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I've never made a film using dialogue or speech.

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Girls On Film (Night Version)

See them walking hand in hand
Across the bridge at midnight
Heads turning as the lights flashing out
Are so bright
And walk right out to the four line track
There's a camera rolling on her back
On her back
And I sense a rhythm humming in a frenzy
All the way down her spine
Girls on Film
Girls on Film
Girls on Film
Girls on Film
Lipstick cherry all over the lens as she's falling
And miles of sharp blue water coming in
Where she lies
The diving man's coming up for air
'Cause the crowd all love pulling Dolly by the hair
By the hair
And she wonders how she ever got here
As she goes under again
Girls on Film (Two minutes later)
Girls on Film
Girls on Film (Got your picture)
Girls on Film
Wider, baby, smile and you've just made a million
Fuses pumping live heat twisting out on a wire
Take one last glimpse into the night
I'm touching close
I'm holding bright, holding tight
Give me shudders in a whisper,
Take me up til I'm shooting a star
Girls on Film (she's more than a lady)
Girls on Film
Girls on Film (Two minutes later)
Girls on Film
Girls on Film (see you together)
Girls on Film
Girls on Film (see you later)
Girls on Film

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Girls On Film

See them walking hand in hand across the bridge at midnight
Heads turning as the lights flashing out are so bright
Then walk right out to the fourline track
Theres a camera rolling on her back on her back
And I sense the rhythms humming in a frenzy
All the way down her spine
Girls on film
Girls on film
Girls on film
Girls on film
Lipstick cherry all over the lens as shes falling
In miles of sharp blue water coming in where she lies
The diving mans coming up for air
Cause the crowd all love pulling dolly by the hair, by the hair
And she wonders how she ever got here
As she goes under again
Girls on film (two minutes later)
Girls on film
Girls on film (got your picture)
Girls on film
Wider baby smiling youve just made a million
Fuses pumping live heat twisting out on a wire
Take one last glimpse into the night
Im touching close Im holding bright, holding tight
Give me shudders with a whisper take me high
Till I Im shooting a star
Girls on film (shes more than a lady)
Girls on film
Girls on film (see you together)
Girls on film
Girls on film (see you later)
Girls on film
Girls on film (two minutes later)

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Inarticulate Speech Of The Heart No. 2

Inarticulate speech, inarticulate speech of the heart
Inarticulate speech, inarticulate speech of the heart
I'm a soul in wonder (ahahah)
I'm a soul in wonder (ahahah)
I'm a soul in wonder (ahahah)
I'm a soul in wonder (ahahah)
Inarticulate speech, inarticulate speech of the heart
Inarticulate speech, inarticulate speech of the heart
I'm just wild about it i can't live without it
I'm just wild about it i can't live without it
Inarticulate speech, inarticulate speech of the heart
Inarticulate speech, inarticulate speech of the heart
I'm a soul in wonder (ahahah)
I'm a soul in wonder (ahahah)
I'm a soul in wonder (ahahah)
I'm a soul in wonder (ahahah)
Spoken
I'm a soul in wonder
I'm a soul in wonder
I'm a soul in wonder
A soul in wonder
A soul in wonder

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Experimental Film

The color of infinity
Inside an empty glass
I'm squinting my eye
And turning off and on and on
and off the light
It's for this experimental film
Which nobody knows about and which
I'm still figuring out what's going to go
In my experimental film
Yeah, you're all gonna be in this experimental film
And even though I can't explain it
I already know how great it's
I already know the ending
It's the part that makes your face implode
I don't know what makes your face implode
But that's the way the movie ends
And in my experimental film
Which nobody knows about but which
I'm still figuring out your face implodes
At my experimental film
Yeah, you're all gonna be in this experimental film
And even though I can't explain it
I already know how great it--
Even though I can't explain it
I already know how great it's
The color of infinity
Inside an empty glass
It's for this experimental film
Which nobody knows about and which
I'm still figuring out what's going to go
In my experimental film
Yeah, you're all gonna be in this experimental film
And even though I can't explain it
I already know how great it's gonna--
Yeah, you're gonna be in this experimental film
And even though I can't explain it
I already know how great it--
Even though I can't explain it
I already know how great it's

