Generation Um… Keanu Reeves & The Spectrum of Disconnection

June 12, 2022

Generation Um...

A revealing look into the world of Keanu Reeves & The Spectrum of Disconnection

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Keanu Reeves in Generation Um... (2012)

This piece addresses a peaking condition of human despondency in today’s world, substantiated by exorbitant mental and emotional suffering, and multi-faceted attempts to relieve it via substance abuse, crime, violence, suicide, mass school shootings, and the list goes on. We face a crisis of consciousness that an outdated system of education, parenting and social programming cannot fix.

This examination delves into the presumed root of our widespread suffering, attempting to illuminate the core of our dis-ease: disconnection from self.

The schism within the human psyche that prevents us from knowing the essence of who we really are, has been a pervasive affliction spanning multitudes of generations, appearing in various forms and growing with amplified force… an affliction emerging in endless episodes of detrimental history reloaded.

Lost Identity: this enduring universal theme is presented quite literally in the film through its leading man and the nature of his surroundings. Perhaps this is the actual state of ‘Neo’, or ‘The One’, as we have also known him… just the unfiltered, down-to-earth, gritty version of the circumstance of his being.


Through his character “John”, this film shows a central aspect of KR’s (Keanu Reeves) inner world where he is ultimately LOST & ALONE.

Near the beginning, we see John walking along the filthy streets of New York, polluted with all sorts of stuff – noise, fumes, trash, trash-talking people…it is just another day in the predicament of his existence. He comes upon a bakery and stands outside looking at it for a moment, then steps away and pulls out two dollar bills from his pocket, that’s all he’s got. 

A few scenes later, we see John sitting alone outside the bakery on some dirty street and eating the cupcake he has bought himself. There is profound innocence and sadness in his eyes and his demeanor as he eats what turns out to be something between a meal and a marker of his birthday.

If you really tune in, it hits you that you are watching a picture of a very sad SOUL… rundown, sunken, emptied, neglected… homeless in the deepest sense.

This is the soul of a NOMAD – ‘gone’ on the most fundamental level – no purpose – no connection – no Identity. He has never learned to tap into his own qualities, never been taught any kind of craft, never taught anything in fact… never seen for who he is. He is disconnected from himself at the core.

He is a universal figure who lives in every one of us.

You just get to a point where your disappointment in yourself becomes so much bigger than your parents’ disappointment in you,” John says whilst sitting at a cafe with an ‘associate’ from his job, whose only interests are ranking on John and the waitress’s booty.

"John" sitting with work associate "Charles" (Daniel Sunjata)

And what does John do exactly? He is the driver for two young women who make their way as call-girls at twisted bachelor parties and other dodgy events; the arrangements are made by a female pimp who works as a travel agent on the up and up.

Earlier this day, John’s mom sends him some sorry-ass annual b-day card with a check where in the memo area it says “medication”, followed by a smiley face configured out of punctuation marks.

You can see there’s definitely no connection, no understanding whatsoever between mother and child – never has been.

“It’s like that guy, with the fish…"

Somewhere between deep pain and acceptance of this inevitability, John’s pensive moment is interrupted by his cousin, who’s crashing at John’s rat hole of an apartment and comes in annoyingly to say “he’s on it” about finding work to help pay for rent, and with that sharing his take on networking:

“It’s like that guy, with the fish… you know that guy, like he’s hungry, but he doesn’t know how to fish and then the other guy was there, the older guy helping him out … teaching him how to fish,” John finishes the parable.

It’s clear that the fish fable is the central tenet of this film, threaded throughout the story, screaming to us from the screen in the most outwardly disengaging scenes which are oh so loud just beneath the surface.

Let’s spell out what it is we’re subliminally hearing:

I’m starving and I don’t know how to feed myself…
I’m starving for information, knowledge, direction.
I’m starving for connection.
I’m starving for meaning & purpose.

“Happy Birthday"

In a poignant moment, John is sitting in his run-down car, filming himself with a camera he stole earlier this day from a group of midwest fanatics hula-hooping to country folk music on a basketball court in a semi-slum neighborhood of the city. The camera he stole is his birthday present to himself.

Um, I ah, like that guy, with the fish,” John sighs, looking into his camera with a devastation even he is not fully aware of.

