Wednesday, 24 February 2010
Friday, 19 February 2010
1972 THS---to the present day Romeo and juliet..
from the moment I saw a screening at school in 1972 of Zeffirelli's film till today and..till I die I suppose , this is the most perfect of plays and of stories..I pretty well taught it every year of my teaching career and what a great way into the teenage psyche it is..
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
Wednesday, 17 February 2010
My birthday today so...
"It was that kind of a crazy afternoon, terrifically cold, and no sun out or anything, and you felt like you were disappearing every time you crossed a road. "
~J.D. Salinger, The Catcher in the Rye, Chapter 1
~J.D. Salinger, The Catcher in the Rye, Chapter 1
Tuesday, 16 February 2010
"ROMMEL DRIVES ON DEEP INTO EGYPT"
I first read this poem in a bookshop in Melbourne in 1974..I bought the book..I wonder where it is now..
"ROMMEL DRIVES ON DEEP INTO EGYPT"
—San Francisco Chronicle headline
June 26, 1942
Rommel is dead.
His army has joined the quicksand legions
of history where the battle is always
a metal echo saluting a rusty shadow.
His tanks are gone.
How's your ass?
Richard Brautigan
"ROMMEL DRIVES ON DEEP INTO EGYPT"
—San Francisco Chronicle headline
June 26, 1942
Rommel is dead.
His army has joined the quicksand legions
of history where the battle is always
a metal echo saluting a rusty shadow.
His tanks are gone.
How's your ass?
Richard Brautigan
Friday, 12 February 2010
for the one and only Natasha Rostova of my life...
Tolstoy..I've read War and Peace three times in my life..the first time a ragged copy carried in my back pack as I wandered around a rather cold spring Tasmania 1974..the last time in the mid 90s..must be time to start again..
....and Pierre? My fiend Stewart Wallace once said it was the literary role for which I had been born to identify with...no argument from me..
...One of the next arrivals was a stout, heavily built young man with
close-cropped hair, spectacles, the light-colored breeches fashionable
at that time, a very high ruffle, and a brown dress coat. This stout
young man was an illegitimate son of Count Bezukhov, a well-known
grandee of Catherine's time who now lay dying in Moscow. The young man
had not yet entered either the military or civil service, as he had only
just returned from abroad where he had been educated, and this was his
first appearance in society. Anna Pavlovna greeted him with the nod she
accorded to the lowest hierarchy in her drawing room. But in spite of
this lowest-grade greeting, a look of anxiety and fear, as at the sight
of something too large and unsuited to the place, came over her face
when she saw Pierre enter. Though he was certainly rather bigger than
the other men in the room, her anxiety could only have reference to
the clever though shy, but observant and natural, expression which
distinguished him from everyone else in that drawing room.
"It is very good of you, Monsieur Pierre, to come and visit a poor
invalid," said Anna Pavlovna, exchanging an alarmed glance with her aunt
as she conducted him to her.
Pierre murmured something unintelligible, and continued to look round as
if in search of something. On his way to the aunt he bowed to the little
princess with a pleased smile, as to an intimate acquaintance.
Anna Pavlovna's alarm was justified, for Pierre turned away from the
aunt without waiting to hear her speech about Her Majesty's health. Anna
Pavlovna in dismay detained him with the words: "Do you know the Abbe
Morio? He is a most interesting man."
"Yes, I have heard of his scheme for perpetual peace, and it is very
interesting but hardly feasible."
"You think so?" rejoined Anna Pavlovna in order to say something and
get away to attend to her duties as hostess. But Pierre now committed
a reverse act of impoliteness. First he had left a lady before she had
finished speaking to him, and now he continued to speak to another who
wished to get away. With his head bent, and his big feet spread apart,
he began explaining his reasons for thinking the abbe's plan chimerical.
"We will talk of it later," said Anna Pavlovna with a smile.