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VIII. Dominus Hyacinthus de Archangelis, Pauperum Procurator

Ah, my Giacinto, he's no ruddy rogue,
Is not Cinone? What, to-day we're eight?
Seven and one's eight, I hope, old curly-pate!
—Branches me out his verb-tree on the slate,
Amo-as-avi-atum-are-ans,
Up to -aturus, person, tense, and mood,
Quies me cum subjunctivo (I could cry)
And chews Corderius with his morning crust!
Look eight years onward, and he's perched, he's perched
Dapper and deft on stool beside this chair,
Cinozzo, Cinoncello, who but he?
—Trying his milk-teeth on some crusty case
Like this, papa shall triturate full soon
To smooth Papinianian pulp!

It trots
Already through my head, though noon be now,
Does supper-time and what belongs to eve.
Dispose, O Don, o' the day, first work then play!
—The proverb bids. And "then" means, won't we hold
Our little yearly lovesome frolic feast,
Cinuolo's birth-night, Cinicello's own,
That makes gruff January grin perforce!
For too contagious grows the mirth, the warmth
Escaping from so many hearts at once—
When the good wife, buxom and bonny yet,
Jokes the hale grandsire,—such are just the sort
To go off suddenly,—he who hides the key
O' the box beneath his pillow every night,—
Which box may hold a parchment (someone thinks)
Will show a scribbled something like a name
"Cinino, Ciniccino," near the end,
"To whom I give and I bequeath my lands,
"Estates, tenements, hereditaments,
"When I decease as honest grandsire ought."
Wherefore—yet this one time again perhaps—
Shan't my Orvieto fuddle his old nose!
Then, uncles, one or the other, well i' the world,
May—drop in, merely?—trudge through rain and wind,
Rather! The smell-feasts rouse them at the hint
There's cookery in a certain dwelling-place!
Gossips, too, each with keepsake in his poke,
Will pick the way, thrid lane by lantern-light,
And so find door, put galligaskin off
At entry of a decent domicile
Cornered in snug Condotti,—all for love,
All to crush cup with Cinucciatolo!

Well,
Let others climb the heights o' the court, the camp!

[...] Read more

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The Film Of My Love

Co-starring you
And co-starring me
Starring us both together
The film of my love
Will travel the world
Forever and ever and ever
A back lot romance
A scripted affair
The screenplay a blessing from heaven
Were gone with the wind
On the orient express
To join the magnificent seven
The film of my love
Will travel the world
And travel the whole world over
The film of my love
Will travel the world
Over and over and over
The film of my love
Will travel the world
Over and over and over
Over and over and over again
Over and over and over
A close-up of yours
A long shot of mine
Superimposed together
Ill zoom in on you
With a love that is true
In cinemascope forever
A clapper board kiss
Theres an oscar in this
A hit or a miss whatever
A box office wedding
A premier for two
Well be on location forever
When pathe recall
The thrill of it all
Theyll edit us both together
A legend a classic
An epic of love
Captured on film forever
A lasting embrace
That time cant erase
Let them censor the wind
Or the weather
The film of my love
Will conquer the world
Forever and ever and ever
The film of my love
Will travel the world

[...] Read more

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Prince Hohenstiel-Schwangau, Saviour of Society

Epigraph

Υδραν φονεύσας, μυρίων τ᾽ ἄλλων πόνων
διῆλθον ἀγέλας . . .
τὸ λοίσθιον δὲ τόνδ᾽ ἔτλην τάλας πόνον,
. . . δῶμα θριγκῶσαι κακοῖς.

I slew the Hydra, and from labour pass'd
To labour — tribes of labours! Till, at last,
Attempting one more labour, in a trice,
Alack, with ills I crowned the edifice.