“Happy Birthday.  Happy Birthday.  Happy Birthday.” he says to himself, looking into the camera with a despondent existential sadness in his eyes.

John’s world

We see an unnerving level of descension, purposelessness, deteriorated values, morals and standards in all the characters of this film – they are just surviving in a godforsaken dimension of LOST SOULS… all revolving around John.

This is John’s world… always has been.

John’s cousin is basically another off-course, beaten down kid, who strays away from his so-called ‘home’ to escape the undermining judgement of his parents, who don’t seem to have the first clue about their son’s situation… of course not, he is the extension of their own unresolved search for Identity.

Doing dope and entirely in denial about the reality of his situation, John’s cousin is repeatedly promising to contribute (his share of the rent) and make something of himself – the latter, John makes clear, is not his ax to grind: “Ricky, it’s cool man, I’m not your parents.”

John’s ‘girlfriends’, Violet and Mia, are more so members of his survival unit than anything else.

We are first introduced to the girls’ world as they recupe from what is presumably the night before. We see their unkempt apartment, one of them is sleeping it off while the other goes out for some fresh flowers in an attempt at a ‘pick-me-up’. Arriving at the corner store, she responds to the male grocer’s compliments about her looks in a voice saturated with depletion: “today Prashad, I’m just tired.”

The girls eventually reveal the disturbing truth about their journeys to John and his camera. Protectively, even defensively, they open up the fragile underbelly of their tough exterior, divulging the cruel, vulgar and debasing recollections that have painted their life experiences. 

"... didn’t feel like I was human”

Drinking copious amounts of wine mixed with other medicinal substances, the girls get ready for their “event” that night as John films them.  

Mia nonchalantly shares a story from her abusive childhood, where her father kicked her fully pregnant mother to the point of inducing an emergency hospitalization which ended with the baby born dead, and where Mia’s mother in turn took the abuse out on her, in incidents such as the one Mia describes during her shower [00:56:06]:

“When I was growing up, really, I didn’t even feel like… I didn’t feel like I was human.”

“What prompted that?” Violet cajoles Mia to keep talking.

“You know, I was looking out the window and she told me not to look out the window – and she was ironing and… she came over to me and she said, ‘I told you not to look out the window.’ And then I remember this big iron just pushing it towards me.” Mia turns to Violet and makes a sound of scorching metal seering into her skin  “And I don’t remember the pain,” she continues, “I just remember this big, loud scream.”

“A bloodcurdling scream?” Violet tries to validate the trauma of an experience that Mia clearly wants to block out.

“Yeah,” says Mia.

At another point, Mia hints at an incestuous relationsip with her father in the way she alludes to their closeness, but refuses to confirm or deny anything outright:

I’m not discussing that,” she says flat out, when John prompts her to do so. Then she adds in a more excusing tone, “It’s just that I don’t know who’s going to be seeing this stuff.” [1:09:46]

"he loved me, so I left him"

Now it’s Violet’s turn.

The girls are practically ready for their gig, sitting down at the kitchen table, wine glasses in hand and John still taping: 

Violet graphically describes an abhorrent first experience with sex, revealing that not only was it a big deal for her, but also in this particular instance evidences her pattern of emotional escapsim:

“Apparently he really loved me, and he asked me to marry him. So of course I left him immediately for some other guy.” [1:11:07]

It would be a realistic guess that Violet’s coping mechanism is to run from any type of intimacy that bears the risk of her being hurt or rejected – a feeling we can presume she knows all too well. Put another way, the running is a form of protection from anyone getting close enough to see the ugliness, unworthiness and unlovability she actually feels within.

Inside of Violet, lives this pernicious picture of self constructed from the wounds of her past. And this is why her choice of friendship with Mia who in all likelihood is even more damaged, makes total sense.

Between the dismissive giggles and jokes deflecting the sting of dehumanizing first-time sexual encounters, Violet voices aggression towards their circumstances of exploitation and victimization:

“… I think it’s a lot different for guys…  that guy is not feeling your pain.”

“God is dead”

At one point, Violet is stunned into facing a moment of truth about her self-degrading life, incited by John’s innocent question regarding her disclosure of the “200 guys” she’s slept with: “Do you know all their names?” [1:16:10]

After a crushing silence, she leaves the room breaking down into tears.

