seriously in illness,have a wet dream and recall

oh gee, last sunday after a football match i got a sharp cool shower and now i have to lie in bed and take pills and have the miss nurses take the injection for me everyday. yesterday a group of japanese scholars arrived for a week's seminar session, and tomorrow will be a friendly match between us, if i was not ill...

seriously, i nearly cough blood yesterday though i feel better right now, i got a fever high up to 39 last night and...i don't know why i had a wet dream(a weird one,i was in dream making love with a girl who is my classmate in my childhood...though i will not ever think of her these years, human being is of mystery... )with something violence, no i don't want to misguide it, i had a dream about sex, and subsequently a dream with violence which was partly cohesive to the former.

i woke up 3:00 pm again,sweatful, left the discman playing susumu yokota's disco-revival oriental "1999", suddenly i just got a recall of the 80's music like george michael's 'young gun', and boy george, and the incredible bananarama(in chinese we translate it into lady bananas,you so sexy word!) , the club year a-go-go!!hilarious!

be in illness means the waste of money and time, specially a single like me far away from home, solitude, and infinite sadness.
was claude levi-strauss feeling frustrated, sitting by a bulk of wood, recalling and doing a dairy of what happened the day when the day's about to vanish? i read his masterpiece 'tristes tropiques' when i sitting in closestool, wondering,and
the mood to be continued...

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a joke, actually the music i wanto say

A bus stops and two Italian men get on. They sit down and engage in an animated conversation. The lady sitting behind them ignores them at first, but her attention is galvanized when she hears one of the men say the following:

“Emma come first. Den I come. Den two asses come together. I come once-a-more. Two asses, they come together again. I come again and pee twice. Then I come one lasta time.”

“You foul-mouthed sex-obsessed swine,” retorted the lady indignantly. “In this country, we don’t speak aloud in public places about our sex lives……”

“Hey, coola down lady,” said the man. “Who talkin’ abouta sexa? I’m a justa tellin’ my frienda how to spella ‘Mississippi’.”

well i do not want to offend any kind of accent and italians is specially nice people!

the joke tells the story of how the aphorism,"cast pearls before swine", which originally excerpted from the bible is been use, though not very appropriate,however.but actually the "pearls before swine", is the title of a legendary folk band of the 60's, and the singer of the band, tom rapp, with his self-indulgence and sometimes acerbic voice, is really the incarnation of a minstrel of his time.i recently listen to their reissue tracks in a compilation "The Wizard of Is"

love the man's voice and his music.

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these days

last sunday i went swimming with z and it's been seven years that i have never touched the swimming pool and i raelly have a nice afternoon. well i used to be a gifted swimmer since i learn it at six, however i feel awkward when i jumped into the pool the first time after such long time's absence. i never took a break to rest and swam four hundred metres as my mom always told me that i should never waste time in fooling around with the water. feeling tired the next morning when i wake up and i could hardly move my limbs. if swimming cannot be a exercise put into a everyday's rule it would be no sense, considering the fact that i am doing a lot of things other it's really hard to put in my agenda.

now i study at least six hours everyday and wake up in seven o'clock, everything's fine and on its right place,i eat much as sometimes i felt hungry when i reading. it's a bit embarrassed yesterday i went chargin' my card and the cashier said to me:"wow you eat a six hundred yen a month in school,it's quite unbelievable!"
though i am thinner than the pin...

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yesterday i had my door repaired by myself

ooh, the lock of my door has been a really problem for me, thinking that you should waste a three times or more to get it close and locked, and with more strength that you open it, you will know what i mean. the thieves are all around in campus, besides a reliable door, what can you ask for more?
but i have no tools for this job, so i picked back a rock way back from supper as my hammer and i asked the custodian of the apartment for a single long nail ,i used the rock to knock the nail into the frame of wood as firmly as i can and it really did.
they called me a skillful carpenter...well i am agreeable to accept as deserved honor, though it sound like a little old fashioned one.
i hope i am in ancient time of a peaceful era when people make things with their own hand and trade for everyday's expense, a quiet and diligent wife taking good care of our cattles and children, a fertiled infield for seeders and a clear rushing brook for fishing, in summer we play chess and drink tea by the arbor of bamboo, while winter we warm the wine and do a chinese watercolour of the red blossom plum by the window. i really have such a inspiration long ago in my mind.
well really i am old fashiond

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How to hide the Nav Bar above--really effective method!

add texts between＜style type="text/css"＞and＜/style＞ as bellow:

#b-navbar{height:0px; visibility:hidden;}
#blog-header {margin-top:0px;}
#wrapper {margin-top:0px !important;}

and after you do so,Blogger NavBar will be really hidden，but that will leave a blank area where it sit previously, so you should do as follow to finish:

#content {width:920px;margin:0 auto;text-align:left;}

modify the margin setting from 0 to -45px,and that's ok,enjoy it!

