- اسم فنان:
- Ruth Roshan
- عنوان الأغنية:
- Last Drive In Marseilles
- عنوان الألبوم:
- Tango Noir
- موقع الفنان:
- http://www.ruthroshan.com
من الموقع: في ثاني ألبوم تانغو نوير الثاني الأصلي، "دارلينج ... حافظ على نفسك"، تستخدم روث إيقاعات الملهى، التانغو، هابانيرا، الفالس، روث تنقذ الألبوم بنجاح مع جو من 1930s برلين لخلق الموسيقى التي هي جديدة والحنين في نفس الوقت. بل هو الألبوم ليستينابل وجميلة جدا.
- 00:20
- So, I think it's fitting to start with a foot shot
- 00:23
- In a video that's going to talk about doing things with your whole body.
- 00:28
- So, we say this often, because it's really important. And it is, definitely, a metaphor for life: when you do something - mean it.
- 00:35
- When you want to do something in dance, dance with your whole self.
- 00:40
- And so, I'm going to just throw a lot of different things out there.
- 00:43
- D: I tell people, "I want you to walk". And sometimes, people walk like this. I'm going to exaggerate.
N: There'll be so many people walking things.
- 00:50
- No, this is not that bad. This is a good... a "good" walk. Not a great walk, but a good walk.
- 01:00
- D: Yeah, maybe good is to strong. But it's not bad.
N: I think good is too strong.
D: But it's not bad.
- 01:08
- And so, instead of that, I want you to say...
- 01:13
- N: See how he engaged his whole body to move?
D: So that the beginning of this walk is not flat, "Oh, I'm walking".
- 01:20
- It's... "Oh, I'm walking".
- 01:25
- And, for what he's really doing, he's exaggerating a little bit, in order for you to be able to see it.
- 01:29
- And do it... Do it like you'd really do it. He's got a beautiful regular walk.
- 01:35
- K, see? That moment of engagement with his body?
- 01:41
- Or, for example, there's the wrap. And, if I'm the leader, and I'm asking her to wrap around me, so there's that hook,
- 01:47
- I say... We go, I stop her, and I say... And, we hook.
- 01:53
- And I don't want you to pay attention to the hook in the foot, which is the instinct.
- 01:56
- I want you to pay attention to the way the upper body is engaged. The way the upper body goes...
- 02:00
- D: And, we hook.
N: So, see, right here.
D: So, there's this.
- 02:05
- D: There's, actually... There's all of this. There's everything. There's this.
N: And that was our point.
- 02:11
- D: If... So, once in a while, I'm silly in class.
N: Nah.
D: Almost never.
- 02:16
- D: And...
N: David's never silly.
D: And, I'll say...
- 02:24
- You don't want to have your default kiss be like this. Where it's only your lips.
- 02:30
- I mean, can you imagine kissing someone, and this is what they did?
- 02:33
- I mean, it's something. But, I mean, let's imagine you're deeply, romantically, passionately involved.
- 02:37
- And that's all you do. That's no fun.
- 02:39
- Almost, I'd say, that the kiss should be... And this is not true, but I'm going to say it, anyway.
- 02:45
- D: Almost I'd say the kiss should be the least important part. That, before that, you've got...
N: Oh, the build-up.
- 02:53
- Right? And there's all of that. It's not, "muah", you're done.
- 02:56
- And that build-up, where does that come from? Well, if you watch, in my whole body, I'm going, "Ah!".
- 03:06
- And so, all of this is happening. And it's not about the lips. It's about everything.
- 03:11
- Everything is always about everything.
