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I have a song
I have the bestest friend ever! I had mentioned the other day that I had Cole Porter's "You're the Top" stuck in my head and that I was enjoying giggling about cellophane. She wrote me my very own, extremely geeky verse. I am so proud.
You're the Top
You're a squashed banana
You're the top
You're John Wayne's bandanna
You're Wanka's Loompas
or the boom of
the guns of Navarone
You're Jeeves and Wooster
You're Marcel Proust
You're Indy Jones
You're the Top
You're Rose and the Doctor
You're that Sta-ar
Trek where Mr. Spock turned
off the devise so the
Enterprise's great mission wouldn't stop
But if baby I'm the bottom you're the top.
I will admit there are some awkward portions, but then have you heard the original?
Also I finally got to see Sondheim's Assassins which makes me super happy. That soundtrack is one of the first things I ever got through inter-library loan after I realized that someone at the Tredyffrin branch had my exact taste because every time I couldn't find something there it was at Tredyffrin. I've wanted to see the show since hearing the spoken track "November 22, 1963" and reading on the old newsgroup rec.arts.theater.musicals that live it was possibly the most moving thing ever in musical theater. It was pretty mesmerizing. Though I did have a problem with them going for a laugh and having Booth act like Oswald touched him inappropriately while searching him to make sure he wasn't with the FBI. The first two thirds of the show are pretty funny and that works for the "footnote" assassins, but I think the director lost the importance of the transition of the Balladeer into Lee Harvey Oswald. Up until that point, the Balladeer is the one character arguing for hope and peaceful answers, when he transitions, and all hope is lost, the show needs to become serious real fast. I also had a problem of the visual of Sarah Jane Moore pointing a gun at her child being played for laughs.
You're the Top
You're a squashed banana
You're the top
You're John Wayne's bandanna
You're Wanka's Loompas
or the boom of
the guns of Navarone
You're Jeeves and Wooster
You're Marcel Proust
You're Indy Jones
You're the Top
You're Rose and the Doctor
You're that Sta-ar
Trek where Mr. Spock turned
off the devise so the
Enterprise's great mission wouldn't stop
But if baby I'm the bottom you're the top.
I will admit there are some awkward portions, but then have you heard the original?
Also I finally got to see Sondheim's Assassins which makes me super happy. That soundtrack is one of the first things I ever got through inter-library loan after I realized that someone at the Tredyffrin branch had my exact taste because every time I couldn't find something there it was at Tredyffrin. I've wanted to see the show since hearing the spoken track "November 22, 1963" and reading on the old newsgroup rec.arts.theater.musicals that live it was possibly the most moving thing ever in musical theater. It was pretty mesmerizing. Though I did have a problem with them going for a laugh and having Booth act like Oswald touched him inappropriately while searching him to make sure he wasn't with the FBI. The first two thirds of the show are pretty funny and that works for the "footnote" assassins, but I think the director lost the importance of the transition of the Balladeer into Lee Harvey Oswald. Up until that point, the Balladeer is the one character arguing for hope and peaceful answers, when he transitions, and all hope is lost, the show needs to become serious real fast. I also had a problem of the visual of Sarah Jane Moore pointing a gun at her child being played for laughs.