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La Vie En Raw Cafe: It's Not All Roses at La Vie En Raw

La Vie En Raw Cafe: It's Not All Roses at La Vie En Raw


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Halfway between Florida International University and downtown Miami, in an indescript shopping center, sits La Vie en Raw Cafe. The setting is intimate and artsy, with a few small tables (the restaurant capacity couldn't be more than 20), the walls decked with work from local artists. The tiny kitchen is open and you can see your food being made.

I arrived at 9:30 on a Friday night with a friend, expecting the packed seats described on the phone to take up the whole room. The restaurant was busy for its size but a waitress did not arrive for another ten minutes after we sat down. We ordered lemonade (fresh squeezed lemon juice, agave nectar, and filtered water; $3) and iced mint tea ($2) and were told only after receiving our drinks (another ten minutes), that the restaurant was completely out of ice. Warm lemonade is an unpleasant choice and I wish we had been informed earlier.

The stuffed mushrooms ("marinated mushrooms stuffed with our creamy cashew nut cheese garnished with pesto"; $7) were ordered for an appetizer and were a flavorful introduction to raw cuisine. The mushrooms were meaty and toothsome while the cashew nut cheese reminded one of ricotta, texturewise. The pesto was garlicky and well balanced to the rest of the bite sized mushrooms and cashew nut cheese.

I also ordered the raw soup of the day ($4, cup), which was a puree of avocado, celery, olive oil, and other assorted flavorings. A first impression of the soup was that it was creamy and light, with the taste of celery adding a bit of a verdant lift to the whole thing. However, the dish was rather flat and boring as I continued to eat it. I only really tasted the avocado, celery, and olive oil and it became heavy and almost sweet tasting as I continued eating it. A bit of heat from chile oil or garlic could have served the dish greatly.

My entree was a different story, providing surprising depth and discovery. The raw Pisa Pizza ("served on our homemade flax and sunflower seed and onion bread, layered with nut cheese, marinara, mushrooms, tomatoes, spinach"; $8) provided variety in texture and flavor. Despite the small size of the pizza, the flax bread was dense but crunchy with bits of flaxseed and sunflower seeds. The onion added a bit of sweetness as well. The nut cheese made another spectacular appearance, subbing in for the sometimes rubby (and totally non-vegan) mozzerella found on some pizza parlor monstrosities. The marinara was a bit forgettable but the addition of freshly cut tomatoes, mushrooms, and spinach added sweetness, earthiness, and vibrancy to the dish.

La Vie en Raw has potential but spotty service and a very flat soup take away from what should be a more enlightening and exciting experience to those familiar and foreign to raw cuisine alike.


La Vie en rose (film)

La Vie en Rose (literally Life in pink, French pronunciation: ​ [la vi ɑ̃ ʁoz] [note 1] French: La Môme) [note 2] is a 2007 biographical musical film about the life of French singer Édith Piaf. The film was co-written and directed by Olivier Dahan, and stars Marion Cotillard as Piaf. The UK and US title La Vie en Rose comes from Piaf's signature song. The film is an international co-production between France, Czech Republic, and the United Kingdom.

  • 8 February 2007 ( 2007-02-08 ) (Berlin)
  • 14 February 2007 ( 2007-02-14 ) (France)
  • 14 June 2007 ( 2007-06-14 ) (Czech Republic)
  • 22 June 2007 ( 2007-06-22 ) (United Kingdom)

Cotillard's performance received critical acclaim and earned her several accolades including the Academy Award for Best Actress – marking the first time an Oscar had been given for a French-language role – the BAFTA Award for Best Actress in a Leading Role, the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy and the César Award for Best Actress in a Leading Role. The film also won the Academy Award for Best Makeup, the BAFTA Award for Best Makeup, Costume Design, Film Music, four additional César Awards and grossed $86.3 million worldwide.