(well considered that with different templates,the exactly css tag will be tiny different literally)

i place some pics here sorry:

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A Review Excerpt From NY Times As A Start

Reviewing An 'Epitaph,' A Symphony By Mingus

By JON PARELES

Published: June 2, 1989

Andrew Homzy, a jazz historian from Canada, was cataloguing the late Charles Mingus's scores - piles of music paper stored in bags and boxes around the Manhattan apartment of his widow, Sue Mingus - when he started to find what seemed to be parts of larger pieces for jazz orchestra. One started with measure 417, another with 2,106; eventually, he realized that the stacks of frayed, yellowing, oversized manscript paper all fit together. He had found ''Epitaph,'' the Mingus magnum opus that will be performed in its entirety for the first time tomorrow night at Alice Tully Hall.
The musicologist Gunther Schuller will conduct a 30-piece jazz orchestra including Mingus alumni - Jack Walrath on trumpet, John Handy and George Adams on saxophones, Eddie Bert on trombone, Roland Hanna on piano - and other first-rank soloists, among them Wynton Marsalis and Snooky Young on trumpets.
At a rehearsal Tuesday afternoon, Mr. Schuller said ''Epitaph'' is ''unprecedented in jazz.'' ''It is a breakthough piece,'' he said, for its length, the size of the orchestra and ''the grandeur of its conception.''
''It's not just a bunch of strung-together pieces, like jazz suites,'' Mr. Schuller said. ''It has much more of an overall continuity than most extended jazz compositions.'' Mingus's 'Summation'
Mr. Schuller describes ''Epitaph'' as ''a summation of everything that Mingus ever did.'' From the 1950's until his death in 1979, Mr. Mingus combined experimentation with a bedrock knowledge of jazz roots, embracing gospel and blues and Ellington, flamenco and cumbia and mambo, be-bop and modern jazz -all brought together with a gutsy, brawling, passionate intelligence. Mr. Mingus was both forward-looking and conscious of history, the father of current avant-gutbucket jazz; he was hard on musicians in a way that turned them into overachievers. And from the 1950's on he experimented with structure, composing extended works and breaking free of standard song forms.
Parts of ''Epitaph'' surfaced at an infamous 1962 concert (intended for a live recording) at Town Hall, where Mr. Mingus was first able to convene the large ensemble - six trumpets, six trombones, tuba, seven saxophones, bassoon, contrabass clarinet, two pianos, two basses, guitar, vibraphone, drums and percussion. When the first concert date was moved up five weeks, rehearsal time evaporated, and while the concert extended into the wee hours, only fragments of the performance were usable.
Sections of ''Epitaph,'' notably ''The Chill of Death,'' turned up in small-group versions, but of the piece's 18 sections, fewer than a third will be familiar to Mingus fans. The composer kept the larger work to himself; according to Mr. Schuller, even Mr. Mingus's longtime drummer, Dannie Richmond, was unaware of it. Mr. Schuller, who had commissioned a Mingus composition as early as 1957 and who frequently conducted Mr. Mingus's orchestral works, said he believed that the disappointment of that concert led Mr. Mingus to put ''Epitaph'' aside, although he worked on it sporadically into the early 1970's and assembled it.
''Once in a while, when I'd complain about something,'' Mrs. Mingus said, ''he'd say, 'Well, I have a whole symphony that hasn't been played.' '' Piecing It Together
Once Mr. Homzy had brought together the pieces of the score, it had to be edited. Some parts had been hastily written, abbreviated or poorly copied; there were discrepancies in phrasing and dynamic markings. As the piece went into rehearsal, 20 people were working to complete a computerized printout of the full score, paid for by grants from the Ford Foundation and the National Endowment for the Arts.
''Epitaph,'' Mr. Schuller said, is not quite a long unified work like a Mahler symphony, because it interpolates some shorter, pre-existing pieces, including the blues-gospel workout ''Better Get It in Your Soul.'' But large parts of it, like the opening ''Main Score,'' are ''conceived on a much larger scale,'' Mr. Schuller said. ''They use no known structure, no 12-bar blues or 32-bar song forms, just his own structures.''
''The piece goes through long pedal points'' - stretches based on an unmoving bass note - ''or sections with two alternating chords that change every 45 seconds or so, and the improvisation takes place on these plateaus,'' Mr. Schuller said. ''His goal was clearly a large unified work, and at least half of it, maybe two-thirds of it, is unified, even with these self-contained pieces that don't hook up with the rest.''
The fact that Mingus numbered the measures of the entire work in order, Mr. Schuller said, shows that he thought of ''Epitaph'' as a single work. 'Many Layers of Music'
''The hard thing in rehearsing the piece is sorting out the many layers of music,'' Mr. Schuller said. ''You'll have a melody, a countermelody and an 18-piece accompaniment, and you have to straighten out who plays with whom. Like Ellington, Mingus might use oboe along with the trumpet section, or baritone saxophone along with the trombones. Some of the chords are very advanced, very modern, loaded up with all the modern extensions of the harmonies. There are chords that go from flute down to contrabass clarinet, and you have to sort them out to tune them.''
''A lot of people may not get this piece,'' he added. ''Some of it is too daunting, too challenging, too out -you can't just sit there and groove. It has a lot of things that go way beyond the confines of ordinary jazz, although it's pure jazz. But it runs the whole gamut of his music. It's got real, valid, extended improvisations, along with what he called church music, and be-bop, and beautiful ballads.''
''It is a shame that it was never done in his lifetime, when he could have conducted it himself,'' Mr. Schuller concluded. ''He knew how to get so much out of musicians, sparking them and loosening them up. I'm not Mingus, but I'm doing the best I can.''
''Epitaph'' will be performed tomorrow at 8 P.M. at Alice Tully Hall; tickets are $22.50 to $30; information: 362-1911. It will also be performed Monday at the Wolf Trap Festival outside Washington.

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