the most perfect movie
Crazy Diamonds - Do You Believe?
A few weeks ago Jesse found all the old recordings from his band from waaaay back in the day. We were so excited!!!! We listened through them all a few times. I love it. Everyone thought they were lost forever.
Just a bunch of kids. Can anyone else believe this was nearing 10 years ago? Where does the time go?
- ABYSSINIAN MEDAL
Military slang, introduced after the Abyssinian War, for a button in the abdomen area “gone astray from its buttonhole.” This is probably what happens to your vest-wearing uncle after a hearty Thanksgiving meal.
- AMEN CORNER
A California term for a church.
- BASKET OF ORANGES
This phrase, which referred to a pretty woman, originated in Australia before making its way to England. “A metaphor founded on another metaphor,” author Andrew Forrester writes, “the basket of oranges being a phrase for the discovery of nuggets of gold in gold fields.”
- BEER BOTTLE
Not something you drink out of, but a street term for “a stout, red-faced man.”
- CAN’T YOU FEEL THE SHRIMP?
Cockney, from 1877, meaning “smell the sea.”
“Blushing or turning red in the face rather from the meanness of another than your own.”
- CUT A FINGER
A lower-class phrase meaning “to cause a disagreeable odor.”
- DAMNED GOOD SWINE UP
A term from 1880, “suspected to be of American origin,” for a loud quarrel.
A street term meaning “smart, active, adroit. One of the alliterative phrases with absolutely no meaning.”
- FOOT-AND-MOUTH DISEASE
A Lancashire term for “swearing followed by kicking.”
A street term for scolding, as delivered by a woman.
- NURSE THE HOE-HANDLE
A term from agricultural American meaning “lazy.” You’re not being a lump on your couch—you’re nursing the hoe-handle!
- RAKED FORE AND AFT
Desperately in love.
- SPONGE IT OUT
This term, used beginning in 1883, meant “forget it.”
- START A JOLLY
To lead applause. The next time you do the slow clap, tell everyone you’re starting a jolly.
Giant ant colony structure filled with cement and excavated
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more"
PARABOLA: What effect does [wearing a mask] have on the person wearing it?
PETER BROOK: I will speak of my experience with the Balinese masks, but I have to go back one step before that. One of the first, knockout exercises that you can do with actors, which is used in lots of theater schools where they use masks, is putting a plain, blank, white mask on someone.
The moment you take someone’s face away in that way, it’s the most electrifying impression: suddenly to find oneself knowing that that thing one lives with, and which knows is transmitting something all the time, is no longer there. It’s the most extraordinary sense of liberation. It is one of those great exercises that whoever does for the first time counts as a great moment: to suddenly find oneself immediately for a certain time liberated from one’s own subjectivity. And the awakening of a body awareness is immediately there with it, irresistibly; so that if you want to make an actor aware of his body, instead of explaining it to him and saying, “You have a body and you need to be aware of it,” just put a bit of white paper on his face and say, “Now look around.” He can’t fail to be instantly aware of everything he normally forgets, because all the attention has been released from this great magnet on top.
–from Lie and Glorious Adjective, an interview with English theatre and film director and innovator, Peter Brook on the subject of the transformative power of mask. PARABOLA, Vol. 6., Issue 3, “Mask & Metaphor,” Fall 1981.
This issue is now available in both digital and print versions. Visit the new Parabola Archived Editions here:
Photography Credit: Ralph Eugene Meatyard, Halloween Masks.