You have seen better days, dear? So have I
And worse too, for they brought no such bud-mouth
As yours to lisp "You wish you knew me!" Well,
Wise men, 't is said, have sometimes wished the same,
And wished and had their trouble for their pains.
Suppose my Œdipus should lurk at last
Under a pork-pie hat and crinoline,
And, latish, pounce on Sphynx in Leicester Square?
Or likelier, what if Sphynx in wise old age,
Grown sick of snapping foolish people's heads,
And jealous for her riddle's proper rede, —
Jealous that the good trick which served the turn
Have justice rendered it, nor class one day
With friend Home's stilts and tongs and medium-ware,—
What if the once redoubted Sphynx, I say,
(Because night draws on, and the sands increase,
And desert-whispers grow a prophecy)
Tell all to Corinth of her own accord.
Bright Corinth, not dull Thebes, for Lais' sake,
Who finds me hardly grey, and likes my nose,
And thinks a man of sixty at the prime?
Good! It shall be! Revealment of myself!
But listen, for we must co-operate;
I don't drink tea: permit me the cigar!
First, how to make the matter plain, of course —
What was the law by which I lived. Let 's see:
Ay, we must take one instant of my life
Spent sitting by your side in this neat room:
Watch well the way I use it, and don't laugh!
Here's paper on the table, pen and ink:
Give me the soiled bit — not the pretty rose!
See! having sat an hour, I'm rested now,
Therefore want work: and spy no better work
For eye and hand and mind that guides them both,
During this instant, than to draw my pen
From blot One — thus — up, up to blot Two — thus —
Which I at last reach, thus, and here's my line
Five inches long and tolerably straight:

[...] Read more

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Nine Voices

Anderson/squire/howe/white/sherwood/khoroshev
On a beach
North africa
Nine tribesmen stand alone
Waiting for a distant call
Waiting for the world to answer
Thru' the night of a thousand stars
Encircled by the light
They began to sing a new song
Of forces that surround us
Nine voices
This dialogue
Nine voices
Singing as one
Nine voices
This dialogue
Nine voices
When the sun came up they sang
As the perfect calendar says
Each had the power of people
Speaking new languages
They gave forgiveness meaning
New ways of letting go
Each child is born for greatness
With forces that surround them
This voice
This dialogue
This voice
Singing as one
Nine voices
This dialogue
Nine voices
Singing as one
His voices
This dialogue
This voices
Singing as one
Nine voices
Nine voices
Nine voices
Nine voices

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Nine Voices

Anderson/squire/howe/white/sherwood/khoroshev
On a beach
North africa
Nine tribesmen stand alone
Waiting for a distant call
Waiting for the world to answer
Thru' the night of a thousand stars
Encircled by the light
They began to sing a new song
Of forces that surround us
Nine voices
This dialogue
Nine voices
Singing as one
Nine voices
This dialogue
Nine voices
When the sun came up they sang
As the perfect calendar says
Each had the power of people
Speaking new languages
They gave forgiveness meaning
New ways of letting go
Each child is born for greatness
With forces that surround them
This voice
This dialogue
This voice
Singing as one
Nine voices
This dialogue
Nine voices
Singing as one
His voices
This dialogue
This voices
Singing as one
Nine voices
Nine voices
Nine voices
Nine voices

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I. The Ring and the Book

Do you see this Ring?
'T is Rome-work, made to match
(By Castellani's imitative craft)
Etrurian circlets found, some happy morn,
After a dropping April; found alive
Spark-like 'mid unearthed slope-side figtree-roots
That roof old tombs at Chiusi: soft, you see,
Yet crisp as jewel-cutting. There's one trick,
(Craftsmen instruct me) one approved device
And but one, fits such slivers of pure gold
As this was,—such mere oozings from the mine,
Virgin as oval tawny pendent tear
At beehive-edge when ripened combs o'erflow,—
To bear the file's tooth and the hammer's tap:
Since hammer needs must widen out the round,
And file emboss it fine with lily-flowers,
Ere the stuff grow a ring-thing right to wear.
That trick is, the artificer melts up wax
With honey, so to speak; he mingles gold
With gold's alloy, and, duly tempering both,
Effects a manageable mass, then works:
But his work ended, once the thing a ring,
Oh, there's repristination! Just a spirt
O' the proper fiery acid o'er its face,
And forth the alloy unfastened flies in fume;
While, self-sufficient now, the shape remains,
The rondure brave, the lilied loveliness,
Gold as it was, is, shall be evermore:
Prime nature with an added artistry—
No carat lost, and you have gained a ring.
What of it? 'T is a figure, a symbol, say;
A thing's sign: now for the thing signified.

