Ole!

In order to open the door to the office containing my cubicle you need to run a little white card over a scanner. Somehow, in between scanning my card and walking to said cubicle, I managed to lose mine. My only theory is that I left it in the break room while putting my lunch in the refrigerator, but if such is the case, it’s gone now, and the only two people I’d feel comfortable asking to borrow a card are not here today. I don’t leave the office for another hour.

I need to go to the bathroom.

I can hold it. I can I can I can.

To distract from my challenge, let’s discuss an upcoming college night, shall we? I thought so. It’s Thursday, November 19, at Strathmore, and the accompanying concert is Thibaudet Returns, which not only contains Berlioz’s Symphonie fantastique (score!) and Liszt’s Totentanz but also this head-scratcher, as described in the program notes:

Tonight, we’ll hear the bravura finale of Metropolis: “Red Cape Tango.” Here’s how [composer] Daugherty describes it:

“ ‘Red Cape Tango’ was composed after Superman’s fight to the death with Doomsday. … The principal melody, first heard in the bassoon [and bells] is derived from the medieval Latin death chant Dies Irae [also used prominently in the Totentanz and Symphonie fantastique]. This dance of death is conceived as a tango. … The tango rhythm, introduced by the castanets … undergoes a gradual timbral transformation, concluding dramatically with crash cymbals, brake drum, and timpani. The orchestra alternates between legato [smooth] and staccato [clipped] sections to suggest a musical bullfight.”

It’s a symphony. It’s a symphony about Superman. It’s a symphony about Superman’s fight to the death with someone who goes by the name Doomsday. And it’s a tango. Any questions?

I think we’ll be needing those $1 beers afterwards.

No, but seriously, I’ll be there! Come embrace the avant-garde with me and we’ll eat free food and win prizes afterwards. For $10, it’s better than a poke in the eye with a sharp Doomsday. Buy tickets here.