1. Salatim at Saba

Alon Shaya’s recently opened Israeli restaurant Saba has lots to love: pita cooked to order, insanely decadent hummus plates, and the salatim. What’s that, you ask? It’s the opportunity to try several small dishes that are huge in flavor and freshness — three for $21 or five for $35. Although the selection changes seasonally, mainstays like harissa-marinated olives, labneh, pickled vegetables, red grapes with pickled onions and pine nuts, and tabbouleh will always deliver. They’re all cold dips and dishes so they go down beautifully in the heat.


Buddha Bar compilation albums

The Buddha Bar compilation albums are a widely acclaimed series of compilation albums issued by the Buddha Bar bar, restaurant, and hotel franchise created by restaurateur Raymond Visan and DJ and interior designer Claude Challe [1] in Paris, France. Following its establishment, the Buddha Bar "became a reference among foreign yuppies and wealthy tourists visiting the city", [1] and "has spawned numerous imitators", [2] becoming popular in part because of the DJ's choice of eclectic, avant-garde music. It became known internationally for issuing popular compilations of lounge, chill-out music and world music, also under the Buddha Bar brand, released by George V Records. Buddha Bar began issuing compilations in 1999, and has since "made a name for itself with its Zen lounge music CDs and remains a hit – especially with tourists". [3]

In 2001, a Billboard Magazine critic placed the compilation in his "top ten" musical events of the year, stating of proprietor Claude Challe that "[t]he legendary master of pop and dance music in France has aroused the attention of the global chill-out community with this series of mixed compilations", and concluding that "Buddha Bar is not only a good restaurant in France but also one of the best music experiments to come out of France in the past few years". [4] On a more critical note, the Oxford Handbook of Music Revival describes the music of the Buddha Bar collection as "close to muzak-like mixtures with neither recognizable original components nor clearly identifiable new structures". [5] Another commentator wrote:

Challe quit his partnership in 1993 and returned to Paris where he subsequently opened the internationally acclaimed Buddha Bar. . Similarly to Café del Mar, Buddha Bar also released CD compilations featuring "lounge", "world" music, a successful enterprise that suggests the striking inequalities associated with the commodification of Third-World art: whereas cassette tapes of Pakistani singer Nusrat Ali Khan are sold in India for about US$1, the same songs remixed within a deluxe Buddha Bar CD are priced in the West at about US$50. [1]

Challe compiled and produced the first two Buddha Bar albums. The series thereafter continued with different DJs, including DJ Ravin, Sam Popat, and David Visan (son of Buddha Bar founder Raymond Visan). [6] The Buddha Bar has also released some original music for its albums, specifically the songs "Buddha Bar Nature" and "Buddha-Bar Ocean", composed and produced by Arno Elias, the composer of "Amor Amor" from Buddha Bar 2, and Amanaska. This release included a DVD of nature and ocean footage directed by Allain Bougrain-Dubourg.


Commercial and Abiding Romance

Louis Armstrong made "La Vie en Rose" one of his signature songs. Artists as disparate as Grace Jones, Josephine Baker, Bing Crosby, Iggy Pop, Donna Summer and Andrea Bocelli have recorded it. Lyrics such as " When you press me to your heart / I'm in a world apart / A world where roses bloom / And when you speak, angels sing from above / Everyday words seem to turn into love songs / Give your heart and soul to me / And life will always be la vie en rose" spoke not only to beleaguered war-torn Paris but to survivors and people everywhere who embraced the romantic notion of love. (see reference 4)


Eartha Kitt

For six decades, the American entertainer Eartha Kitt, who has died aged 81 of colon cancer, was a showbusiness force of nature. Starting as a dancer, she was soon at home on stage and in the recording studio, and, while her natural medium remained cabaret, she also appeared in movies and on television. Her sensual, feline presence was extraordinary enough: its impact was intensified through her being an outspoken African-American woman breaking new ground.

Her official birth details were established only in 1997, when she challenged a group of students to find the certificate that records her as having been born Eartha Mae Keith in the town of North, South Carolina. The name she had for her father was William Kitt. He was a white sharecropper who abandoned Eartha's mother. The destitute black-Cherokee young woman persuaded black neighbours to take in Eartha and her younger half-sister Pearl. Pearl was dark-skinned and pretty, but Eartha had bushy red hair, which she later dyed, and lighter skin she was dubbed "that yella gal".

