Billy Elliot, Anatomy of a Scene: "You Can't Take That Out on a Junior Ticket"

In this blog post, I take apart one scene from the Stephen Daldry film Billy Elliot.

Stones of Erasmus
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     Stephen Daldry directed Billy Elliot (2000), written by Lee Hall, now a Broadway Musical, about a young boy's persistent desire to be a dancer despite the disapproval of his overbearing, but in-the-end loving father (Gary Lewis). Sped on by his indomitable, but cranky teacher, Mrs. Wilkinson (Julie Walters) Billy deals with the death of his mother and the stark reality of living in an oppressed coal mining town in England circa 1984.
     The film is set during the coal miner's strike when Prime Minister Margaret Thatcher sought to cripple the colliery unions that were seen as a roadblock to a conservative economic strategy. The film is filled with stark images of life with police barricades and protest riots. However, the film chooses not to depict Billy's life as completely bleak. The scenes are shot in bright tones which seems to protest against the otherwise somber historical background of the coal miner riots.

Gone Flat Land: Why XML Seems Promising

A nerdy post on library science and the future of library cataloging.

image credit: "Tempus Fugit" by abbeyprivate

This essay was written as a requirement for an introduction to cataloging course. An entry like this is not typical stones of erasmus fare, but I post it for all my library and cataloging buddies out there. I warn you, though, I made a C+ in Cataloging. I took the course as an online component. While I like the Reference and Information Services course I took online (which garnered me an A+) I found the Cataloging course online more challenging. My satisfactory grade is most likely attributable to my difficulty keeping up with deadlines, but I also found the assignments hard to conceptualize. Most catalogers use a cataloging application (e.g., Connexion) on a PC to create MARC records or to copy catalog. But, for this class, we had to use a generic MS word document to fill in the fields which I found to be terribly awkward. So, a word from the experienced: if you take an online class in cataloging make sure you have access to a good MARC program.
Anyway, here is my report on XML from a C+ point of view. Enjoy:

"Voice II" Mailed to Keizersberg With a Nod to the Times Picayune

Credits:
Keizersberg is a small Benedictine monastery in Leuven, Belgium; also home to students who go to the Catholic University. And Stella Artois. The mural of the Omega Christ on the bottom right was painted by Dom Gregory DeWit, a Dutch monk and muralist. The mural can be found at Saint Meinrad Archabbey. Voice II is by the American Artist George Tooker. The newspaper clipping is from the Travel section of The Times-Picayune. A librarian meets her philosophy pal at the steps of the stad huis in Leuven.

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Salo: A Film You Really Don't Need To See

Learn about the Pasolini film Salò. It's another film I add to my list of films I cannot stomach to watch completely. 

Salò, or the 120 Days of Sodom, Directed by Pier Paolo Pasolini (1975)

I know it's presumptuous of me to suggest a person not see a film, but I think Salò is the only film I would ever give the warning, "You may not want the images in this film to scar you for the rest of your life." If you're okay with people eating feces and very graphic torture/sex scenes, then you'll have no problem. It's not so much that the violence is so intense; rather, it's Pasolini's underlying message. 
The film documents horrific events masterminded by members of Italy's fascist elite during the Second World War. An oligarchic assembly chooses from the most beautiful youth in the surrounding towns and rural areas to systematically torture and destroy. The message is blunt. Given enough prestige and power, people will live out their cruelest nihilistic fantasies if given the opportunity.

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The Pig People: A Short Short Story

