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Gotta love lyrics such as the following:

:D

At sunrise we'll all dance the hempen jig
So raise up your pint of rum and take another swig
The curse of Captain Morgan has led us to this fate
So have no fear, and don't look back, the afterlife awaits
 



I dunno... There's just something about Pirate Metal that appeals to me in some weird, hard core, geeky fashion...  :p
the_vulture: (Default)
It might be considered ironic that, whilst a number of folk have suggested a period of isolation to help me find my path, it was actually through many conversations, here and elsewhere, that I found my way. I suppose that shouldn't surprise me: by nature, I'm pretty damn introspective, so if I'm getting lost looking in, clearly the logical path would be to get some outside opinions... and that worked.

The end result is that, for now, I'll be focussing on deepening my connection to Irish Maritime culture. In my discussions, my grandfather's fiddle was brought up numerous times. It has become quite clear to me that, for me to really begin feeling connected to the traditions of my forefathers, I need to learn how to play a fiddle, too. And I shall!

I've hit one stumbling block already, though. Music lessons are frackin' EXPENSIVE! How expensive, you ask? I'm currently looking between $15 and $25 per HALF hour.  *eyes goggle in astonishment*  

Naturally, this means I need to learn as much as I can outside of these lessons. Fortunately, there IS a number of things I can study by myself first. I even already have the instrument and learning material for it. My year-and-a-day challenge, as my first step towards learning the fiddle, is to learn how read music and learn to play the penny whistle sufficiently to perform one of my favourite Maritime songs Farewell To Nova Scotia.

Here is one of my favourite renditions, as performed by The Irish Rovers, (though one of my uncles plays an astounding instrumental version on the mandolin, complete with complex embelishments):

http://www.youtube.com/watch?v=0v3MAaQLSSI&feature=related


My thanks to all who offered me their ear and their wisdom. 
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A little something for all you who recall the '80s music scene... with amusement: http://www.youtube.com/watch?v=lj-x9ygQEGA   : D

Edit: And, of course, something slightly more contemporary: http://www.youtube.com/watch?v=HTPko-aXvJM
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Well, it turns out that when my cousin informed me that "The Watchmen" was playing at the theatre, it was actually just for the one night prior to the DVD release. Guess who didn't find this out until we go there.

Instead, we watched "Harry Potter and the Half Blood Prince," which turned out to be quite enjoyable, despite a certain key critical character incident (or, perhaps even, because of it).

SPOILER ALERT!!! )

 

I did eventually get to see "The Watchmen," albeit on DVD. As promised by some, it was, indeed, very true to the graphic novel. However, I suspect that this was, perhaps, a disappointment for many of the unitiated, who were expecting an action packed superhero adventure, as opposed to the gritty and cynical exploration of human character that it was.

All features of the film were brilliant, but one thing I was particularly pleased by was the music choices. Although I had expected to hear some Smashing Pumpkins based on the initial trailers (and sadly, there wasn't any in the film), I was at least rewarded by a number of Philip Glass pieces from Koyaanisqatsi that I had heard in other trailers. Furthermore, the film featured Leonard Cohen, Jimmi Hendrix, and a wealth of other songs and artists demonstrating multiple eras of protest and cynicism in response to the ingrained madness of the human condition.

All in all, I was quite pleased with the film and will be purchasing the DVD when the Collector's Edition comes out.

In other news, I came to the end of a (minor) era. I was in the DVD rental place on a hot summer day and found myself thirsting for something cold and tasty. Looking through the drink cooler, I spied a number of bottles of Barq's, my all-time favourite rootbeer. I hadn't had any in quite some time, as I've been cutting back quite a bit on pop and other sugary drinks, drinking mostly water instead. With nigh child-like eagerness, I purchased a bottle and set to drinking.

I was shocked and saddened to discover that Barq's was now just far too sweet for me to drink and I only managed a third of the bottle before tossing the rest away. *sigh*

Thankfully, I had tried a bottle of Dad's Rootbeer the other day, and that was actually quite enjoyable, so that may be supplanting Barq's for the the position of my favourite.