Eventually, her aunt, Mamie Lue Riley, sent for her when she was eight and gave her a home in the Puerto Rican-Italian part of Manhattan. Their relationship was difficult, but Mamie paid for piano lessons for Eartha, as well as building up savings she knew of only later. Eartha came to believe that she was really her biological mother.

In the south, Eartha had already impressed the local church congregation with her singing. At school in New York she won respect and popularity with her talent for reading aloud, and she was lucky enough to have teachers who were genuinely interested in her. She also went down well at the local Caribbean dances, where she picked up routines that were to stand her in good stead, not only as a professional entertainer, but also in amusing her fellow-workers when she took factory jobs.

Just after her 16th birthday, she auditioned, more or less by accident, for the Katherine Dunham Dance Troupe, whose style was based on Afro-Caribbean folklore. She won a full scholarship to study ballet as well as Dunham's own technique and her first appearance on Broadway was dancing in Blue Holiday with Ethel Waters and Avon Long. Dunham told "Kitty" she would never make a real dancer because her breasts were too large, but chose her for the troupe which toured the US, Mexico, South America and Europe increasingly, Kitt took on solo roles, singing as well as dancing, and made her film debut, uncredited, in Casbah (1948).

When the Dunham company was in Paris, Kitt was offered her first night-club engagement at Carroll's, whose formidable lesbian owner Fred told the waitresses: "This one must not be touched." Kitt later claimed she had no act to speak of at that time, though she had been to the club and seen Juliette Gréco's show. Yet she quickly became a sensation, and when Carroll's opened a new club, Le Perroquet, Kitt was the main attraction, with songs in English, Spanish and French that she prepared with the help of the Cuban bandleader. Singing C'est Si Bon for the first time, she forgot the words and ad-libbed, with such success that she repeated her invented list of desirables, "mink coat, big Cadillac car" and so on, ever after.

Between the two club engagements, Kitt was cast by Orson Welles as Helen of Troy in his stage version of the Faust story, Time Runs (1951), sharing what limelight could be snatched from Welles himself with Micheál MacLiammóir and Hilton Edwards. If Welles thought her "the most exciting woman in the world", Kitt later reflected, it was because they never went to bed together. He ate, she watched he talked, she listened. She was always an admirer of great men, and went to considerable lengths to meet Albert Einstein and Jawaharlal Nehru.

After Le Perroquet, Kitt's next night-club engagement was at the cosmopolitan Karavansari in Istanbul. There she learned a number of Turkish songs by ear, including Usku Dara, which she later recorded as her first single for RCA Victor. By the time she opened at La Vie En Rose in New York, she claimed to sing in seven languages. Despite an inventive campaign of newspaper ads, which read "Learn to say 'Eartha Kitt' ", she was not a success, and her two-week contract was terminated after six days. Whatever went wrong, La Vie En Rose's loss was the Village Vanguard's gain, and a short engagement at its sister club, The Blue Angel, was extended to 25 weeks. She was spotted by the producer of a long-established musical revue. For New Faces of 1952, she sang Monotonous while crawling cat-like from one chaise-longue to the next. Thereafter, Kitt found it hard to do without at least one such piece of furniture, and for a Royal Variety Performance in the 1960s, she appeared on it through the stage trap-door. Kitt became the unquestioned star of New Faces, and a film version followed in 1954. By the end of that year she was starring in Mrs Patterson, her first major Broadway success, and fell in love with Arthur Loew Jr, heir to a chain of cinemas. Feelings were mutual, but the affair never came to anything because his mother opposed it.

In London, Kitt had appeared briefly at Churchill's in the early 1950s, but she really arrived with her act at the Café de Paris, wearing an aquamarine silk satin dress designed by Pierre Balmain. Lord Snowdon photographed her.

The 1950s were the golden decade of Kitt's record hits. After Usku Dara came Monotonous, I Want To Be Evil and Santa Baby among others, which established the image of a teasing, self-mocking sex-kitten. She recorded Just an Old Fashioned Girl, the song that became her signature tune in Britain, in 1955, but Thursday's Child and The Day That the Circus Left Town, recorded a short while later, said more about her.

