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zero 07-21-2009 02:14 AM

mo i happened upon his picture just now & thought you might like it

i wondered what jmorrison's is about to say/saying/has just said


yours calm abidingly

MoJoRiSin 07-21-2009 08:51 AM


Originally Posted by zero (Post 413450)
mo i happened upon his picture just now & thought you might like it

i wondered what jmorrison's is about to say/saying/has just said


yours calm abidingly

uh dunno....
faces come out of the rain ???

MoJoRiSin 07-21-2009 11:12 PM

in his original eighth grade note book it was "people, come out of the rain"
ARTIST: The Hollies
TITLE: Bus Stop
Lyrics and Chords

Bus stop, wet day, she's there I say
Please share my umbrella
Bus stop, bus go, she stays love grows
Under my umbrella
All that summer we enjoyed it
Wind and rain and shine
That umbrella we employed it
By August she was mine

/ Am - - - / / / Am - - AmG / C G Am - /
/ Dm - Em - / Am - - - / Am Em Am -/

Every morning I would see her waiting at the stop
Sometimes she'd shop and she would show me what she bought
All the people stared as if we were both quite insane
Someday my name and hers are going to be the same

/ C B7 Em C / Am B7 Em - / :

That's the way the whole thing started
Silly, but it's true
Thinking of a sweet romance
Beginning in a queue
Came the sun, the ice was melting
No more sheltering, now
Nice to think that that umbrella
Led me to a vow


Bus stop, wet day
She's there I say
Please share my umbrella
Bus stop, bus go, she stays, love grows
Under my umbrella
All that summer we enjoyed it
Wind and rain and shine
That umbrella we employed it
By August she was mine

i hear this today while in trader joes

and it reminded me that this song was popular
when i was in somewhere between the 2nd and fourth grades
and i always wondered what "by august she was mine"
i did not get that part
i couldn't wrap my mind around that
i did distinctly remember r thinking
then what?
i loved to thinking of then at the bus stop
but she was his? that was a let down somehow

once when i was at girl scout camp
everyone was playing on a carousel over and over
while i was trying to sleep and thinking
there will someday be a
last song ever written
i wonder if it was this song
would the world be different without any new songs
or stay the same
the gist:: could people go on living etc if no one ever wrote another song ??

long winded due to thinking of
"the hollies"

bye for real :)

MoJoRiSin 07-25-2009 05:24 PM

Jesus died for our sins

MoJoRiSin 07-25-2009 08:44 PM

year one
i never heard of this movie did you?
i watched only a minute of the trailer
then posted
it as a quotation debate response
eeks ~"~ dumb idea!

here is a review
i really had no clue
what to do?
Jack Black and Michael Cera star in the comedy "Year One." (Handout photo / June 18, 2009


By Michael Sragow | michael.sragow@baltsun.com

8:33 AM EDT, June 18, 2009

* EmailE-mail
* printPrint

If Harold Ramis' Year One were a bowling match, it would lurch between gutter balls and spares, with some scattered lucky strikes. Despite the key image of rotund Jack Black and willowy Michael Cera in animal-skins, it's not a caveman comedy like Caveman. It's a romp through the early chapters of the Bible with Zed (Black) and Oh (Cera), who are forced to leave their primitive village when Zed eats fruit from the Tree of Knowledge.

At best it's a bit like Mel Brooks' The History of the World Part I (except Ramis stops somewhere in Genesis); at worst it's like a Scary Movie-type parody of John Huston's The Bible. Black's Zed is a Brooksian figure, all wiliness and appetite, while Cera is more like an elongated Woody Allen, intelligent but strangled in a continuing tussle between his erupting id and his feelings of inadequacy. These two share a loopy chemistry; their affection is disarming. They keep the movie likable even when it stumbles all over the place and then gets stuck in Sodom.

Anyone who's studied "hunter-gatherer cultures" in Anthropology 101 will laugh when the inhabitants of Zed and Oh's village refer to themselves quite consciously as "hunters" and "gatherers." We're amused to think our college profs got something right; it's as if the characters in Mad Men suddenly called themselves "organization men" or "the lonely crowd."

Oh is definitely a gatherer, spending his days wiping bird poop off strawberries; when he sees his true love flirting with hunters, he calls her a self-loathing gatherer. Still, these roles are fluid. When Zed admits he's not the best hunter, he confesses he's not the best gatherer either.