 

SPOILER ALERT )

Wow!

Apr. 16th, 2009 04:22 am
the_vulture: (Default)
Simply. Freaking. Wow!
the_vulture: (Default)

One of the great benefits of having your own flat is that, when the music seizes your spirit in it's silken talons, you can dance with wild abandon... with the assurance of knowing that no one is going to see you doing it.  ;-)

the_vulture: (Default)
Courtesy o' [profile] ain9el ...

Don't worry, this one's, um, office safe.  :-)




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Fallen Angel, by Robbie Robertson (with Peter Gabriel)
Video: http://www.youtube.com/watch?v=VQZhSNHCRC4

This is a hauntingly beautiful and emotional song that has captured my attention for quite some time.

On the surface, it appears to be a conversation between the angels Gabriel and Lucifer, after the Fall. In it, both sides seem to express regret and desire to restore a lost friendship. On that level alone, it is achingly eloquent. However, it is apparent that it also speaks of those, separated on differing sides of  conflict, who desire reconciliation. I present the lyrics on the left and my thoughts on the right.


Are you out there
Can you hear me
Can you see me in the dark

I don't believe it's all for nothing
It's not just written in the sand
Sometimes i thought you felt too much
And you crossed into the shadowland

And the river was overflowing
And the sky was fiery red
You gotta play the hand that's dealt ya
That's what the old man always said

Fallen angel
Casts a shadow up against the sun
If my eyes could see
The spirit of the chosen one

In my dream the pipes were playing
In my dream i lost a friend
Come down gabriel and blow your horn
'cause some day we will meet again

Fallen angel
Casts a shadow up against the sun
If my eyes could see
The spirit of the chosen one

All the tears
All the rage
All the blues in the night
If my eyes could see
You kneeling in the silver light

Fallin', fallin', fallin' down
Fallin', fallin' down
Fallin', fallin', fallin' down
Fallin', fallin' down

Fallen angel
Casts a shadow up against the sun
If my eyes could see
The spirit of the chosen one

All the tears
All the rage
All the blues in the night
If my eyes could see
You kneeling in the silver light

If you're out there can you touch me
Can you see me i don't know
If you're out there can you reach me
Lay a flower in the snow
Lucifer seems to be calling out to Gabriel. This stanza paints a picture of loneliness.


Gabriel seems to rail against the notion that conflict is meaningless, and that the loss of Lucifer must have some greater purpose. He shows some sympathy for the fallen angel.

The horrors of conflict are illustrated here, but this is something that must be accepted as inescapable.



The chorus illustrates the contrast of a single defiant spirit against an overwhelming, oppressive force. (Compare the Chinese demonstrator vs. the tank at Tiananmen Square.)

Here, Lucifer expresses his regret over the loss of Gabriel's friendship, but introduces an element of hope with the certainty that they will be reunited.


The chorus also speaks of Lucifer as a necessary, if painful, sacrifice for the greater good. In a way, this symbolizes lives lost to preserve an ideal.


Here, the author reiterates the cost of conflict in sorrow and rage, but also shows that the only way a major conflict can end is if one side abandons pride (Lucifer) and yields (kneeling) to the other. The use of Lucifer illustrates the limited likelihood of such things occurring.

This gentle stanza actually suggests that the Fall is still happening, repeated through our own actions.



Another great example of a necessary sacrifice explored in a Biblical theme is the exploration of Judas in the musical, Jesus Christ Superstar.





The song ends as it begins, with Lucifer railing against his loneliness and abandonment. But here, he asks the other side to show a measure of compassion and reach out ot him. However, in asking for a miracle, he demonstrates the limited likelihood of a superior foe to show such. Thus the song shows criticism and sympathy for both sides of this, and every conflict.

Of course, this is just my interpretation. What are your thoughts?
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Yep, this is going to be another one of those odds-and-sods posts.

