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I'm not a comic book guy at all.

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Im That Type Of Guy

Youre the type of guy that cant control your girl
You try to buy her love with diamonds and pearls
Im the type of guy that shows up on the scene
And gets the seven digits, you know the routine
Youre the type of guy that tells her, stay inside
While youre steady frontin in your homeboys ride
Im the type of guy that comes when you leave
Im doin your girlfriend, thats somethin you cant believe
Cause Im that type of guy
Youre the type of guy that gets suspicious
Im the type of guy that says, the puddin is delicious
Youre the type of guy that has no idea
That a sneaky, freaky brothers sneakin in from the rear
Im the type of guy to eat it, when he wont
And look in the places that your boyfriend dont
Youre the type of guy to try to call me a punk
Now knowin that your main girls bitin my chunk
Im the type of guy that loves a dedicated lady
Their boyfriends are borin, and I can drive em crazy
Youre the type of guy to give her money to shop
She gave me a sweater _kiss_ thank you, sweetheart
Im that type of guy
Im the type of guy that picks her up from work early
Takes her to breakfast, lunch, dinner, and breakfast
Youre the type of guy eatin a tv dinner
Talkin about... goddamn it, ima kill her
Im the type of guy to make her say, why youre illin, bee?
...youre the type of guy to say, my lower back is killin me
...catch my drift?
Youre the type of guy that likes to drink olde english
Im the type of guy to cold put on a pamper
Youre the type of guy to say, what you talkin bout?
Im the type of guy to leave my drawers in your hamper
Im that type of guy
Im that type of guy
You know what I mean?
Check it out...
T-y-p-e g-u-y
Im that type of guy to give you a pound and wink my eye
Like a bandit, caught me redhanded, took her for granted
But when I screwed her, you couldnt understand it
Cause youre the type of guy that dont know the time
Swearin up and down, that girls all mine
Im the type of guy to let you keep believin it
Go head to work, while I defrost it, and season it
Im that type of guy
Im that type of guy
Know what I mean
Im that type of guy
So ridiculous

[...] Read more

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Joseph's Gloss On God

When Joseph tells his brothers: “I
am not God, ” he perhaps implies
that unlike God he sometimes lies,
and unlike Him, is doomed to die.

The words that Joseph never said
are wrong, as we find out when burned;
God often lies, a lesson learned
from history, and God is dead.

Inspired by a review by Paul Buhle of R. Crumb’s The Whole Book of Genesis, in Forward, October 10,2009 (“In the Image of God: The Ambition of R. Crumb’s Graphic Genesis”:

