KIRBY J: I just think "drunk" is a label and I am a little worried about - it is not necessary to put that label. It is just that they were sufficiently affected by alcohol to affect their capacity to drive.
MR JACKSON: Yes.
KIRBY J: "A drunk" has all sorts of baggage with it.
HAYNE J: Perhaps "hammered" is the more modern expression, Mr Jackson, or "well and truly hammered".
MR JACKSON: I am indebted to your Honour.
KIRBY J: I do not know any of these expressions.
McHUGH J: No, no. Justice Hayne must live a very different life to the sort of life we lead.
KIRBY J: I have never heard that word "hammered" before, never. Not before this very minute.
- Joslyn v Berryman S122/2002
in the High Court of Australia
_______________________________________________________
You can be a judge too!
Monday, March 27, 2006
Saturday, March 25, 2006
The Importance of Being Earnest
The Production
Ridiculusmus has devised a farcical version of Oscar Wilde’s most famous play, The Importance of Being Earnest, in which two actors portray the entire cast aided only by much cross-dressing and the occasional hand puppet. With cunningly precise direction by Jude Kelly, this is an interpretation that’s so flamboyant and full of Wildean wit that there’s no doubt Wilde would have loved it.
The multiple roles, which rely on an absurdist, almost schizoid performance style, are heralded by a cacophony of music genres ranging from 80s pop to nursery rhymes and Wagnerian opera – all played against a garishly kitsch Victoriana set. Toying with the ideas of performance that underlie Wilde’s dissection of 19th century British high-society, Ridiculusmus ultimately unmasks the roles that social hierarchy and status dictate.
Ridiculusmus has devised a farcical version of Oscar Wilde’s most famous play, The Importance of Being Earnest, in which two actors portray the entire cast aided only by much cross-dressing and the occasional hand puppet. With cunningly precise direction by Jude Kelly, this is an interpretation that’s so flamboyant and full of Wildean wit that there’s no doubt Wilde would have loved it.
The multiple roles, which rely on an absurdist, almost schizoid performance style, are heralded by a cacophony of music genres ranging from 80s pop to nursery rhymes and Wagnerian opera – all played against a garishly kitsch Victoriana set. Toying with the ideas of performance that underlie Wilde’s dissection of 19th century British high-society, Ridiculusmus ultimately unmasks the roles that social hierarchy and status dictate.
David Jones Winter 2006 Fashion Preview
Dear Clayton Kai Xian,
We look forward to seeing you this Saturday at the following David Jones Winter 2006 Fashion Preview, where you can see how to wear key pieces from your favourite brands including Sportscraft, Table Eight, Esprit and many more. Your seat has been reserved and the event details are below:
Venue: Macarthur Square
Time: 14:00
Sincerely,
David Jones
We look forward to seeing you this Saturday at the following David Jones Winter 2006 Fashion Preview, where you can see how to wear key pieces from your favourite brands including Sportscraft, Table Eight, Esprit and many more. Your seat has been reserved and the event details are below:
Venue: Macarthur Square
Time: 14:00
Sincerely,
David Jones
Thursday, March 23, 2006
情人的眼淚
為什麼要對你掉眼淚
你難道不明白是為了愛
只有那有情人眼淚最珍貴
一顆顆眼淚都是愛 都是愛
為什麼要對你掉眼淚
你難道不明白是為了愛
要不是有情郎跟我要分開
我眼淚不會掉下來 掉下來
好春常在 春花正開
你怎捨得說再會
我在深閨 望穿秋水
你不要忘了我情深 深如海
為什麼要對你掉眼淚
你難道不明白是為了愛
要不是有情郎跟我要分開
我眼淚不會掉下來 掉下來
我眼淚不會掉下來 掉下來
你難道不明白是為了愛
只有那有情人眼淚最珍貴
一顆顆眼淚都是愛 都是愛
為什麼要對你掉眼淚
你難道不明白是為了愛
要不是有情郎跟我要分開
我眼淚不會掉下來 掉下來
好春常在 春花正開
你怎捨得說再會
我在深閨 望穿秋水
你不要忘了我情深 深如海
為什麼要對你掉眼淚
你難道不明白是為了愛
要不是有情郎跟我要分開
我眼淚不會掉下來 掉下來
我眼淚不會掉下來 掉下來
Tuesday, March 21, 2006
Monday, March 13, 2006
Tuesday, March 07, 2006
Friday, March 03, 2006
Aldo Shoes
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