I'll begin with the ring tone poll I posted some time earlier (
http://www.livejournal.com/poll/?id=1267844&mode=close). I hafta say, I kind of expected it to produce a wee bit more discussion than it did, but alas. So which one was the actual second ring tone I had selected. Let's go through the nominees:

Kung Fu Fighting, by Carl Douglas, is a really fun song that appeals to an innate appreciation of both martial arts an silliness. Certain parts of the song could be cut and repeated to make a reasonable ring tone without too much difficulty and it certainly would be distinctive, if perhaps revealing more of my inner geek than perhaps I should.

The Imperial March, by John Williams, was guessed by two of you. Whilst the ominous overtones may not seem in keeping with my character, it does reflect my elevated annorak factor. It is also very distinctive and cuts perfectly for a loopable ring tone.

The Highwayman, by The Highwaymen, is, as has been recently revealed, a very spiritual song of deep meaning for me. Unfortunately, it doesn't really have much in the way of a repeatable segment.

Big Bad John, by Johnny Cash, has some easily repeatable segments that could be made into ring tones. Why would I select it? Well, I have a closet appreciation of Johnny Cash ballads and I worked with this song extensively as part of an introduction to poetry analysis I ran for some some year 8s (grade 7s) that we all had a lot of fun with.

Red Sun Rising by Lost Witness, Saltwater by Chicane, and Forca by Nelly Furtado are all power songs for me. These are the kind of tunes that keep the feet racing along the ground. All have repeatable segments that would make great ring tones. The latter has special meaning for me as Nelly is from my hometown and her music served as a connection to home during my stay in the UK. It was also one of your guesses.

What  really needs to be said about The Muppet Show theme song? As two you have guessed, it strongly appeals to both my inner child and my sense of quirky fun. It also has repeatable segments that could be made into ring tones.

So which one was it? 
[profile] alias_chick and [profile] queen_dream both take this competition by correctly guessing that The Imperial March makes a damn freakin' awesome ring tone, especially given that it's exceptionally distinctive repeatable segment is just the right length. Goodonya both!

Meanwhile, I was finally able to sampe one of the bottles of 'cider' that I picked up earlier today. In reality, it was crab-apple wine and bore little resemblance to the scrumpy jack that it was touted as being close to. Whoever told these guys it was were completely off their heads. It tasted more like home made wine with some fruity overtones than a cider. Ah well, at least it had an alcohol content. And I suppose it did bear a closer resemblance to a true cider than that Okanagan brand that I used to think was a cider. I've still the other two bottles to try, as well.

Finally, just to appeal to my sense of weird (and inspired by a recent viewing of I Am Legend), I've assessed my current apartment's ability to resist invasion by a horde of zombies. Now while it does have three large windows in separate rooms, they're double glazed and, more importantly, about six feet off the ground, making them very difficult for the average Romero style zombie to storm (though the more agile and aggressive zombies from the Resident Evil series would still prove a serious threat). I would also be able to escape from just about any room in the apartment save the bathroom. Moving one floor up would bring an even greater measure of security, minus the easy escape routes. The outer  walls of the buidling and apartments, being brick, are very solid, as are both inner and, surprisingly, inner doors. Sadly, the inner corridor doors, though stout with reinforced glass (it's a converted school building afterall), would not be readily securable unless one happened to have keys for them. Still, this flat, overall, would prove to be far more resistant to zombie invasion than the last three places I have resided.

Now, whilst I no longer have access to the mighty arsenal I had back at the ranch (com'on, how can you beat a gas fueled power scythe?!?), I do have at least one large kitchen knife and a sturdy wooden practice sword with which to inflict some serious structural damage upon the metabolically challenged.

So, yeah, I'm in a reasonable position to at least temporarily avoid having my brains eaten. *silly grin*

the_vulture: (Default)

Found courtesy of [personal profile] thebitterguy  's blog ....