To say this book is a remarkable volume or even a landmark volume in comic art is somewhat of an understatement. It doesn’t hurt that excerpts of the book appeared during the summer in the New Yorker and that the Hammer Museum in Los Angeles is opening an exhibit of the original drawings from which the book’s contents were adapted. “The Book of Genesis, ” Robert Crumb’s version, nevertheless stands on its own as one of this century’s most ambitious artistic adaptations of the West’s oldest continuously told story.
No comic artist has been more influential than Crumb. In terms of sales, his work is dwarfed by the superheroes and, in comic art prestige. Art Spiegelman, and a short list of others including Alison Bechdel and Marjane Sartrapi may have displaced Crumb. But Crumb’s influence abides and endures in his occasional LP/CD covers, in his volumes of collected work (16 volumes so far and counting) , his artistic prizes and a generation of artists who have incorporated his particular view of humanity.
Surprisingly, his best work in 20 years has actually been in the genre of adaptation, specifically an adaptation of Franz Kafka, dating to the mid 1990s. On that highly curious point, any consideration of this “Genesis, ” as a highly personal comic art, properly begins. Notoriously, Crumb is a gentile who fled from his deeply dysfunctional Delaware family to the Cleveland neighborhood of Harvey Pekar and the arms of the first of two Jewish wives. “Crumb, ” the 1994 film documentary, was in many ways about emotional pain (including a brother doomed to suicide) and his craving for a certain kind of woman, who, although possibly any female with a bemuscled backside, was in fact most likely to be Jewish. She, reality and image, was his consolation. The strips that he drew of Jewish-American life, nevertheless, reworked stereotypes, some funny (he visits Florida with his second wife, and holds a tiny grandfather on his knee) , and some, doubtless, insulting to many readers.
In the pages of “Introducing Kafka, ” Crumb became his fictional protagonist with such depth of insight into the logic of the doomed writer, as well as of Kafka’s famed works, that many readers were simply astonished, this reviewer among them. Kafka is the exemplar par excellence of a type of ambiguous, tortured mittel European Jewish personality as it hovered between faith and uncertainty, shortly before the Holocaust. Not Spiegelman, not Ben Katchor, nor Sharon Rudahl, nor others who drew historical or quasi-historical strips about Jewish history, had taken the characterization as far as Crumb. An earlier escape from Middle American culture had propelled Crumb toward his satirical protagonist Mister Natural, a Zen-like, robed quasi-prophet of the 1970s-80s. Three decades later, Crumb’s robed prophets are far from Zen.
Crumb’s “Genesis” is then perfectly serious and the author wants us to know it. As he says on the cover, “Nothing Left Out! ” Every “beget” from the King James Bible can be found here, along with plenty of scenes censored from previous graphic adaptations. And more prose, in the final “Commentary” segment of the book, than non-writer Crumb may have put on the page anywhere, aside from his published letters. More striking for anyone but the seasoned Crumb fan: unlike previous Biblical comic adaptations, including some published and drawn by Jews, Crumb’s characters actually look Jewish, the women even more than the men. The contrast to the classic work, EC Comics’ “Picture Stories from the Bible” (1945) in that respect is most illuminating. But more recent works like the best-selling “Manga Bible” (2000) are not much different (nor was the “The Wolverton Bible” by one of the strangest of comic artists Basil Wolverton) . Close readers will see Crumb’s wife Aline Kominsky, to whom the book is dedicated, again and again, in various guises; perhaps only Chagall drew his beloved wife so often and with such varied imagination.
Not only are the characters Jewish here, they are all ages and sizes. If, for instance, there are more drawings of Jewish elders in any single volume of comic art anywhere, I have never seen them. The women here are beautiful when young, heavily busted with large, muscular thighs. The men are strong, their beards full and noble. The deity has a really big beard and retains his notoriously bad temper, as well as his commanding presence, and absolute demand for loyalty. The animals of Genesis (in Noah’s ark and elsewhere) may be where Crumb is most similar to earlier comic art adaptations of Biblical texts, but they are drawn, like everything else, with such loving care that they are special and demand repeated viewing.
In those extensive notes at the end, Crumb comes as close as he is ever likely to revealing the sources and depth of his commitment to the text. He had been puzzling, no doubt under a wave of feminist criticism, about the gender struggle, until Torah scholar Savina Teubel’s “Sarah the Priestess” (1984) gave him new insight: a matriarchal background, female deities and actual female power, in a society turning toward patriarchy but retaining some elements of women’s prehistorical strength and centrality to the direction of early civilization. If anything is reinterpreted purposefully in “Genesis, ” it is in gender, and Crumb does so not by scoring points but by rearranging the visual subtext. Gender issues also help him reframe somewhat the class dimension of tribal society, which endures not through brute force but because of the strength of its women.
The commentary on his visual choices and his broader interpretations explores and explains his few intentional deviations, not only in the name of narrative clarity but artistic intent. Mainly, his notes drive home how he struggled to interpret the text in suitable graphic form, chapter by chapter, sometimes even character by character. There is no doubting the artist’s integrity or hard work, in no small part because he redrew again and again, trying to find historically accurate clothing and scenery. The Old Testament of cinematic Charlton Heston, so to speak, became the Genesis of lived and perceived experience, socially real and super-real. Clues are provided with translations of specific Hebrew names within the visual text, essentially metaphorical in meaning. These clues may be the closest to footnotes that Crumb has ever provided.
Comics scholar Jeet Heer, has noted in “Bookforum” that Crumb’s biblical characters, with the exception of the deity, have no internal lives: only the deity has depth and personality. As with the original text, much more is implied in Crumb’s visual text than can be stated, because scenes rush by so fast and because the artist forever works out, pen or brush in hand, a unique meaning that escapes easy interpretation. Even closer to the mark, Heer argues that above all, this is a book about bodies, the natural expression of an artist whose work has, possibly more than any other master of comic art, been concerned with body structure and expression.
And offending the deity? Crumb treads with a caution all the more remarkable for an artist, who, short decades ago, allowed himself the full run of his imagination, heedless of the consequences. Crumb’s innovation might be summed up in his characterization of Joseph, brilliant in subjugating Egypt but weary of his own powers. In the final phrases of the book, the artist suggests a radical view several thousand years previous to Jewish Karl Marx. “In the very last chapter, when his obstreperous brothers fling themselves at this feet and proclaim, ‘Here we are, your slaves, ’ he says to them, “I am not God, am I’ Joseph has learned a much finer humility than the fear-driven kind shown by his barbaric brothers.” So says a humble Crumb.


