My favorite TV weathercaster comment this year was on a tropical disturbance that was briefly a storm and eventually some wind and rain. The night before it "hit," when it was downgraded to I don't know what -- a zephyr, maybe -- a weather person barked, "But don't let down your guard! This thing could turn into a monster overnight!"
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Louisiana as "America's crazy aunt in the attic" is the best description of how the rest of the country views us I have ever read.
Wonderfully concise and appreciative portrait of one of the free-est free spirits any of us is likely to encounter. And that's saying a lot, considering that this is New Orleans.
What? Nothing about Myrtice Swearington, who managed The Joy for years? She employed ladies in salmon-colored smocks who sold orange drink in plastic oranges and patrolled the aisles, shining a flashlight on you if you so much has had your knees on the seat in front of you! Morgus the Magnificent and the silent Chopsley appeared there in 1959, when Hammer Films' remake of "The Mummy" played the Joy. The two local celebs made their exit on a flat-bed truck, which was surrounded by kids trying to climb on. One goosed Chopsley, who said, "Hey, you little bastard!" And we all yelled, "Chopsley talks! Chopsley talks!" In its final days as a moviehouse, the Joy played films aimed at the black audience. I was there the time "Waiting to Exhale" was playing and in the film, when Whitney Houston's screen mother advised her to get married a female voice in the audience yelled out, "Whitney don't want no man! She's a bulldagger!" The audience erupted in laughter for several minutes.
Hey, what happened to the guy I used to know who'd get drunk and tap out a column with his nose for laughs?
Do what the docs say and try and get some rest and you'll bne back bitchin' and twitchin' with well-placed anger in no time, kid!'
Glad to see someone paying attention to Fitzmorris, who, if he lives long enough, will write a complete history of New Orleans politics. His rants ain't bad, either. He's the closest thing we have in that respect to Spaulding Gray.
The most interesting and intricately-woven aspect of "Dying City" concerns the twin brothers -- one straight and one gay -- and how similar they are. The straight brother clearly envies his gay brother's sexual promiscuity. In the one scene where straight bro' is about to get it on with the wife, he grabs her by the hair, throws her over a chair and prepares to take her from behind. And both brothers, one verbally, the other in an e-mail, tell of getting bathroom blow-jobs. The relation between sexual and physical violence is also explored and the play is deeply theatrical as both men seem to be "acting" in life. The straight brother's breaking point comes when he stops acting and the gay brother seems to desperately need his straight brother as an acting model, the "other self" he needs to continue.
Or maybe I've just had too much analysis and not enough medication.
Always enjoy Dalt Wonk's takes on theater.
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