“God is dead and no one cares,” Mia says after Violet walks out.

Connection above all else

The breakdown leads to a cathartic moment of relief for Violet “… to just be myself for a change,” as she puts it standing in the hallway of the apartment with John.

John asks another authentically simple and yet excruciatingly difficult question:  “Who are you usually?

Again, Violet is at a loss for words, she just stares at him with disarming honesty.

What follows is an immensely tender moment as the two awkwardly approach each other with naked vulnerability, coming together into a genuinely affectionate embrace… because the desire to connect supersedes all else.

Ballet Shapes a Style Icon: The secret ingredient in the making of Diana Vreeland

Ballet Shapes a Style Icon

The secret ingredient in the making of Diana Vreeland

I know what prompted me to write this. What I don’t yet know is where it will take me. … I wrote back in January of this year.


When I think about why I got started on writing this piece in the first place, I immediately know it’s because I was drawn to the story of this unusually creative luminary in the tapestry of our culture.

Yes, Diana Vreeland is an undeniably unique figure in our history who has gifted us with the visual and tangible jewels of her imagination, inspiring countless souls around her and infusing life into our societal institutions.

But what is most interesting is how it all got started. What captures my attention is the soil of Diana’s upbringing… and how this spirited girl in danger of being broken by her own mother and a world she did not belong to, got the strength and spark to become the force that we know of today as Diana Vreeland.

This was the very question on George Plimpton’s mind during his ’80s interviews with the iconic fashion editor: “How does one become Diana Vreeland?”

Diana Vreeland early years in the Victorian era

“I certainly didn’t learn anything in [traditional] school. My education was the world…” she confesses gleefully.

Vreeland proceeds to tell her biographer that her ‘gypsy’ family settled in New York when she was about 10, at which time her parents enrolled her in an all-girls private school called Brearley, where she lasted only “3 weeks”, she slips — “3 months, months!” she corrects her wishful thinking:

Really, they kept me there out of kindness to my parents, who obviously didn’t know what to do with me, cause I didn’t know any English… wasn’t allowed to speak French, and I had no one to talk to, and started to stutter, and the whole thing became really very serious… stuttering is quite a serious thing. 

And then one day I went to a Russian school, and then I was happy, and that’s the only school I was ever happy in because all I did was dance. And it was a great education.

In fact, it is cited that Vreeland’s education was with one of the great ballet masters of Imperial Russia, dancer and choreographer Michel Fokine. The young socialite born as Diana Dalziel even performed in Russian prima Anna Pavlova’s “French peasant dance” called “Gavotte” at Carnegie Hall.

“I was dancing, that’s all I cared about,” she tells Diane Sawyer in an interview (circa 1980s) when the reporter asks her what she was like in her teens.

As it did in her formative years, again ballet enters Diana’s life playing a critical role in the development of her Identity — her self-image, confidence, the construction of her relationship with the world. Ballet allows her to get in touch with who she really is… and apparently helps to repair significant social anxieties that lead to a great scare surfacing through her speech. 

Short version: Diana uses ballet to build the basis of her Identity. 

Russian choreographer Mikhail Fokine


Diana was born in the beginning of the 20th century in Paris, into the very center of an era we can only cinematize these days, known as “The Belle Epoque”, which she joyfully recalled to her biographer George Plimpton:

The first thing to do is arrange to be born in Paris, after that everything follows quite naturally.

I was brought up in a world of great beauties, a world where lookers had something to give the world.  Paris was the center of everything. I saw the whole beginning of our century there. It was the Belle Epoque.

She was right of course, if for no other reason than the early 1900’s in the City of Lights were the perfect time and place to catch the emerging phenomenon known as The Ballets Russes.

But Diana got even closer to the action, as the company’s founder Sergei Diaghilev was a family friend:

I was always mad about the Ballets Russes. Mad about it!  Diaghilev and his dancers… I remember him (Diaghilev) and Nijinsky coming over all the time.   –– DV

on the stage of the Grand Opera in Paris from left to right: dancer Nicolai Kremnev, artist Alexandre Benois, dancers Sergei Grigoriev and Tamara Karsavina, Sergei Diaghilev, dancers Vaslav Nijinsky and Serge Lifar (c. early 1900s)

“Did you realize at the time that you were lucky?” talk show host Dick Cavett asks her in a 1978 interview?  “Oh, yes. We adored them… A great deal of my upbringing was in all those evenings when I saw a lot of fun.”

