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Quotes about b.eng.

Bubble Pop Electric

I'm empty, I need fulfilling, yes I do love
To the ceiling, when I do love
I get this feeling when I'm in love
I'm restless, can't you see I try my bestest
To be good girl, because it's just us
So take me now and do me justice
I'm waiting patiently
Anticipating your arrival
And I'm hating
It takes so long to get to my house
To take me out
Tonight, I'm gonna give you all my love in the back seat
Bubble pop electric, bubble pop electric
Gonna speed it down and slow it up in the back seat
Bubble pop electric
Uh-oh, in the back seat
Ok now, I understand he's on his way now
But jeez Louise, I mean today now
I can't wait, I wanna play now
I'm antsy

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Code Black

Cast: Danny Cheng, Andrew Eads, Jamie Eng, Luis Enriquez, Arash Kohanteb, Billy Mallon, Ed Newton

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A Poem Upon The Death Of O.C.

That Providence which had so long the care
Of Cromwell's head, and numbred ev'ry hair,
Now in its self (the Glass where all appears)
Had seen the period of his golden Years:
And thenceforth onely did attend to trace,
What death might least so sair a Life deface.
The People, which what most they fear esteem,
Death when more horrid so more noble deem;
And blame the last Act, like Spectators vain,
Unless the Prince whom they applaud be slain.
Nor Fate indeed can well refuse that right
To those that liv'd in War, to dye in Fight.
But long his Valour none had left that could
Indanger him, or Clemency that would.
And he whom Nature all for Peace had made,
But angry Heaven unto War had sway'd,
And so less useful where he most desir'd,
For what he least affected was admir'd,
Deserved yet an End whose ev'ry part
Should speak the wondrous softness of his Heart.

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Hearing the Early Oriole

When the sun rose I was still lying in bed;
An early oriole sang on the roof of my house.
For a moment I thought of the Royal Park at dawn
When the Birds of Spring greeted their Lord from his trees.
I remember the days when I served before the Throne
Pencil in hand, on duty at the Ch'eng-ming;
At the height of spring, when I paused an instant from work,
Morning and evening, was this the voice I heard?
Now in my exile the oriole sings again
In the dreary stillness of Hsün-yang town ...
The bird's note cannot really have changed;
All the difference lies in the listener's heart.
If he could but forget that he lives at the World's end,
The bird would sing as it sang in the Palace of old.

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War

'E sez to me, 'Wot's orl this flamin' war?
The papers torks uv nothin' else but scraps.
An'wot's ole England got snake-'eaded for?
An' wot's the strength uv callin' out our chaps?'
'E sez to me, 'Struth! Don't she rule the sea?
Wot does she want wiv us?' 'e sez to me.

Ole Ginger Mick is loadin' up 'is truck
One mornin' in the markit feelin' sore.
'E sez to me, 'Well, mate, I've done me luck;
An' Rose is arstin', 'Wot about this war?'
I'm gone a tenner at the two-up school;
The game is crook, an' Rose is turnin' cool.

'E sez to me, ''Ow is it fer a beer?'
I tips 'im 'ow I've told me wife, Doreen,
That when I comes down to the markit 'ere
I dodges pubs, an' chucks the tipple, clean.
Wiv 'er an' kid alone up on the farm
She's full uv fancies that I'll come to 'arm.

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The Crazy Lady of Jiao Ba Lu

Jiao Ba Lu is an ancient street,
The cobbles are overgrown,
A few mean dwellings still bar their doors
The others are falling down;
They say a woman who lives down there
Is three parts gone to the moon,
While children mutter a curse, or pray
When she stumbles out in the gloom.

For Gao Fang Fang has pure white hair
That blows like a ghost in the breeze,
Her eyes are wild, and she never smiles,
And she often falls to her knees;
She falls to her knees with a cry of pain
At visions she only sees,
And wails at night when the moon is bright,
Or shadows form through the trees.

Over the hearth of her meagre home
Is a picture of Mao Zedong,

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On Seeing A Pupil Of Kung-sun Dance The Chien-ch`i

On the nineteenth day of the tenth month of the second year of Ta-li (15 November 767), in the residence of Yuan Ch`ih, Lieutenant-Governor of K`uei-chou, I saw Li Shih-er-niang of Lin-ying dance the chien-ch`i.