So far, so witty. Yet director Ramis, who sketched out the story and co-wrote the script, also brings infantile gross-out gags to new lows -- he traces bodily-function gags to their historical source. He bets that toilet humor will seem funnier if set in the epoch B.T. (Before Toilets).

The film's wild swings from college humor to low-down whimsy wouldn't give an audience whiplash if Ramis had more style as a moviemaker. (In Year One, as in The Proposal, the closing-credit gag and blooper reels scarcely differ from the actual film.)

Ramis can't find funny ways to end a scene with the serpent at the Tree of Knowledge and another scene with a cougar, so he simply cuts ahead to the next bit. These jumps don't amount to a blackout comedy style; they're just a series of cheats. At the same time, Ramis' no-big-deal attitude toward momentous mythology and history keeps you relaxed and hopeful for his next coup. It makes sense that Zed and Oh, who've never seen a wheel, will experience a cart-ride as a roller coaster.

The main joke of the jarring Cain and Abel scene is that Abel proves as hard to kill as Rasputin; the minor joke for fans of the Judd Apatow Gang is that an uncredited Paul Rudd plays Abel. Since the movie verges on being too hip and smug about its secular humanism, it comes as a relief that some divine power still sears "the mark of Cain" into the murderer's forehead and that David Cross plays Cain, the film's third lead character, as the ultimate weasel.

Oh and Zed, who starts calling himself "the Chosen," continue to pratfall in and out of Bible stories, most effectively when they interrupt Abraham's sacrifice of Isaac. What holds the movie together, barely, is their attempt to save from slavery their respective true loves, the swarthy Maya (June Diane Raphael) and the blonde Eema (Juno Temple, who is fizzy and fun, a bit like Yvette Mimieux in her Time Machine days).

They all meet up again at Sodom, where Ramis appears as flummoxed by the scale as his heroes. Ramis studs the sequence with ticklish shticks, including Oliver Platt's oleaginous turn as a gay high priest. But it goes on forever and gets all holy about its anti-holiness. Zed declares that every man or woman is "chosen"and can create his or her own destiny. It's a highfalutin' story arc for a hit-or-miss film that basically makes the Promised Land and its surroundings as slap happy as the Land of the Lost. Year One (Columbia Pictures) Starring Jack Black, Michael Cera and Oliver Platt. Directed by Harold Ramis. Rated PG-13 for language and crude and sexual content. Time 97 minutes.

Copyright © 2009, The Baltimore Sun

MoJoRiSin 07-29-2009 06:50 PM

mo is writing to set the record

at age 29 mo had never been
attracted to anyone
male or female
((sexual or otherwise))

MoJoRiSin 08-01-2009 08:59 PM

:) :) there is no way i cannot be here:) :)

Coffee 08-02-2009 03:04 PM

lol :)

MoJoRiSin 08-02-2009 06:52 PM

the promises land??? surely not !! ~"~
The new kingdom where everyone is encouraged to intermarry prior to the invention orthodonture
but whats it called ??
i need some help with this one

MoJoRiSin 08-03-2009 01:10 AM

"all the ships will be laid waste"?

when? ; )

MoJoRiSin 08-09-2009 05:54 PM

the other day i saw the movie
julie&julia it is worth watching
to watch Meryl Streeps performance alone!!
she is awesome as Julia Child
as per usual
there was a preview for a movie
"the time travelers wife" which
i do not know too much about
but the screenplay is written
by a fellow is is a pal of my
meditation guru.
so since i was on the subject
i thought i would
put in a plug (???)
for it
premiers August 14
in a theater near you ;)

MoJoRiSin 08-11-2009 10:46 PM

Those who don't feel this Love
pulling them like a river,
those who don't drink dawn
like a cup of spring water
or take in sunset like supper,
those who don't want to change,

let them sleep.

This Love is beyond the study of theology,
that old trickery and hypocrisy.
I you want to improve your mind that way,

sleep on.

I've given up on my brain.
I've torn the cloth to shreds
and thrown it away.

If you're not completely naked,
wrap your beautiful robe of words
around you,

and sleep.
Ode 314

MoJoRiSin 08-14-2009 12:22 AM

i realize this news is old ! ; )
are these real words?
1. new ??
2. media ??
3. journalism ??
this guy does not think so ::

is this guy enlightened or what?

