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Busted

Cast: Corey Feldman, Corey Haim, Dominick Brascia, Mariana Morgan, Elliott Gould

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Morgan

When Morgan crossed the Murray to Peechelba and doom
A sombre silent shadow rode with him through the gloom.
The wild things of the forest slunk from the outlaw's track,
The boobook croaked a warning, "Go back, go back, go back!"
It woke no answering echo in Morgan's blackened soul,
As onward through the darkness he rode towards his goal.

An evil man was Morgan, a price was on his head;
The simple bush-folk whispered his very name with dread;
Before the fierce Dan Morgan the bravest man might quake-
A cold and callous killer, he killed for killing's sake. .
Past swamp and creek and gully, and settler's lone abode,
Towards the station homestead the grim Dan Morgan rode.

And still that hooded horseman that Morgan could not see,
Watched by the wild bush-creatures, rode close beside his knee.
Before them in a clearing a drover's campfire burned:
The phantom rode with Morgan, and turned when Morgan turned.
And loud the boobook's warning came on the cold night air,
"Go back, go back, Dan Morgan. Beware, beware, beware!"

He reached the station homestead, into the hall he strode,
And on his evil features, the flickering lamplight glowed.
"Into one room!" he thundered. Bring me a glass of grog!
If any disobey me I'll shoot him like a dog!"
With pistols cocked and ready, dark-eyed and beetle-browed-
Before the famous outlaw the bravest hearts were cowed.

All night with loaded pistols he dozed and muttered there,
All night the evil shadow stood close behind his chair.
The brave Scotch girl McDonald, a lass who knew no fear,
Slipped out unseen by Morgan to warn the homesteads near.
And in the hours of darkness, before the break of dawn,
Around the fierce Dan Morgan the fatal net was drawn.

Day broke upon the Murray, the morning mists were gone,
The magpies sang their matins, the river murmured on.
When Morgan left the homestead and neared the stockyard gate
He heard the boobooks warning, and turned but turned to late -
For Quinlan pressed the trigger as Morgan swung around,
And sent the grim bushranger blaspheming to the ground.

So fell the dread Dan Morgan in Eighteen sixty-five,
In death as much unpitied as hated when alive.
He lived by blood and plunder, an outlaw to the end;
In life he showed no mercy, in death he left no friend.
And all who seek to follow in Morgan's evil track
Should heed the boobook's warning: "Go back, go back, go back!"

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Patrick White

Dangerous To Love Things That Perish

for Louise and Morgan

Dangerous to love things that perish
but cowardly not to.
You weren't just a cat.
You were Morgan.
You were
as when I first saw you as a kitten
cupped in Louise's hands
a cloud
a whiff of incense
smoke
a breath
a gust of stars
someone in love had breathed out.
And we loved you.
And now you're dead.
And there are two more people in the world
who can't stop weeping.
Because there is no now
in the suddenness of death
and it's colder in our hearts than it is outside
because your absence
like your body
doesn't have a temperature anymore.
And there's a dagger of darkness
that's thrust through everything
as if God were an assassin
in some kind of video killing game
that put black holes to shame.
Or is it just the impersonality of life
that it seems to derive a cheap thrill
from killing the things it creates
without knowing their names?
Morgan.
Got it.
Morgan the Cat.
A work of genius.
And you'd be a whole lot wiser than you are
not to forget it
because she was a goddess in her own rite.
She was the auroral shapeshifter
that was born a kitten
but grew up to be more than a human
because we always wished
we had more of her characteristics
than the ones we had as a superior species
and we worshipped her
and paid her the attentive kind of tribute
that was and is the natural due of her magical virtues.

[...] Read more

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Lose Control

Music make u lose control
Music make u lose control
[Fatman Scoop]
Lets go
Yeah yeah yeah
Yeah yeah yeah
Here we go now
Here we go now
Here we go now
Here we go now
Watch out now
(music make u lose control)
Misdemeanors in da house
Ciaras in da house
Misdemeanors in tha house
Fat man scoop man scoop man scoop
[Missy Elliott]
I've got a cute face
Chubby waist
Thick legs in shape
Rump shakin both wayz
Make u do a double take
Planet Rocka show stopa
Flo froppa head knocka
Beat stalla tail droppa
Do ma thang muthafukas
Ma rose royce lamborghini
Blu madina alwayz beamin
Ragtop chrome pipes
Blu lights outta sight
Long weave sewed in
Say it again sewed in
Make dat money tho it n
Booty bouncin gon hit
[Missy Elliott & Ciara]
Everybody here
Get it outta control
Get yo backs off tha wall
Cuz misdemeanor said so
Everybody
Everybody
Everybody
[Missy Elliott]
Everybody
[Ciara]
Well ma name is ciara
4 all u fly fellaz
No 1 can do it betta
[Missy Elliott]
She'll sing on acapella