There have been many attempts to describe Kitt's extraordinary voice. Kenneth Tynan got it wrong when he spoke of her vibrato, for she hardly used it. Although she cultivated a tremor for special effect, her pitch was remarkably clean, and she would bend it, very often sharp, with slow deliberation. She said she understood everything her voice could and could not do. She played off a gritty chest register against a cooing falsetto, and as she savoured its sound, she would experiment with verbal distortions.

Kitt's distinctive style made it hard for her to develop her career and diversify. If she was not 100% herself, you felt cheated. Yet she never stopped trying. Her films included Mark of the Hawk (1957), St Louis Blues (with Nat King Cole, 1958), Anna Lucasta (with Sammy Davis Jr, 1959) and Saint of Devil's Island (1961), Synanon (1965) and Dragonard (with Oliver Reed, 1987). Apart from many celebrity appearances on television, she found one role tailormade - Catwoman in Batman (1967-68). She took further parts on Broadway, in Shinbone Alley (1957) and Timbuktu (1978), an all-black musical based on the hit show Kismet. In London she played Mrs Gracedew in Henry James's The High Bid (1970) and the title role in Bunny (1972).

In 1988 her appearance in Sondheim's Follies at London's Shaftesbury Theatre - she spent most of it elegantly posed in a long mink coat until she stopped the show with I'm Still Here - led the following year to her first one-woman show, Eartha Kitt in Concert. Prancing around with three toyboys, she was pretty well as lissom as ever, and even further over the top. In Manchester, she even tried panto, as the genie of the lamp in Aladdin.

Also in 1989 came her autobiography, I'm Still Here: Confessions of a Sex Kitten. It retells and updates her earlier memoirs, the first volume of which, Thursday's Child, was published in 1956 a second, Alone With Me, followed 20 years later. I'm Still Here ends with Kitt's struggle to come to terms with the marriage of her only daughter, Kitt, of whom she was fiercely possessive. Her own marriage to Kitt's father, Bill McDonald, in 1960, had only lasted five years.

Kitt made no bones about the fact that the thing she needed most, after the love of her daughter, was the applause of an audience: I once saw her give everything she had to what was virtually an empty house, at the New Theatre, Oxford, one week-day matinee.

She looked like almost losing her American public after she upset Lady Bird Johnson by speaking her mind about the Vietnam war at a 1968 luncheon at the White House. The CIA described her as "a sadistic nymphomaniac". America's temporary loss was Britain's gain, with Kitt touring variety clubs in the north of England. At the opposite cultural extreme, she made two extraordinary concert appearances in London with Richard Rodney Bennett, as pianist and arranger, and the Nash Ensemble, singing songs by Kurt Weill, Cole Porter and other American standards.

Kitt's occasional attempts to move with the times - she even dipped into disco funk - had qualified success. In 1984 she was back in the charts with Where Is My Man and I Love Men. She did not need to update herself, and a live recording of a concert she gave with jazz musicians in Wuppertal, Germany, in 1992 shows that she was best given a tight format - never better than in the immaculate arrangements of Henri René and his orchestra in the early days. An album called I'm Still Here came out the same year as the book, and, in 1993, Rollercoaster issued a five-disc compilation representing her entire repertoire to date. Her album Back in Business (1995) made a bid for the universal by dressing up old favourites by Porter, Rodgers and Hart, Duke Ellington and Weill, not to mention Henry Mancini's Moon River, in highly produced, sumptuous jazz arrangements. One of the more straightforward is the classic of the 1930s depression, Brother, Can You Spare a Dime? With the defiance that never left her, Kitt rings true with raw anger.

In 2000 she provided the voice of Yzma for the Disney animation The Emperor's New Groove, and was undeterred by the diagnosis of her cancer in 2006. The Guardian found her a "staggeringly vivacious performer" at the Shaw Theatre, London, in 2007, where she told her audience, "I may be 80, but I'm still burning," and her performance at the Cheltenham jazz festival last April was captured on DVD. Her final concert performance came in October, with the Virginia Symphony Orchestra, after which she contributed to a TV special to be shown on the American network PBS in February.

