The painters finally cameth. I am waiting to find out if they left a working ceiling light in their wake. In the meantime, I slept a solid six hours and dreamed of meeting my godchild's family in New York City by the retro-futuristic expedient of just stepping off the train at Penn Station. In honor of that other worldline's hangout, I had whitefish for lunch.
I don't remember ever seeing the video for Snapped Ankles' "Rechargeable" (2019), even though I discovered the song the next-to-last time I actually was in New York and it became my soundtrack for hiking all over the city with a centerpiece of the paintings of Hilma af Klint and the punch line that I had done it with two acute respiratory infections.
I kept meaning to share Jules Bledsoe's "Ol' Man River" (1929). It was done for the two-reeler musical prologue to the part-talkie of Show Boat which seems to have been deservedly unsuccessful as both a version of the novel and a belated incorporation of the hit stage musical, but the record of Bledsoe is invaluable, a titan of American music in his own right, the color-line-breaking opera singer and composer who did more than fill in for Paul Robeson when he originated the role of Joe in 1927. Eight languages is nothing to sneeze at and neither is as much happily—interracial, interfaith, queer—life-partnered time as he got with Freddye Huygens. I wish his own decolonized opera of The Emperor Jones had survived in full. In the meantime, I'll take a time machine for any moment from his American or European stage career as electrifying as this cameo recorded live.
I can't believe TCM is running Elvis movies all day and once again not the one I want to see, co-starring Lizabeth Scott and Wendell Corey, Loving You (1957).
I don't remember ever seeing the video for Snapped Ankles' "Rechargeable" (2019), even though I discovered the song the next-to-last time I actually was in New York and it became my soundtrack for hiking all over the city with a centerpiece of the paintings of Hilma af Klint and the punch line that I had done it with two acute respiratory infections.
I kept meaning to share Jules Bledsoe's "Ol' Man River" (1929). It was done for the two-reeler musical prologue to the part-talkie of Show Boat which seems to have been deservedly unsuccessful as both a version of the novel and a belated incorporation of the hit stage musical, but the record of Bledsoe is invaluable, a titan of American music in his own right, the color-line-breaking opera singer and composer who did more than fill in for Paul Robeson when he originated the role of Joe in 1927. Eight languages is nothing to sneeze at and neither is as much happily—interracial, interfaith, queer—life-partnered time as he got with Freddye Huygens. I wish his own decolonized opera of The Emperor Jones had survived in full. In the meantime, I'll take a time machine for any moment from his American or European stage career as electrifying as this cameo recorded live.
I can't believe TCM is running Elvis movies all day and once again not the one I want to see, co-starring Lizabeth Scott and Wendell Corey, Loving You (1957).
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