[...] Read more

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Keep It Movin (feat. Elephant Man)

[Missy Elliott]
Eh yo Timb, you know
Niggas like Dr Dre and the Neptunes and Just Blaze
They should be so hot they be keepin us workin yah feel me
But but that nigga R. Kelly
He got one of the illest lines when he say
"Is anybody feelin freaky"
[Elephant Man (Missy Elliott)]
Man up...yep, good to go
Ele-phant Man and Missy Elliott (yeah)
Ladies keep it movin (uh)
Gi dem di dance now
(Its like butter baby, its like butter)
Buss di dance now
(Its like butter baby, its like butter [x3])
Missy, Elliot
Ladies windin around
Tweet show dem kindly how fi do it
(Whoo) Come on
[Verse 1 Missy Elliott]
When you hear the song, role down yah window
Let the music thump yeah, thump thump thump thump
Take a walk in the club, thats how i role
You look so so down, so so so so
Now when you step out on the scene, so fresh so clean
Lookin like a wet dream, yo know what i mean
Its about that, what time would that be?
Wind yah waist line to the base line
Slow it down now get the beat right
[Chorus]
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Buss yah (oh) grove (oh) n we gon' (oh )keep it (oh) movin (oh)
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Shake shake (oh) yah body (oh) we gon' (oh) keep it (oh) movin (oh)
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Shake shake (oh) yah body (oh) they gon' (oh) keep it (oh) movin (oh)
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Buss yah (oh) grove (oh) n we gon' (oh )keep it (oh) movin (oh)
[Verse 2 Missy Elliott]
If you know you look good, say so say so
And you dont give a [ding], hell no hell no
Put yah hands in the air yeah

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Keep It Movin

[Missy Elliott]
Eh yo Timb, you know
Niggas like Dr Dre and the Neptunes and Just Blaze
They should be so hot they be keepin us workin yah feel me
But but that nigga R. Kelly
He got one of the illest lines when he say
"Is anybody feelin freaky"
[Elephant Man (Missy Elliott)]
Man up...yep, good to go
Ele-phant Man and Missy Elliott (yeah)
Ladies keep it movin (uh)
Gi dem di dance now
(Its like butter baby, its like butter)
Buss di dance now
(Its like butter baby, its like butter [x3])
Missy, Elliot
Ladies windin around
Tweet show dem kindly how fi do it
(Whoo) Come on
[Verse 1 Missy Elliott]
When you hear the song, role down yah window
Let the music thump yeah, thump thump thump thump
Take a walk in the club, thats how I role
You look so so down, so so so so
Now when you step out on the scene, so fresh so clean
Lookin like a wet dream, yo know what I mean
Its about that, what time would that be?
Wind yah waist line to the base line
Slow it down now get the beat right
[Chorus]
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Buss yah (oh) grove (oh) n we gon' (oh )keep it (oh) movin (oh)
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Shake shake (oh) yah body (oh) we gon' (oh) keep it (oh) movin (oh)
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Shake shake (oh) yah body (oh) they gon' (oh) keep it (oh) movin (oh)
Keep it (oh) movin (oh), keep it (oh) movin (oh)
Buss yah (oh) grove (oh) n we gon' (oh )keep it (oh) movin (oh)
[Verse 2 Missy Elliott]
If you know you look good, say so say so
And you dont give a [ding], hell no hell no
Put yah hands in the air yeah, get yo hands up
Baby bounce baby bounce, get low get low
2 shots in yah club, yep just whats up
Get Timb to fill it up, yep just whats up
Its about that time, what time would that be
Wind yah waist line to the base line
Slow it down now get the beat right
[Chorus]
Keep it (oh) movin (oh), keep it (oh) movin (oh)

[...] Read more

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Like A Virgin/Hollywood Medley