And having got rid of this young man who did not know how to behave, she
resumed her duties as hostess and continued to listen and watch, ready
to help at any point where the conversation might happen to flag. As
the foreman of a spinning mill, when he has set the hands to work, goes
round and notices here a spindle that has stopped or there one that
creaks or makes more noise than it should, and hastens to check the
machine or set it in proper motion, so Anna Pavlovna moved about her
drawing room, approaching now a silent, now a too-noisy group, and by a
word or slight rearrangement kept the conversational machine in steady,
proper, and regular motion. But amid these cares her anxiety about
Pierre was evident. She kept an anxious watch on him when he approached
the group round Mortemart to listen to what was being said there, and
again when he passed to another group whose center was the abbe.
Pierre had been educated abroad, and this reception at Anna Pavlovna's
was the first he had attended in Russia. He knew that all the
intellectual lights of Petersburg were gathered there and, like a child
in a toyshop, did not know which way to look, afraid of missing any
clever conversation that was to be heard. Seeing the self-confident and
refined expression on the faces of those present he was always expecting
to hear something very profound. At last he came up to Morio. Here the
conversation seemed interesting and he stood waiting for an opportunity
to express his own views, as young people are fond of doing.
....and Pierre? My fiend Stewart Wallace once said it was the literary role for which I had been born to identify with...no argument from me..
...One of the next arrivals was a stout, heavily built young man with
close-cropped hair, spectacles, the light-colored breeches fashionable
at that time, a very high ruffle, and a brown dress coat. This stout
young man was an illegitimate son of Count Bezukhov, a well-known
grandee of Catherine's time who now lay dying in Moscow. The young man
had not yet entered either the military or civil service, as he had only
just returned from abroad where he had been educated, and this was his
first appearance in society. Anna Pavlovna greeted him with the nod she
accorded to the lowest hierarchy in her drawing room. But in spite of
this lowest-grade greeting, a look of anxiety and fear, as at the sight
of something too large and unsuited to the place, came over her face
when she saw Pierre enter. Though he was certainly rather bigger than
the other men in the room, her anxiety could only have reference to
the clever though shy, but observant and natural, expression which
distinguished him from everyone else in that drawing room.
"It is very good of you, Monsieur Pierre, to come and visit a poor
invalid," said Anna Pavlovna, exchanging an alarmed glance with her aunt
as she conducted him to her.
Pierre murmured something unintelligible, and continued to look round as
if in search of something. On his way to the aunt he bowed to the little
princess with a pleased smile, as to an intimate acquaintance.
Anna Pavlovna's alarm was justified, for Pierre turned away from the
aunt without waiting to hear her speech about Her Majesty's health. Anna
Pavlovna in dismay detained him with the words: "Do you know the Abbe
Morio? He is a most interesting man."
"Yes, I have heard of his scheme for perpetual peace, and it is very
interesting but hardly feasible."
"You think so?" rejoined Anna Pavlovna in order to say something and
get away to attend to her duties as hostess. But Pierre now committed
a reverse act of impoliteness. First he had left a lady before she had
finished speaking to him, and now he continued to speak to another who
wished to get away. With his head bent, and his big feet spread apart,
he began explaining his reasons for thinking the abbe's plan chimerical.
"We will talk of it later," said Anna Pavlovna with a smile.
And having got rid of this young man who did not know how to behave, she
resumed her duties as hostess and continued to listen and watch, ready
to help at any point where the conversation might happen to flag. As
the foreman of a spinning mill, when he has set the hands to work, goes
round and notices here a spindle that has stopped or there one that
creaks or makes more noise than it should, and hastens to check the
machine or set it in proper motion, so Anna Pavlovna moved about her
drawing room, approaching now a silent, now a too-noisy group, and by a
word or slight rearrangement kept the conversational machine in steady,
proper, and regular motion. But amid these cares her anxiety about
Pierre was evident. She kept an anxious watch on him when he approached
the group round Mortemart to listen to what was being said there, and
again when he passed to another group whose center was the abbe.
Pierre had been educated abroad, and this reception at Anna Pavlovna's
was the first he had attended in Russia. He knew that all the
intellectual lights of Petersburg were gathered there and, like a child
in a toyshop, did not know which way to look, afraid of missing any
clever conversation that was to be heard. Seeing the self-confident and
refined expression on the faces of those present he was always expecting
to hear something very profound. At last he came up to Morio. Here the
conversation seemed interesting and he stood waiting for an opportunity
to express his own views, as young people are fond of doing.