Do you see this square old yellow Book, I toss
I' the air, and catch again, and twirl about
By the crumpled vellum covers,—pure crude fact
Secreted from man's life when hearts beat hard,
And brains, high-blooded, ticked two centuries since?
Examine it yourselves! I found this book,
Gave a lira for it, eightpence English just,
(Mark the predestination!) when a Hand,
Always above my shoulder, pushed me once,
One day still fierce 'mid many a day struck calm,
Across a Square in Florence, crammed with booths,
Buzzing and blaze, noontide and market-time,
Toward Baccio's marble,—ay, the basement-ledge
O' the pedestal where sits and menaces
John of the Black Bands with the upright spear,
'Twixt palace and church,—Riccardi where they lived,
His race, and San Lorenzo where they lie.

[...] Read more

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The Bride's Prelude

“Sister,” said busy Amelotte
To listless Aloÿse;
“Along your wedding-road the wheat
Bends as to hear your horse's feet,
And the noonday stands still for heat.”
Amelotte laughed into the air
With eyes that sought the sun:
But where the walls in long brocade
Were screened, as one who is afraid
Sat Aloÿse within the shade.
And even in shade was gleam enough
To shut out full repose
From the bride's 'tiring-chamber, which
Was like the inner altar-niche
Whose dimness worship has made rich.
Within the window's heaped recess
The light was counterchanged
In blent reflexes manifold
From perfume-caskets of wrought gold
And gems the bride's hair could not hold,
All thrust together: and with these
A slim-curved lute, which now,
At Amelotte's sudden passing there,
Was swept in somewise unaware,
And shook to music the close air.
Against the haloed lattice-panes
The bridesmaid sunned her breast;
Then to the glass turned tall and free,
And braced and shifted daintily
Her loin-belt through her côte-hardie.
The belt was silver, and the clasp
Of lozenged arm-bearings;
A world of mirrored tints minute
The rippling sunshine wrought into 't,
That flushed her hand and warmed her foot.
At least an hour had Aloÿse—
Her jewels in her hair—
Her white gown, as became a bride,
Quartered in silver at each side—
Sat thus aloof, as if to hide.
Over her bosom, that lay still,
The vest was rich in grain,
With close pearls wholly overset:
Around her throat the fastenings met
Of chevesayle and mantelet.
Her arms were laid along her lap
With the hands open: life
Itself did seem at fault in her:
Beneath the drooping brows, the stir
Of thought made noonday heavier.

[...] Read more

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Were Your Knickers In a Twist

Did you purposely,
Block my access?
So I can stay away,
From my assets?
If this is the way it's gonna be...
You get not one more kiss from me.

Did I do something,
That would get you upset?
I don't know what I did,
To start up your mess.
You know I'm free of dialogue!
Were your knickers in a twist,
And this pissed you off?

I don't know what I did,
To start up your mess.
Did I do something,
That would get you upset?
You know I'm free of dialogue!
Were your knickers in a twist,
And this pissed you off?

Did you purposely,
Block my access?
So I can stay away,
From my assets?
If this is the way it's gonna be...
You get not one more kiss from me.

Did I do something,
That would get you upset?
I don't know what I did,
To start up your mess.
You know I'm free of dialogue!
Were your knickers in a twist,
And this pissed you off?

I don't know what I did,
To start up your mess.
Did I do something,
That would get you upset?
You know I'm free of dialogue!
Were your knickers in a twist,
And this pissed you off?

Were your knickers in a twist
Were your knickers in a twist
Were your knickers in a twist
And this pissed you off?

