I liked Cindi-Lu, the two times I met her. That might sound strange since I was one of the three backing singers in her band, but she didn’t travel with the rest of us and never used the shared dressing rooms or back-stage hospitality areas. I don’t know what it’s like in other country superstars’ road bands, but in ours there wasn’t much fraternizing with the help.
During the show, Cindi-Lu treated us like girlfriends, as though we’d known one another since grade-school jump-rope games, and it just happened to be her turn that night to be lead singer. The way she teased and played with us, you really would think we were the best of friends. In fact, much was made in the press of our on-stage chemistry, an ironic testament to the acting abilities of our star. She was a dynamic performer, adored by her fans. Her set was tightly arranged and rehearsed, down to the apparently spontaneous moment when she tried to play the pedal steel guitar and broke a fingernail. For me, a bar-band veteran coming off years of gigs during which literally anything could happen, this took a little getting used to.
The other two girls and I lived for that hour every night when we entered ‘the zone’ – a kind of magical altered state we’d slip into when our performance was on, where we felt totally connected to one another and to the audience, not to mention the deep mysteries of the universe.
1. The phrase 'ironic testament' (line 8) refers to the fact that Cindi-Lu
A. was good at exploiting the medial.
B. teased her band members.
C. had not known the girls long.
D. was not really friends with the girls.
2. What is suggested about being in 'the zone' (line 13)?
A. It was the main attraction of the job.
B. It was something the girls had to work hard at.
C. Its nature varied from performance to performance.
D. Its effects were readily apparent to the audience.
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