Thursday, 11 February 2010
Over time, this book has travelled with me over time..Hardy again...
When Farmer Oak smiled, the corners of his mouth
spread till they were within an unimportant distance of
his ears, his eyes were reduced to chinks, and diverging
wrinkles appeared round them, extending upon his
countenance like the rays in a rudimentary sketch of
the rising sun.
His Christian name was Gabriel, and on working
days he was a young man of sound judgment, easy
motions, proper dress, and general good character. On
Sundays he was a man of misty views, rather given to
postponing, and hampered by his best clothes and
umbrella: upon the whole, one who felt himself to
occupy morally that vast middle space of Laodicean
neutrality which lay between the Communion people
of the parish and the drunken section, -- that is, he went
to church, but yawned privately by the time the con-
gegation reached the Nicene creed,- and thought of
what there would be for dinner when he meant to be
listening to the sermon. Or, to state his character as
it stood in the scale of public opinion, when his friends
and critics were in tantrums, he was considered rather a
bad man; when they were pleased, he was rather a good
man; when they were neither, he was a man whose
moral colour was a kind of pepper-and-salt mixture.
Since he lived six times as many working-days as
Sundays, Oak's appearance in his old clothes was most
peculiarly his own -- the mental picture formed by his
neighbours in imagining him being always dressed in
that way. He wore a low-crowned felt hat, spread out
at the base by tight jamming upon the head for security
in high winds, and a coat like Dr. Johnson's; his lower
extremities being encased in ordinary leather leggings
and boots emphatically large, affording to each foot a
roomy apartment so constructed that any wearer might
stand in a river all day long and know nothing of
damp -- their maker being a conscientious man who
endeavoured to compensate for any weakness in his cut
by unstinted dimension and solidity.
Far From the Madding Crowd
spread till they were within an unimportant distance of
his ears, his eyes were reduced to chinks, and diverging
wrinkles appeared round them, extending upon his
countenance like the rays in a rudimentary sketch of
the rising sun.
His Christian name was Gabriel, and on working
days he was a young man of sound judgment, easy
motions, proper dress, and general good character. On
Sundays he was a man of misty views, rather given to
postponing, and hampered by his best clothes and
umbrella: upon the whole, one who felt himself to
occupy morally that vast middle space of Laodicean
neutrality which lay between the Communion people
of the parish and the drunken section, -- that is, he went
to church, but yawned privately by the time the con-
gegation reached the Nicene creed,- and thought of
what there would be for dinner when he meant to be
listening to the sermon. Or, to state his character as
it stood in the scale of public opinion, when his friends
and critics were in tantrums, he was considered rather a
bad man; when they were pleased, he was rather a good
man; when they were neither, he was a man whose
moral colour was a kind of pepper-and-salt mixture.
Since he lived six times as many working-days as
Sundays, Oak's appearance in his old clothes was most
peculiarly his own -- the mental picture formed by his
neighbours in imagining him being always dressed in
that way. He wore a low-crowned felt hat, spread out
at the base by tight jamming upon the head for security
in high winds, and a coat like Dr. Johnson's; his lower
extremities being encased in ordinary leather leggings
and boots emphatically large, affording to each foot a
roomy apartment so constructed that any wearer might
stand in a river all day long and know nothing of
damp -- their maker being a conscientious man who
endeavoured to compensate for any weakness in his cut
by unstinted dimension and solidity.
Far From the Madding Crowd
Saturday, 6 February 2010
Childhood ,and Westfields SHS in the 90s :The Highwayman
I loved this when at school..and I once saw a B&W movie based on its plot.and , well they wear tricorned hats, enough said ..I created a worksheet based on this and had much fun with year 8s or even 9s, no doubt copies of it are still wandering around Westfields English faculty..I did have to change "breast" to "chest"..to use the word breast in the vicinity of year 8 was to invite a total lexicon disaster.I imagine there are now more people in the Fairfield area , or from there ,who know the meaning of the word ostler than in any other part of Australia.