image credit: sacrevoir

Note: the following short story is an excerpt from the novel Interstate 90 by Greig Roselli:  
    Standing akimbo on the seawall, Francis dives into the Tchefuncte River.
    I take a last drag from my cigarette. I put out the butt, pushing it into the soft ground. Watching the embers fade into the coffee stained earth, I look down at my grainy hands. Then. I look up.
   Wait. Francis. He has not come up yet. No one speaks. Only the sound of breathing. It feels as if time has been swallowed.
    Boys. Scatter. Then wait.
    “1, 2, 3 —” I say.
    Finally, Francis breaks the surface of the water.
    He screams, horrified.
    “I hit something. There's something in the water.”
    He scrambles up the seawall, his raw skin scraping against the rough embankment. Francis picks up his tee shirt and brings it close to his body. “Look.” Francis points again, his hair Medusa-like, his face slightly rigor mortis. I am the only one who notices.
    “I saw it.”
    “Saw what?”
    “I swam to the bottom.”
    “There’s something alive down there.”
    “Dude, it ain’t the pig people, so just shut up the fuck up,” Malcolm says.
    “I didn’t say what it was, Malcolm.”
    “Well, you sure as hell always go on about shit you never seen and shit you scared of.”
    “Leave him alone,” I say.
    “Oh, you're his boyfriend, now?”
    “No.”
    Timmy, one of the boys, gets up, and rudely points. While the other boys laugh, something big bubbles to the surface of the water. We all hear the unfamiliar disturbance in the water. A boat in the middle of the river causes a wake as it speeds by on the way to the marina. Everyone looks.
    The corpse of a young calf has floated to the top of the water. It had risen up from the depths. Bloated. The eyes of the creature stare up at us. Yellow, pasty eyes. Passed along by a farmer from down river to here, near the mouth. Thrown in for the alligators. Even though the carcass has eyes, I cannot see into its soul. Even though I try.
    “Gross. What is it?”
    “It’s a bloated cow. Look. I can poke it with my stick and it farts.” Standing on the seawall, Malcolm continues to jab at the carcass with a tree limb.
    "Stop it," I say.
    "No. It's just a dead cow."
    “Shut up Malcolm.”
    We get our clothes.
    “It’s an omen,” Francis says.
    “What’s that?” asks a kid I don’t know.
    “It means bad stuff’s gonna happen, shithead,” says Malcolm.
    Malcolm pushes his glasses violently into his forehead. Someone says, “I know. Look at it. It came from the bottom of the river. A kid caught a nurse shark here, in this same spot.”
    “But, rivers aren’t supposed to have cows and sharks swimming around in ‘em,” Timmy says.
    Francis stands up. He puts his arm on my shoulder and asks for a cigarette. I light him my last skinny cig. He takes a drag and coughs enough to show he's not a smoker. Normally the other kids would have laughed, but they wait to hear him talk. Jackson stands on the embankment and tells us the dead corpse is brushing against the sea wall.
    “Let’s get out of here, guys.”
    “Friggin' cow polluting the river.”
    Timmy brushes passes me. “You guys staying here?”
    “Yeah, we’ll catch up with you later.”
    I listen to Francis as he gets dressed.
    He turns to me all solemn like. “I saw its eyes, man. It was alive down there. It’s what the pig people eat. “They live under interstate highways. In some cities, they’re called the ‘pig people.’ People say they're cannibals with their noses upturned, like a pig. My dad tells me he’s going to give me to the pig people when I talk shit. He threw me out on the side of the road, where the old highway ninety is and showed me the pig people. Pushed me to the grill in the concrete where you can see their yellow eyes, dude. In the culverts, and shit. They live in the ditches, where they’re going to build the interstate.”
    Francis turns to face me. The other boys have ridden away. We both sit up.
    We're quite for a long while.
    “Hey,” I say. “I’ll jump. Here hold this.” I take off my jeans and hand Francis my glasses.
    "Lane, you're crazy! There's a fucking heifer in the fucking river."
    I jump anyway. The water is warm. I open my eyes underneath the waves and the vision is brown stems, dirt, the veritable detritus of river water, but no aquatic pig people. I pump my hands outward and swim back to the surface. I am afraid I am going to wade back into the corpse of the dead cow, afraid the pig people will pull me under. The river is known for its nasty current but people still swim here.
    “Hey, Lane, swim back, it’s getting dark,” Francis yells.
    I swim back to the steps. “That felt good. I hate putting on jeans when I’m wet.”
    “What you humming?”
    “Cats in the Cradle.” Francis sings as if he is alone in the shower. “Cats and the cradle and the silver spoon; Little boy blue and the man on the moon; When you’re coming home Dad I don’t know when; We’ll get together then son, you’ll now we’ll have a good time then.”
    “Why do you like that song?”
    “I dunno know.  Just do.”
    “You always turn it up when it comes on.”
    “I know.”
    “It’s kinda sad.”
    “Yeah.”
    “It is a good song,”
    “That’s where I saw them.” Francis points. He sings a made up tune.
    “In her concrete bosom the pig people sleep.
    the pig people live and eat.
    the pig people, the loup garoux, the boogey man,
    the monster in the closet, the fear out to get ya, man.
    boom, hear that?  y’all.
    yeah, bitch, she’s keen on your hide,
    her nose upturned like a pig snake, like a pig,
    like a celluloid freak from the comic pages of your friendly horror page;