Britney Spears:
I made it through the wilderness.
Somehow I made it through. Didn't
Know how lost I was until I found
You. I was beat incomplete. I've
Been had. I was sad and blue but
You made me feel, yeah, you
Made me feel shiny and new.
Christina Aguilera:
Like a virgin, ooooh, touched for
The very first time. Like a virgin
With your heartbeat next to mine.
Britney Spears and Christina Aguilera:
Like a virgin, oooh, touched for
The very first time. Like a virgin
With your heartbreat next to mine.
Like a virgin. Ooooh, like a virgin.
Feels so good inside.
Madonna:
Everybody comes to Hollywood.
They wanna make it in the
Neighborhood. They like the
Smell of it in Hollywood. How
Could it hurt you when it looks
So good?
Madonna, Britney Spears, and Christina Aguilera:
Shine your light now. This time
It's got to be good. You'll get it
Right now, yeah, 'cause you're in
Hollywood.
Missy Elliott:
Is it worth it? Let me work it. I put
My thing down, flip it, and reverse
It. Its your fremme neppa venette.
It's your fremme neppa venette.
Is it worth it? Let me work it. I put
My thing down, flip it, and reverse
It. Its your fremme neppa venette.
It's your fremme neppa venette.
Madonna, Britney Spears, Christina Aguilera, and Missy Elliott:
Shine your light now. This time
It's got to be good. You'll get it
Right now, yeah, 'cause you're in
Hollywood.
Madonna, Britney Spears, Christina Aguilera, and Missy Elliott:
Shine your light now. This time
It's got to be good. You'll get it
Right now, yeah, 'cause you're in
Hollywood.
Madonna, Britney Spears, Christina Aguilera, and Missy Elliott:

[...] Read more

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Titania

By Lord T-n.
So bluff Sir Leolin gave the bride away:
And when they married her, the little church
Had seldom seen a costlier ritual.
The coach and pair alone were two-pound-ten,
And two-pound-ten apiece the wedding-cakes;—
Three wedding-cakes. A Cupid poised a-top
Of each hung shivering to the frosted loves
Of two fond cushats on a field of ice,
As who should say 'I see you!'—Such the joy
When English-hearted Edwin swore his faith
With Mariana of the Moated Grange.
For Edwin, plump head-waiter at The Cock,
Grown sick of custom, spoilt of plenitude,
Lacking the finer wit that saith,
'I wait, They come; and if I make them wait, they go,'
Fell in a jaundiced humour petulant-green,
Watched the dull clerk slow-rounding to his cheese,
Flicked a full dozen flies that flecked the pane—
All crystal-cheated of the fuller air,
Blurted a free 'Good-day t'ye,' left and right,
And shaped his gathering choler to this head:—
'Custom! And yet what profit of it all?
The old order changeth yielding place to new,
To me small change, and this the Counter-change
Of custom beating on the self-same bar—
Change out of chop. Ah me! the talk, the tip,
The would-be-evening should-be-mourning suit,
The forged solicitude for petty wants
More petty still than they,—all these I loathe,
Learning they lie who feign that all things come
To him that waiteth. I have waited long,
And now I go, to mate me with a bride
Who is aweary waiting, even as I!'
But when the amorous moon of honeycomb
Was over, ere the matron-flower of Love—
Step-sister of To-morrow's marmalade—
Swooned scentless, Mariana found her lord
Did something jar the nicer feminine sense
With usage, being all too fine and large,
Instinct of warmth and colour, with a trick
Of blunting 'Mariana's' keener edge
To 'Mary Ann'—the same but not the same:
Whereat she girded, tore her crisped hair,
Called him 'Sir Churl,' and ever calling 'Churl!'
Drave him to Science, then to Alcohol,
To forge a thousand theories of the rocks,
Then somewhat else for thousands dewy cool,
Wherewith he sought a more Pacific isle
And there found love, a duskier love than hers.

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Patrick White

The Birth Of Rain

Drifting on a drab Sunday in Perth among the ashtrays and leftover sublimities of the church bells. My studio window above the rooftops a smear of willow and wet pine undulating gently in the stillness that followed the rain. Wolves on the easel, waiting to pay the rent. May of the fifth year into the twenty-first century, fifty-six, I sit in a blizzard of tobacco crumbs because I'm too poor to buy tailor-mades, coughing at the computer, wiping small drops of water like pygmy tears from the Cyclopean eye of the screen that glows with the same effulgence as the dirty sheet of the sky. The main migrations are over, but maybe these words are rosaries of late-returning birds. Two anthracite, boat-tailed grackles on a branch just beyond the grimy glass and a gust of sparrows chirrup like squeaky alternator-belts, manically elated in the wake of the storm that has just passed. My freedoms are more sober, my resurgencies probably less profound than the gray roses I give birth to here at my desk, waiting for one of these terminal urgencies of insight to sway me like a bell.

