I'm Not High: (But I've Got a Lot of Crazy Stories about by Jim Breuer

By Jim Breuer

A deeply own, deeply hilarious memoir from certainly one of America's such a lot liked Saturday evening Live comedians.

With his goofy smile, sleepy eyes, and stoner's snort, Jim Breuer will possibly not seem to be the main introspective comic available in the market. the truth that he made his mark taking part in Goat Boy on Saturday evening Live and a recalcitrant toker within the stoner vintage Half Baked doesn't support his acceptance in any respect. yet in I'm no longer High, we meet a complete new Jim Breuer: the Jim who excursions the rustic together with his entire relatives in tow; the Jim who cares for his sick eighty-five-year-old father; the Jim who considers himself a deeply religious individual. I'm now not High finds the advanced guy in the back of the simpleminded personality, bringing to existence actual tales from a occupation that has spanned riotous (yet by some means semi-righteous) many years.

Jim dishes on every thing from the SNL years to his early adventures in movie. the solid of characters in I'm now not High comprises Chris Farley, Dave Chapelle, and Tracy Morgan-who all taught Jim lasting classes in regards to the high-stakes online game of repute. He additionally chronicles the consistent function his kin has performed in retaining him sincere. even if he's arguing together with his spouse approximately faith (Is it ok to think in God yet now not think in church?), attempting to look after his little ones, or assisting his father get during the day along with his dignity in tact, it's transparent that a few of his top fabric comes from his top moments as a son and a dad and a husband.

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Sample text

They always fuck us over" may be a fact but not a law: utopian spaces deny the immutability and authority of facts, and together both spaces refuse the fatality (the fatum, "what has been spoken," destiny decreed) of an established order. This general definition of popular culture as a way of operating­rather than as a set of contents, a marketing category, a reflected expression of social position, or even a "terrain" of struggle­is at once in affinity with the thematics of recent cultural studies and also, I think, inflected away from some of its problems.

Another is to project elsewhere a misunderstanding or discouraging Other figure (often that feminist or Marxist Echo, the blast from the past) to necessitate and enable more repetition.  The rush of associations runs irresistibly toward a figure of mass culture not as woman but, more specifically, as bimbo.  Since the object of projection and identification in post­subcultural theory tends to be black music and "style" rather than the European (and literary) feminine, we find an actantial hero of knowledge emerging in the form of the white male theorist as bimbo.

On the contrary, imperialism and its knowledges­ethnology, travel writing, "communications"­establish a field in which analysis of popular culture becomes a tactical way of operating.  But in order not to be another normative imposition, any "politics" of reading would also have to be articulated on an analysis of poetic practices already in operation.  As a way of operating, the practice of everyday life has no place, no borders, no hierarchy of materials Page 31 forbidden or privileged for use: "Barthes reads Proust in Stendhal's text: the viewer reads the landscape of his childhood in the evening news" (xxi).

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