And flowing through [personal profile] ysabetwordsmith 's blog, a website showing how anti-Conservative Canadians can vote to minimize the environmental damage that Stephen Harpy can cause (whilst boosting seats for all other parties):

http://www.voteforenvironment.ca/


Here's another amusing YouTube video (a must see for all fans of Big Trouble In Little China) I discovered, thanks to [personal profile] thebitterguy :




the_vulture: (Default)
I adore Spiral Dance's Woman of the Earth. It is a beautiful and powerful accounting of every woman's spiritual connection to the Mother Goddess. But, sadly, to really feel the fullness of its magic, one would have to be a member of the gender it is written for, specifically, a woman. (Not that this has stopped me from regarding this as the most spiritually song to have ever Drawn Down the Moon to, but I digress...)

Since first hearing that song, I have always kept an ear out for a similar sort of song that would suitably connect men to the pagan heart. Sadly, for the longest time, the closest I've ever found is Creature of the Wood  by Heather A
lexander (as performed by Phoenyx), which depicts a Pan-like (and very masculine) figure from the first person perspective. However, while it embraces some elements of a masculine and pagan God-figure, it just doesn't suit the purpose, nor does it resonate strongly enough, especially as it is performed by a female vocalist.

However, I think I've finally found a song that works. Ironically, instead of discovering a new source of pagan folk music, I've rediscovered pagan meaning in a song that probably was not intended for such purposes, especially given the quite mainstream performing artists. I've actually had this song in my collection for quite some time, but never really listened to the meaning behind the lyrics until recently. It might not be so obvious, but this song speaks of all that men are about, good and bad, and their eternal connection to each other and the universe as whole. Indeed, the song clearly describes the concept of the Wheel of Life, though not naming it directly.

To sing about a man's connection to the spiritual realm, I present Willie Nelson, Kris Kristofferson, Waylon Jennings, and Johhny Cash, The Highwaymen, singing a cover of Jimmy Webb's The Highwayman:



The Highwayman
Jimmy Webb

I was a highwayman. Along the coach roads I did ride
With sword and pistol by my side
Many a young maid lost her baubles to my trade
Many a soldier shed his lifeblood on my blade
The bastards hung me in the spring of twenty-five
But I am still alive.

I was a sailor. I was born upon the tide
And with the sea I did abide.
I sailed a schooner round the Horn to Mexico
I went aloft and furled the mainsail in a blow
And when the yards broke off they said that I got killed
But I am living still.

I was a dam builder across the river deep and wide
Where steel and water did collide
A place called Boulder on the wild Colorado
I slipped and fell into the wet concrete below
They buried me in that great tomb that knows no sound
But I am still around..I'll always be around..and around and around and
around and around

I fly a starship across the Universe divide
And when I reach the other side
I'll find a place to rest my spirit if I can
Perhaps I may become a highwayman again
Or I may simply be a single drop of rain
But I will remain
And I'll be back again, and again and again and again and again..


For the purposes of comparison, Spiral Dance's Woman of the Earth:


the_vulture: (Default)
As I was finishing my run, a cover of 'Classical Gas', performed by world famous violinist Vanessa Mae, came up as a selection on my MP3 player. It isn't very often that a cover of a song appeals to me more than the original, but Mae's cover of the instrumental by Mason Williams is one noteable exception. It got me thinking about why some covers work, whilst most fail. I thought upon a cover of 'Crimson and Clover', originally by Tommy James and the Shondells, that I heard recently on the radio. It sounded as if it was being performed by a hard rock, or even heavy metal group. It was NOT a notable exception.

Why was Mae's piece better than the original? Very simply, she added something to it. This goes beyond changing the song from one musical style to another. In Mae's case, she included some very eloquent elaboration on the melodies of the song. Utilizing higher reverb with her violin, as well as a skillful band of rock instrumentalists as back up to drive the rythm, she added a richness to her cover that the original did not possess. In otherwords, she improved upon it.