[...] Read more

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Samuel and Harold discuss Ovid's dictum

S You look much the same, Harry
H You don’t look much different, Sam
S Though times change
H They don’t stay the same
S Or perhaps they seem to change
H Or seem to be different
S And we change too
H We’re not quite the same
S Though perhaps they only seem to change because we’ve changed
H Perhaps we’re different and they only seem to change
S On the other hand, perhaps times do change and we only seem to change
H Perhaps we only seem to change because times do change
S Or perhaps both change
H Perhaps neither stay the same
S That would make it difficult to tell
H It wouldn’t be easy
S Perhaps you’ve changed and I don’t notice it
H Or perhaps Ive changed and you don’t notice it
S I feel mostly the same, though
H I don’t feel much different
S Though in some ways I feel different
H I don’t feel quite the same myself
S Life moves on
H It doesn’t stay the same
S Though I’d know you anywhere
H I can’t imagine not knowing you. Anywhere.
S Our plays change, but the dialogue…don’t you think?
H They are different, but the dialogue…as you say..
S Alive or dead… the play doesn’t change…
H Dead or alive…the play stays much the same, , ,
S Though the dialogue
H Ah yes, the dialogue
S Yours, for instance…
H Or indeed, yours…
S That dictum of Ovid…
H Ah yes, Ovid’s dictum...
S So true…
H Not untrue…
S Plus ca change... as they say, Harry...
H... plus ca la meme chose, as they say, Sam...


(Curtain)

For Jerry.

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Ezra Pound

Canto III

Another's a half-cracked fellow—John Heydon,
Worker of miracles, dealer in levitation,
In thoughts upon pure form, in alchemy,
Seer of pretty visions ('servant of God and secretary of nature');
Full of plaintive charm, like Botticelli's,
With half-transparent forms, lacking the vigor of gods.
Thus Heydon, in a trance, at Bulverton,
Had such a sight:
Decked all in green, with sleeves of yellow silk
Slit to the elbow, slashed with various purples.
Her eyes were green as glass, her foot was leaf-like.
She was adorned with choicest emeralds,
And promised him the way of holy wisdom.
'Pretty green bank,' began the half-lost poem.
Take the old way, say I met John Heydon,
Sought out the place,
Lay on the bank, was 'plungèd deep in swevyn;'
And saw the company—Layamon, Chaucer—
Pass each in his appropriate robes;
Conversed with each, observed the varying fashion.
And then comes Heydon.
'I have seen John Heydon.'
Let us hear John Heydon!
'Omniformis
Omnis intellectus est'—thus he begins, by spouting half of Psellus.
(Then comes a note, my assiduous commentator:
Not Psellus De Daemonibus, but Porphyry's Chances,
In the thirteenth chapter, that 'every intellect is omni-form.')
Magnifico Lorenzo used the dodge,
Says that he met Ficino
In some Wordsworthian, false-pastoral manner,
And that they walked along, stopped at a well-head,
And heard deep platitudes about contentment
From some old codger with an endless beard.
'A daemon is not a particular intellect,
But is a substance differed from intellect,'
Breaks in Ficino,
'Placed in the latitude or locus of souls'—
That's out of Proclus, take your pick of them.
Valla, more earth and sounder rhetoric—
Prefacing praise to his Pope Nicholas:
'A man of parts, skilled in the subtlest sciences;
A patron of the arts, of poetry; and of a fine discernment.'
Then comes a catalogue, his jewels of conversation.
No, you've not read your Elegantiae—
A dull book?—shook the church.
The prefaces, cut clear and hard:
'Know then the Roman speech, a sacrament,'
Spread for the nations, eucharist of wisdom,
Bread of the liberal arts.

[...] Read more

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Political Assassination Publically Justified

“Friends, Romans, countrymen, lend me your ears”
such emotionally charged rhetoric written in iambic
pentameter; reminds of times without hearing aids
when microphone television did not aid cause politic.

