Wednesday Wordplay – Bette Davis and toilet mummies

Lots of intuitive quotes this week, including ones from Bette Davis, Victor Hugo, Mother Teresa and Mahatma Gandhi.  And a funny quote from Edith Sitwell. Enjoy.


[Mostly] Inspirational Quotes

There are new words now that excuse everybody. Give me the good old days of heroes and villains. the people you can bravo or hiss. There was a truth to them that all the slick credulity of today cannot touch.
            — Bette Davis, The Lonely Life, 1962

I have often wished I had time to cultivate modesty… But I am too busy thinking about myself.
            — Edith Sitwell, As quoted in The Observer (30 April 1950)

Good habits result from resisting temptation.
            — Ancient Proverb

An ounce of loyalty is worth a pound of cleverness.
            — Elbert Hubbard

There is always more misery among the lower classes than there is humanity in the higher.
            — Victor Hugo, ‘Les Miserables,’ 1862

Joy is prayer – Joy is strength – Joy is love – Joy is a net of love by which you can catch souls.
            — Mother Teresa

You can’t turn back the clock. But you can wind it up again.
            — Bonnie Prudden

Honest differences are often a healthy sign of progress.
            — Mahatma Gandhi

Don’t gamble; take all your savings and buy some good stock and hold it till it goes up, then sell it. If it don’t go up, don’t buy it.
            — Will Rogers

If I have learnt anything, it is that life forms no logical patterns. It is haphazard and full of beauties which I try to catch as they fly by, for who knows whether any of them will ever return?
            — Margot Fonteyn

It’s not your painting anymore. It stopped being your painting the moment that you finished it.
            — Jeff Melvoin, Northern Exposure, Fish Story, 1994

Real, constructive mental power lies in the creative thought that shapes your destiny, and your hour-by-hour mental conduct produces power for change in your life. Develop a train of thought on which to ride. The nobility of your life as well as your happiness depends upon the direction in which that train of thought is going.
            — Laurence J. Peter

It is a sadness of growing older that we lose our ardent appreciation of what is new and different and difficult.
            — Elizabeth Aston, The Exploits & Adventures of Miss Alethea Darcy, 2005

Just because you are blind, and unable to see my beauty doesn’t mean it does not exist.
            — Margaret Cho, Margaret Cho’s weblog, 03-23-06

Consult your friend on all things, especially on those which respect yourself. His counsel may then be useful where your own self-love might impair your judgment.
            — Seneca

Never chase a lie. Let it alone, and it will run itself to death.
            — Lyman Beecher

Do not listen to those who weep and complain, for their disease is contagious.
            — Og Mandino

I feel good about taking things to Goodwill and actually, I do like shopping at Goodwill. It’s so cheap that it feels like a library where I am just checking things out for awhile until I decide to take them back.
            — April Foiles

Nobody can give you freedom. Nobody can give you equality or justice or anything. If you’re a man, you take it.
            — Malcolm X, Malcolm X Speaks, 1965

We are rich only through what we give, and poor only through what we refuse.
            — Anne-Sophie Swetchine

Oh for a book and a shady nook…
            — John Wilson

The ornament of a house is the friends who frequent it.
            — Ralph Waldo Emerson

Whenever evil befalls us, we ought to ask ourselves, after the first suffering, how we can turn it into good. So shall we take occasion, from one bitter root, to raise perhaps many flowers.
            — Leigh Hunt

I have never been especially impressed by the heroics of people who are convinced they are about to change the world. I am more awed by those who struggle to make one small difference after another.
            — Ellen Goodman

 


 

Urban Dictionary

 

Toilet Mummy

When someone is so concerned about toilet seat germs, they cover the seat with half a roll of toilet paper, leaving it to appear like it has been mummified.

"I was going to use that stall to drop a deuce, but somebody left it looking like a toilet mummy."

Recrap

To sum up a discussion composed largely of useless bullshit.

Person 1: "Tell me how the staff meeting went."
Person 2: "Allow me to recrap…"

Review: Eclipse Theatre’s “A Song for Coretta”

The Way We Live Now: Promise and Disillusionment in Pearl Cleage’s “A Song for Coretta”

The cast of Pearl Cleage's 'A Song for Coretta', now being presented by Chicago's Eclipse Theatre Company

Eclipse Theatre Company returns to Pearl Cleage’s work with A Song for Coretta, after successfully featuring her as a playwright, novelist, and poet throughout their 2007 season. Eclipse’s 2007 production of her first play, Blues for an Alabama Sky, won several Jeff Awards, plus a Ruby Dee Award from the Black Theatre Alliance for the actress TayLar.. (who is presently playing the character of Helen in this production).