10/22/09

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Average Guy

I aint no christian or no born again saint
I aint no cowboy or marxist d.a.
I aint no criminal or reverend cripple from the right
I am just your average guy, trying to do whats right
Im just your average guy
An average guy
I am just your average guy
Im just an average guy
Average guy, Im just your average guy
Im average looking and Im average inside
Im an average lover and I live in an average place
You wouldnt know me if you met me face to face
Im just your average guy
Average guy
Average guy
Im just an average guy
I worry about money and taxes and such
I worry that my livers big and it hurts to the touch
I worry about my health and bowels
And the crime waves in the street
Im really just your average guy
Trying to stand on his own two feet
Im just your average guy
Im just your average guy
Im just your average guy
Average guy
Average looks, average taste
Average height, an average waist
Average in everything I do
My temperature is 98.2
Im just your average guy
An average guy
Average guy
Im just an average guy
Average guy
Im just your average guy
Im just your average guy
Im just your average guy
Average

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ACT: Goodbye

Girl: Goodbye
I always want to say it in front of you
Goodbye
And there would be no more “I love you”
Goodbye
But why though I really meant to
The pain is still haunting my soul

Guy: Goodbye
You don’t know there’s a mystery inside
Goodbye
You are a fool to quickly decide
Goodbye
When you say something you don’t want to
It will affect you most with regret

Girl: Goodbye means leaving
Guy: Goodbye means nothing
Girl: Goodbye means releasing
Guy: Goodbye means waiting

Girl: And will you forget me after
Guy: Or will I love you forever
Girl: And how if I miss you in the lonely night
Guy: I will torture you to see my face

Girl: It’s over!
Guy: Not yet
Girl: Why are you so stubborn?
Guy: Because you make it complicated
Girl: But there’s no future for us
Guy: There’s always a hope

Girl: Goodbye
I will definitely cry
Goodbye
But the tears are not going to show
Goodbye
I don’t ask to be forgiven
Because Im the one who put this misery

Guy: Goodbye
You can’t beat me with just that
Goodbye
Don’t judge me because I have the power of
Goodbye
Though I let my beloved go
Someday I’ll bring you to my arm again

Girl: Goodbye means separate

[...] Read more

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Look At That Guy

Just look at that guy, He seem so happy

Look at that guy, He seem so free
Look at that guy, Just looking at me

Look at that guy, I wish I looked as good as him

Just look at that guy, Man he dress so good

Look at that guy, I bet all the girls like him
Look at that guy, How can I be more like him

Look at that guy, He's the real hero
Just look at that guy, probably thinks im a zero

Look at that guy, I hope he's not judging me
Look at that guy, being all he can be

Look at that guy, fighting for a cause
Just look at that guy, making me pause

Look at that guy, He probably thinks im stupid
Look at that guy, His friend must be cupid

Look at that guy, looking like a thug
Just look at that guy, he looks full of love

Look at that guy, He needs no correction
Look at that guy, do we have any connection
Oh my god, that guy I see Is my own reflection....

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Elizabeth Barrett Browning

Eighth Book

ONE eve it happened when I sate alone,
Alone upon the terrace of my tower,
A book upon my knees, to counterfeit
The reading that I never read at all,
While Marian, in the garden down below,
Knelt by the fountain (I could just hear thrill
The drowsy silence of the exhausted day)
And peeled a new fig from that purple heap
In the grass beside her,–turning out the red
To feed her eager child, who sucked at it
With vehement lips across a gap of air
As he stood opposite, face and curls a-flame
With that last sun-ray, crying, 'give me, give,'
And stamping with imperious baby-feet,
(We're all born princes)–something startled me,–
The laugh of sad and innocent souls, that breaks
Abruptly, as if frightened at itself;
'Twas Marian laughed. I saw her glance above
In sudden shame that I should hear her laugh,
And straightway dropped my eyes upon my book,
And knew, the first time, 'twas Boccaccio's tales,
The Falcon's,–of the lover who for love
Destroyed the best that loved him. Some of us
Do it still, and then we sit and laugh no more.
Laugh you, sweet Marian! you've the right to laugh,
Since God himself is for you, and a child!
For me there's somewhat less,–and so, I sigh.