Maybe Louise later today with her Cola and cassettes, and her rough, voluptuous, laughing humanity scorning the random acids of the vulgar world that schools her, a muse who doesn't take requests, a generous longing that's been through a lot. So I sublimate the root-fires of my leafless batons into an auto-de-fe of white canes tired of trying to tap their way through a maze of sexual creeds, blind. The result? A novel and dozens of poems apples above the worms. And I keep her cats, Morgan and Rain, mother and kitten almost fully grown. There are no humans Louise loves more.

The kitten was born beside me on the couch at one-thirty in the morning while Louise was in the hospital and I read La Mettrie, d'Holbach, Diderot, d'Alembert, Voltaire, Rousseau and Helvetius, eighteenth century French les philosophes. Two days ago, remembering, she asked me to write a poem to celebrate the birth. And it's two hundred and fifteen years since the French revolution went into convulsions and mothered daggers out of its wounds, and we are neither free, nor equal, nor brothers, and the birth of Rain, by association, is only the smallest of iota subscripts below the voluminous pretext of that slaughter, hardly, if at all, a mote that matters; but in a way she was born while the peasants stormed the Bastille, and time sent corpses and ideas floating facedown on one of its more famous rivers of blood all the way to the embryonic comma of this tender, contrary event. And there was honour in being a witness when Morgan jumped up beside me

and lay her head upon my right arm as a pillow, the great red text
with ivory pages open to the public like the Vatican before me
as the soft, gray satchel of her body shuddered with the natal lightning
of a different storm, the quickening eruptions of a different riddle
than the one that dropped its answer like a blade
on the necks of the cropped carnations as I kept on reading, thinking
to run for a towel before deciding not to disturb her,
that a little blood on the couch wouldn't hurt anything
compared to the streams of gore that caked the pages of my book.

And there was a humility in the act of watching, and a trust,
as if a great secret were demanding something of her
she was willing to go through hell to give. And my heart
laboured with her like a sympathetic strawberry, convinced of a miracle,
and even the colder lizards of my mind were awed
by the conception of the material immortality achieved
by the platitudinous genius of replicating genomes,
and who among temples and havens and research labs
could hold a candle to that, and what have I written, or felt, or thought,
that even comes close? And there wasn't a manger,
but the whole of the vast, star trailing night
crowded in behind the adoration of the angel-winged lamps to observe
genesis in the portent of its light
as Morgan rose like a violent squall
and squatting let slip with a howl of wounded passage
a black, sleek pickle of life wrapped in pink ribbons
tied to the tongue-sized kite of a pink placenta
with nothing left to say
while the French Revolution lay open on the table,
crazed with vertical caesarians. Two minutes more
and the afterbirth was eaten, Rain, because she's rippled, blind
because her eyes were queered by the living room light,
groomed and heading for the tit the way
a baby turtle waddles out of its cosmic egg with the world on its back to the sea,
her three-toed paws not yet the heavy seals of tigers,
and stumped by the impasse of continental plates
between the cushions, her first obstruction, tried, but insurmountable, I
appointed myself a force of nature as good as any
and gave her a boost to the bottle, Morgan,
a cat that seldom purrs, purring like dough
at having the cleat of her nipple kneaded into milk.

Two and a half hours I walked and waited to see if she would live;
window to window, through doors and back again, two and a half hours

[...] Read more

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The Return of Morgan and Fingal

And there we were together again—
Together again, we three:
Morgan, Fingal, fiddle, and all,
They had come for the night with me.

The spirit of joy was in Morgan’s wrist,
There were songs in Fingal’s throat;
And secure outside, for the spray to drench,
Was a tossed and empty boat.

And there were the pipes, and there was the punch,
And somewhere were twelve years;
So it came, in the manner of things unsought,
That a quick knock vexed our ears.

The night wind hovered and shrieked and snarled,
And I heard Fingal swear;
Then I opened the door—but I found no more
Than a chalk-skinned woman there.

I looked, and at last, “What is it?” I said—
“What is it that we can do?”
But never a word could I get from her
But “You—you three—it is you!”

