Friday, December 25, 2009



You must remember this;
A kiss is just a kiss.
A sigh is just a sigh.
The fundamental things of life,
As time goes by.

And when two lovers woo,
They still say, "I love you."
On that you can rely.
No matter what the future brings,
As time goes by.

0 Experienced PAIN&PLEASURE beyond Measure

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Thursday, December 24, 2009

merry christmas, and here's to a lousy year.

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Friday, December 18, 2009

i feel too guilty for being the interloper.

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Sunday, December 13, 2009

'There's nothing more pure and cruel as a child."

-Jet, in "Pierrot le Fou", Cowboy Bebop.

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Friday, December 11, 2009

"That's just how you were back then; you decided everything! In the end you were always right. When I was there with you, I never had to do anything for myself; all I had to do was to hang on to your arm like a child without a care in the world. I wanted to live my own life. Make my own decisions. Even if they were terrible mistakes. (Sobs.)"

-Elena, Jet's ex-lover, in Cowboy Bebop, "Ganymede Elegy"

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gah, it's tiring cleaning up the house.

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"You may not be her first, her last, or her only. She loved before she may love again. But if she loves you now, what else matters? She's not perfect - you aren't either, and the two of you may never be perfect together but if she can make you laugh, cause you to think twice, and admit to being human and making mistakes, hold onto her and give her the most you can. She may not be thinking about you every second of the day, but she will give you a part of her that she knows you can break - her heart. So don't hurt her, don't change her, don't analyze and don't expect more than she can give. Smile when she makes you happy, let her know when she makes you mad, and miss her when she's not there."

-Bob Marley

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Anonymous Anonymous ejaculated...

miss you.

11:24 PM  

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Monday, December 07, 2009

"Oh William!" she cried imploringly, and she held up the hair-brush. "Please! Please don't be so dreadfully stiff and -- tragic. You're always saying or looking or hinting that I've changed. Just because I've got to know really congenial people, and go about more, and am frightfully keen on -- on everything, you behave as though I'd --" Isabel tossed back her hair and laughed -- "killed our love or something. It's so awfully absurd" -- she bit her lip -- "and it's so maddening, William. Even this new house and the servants you grudge me."

"Isabel!"

[...]

But the imbecilic thing, the absolutely extraordinary thing was that he hadn't the slightest idea that Isabel wasn't as happy as he. God, what blindness! He hadn't the remotest notion in those days that she really hated that inconvenient little house, that she thought the fat Nanny was ruining the babies, that she was desperately lonely, pining for new people and new music and pictures and so on. If they hadn't gone to that studio party at Moira Morrison's -- if Moira Morrison hadn't said as they were leaving, "I'm going to rescue your wife, selfish man. She's like an exquisite little Titania" -- if Isabel hadn't gone with Moira to Paris -- if -- if

-Katherine Mansfield, "Marriage a la Mode."

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Silence. Then Constantia said, "We shall have to post the papers with the notice in them tomorrow to catch the Ceylon mail... How many letters have we had up till now?"

"Twenty-three."

Josephine had replied to them all, and twenty-three times when she came to "We miss our dear father so much" she had broken down and had to use her handkerchief, and on some of them even to soak up a very light-blue tear with an edge of blotting paper. Strange! She couldn't have put it on - but twenty-three times. Even now, thought, when she said over to herself sadly, "We miss our dear father so much," she could have cried if she'd wanted to.

-Katherine Mansfield, "The Daughters of the Late Colonel."

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Oh, how terrifying Life was, thought Monica. How dreadful. It is loneliness which is so appalling. We whirl along like leaves, and nobody knows--nobody cares where we fall, in what black river we float away. The tugging feeling seemed to rise into her throat. It ached, ached; she longed to cry.

-Katherine Mansfield, "Revelations."

For the special thrilling quality of their friendship was in their complete surrender. Like two open cities in the midst of some vast plain their two minds lay open to each other. And it wasn't as if he rode into hers like a conqueror, armed to the eyebrows and seeing nothing but a gay silken flutter--nor did she enter his like a queen walking soft on petals. No, they were eager, serious travelers, absorbed in understanding what was to be seen and discovering what was hidden--making the most of this extraordinary absolute chance which it made it possible for him to be utterly truthful to her and for her to be utterly sincere with him.

And the best of it was they were both of them old enough to enjoy their adventure to the full without any stupid emotional complication. Besides, all that sort of thing was over and done with for both of them--he was thirty-one, she was thirty--they had had their experiences, and very rich and varied they had been, but now was the time for harvest--harvest. Weren't his novels to be very big novels indeed? And her plays. Who else had her exquisite sense of real English Comedy?...