You could say that this was Diana’s first and most critical exposure to the world of great arts with ballet at its core, and this would influence the rest of her life – and reflect in her perception of it.

Not less importantly, it would prove a mighty force in counteracting the injured self image Diana grew up with based upon the traumatically difficult relationship she endured with her mother.

“I was always her ugly little monster… she used to say it’s too bad you have such a beautiful sister and you’re so extremely ugly…” Diana divulged to Plimpton in their conversations for her memoir. 


Diana Vreeland wearing her signature turban adorned with brooches gifted to her by friend, Coco Chanel

Diana’s beauty was anything but skin-deep.

Diana had an intrinsic sense of aesthetic that shown in her ability to play with style which, no matter how eccentric or bizarre, always retained an attractive coherence, and flair of elegance.

It was her effortless poise juxtaposing her whimsically unconventional character, it was her irrepressible effervescence and quirky sense of humour paired with toughness and unstoppable focus in her approach to work and life.

She was a compilation of contradictions perfectly coheased together – something to the effect of Gary Cooper’s line to Audrey Hepburn in the film Love in the Afternoon, when Audrey’s character says: “I’m too thin! And my ears stick out, and my teeth are crooked and my neck’s much too long,” and Cooper’s persona replies:

“Maybe so, but I love the way it all hangs together.”

Above all, there was a lightness of heart that prevailed over all of life’s other morose voices so convincing in their realness.

Perhaps this was a source of her unfailing lovability. 

All in all, within her lived the spirit of a dancer… in some aspects akin to Audrey Hepburn, who also happened to study ballet in her early years and always credited her discipline, work ethic and other attributes (that we’ve all delighted in) to this artform — and that’s to say nothing of her profound love for it.

Audrey Hepburn featured in center of spread on pages 154 and 155 of Harper’s Bazaar September 1959 issue, with Audrey wearing a puffed, white crystal beaded tunic by Dior, and diamanté collar necklace, a signature of Dior’s Edwardian jewelry.

It was Diana’s real beauty that attracted her loving husband whom she adored and who made up for how she felt with her mom:

I never felt comfortable about my looks until I met Reed Vreeland.  He was the most beautiful man I’d ever seen, very quiet, very elegant… Reed made me feel beautiful no matter what my mother made me think.

Diana with her husband Reed Vreeland


Coco Chanel in early 1900's

At the end of the 1920s Diana and her husband moved to London, where she learned many things including the language, and where she was now closer to her precious, native Paris which incited her passion for fashion and gave her Coco Chanel.

I learned everything in England. I learned English, but of course the best thing about London is Paris… The clothes! That’s where I really learned about fashion.  No one had a better sense of luxury than Coco Chanel… She would always fit me in her private atelier, we were very close, you know. –DV

Diana understood beauty and with her enterprising mind, nothing could keep her from her first business venture, a lingerie boutique in London attracting distinguished clientele such as Wallis Simpson, soon to be known as Duchess of Windsor.

Back in New York, Diana’s style and moves on the dance floor of The St. Regis famously got her noticed by Harper’s Bazaar editor-in-chief and Board Chair, Carmel Snow. Diana’s  confession of never having worked a day in her life did not detract from Snow’s confident decision to hire based upon the impression the young socialite made at the 5-star Manhattan hotel — that was her resume.

And Mrs. Snow was right on because Diana was off and running in her new role that fit like a glove:

Editor-in-Chief Carmel Snow and Fashion Editor Diana Vreeland reviewing magazine layouts at Harper's Bazaar office in 1952

It hadn’t crossed my mind to work… But I loved it, loved it! I was so mad about working in those days… –DV


I think your imagination is your reality… Only what you imagine is real.  — DV

Diana’s early years with the Ballets Russes and her education in classical dance no doubt infused her world with imagination, which she in turn infused into everything she did.

Everything! …including her very own molding process. After all, it was Diana’s foundation in dance that enabled the upper-crust misfit to find her place in an offbeat community decisively matching her eccentricity factor.