Now the sense of a crazy speech like that
Was more than a man could make;
So I said, “But we—we are what, we three?”
And I saw the creature shake.

“Be quick!” she cried, “for I left her dead—
And I was afraid to come;
But you, you three—God made it be—
Will ferry the dead girl home.

“Be quick! be quick!—but listen to that
Who is that makes it?—hark!”
But I heard no more than a knocking splash
And a wind that shook the dark.

“It is only the wind that blows,” I said,
“And the boat that rocks outside.”
And I watched her there, and I pitied her there—
“Be quick! be quick!” she cried.

She cried so loud that her voice went in
To find where my two friends were;
So Morgan came, and Fingal came,
And out we went with her.

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Beats 4 Da Streets [Intro]

Beats 4 Da Streets [Intro]
Aaliyah Feat/Missy Elliott
[Missy Elliott] (Aaliyah)
Aaliyah, Aaliyah
Wake up
You just now entered
Into the next level
The new world of funk
As we do it one time
Creeping through the fog, dat y'all
(A-A-L-I-Y-A-H)
Creeping through the fog, dat y'all
(A-A-L-I-Y-A-H)
[Aaliyah]
I got the beats for da streets
(A-A-L-I-Y-A-H)
Everything I make is so unique
(A-A-L-I-Y-A-H)
Say hey if you down with me
(Hey L-I-Y-A-H)
If you step to me there's no need
(A-A-L-I-Y-A-H)
[Missy Elliott]
Creeping through the fog, dat y'all
Damn she be the bomb, damn (say what?)
Creeping through the
Creeping through the fog, dat y'all
Wake up

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Kiss Test

Lp version
[intro]
This is a test
This is only a test
Boy, do you know
What Im feeling
Im overwhelmed by your lovin
I cant deny
That I want you all the time
But I gotta know
What youre thinkin
Hit it and run, real affection
Whatever it is
I wont let you waste my time
So how will I know
1 - baby with just a kiss
Boy when you touch my lips
Honey, Ill know for sure
Boy, when my eyes meet yours
And if your love is true
Ill give to you my very best
Just pass the test
Boy, when I love
Its completely
Youll do the same
If you want me
Cant be a fool
And just throw my heart away
But how will I know
How will I know
What youre feelin is real
When you say you love me
And how will I know
If its real
What you feel when you say you care
(oh, well put it to the test)
Repeat 1
Repeat 1
Ive got a kiss on my lips
And its wearing your name
So hold on, oh, here it comes
I really wanna know
Its really gonna show
The way you feel inside
No where to hide
Repeat 1 until fade
--------------------------------------------------
Remix
Feat/missy elliott
[dj kay slay]

[...] Read more

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Like A Virgin / Hollywood Medley (feat. Christina Aguilera, Britney Spears & Missy Elliott) (2003: M

Britney Spears:
I made it through the wilderness. Somehow I
Made it through. Didn't know how lost I was
Until I found you. I was beat incomplete.
I've been had. I was sad and blue, but you
Made me feel, yeah, you made me feel shiny
And new. Oh, oh.
Christina Aguilera:
Like a virgin, ooooh, touched for the very
First time, oh. Like a virgin when your
Heart beats next to mine, oh oh oooh yeah.
Christina Aguilera and Britney Spears:
Oooooh. Oooooh. Oooooh.
Madonna:
Everybody comes to Hollywood. They wanna
Make it in the neighborhood. They like the
Smell of it in Hollywood. How could it hurt
You when it looks so good?
Madonna:
Everybody comes to Hollywood. They wanna
Make it in the neighborhood. They like the
Smell of it in Hollywood. How could it hurt
You when it looks so good?
Madonna, Christina Aguilera, and Britney Spears:
Shine your light now. This time it's got to
Be good. You'll get it right now, yeah, 'cause
You're in Hollywood. You're in Hollywood.
Madonna:
Everybody comes to Hollywood. They wanna
Make it in the neighborhood. They like the
Smell of it in Hollywood. How could it hurt
You when it looks so good?
Missy Elliott:
Yo! Yo! Yo! Who that be? Missy Elliott, M.I.C.
I works it and I works it. Can I flip my thing
And reverse it? Come on! Go! Go 'head. Go! Go
'Head! I works it and I works it. Can I flip
My thing and reverse it? Come on! Go! Go 'head!
Go! Go 'head. Party people, we'll show you how
To work that. Where you at, Madonna?
Madonna:
Trip the station! Change the channel!
Madonna:
Hollywood. Hollywood. How could it hurt you
When it looks so good? Hollywood. Hollywoood.
How could it hurt you when it looks so good?
Madonna, Christina Aguilera, Britney Spears, and Missy Elliott:
Hollywood. Hollywood. How could it hurt you
When it looks so good? Hollywood. Hollywoood.
How could it hurt you when it looks so good?