    an immaculate mother, slouching toward bethlehem --
    legend? Nah.”
    “Dude, stop saying that. Where do you make up this shit? There’s no such thing as pig people.” I unzip my fly and turn so Francis cannot see me. I urinate a steady stream over a column of pre-stress concrete. This area by the river is filled with old pylons the state put aside in case of an emergency. “You probably saw the lights of cars or something.” I feel like I am telling the truth. The interstate overpass is constructed of two separate bridges, one larger than the other. The cars on the smaller overpass flicker as they pass by, obstructed by the pre-stress concrete columns that tend to hold everything in place. At dark, it does look like lighting bugs flickering by, or eyes, depending on how scared you are. “Look, I can see why you would think that, especially if a train comes; the lights and stuff come through.” The sound of traffic is deafening. From where we stand, swamp surrounds us. The old highway is two and half miles north, where my mom’s store is and where my house is. In a few weeks they’re going to block off this road and construction workers are going to build an extension to the interstate, to connect us to the outside world. I laugh.
    We roam the streets because I feel like avoiding Janie. I regret jumping in the river and I am out of cigarettes. The close of day depresses me. I figure I might as well walk with Francis but I am afraid of walking underneath the overpass, near where Francis says the pig people live, even in the daylight. The interstate is where they live; through the holes in the hollowed sections you can see the slits of their eyes, turned diagonal and green, did he say? Franics and I walk back with our bikes. My bike is bright green, with a streak of black across its aluminum frame; it has five speeds that I can control from the handlebars, and an orange reflector on the back, a pedal-operated light on the hand rest that glows with fierce intensity through the night. I won the bike at the Refinery fair last year. Francis and I don’t talk much as we walk. The roadway is forest and swamp along the stretch of road that leads to the pier. The interstate overpass that leads to the city is up ahead.
    There are two bridges in Pre-stress, side by side where the interstate cuts through the swamp, (the Tchefuncte river a faint treacle of music) trailed by the railroad, intersected by the Bonnet Carré spillway, where one hump lies, a measly device made from pre-stressed concrete, hardly a limp over the bog, standing next to the integrated interstate, carrying its burden, finesse — (cutting, slicing, bifurcating, dividing) we don’t even notice the smaller bridge until we come down the ramp to meet it and Sidney expounds on the merits of democracy, (Francis takes US history) and I mention that you only have to whisper to this little brother, listing to the side, an experiment in contrast and from here, at the bayou’s edge, the watery pass, drenched with sweat, blood filled frogs, dragonflies, rotten fish bait on the side of the service road; you can notice the smudge of water, at this more introspective level, the whirr of transit on the interstate above, seemingly distant, the one, two, three car salute on the smaller bridge, thumping along — the transition of life, squirming, unconscious, almost, impervious, almost, to the apparent arrogance of the interstate above, looming almost, carrying its burden of trucks and eighteen wheelers, little foxes and patrols, sharing secrets — see, you can go a quarter of a mile, cross over Maurepas Pass, and come back over the yellowing trestle, and then go back again onto the Eisenhower Interstate Interchange, in an agreeable neverending circuit; back again, back to the bogs, and the suspended water minnows, a secret every time even though there are some secrets that can never be told, for they are too much to hold, too much of a burden, if I can call it that; these are the secrets that I save for later.  We both feel complete, satisfied almost, even if a little relieved, and in the quiet space of an afternoon, the stench of that morning’s fishing still in the air, after throwing pebbles at the wasp husks underneath the interchange, the water the color of chicory, brown as the coffee I drink from the Tchefuncte; I take a fake nap on the concrete trestle, our secrets, for now, floating in the dragon flies flying through the air and I think I am so lucky, the luckiest guy in the world.

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Poem for a Phlebotomist's Office (Or, a Public Service Announcement for Donating Blood)

I present you with a poem to be read out-loud at your next visit to get your blood drawn.

Read this poem when you get your blood taken.

Hey, it's just
blood being drawn,
dahlin' - no cry!

So, no sweat, boo -

What else you gonna do?

Sit back, relax, let
the trained phlebotomist do
her act! - 1, 2, 3

then you're done, hon! YAY!

At least it ain't no vaccine!

So get your snack on later and be serene

Wasn't it a "walk in the park?"!

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Childhood Memory: When I Got My First Bicycle

In this post, I recount my memory of my first bike using a prose style of poem-writing.

My Schwinn was bright green, with a streak of black across its aluminum frame; it had five speeds that I could control from the handlebars, and an orange reflector on the back, a pedal-operated light on the handrest that would glow with fierce intensity through the night.

"Bike Agrowing"

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