The Highwayman
The wind was a torrent of darkness upon the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight looping the purple moor,
And the highwayman came riding--
Riding--riding--
The highwayman came riding, up to the old inn door.
He'd a French cocked hat on his forehead, and a bunch of lace at his chin;
He'd a coat of the claret velvet, and breeches of fine doe-skin.
They fitted with never a wrinkle; his boots were up to his thigh!
And he rode with a jeweled twinkle--
His rapier hilt a-twinkle--
His pistol butts a-twinkle, under the jeweled sky.
Over the cobbles he clattered and clashed in the dark inn-yard,
He tapped with his whip on the shutters, but all was locked and barred,
He whistled a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter--
Bess, the landlord's daughter--
Plaiting a dark red love-knot into her long black hair.
Dark in the dark old inn-yard a stable-wicket creaked
Where Tim, the ostler listened--his face was white and peaked--
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord's daughter--
The landlord's black-eyed daughter;
Dumb as a dog he listened, and he heard the robber say:
"One kiss, my bonny sweetheart; I'm after a prize tonight,
But I shall be back with the yellow gold before the morning light.
Yet if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though hell should bar the way."
He stood upright in the stirrups; he scarce could reach her hand,
But she loosened her hair in the casement! His face burnt like a brand
As the sweet black waves of perfume came tumbling o'er his breast,
Then he kissed its waves in the moonlight
(O sweet black waves in the moonlight!),
And he tugged at his reins in the moonlight, and galloped away to the west.
He did not come in the dawning; he did not come at noon.
And out of the tawny sunset, before the rise of the moon,
When the road was a gypsy's ribbon over the purple moor,
The redcoat troops came marching--
Marching--marching--
King George's men came marching, up to the old inn-door.
They said no word to the landlord; they drank his ale instead,
But they gagged his daughter and bound her to the foot of her narrow bed.
Two of them knelt at her casement, with muskets by their side;
There was Death at every window,
And Hell at one dark window,
For Bess could see, through her casement, the road that he would ride.
They had bound her up at attention, with many a sniggering jest!
They had tied a rifle beside her, with the barrel beneath her breast!
"Now keep good watch!" and they kissed her. She heard the dead man say,
"Look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though Hell should bar the way."
She twisted her hands behind her, but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years,
Till, on the stroke of midnight,
Cold on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!
The tip of one finger touched it, she strove no more for the rest;
Up, she stood up at attention, with the barrel beneath her breast.
She would not risk their hearing, she would not strive again,
For the road lay bare in the moonlight,
Blank and bare in the moonlight,
And the blood in her veins, in the moonlight, throbbed to her love's refrain.
Tlot tlot, tlot tlot! Had they heard it? The horse-hooves, ringing clear;
Tlot tlot, tlot tlot, in the distance! Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding--
Riding--riding--
The redcoats looked to their priming! She stood up straight and still.
Tlot tlot, in the frosty silence! Tlot tlot, in the echoing night!
Nearer he came and nearer! Her face was like a light!
Her eyes grew wide for a moment, she drew one last deep breath,
Then her finger moved in the moonlight--
Her musket shattered the moonlight--
Shattered her breast in the moonlight and warned him--with her death.
He turned, he spurred to the West; he did not know who stood
Bowed, with her head o'er the casement, drenched in her own red blood!
Not till the dawn did he hear it, and his face grew grey to hear
How Bess, the landlord's daughter,
The landlord's black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.
Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high!
Blood-red were his spurs in the golden noon, wine-red was his velvet coat
When they shot him down in the highway,
Down like a dog in the highway,
And he lay in his blood in the highway, with the bunch of lace at his throat.
And still on a winter's night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a gypsy's ribbon looping the purple moor,
The highwayman comes riding--
Riding--riding--
The highwayman comes riding, up to the old inn-door.
Over the cobbles he clatters and clangs in the dark inn-yard,
He taps with his whip on the shutters, but all is locked and barred,
He whistles a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter--
Bess, the landlord's daughter--
Plaiting a dark red love-knot into her long black hair.