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Last Worthless Evening

I know you broke up with him
And your heart's still on the shelf
It's been over two years for me
And I'm still not quite myself
You can't be with someone new
And you can't go back to him
You're beginning to realize
That it's sink or swim
I see you around sometimes
And my heart just melts
You're lookin' like if you had your wish
You'd be somewhere else
And it just breaks my heart
To see you here this way
Someday I'll get the nerve
To walk up to you and say
This is the last worthless evening
That you'll have to spend
Just gimme a chance
To show you how to love again
This is the last worthless evening
That you'll have to spend
'Cause I'll be there
When your broken heart is on the mend
Every night it's the same old crowd
in smokey rooms
You catch a faint glimpse of love sometimes
But it never blooms
I've been around this block a time or two
And I've made some big mistakes
But girl I promise you, I promise you
This is the last worthless evening
That you'll have to spend
Just gimme a chance
To show you how to love again
This is the last worthless evening
that you'll have to spend
'Cause it won't be long
'Till your little heart is on the mend
People inside their houses
with the shades pulled down
God knows, we could use some romance
in this sleepy bedroom town
I know you're still afraid to rush into anything
But there're just so many summers
And just so many springs
And this is the last worthless evening
That you'll have to spend, baby
Just gimme a chance, gimme a chance
To show you love again

[...] Read more

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At Cheyenne

Young Lochinvar came in from the West,
With fringe on his trousers and fur on his vest;
The width of his hat-brim could nowhere be beat,
His No.

brogans were chuck full of feet,
His girdle was horrent with pistols and things,
And he flourished a handful of aces on kings.
The fair Mariana sate watching a star,
When who should turn up but the young Lochinvar!
Her pulchritude gave him a pectoral glow,
And he reined up his hoss with stentorian "Whoa!"
Then turned on the maiden a rapturous grin,
And modestly asked if he might n't step in.
With presence of mind that was marvellous quite,
The fair Mariana replied that he might;
So in through the portal rode young Lochinvar,
Pre-empted the claim, and cleaned out the bar.
Though the justice allowed he wa'n't wholly to blame,
He taxed him ten dollars and costs, just the same.

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Modern Day Mariana (Cavatina Sequence)

At times sinister, other times placid,
just sweeping on
far over the horizon of the flat earth,
all life seems gone
in the arid landscape of the Karoo,
stone upon stone
shimmers in the great scorching noontime heat
while wild pigeons walk the roof with small feet.

Two old rusting wind-pumps guard the kingdom,
they are lifeless
and when the light wind passes they creak to life;
somewhat careless
rusting tools are strewn all around the grange,
quite purposeless
she pages through a very old magazine,
around her life and the world does decline.

Every day she picks a marigold
from the garden,
continually plays the 'he loves me' game,
a passing warden
is at times the only male company,
she does pardon
her fiancé for not coming to visit,
but she does not really understand it.

As time passes she grows somewhat older,
time moves slowly,
the old wooden floor creaks under her feet,
far too lowly
her life seems while old portraits watches her
and gradually
she starts to live in a kind of strange dream,
at night inhuman voices laugh, cry and scream.

[References: 'Mariana in the moated grange' in the play 'Measure for Measure' by William Shakespeare and 'Mariana' by Alfred, Lord Tennyson.]

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Glenn Gould was my hero. Glenn Gould was my idol. I loved him.