Yes Antony here plays mocking Brutus, saying that
maybe his speech was too 'cerebral' for the crowd.
Let us not beat around the bush in politics agendaed
politic proclaim “So are they all, all honourable men”.

A portion of the speech 'But Brutus was an honourable
man' is referenced in an opening scene of the West Wing;
which reminds of honourable times without hearing aids
when microphone television did not edit amplify a plot.

“O judgment! thou art fled to brutish beasts,
And men have lost their reason. Bear with me; ”
recall words 'Enemies Foreign and Domestic'
remind in war on terror of threatening all abodes.

Brutus too had previously delivered politic speech,
in which Brutus proud claimed that the murder had;
been done in name of public freedom clever speech,
evil lives while good is oft interred with slain bones.


The opening quotation of this poem is the famous first line of the often-quoted speech by Mark Antony, in the play Julius Caesar, by William Shakespeare. The first three words fit into the rule of three technique.
The second quotation also alludes to the theme of a speaker and the power of a good speech to convince an audience of a specific political point of view. Note the turn of the word honourable to mean dishonourable in Mark Anthony’s speech and beware those who speak of us as Honourable Friends.

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The Song of Lamech

Hearken to me, ye mothers of my tent:
Ye wives of Lamech, hearken to my speech:
Adah, let Jubal hither lead his goats:
And Tubal Cain, O Zillah, hush the forge;
Naamah her wheel shall ply beside, and thou,
My Jubal, touch, before I speak, the string.
Yea, Jubal, touch, before I speak, the string.
Hear ye my voice, beloved of my tent,
Dear ones of Lamech, listen to my speech.

For Eve made answer, Cain, my son, my own,
O, if I cursed thee, O my child, I sinned,
And He that heard me, heard, and said me nay:
My first, my only, one, thou shalt not go;
And Adam answered also, Cain, my son,
He that is gone forgiveth, we forgive:
Rob not thy mother of two sons at once;
My child, abide with us and comfort us.

Hear ye my voice; Adah and Zillah, hear;
Ye wives of Lamech, listen to my speech.
For Cain replied not. But, an hour more, sat
Where the night through he sat; his knit brows seen,
Scarce seen, amid the foldings of his limbs.
But when the sun was bright upon the field,
To Adam still, and Eve still waiting by,
And weeping, lift he up his voice and spake.
Cain said, The sun is risen upon the earth;
The day demands my going, and I go.
As you from Paradise, so I from you:
As you to exile, into exile I:
My father and my mother, I depart.
As betwixt you and Paradise of old,
So betwixt me, my parents, now, and you,
Cherubim I discern, and in their hand
A flaming sword that turneth every way,
To keep the way of my one tree of life,
The way my spirit yearns to, of my love.
Yet not, O Adam and O Eve, fear not.
For He that asked me, Where is Abel? He
Who called me cursed from the earth, and said
A fugitive and vagabond thou art,
He also said, when fear had slain my soul,
There shall not touch thee man nor beast. Fear not.
Lo, I have spoke with God, and He hath said.
Fear not; and let me go as He hath said.
Cain also said (O Jubal, touch thy string),
Moreover, in the darkness of my mind,
When the night’s night of misery was most black,
A little star came twinkling up within,