She is survived by her daughter and grandchildren.

Eartha Mae Kitt, singer and entertainer, born 17 January 1927 died 25 December 2008


5. Data Breach & You

While we have numerous signs that the attacker had access to information not typically visible from the context of a normal user, we have not been able to confirm a full host compromised, or an up-to-date database breach. We intend to continue to keep a close eye on both and aim to update as we investigate and discover further. Moving forward however, it is in both our users’ interest and ourselves that we will consider the database breached.

As a user, we will encourage that you would assume that your data has been breached, and take precautions immediately, such as changing the passwords of any accounts that might share the same password as your MangaDex account. As a generally good security practice, password managers are highly recommended to keep your online identity secure.


Viva 'La Vie Bohème'!: An oral history of the Rent Act 1 finale

We raise our glass, you bet your ass, to La Vie Bohème.

With this immortal toast, Mark Cohen kicks off the Act 1 finale of Rent, the joyous, rousing tribute to bohemian living that is one of the most mind-boggling assortments of kiss-off lyrics and listing of cultural references ever set to music.

From the earliest readings of the Pulitzer Prize-winning musical, “La Vie Bohème” was part of the celebratory closer to the act (and one very eventful Christmas Eve). It evolved as Jonathan Larson crafted the show from developmental stagings to Off Broadway to Broadway, but the song always remained an essential part of the fabric of Rent. Today, it’s become an iconic anthem for theatre kids and anyone outside the mainstream.

In honor of the Rent’s 24th anniversary, we called up much of the original cast and production team to find out just how this ode to being an us for once entered the annals of musical theater history.

Following the framework of original opera,La Bohème,Rent closes its second act with “La Vie Bohème.” As a production team and cast were assembled, the song made quite the impact with its dizzying list of cultural references, raw language, and tongue-twisting lyrics.

MICHAEL GREIF (Director): The first time I heard songs from the show was on an airplane, and I was very churned up by a lot of the material.

BILLY ARONSON (Co-creator and playwright): [In La Bohème, Rudolfo] goes outside in the second act to meet all his friends on Christmas Eve. So that scene was in the play. I gave [Jonathan Larson] an outline in which they were all at the table, all together, all meeting each other but that was his idea to have that song there.

TIM WEIL (Musical supervisor): Jonathan printed out the original score in a musical notation software, and I remember seriously looking at those lyrics just trying to make them out so I could understand them. Once I figured out what all those words were, I just went, “This is one of the most amazing list songs I have ever seen in my life.”

ARONSON: From the beginning of our collaboration, Jonathan thought Rent would be "our generation&aposs Hair.” And it seems to me that the song "La Vie Bohème" is inspired in part by Hair, almost paying tribute to it. In particular, Claude&aposs song “Manchester England, England,” where he starts dropping all those names.

ANTHONY RAPP (Mark Cohen): In the fall of &apos94, when I did what we call the studio production, the first day of rehearsal I went home and I had cassette tapes of demos that Jonathan Larson had made. “La Vie Bohème” was one of those. I was completely knocked out immediately.

MARLIES YEARBY (Choreographer): Celebration was the first thing I heard when I first heard “La Vie Bohème.” I heard a real celebration of life, individuality, who you are.

RAPP: Hearing for the first time “To faggots, lezzies, dykes, crossdressers too To people living with, living with, living with, not dying from disease,” it was really like a bolt of energy coming out of my little boombox hitting me. It was really exciting that I was going to get to be a part of a show that was putting that out into the world at a time when people weren&apost declaring such things so boldly and joyfully. I just love the re-embracing of those words that are used as epithets.

DAPHNE RUBIN-VEGA (Mimi Marquez): Those were things that we didn&apost say, particularly, and then all of a sudden, blink, and [we] say it on Broadway.