The heavens were making room to hold the night,
The sevenfold heavens unfolding all their gates
To let the stars out slowly (prophesied
In close-approaching advent, not discerned),
While still the cue-owls from the cypresses
Of the Poggio called and counted every pulse
Of the skyey palpitation. Gradually
The purple and transparent shadows slow
Had filled up the whole valley to the brim,
And flooded all the city, which you saw
As some drowned city in some enchanted sea,
Cut off from nature,–drawing you who gaze,
With passionate desire, to leap and plunge,
And find a sea-king with a voice of waves,
And treacherous soft eyes, and slippery locks
You cannot kiss but you shall bring away
Their salt upon your lips. The duomo-bell
Strikes ten, as if it struck ten fathoms down,
So deep; and fifty churches answer it
The same, with fifty various instances.
Some gaslights tremble along squares and streets
The Pitti's palace-front is drawn in fire:

[...] Read more

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Where There's Smoke, There's Failure

So it goes like this,
Guy meets girl.
Guy buys flowers.
Girl puts them in a vase.
Guy buys a ring.
Girl says yes.
Guy goes to work.
Girl goes to work.
Guy meets girl.
Girl meets guy.
Guy and girl fight about girl and guy.
Guy leaves work for new work and gets an apartment by himself.
Girl moves over seas and doesn't have to work any more because she has a new guy and the old guy has to send her money from his new work.

Guy writes poems.
Guy writes about new girl and old girl and new guy and work and old friends.
Guy wants to stop working and sell poems about the stuff in his life so that he can do other stuff in his life without having to go to real work.
Guy does not yet have high selling collection of poems.
Guy goes to work.
Guy meets girl.
Guy buys flowers.

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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.

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Truth and the Devil

The devil unstoppably took pride in salaciously writing; the book of
obnoxious caste-creed and venomously penalizing hatred,

The devil unstoppably took pride in acrimoniously writing; the book of
indiscriminate bloodshed and disastrously traumatizing ruthlessness,

The devil unstoppably took pride in vengefully writing; the book of
tyrannical devastation and lecherously bellicose orphaning,

The devil unstoppably took pride in fretfully writing; the book of
vindictive war and satanically criminal holocausts,

The devil unstoppably took pride in maliciously writing; the book of
coldblooded barbarism and manipulatively bizarre malice,

The devil unstoppably took pride in forlornly writing; the book of
worthless
ghosts and mortuaries brutally anointed with fresh blood,

T The devil unstoppably took pride in indigently writing; the book of
nonchalant spuriousness and fecklessly insipid meaninglessness,

The devil unstoppably took pride in torturously writing; the book of
ominous
animosity and hedonistically pugnacious illwill,

The devil unstoppably took pride in dictatorially writing; the book of
licentious bawdiness and insanely threadbare nothingness,

The devil unstoppably took pride in heinously writing; the book of
lascivious poverty and baselessly crippling uncertainty,

The devil unstoppably took pride in savagely writing; the book of
despicable
defeat and lethally ballistic atrociousness,

The devil unstoppably took pride in raunchily writing; the book of
dolorous
delinquency and insidiously slandering betrayal,

The devil unstoppably took pride in preposterously writing; the book of
scurrilous lunatism and barbarously incarcerating fiendishness,

The devil unstoppably took pride in frigidly writing; the book of
jejune
mockery and impudently castigating brazenness,

The devil unstoppably took pride in heartlessly writing; the book of
ghastly
bloodshed and indefatigably bombarding politics,