All the women in A Song for Coretta come to honor and memorialize Coretta Scott King on the rainy evening of her funeral at Ebenezer Baptist Church. But what can they do with Coretta’s memory, or memory of the Black Civil Rights era, in the face of the dire challenges that eviscerate their community today? Cleage strives to regenerate the meaningfulness of that memory in the presence of generational divisions, between those for whom the Civil Rights struggle is still within living memory and those for whom it either lives only as a stirring image of African American unity, or does not live at all, since its limited benefits are no match against today’s corrosive injustices.

A Song for Coretta TayLar is pitch-perfect as the stalwart, churchgoing Helen, the only mourner present who has actually met Coretta Scott King; Niccole Thurman’s Zora conveys an earnest college student, covering the funeral for NPR, who is completely unconscious of her own naïveté; Kelly Owens’ Mona Lisa, a resourceful, bohemian Katrina survivor, embodies the kind of soulfulness that truly suggests magic; Kristy Johnson’s Keisha is by turns fiery, obstinate, arrogant, and vulnerably lost; Ebony Wimb’s Gwen comes across as stiff, even for an Iraq War veteran, yet she maintains the power to convey Gwen’s trauma simply with her eyes.

No one can deny the gifts or intentionality of the cast. Still, there is only so much that talent and stagecraft can bring to an incomplete work. The trouble is that they are trying to do so much with so little—an interesting situation, since it stands in direct relation to the dilemmas faced by the characters.

As badly as we need a play like this, Cleage may be trying to pack too much into one act. The result is a severely abridged overview of the African American generation gap, plus gangsta culture, plus Katrina, plus the Iraq war. Sadly, this gives the play a “movie of the week” quality. Characters are introduced as emblems of issues, not in-depth characters in their own right, so the conflicts between them are superficially addressed, as are the issues they are supposed to represent. There are humorous as well as riveting moments, but nothing that comes close to the knowing wit and complex insight with which Cleage has regaled readers and audiences in the past.

Songs-for-Coretta-3 Part of the problem lies in how the Black Civil Rights era is remembered in the play. Much as we may love Helen–with her church lady demeanor, her tailored dress, her tightly coiffed helmet of gray hair, and her outrage over the current generation’s insolent sloppiness, ignorance, and apathy–her representation of that era belies all the dangers of perceiving it through rose-colored glasses. If Helen was a child during the Montgomery bus boycott, then surely she grew into adulthood during the 60s and 70s, during the rise of the Black Power movement, the assassinations of Dr. King, Malcolm X, JFK, and Robert Kennedy; during the equally devastating crisis of the Vietnam War. There is nothing halcyon about Helen’s past and therefore no real reason to have her only portray that past beatifically to Zora.

Likewise, Keisha’s role in the play is also troublesome. She is supposed to be emblematic of the unrealized promise of the struggle for civil rights. While war metaphors are linked, and rather stiltedly, through an exchange between Mona Lisa and Gwen over Katrina and Iraq, there is hardly any acknowledgement in the play of the gang war conditions that have ravished Keisha’s life of education, opportunity, or a sense of history. A few of her lines just barely suggest it: “Old people are always talking about somebody died for us. Well people die all the time nowadays, in case you hadn’t noticed, and it don’t even matter what for—they still just as dead.” This is why her decision to forego abortion is no more comforting than the song–“This Little Light of Mine”–the women sing together at the end. Both seem like band-aids on interminable problems.

One can only hope that A Song for Coretta is an embryo for future work. We sorely need playwrights like Pearl Cleage, who will question the value of freedom, especially if it only means being free to carry out the state’s imperialistic adventures. Indeed, as there are outlier studies which show that schools are more racially segregated now than during Jim Crow, then in the year 2009, in every way that truly matters, we may be back to square one.

Rating: ««

A Song For Coretta by Pearl Cleage
Buy Tickets
A Midwest Premiere
Directed by ensemble member Sarah Moeller
June 11 – July 26, 2009
at The Greenhouse Theater
2257 N. Lincoln Ave. Chicago
Thursdays, Fridays, Saturdays at 8:30pm
Sundays at 3:30pm

Video footage of A Song for Coretta:   Video 1 and Video 2

Songforcoretta-old

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