Impressed by the brilliance and thrust of her style, I asked her whom she had studied under. ``I am a pupil of Kung-sun'', was the reply.

I remember in the fifth year of K`ai-yuan (717) when I was still a little lad seeing Kung-sun dance the chien-ch`i
and the hun-t`o at Yen-ch`eng. For purity of technique and self-confident attack she was unrivaled in her day.

From the ``royal command performers'' and the ``insiders'' of the Spring Garden and Pear Garden schools in the palace down to the ``official call'' dancers outside, there was no one during the early years of His Sagely Pacific and Divinely Martial Majesty who understood this dance as she did. Where now is that lovely figure in its gorgeous costume? Now even I am an old, white-haired man; and this pupil of hers is well past her prime.

Having found out about the pupil's antecedents, I now realized that what I had been watching was a faithful
reproduction of the great dancer's interpretation. The train of reflections set off by this discovery so moved me
that I felt inspired to compose a ballad on the chien-ch`i.

Some years ago, Chang Hsu, the great master of the ``grass writing'' style of calligraphy, having several times
seeen Kung-sun dance the West River chien-ch`i at Yeh-hsein, afterwards discovered, to his immense
gratification, that his calligraphy had greatly improved. This gives one some idea of the sort of person Kung-sun
was.

In time past there was a lovely woman called Kung-sun, whose chien-ch`i astonished the whole world. Audiences numerous as the hills watched awestruck as she danced, and, to their reeling senses, the world seemed to go on rising and falling, long after she had finished dancing. Her flashing swoop was like the nine suns falling, transfixed by the Mighty Archer's arrows; her
soaring flight like the lords of the sky driving their dragon teams aloft; her advance like the thunder gathering up its dreadful rage; her stoppings like seas and rivers locked in the cold glint of ice.

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Hans Christian Andersen

April

'- Frihed, synger Du, April!
med nyfødt Grønt og Sommer-Smiil.'
*
(Strandveien).

En ung Herre (til Hest).
O, April! en deilig Maaned!
En Champagne-Maaned er Du!
Gjennem Snee og Vinterkulde
Du fremsprudler Liv og Varme.
Sommersol og Vinterhagel,
Marken Grøn, og dog lidt Snee!
Mig i Sind og Skind Du ligner,
Som en Draabe ligner Draaben.
Ungdomsglad jeg slynger Armen
Om hver buttet deilig Pige,
Trykker Kys paa Barm og Læbe;
Sværmer nu hos Pleisch og Minni, 1
Siger Vittighed, par Diable!
- Andre Tider Regn og Taage,

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Hans Christian Andersen

C. Neergaard

Paa Livets Tangenter, de sorte og hvide,
Du lystigt fra Barndoms-Landet udride!
De svulme og bæve i sød Harmoni!
Hvad nu kun de drømme, i Klarhed vil stige.
Dig Gud gav den Lykke i Toner at sige
Hvert Hjerte den qvægende Poesi.

Du Hjemmet vil huske med Frugttræer og Birke,
Den duftende Eng med den blegrøde Kirke,
Og Storken og Svalen, som fløi Dig forbi.
Men mon Du vil huske den Trækfugl, som bragte
En Hilsen til Dig og et Blomsterblad lagde
Foran Dig til Tak for hver Melodi?

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Hans Christian Andersen

En ung Maler

Den friske, grønne Eng med sine Damme,
Den knopped' brune Skov, den aabne Sø,
Og Skyerne ved Firmamentets Ramme,
Der i en violetblaa Taage døe,
Dem maler jeg, de blive skal mit Eie.

(Han sætter sig paa en Steen under Træet).

Smukt hæver sig det lille Fiskerleie!
See, Garnet hænger udspændt høit ved Strand!
Her ligger Baaden trukket op paa Land,
Og Græsset under den, for Solen skjult,
Staaer høit og tykt, men med en grønligt Guult.

To Smaa-Børn lege foran Huset hist
Med tørre Pinde og en Bøgeqvist;
De plante dem en Have smukt i Solen,
Mens Bedstemoder her i Lænestolen
Maa tage Plads og lege med de Smaa.
De, som to muntre, Vaarens, Alfer staae

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