[...] Read more

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Such A Groovy Guy

I got my alligator boots I wear my pants skin tight
I wear my dark sunglasses in the middle of the night
And when I look in the mirror im-a such an awesome sight
It makes me wanna kneel down and pray
Im so charming and adorable Im sure that you can see
And everyones always trying to hang around with me
They tell me Im the greatest and its hard to disagree
cause Im so perfect in every way
And Im so cute I can hardly stand it
And Im so handsome honey I could just die
I know that youll never be as wonderful as me but at least you can try
cause Im such a groovy guy (such a groovy guy)
Im such a groovy guy (such a groovy guy)
Im such a groovy guy
Baby are you in the mood for a little romance?
Well for starters I can pour some chocolate pudding down your pants
And then attatch electrodes to your brain and watch you dance
Oh, golly wouldnt that be fun?
And then I might decide to tie you up with dental floss
Ill make you wear a harness and Ill show you whos the boss
Of course if you refuse, well honey its your loss
I mean I dont do this with just anyone.
So how can you say its all over?
So how can you tell me goodbye?
So now you tell me that youre leaving me for good
And all I wanna know is why
I mean after all Im really such a groovy guy (such a groovy guy)
Im such a groovy guy (such a groovy guy)
Im such a groovy guy
I mean you could do worse!
Im such a groovy guy (such a groovy guy)
Im such a groovy guy (such a groovy guy)
Such a groovy groovy guy (such a groovy guy)
Im such a groovy guy (such a groovy guy)
(to fade)

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Elizabeth Barrett Browning

Fifth Book

AURORA LEIGH, be humble. Shall I hope
To speak my poems in mysterious tune
With man and nature,–with the lava-lymph
That trickles from successive galaxies
Still drop by drop adown the finger of God,
In still new worlds?–with summer-days in this,
That scarce dare breathe, they are so beautiful?–
With spring's delicious trouble in the ground
Tormented by the quickened blood of roots.
And softly pricked by golden crocus-sheaves
In token of the harvest-time of flowers?–
With winters and with autumns,–and beyond,
With the human heart's large seasons,–when it hopes
And fears, joys, grieves, and loves?–with all that strain
Of sexual passion, which devours the flesh
In a sacrament of souls? with mother's breasts,
Which, round the new made creatures hanging there,
Throb luminous and harmonious like pure spheres?–
With multitudinous life, and finally
With the great out-goings of ecstatic souls,
Who, in a rush of too long prisoned flame,
Their radiant faces upward, burn away
This dark of the body, issuing on a world
Beyond our mortal?–can I speak my verse
So plainly in tune to these things and the rest,
That men shall feel it catch them on the quick,
As having the same warrant over them
To hold and move them, if they will or no,
Alike imperious as the primal rhythm
Of that theurgic nature? I must fail,
Who fail at the beginning to hold and move
One man,–and he my cousin, and he my friend,
And he born tender, made intelligent,
Inclined to ponder the precipitous sides
Of difficult questions; yet, obtuse to me,–
Of me, incurious! likes me very well,
And wishes me a paradise of good,
Good looks, good means, and good digestion!–ay,
But otherwise evades me, puts me off
With kindness, with a tolerant gentleness,–
Too light a book for a grave man's reading! Go,
Aurora Leigh: be humble.
There it is;
We women are too apt to look to one,
Which proves a certain impotence in art.
We strain our natures at doing something great,
Far less because it's something great to do,
Than, haply, that we, so, commend ourselves
As being not small, and more appreciable
To some one friend. We must have mediators

[...] Read more

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Keep On Singin My Song

Oohhh, yeah, oooh huh
I woke up this morning with a smile on my face
& nobodys gonna bring me down today
Been feeling like nothings been going my way lately
So I decided right here and now that my outlooks gotta change
Thats why Im gonna
Say goodbye to all the tears Ive cried
For everytime somebody hurt my pride
Feeling like they wont let me live life
& take the time to look at what is mine
I see every lesson completely
I thank God for what I got from above
I believe they can take anything from me
But they cant succeed in taking my inner peace
They can say all they wanna say about me
But Im gonna carry on
Keep on singing my song
I never wanna dwell on my pain again
Theres no use in reliving how I hurt back then
Remembering all of the hell I felt when I was running out of faith
Every step I vowed to take was towards a better day
Cos Im about to
Say goodbye to every single lie
& all the fears Ive held too long inside
Everytime I felt I could try
All the negativity I had inside
For too long Ive been struggling. I couldnt go on
But now Ive found Im feeling strong and moving on
I believe they can take anything from me
But they cant succeed in taking my inner peace
They can say all they wanna say about me
But Im gonna carry on
Im gonna keep on singing my song
Whoa, & everytime I tried to be what they wanted from me
It never came naturally
So I ended up in misery, wasnt able to see
All the good around me
They wasted so much energy on what they thought of me
Simply just remembering to breathe
Im human, I aint able to please
Everyone at the same time, so now I find
My peace of mind living one day at a time
Im human and I answer to one god
It comes down to one love
Until I get to heave above Ive made the decision
Never to give up
Til the I day I die no matter what Im gonna carry on & keep on singing my song.....
(they cant take anything from me)
I believe that they can do what they wanna.
Say what they wanna say