This in turn, prompted her to forge her own way in discovering inspirational influences and allowed her to open ever-new doorways to a sense of inventiveness, which fueled her inner visionary:

At the time I was 17… young snobs didn’t quite get my number.  I was much better with …the odd ducks around town who liked to dance as much as I did… I didn’t care what anyone else said, I was never out of Harlem in those days.

The music was so great and Josephine Baker was simply the only girl you saw in the chorus line. All you could feel was something good coming from her. She had that… that thing … that pizazz.

Josephine Baker in 1920s
Josephine Baker is one of Diana Vreeland’s eternal inspirations, which Diana finally got to showcase in her 1975-76 Costume Institute exhibition “American Women of Style”

Diana’s upbringing also ignited her understanding and sense of movement – not just in the physical arena – but applied to every act of creation.

American art writer and editor Ingrid Sischy reflects on Diana’s unique trait in the 2012 documentary about the multi-faceted icon:

It appears as though she didn’t edit herself, but of course she knew what had the sound of rhythm, she knew what had the sound of madness and surprise…

Her understanding of rhythm is huge …you see it with the sentences in magazines, where a magazine has to have a pause… a crash… a blast of color… a big headline.

This is something Diana knew perfectly well: ”I think any form of rhythm is absolutely essential…”


Another outgrowth of Diana’s ballet background which nourished her natural faculties, was her uncanny ability to connect. Diana could connect with people, things, places, ideas… enough to emanate, to even “become” them:

20th century fashion photographer Lillian Bassman attests to this unique trait, sharing a personal anecdote from her experiences with the unforgettable Mrs. Vreeland who once indoctrinated her on capturing the authenticity of the Japanese Kimono for a photo session:

Lillian Bassman demonstrates her connection to the grace of female form in this silhouette photo of Missouri-born 50s and 60s model Evelyn Tripp in Barbados (1954), swimming leotard by Claire McCardell

… I used to love to get an assignment from her because she would get in front of the mirror and become the model that she wanted you to photograph. I remember I had a group of kimonos to do, she got in front of the mirror and showed me … she just took on the whole aura, you really felt that she was a geisha girl in front of that mirror.
— Lillian Bassman


Diana’s embodiment of style was an essential part of her Identity as she explains to her biographer:

Style is everything George. It helps you get up in the morning, it helps you get down the stairs. It’s a way of life. Without it you’re nobody. And I’m not talking about a lot of clothes.

And what Diana learned in her schooling, she demanded and passed on to those she worked with. In her own words:

They [models] have to do a great deal for themselves.  Their skin, their posture, their walk… their education.

Breakthrough model China Machado was in awe of the woman who gave her a deeper understanding of beauty:

She said, even if you were in closed shoes … your toenails have to be perfect. It was like every single detail, she knew …maybe you’d walk in a different way, I don’t know, but it was there, a special woman… a sense like that…

One can make fashion, or one is. Diana was fashion. It’s different.

China Machado in Harper’s Bazaar, February 1959, with photos by Richard Avedon; on right: China is wearing a dinner dress and jacket by Ben Zuckerman, New York, Nov. 6, 1958

Diana’s son recounts how the 1960 presidential candidate’s wife Jackie Kennedy turned to his mom for inaugural wardrobe advice, subsequently granting Diana’s magazine first photo opps of herself and newly elected husband as a token of appreciation to her fashion confidante.

Her son shares what Jackie wrote:

Dear Diana,
Everyone is wondering why we chose Harper’s Bazaar, and they invent a million reasons, and no one says the real one, which is you.

John and Jackie Kennedy in Harper's Bazaar, February 1961


Diana was her own greatest creation.

With her foundation in classical ballet as a springboard for discovering her Identity, Diana was able to connect with who she really was in life — another words, she was able to access her innate qualities and express her truth.

Diana was able to mold herself into something beautiful and this phenomenon became a most precious gift she could then extend to others.

It came through in different ways, one of which was Diana’s ability to transform our so called faults into assets as Joel Schumacher points out:

She would push their faults… if they have a space between their teeth, make it the most beautiful thing about them… She celebrated Barbara Streisand’s nose and made it into a renaissance statue…

Mrs. V’s ability to see the essence of a person is something fashion empress Diane von Fürstenberg reveres:

She saw something, and that’s what was extraordinary about her. She saw things in people before they saw it themselves.