Alfred Noyes
The Highwayman
The wind was a torrent of darkness upon the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight looping the purple moor,
And the highwayman came riding--
Riding--riding--
The highwayman came riding, up to the old inn door.
He'd a French cocked hat on his forehead, and a bunch of lace at his chin;
He'd a coat of the claret velvet, and breeches of fine doe-skin.
They fitted with never a wrinkle; his boots were up to his thigh!
And he rode with a jeweled twinkle--
His rapier hilt a-twinkle--
His pistol butts a-twinkle, under the jeweled sky.
Over the cobbles he clattered and clashed in the dark inn-yard,
He tapped with his whip on the shutters, but all was locked and barred,
He whistled a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter--
Bess, the landlord's daughter--
Plaiting a dark red love-knot into her long black hair.
Dark in the dark old inn-yard a stable-wicket creaked
Where Tim, the ostler listened--his face was white and peaked--
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord's daughter--
The landlord's black-eyed daughter;
Dumb as a dog he listened, and he heard the robber say:
"One kiss, my bonny sweetheart; I'm after a prize tonight,
But I shall be back with the yellow gold before the morning light.
Yet if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though hell should bar the way."
He stood upright in the stirrups; he scarce could reach her hand,
But she loosened her hair in the casement! His face burnt like a brand
As the sweet black waves of perfume came tumbling o'er his breast,
Then he kissed its waves in the moonlight
(O sweet black waves in the moonlight!),
And he tugged at his reins in the moonlight, and galloped away to the west.
He did not come in the dawning; he did not come at noon.
And out of the tawny sunset, before the rise of the moon,
When the road was a gypsy's ribbon over the purple moor,
The redcoat troops came marching--
Marching--marching--
King George's men came marching, up to the old inn-door.
They said no word to the landlord; they drank his ale instead,
But they gagged his daughter and bound her to the foot of her narrow bed.
Two of them knelt at her casement, with muskets by their side;
There was Death at every window,
And Hell at one dark window,
For Bess could see, through her casement, the road that he would ride.
They had bound her up at attention, with many a sniggering jest!
They had tied a rifle beside her, with the barrel beneath her breast!
"Now keep good watch!" and they kissed her. She heard the dead man say,
"Look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though Hell should bar the way."
She twisted her hands behind her, but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years,
Till, on the stroke of midnight,
Cold on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!
The tip of one finger touched it, she strove no more for the rest;
Up, she stood up at attention, with the barrel beneath her breast.
She would not risk their hearing, she would not strive again,
For the road lay bare in the moonlight,
Blank and bare in the moonlight,
And the blood in her veins, in the moonlight, throbbed to her love's refrain.
Tlot tlot, tlot tlot! Had they heard it? The horse-hooves, ringing clear;
Tlot tlot, tlot tlot, in the distance! Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding--
Riding--riding--
The redcoats looked to their priming! She stood up straight and still.
Tlot tlot, in the frosty silence! Tlot tlot, in the echoing night!
Nearer he came and nearer! Her face was like a light!
Her eyes grew wide for a moment, she drew one last deep breath,
Then her finger moved in the moonlight--
Her musket shattered the moonlight--
Shattered her breast in the moonlight and warned him--with her death.
He turned, he spurred to the West; he did not know who stood
Bowed, with her head o'er the casement, drenched in her own red blood!
Not till the dawn did he hear it, and his face grew grey to hear
How Bess, the landlord's daughter,
The landlord's black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.
Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high!
Blood-red were his spurs in the golden noon, wine-red was his velvet coat
When they shot him down in the highway,
Down like a dog in the highway,
And he lay in his blood in the highway, with the bunch of lace at his throat.
And still on a winter's night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a gypsy's ribbon looping the purple moor,
The highwayman comes riding--
Riding--riding--
The highwayman comes riding, up to the old inn-door.
Over the cobbles he clatters and clangs in the dark inn-yard,
He taps with his whip on the shutters, but all is locked and barred,
He whistles a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter--
Bess, the landlord's daughter--
Plaiting a dark red love-knot into her long black hair.