[...] Read more

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Guy and Amarant

Guy journeyes towards that sanctifyed ground
Whereas the Jewes fayre citye sometime stood,
Wherin our Saviours sacred head was crownd,
And where for sinfull man he shed his blood.
To see the sepulcher was his intent,
The tombe that Joseph unto Jesus lent.

With tedious miles he tyred his wearye feet,
And passed desart places full of danger;
At last with a most woefull wight did meet,
A man that unto sorrow was noe stranger.
For he had fifteen sonnes made captives all
To slavish bondage, in extremest thrall.

A gyant called Amarant detaind them,
Whom noe man durst encounter for his strength,
Who, in a castle which he held, had chaind them.
Guy questions where, and understands at length
The place not farr. - 'Lend me thy sword,' quoth hee;
'Ile lend my manhood all thy sonnes to free.'

With that he goes and lays upon the dore
Like one that sayes, I must and will come in.
The gyant never was soe rowz'd before,
For noe such knocking at his gate had bin;
Soe takes his keyes and clubb, and cometh out,
Staring with ireful countenance about.

'Sirra,' quoth hee, 'what busines hast thou heere?
Art come to feast the crowes about my walls?
Didst never heare noe ransome can him cleere
That in the compasse of my furye falls?
For making me to take a porters paines,
With this same clubb I will dash out thy braines.'

'Gyant,' quoth Guy, 'y'are quarrelsome, I see;
Choller and you seem very neere of kin;
Most dangerous at the clubb belike you bee;
I have bin better armd, though nowe goe thin.
But shew thy utmost hate, enlarge thy spight,
Keene is my weapon, and shall doe me right.'

Soe draws his sword, salutes him with the same
About the head, the shoulders, and the side,
Whilst his erected clubb doth death proclaime,
Standinge with huge Colossus' spacious stride,
Putting such vigour to his knotty beame
That like a furnace he did smoke extreame.

But on the ground he spent his strokes in vaine,

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Regular Guy

Im the kind of guy a girl takes home to mom
Pleated khaki pants, and cologne thats the bomb
(you sure smell perty)
Shake her dads hand
Look him in the eye
And tell him straight up Im just a regular guy (ill have her home by 9 sir)
Im a regular guy who stays out of trouble( let me get that for you mam)
A regular guy says mam on the double( Im on it)
Im a regular guy just like dawsons creek
A regular guy just dont call me a geek, a geek yeah
But sometimes I remember what got me here
It was friday and cussing
Back off Im in a boy band
And showing no fear
I watch jay leno (hes funny) 7th heaven too
And I ask myself sometimes what would jesus do
Grab me the serenity to accept the things I cannot change
Im buds with my mom
And I hang out with my dad..hes my buddy
I play everything safe so Ill never be sad (boo hoo)
Im a regular guy who stays out of trouble( let me get that for you mam)
A regular guy says mam on the double( Im on it)
Im a regular guy just like dawsons creek
A regular guy just dont call me a geek, a geek yeah
Dont push me.
Damnt sometimes I wanna smash things up
Jacked up and wrapped upIm in a boy band.. a boyband
And have to pee in a cup
Im a regular guy who stays out of trouble( let me get that for you mam)
A regular guy says mam on the double( Im on it)
Im a regular guy just like dawsons creek
A regular guy just dont call me a geek, a geek yeah

