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Dango, dango, dango, dango, a big dango family Dango, dango, dango, dango, a big dango family The naughty fried dango, the kind red bean dango The Mid-Autumn Festival dango tends to dream a little The prim sesame dango, the four dango on a skewer Everyone, everyone comes together and it’s a family of 100s The baby dango is always within happiness The aged dango has its eyes narrowed The chummy dango hold their hands together and make a big, round ring They build a town on the dango planet and everyone laughs together The rabbit is trying to wave in the sky; the huge moon Is rounding up everything, happy things and sad things, too The chummy dango hold their hands together and make a big, round ring They build a town on the dango planet and everyone laughs together The rabbit is trying to wave in the sky; the huge moon Is rounding up everything, happy things and sad things, too Dango, dango, dango, dango, a big dango family Dango, dango, dango, dango, a big dango family Dango, dango, dango, dango, a big dango family Dango, dango, dango, dango, a big dango family ↗
Sorry, Bex," Jason said "You don't have the recognizable facial characteristics - such as a huge chin, or a large amount of real estate between the eyes - that would merit the bestowing of a criminal mastermind nickname such as Lockjaw or Walleye. Whereas Crazytop here...well, just look at her." "Atleast I can blow-dry my hair straight," I pointed out. "Which is more than what I can say for your nose, Hawkface. ↗
#cabot #funny #how #mastermind #meg
In times of crisis, you get a public reaction that is incoherence on stilts. On the one hand, most people know that the government is not in the oil business. They don't want it in the oil business. They know there is nothing a man in Washington can do to plug a hole a mile down in the gulf. On the other hand, they demand that the president 'take control.' They demand that he hold press conferences, show leadership, announce that the buck stops here and do something. They want him to emote and perform the proper theatrical gestures so they can see their emotions enacted on the public stage. They want to hold him responsible for things they know he doesn't control. Their reaction is a mixture of disgust, anger, longing and need. It may not make sense. But it doesn't make sense that the country wants spending cuts and doesn't want cuts, wants change and doesn't want change. ↗
#emotion #obama #politics #vox-populi #anger
Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably "radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of "ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience. ↗
Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways. ↗
#editing #fantasy #genre #magic #mainstream
Roo: What’s your definition of popularity? Hutch: I used to think people were popular because they were good-looking, or nice, or funny, or good at sports. Roo: Aren’t they? Hutch: I’d think, if I could just be those things, I’d – you know – have more friends than I do. But in seventh grade, when Jackson and those guys stopped hanging out with me, I tried as hard as I could to get them to like me again. But then . . . (shaking his head as if to clear it) I don’t really wanna talk about it. Roo: What happened? Hutch: They just did some ugly stuff to me is all. And really, it was for the best. Roo: Why? Hutch: Because I was cured. I realized the popular people weren’t nice or funny or great-looking. They just had power, and they actually got the power by teasing people or humiliating them – so people bonded to them out of fear. Roo: Oh. Hutch: I didn’t want to be a person who could act like that. I didn’t want to ever speak to any person who could act like that. Roo: Oh Hutch: So then I wasn’t trying to be popular anymore. Roo: Weren’t you lonely? Hutch: I didn’t say it was fun. (He bites his thumbnail, bonsai dirt and all.) I said it was for the best. ↗
Are we not perhaps all afraid in some way? If we let Christ enter fully into our lives, if we open ourselves totally to him, are we not afraid that He might take something away from us? Are we not perhaps afraid to give up something significant, something unique, something that makes life so beautiful? Do we not then risk ending up diminished and deprived of our freedom? . . . No! If we let Christ into our lives, we lose nothing, nothing, absolutely nothing of what makes life free, beautiful and great. No! Only in this friendship are the doors of life opened wide. Only in this friendship is the great potential of human existence truly revealed. Only in this friendship do we experience beauty and liberation. And so, today, with great strength and great conviction, on the basis of long personal experience of life, I say to you, dear young people: Do not be afraid of Christ! He takes nothing away, and he gives you everything. When we give ourselves to him, we receive a hundredfold in return. Yes, open, open wide the doors to Christ – and you will find true life. Amen. ↗
In other news, Aang dominates on “Are You Smarter Than the Fire Nation”. Bella Swan becomes engaged to her boyfriend of one year, Edward Cullen, and unceremoniously sends Jacob Black to the “friend zone”. Pop star Candy Cane trades her controversial career for being a housewife (which was a move that is very unpopular with many of her young fans), and Jacquel Rassenworth is still the Internet’s biggest fame-nut (cue APPLAUSE). ↗
You swallow hard when you discover that the old coffee shop is now a chain pharmacy, that the place where you first kissed so-and-so is now a discount electronics retailer, that where you bought this very jacket is now rubble behind a blue plywood fence and a future office building. Damage has been done to your city. You say, ''It happened overnight.'' But of course it didn't. Your pizza parlor, his shoeshine stand, her hat store: when they were here, we neglected them. For all you know, the place closed down moments after the last time you walked out the door. (Ten months ago? Six years? Fifteen? You can't remember, can you?) And there have been five stores in that spot before the travel agency. Five different neighborhoods coming and going between then and now, other people's other cities. Or 15, 25, 100 neighborhoods. Thousands of people pass that storefront every day, each one haunting the streets of his or her own New York, not one of them seeing the same thing. ↗
