The Last Person to Post in This Thread Wins

no.
6502a51f7f7c6_ast1l5kw836b1__700.jpg
I used to always say fam on here - but it was in the context of 'MJ Fam'
This is the stuff i do not want to learn nor remember , :rolleyes: try again boy
 
oh, that's annoying. Usually you get the first view for free. It allowed me look at it but I was too tired to finish it. Bugger!
No it's alright. I think you taught me enough . I have a bloody book to read. gonna love it !
[Don't think i'm weird please when i buy stuff that you have posted/ made us aware of . i just love to learn. Having a broad knowledge is fab. & it is really appreciated babe.]
 

Overlooked No More: Pauline Boty, Rebellious Pop Artist​

With her daring feminist art and freewheeling lifestyle, Boty personified the cultural scene known as Swinging London.

By Karen Rosenberg
Nov. 20, 2019
This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.

In Pauline Boty’s 1964 painting “It’s a Man’s World I,” archival images of famous men — Elvis, Einstein, Lenin — appear in a grid, as if on a mood board dedicated to male power. The vision is interrupted, however, by a close-up of a bright pink rose in full bloom, peeking out just above President John F. Kennedy’s motorcade.

Boty was one of the earliest and most promising practitioners of Pop Art in Britain, and her embrace of mass-media imagery reflects some of the deadpan humor and detachment of that movement. But the seemingly out-of-place detail of the flower in “It’s a Man’s World I” (the first of two paintings with the title) is, in a way, a statement of the reality of her life as a female artist, in the newly permissive but still very patriarchal London art world of the 1950s and ’60s.

When she entered graduate school at the Royal College of Art in London in 1958, defying a father who wanted her to marry and not have a career, its staff of more than 60 included just six women. Although she wanted to be a painter, she enrolled with a focus on stained glass because she was told that it would be harder for a woman to earn a spot in the painting program.

Boty was just 28 when she died of cancer on July 1, 1966. Most of her canvases were placed in her parents’ attic and were not seen for decades. Even while she was alive, her nascent celebrity and her diverse résumé complicated the reception of her artwork. A 1962 magazine profile introduced her with the line: “Imagine a brainy actress who is also a painter and a blonde and you have PAULINE BOTY.”

Her painting of Marilyn Monroe, “The Only Blonde in the World” (1963), differs notably from Warhol’s treatment of the subject. While his work features a portrait of Monroe on a gold background recalling Byzantine icon paintings, hers incorporates a full-length black-and-white portrait of the actress running in heels (a still from the movie “Some Like it Hot,” by way of Life magazine).

She also painted men as sex symbols: the writer Derek Marlowe looking sultry as he slouches over a cigarette; the actor Jean-Paul Belmondo festooned with hearts and a giant flower.

The exuberance and frank sexuality of her paintings has connected her to, among others, women of the so-called “young British artist” generation, among them Tracey Emin, who turned her unmade bed into the centerpiece of a confessional installation, and Sarah Lucas, whose sculptures revel in raunchy humor.

Boty’s work “5-4-3-2-1,” named for the theme song to the British pop-music television show “Ready Steady Go!”, includes the suggestively truncated bit of text “Oh, for a fu …” alongside her signature motif of a blossoming rose and an ecstatic image of the show’s host, Cathy McGowan.

s a Pop artist who was also an actress and broadcast journalist, Boty personified the freewheeling cultural scene known as Swinging London. She interviewed the Beatles on BBC radio, danced on “Ready Steady Go!” and appeared in major films like “Alfie” (1966), starring Michael Caine as a womanizer who comes to see the error of his ways.

Her art and acting careers merged in “Pop Goes the Easel,” an auteurish 1962 BBC documentary by Ken Russell in which Boty is the lone woman in a group of four up-and-coming Pop Art painters. (The others were Peter Blake, Derek Boshier, and Peter Phillips.) The film presents her as one of the boys, shopping for comic books and attending a wrestling match, but it also plays up her glamour: She is shown teasing her hair into a wild bouffant and later shimmying in a fur stole at a raucous studio party.

“Pop Goes the Easel” defined Boty’s early career, for better and for worse, presenting a charismatic it-girl image of the artist that led directly to gallery exhibitions and acting roles. It also figured in her rediscovery by, among others, the Sussex University art historian David Alan Mellor, who said he was captivated by the film as a teenager. He included her artwork in an influential 1993 survey of 1960s London art at the Barbican Art Gallery; decades later he located a stash of Boty’s paintings in a barn on the Kent farm of one of her brothers.