60s fashion model Penelope Tree says it in her own way:

She would fix her gaze on somebody and then they’d start to blossom.

Perhaps American writer and film critic Bob Colacello recounts it best:

She would say: “Bob, you’re not supposed to give people what they want, you’re supposed to give them what they don’t know they want yet!”

This image is from a layout in the March 1966 issue of Vogue, featuring a posh Barbara Streisand modeling the couture collection of the season, from the Paris photoshoot that Diana Vreeland arranged for her with Richard Avedon; Barbara is wearing silk chiffon evening pajamas by Marc Bohan for Dior in a photo by Richard Avedon.

Diana was all about showcasing individuality with a spotlight on distinctively unique personas, and that’s what came through in her magazines. 

She shares this focus with George Plimpton:

You see, George… Ravishing personalities are the most riveting thing in the world. Conversation, peoples’ interest, the atmosphere that they create around them – these are the only thing worth putting in any issue.

Vogue always did stand for peoples’ lives. I mean, a new dress doesn’t get you anywhere, it’s the life you’re living in the dress.       –DV

“In those days, it was a real story, that’s how you referred to a layout. You didn’t refer to it as just a series of photographs, it was a story…” Vreeland’s one-time muse Angelica Houston points out.

The strong face comes not only from the bone construction, but from the inner thinking.      — DV


The passing of her cherished husband certainly took a toll, but as is usually the case with life-quakes, it also marked the ending of one period and the beginning of another.

By all accounts, her period of grief was deep, complex and not passive. In line with the deeply held beliefs constructing her character, she could not merely fold into what the material world dealt her.

And even her revolt at being separated from her beloved was expressed through style,  when she wore white attire to the post funeral reception at her home.  

She then totally immersed herself in her work,” recounts her son.

Diana didn’t know it yet, but something new was knocking at her door, and this reflected at the magazine where things were no longer the same and the empress of Vogue was asked to step down from her throne.

It didn’t take long for her next calling to arrive.

I was only 70, what was I supposed to do, retire? And then one day I got a call from the Metropolitan Museum of Art.  –DV


A friend came up with the idea to create a special consultant position for Diana at the Metropolitan Museum of Art, and the funds to make this happen were quickly raised by friends who gave money to the museum’s Costume Institute.

The dormant, conservation-focused branch was about to go through a major revival!

“George!” Diana exclaims to her biographer: “I was so excited. Back in business! I could show everything I’ve loved all my life!”

With Diana’s arrival, the clothes were ready to leave the shelves and come to life in front of an audience anxiously awaiting their display at the fashion diva’s famous annual exhibitions running 6 months long.

Diana Vreeland at the Costume Institute

“It was greater than a magazine, it was a magazine that was alive and 3-dimensional!” Vreeland’s grandson remembers.

From the get go, opening night was an international extravaganza for celebrities and elite socialites with guests lining up around the block.

But the success of this venture was owed not only to the former editor’s eye for beauty – it was, once again, all about connection and Identity.

Diana’s ability to connect and see the essence of others, enabled her to harmonize people creating a collective synergy, which translated into an uncommonly enjoyable atmosphere for all.

“This was really the party of the year, but all due to Diana because she knew how to mix the people,” astutely noted Carolina Hererra in DV’s 2012 documentary.

Opening night of the Costume Institute's annual fashion exhibit, also known as the Met Gala (circa 1970s)

True to herself, Mrs. V deeply cared about reaching a universal audience through the language of fashion, a medium encompassing the entire bundle of culture, history, art and style.

“She wanted everybody to understand her shows. She used to say: ‘If an 8 year old girl from Harlem doesn’t understand what she’s looking at, I’m wasting my time…’ that girl was important to her…“ stressed Simon Doonan, Creative Ambassador at Barneys in NYC.

Diana knew this in her bones because, along with all her other personas, she was that girl — and not just from her days in Harlem!

Diana Vreeland, c.1914

“She didn’t have a college education; she learnt history, art, literature, she learnt civilization through fashion and she wanted to share it,” conveys private librarian Kurt Thometz.

In fact, Diana’s ability to find sympatico with all human consciousness was about much more than her unconventional education.


Her profile is a study in the entanglement of uncompromising opposites. 

An oddball born into a life of privilege where she was condemned by her own mother, she was a socialite with a pass to the top tiers of an elite world where she found herself an awkward breed that never quite fit in.