ADAM PASCAL (Roger Davis): My first thought was, “How are we going to memorize all these lyrics?” And then my second thought was, “I don&apost know what half these things mean.”

GREIF: One of the first things I did when I got to really look at the lyrics was a little research on all of the people who were named as inspirations in the song.

WILSON JERMAINE HEREDIA (Angel Dumott Schunard): I was a club kid during that time, so I was familiar with a lot of the references in the song, but I thought here&aposs a song that 100 percent addresses me and I feel included.

RUBIN-VEGA: I actually knew a lot of the references. It was talking to a multicultural part of me. [The clubs and such mentioned] were actual places in history that I had experiential knowledge of. That&aposs why I got hired. I didn&apost get hired because I was the best. I got hired because I knew exactly what it was that they were talking about.

RAPP: I was familiar with almost of all them. I remember 8BC was one I needed to discover for myself. There was a whole packet that was put together by our dramaturg and Michael Greif and Jonathan.

WEIL: We actually did a big glossary, like a handout, of who all these people were, what all these things are, [why they] matter, and the only person or thing I didn&apost know was the word "entropy."

FREDI WALKER-BROWNE (Joanne Jefferson): Jonathan gave us the references. He wrote it all out. He was amazing. He had a whole backstory Bible for us. I still have that somewhere. It was the backstories of all the characters, all the references in “La Vie Bohème.”

RAPP: I do remember, during the rehearsal process, as I was tooling around New York, being on subway platforms and just going over the lyrics as I was waiting for the train.

Originally, “La Vie Bohème” was even longer than it is now, and the second act ended on “I Should Tell You."

GREIF: “I Should Tell You” was the Act One finale, when I first looked at the script.

WEIL: The evolution was basically they did “La Vie Bohème” and then they did “I Should Tell You,” and then there was a little Mark narration, a little kind of epilogue.

GREIF: [We] recognized that we needed to fit “I Should Tell You” within “La Vie Bohème” so the act really ends with that kind of joyousness. 

WEIL: Jonathan went, “Let&aposs put the first three-quarters of ‘La Vie Bohème’ first and fold in ‘I Should Tell You.’” “I Should Tell You” was actually substantially longer there was an extra verse, the chorus was twice as long. Part of my job was to make it feel like something that&aposs an interlude in a much larger package, but still a song by itself. Now it&aposs a single piece, as opposed to a really great song and then a love ballad and then an epilogue.

GREIF: There were many, many more verses that I can&apost even recall.

WEIL: There’s a lost second extra verse that I am in possession of. When we were in China, because of censorship, we had to take out some of the “La Vie Bohème” lyrics, and I actually replaced them with some of the lyrics from the verse that was cut. They weren’t as graphic or explicit.

GREIF: [Cutting it down] was a wonderful combination of which one of those inspirations meant the most to Jonathan and getting Jonathan to understand in a lot of ways that less could be more.

WEIL: There was a reference to Nirvana.

RAPP: I remember Cannabis Citiva was one of the things on the list, Baudrillard, Derrida, Bertolt Brecht. It was just another list of things.

The cast gathers around a long line of metal tables, and led by Mark, they begin to pay tribute to “La Vie Bohème” in a deliberate attempt to offend Benny and the investors eating there. As Mark starts to sing and dance, the others follow.

GREIF: The concept was very much the Last Supper. Because it&aposs a mock wake for the death of La Vie Bohème, it seemed like that could be appropriate. Our wonderful choreographer Marlies Yearby found a real joy in just the presentational nature of that first image.

RUBIN-VEGA: That&aposs so Michael&aposs brand, constructing from this metal or industrial kind of place. It wasn&apost about the furniture it was about us and that was very freeing.

WALKER-BROWNE: It’s as much exposition as it is anything else. You have so much going on in the story that is revealed through that song.

GREIF: A lot of the initial staging was all about making points for Benny&aposs benefit. There was a little danger and a little grit involved until he&aposs defeated, and then, there&aposs just a celebration of his defeat.

