Anyway, I sat in my favorite spot and began my standard ritual: eating the first half of my baloney sandwich, sipping a strawberry Crush soda-pop, and crying. Just crying. Sobbing uncontrollably, like, to the point where even the homeless people look at me with faces that say, “Man, that dude has it bad.”
But don’t be fooled! I wasn’t sad. It was the book I was reading – it always makes me cry. Not because it’s about bone marrow cancer (it’s actually pretty upbeat and the recipes are not only delicious but good for those of us on a tight budget!). No, the reason it makes me cry is because its pages are made out of paper-thin sheets of glass which cut my hands horribly. Oh gosh, I mean, it really hurts. And the bloodier the pages become the slipperier it gets and it’s hard to get through a chapter without passing out from pain.
Did you know that if you pass out in the park people will leave you coins in your strawberry Crush soda-pop can? This is why I have hope for humanity.
But last Wednesday, something unusual happened to my usual routine. I was passed out under the tree (though not from injuries – this time it was because I had sniffed a freshly picked plumeria, only to discover that it was actually a tank of methoxyflurane) and was brought back to consciousness by a young man performing CPR on me. (For those of you who don’t know what CPR is, it’s a thing.)
Perhaps the strangest thing about Raising Sand, the magical collaboration between fiddler/chanteuse Alison Krause and rock god Robert Plant, is how much of a leap each of them had to take to record it. For both, they claimed that the recording required them to step out of their usual bailiwicks-- bluegrass and rock-- and into other song realms. But when you consider that bluegrass and rock are all basically offshoots of folk and blues, how could the jump be that hard?
The answer lies in their innate musicianship. Each of them understands their respective genres so profoundly, that any skitter outside of the “box” involves for them all new landscapes of vocalizing, arranging, and experimentation. To the rest of us it just sounds like more great-American music.
The difference comes down to small things. Plant, who admitted never really singing harmony before, says the project was a whole new, and therefore intimidating, song structures and performed bits that she says she would never have chosen for herself. experience. And as for Krauss, she says that she stepped out of her normal Bluegrass
In the Classic Hollywood era, Chinese women (like all Asians) were generally played by white actresses as shy, subservient innocents totally devoted to their white lovers. Chinese men were usually portrayed as cruel, buck-toothed, long-fingernailed mystics who delighted in tormenting the white heroes who'd fallen for their women. Or, they were depicted as simple, asexual, buck-toothed peasants who almost always wear a queue. Either way, it's only the women that are sexualized.
The Life of Reilly, Starring Charles Nelson Reilly, at the Lumiere!
Film version of one-man show by the late gay actor/director Charles Nelson Reilly best known for his "Match Game" appearances!
Showing at 7:30 9:15 at the Lumiere 1572 California Street at Polk