Pauline Veronica Boty was born on March 6, 1938, in the South London suburb of Carshalton, the only girl of four children of Albert and Veronica Boty. Her father was an accountant and her mother a homemaker. Her mother was also a frustrated artist whose own parents had not allowed her to attend art school and who encouraged Boty in her art career even as the rest of the family disapproved.

At 16, Boty won a scholarship to the Wimbledon College of Art, where her classmates nicknamed her the “Wimbledon Bardot,” noting her resemblance to the screen siren Brigitte Bardot.

She then studied at the Royal College of Art, where she befriended Blake and Boshier and began experimenting with collage — a method that led her to the “collage painting” style of her best-known works, in which repainted newspaper and magazine clippings are set off by colorful abstract backgrounds.

In 1963 her solo debut at London’s Grabowski Gallery was critically praised. Her acting and broadcasting careers were also taking off; that year she became the host of the BBC radio’s weekly arts program “The Public Ear,” where she interviewed cultural figures and delivered opinionated monologues. In one of them, after decrying the subordination of young, married Englishwomen by their husbands, she declared, “All over the country young girls are starting, shouting and shaking, and if they terrify you, they mean to and they are beginning to impress the world.”

Also in 1963 she met the film producer, literary agent and ardent leftist Clive Goodwin. They married 10 days later. In a 1964 interview with the Vogue magazine writer Nell Dunn, she described Goodwin as “the very first man I met who really liked women,” someone “to whom they weren’t kind of things or something you don’t quite know about.”

Her art became more political, with references to Vietnam, race riots in America and the Cuban Revolution. The Profumo affair was the focus of “Scandal ’63,” a now-lost painting in which the woman at the center of the political scandal that rocked Britain, Christine Keeler, appears as a seated nude straddling a chair against a screaming red background; above her, along the top edge of the canvas the faces of the men involved, including the central figure, the government minister John Profumo, are offset by a muted blue.

Boty was pregnant in 1965 and visiting the doctor on a routine checkup when she learned she had cancer. Radiation treatment would have required her to terminate the pregnancy, and she refused. She died five months after giving birth to her daughter, Boty Goodwin, on Feb. 12, 1966.

Clive Goodwin died of a cerebral hemorrhage in 1978. Boty Goodwin, who studied art at the California Institute of Arts, died of a heroin overdose at 29 in 1995.

Boty’s final painting, “Bum” (1966), was a commission from the critic Kenneth Tynan for his erotic cabaret, “Oh! Calcutta!”. The work’s title appears in big red letters at the bottom of the painting, below a close-up of a naked female posterior that’s framed by a trompe l’oeil proscenium arch. In November 2017, it sold at Christie’s in London for £632,750 (or $840,860) — roughly 15 times the artist’s previous auction record.

Her painting “The Only Blonde in the World” was purchased by the Tate in 1999 and is on view at the Tate St. Ives in a gallery dedicated to art after 1960. Boty was included alongside other underappreciated female Pop artists like Rosalyn Drexler, Marjorie Strider and Kiki Kogelnik in the 2010-11 touring survey “Seductive Subversion: Women Pop Artists, 1958-1968.”

The most significant solo exhibition of her work was “Pauline Boty: Pop Artist and Woman,” at the Wolverhampton Art Gallery in Wolverhampton, England, in 2013. The show’s curator, Sue Tate, wrote in an accompanying catalog that Boty “refused to accept the apparently irreconcilable oppositions between sexual woman and serious artist, between celebration and critique, between high and low culture.”

The novelist Ali Smith, inspired in part by Tate’s research and publication, incorporated Boty’s biography into her 2016 novel, “Autumn.” The details of the painter’s life are threaded throughout the book, and a chapter is written from Boty’s point of view. Toward the end, a supporting character comments wryly on the vicissitudes of Boty’s posthumous career (and, by extension, the fates of many other female artists): “Ignored. Lost. Rediscovered years later. Then ignored. Lost. Rediscovered again years later. Then ignored. Lost. Rediscovered ad infinitum.”
 
@wendijane - that long post about Pauline Boty was for you. No idea what happened but the article let me in a second time! It's a bloody long piece but I do think you'll like her. I wish I had known about her much earlier.
 