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Big Dumb Guy

So many tech-heads
Recent invasion
I stretch out my long legs
And I kick away the mouse pad, baby
Amazon, eBay, Oracle, he say
He promise a freebee
But he's such a pokey little guy
Wait, I hear big footsteps
Thud, thumping out of the past
That big dumb guy is here at last
That big dumb guy is here at last
Cyberman lights up
But mostly he floppy
Computer man crashes
He's so humpty dumpty, baby
Now he tries this experiment
Though he knows it's so low-tech
He tries patting his forehead
While he's rub, rub, rubbing my stomach, baby
But he can't do it, can he?
No, no he can't do that at all
But wait, I hear big footsteps
Thud, thumbing out of the past
Sure enough, that big dumb guy
Is here at last
That big dumb guy is here at last
Big papa bear
Maybe you can remember
It wasn't that long ago
When you dialed a number
You got a living, breathing human being
On the telephone
Don't want nothing to do
But just study the skin on your face
I want to look up at the sky
And watch the sunset
With someone like you
Wait, I hear big footsteps
Thud, thumbing out of the past
That big dumb guy is here at last
That big dumb guy is here at last
That big dumb guy is here, he's here
In fact he's brought his
big raccoon coat with him
And he doesn't even know it's
politically incorrect
That big dumb guy is here at last
I see him now walking torward me
Let's get it on with your big bad self
Get it on babe, Get it on babe

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The Rosciad

Unknowing and unknown, the hardy Muse
Boldly defies all mean and partial views;
With honest freedom plays the critic's part,
And praises, as she censures, from the heart.

Roscius deceased, each high aspiring player
Push'd all his interest for the vacant chair.
The buskin'd heroes of the mimic stage
No longer whine in love, and rant in rage;
The monarch quits his throne, and condescends
Humbly to court the favour of his friends;
For pity's sake tells undeserved mishaps,
And, their applause to gain, recounts his claps.
Thus the victorious chiefs of ancient Rome,
To win the mob, a suppliant's form assume;
In pompous strain fight o'er the extinguish'd war,
And show where honour bled in every scar.
But though bare merit might in Rome appear
The strongest plea for favour, 'tis not here;
We form our judgment in another way;
And they will best succeed, who best can pay:
Those who would gain the votes of British tribes,
Must add to force of merit, force of bribes.
What can an actor give? In every age
Cash hath been rudely banish'd from the stage;
Monarchs themselves, to grief of every player,
Appear as often as their image there:
They can't, like candidate for other seat,
Pour seas of wine, and mountains raise of meat.
Wine! they could bribe you with the world as soon,
And of 'Roast Beef,' they only know the tune:
But what they have they give; could Clive do more,
Though for each million he had brought home four?
Shuter keeps open house at Southwark fair,
And hopes the friends of humour will be there;
In Smithfield, Yates prepares the rival treat
For those who laughter love, instead of meat;
Foote, at Old House,--for even Foote will be,
In self-conceit, an actor,--bribes with tea;
Which Wilkinson at second-hand receives,
And at the New, pours water on the leaves.
The town divided, each runs several ways,
As passion, humour, interest, party sways.
Things of no moment, colour of the hair,
Shape of a leg, complexion brown or fair,
A dress well chosen, or a patch misplaced,
Conciliate favour, or create distaste.
From galleries loud peals of laughter roll,
And thunder Shuter's praises; he's so droll.
Embox'd, the ladies must have something smart,

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A Penny for the Guy

(Ever remember the fifth of November,
Gunpowder, treason and plot,
We see no reason why gunpowder treason
Should ever be forgot!)

I was sorting through my father's things,
A month since he had died,
And flipping through the books he'd loved,
To still the chill inside,
When out there fell a photograph
Of me, at nine years old,
A tiny square of black and white
That made my blood run cold!

It brought the memories rushing back,
For in that ancient scene,
I stood before a building that
Would make an old man scream,
An air raid shelter, from the war,
A roof so flat and square,
And on the top the bonfire that
Once lit, brought grief to bear.

November 1946,
Was pencilled on the rear,
That date was burnt into my brain,
It brought a sudden tear,
And memories of childhood friends
I hadn't seen since then,
Nor ever would again, I thought,
I left, when I was ten!

We'd stuffed the Guy with newspaper
Inside my father's suit,
And Ben, he had supplied the hat,
And Shirley brought the boots,
We put him on the barrow
Roamed the streets and gave a shout,
'A penny for the Guy, ' we called,
The Guy just flopped about!

'He isn't very real, ' said Ben,
'His head keeps falling off!
We need a broomstick for the neck.'
Then Shirley gave a cough;
'What if I dressed up in the suit,
That mask, to hide my face?
We'd have the best Guy in the street,
The best Guy in the place!