Why did the cover of 'Crimson and Clover' bomb? Giving it a hard rock edge certainly made it a change and, had the band been a bit more aware of what they were doing, they might have been able to pull it off. Unfortunately, they failed to take into account two major things. First is the context of the song. I doubt there are many who would listen to the original and not think about the 60's. There's a certain mellowness that's inextricably linked to the music. Messing with that kind of association in any way, such as adding a hard rock edginess, is VERY tricky. Doing so should only be done if the artist is consciously doing so as a commentary or criticism of the original song or the context it was set in. Unfortunately, I didn't hear anything in this cover to suggest any such conscious thinking. 

The second major thing is the role of the guitar. In the original cover, the guitar, with it's distinctive 'wa-wa-ing', serves as another 'voice' singing the piece. The instrumentals were as critical as the vocals in defining this song. As such, it's easy to see how replacing the original instrumentation with dull grumbling from a heavy metal bass would seriously cripple this cover of the song.

I will, on the other hand, give the group credit; they at least made the song their own. All too often, most groups releasing a cover don't even try to do anything different with the music, relying on the mistaken belief that their talent, style, or whatever will lead to a substantial measure of success. In an industry that relies heavily on innovation, one can see where such thinking is counter productive.

There's one other thing that I'll give props to rock group for; they reminded me of a wonderful song that I'll have to dig through my music archives for and give a listen to.
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Nelly Furtado - Forca  

http://www.youtube.com/watch?v=9ChGxIvWscA

It is the passion flowing right on through your veins
And it's the feeling that you're oh so glad you came
It is the moment you remember you're alive
It is the air you breathe, the element, the fire
It is that flower that you took the time to smell
It is the power that you know you got as well
It is the fear inside that you can overcome
This is the orchestra, the rhythm and the drum

Com uma forca, com uma forca
Com uma forca que ninguem pode parar
Com uma forca, com uma forca
Com uma fome que ninguem pode matar

It is the soundtrack of your ever-flowing life
It is the wind beneath your feet that makes you fly
It is the beautiful game that you choose to play
When you step out into the world to start your day
You show your face and take it in and scream and pray
You're gonna win it for yourself and us today
It is the gold, the green, the yellow and the grey
The red and sweat and tears, the love you go. Hey!

Com uma forca, com uma forca
Com uma forca que ninguem pode parar
Com uma forca, com uma forca
Com uma fome que ninguem pode matar

forca, forca, forca, forca, forca

Closer to the sky, closer, way up high, mais perto do ceu, mais perto do ceu

Com uma forca, com uma forca
Com uma forca que ninguem pode parar
Com uma forca, com uma forca
Com uma fome que ninguem pode matar

forca (oh), forca (oh), forca, forca, forca

come on

the_vulture: (Default)
 To me, few songs speak more of love and devotion that this wonderful piece by the late, great Australian musician, Baterz:  

http://survivors.groups.vox.com/library/ audio/6a00c2251d31da604a00d09e670d95be2b .html 

(Sorry, no lyrics on hand; you'll just have to listen to the song.)

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This weekend has been pleasant, if a tad on the lazy side. The biggest, brightest point has to be arriving home on Friday to find, waiting for me, a cheque for over £860, courtesy of overpaid taxes. Now, granted, I knew said cheque was on its way, but, for me, it just isn't real until it's in the bank. 'Course, courtesy of a train that wasn't there, I missed actually getting to the bank to deposit it, but it can wait till Monday, I suppose. It's not like I'm desperately strapped for cash at the moment, by any stretch of the imagination. 

Contemplating what to do with £860 I didn't know I was to have two weeks ago or so has been a pleasant exercise. Visions of a new laptop danced by my head, as did possibly squeezing in a trip to Ireland, taking a couple college courses when I get back to Canada (ooo...! glassblowing...!)or maybe even, as the need for my next paycheque is no longer so great, just saying to hell with the school and bailing at the end of next week.

Of course, knowing that my future is a wee on the uncertain side of life, I've opted to save (most of) it as emergency funds. Having that as a backup is actually quite reassuring.

