Sunday, June 22
Sabe chegar
Sabe sair
Sabe ser notado e cogitado aonde ir
— "Estilo Cachorro", Racionais MC's
Subir
Descer
Entrar
Sair
Faz parte do talento
Individual de cada um
Por que você não vem me dar um beijo?
Um beijo de amor e de desejo
— "Alcohol", Jorge Ben Jor
Kiss me
Please, kiss me
But kiss me out of desire
Baby, not consolation
— "Last Goodbye", Jeff Buckley
Sabe sair
Sabe ser notado e cogitado aonde ir
— "Estilo Cachorro", Racionais MC's
Subir
Descer
Entrar
Sair
Faz parte do talento
Individual de cada um
Por que você não vem me dar um beijo?
Um beijo de amor e de desejo
— "Alcohol", Jorge Ben Jor
Kiss me
Please, kiss me
But kiss me out of desire
Baby, not consolation
— "Last Goodbye", Jeff Buckley
Thursday, June 12
Could this person bear the terrors of opening themselves up to another's love, and acknowledge, without too much fear, the depth of their need for someone else? Could they let you look after them, and, in turn, could they look after you? Could they bear to love without holding on to excessive independence? Could they temper their dread of being engulfed? Could they be part of a couple without feeling that they were dissolving as a person? Could they avoid managing fear through coldness or suspicion and anger? Could they, in short, manage the anxieties of being adored? Or, if we can put it another way: could they not hold it against you if you like them a lot?
— The School of Life, How to Work Out the Emotional Maturity of Prospective Partners
Saturday, August 26
It’s really difficult for a person to create their own life and their own freedom. It’s going to become more and more difficult, and it’s going to create more and more disillusioned people who become dishonest and angry and are willing to fuck the next guy to get what they want.
— Chris Cornell, entrevista pra Rolling Stone publicada em janeiro de 1995
Friday, August 25
Vows are spoken to be broken
Feelings are intense, words are trivial
Pleasures remain, so does the pain
Words are meaningless and forgettable
— "Enjoy The Silence", Depeche Mode
Words are useless
Especially sentences
They don't stand for anything
How could they explain how I feel?
— "Bedtime Story", Madonna
Feelings are intense, words are trivial
Pleasures remain, so does the pain
Words are meaningless and forgettable
— "Enjoy The Silence", Depeche Mode
Words are useless
Especially sentences
They don't stand for anything
How could they explain how I feel?
— "Bedtime Story", Madonna
Wednesday, May 17
Monday, April 17
I don't wanna be your friend
I just wanna be your lover
— "House Of Cards", Radiohead
I only wanna hear you purr and hear you moan
You have another man who brings the money home
I don't want dishes in the sink
Don't ask me what I feel or what I think
— "Everything Goes To Hell", Tom Waits
Don't want to meet your daddy
Just want you in my Caddy
Don't want to meet your mama
Just want to make you cum-a'
— "Hey Ya!", OutKast
I just wanna be your lover
— "House Of Cards", Radiohead
I only wanna hear you purr and hear you moan
You have another man who brings the money home
I don't want dishes in the sink
Don't ask me what I feel or what I think
— "Everything Goes To Hell", Tom Waits
Don't want to meet your daddy
Just want you in my Caddy
Don't want to meet your mama
Just want to make you cum-a'
— "Hey Ya!", OutKast
Sunday, August 22
When Her Majesty Queen Elizabeth II asked the economists at the London School of Economics in November 2008 how come they had not seen the current crisis coming (a question which was surely on everyone's lips but which only a feudal monarch could so simply pose and expect some answer), the economists had no ready response. Assembled together under the aegis of the British Academy, they could only confess in a collective letter to Her Majesty, after six months of study, rumination and deep consultation with key policy makers, that they had somehow lost sight of what they called 'systemic risks', that they, like everyone else, had been lost in a 'politics of denial'. But what was it that they were denying?
— David Harvey, The enigma of capital: and the crises of capitalism
Tuesday, August 18
Rappers be boring us with rhymes of conventional
Dazed and amazed when they hear the three-dimensional
— "9th Wonder (Blackitolism)", Digable Planets
Dazed and amazed when they hear the three-dimensional
— "9th Wonder (Blackitolism)", Digable Planets
I was having a conversation with David Byrne a couple of weeks ago. He was saying that it takes at least three years to know what the hell you were going on about in any song you write. And I was going, “That is so true. That's so correct.” Looking back now, I know exactly what Dry and Rid of Me are about. I get them completely. But I didn't have a clue at the time. You see, it all goes in here... [gestures to her heart in her tiny chest] and you don't know how or when it will come out again.