[...] Read more

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William Cowper

Conversation

Though nature weigh our talents, and dispense
To every man his modicum of sense,
And Conversation in its better part
May be esteem'd a gift, and not an art,
Yet much depends, as in the tiller’s toil,
On culture, and the sowing of the soil.
Words learn'd by rote a parrot may rehearse,
But talking is not always to converse;
Not more distinct from harmony divine,
The constant creaking of a country sign.
As alphabets in ivory employ,
Hour after hour, the yet unletter’d boy,
Sorting and puzzling with a deal of glee
Those seeds of science call’d his a b c;
So language in the mouths of the adult,
Witness its insignificant result,
Too often proves an implement of play,
A toy to sport with, and pass time away.
Collect at evening what the day brought forth,
Compress the sum into its solid worth,
And if it weigh the importance of a fly,
The scales are false, or algebra a lie.
Sacred interpreter of human thought,
How few respect or use thee as they ought!
But all shall give account of every wrong,
Who dare dishonour or defile the tongue;
Who prostitute it in the cause of vice,
Or sell their glory at a market-price;
Who vote for hire, or point it with lampoon,
The dear-bought placeman, and the cheap buffoon.
There is a prurience in the speech of some,
Wrath stays him, or else God would strike them dumb;
His wise forbearance has their end in view,
They fill their measure and receive their due.
The heathen lawgivers of ancient days,
Names almost worthy of a Christian’s praise,
Would drive them forth from the resort of men,
And shut up every satyr in his den.
Oh, come not ye near innocence and truth,
Ye worms that eat into the bud of youth!
Infectious as impure, your blighting power
Taints in its rudiments the promised flower;
Its odour perish’d, and its charming hue,
Thenceforth ‘tis hateful, for it smells of you.
Not e’en the vigorous and headlong rage
Of adolescence, or a firmer age,
Affords a plea allowable or just
For making speech the pamperer of lust;
But when the breath of age commits the fault,
‘Tis nauseous as the vapour of a vault.

[...] Read more

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King Is White & In The Crowd

Talking by the pool of light, language from america.
She puts on the film of him, king is white and in the crowd
They are not a melting pot, say no, say no tapestry
She puts on the film of him, king is white and in the crowd
She takes his hand and she says youll stay
Shes lost in the crowd
King
Wire them up, fire them up
The life and times, the art and talk
Wire them up, fire them up
The life and times, the art and talk
Lovers run camp africa, bars in town are civilised
She puts on the film of him, king is white and in the crowd
Panorama, citylife
Youths dance proud from the waist down
She puts on the film of him, king is white and in the crowd
Shot from where the action is, a rhapsody in black and blue
She puts on the film of him, king is white and in the crowd
Love lies under western eyes, powerful yet transient
She puts on the film of him, king is white and in the crowd
Words & music : simple minds (c) emi publishing ltd reproduced without permission

song performed by Simple MindsReport problemRelated quotes
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King Is White And In The Crowd

Talking by the pool of light, language from Americ.
a
She puts on the film of him, King is white and in the crowd
They are not a melting pot, say no, say no tapestry
She puts on the film of him, King is white and in the crowd
She takes his hand and she says you'll stay
She's lost in the crowd
King
Wire them up, fire them up
The life and times, the art and talk
Wire them up, fire them up
The life and times, the art and talk
Lovers run camp Africa, Bars in town are civilised
She puts on the film of him, King is white and in the crowd
Panorama, Citylife
Youth's dance proud from the waist down
She puts on the film of him, King is white and in the crowd
Shot from where the action is, a rhapsody in black and blue
She puts on the film of him, King is white and in the crowd
Love lies under western eyes, powerful yet transient
She puts on the film of him, King is white and in the crowd

song performed by Simple MindsReport problemRelated quotes
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This be the last time we use the phrase 'Slumdog

We, as Indians, have reasons
To be proud of having
Created history by the film
“Slumdog Millionaire”
At the same time, we, as human beings,
Have to have hung our heads for
Having created slums

Slum, as it means
An overcrowded area of a city,
Where the housing is in a very bad condition
And people live in unhygienic conditions
With no basic facilities

And who created slums,
Not the people residing there
But those whose greed has brought
These slum dwellers into these
Unfit-for-living conditions

The technicalities employed in
Filming this movie deserve all praise
While the different ways of living
Of the slum dwellers equally deserve attention
Of the entire human race
For correction and improvement

The film was declared to be
The best-directed
While the slum tribes have no directions
And they have no one to direct

The film was declared to be
The best film
While the slum where the film was shot
Is the worst place
For any human being

Let the recognition of the film
Bring to light the plight of slumdogs
To the fore
And let the human race do everything
Possible to move these people
Out of the slums, wherever they are,
And to help them live a decent, if not better, living

We shall be doing a great service
If this becomes the last ever time
We use this phrase “Slumdog”

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