-Katherine Mansfield, "Psychology."

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it's not easy. and i'm only just learning how.

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Tuesday, December 01, 2009

Two such superstitions float around Macbeth. The first is that it's bad luck to even say “Macbeth” except during rehearsal or performance. When referring to the work one instead uses circumlocutions, such as “the Scottish play” or “Mackers” or “the Scottish business” or “the Glamis comedy” or just “that play." Some say this rule applies only when inside a theater; it’s OK, therefore, to use the dread name in other settings – like classrooms, for instance.

The remedy, if someone does happen to utter the unutterable, is to leave the room, close the door, turn around three times, say a dirty word (or spit, some say), then knock on the door and ask to be let back in. If you can’t do all that, you simply quote from Hamlet, act 1, scene 4: “Angels and ministers of grace defend us!”

The second superstition is that the play itself brings ill luck to cast and crew, and many productions of Macbeth have, in fact, encountered unfortunate circumstances. The supposed origin story for this is that Shakespeare used “authentic” witches’ chants in the play; as punishment, real witches cast a curse on the play, condemning it for all time.

[...]

A list of incidences:


• In the first production of Macbeth, on August 7, 1606, Hal Berridge, the boy playing Lady Macbeth, became feverish and died backstage. This story is likely mythical, and further tradition says that Shakespeare had to take over the part. (One version holds that Shakespeare played the role badly, and later chewed out his fellow actors for mentioning “that play,” thus beginning the tradition of not referring to it by name.)

• In a 1672 production in Amsterdam, the actor playing Macbeth substituted a real dagger for the blunted stage dagger and killed the actor playing Duncan, in full view of the audience.

• On the opening day of a London run in 1703, England was hit with one of the most violent storms in its history.

• At a 1721 performance a nobleman in the audience got up in the middle of a scene and walked across the stage to talk with a friend. The actors chased him from the premises; he returned with militiamen, who burned the theater down.

• Female Lady Macbeths haven't been immune. In 1775, Sarah Siddons was nearly attacked by a disapproving audience. In 1926, Sybil Thorndike was almost strangled by a fellow actor. And in 1948, Diana Wynyard decided to play the sleepwalking scene with her eyes closed and sleepwalked right off the stage, falling 15 feet. In the best show-must-go-on tradition, she finished the performance.

• In the mid-1800s, two rival actors (William Charles Macready of England and Edwin Forrest of the U.S.) staged competing productions, so that on May 10, 1849, they were both playing Macbeth in New York. An audience of Forrest fans threw fruit and chairs at Macready during his performance at the Astor Place Opera House, disrupting the show and starting a riot. The militia was called in and fired on the crowd; more than 20 died and another 30-plus were wounded.

• On April 9, 1865, Abraham Lincoln was reading passages from Macbeth – those following Duncan's assassination – aloud to some friends. Within a week Lincoln was himself assassinated.

• During the first modern-dress production, at the Royal Court Theatre in London in 1928, a large set collapsed, seriously injuring some cast members.

• In a 1937 production a heavy counterweight crashed to the stage, missing Laurence Olivier, playing Macbeth, by only inches.

• In a 1942 staging, with John Gielgud as Macbeth, three actors (two witches and Duncan) died and the set designer committed suicide.

• In a Thursday-night performance in 1947 actor Harold Norman was stabbed during the final sword fight in act 5 and died of his wounds. On Thursdays his ghost is now said to haunt the Coliseum Theatre in Oldham, where the fatal scene was played.

• In a 1953 outdoor production in Bermuda, during the realistically staged attack on Macbeth's castle, a gust of wind blew smoke and flames into the audience, who fled. Charlton Heston, playing Macbeth, suffered severe burns on his groin and leg because his tights had accidentally been soaked in kerosene.

• Rip Torn's 1970 production in New York City was halted by an actors’ strike.

• David Leary’s 1971 run was plagued with two fires and seven robberies.

• In 1971 Roman Polanski (who may himself have seemed cursed at the time, as his wife Sharon Tate had been murdered by followers of Charles Manson just two years earlier) made a film version; a camera operator was almost killed in an accident on the first day of shooting.

• J. Kenneth Campbell, playing Macduff, was mugged soon after the play's opening in 1981 at Lincoln Center.

• In a 2001 production by the Cambridge Shakespeare Company, Macduff injured his back, Lady Macbeth bumped her head, Ross broke a toe, and two cedar trees from Birnam Wood topped over, destroying the set.

-Crystal, Ben and David, The Shakespeare Miscellany, Penguin Books (London, 2005), qtd in "The Straight Dope"

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