the kind of sentence

I thought they'd quit writing in the '80s: "Shaw’s acute insight into the nature of language is especially surprising because he could not have read Derrida’s critique of logocentrism.” -- Jean Reynolds, Pygmalion’s Wordplay: The Postmodern Shaw; University of Florida Press, 1999 *** Statcounter stopped responding to me a while back, so I have no idea if anyone's looking at this but: upcoming "dates" of one sort or another at left. Esp. looking forward to hearing Cathy Park Hong; Dance Dance Revolution, which I'm 2/3 through, is a helluva performance. *** Sorry I never said more about the b-musicals: Harburg/Gorney's "Dusty Shoes," a "Brother, Can You Spare a Dime?"-sequel from Moonlight and Pretzels (1933, Karl Freund), ruled, as did Marge Champion's solo turn to Johnny Mercer/Johnny Green's "Derry Down Dilly" (I may not have that title exactly right) in Everything I Have is Yours (1952, Robert Z. Leonard). The Ann Miller vehicle Priorities On Parade (1942, Albert S. Rogell) included some nice Styne/Loesser obscurities and too much jingoism to let you forget for long what Ann Miller vehicles were for; and Slightly French (1949, Douglas Sirk) wasn't so much a musical as a romantic comedy w/ lush visuals, natch, and a couple of diegetic numbers for Dorothy Lamour, Arlen/Koehler's "Let's Fall in Love" among them. The week of break, in which I saw all these, plus a fine Kenward Elmslie reading ("What's happened to the poem as poem, Sneaky Pete?"), plus Braxton, plus the ICP with George Lewis, who slayed, was not a bad week -- though it's sad that the last event was part of Tonic's final week of operation. *** And hey, entire state of New York -- it's called Spring, and it normally starts in March or April. Just think about it.