YEARBY: The gesture dance at the top of the song I’ve named “The Dis Dance." It&aposs inspired by the work of graffiti artist Jean Basquiat and the Dada Movement. It&aposs something they all do. Everybody knows it sort of like the hustle. The first thing is to communicate that we&aposre going to do the dis dance to Benny.

WALKER-BROWNE: It feels organic and spontaneous, but it is so structured and it was so deliberate.

YEARBY: If you look at the shoulder moves at the top, you would see that [Idina Menzel, who played Maureen Johnson] never does it correctly … But that’s brilliant to me. I never tried to make her 100 percent correct because she had an organic way of just being herself in it. It felt so completely real. I didn&apost want perfection.

GREIF: It was really Anthony&aposs best opportunity to have a good time when he spends so much of the musical worrying and fretting and taking care of everyone. It was his opportunity to really let go and show off a little. A lot of that staging came out of his really wonderful and vivid imagination.

RAPP: I remember getting up on the table, and then I was just doing my weird spastic thing. I turned to Marlies and I was like, �n you help me out here?” And she&aposs like, “No, you do you.” That was empowering. If you want me to be a spaz, I&aposll be a spaz.

YEARBY: I did not want the perfect dancing body. Anthony’s quirkiness and his relationship to rhythm was very off beat naturally. Because of how he lives in his body, there’s this little jerky, edged, twitchy thing he does when he’s singing. I capitalized on that and pulled the choreography to that place. I encouraged his natural offbeat way of moving and to this day love how his way of moving informed the character of Mark.

PASCAL: The stuff we&aposre all doing in sync before we get up on the table, with the shoulders and the pointing, all that stuff was all choreographed by Marlies. But once we were all up on the tables, that was all sort of freestyle.

YEARBY: Dancing on the table is a given. It&aposs a rebellion. Dancing on the table in a café definitely pushes the boundaries of the very conservative. You are not being conservative if you&aposre jumping up on the table and dancing.

RAPP: As it evolved, she started to sculpt and shape the peaks and valleys, like when people were high or low, but so much of it was meant to be our physical expressions of how we move to music.

HEREDIA: She didn&apost impose a movement on you. She would say, "How does this make you feel? Tell me what this sound makes you do.” Okay, we have to get from here, from stage right to stage center, how&aposs it going to get through there?


Henry Anslinger and the Federal Bureau of Narcotics

In 1939, after singing her song “Strange Fruit,” Holiday received a warning from the Federal Bureau of Narcotics, a government agency which lasted from 1930 to 1968, to never sing the song again. Holiday refused and kept singing the song.

FBN commissioner Harry Anslinger believed Holiday to be the symbol of everything that America had to be afraid of.

“She had a heroin addiction because she𠆝 been chronically raped as a child and she was trying to deal with the grief and the pain of that,” Johann Hari, who wrote the book Chasing the Scream: The First and Last Days of the War on Drugs, told WNYC. 𠇊nd also, she was resisting white supremacy. And when she insisted on continuing on her right as an American citizen to sing &aposStrange Fruit,’ Anslinger resolves to destroy her.”

Anslinger was a widely known racist and made it his mission to take Holiday down for her drug and alcohol addiction and relentlessly pursued her all the way up until her death in 1959. 


The Deck at Island Gardens Arrow

Situated on the super-yacht marina on Watson Island about 15 minutes from South Beach, this spot is al fresco perfection. You've got views of Miami's downtown skyline far off, views of luxurious yachts up-close, and all is surrounded by azure water. It's basically the opening shot of every 2000s music video set in Miami. The brunch buffet is a family friendly standout. Its Mediterranean-influenced spread comes in at $65 per person, and offers multiple stations stocked with a variety of hot and cold plates. At the breakfast station you'll find made-to-order omelets and pancakes, and at the carving station hearty cuts of rib eye, roasted chicken, and salmon filets. The salads are fresh and creative, like roasted eggplant drizzled in tahini, sprinkled with pomegranate seeds, topped with tabouli, and mixed with marinated vegetables. The massive dessert display has dainty cupcakes, multi-layer cakes, pies, and brownies.


Watch the video: 13 year old Sam Morelos sings La Vie En Rose