Overlooked No More: Pauline Boty, Rebellious Pop Artist​

With her daring feminist art and freewheeling lifestyle, Boty personified the cultural scene known as Swinging London.
❤️
By Karen Rosenberg
Nov. 20, 2019
This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.
See,You always teach about remarkable undiscovered /or often neglected art/artistry . That's valuable to me.
In Pauline Boty’s 1964 painting “It’s a Man’s World I,” archival images of famous men — Elvis, Einstein, Lenin — appear in a grid, as if on a mood board dedicated to male power. The vision is interrupted, however, by a close-up of a bright pink rose in full bloom, peeking out just above President John F. Kennedy’s motorcade.
I just had to sneak a peak at Its a man world and seeing her wikipedia The picture they use ...that's .yes
She is art herself to be fair. but the painting is another plus
Boty was one of the earliest and most promising practitioners of Pop Art in Britain, and her embrace of mass-media imagery reflects some of the deadpan humor and detachment of that movement. But the seemingly out-of-place detail of the flower in “It’s a Man’s World I”
Clever ..very .
(the first of two paintings with the title) is, in a way, a statement of the reality of her life as a female artist, in the newly permissive but still very patriarchal London art world of the 1950s and ’60s.
The second painting is glorious
When she entered graduate school at the Royal College of Art in London in 1958, defying a father who wanted her to marry and not have a career, its staff of more than 60 included just six women. Although she wanted to be a painter, she enrolled with a focus on stained glass because she was told that it would be harder for a woman to earn a spot in the painting program.

Boty was just 28
Such a baby
when she died of cancer on July 1, 1966. Most of her canvases were placed in her parents’ attic and were not seen for decades. Even while she was alive, her nascent celebrity and her diverse résumé complicated the reception of her artwork. A 1962 magazine profile introduced her with the line: “Imagine a brainy actress who is also a painter and a blonde and you have PAULINE BOTY.”
Ooh she was muti talented for sure
Her painting of Marilyn Monroe, “The Only Blonde in the World” (1963),
Very detailed moreso than Andys!
differs notably from Warhol’s treatment of the subject. While his work features a portrait of Monroe on a gold background recalling Byzantine icon paintings, hers incorporates a full-length black-and-white portrait of the actress running in heels (a still from the movie “Some Like it Hot,” by way of Life magazine).
Lots more alive in this piece of art. I really think.
She also painted men as sex symbols: the writer Derek Marlowe looking sultry as he slouches over a cigarette; the actor Jean-Paul Belmondo festooned with hearts and a giant flower.
She made fun of him haha ..well my take of that
The exuberance and frank sexuality of her paintings has connected her to, among others, women of the so-called “young British artist” generation,
Yes please. She is a doll her work, the brain power 😮😱
among them Tracey Emin,
See, this is another name that i have learnt from you
who turned her unmade bed into the centerpiece of a confessional installation, and Sarah Lucas, whose sculptures revel in raunchy humor.

Boty’s work “5-4-3-2-1,” named for the theme song to the British pop-music television show “Ready Steady Go!”, includes the suggestively truncated bit of text “Oh, for a fu …”
😱🤣🤣🤣🤣:ROFLMAO:🤣:ROFLMAO: Girl after my own heart
alongside her signature motif of a blossoming rose and an ecstatic image of the show’s host, Cathy McGowan.
Its something to think about. I like.
s a Pop artist who was also an actress and broadcast journalist, Boty personified the freewheeling cultural scene known as Swinging London. She interviewed the Beatles on BBC radio, danced on “Ready Steady Go!” and appeared in major films like “Alfie” (1966), starring Michael Caine as a womanizer who comes to see the error of his ways.

Her art and acting careers merged in “Pop Goes the Easel,” an auteurish 1962 BBC documentary by Ken Russell in which Boty is the lone woman in a group of four up-and-coming Pop Art painters. (The others were Peter Blake, Derek Boshier, and Peter Phillips.) The film presents her as one of the boys,
YESSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! its THIS.
shopping for comic books and attending a wrestling match, but it also plays up her
YES
See... speechless.....
She is shown teasing her hair into a wild bouffant and later shimmying in a fur stole
YES YES YES !
at a raucous studio party.
No:cautious:🤣
“Pop Goes the Easel” defined Boty’s early career, for better and for worse,
https://www.bbc.co.uk/iplayer/episode/b00drs8y/monitor-pop-goes-the-easel and would you know.. theres a film doc
presenting a charismatic it-girl image of the artist that led directly to gallery exhibitions and acting roles. It also figured in her rediscovery by, among others, the
Oh learning history here
So close 2 me
University art historian David Alan Mellor, who said he was captivated by the film as a teenager. He included her artwork in an influential
:unsure:
Oh my gosh
survey of 1960s London art at the Barbican Art Gallery; decades later he located a stash of Boty’s paintings in a barn on the Kent farm of one of her brothers.
Bugger! what ! Bleedin nosey sod o_O:eek: They can't keep their hands off things for one moment
Pauline Veronica Boty was born on March 6, 1938, in the South London suburb of Carshalton, the only girl of four children of Albert and Veronica Boty. Her father was an accountant and her mother a homemaker. Her mother was also a frustrated artist whose own parents had not allowed her to attend art school and who encouraged Boty in her art career even as the rest of the family disapproved.