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Whats It Gonna Be

Every girl wants a guy thats right
And Ive been waiting for this guy all my life
Every girl wants a guy thats true
Weve been kicking it for a while
It could be you
I want to know where we stand
Are you gonna be a dog, or a gentleman
Baby, came clean, keep it straight with me
Tell me boy, tell me boy, tell me boy
Whats it gonna be
Im not looking for someone to waste my time
And Im not that kind of girl to read between the lines
Im into you, but I need to know
If youre feeling me too
If you are, let me know
Let me know whats up with you, babe
Remove your mask do I can see behind
See all the feelings you once tried to hide...
Oooh yeah...
Heres a letter from my heart
Keeps it simple not too hard
I wanna be your girl
Read the sign, down below
Check the box yes or no
Every girl wants a guy thats right
And Ive been waiting for this guy all my life
Every girl wants a guy thats true
Weve been kicking it for a while
It could be you
I want to know where we stand
Are you gonna be a dog, or a gentleman
Baby, came clean, keep it straight with me
Tell me boy, tell me boy, tell me boy
Whats it gonna be
I cant wait too long for you to make up my mind
And so Im telling you that boy
Youre running out of time
I feel as Im going through a meltdown overload
Ive got so much love inside
Boy Im ready to explode
Remove your mask so I can see behind
See all the feelings you boys try to hide
Heres a letter from my heart
Keep it simple, not too hard
I wanna be your girl
Read the sign, down below
And check the box yes or no
Every girl wants a guy thats right
And Ive been waiting for this guy all my life
Every girl wants a guy thats true

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Mikes Song

Trapped in time and I dont know what to do
These friends of mine, I can see right through
You dont gotta tell me I dont gotta move
cuz Im sittin back here sharin in the groove
No Im no nice guy (me no are no nice guy)
No Im no nice guy (me no are no nice guy)
No Im no nice guy (me no are no nice guy)
I walk through the hallways inside my mind
I chase the backbeat from behind
Big dude in the doorway was blockin my way
He reached to grab me and this is what he said
No Im no nice guy (me no are no nice guy)
No Im no nice guy (me no are no nice guy)
No Im no nice guy (me no are no nice guy)
This is the end
My only friend, the end
Indians lying on dawns highway bleeding
Ghosts in the young childs fragile ... mind
Aahhhhhhhh!
Careful with that axe, eugene
Mother
Careful with that axe, eugene
Aahhhhhhhh!!!!!

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Elizabeth Barrett Browning

Seventh Book

'THE woman's motive? shall we daub ourselves
With finding roots for nettles? 'tis soft clay
And easily explored. She had the means,
The moneys, by the lady's liberal grace,
In trust for that Australian scheme and me,
Which so, that she might clutch with both her hands,
And chink to her naughty uses undisturbed,
She served me (after all it was not strange,;
'Twas only what my mother would have done)
A motherly, unmerciful, good turn.

'Well, after. There are nettles everywhere,
But smooth green grasses are more common still;
The blue of heaven is larger than the cloud;
A miller's wife at Clichy took me in
And spent her pity on me,–made me calm
And merely very reasonably sad.
She found me a servant's place in Paris where
I tried to take the cast-off life again,
And stood as quiet as a beaten ass
Who, having fallen through overloads, stands up
To let them charge him with another pack.

'A few months, so. My mistress, young and light,
Was easy with me, less for kindness than
Because she led, herself, an easy time
Betwixt her lover and her looking-glass,
Scarce knowing which way she was praised the most.
She felt so pretty and so pleased all day
She could not take the trouble to be cross,
But sometimes, as I stooped to tie her shoe,
Would tap me softly with her slender foot
Still restless with the last night's dancing in't,
And say 'Fie, pale-face! are you English girls
'All grave and silent? mass-book still, and Lent?
'And first-communion colours on your cheeks,
'Worn past the time for't? little fool, be gay!'
At which she vanished, like a fairy, through
A gap of silver laughter.
'Came an hour
When all went otherwise. She did not speak,
But clenched her brows, and clipped me with her eyes
As if a viper with a pair of tongs,
Too far for any touch, yet near enough
To view the writhing creature,–then at last,
'Stand still there, in the holy Virgin's name,
'Thou Marian; thou'rt no reputable girl,
'Although sufficient dull for twenty saints!
'I think thou mock'st me and my house,' she said;
'Confess thou'lt be a mother in a month,

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poem by from Aurora Leigh (1856)Report problemRelated quotes
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