Alfred Noyes
Friday, 5 February 2010
1978 again!!!
a bit locked in here.. a bit locked in..
Roadrunner
One two three for five six!
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive past the Stop 'n' Shop
With the radio on
I'm in love with Massachusetts
And the neon when it's cold outside
And the highway when it's late at night
Got the radio on
I'm like the roadrunner
Alright
I'm in love with modern moonlight
128 when it's dark outside
I'm in love with Massachusetts
I'm in love with the radio on
It helps me from being alone late at night
It helps me from being lonely late at night
I don't feel so bad now in the car
Don't feel so alone, got the radio on
Like the roadrunner
That's right
Said welcome to the spirit of 1956
Patient in the bushes next to '57
The highway is your girlfriend as you go by quick
Suburban trees, suburban speed
And it smells like heaven(thunder)
And I say roadrunner once
Roadrunner twice
I'm in love with rock & roll and I'll be out all night
Roadrunner
That's right
Well now
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive to the Stop 'n' Shop
With the radio on at night
And me in love with modern moonlight
Me in love with modern rock & roll
Modern girls and modern rock & roll
Don't feel so alone, got the radio on
Like the roadrunner
O.K., now you sing Modern Lovers
(Radio On!)
I got the AM
(Radio On!)
Got the car, got the AM
(Radio On!)
Got the AM sound, got the
(Radio On!)
Got the rockin' modern neon sound
(Radio On!)
I got the car from Massachusetts, got the
(Radio On!)
I got the power of Massachusetts when it's late at night
(Radio On!)
I got the modern sounds of modern Massachusetts
I've got the world, got the turnpike, got the
I've got the, got the power of the AM
Got the, late at night, rock & roll late at night
The factories and the auto signs got the power of modern sounds
Alright
for those not in the know...
http://www.youtube.com/watch?v=TDJShMk-r88&feature=related
Roadrunner
One two three for five six!
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive past the Stop 'n' Shop
With the radio on
I'm in love with Massachusetts
And the neon when it's cold outside
And the highway when it's late at night
Got the radio on
I'm like the roadrunner
Alright
I'm in love with modern moonlight
128 when it's dark outside
I'm in love with Massachusetts
I'm in love with the radio on
It helps me from being alone late at night
It helps me from being lonely late at night
I don't feel so bad now in the car
Don't feel so alone, got the radio on
Like the roadrunner
That's right
Said welcome to the spirit of 1956
Patient in the bushes next to '57
The highway is your girlfriend as you go by quick
Suburban trees, suburban speed
And it smells like heaven(thunder)
And I say roadrunner once
Roadrunner twice
I'm in love with rock & roll and I'll be out all night
Roadrunner
That's right
Well now
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive to the Stop 'n' Shop
With the radio on at night
And me in love with modern moonlight
Me in love with modern rock & roll
Modern girls and modern rock & roll
Don't feel so alone, got the radio on
Like the roadrunner
O.K., now you sing Modern Lovers
(Radio On!)
I got the AM
(Radio On!)
Got the car, got the AM
(Radio On!)
Got the AM sound, got the
(Radio On!)
Got the rockin' modern neon sound
(Radio On!)
I got the car from Massachusetts, got the
(Radio On!)
I got the power of Massachusetts when it's late at night
(Radio On!)
I got the modern sounds of modern Massachusetts
I've got the world, got the turnpike, got the
I've got the, got the power of the AM
Got the, late at night, rock & roll late at night
The factories and the auto signs got the power of modern sounds
Alright
for those not in the know...
http://www.youtube.com/watch?v=TDJShMk-r88&feature=related
Thursday, 4 February 2010
1972 The HSC..Turramurra High School..so it was a rite of passage..?
1--A Face on Which Time Makes but Little Impression
A Saturday afternoon in November was approaching the time of twilight,
and the vast tract of unenclosed wild known as Egdon Heath embrowned
itself moment by moment. Overhead the hollow stretch of whitish cloud
shutting out the sky was as a tent which had the whole heath for its
floor.
