price sang that act at a Met Gala. Good heavens, that was exciting. I heard Price at the Met in the entire opera in 1976 and again at her final performance in 1985.

But I haven’t heard Netrebko in a long time, and I haven’t heard Aida in a long time.

Her costume, wig, makeup in the production still on the Met website provide a visual analogue that makes you want to hear the performance.

Stendahl writes in Love that “free Americans set much value on seeing fine coats-of-arms painted on their carriage doors. They have, however, to contend with a lack of education among their coach-painters which leads to frequent errors in heraldry.”

In 1954, she danced an excerpt from Lew Christensen’s ballet on the Red Skelton Show. (I don’t think she ever did it on stage, although it was in New York City Ballet’s rep.) A few moments from the performance are included in Nancy Buirski’s Afternoon of a Faun. But where is the full kinescope?

And where, by the way, are the old Kate Smith Show kinescopes? Back in the 1980s, it was reputed that Smith had saved everything. Le Clercq and other NYCB greats had danced extensively on the Smith show during the ’50s.