Last night, I went to a Coldplay concert in Saint Paul with my sister.  She wore colored jeans, and I, forsaking all trends and risking looking like her parental escort, wore plain old blue jeans.

We sat in the nosebleeds, as all good college students do. We also lost our tans from waiting inside for too long.

It was a fantastic concert.  If you’ve ever seen Chris Martin perform, you know how fun he is to watch.  As he sings, he does a joyous dance, spinning in childlike circles and hopping from foot to foot.  The man behind me put it this way: “He dances the way his music makes you want to dance.  The way you would dance if there was no one else in the world to see you making a fool of yourself.”  Well said, my friend.

There was more than Chris Martin, though.  There were also astounding visuals.  Lights, obviously, crossing across the stadium in neon lines.  Backdrops painted with the old-school New York graffiti that provides the theme of Mylo Xyloto.  And then, suddenly, in great, rocketing bursts, there was confetti.  We weren’t dusted, of course, being in the top row, but the stage was littered with it for the duration of the show.

There were also balloons, which dropped from the ceiling (again, to shower only those lucky few sitting on the floor).  Rather disturbing to me, don’t ask why, was that after the balloons had been crowd-surfed toward the stage, and rolled in a great multi-colored pile, the lights dimmed briefly.  Chris was still singing, but over his voice you could hear the echoing pops of a thousand innocent balloons.  The stage hands had pins, apparently, and whisk brooms to quickly sweep the shards of rubber away.

After the first goodbye, Coldplay appeared again, this time in the middle of the audience, on a narrow platform I hadn’t noticed before.  Here’s a bit of that:

They played, in case you’re wondering, mostly stuff from Mylo Xyloto, but also some older songs.  The encore was quite gratifying, because it featured Speed of Sound, Fix You, Clocks, etc.  The classics.  Clocks, especially, was important to hear: My one and only brush with the semi-gothic was freshman year of high school.  I basically hated it, because I had transferred from private to public, and didn’t have very many friends.  I also had to ride the bus, which was a new and horrifying experience for me.  What made it better was stuffing the buds of my iPod mini (a novelty at the time) into my ears and playing Clocks over and over, while staring wistfully (or so I imagined) out the window.

Clearly, I haven’t changed much since then; I’ve had this on repeat all day:

Oscar Gowns

It’s happening.  This blog will temporarily be concerned with fashion, something I never thought it would be concerned with (I am strictly a v-neck and jeans girl).  But as I have obnoxiously strong opinions concerning the Academy Awards in general, and as said opinions trickle down to include actress attire, I’m going for it.

In no particular order, here are my favorite Oscar dresses (from 2005-present, because 2005 was when I began watching religiously):

Vera Wang. I think part of the reason I love this dress so much is that Michelle simply looked so happy in it. She and Heath attended the ceremony together, they were smiling and laughing, and all was right in the world.

1950s Dior. Reese Witherspoon won best actress for Walk the Line in this dress.

Guy Laroche. I tend to think the simpler the better when it comes to evening gowns. I tend to think that surprising details keep a simple dress from being boring. I also tend to think that if you spend months training to be a boxer in Million Dollar Baby, you deserve to show off some skin.

Balenciaga. I remember a lot of people, mostly people more well-spoken in the fashion world than I, hated this dress. I think it’s perfect on her. The color is great and the bow in the back adds interest.

Jean Paul Gaultier. She won best actress in this dress as well. I see a trend here.

Badgley Mischka

Valentino. This is possibly my all-time favorite. The colors are lovely together, and the draping is exquisite.

Vintage Balmain. Maybe it does look a little like a wedding dress, but I’m going to let that go.

Elie Saab. The color makes this dress for me, although I’m not a fan of the slightly shredded-looking edges.

Elie Saab. It’s brave, I think, to wear a patterned evening gown, and this one reminds me of a Monet painting.

Lanvin. Once you get past the brillo pad material, this dress has a modern elegance to it that Natalie Portman pulls off perfectly, headband and all.

Armani Prive. It’s simple, it’s 60s, it’s fun. What more can you ask for?