The heaven being spread with this pallid screen and the earth with
the darkest vegetation, their meeting-line at the horizon was clearly
marked. In such contrast the heath wore the appearance of an instalment
of night which had taken up its place before its astronomical hour was
come: darkness had to a great extent arrived hereon, while day stood
distinct in the sky. Looking upwards, a furze-cutter would have been
inclined to continue work; looking down, he would have decided to
finish his faggot and go home. The distant rims of the world and of the
firmament seemed to be a division in time no less than a division in
matter. The face of the heath by its mere complexion added half an
hour to evening; it could in like manner retard the dawn, sadden noon,
anticipate the frowning of storms scarcely generated, and intensify the
opacity of a moonless midnight to a cause of shaking and dread.
In fact, precisely at this transitional point of its nightly roll into
darkness the great and particular glory of the Egdon waste began, and
nobody could be said to understand the heath who had not been there at
such a time. It could best be felt when it could not clearly be seen,
its complete effect and explanation lying in this and the succeeding
hours before the next dawn; then, and only then, did it tell its true
tale. The spot was, indeed, a near relation of night, and when night
showed itself an apparent tendency to gravitate together could be
perceived in its shades and the scene. The sombre stretch of rounds and
hollows seemed to rise and meet the evening gloom in pure sympathy, the
heath exhaling darkness as rapidly as the heavens precipitated it.
And so the obscurity in the air and the obscurity in the land closed
together in a black fraternization towards which each advanced halfway.
The place became full of a watchful intentness now; for when other
things sank blooding to sleep the heath appeared slowly to awake and
listen. Every night its Titanic form seemed to await something; but it
had waited thus, unmoved, during so many centuries, through the crises
of so many things, that it could only be imagined to await one last
crisis--the final overthrow.
It was a spot which returned upon the memory of those who loved it
with an aspect of peculiar and kindly congruity. Smiling champaigns of
flowers and fruit hardly do this, for they are permanently harmonious
only with an existence of better reputation as to its issues than the
present. Twilight combined with the scenery of Egdon Heath to evolve a
thing majestic without severity, impressive without showiness, emphatic
in its admonitions, grand in its simplicity. The qualifications which
frequently invest the facade of a prison with far more dignity than is
found in the facade of a palace double its size lent to this heath a
sublimity in which spots renowned for beauty of the accepted kind are
utterly wanting. Fair prospects wed happily with fair times; but alas,
if times be not fair! Men have oftener suffered from, the mockery of
a place too smiling for their reason than from the oppression of
surroundings oversadly tinged. Haggard Egdon appealed to a subtler and
scarcer instinct, to a more recently learnt emotion, than that which
responds to the sort of beauty called charming and fair.
Thus begins Thomas Hardy's Return of the Native..and I liked it then and I like it still and it marked the beginning of my great affection for Hardy, an affection still undiminished..
A Saturday afternoon in November was approaching the time of twilight,
and the vast tract of unenclosed wild known as Egdon Heath embrowned
itself moment by moment. Overhead the hollow stretch of whitish cloud
shutting out the sky was as a tent which had the whole heath for its
floor.
The heaven being spread with this pallid screen and the earth with
the darkest vegetation, their meeting-line at the horizon was clearly
marked. In such contrast the heath wore the appearance of an instalment
of night which had taken up its place before its astronomical hour was
come: darkness had to a great extent arrived hereon, while day stood
distinct in the sky. Looking upwards, a furze-cutter would have been
inclined to continue work; looking down, he would have decided to
finish his faggot and go home. The distant rims of the world and of the
firmament seemed to be a division in time no less than a division in
matter. The face of the heath by its mere complexion added half an
hour to evening; it could in like manner retard the dawn, sadden noon,
anticipate the frowning of storms scarcely generated, and intensify the
opacity of a moonless midnight to a cause of shaking and dread.
