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We learned about feelings in our mortal history class
And tonight I brought ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
derspatchel to Viking Zen's for Movie Night and they showed me Xanadu (1980). Fortunately there were caipirinhas, although I still have this memory of catatonically hugging the bottle of cachaça during the Don Bluth-designed sequence nobody warned me about. But there was also Gene Kelly, who was a lovely, lovely man even on rollerskates and dripping with cowboy fringe: I watched his dance-duet with the memory of his muse and I was just smiling. It might have been his last screen role, but I don't think he was capable of being without grace. And the big-band prog-rock fusion number was genuinely quite good. There are tentative plans next week to watch Big Night (1996), but only if (Alison's) Rob makes his family lasagna.
And then I came home and found the mail had brought me contributor's copies of Rose Lemberg's Here, We Cross: A Collection of Queer & Genderfluid Poetry from Stone Telling 1–7, in which my poems "Persephone in Hel" and "The Clock House" are reprinted. The table of contents includes some of my favorite poets working in the field. I am very pleased to be in their company.
And this is the world's greatest commercial.
I am going to bed before I write anything about muses.
derspatchel to Viking Zen's for Movie Night and they showed me Xanadu (1980). Fortunately there were caipirinhas, although I still have this memory of catatonically hugging the bottle of cachaça during the Don Bluth-designed sequence nobody warned me about. But there was also Gene Kelly, who was a lovely, lovely man even on rollerskates and dripping with cowboy fringe: I watched his dance-duet with the memory of his muse and I was just smiling. It might have been his last screen role, but I don't think he was capable of being without grace. And the big-band prog-rock fusion number was genuinely quite good. There are tentative plans next week to watch Big Night (1996), but only if (Alison's) Rob makes his family lasagna.And then I came home and found the mail had brought me contributor's copies of Rose Lemberg's Here, We Cross: A Collection of Queer & Genderfluid Poetry from Stone Telling 1–7, in which my poems "Persephone in Hel" and "The Clock House" are reprinted. The table of contents includes some of my favorite poets working in the field. I am very pleased to be in their company.
And this is the world's greatest commercial.
I am going to bed before I write anything about muses.
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Today the pits, tomorrow the wrinkles--Sunsweet marches on!
Nine
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I watched Xanadu once, largely for the ELO connection. I can't remember anything about it apart from (I think) someone roller-skating through a wall. Not sure what the hell I made of it.
*I am very pleased to be in their company.*
I can actually say that to *you* now. I'm going to be sharing a ToC with you and Selidor. Through the Gate are taking "Sepia" and I only submitted last night!
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The table of contents of Here We Cross, in addition to being about 15 pages long, reads like a who's who. What a great collection!
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(what an unlikely statement)
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There's an interesting and fairly even-handed (if a little snarky) review of Xanadu here: http://blip.tv/nostalgia-chick/nostalgia-chick-xanadu-2246985
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And I can't wait to receive my copy of Here, We Cross.
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That was the line where I lost it.
"What are these people trying to pull?"
I can't remember anything about it apart from (I think) someone roller-skating through a wall.
That happens. I believe I said brightly, "I saw this in a Roadrunner cartoon once!"
Through the Gate are taking "Sepia" and I only submitted last night!
Fantastic!
A party in the ToC is definitely in order.
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We got 1776 (1972) at the end of eighth grade, but I think that was pretty clearly a win.
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Hee. Let me know what he thinks!
I had no idea the ad existed until last night, when I saw it mentioned in Freberg's Wikipedia. I don't know if it would make me buy prunes (unless to pay Freberg's salary, in appreciation), but my world is a better place for knowing it's there.
What a great collection!
I really am happy about it. I hope it is reviewed and read and makes a difference.
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... I guess I should get off LJ.
*sigh*
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Prunes: bringing you the unexpected since 1967!
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I don't usually say that about advertising!
And I can't wait to receive my copy of Here, We Cross.
I'm glad you're in it. I think the first thing I ever said about "In His Eighty-Second Year" was, "That's fantastic."
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Alas for paid work, but yay!
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And I'm very glad to be in the book along with so many great poets. I looked it up, you actually used "astonishing" which had me bouncing around (and you were the first to comment on the poem, so obviously I was damn happy).
By the way, I think "The Clock House" is actually my favourite piece from you.
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"Fantastic" was in e-mail to
By the way, I think "The Clock House" is actually my favourite piece from you.
Thank you.
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I'll let you know when we've seen it!
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That commercial is delightfully unexpected. Thanks for sharing!
I am going to bed before I write anything about muses.
I hope you've found sleep there, although I certainly don't have an objection to your writing about muses, as long as it doesn't make you unhappy to be doing so.
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(The Internet is for Wonder, more often than not).
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Heh. Although I admit to liking the internet-infused Vitamin Water commercial.
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Stan Freberg was brilliant enough on his own. Bradbury makes everything better.
I hope you've found sleep there, although I certainly don't have an objection to your writing about muses, as long as it doesn't make you unhappy to be doing so.
It feels like a health hazard after watching Xanadu. Disco might occur.
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I like when it is.
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. . . What is this?
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I don't even know that one. What is it?
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I have not found any non-metaphorical prunes as yet. But I haven't looked very hard, either.
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I applaud this sentence.