At 16, Boty won a scholarship to the Wimbledon College of Art, where her classmates nicknamed her the “Wimbledon Bardot,” noting her resemblance to the screen siren Brigitte Bardot.
And see does. Really truly
She then studied at the Royal College of Art, where she befriended Blake and Boshier and began experimenting with collage — a method that led her to the “collage painting” style of her best-known works, in which repainted newspaper and magazine clippings are set off by colorful abstract backgrounds.
And this is the style i had at my secondary school [it's all pulled down now replaced by a smaller building but my god i wish i had pictures of the Manor Community College . the inside of it., on the walls. Was never taught about where that style come from. It was just there and shut up about it . NoOne knew. So now i know.
In 1963 her solo debut at London’s Grabowski Gallery was
u teach me so much
critically praised.
YEAH! Means she is GOOD> Cant keep that good lass down !
Her acting and broadcasting careers were also taking off; that year she became the host of the BBC radio’s weekly arts program “The Public Ear,”
Not eye . ear - i like the quirk of it
where she interviewed cultural figures and delivered opinionated monologues. In one of them, after decrying the subordination of young, married Englishwomen by their husbands, she declared, “All over the country young girls are starting, shouting and shaking, and
She really changed culture society ..people minds subconsciously. Yeah like that.
if they terrify you, they mean to and they are beginning to impress the world.”
We run the world way before Beyonce [no hate but facts ha!]
Also in 1963 she met the film producer, literary agent and ardent leftist Clive Goodwin. They married 10 days later. In a 1964 interview with the Vogue magazine writer Nell Dunn, she described Goodwin as “the very first man I met who really liked women,” someone “to whom they weren’t kind of things or something you don’t quite know about.”
ill try not 2 spit feathers here
Her art became more political,
wondering if it was because she was with that dimwit
with references to Vietnam, race riots in America and the Cuban Revolution. The Profumo affair was the focus of “Scandal ’63,” a now-lost painting in which the woman at the center of the political scandal that rocked Britain, Christine Keeler, appears as a seated nude
GOOD
straddling a chair against a screaming red background; above her,
Noone is holding her down !!
along the top edge of the canvas the faces of the men involved, including the central figure, the government minister John Profumo, are offset by a muted blue.
A lost painting hmm fkn men typical always loosing somat - ruining it all , ruining all the fun
Boty was pregnant in 1965 and visiting the doctor on a routine checkup when she learned she had cancer. Radiation treatment would have required her to terminate the pregnancy, and she refused. She died five months after giving birth to her daughter, Boty Goodwin, on Feb. 12, 1966.
If she had not met that man then ..ooh
Clive Goodwin died of a cerebral hemorrhage in 1978. Boty Goodwin, who studied art at the California Institute of Arts, died of a heroin overdose at 29 in 1995.
It is all so reccent
Boty’s final painting, “Bum” (1966),
:ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO::ROFLMAO:
was a commission from the critic Kenneth Tynan for his erotic cabaret, “Oh! Calcutta!”. The work’s title appears in big red letters at the bottom of the painting, below a close-up of a naked female posterior that’s framed by a trompe l’oeil proscenium arch. In November 2017, it sold at Christie’s in London for £632,750 (or $840,860) — roughly 15 times the artist’s previous auction record.
Love it. Love it Love it.
Her painting “The Only Blonde in the World” was purchased by the Tate in 1999 and is on view at the Tate St. Ives in a gallery dedicated to art after 1960. Boty was included alongside other underappreciated female Pop artists like Rosalyn Drexler, Marjorie Strider and Kiki Kogelnik in the 2010-11 touring survey “Seductive Subversion: Women Pop Artists, 1958-1968.”

The most significant solo exhibition of her work was “Pauline Boty: Pop Artist and Woman,” at the Wolverhampton Art Gallery in Wolverhampton, England, in 2013. The show’s curator, Sue Tate, wrote in an accompanying catalog that Boty “refused to accept the apparently irreconcilable oppositions between sexual woman and serious artist, between celebration and critique, between high and low culture.”

