Tortola Wedding Updates (WINs vs. FAILs)
Rediscovered "lost" jewelery (in neighbor's mailbox) (2 items): WIN
Lipstick colors (2 new, plus all owned previously): FAIL
New hair: WIN
"New" boobs: WIN
Maintenance of weight: FAIL
Ability to make my nose not-red: Yet to be Determined
"New" vision: Yet to be Determined
Boyfriend moral support: Win, hopefully to continue to be so
Friday, April 30, 2010
Tuesday, April 13, 2010
everything we've been taught about meter in poetry is wrong. . . sigh.
From Hugh's Prosody class:
Syllable-stress verse requires a fixed number of beats per line—just like stress-meter verse—but it also requires a fixed number of syllables per line (there are exceptions to both these rules, of course, but in principle this is the "normal" case).
-->Indeed, people who have been poorly taught poetic meter will often attempt to identify verse forms by the number of syllables (as in "this is in iambic pentameter; it has ten syllables per line").
Of course, we all now know why that statement makes no sense—a four-beat line of stress-meter verse can easily have anywhere from four to twelve syllables—or more.
From Hugh's Prosody class:
Syllable-stress verse requires a fixed number of beats per line—just like stress-meter verse—but it also requires a fixed number of syllables per line (there are exceptions to both these rules, of course, but in principle this is the "normal" case).
-->Indeed, people who have been poorly taught poetic meter will often attempt to identify verse forms by the number of syllables (as in "this is in iambic pentameter; it has ten syllables per line").
Of course, we all now know why that statement makes no sense—a four-beat line of stress-meter verse can easily have anywhere from four to twelve syllables—or more.
Sunday, April 11, 2010
In theory, she was an artist you want to root for— all these ideas about art and celebrity and a flair for the dramatic. But the first few singles made the Lady Gaga project feel so presumptuous, her artsy entitlement overwhelming her songs’ occasional strengths. “Bad Romance” was the moment where the music didn’t just live up to the (self-inflated) hype, but surpassed it. The track is epic in construction— by the time she gets to the bridge, more than three minutes in, the realization that there are hooks yet to come is thrilling. It helps that RedOne’s production matches the songwriting’s torrential drama; the churning, earth-shifting low-frequency synths are a programmatic reflection of the singer’s unsteady, perhaps unwise, infatuation. But it’s Gaga’s performance, the wholly unapologetic fools-rush-in carnal energy, that commitment to emotional bravery in a context of increasingly twee chart pop, that makes “Bad Romance” feel so necessary. —David Drake
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