Episode 58: Reflections of the Dance Floor

No particular event...rather I've lived this multiple times. 

Even if I close my eyes I still see all the bright lights and flashing colors.  My whole body is absorbed into the pulsing rhythm but for a few seconds I'm reliant on sensation. 

Humans don't have the senses some animals do, cats for example, but I can feel the people around me.  The sweat, body heat, and the movement of the air as people move closer, winding together and splitting apart.  There's a girl with her back to me just a few inches away, her hair brushes me as she turns. Her gentle touch on my arm forces my eyes open and my head whips around. 

Eye contact. It's rare. Generally I'm looking distractedly beyond my partner or at a body rather than a face. There's a need to follow physical cues that eyes just won't give.  Sometimes, with a good partner who is clear, or who one knows well—one can stare up into their eyes and let things proceed as they will.  Usually though, I have to make sure my shoes aren't getting stomped on. 

But now, my eyes lock with this stranger and register the call for help. It's a subtle cue, for all it is obvious to me. Her eyes widen and her head jerks infinitesimally towards the man behind her. A sardonic smile flits briefly across my face as I notice the overeager aggression in his dancing. 

There's no time for a verbal or physical cue to the other people near me--including the man I'm ostensibly dancing with—in times like this it's intervene first, answer questions later. He's got an arm around her waist and while she's following him, it won't take much to break his lead. Time for me to move in.

I grab her arm, pulling her forward and right up against me.  She's eager to follow, even to a strange girl several inches shorter than she is and no definitive protection from the creep she's getting away from. We're both banking on the potential that guys like to watch women dance together but not indefinitely. Immediately we turn so our sides face her former dance partner—he's now faced with two shoulders that aren't attached to the same body.  And those shoulders have arms and long, fast moving, well manicured nails.  This is a little harder to grind to than a single front or back.

Still moving quickly to try and prevent any recurrence of the pairing, I throw my own head in his direction, allowing my hair to snap out.  It's a cheap trick but people tend to stay out of the way of long ponytails flying and it gives me a second to find the shirt of my most recent partner.  Ah, there—vision blurs up to make eye contact even as I'm already reaching for him. 

It's the best that can be hoped for—he's not oblivious to what I've just done and why and realizes he was not the issue. Having comprehended all of that, it's not hard to insert him in between us, even as we continue a circular dance step. 

Now my back is to the creep and I'm full flush against my former partner, looking over his shoulder to the other girl.  She and I effectively sandwich my partner for a few seconds and then –then she's three feet away, headed for the bar and a drink.

My partner hasn't let go of me and I won't move away from him—which is good because the other guy is now in search of a new target.  But I will close my eyes and listen to the music, now twenty-five seconds further into the song. 

Episode 57: Strike a Pose

I'm working with a new photographer. Well, he's not new, but working with him is for me.

It had been a couple of years since I'd done anything like a formal shoot and to describe myself as nervous would be to put it mildly. I didn't expect it to go badly--I photograph well and I take direction--but would it be what he wanted, would we be able to get it to work?

I ended up first in the dress I wore for my senior recital, the floor length silver number that makes only a token spaghetti string of elastic towards covering my back. It's a different version of sexy--one that doesn't call for too much bosom or legs. Which was the near opposite of the other outfit for the shoot. Do you remember that night you and I went out in the City with some of the girlz and ended up controlling a not-very-big-dance floor for a few hours? The night I'd figured out that I could do the entire dance break from Beyonce's "Get Me Bodied." while in 4" heels? I'd been wearing a black tunic style shirt and jeans. Rather than going tunic-top, we opted to pull the hemline down a little more and skip the pants for the shoot--in essence what I see most girls at clubs wearing these days. Also, I was wearing the shoes from your wedding. My make up was simple, scrounged from my different bathroom drawers and shoved together at the last minute. Once I have a day or two that doesn't involve running hither and yon, the goal is to get over to Sephora and get a new foundation and some blush. I don't wear either much--preferring a sheer creme to powder, a bit of eyeliner and eye shadow and calling it a day.

The worst of it was that my hair had decided it wasn't cooperating. I'd done everything I knew how to get it to work with me, but the latest reformulation of Pantene* has been turning my hair slowly to straw and that night it had just given up the ghost. We left it pinned up in a bun, only eventually pulling it to a pony tail that looks a lot better in pictures that I felt it looked in real life. I've switched to Aussie for now and it's already looking much better. 

And for three hours we worked. Apparently he took over 500 pictures, which surprised me. I had estimated more in the 200-300 range. It doesn't seem like a particularly tiring task. Stand, turn, smile, look up, look down, cheat left, turn your head, look at the camera, pull your right shoulder--no, sorry,--your left shoulder, tighten your back. It was the end of an already long day though and by the time we finished, I was wiped.

Last night I finally got to see the first round cut and discuss a few things. He somewhat prefers the left side of my face, though he's not totally locked in on that statement. There were a few pictures that really popped and a few that I hope never see the light of anything other than his computer screen. We quibbled over whether or not seeing the thigh line on hosiery was sexy.

You could see the exhaustion in my face in some of the pictures. Not many, but occasionally when I wasn't posing or attempting to infuse my face with any particular emotion, tired took over and my eyes went bleak. Those shots bothered me--though they're probably some of the most realistic. It is hard to not want to look one's best before the lens and best rarely equals blank exhaustion.

And, by the time we'd finished chatting, we'd set up two more shoots. So I think we can say this has been successful. Now if we can just find a time to shoot when I don't have to get up the next day...

*So, part of moving back to a major city means that when I start griping about things like my shampoo, a friend of mine will chirp up and say that they know someone in that lab. We found out that there were a lot of unnecessary chemicals in Pantene and they've actually stripped the product down. Unfortunately though, this makes it useless to me. 14ish years of loyalty--down the drain.