The novelist Ali Smith, inspired in part by Tate’s research and publication, incorporated Boty’s biography into her
Ali Smith hmmmm ....*thinks it's a boy*

Edit- Woah !
She lives in Cambridge, on a half-hidden terrace of tiny Victorian cottages. :eek:what the bugger :eek:

The gardens are opposite, the fences between them long since removed. It’s late September, and Smith’s beloved apple tree is still swagged with fruit. Inside, a green sweater slung over her shoulders, she beckons me upstairs to her studio to catch the last of the sun.
What the :eek::eek::oops::eek:


2016 novel, “Autumn.” The details of the painter’s life are threaded throughout the book, and a chapter is written from Boty’s point of view.
Maybe another book to read ..... oh my days. oh my days.
Toward the end, a supporting character comments wryly on the vicissitudes of Boty’s posthumous career (and, by extension, the fates of many other female artists):
I wonder if they all die after meeting men ? ...or at least a light goes out , Some kind of spark dies within? Something to think of maybe.
“Ignored. Lost. Rediscovered years later. Then ignored. Lost. Rediscovered again years later. Then ignored. Lost. Rediscovered ad infinitum.”
That makes me want to write . i could write forever from this , worlds and worlds . Oh god that gets the brain juice flowing ooh its 2 close 2 home!

@zinniabooklover mind blown
 
This has literally just finished playing on the radio. One of my all time faves.

The Delfonics / Didn't I (Blow Your Mind This Time)

3m 15s

ph jesus
I Know the original, i do like The Delfonics myself yep. but im always gonna think of this . (runs like the fkn wind ) :ROFLMAO: :ROFLMAO: :ROFLMAO: :ROFLMAO:
 
The only one I liked by New Kids was this one.

Hangin' Tough
Yep. That's school 2 me whether i like it or not. See , and that was the thing with me. Everyone loved these , i didn't get it ever and when you had to like 1 of the 5 i think there were , i had zero. Same happened with Bros. - but i bought PUSH everyone did
Oh bugger . Really though -I was just listening to that 1 before i posted JK on the music - what r you listening to thread ha !
 
lorraine liked/ loves matt i think if i can remember @zinniabooklover here is the album PUSH . u had these , Kylie and jason .... and then the 'black dance/hip hop side' - so ,... bomb the Bass
i went 4 bomb the base every time.
Rebel MC
Very early memories [ aside from Adam ]

Ugh its like school primary.

- one of my fave songs in the world
 
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Yep. That's school 2 me whether i like it or not. See , and that was the thing with me. Everyone loved these ,
oh, I def didn't love New Kids. As if! :ROFLMAO:

I like Hangin' Tough. It's naff but it's also a decent pop song, the video is cute and the editing is divine. They did OK with this one, imo.

i didn't get it ever and when you had to like 1 of the 5 i think there were , i had zero.
I never understood that type of mindset. Weird, frankly.

Same happened with Bros.
I vaguely think I might have liked one of their songs. I did like their photos. They photographed well, those boys.

<wanders off, to investigate Bros>
 

“Ode to a Nightingale​



My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
’Tis not through envy of thy happy lot,
But being too happy in thine happiness,—
That thou, light-winged Dryad of the trees
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been
Cool’d a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Cluster’d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charmed magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is fam’d to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now ’tis buried deep
In the next valley-glades:

Was it a vision, or a waking dream?
Fled is that music:—Do I wake or sleep?”


(John Keats, 1819, Lamia, Isabella, The Eve of St. Agnes, and Other Poems)​
 
oh, I def didn't love New Kids. As if! :ROFLMAO:
:ROFLMAO: Yep same . i preferred Back Street ones lol years later .Jordan knight went solo though so i didn't mind one of his tracks. it was the intensity it caused
I like Hangin' Tough. It's naff but it's also a decent pop song, the video is cute and the
Yeah i have preferred that video to the others. Probs because it is shot so nicely
editing is divine. They did OK with this one, imo.
Little bit of a time piece as opposed to a masterpiece i think babe
I never understood that type of mindset. Weird, frankly.
Run with the crowd- many did The few did not yay
I vaguely think I might have liked one of their songs. I did like their photos. They photographed well, those boys.
The blue eyed blonde look - bottle caps they wore on thir ...dms i believe . Did not engage me at all
<wanders off, to investigate Bros>
hes a clever boy matt goss .. well really , all 3 . Don't know too much about them They were babies
Well, that was a No! 🤮
drop tha boy ..that is like a [ nasty] ear worm lol
 

To John Keats, Poet. At Spring Time​


Countee Cullen, 1903 - 1946

I cannot hold my peace, John Keats;
There never was a spring like this;
It is an echo, that repeats
My last year's song and next year's bliss.
I know, in spite of all men say
Of Beauty, you have felt her most.
Yea, even in your grave her way
Is laid. Poor, troubled, lyric ghost,
Spring never was so fair and dear
As Beauty makes her seem this year.