MoJoRiSin 08-14-2009 01:01 AM

sheesh !! who knew ??
i guess my earlier post
could been seen
as really stupid ~"~


MoJoRiSin 08-17-2009 08:50 PM

((The Epic of Gilgamesh))
copy and pasted from the sparknotes website
:) :) :) >>just to refresh your memory<<:) :) :)
Unlike the heroes of Greek or Celtic mythology, the hero of The Epic of Gilgamesh was an actual historical figure, a king who reigned over the Sumerian city-state of Uruk around 2700 b.c. Long after his death, people worshipped Gilgamesh, renowned as a warrior and builder and widely celebrated for his wisdom and judiciousness. One prayer invokes him as “Gilgamesh, supreme king, judge of the Anunnaki” (the gods of the underworld). Called Erech in the Bible, Uruk was one of the great cities of ancient Mesopotamia. The historical King Gilgamesh probably raised its walls, which archaeologists have determined had a perimeter of six miles. Today its ruins rest near the town of Warka, in southern Iraq, about a third of the way from Basra to Baghdad. A team of German archaeologists recently announced that they’d detected a buried structure there that might be Gilgamesh’s tomb. Though the military actions of 2003 stopped their work before excavations could begin, their claim has aroused considerable interest.

Dozens of stories about Gilgamesh circulated throughout the ancient Middle East. Archaeologists have discovered the earliest ones, inscribed on clay tablets in the Sumerian language before 2000 b.c. Other tablets tell stories about him in the Elamite, Hurrian, and Hittite tongues. Over time, many of those stories were consolidated into a large, epic work. The most complete known version of this long poem was found in Nineveh, in the ruins of the library of Assurbanipal, the last great king of the Assyrian empire. Assurbanipal was undoubtedly a despot and a warmonger, but he was also a tireless archivist and collector—we owe much of our knowledge about ancient Mesopotamia to his efforts.
The Epic of Gilgamesh is written in Akkadian, the Babylonians’ language, on eleven tablets, with a fragmentary appendix on a twelfth. The tablets actually name their author, Sin-Leqi-Unninni, whose name translates to “Moon god, accept my plea.” This poet/editor must have completed his work sometime before 612 b.c., when the Persians conquered the Assyrian Empire and destroyed Nineveh.
Gilgamesh’s fame did not survive Assyria’s collapse. Although he had been a ubiquitous literary, religious, and historical figure for two millennia, he would be completely forgotten until Victorian times, more than 2,000 years later. In 1839, an English traveler named Austen Henry Layard excavated some 25,000 broken clay tablets from the ruins of Nineveh. Henry Rawlinson, an expert on Assyria able to decipher cuneiform, began the painstaking, difficult work of translating them, first in Baghdad and then later at the British Museum. Rawlinson had discovered the Stone of Darius, also known as the Persian Rosetta Stone, a monument celebrating the Persian emperor’s conquests in several languages. This structure provided the key to translating cuneiform’s wedge-shaped alphabet.
When Rawlinson’s student George Smith rendered the eleventh tablet of the Gilgamesh epic into English in 1872, it set off an immediate sensation. This tablet contains the Sumerian story of the deluge, which has so many parallels with the story of Noah’s ark that many people surmise the author of the biblical account was familiar with Gilgamesh. Possibly, both versions hearken back to an even older source. Some scientists have recently speculated that the basic story reflects a folk memory of events in 5000 b.c., when melting glaciers caused the Mediterranean to overflow, inundating a vast, densely settled area around the Black Sea and scattering its survivors around the world.
Their interest roused, Victorian archaeologists dug up and translated more and more tablets. Within a few years, the broad outlines of the epic had been reestablished, and many more tablets have been discovered since. Even so, the poem is still as much as twenty percent incomplete, and a good part of what does exist is fragmentary to the point of unintelligibility. The different translations of Gilgamesh vary widely in terms of details included and their interpretation, but most of them follow Sin-Leqi-Unninni.

The Epic of Gilgamesh is more than just an archaeological curiosity. Despite its innumerable omissions and obscurities, its strange cast of gods, and its unfamiliar theory about the creation of the universe, the story of Gilgamesh is powerful and gripping. An exciting adventure that celebrates kinship between men, it asks what price people pay to be civilized and questions the proper role of a king, and it both acknowledges and scrutinizes the attractions of earthly fame. Most of all, Gilgamesh describes the existential struggles of a superlatively strong man who must reconcile himself to his mortality and find meaning in his life despite the inevitability of death.
copy and psted from sparknotes dot com

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