In fact, precisely at this transitional point of its nightly roll into
darkness the great and particular glory of the Egdon waste began, and
nobody could be said to understand the heath who had not been there at
such a time. It could best be felt when it could not clearly be seen,
its complete effect and explanation lying in this and the succeeding
hours before the next dawn; then, and only then, did it tell its true
tale. The spot was, indeed, a near relation of night, and when night
showed itself an apparent tendency to gravitate together could be
perceived in its shades and the scene. The sombre stretch of rounds and
hollows seemed to rise and meet the evening gloom in pure sympathy, the
heath exhaling darkness as rapidly as the heavens precipitated it.
And so the obscurity in the air and the obscurity in the land closed
together in a black fraternization towards which each advanced halfway.
The place became full of a watchful intentness now; for when other
things sank blooding to sleep the heath appeared slowly to awake and
listen. Every night its Titanic form seemed to await something; but it
had waited thus, unmoved, during so many centuries, through the crises
of so many things, that it could only be imagined to await one last
crisis--the final overthrow.
It was a spot which returned upon the memory of those who loved it
with an aspect of peculiar and kindly congruity. Smiling champaigns of
flowers and fruit hardly do this, for they are permanently harmonious
only with an existence of better reputation as to its issues than the
present. Twilight combined with the scenery of Egdon Heath to evolve a
thing majestic without severity, impressive without showiness, emphatic
in its admonitions, grand in its simplicity. The qualifications which
frequently invest the facade of a prison with far more dignity than is
found in the facade of a palace double its size lent to this heath a
sublimity in which spots renowned for beauty of the accepted kind are
utterly wanting. Fair prospects wed happily with fair times; but alas,
if times be not fair! Men have oftener suffered from, the mockery of
a place too smiling for their reason than from the oppression of
surroundings oversadly tinged. Haggard Egdon appealed to a subtler and
scarcer instinct, to a more recently learnt emotion, than that which
responds to the sort of beauty called charming and fair.
Thus begins Thomas Hardy's Return of the Native..and I liked it then and I like it still and it marked the beginning of my great affection for Hardy, an affection still undiminished..
Wednesday, 3 February 2010
1978..dedicated to the Memory of Arthur Easton 1949-2009
The view from the front door 1978,Pyrmont Power station peeking around the corner of the Paternoster Club, and there I was ,and it really was a Brave New World..the North Shore seemd so very far away , a terrace in Paternoster Row ,Pyrmont , music and whatever else..I think I must have been looking for love and ..most probably searching in all the wrong places..amongst other things , and there are many , I think my hearing is now paying the price... leather jackets, black jeans, black T-shirts black Cuban heeled RMs ..actually all that came in 1979-80 but my heart was in the right place in 1978..now 1979 that was another story..
Blitzkrieg Bop
Hey ho, let's go Hey ho, let's go Hey ho, let's go Hey ho, let's go
They're forming in straight line
They're going through a tight wind
The kids are losing their minds
The Blitzkrieg Bop
They're piling in the back seat
They're generating steam heat
Pulsating to the back beat
The Blitzkrieg Bop
Hey ho, let's go
Shoot'em in the back now
What they want, I don't know
They're all reved up and ready to go
http://www.smh.com.au/national/obituaries/renaissance-man-was-historys-keeper-20090506-av9y.html
Monday, 1 February 2010
Well, what to say..1982..depth charges in the Criterion Pub in Foveaux St, a kitten called Psycho ..Malcolm Fraser, the drought , candy cobalt blue Kawasaki z750, L2 , decrepit terrace in Strawberry Hills . I transcribed this poen onto the kitchen door jamb , it was that sort of Dogs in Space house.., that sort of Dogs in Space Life..with more classical music and motor bikes..
The Force that Through the Green Fuse Drives the Flower
The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.
The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.
The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman's lime.
The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather's wind
How time has ticked a heaven round the stars.
And I am dumb to tell the lover's tomb
How at my sheet goes the same crooked worm.
Dylan Thomas
The Force that Through the Green Fuse Drives the Flower
The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.
The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.
The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman's lime.
The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather's wind
How time has ticked a heaven round the stars.
And I am dumb to tell the lover's tomb
How at my sheet goes the same crooked worm.
Dylan Thomas
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