He particularly liked a line from a song in Shakespeare's "Cymbeline": "Golden lads and girls all must/As chimney sweepers, come to dust."
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Well, the time has come to dust off those duo-chrome and metallic shades, because it's the holiday season and flashy is highly encouraged.
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Gagosian's main gallery in Mayfair, for example, was showing "Come to Dust," a museum-like exhibition of 2000 recent paintings, drawings and sculptures by the British artist Glenn Brown.
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Still, that which is repressed often finds a way of expressing itself somehow and music has, time and time again, come to dust the cobwebs off mainstream culture's ideas about gender roles, sexual politics and, indeed, the gates of mystery themselves.
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"I was spanking and a-freaking in a disco place," says Spoonie Gee (21960), who is the smooth talker, the midnight stalker, the image of the man they call the J.D. Walker, bouncing to the Patty Duke riddim as it shuffles from side to side, his voice track intermittently so flanged it hurts your ears, and that phrase takes on a power and significance you can't account for except by reference to its reminiscent tense, somehow a harbinger of how all of this will one day fade into sepia, since golden lads and girls all must, as chimney sweepers come to dust.
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Though summaries of Ehrenberg's work appeared earlier, it was not published in full until 1837 or 1838; the date is uncertain.W.A.S. Sarjeant, 2002. 'As chimney- sweeps, come to dust': a history of palynology to 1970. pp. 273–327 In: Oldroyd, D. R. The earth inside and out: some major contributions to geology in the twentieth century.
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Come to Dust is a post trip hop album by UK band Second Person. This is the third and final album from the band, and their first full-length studio release since their debut Chromatography. It was produced by Mark Maclaine (aka The Silence) at The Silence Corporation Studios, London. Some of the songs on the album were mixed by the Tony Platt.
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Disillusioned by politics, he turned his mind to writing. His first professional dramatic work appeared at the Chanticleer Theatre in South Kensington (1944). This was followed by a novel, Come to Dust (Chapman & Hall 1945), written in a hospital bed as a cathartic release from the traumas of war. His first major success came with the publication of a novella entitled The Servant (Falcon Press 1948), on which was based the classic film The Servant directed by Joseph Losey, starring Dirk Bogarde and James Fox.
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Perhaps the most famous verses in the play come from the funeral song of Act IV, Scene 2, which begins: :Fear no more the heat o' the sun, :Nor the furious winter's rages; :Thou thy worldly task hast done, :Home art gone, and ta'en thy wages: :Golden lads and girls all must, :As chimney-sweepers, come to dust. The first two lines are quoted by Virginia Woolf in Mrs. Dalloway by the two main characters Clarissa and Septimus Smith. The lines, which turn Mrs.
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Marsh test is used in Bill Bergson Lives Dangerously to prove that a certain chocolate is poisoned with arsenic. Lord Peter Wimsey’s manservant Bunter uses Marsh’s test in Strong Poison to demonstrate that the culprit was secretly in possession of arsenic. In Alan Bradley's As Chimney Sweepers Come To Dust, 12-year old sleuth and chemistry genius Flavia de Luce uses the Marsh test to determine that arsenic was the murderer's weapon. In the first episode of the 2017 BBC television series Taboo a mirror test, referencing the Marsh test, is used to verify the protagonist's father was killed via arsenic poisoning.
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He writes: :Pollicle dogs and cats all must :Jellicle cats and dogs all must :Like undertakers, come to dust. The song was set to music by Roger Quilter as "Fear No More the Heat o' the Sun," No. 1 of Five Shakespeare Songs, Op. 23 (1921). It was also set by Gerald Finzi as part of his song cycle on texts by Shakespeare Let Us Garlands Bring (1942). At the end of Stephen Sondheim's The Frogs, William Shakespeare is competing against George Bernard Shaw for the title of best playwright, deciding which of them is to be brought back from the dead in order to improve the world.
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Franck Lopez and Eric Milhiet (OMS), under the pseudonyms of Hugues Dammarie and Emeric Lenotz worked as a duet for Palace of Worms. This project called Thy Violent Vanities recorded a unique album entitled Come to Dust (2004) with extra performances by Liesbeth Houdijk (voices) and Pierre-Yves Lebeau (guitars and voices) from the Dutch-French group Hide and Seek. Since 1991, under the pseudonym of Franz Torres-Quevedo, Franck Lopez performs as a bassist-guitarist-vocalist in the French coldwave ensemble Collection d'Arnell-Andréa. He took part to the recording of eight studio albums : Les Marronniers (1992), Villers-aux -Vents (1994), Cirse des champs (1996), Tristesse des Mânes (2002), The Bower of Despair (2004), Exposition (2007), Live à la Nuit des Fées (2008) and Vernes-Monde (2010).
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