While looking through the years of photos for an album of Twilight, I came across this one of an evening cloud formation. It was taken with a small digital camera out the window of my truck on the way home from a 4×4 camping and fishing trip on the Rubicon trail.
In my sky at twilight you are like a cloud
and your form and color are the way I love them.
You are mine, mine, woman with sweet lips
and in your life my infinite dreams live.
The lamp of my soul dyes your feet,
the sour wine is sweeter on your lips,
oh reaper of my evening song,
how solitary dreams believe you to be mine.
You are mine, mine, I go shouting it to the afternoon’s wind,
and the wind hauls on my widowed voice.
Huntress of the depth of my eyes, your plunder
stills your nocturnal regard as though it were water.
You are taken in the net of my music, my love,
and my nets of music are wide as the sky.
My soul is born on the shore of your eyes of mourning.
In your eyes of mourning the land of dreams begin.
“Euphoria,” a science-based, self-help art film about the authentic pursuit of happiness, is presented by Creative Alliance and Senator Theatre. The film begins by asking “are you happy?” and takes off on a journey through the American landscape—the one that surrounds us and the one inside us. Synchronized swimmers inhabit an underwater jungle of neurons; Teddy Bears hover in arcs of electricity, and real people share how their lives have been transformed by pursuing what is meaningful and engaging to them.
A montage of visual metaphors, profiles and scientific fact, feature-length Euphoria is not a documentary in the truest sense, and its narrative arc is as loose and loopy as can be.
Nor does Euphoria attempt to terrify viewers in the tradition of the 1936 cult film Reefer Madness and other memorable media scare tactics.
Instead, Euphoria, through scientific, historical and cultural inquiry, makes the point that the “pursuit of meaning and engagement looks like a good idea,” says Boot, the film’s director and screenwriter. Its message, though, is not revealed in any one scene or sentence. It arrives by way of a non-stop accrual of symbols, questions and thoughts over the course of the 80-minute film.
More euphoria = less need for security…unless of course pursuit of euphoria is incompatible with concepts such as common law, which just brings us back to the need for those who get euphoria from designing security controls.
Tickle me pink
I’m rosy as a flushed red apple skin
except I’ve never been as sweet
I’ve rolled around the orchard
and found myself too awkward
and tickle me green I’m too naive
Pray for the people inside your head
for they won’t be there when you’re dead
muffled out and pushed back down
pushed back through the leafy ground
Time is too early
my hair isn’t curly
I wish I was home and tucked away
when nothing goes right
and the future’s dark as night
what you need is a sunny sunny day
Pray for the people inside your head
for they won’t be there when you’re dead
muffled out and pushed back down
pushed back through the leafy ground
Don’t know where I can find myself a brand new pair of ears
don’t know where I can buy a heart
The one I’ve got is shoddy
I need a brand new body
and then I can have a brand new start
Pray for the people inside your head
for they won’t be there when you’re dead
muffled out and pushed back down
pushed back through the leafy ground
Monsters in the valley
and shootings in the alley
and people fall flat at every turn
there is no straight and narrow
offload your wheelbarrow
and pick up your sticks and twigs to burn
Pray for the people inside your head
for they won’t be there when you’re dead
muffled out and pushed back down
pushed back through the leafy ground
Pray for the people inside your head
for they won’t be there when you’re dead
when you’re dead
when you’re dead…
The melody of this song is familiar to me. Chris Sidorfsky wrote and performed something very, very similar in 1989 at a talent show. I played the drums with/for him and at that talent show I used an old wooden trash can for the beat. I don’t remember the exact lyrics by Chris but it had something to do with a frog caught in a web.
What Michelangelo was doing was trying to remind Rome five centuries ago that Jesus was a Jew, he came from Jews, and that Christianity is based on Judaism. Florence in his time was proud of that connection, whereas Rome was not only trying to separate the two religions but to negate in great part its roots in Judaism — and even forcibly separate Jews and Christians. There were many Papal bulls outlawing fraternization and friendship between Jews and Christians, whereas in Florence everybody was partying together.
Q: Was Michelangelo simply promoting the Florentine agenda in Rome?
Absolutely. In his poems he complains about the abuses of power and hypocrisy of the church. It’s not us imagining it; it’s in his own words and work. This was not somebody who was thrilled about working for the Vatican on a ceiling.
Although today the message might be subtle, perhaps in his lifetime it was as open as his poetry.
One only has to be
finding windows and doors
a member among those with a key
to unlock what we all stare towards
a blog about the poetry of information security, since 1995