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Two Pina Colladas

I was feelin the blues,
I was watchin the news
When this fella came on the tv
He said that Im tellin you,
That science has proven
That heartaches are healed by the sea
And that got me goin without even knowin
And I packed right up and drove down
Now Im on a role, and I sear to my sole
Tonight Im gonna paint this town
(chorus)
So bring me two pina colladas
I want one for each hand
Lets set sail with captain morgan
And never leave dry land
Any troubles Ive forgotten
Ive buried them in the sand.
So bring me two pina colladas
She said goodbye to her good timing man.
Now Ive got to saying, that the wind and the waves
And the moon winkin down at me
Eases my mind, by leaving behind
The heartaches that love often brings
Now Ive got a smile, that goes on for miles
With no inclination to roam
Now Ive gotta say, that I thank God I stayed
Cause its feeling more and more like home
(chorus)
So bring me two pina colladas
I gotta have one for each hand
Lets set sail with captain morgan
And never leave dry land
Any troubles Ive forgotten
Ive buried them in the sand.
So bring me two pina colladas
She said goodbye to her good timing man.
So bring me bring me bring me two pina colladas
I gotta have one for each hand
Lets set sail with captain morgan
And never leave dry land
Any troubles Ive forgotten
Ive buried them in the sand.
So bring me two pina colladas
She said goodbye to her good timing man

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The Gundaroo Bullock

Oh, there's some that breeds the Devon that's as solid as a stone,
And there's some that breeds the brindle which they call the "Goulburn Roan";
But amongst the breeds of cattle there are very, very few
Like the hairy-whiskered bullock that they breed at Gundaroo.
Far away by Grabben Gullen, where the Murrumbidgee flows,
There's a block of broken country-side where no one ever goes;
For the banks have gripped the squatters, and the free selectors too,
And their stock are always stolen by the men of Gundaroo.

There came a low informer to the Grabben Gullen side,
And he said to Smith the squatter, "You must saddle up and ride,
For your bullock's in the harness-cask of Morgan Donahoo --
He's the greatest cattle-stealer in the whole of Gundaroo."

"Oh, ho!" said Smith, the owner of the Grabben Gullen run,
"I'll go and get the troopers by the sinking of the sun,
And down into his homestead tonight we'll take a ride,
With warrants to identify the carcass and the hide."

That night rode down the troopers, the squatter at their head,
They rode into the homestead, and pulled Morgan out of bed.
"Now, show to us the carcass of the bullock that you slew --
The hairy-whiskered bullock that you killed in Gundaroo."

They peered into the harness-cask, and found it wasn't full,
But down among the brine they saw some flesh and bits of wool.
"What's this?" exclaimed the trooper; "an infant, I declare;"
Said Morgan, "'Tis the carcass of an old man native bear.
I heard that ye were coming, so an old man bear I slew,
Just to give you kindly welcome to my home in Gundaroo.

"The times are something awful, as you can plainly see,
The banks have broke the squatters, and they've broke the likes of me;
We can't afford a bullock -- such expense would never do --
So an old man bear for breakfast is a treat in Gundaroo."
And along by Grabben Gullen, where the rushing river flows,
In the block of broken country where there's no one ever goes,
On the Upper Murrumbidgee, they're a hospitable crew --
But you mustn't ask for "bullock" when you go to Gundaroo.

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Essay on Psychiatrists

I. Invocation

It‘s crazy to think one could describe them—
Calling on reason, fantasy, memory, eves and ears—
As though they were all alike any more

Than sweeps, opticians, poets or masseurs.
Moreover, they are for more than one reason
Difficult to speak of seriously and freely,

And I have never (even this is difficult to say
Plainly, without foolishness or irony)
Consulted one for professional help, though it happens

Many or most of my friends have—and that,
Perhaps, is why it seems urgent to try to speak
Sensibly about them, about the psychiatrists.


II. Some Terms

“Shrink” is a misnomer. The religious
Analogy is all wrong, too, and the old,
Half-forgotten jokes about Viennese accents

And beards hardly apply to the good-looking woman
In boots and a knit dress, or the man
Seen buying the Sunday Times in mutton-chop

Whiskers and expensive running shoes.
In a way I suspect that even the terms “doctor”
And “therapist” are misnomers; the patient

Is not necessarily “sick.” And one assumes
That no small part of the psychiatrist’s
Role is just that: to point out misnomers.


III. Proposition

These are the first citizens of contingency.
Far from the doctrinaire past of the old ones,
They think in their prudent meditations

Not about ecstasy (the soul leaving the body)
Nor enthusiasm (the god entering one’s person)
Nor even about sanity (which means

Health, an impossible perfection)
But ponder instead relative truth and the warm

[...] Read more

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Contagion

Cast: Matt Damon, Kate Winslet, Jude Law, Marion Cotillard, Gwyneth Paltrow, Bryan Cranston, Laurence Fishburne, Jennifer Ehle, Sanaa Lathan, John Hawkes, Elliott Gould, Natalie Gal

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