The most pleasant thought I've had today, though, is that, should Fate continue to smile warmly on me for a while and I do not have to dip into those funds for any major disaster, I actually have more than enough to cover the airfare to a certain special someone. It would seem that, when a number of folk said that she and I were meant to be together and things would work out for us, they may not have realized the extent to which Providence would act to ensure their veracity. *beaming smile*

I did however, splurge just a little (if you could call it splurging); I ordered a new MP3 player, along with a new pair of quality headphones. My current player, quite frankly, is crap and direly in need of replacing before I lob it through something breakable. (Note: The 'Onn' brand (from ASDA) of household appliances and electronics is good for a lot of basic things: MP3 players are NOT one of them.)

Soon enough, however, I'll have one of these: 

It's small, it's cute, and, according to most reviews, it blows the iPod Shuffle out of the water for performance, functionality and price.

*happydancehappydance*

Of course, the weekend hasn't been entirely 'all that and a box of chocolates'; I've discovered, much to my consternation, that shipping my stuff back to Canada is not going to be made more expensive because of the weight of it all; it's going to be because of the damn volume. The cheapest shipping company gives their prices in boxes up to certain set weights. The best option for me, at the moment, is to try and load my boxes as close to 25 Kg in weight as I can. However, I'm discovering that my stuff just isn't dense enough to reach any where near thta weight with the boxes I have. Furthermore, there is also 'volumetric weight' I have to contend with, so I can't just switch to bigger boxes. I can't make this as cost effective as I want to, dang it! *rueful grin*

Good thing I have extra cash to throw at the problem.

the_vulture: (tvhead)
 Amazingly, after just a single day of teaching, following five days away from the little wretches, I came home so mentally exhausted that I wound up crashing early (as in 8 in the evening). They're just getting worse and worse and I have no clue how to stem the tide of their idiocy.

This song pretty accurately describes how I'm feeling currently:

Veteran Of The Psychic Wars, Blue Oyster Cult

http://uk.youtube.com/watch?v=nrd2xf5DIlU&feature=related

You see me now a veteran of a thousand psychic wars
I've been living on the edge so long, where the winds of Limbo roar
And I'm young enough to look at, and far too old to see
All the scars are on the inside
I'm not sure that there's anything left of me



Don't let these shakes go on, it's time we had a break from it
It's time we had some leave
We've been living in the flames
We've been eating up our brains
Oh please, don't let these shakes go on.



You ask me why I'm weary, why I can't speak to you
You blame me for my silence, say it's time I changed and grew
But the war's still going on, dear, and there's nowhen that I know
And I can't say if we're ever
I can't say if we're ever gonna be free



Don't let these shakes go on, it's time we had a break from it
It's time we had some leave
We've been living in the flames
We've been eating up our brains
Oh please, don't let these shakes go on.



You see me now a veteran of a thousand psychic wars
My energy is spent at last, and my armor is destroyed
I have used up all my weapons, and I'm helpless and bereaved
Wounds are all I'm made of
Dare you say that this is victory?



Don't let these shakes go on, it's time we had a break from it
Send me to the rear
Where the tides of madness swell
And been sliding into hell
Oh please, don't let these shakes go on

the_vulture: (Default)
'cause having my last post on this day being about throwing oneself in front of a train is actually kinda morbid, if one thinks about it. *quirky grin*  

Then again, I suppose it's not wholly out of the realm of romance; look at Romeo and Juliet, as well as Ophelia from Hamlet, just to name a few instances of love and lethality. And who could forget this quaint little ditty?: 

DON'T FEAR THE REAPER

Blue Oyster Cult 

http://uk.youtube.com/watch?v=Tpy_pYXSpP A&feature=related 

All our times have come
Here but now they're gone
Seasons don't fear the reaper
Nor do the wind, the sun or the rain..we can be like they are
Come on baby...don't fear the reaper
Baby take my hand...don't fear the reaper
We'll be able to fly...don't fear the reaper
Baby I'm your man...