Sophistication and simplicity pulsed through her in equal measure.

She exuded the graceful and grotesque, all at once.

She found herself at the bottom of the barrel amidst the crème de la crème.

In all evidence, the only thing that brought it all together for the Dalziel girl, surpassing all the hopeless contradictions, was the world of ballet.

Vaslav Nijinsky is considered the greatest male dancer of the early 20th century; of Polish origin, Nijinsky was born in Kiev, Ukraine and grew up in Imperial Russia

Everything else came after.

Because all that followed was constituted on a system of order, coherence and integrity, a structure which built up a broken girl looking for her place in the world.

And this most precious knowledge lived in the innermost recesses of the fashion icon, piercing the very soul of her listeners, when they would hear her stories and be privy to traits that belonged to a superhuman race.

“We’d go back into her office and she would tell me the story of when she saw Nijinsky dance the “Specter of the Rose” and I even get a chill now talking about it. The description of the stage, and the window blowing open and Nijinsky flying through the room,” says Tonne Goodman, who began her career as special assistant to Diana Vreeland at The Costume Institute.

He didn’t leap up, he leaped across the stage, to the far end. We knew it was amazing. –DV about Nijinsky


So… where has this piece taken me?

I believe, a step closer to understanding Identity… its limitless creative expression, its enormous power to integrate people, ideas and qualities, and its timeless contributions. Just as the legacy of Diana Vreeland, it stays with us for eternity.

But there must be a framework for Identity to emerge.

An instruction manual of sacred knowledge on how to build up consciousness, passed down through the ages, from one generation to the next, from master to apprentice, classical ballet has the content and substance to provide the very framework that begets Identity

Identity in turn gives rise to a more enlightened, elevated species of man that generates more than consumes, nourishes rather than depletes, and transcends a state of fear to one of radiant beauty.

The card that stole the show

The Card that Stole the Show

I was looking for a memorable card to gift my aunt for her birthday this year, when I came upon an unexpected surprise.

Unsuspectingly, I approached “the great wall” of cards – you know what I’m talking about! — I barely embarked on my mission when I spotted the tip of something buried within the collage that just caught my eye.

I reached for it and pulled it out… or perhaps it pulled me in.

It had a visceral effect on me at first. The image exuded a whimsical beauty interlaced with richness of detail, and an unusual time portal effect.  It took my intellect several seconds to catch up and figure out that this was exactly what I was looking for. I loved it!  And, I loved it for my aunt!

More than a card… this was a piece of art which quickly revealed to me that it was taking center stage – it in effect became the real gift.

My aunt, whom I affectionately call “N”, is a connoisseur of vintage, antique and rare art collector items, and I am inextricably connected to the world of performing arts through ballet. So this was a perfect union – the place where our worlds meet.

Part 2: The Artist

I did a tad of research on the artist, BELLA PILAR, who grew up in New York and studied fashion design at Boston’s Massachusetts College of Art and Design.

What got me right off the bat in Bella’s story is that precious milestone that all of us yearn for yet only few of us ever find: stepping into our Identity.

Bella says when she was just 9 years old, her mom began taking her to art classes, which appealed to her at once: “I immediately caught interest and quickly discovered how happy it made me.  I knew then that creating art would be a part of my life forever.”

Identity is what we see when we are connected with our qualities, our innate talents, and it’s what makes us and those around us happy.

For those of you who follow my work, you know that this topic is paramount in my writings because this is what we are all looking for, and it is what makes a blog or an article relatable to each one of us.  It is what makes Bella’s story meaningful for me.

Bella focused on her work at Papyrus (South Coast Plaza, June 2017)

For years, Bella worked as a makeup artist before her craft was discovered by an art director through an illustration she presented on her business card.

Today, Bella lives in Los Angeles and works out of her home studio.

Something else Bella said captured my attention because it shows how she sees the world:  “I love to paint other people’s visions. I feel like it’s a way of sharing my world with other people.”

It’s all about her ability to CONNECT – a most important aspect of success in any endeavor.

You can read up on Bella in a 2017 WAG magazine article and her profile on Papyrus Behind The Card.

til next time!

photo of Bella’s card by Elena Alexandra
photo of Bella from Papyrus Air on Twitter