I cannot hold my peace, John Keats,
I am as helpless in the toil
Of Spring as any lamb that bleats
To feel the solid earth recoil
Beneath his puny legs. Spring beats
Her tocsin call to those who love her,
And lo! the dogwood petals cover

Her breast with drifts of snow, and sleek
White gulls fly screaming to her, and hover
About her shoulders, and kiss her cheek,
While white and purple lilacs muster
A strength that bears them to a cluster
Of color and odor; for her sake
All things that slept are now awake.

And you and I, shall we lie still,
John Keats, while Beauty summons us?
Somehow I feel your sensitive will
Is pulsing up some tremulous
Sap road of a maple tree, whose leaves
Grow music as they grow, since your
Wild voice is in them, a harp that grieves
For life that opens death's dark door.
Though dust, your fingers still can push
The Vision Splendid to a birth,
Though now they work as grass in the hush
Of the night on the broad sweet page of the earth.

"John Keats is dead," they say, but I
Who hear your full insistent cry
In bud and blossom, leaf and tree,
Know John Keats still writes poetry.

And while my head is earthward bowed
To read new life sprung from your shroud,
Folks seeing me must think it strange
That merely spring should so derange
My mind. They do not know that you,
John Keats, keep revel with me, too.
 
omg i loved him lol !
then i find out it was James that influenced ha!
ooh and Thunderbirds [ are go!]
 
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Yes, it was a nice little rewind ...
Yep got me watching it again lol
They were never going to be able to deliver a masterpiece but that's OK. I suppose they did a decent enough job for what was required of them.
We;; they r still alive and well that's all they need really, and come out the other side unscathed [ relativity]

- i know that the word is spelt relatively but i spelt it with the vity , cos i prefer what it means lol


General relativity is a physical theory about space and time and it has a beautiful mathematical description. According to general relativity, the spacetime is a 4-dimensional object that has to obey an equation, called the Einstein equation, which explains how the matter curves the spacetime. 14 May 2023
 
Yep got me watching it again lol

We;; they r still alive and well that's all they need really, and come out the other side unscathed [ relativity]

- i know that the word is spelt relatively but i spelt it with the vity ,
You know you don't have to do this with me? Bc I love your typos / spellings / alternative spellings. I always know what you mean and the 'wendi' version is always interesting to read. My current fave is obsanity. Perfect!

I've always assumed it's bc your brain is running at 200mph and your fingers are typing at 20mph. I mean, it doesn't even matter what the reason is. It doesn't usually get in the way of me understanding what your msg is.

cos i prefer what it means lol
Exactly so.
 
You know you don't have to do this with me?
Yay well..i didn;t wanna assume .I thought u would get it though im so free that you doo0o0ooo0o0!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!11111111111111|TY
Bc I love your typos / spellings /
ThanX zin , that means the world to me.
alternative spellings.
This. in spades
I always know what you mean
:eek:🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍 That's truly the best bit. thank You though.
and the 'wendi' version is always interesting to read.
lol idk about that
My current fave is obsanity. Perfect!

I've always assumed it's bc your brain is running at 200mph and your fingers are typing at 20mph.
Im just ..idk i have always been that way. You get it out on paper ...you have no time to ...fuss around it , because you might loose whatever you intend to say , or you see when i write , ..my stories noone could read that stuff but i could and knew what it meant lol and plus that was a key , noone could read it and it would lie there on the table in the open and you know only i had the key to unlock it
I mean, it doesn't even matter what the reason is.
Just creativity , when that strikes or laziness or a bit of both lol
It doesn't usually get in the way of me understanding what your msg is.
Thank you , And see, That means a ton , and is why i value our friendship /energy connection so much. I appreciate it.
Exactly so.
Yeah|! right on woooo
or weeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
like that . i was so happy when i used to do that across this board
weeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee so childish
Hip 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍 🤍



🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🫶🤍🤍🤍🤍🤍🤍🤍




🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍



🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍🤍I Appreciate You @zinniabooklover
 
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