Valentine is done
Here but now they're gone
Romeo and Juliet
Are together in eternity...Romeo and Juliet
40,000 men and women everyday...Like Romeo and Juliet
40,000 men and women everyday...Redefine happiness
Another 40,000 coming everyday...We can be like they are
Come on baby...don't fear the reaper
Baby take my hand...don't fear the reaper
We'll be able to fly...don't fear the reaper
Baby I'm your man...

Love of two is one
Here but now they're gone
Came the last night of sadness
And it was clear she couldn't go on
Then the door was open and the wind appeared
The candles blew then disappeared
The curtains flew then he appeared...saying don't be afraid
Come on baby...and she had no fear
And she ran to him...then they started to fly
They looked backward and said goodby...she had become like they are
She had taken his hand...she had become like they are
Come on baby...don't fear the reaper
 

Okay, so I haven't shifted the morbidity factor of today's postings one iota, have I? *chuckle* I'm HAPPY, really!!! 

the_vulture: (tvhead)
About this time into a term, the kids start kicking off. They can't seem to handle much more than four weeks of school at a time without getting antsy. As such, I've been dealing with an elevated level of aggro from 'em. Not fun. However, two other events this week have made me realize that I simply can NOT leave this job soon enough!  

To start, I've come to rely quite heavily on my pen drive. Dubbed the "Briefcase", it has become an essential part of my teaching equipment, serving as the receptacle of work that I create at home and present at school. I have several man-hours of labour saved on it. This is why, a few days ago, I was more than a little peeved to discover that some little fecking lightfingered shite had made off with it! 

Now granted, my last backup of it wasn't too hideously long ago and it won't cost me much to replace the drive itself. However, it makes me damn uncomfortable for two reasons. First, I'm not thrilled about the increased measure of paranoia I'll now be maintaining. How does one get used to working with so many people that one can never truly trust? Second, there is at least one of my pupils has so little respect for me that he or she would think nothing of stealing a pricey bit of my equipment.

However, the key thing that made me realize I've endured too much abuse at this school was when, whilst handing out a bunch of afterschool detentions for some exceptionally poor behaviour, I was told by one of the little dears to forcefully insert said detention into an orifice normally reserved for excretion, albeit much less politely. At the end of the day, when I went to write it up, I realized, to my cynical amusement, that I could not recall exactly WHICH of the little snots had said it. It truly says something that such an event didn't stick out in my mind enough from the general background level of wretchedness to enable me to remember such an essential piece of information. 

I wanna go home. 

My theme music for the moment:  

We've Gotta Get Out Of This Place

by the Animals 

http://uk.youtube.com/watch?v=wP1w5Hl8D0E

In this dirty old part of the city where the sun refuse to shine
People tell me there ain't no use in trying
Now, my girl, you're so young and pretty
And one thing I know is true,
You'll be dead before your time is due, (I know)

Watch my daddy in bed and dying
Watch his hair been turning grey
He's been working and slaving his life away, (Oh yes I know)

He's been working so hard
I've been working too baby, (every night and day)
 

(Chorus)
We've gotta get out of this place
if it's the last thing we ever do
We've gotta get out of this place
Girl there's a better life for me and you

Now my girl you're so young and pretty
And one thing I know is true
You'll be dead before your time is due, (I know it)
 

Watch my daddy in bed and dying
Watch his hair been turning grey
He's been working and slaving his life away (I know)

He's been working so hard
I've been working too baby,
 

(Chorus) 

Somewhere baby
Somehow I know it baby
 

(Chorus) 

Believe me baby
I know it baby
You know it too

the_vulture: (tvhead)
 Wandering the blogs, I came across this site addy:

http://www.youtube.com/watch?v=cQ25-glGRzI

The essential narrative is this: bitch punk bullies geek girl in a hardcore fashion (including acts of violence) and then steals her boyfriend. 

The ideals that this video espouses are absolutely horrendous! It essentially states that it's okay for the strong to take from the weak, that "cool" people have the right to bully the "uncool," and that nasty girls are preferable to nice ones. 

Yes, great values to be emulated by our happy slapping youth.

Needless to say, I'm more than a little incensed!

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the_vulture

July 2014

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