— PJ Harvey
As I've often said, you make the movie to find out why you wanted to make the movie. You really don't know at the beginning everything about it: what attracts you to it, why you wanted to make it. Part of the compulsion to finish it through all the difficulties that are there is that you want to find out what it was that you were doing, why it was that you were doing this in the first place.
— David Cronenberg
Sunday, May 10
Já se disse que os personagens de ficção são indeterminados — ou seja, nós conhecemos poucas de suas características — enquanto os indivíduos reais são completamente determinados, e deveríamos ser capazes de inferir deles cada um de seus atributos conhecidos. Mas, ainda que isso seja verdadeiro do ponto de vista ontológico, da perspectiva epistemológica sucede o exato contrário: ninguém pode determinar todas as propriedades de determinado indivíduo ou determinada espécie, que são potencialmente infinitas, enquanto as propriedades dos personagens de ficção são muito limitadas pelo texto narrativo — e apenas aqueles atributos mencionados pelo texto valem para a identificação do personagem.
— Umberto Eco, Confissões de um jovem romancista
Wednesday, April 29
Sem você, o tempo é todo meu
Posso até ver o futebol
Ir ao museu, ou não
Passo o domingo olhando o mar
Ondas que vêm, ondas que vão
— "Sem Você Nº 2", Chico Buarque
After you go, I can catch up on my reading
After you go, I have a lot more time for sleeping
And when you're gone, it looks like things are gonna be a lot easier
Life will be a breeze, you know
I really should be glad
After you go, I have a lot more room in my closet
After you go, I'll stay out all night long if I feel like it
And when you're gone, I can run through the house screaming
And no one will ever hear me
I really should be glad
— "Bluer Than Blue", Michael Johnson
Se eu quiser passar o verão inteiro na banheira
Nenhum cristão na Via Láctea inteira vai perceber
Eu posso torrar todo meu dinheiro em vícios
Surfar, comer, fumar, dançar até cair, dormir, virar bebê
Mas o problema é que eu não quero
— "Nenhum Cristão Na Via Láctea", Mundo Livre S/A
Posso até ver o futebol
Ir ao museu, ou não
Passo o domingo olhando o mar
Ondas que vêm, ondas que vão
— "Sem Você Nº 2", Chico Buarque
After you go, I can catch up on my reading
After you go, I have a lot more time for sleeping
And when you're gone, it looks like things are gonna be a lot easier
Life will be a breeze, you know
I really should be glad
After you go, I have a lot more room in my closet
After you go, I'll stay out all night long if I feel like it
And when you're gone, I can run through the house screaming
And no one will ever hear me
I really should be glad
— "Bluer Than Blue", Michael Johnson
Se eu quiser passar o verão inteiro na banheira
Nenhum cristão na Via Láctea inteira vai perceber
Eu posso torrar todo meu dinheiro em vícios
Surfar, comer, fumar, dançar até cair, dormir, virar bebê
Mas o problema é que eu não quero
— "Nenhum Cristão Na Via Láctea", Mundo Livre S/A
Thursday, January 2
...as a performer, it’s not exactly like method acting. I don’t have to, like, work myself up. If I’m going to sing a song that’s, say, melancholy, I don’t have to work myself up to that state like a method actor might before I begin singing the song. The song, if it is well done, and listeners have the exact experience, it kind of reaches into you and grabs that kind of experience that you’ve had, that part of you, those kinds of emotions and pulls you to the surface and kind of recreates that experience every time you sing the song, more or less. So I thought, “Wow, yes — it’s pulling the stuff out of us.” The music is, as opposed to us putting it into the music. We make the thing that does that. As composers and musicians – we make the stuff, but then it acts back on us.
— David Byrne
Tuesday, October 15
The drunken doctor almost cried
When he saw the cell divide
"In thirty days and three weeks time
This new body will fit fine!"
— "I.C. Timer", Les Savy Fav
When he saw the cell divide
"In thirty days and three weeks time
This new body will fit fine!"
— "I.C. Timer", Les Savy Fav
Friday, July 5
I didn't even speak English, I spoke Hate; and its verbs were fists.
— Rubin Carter, apud Denzel Washington
Wednesday, November 21
When you look back on the New York you knew in the seventies, how does it make you feel looking at what New York is like today? — It’s shocking, I still can’t believe it. Tom Verlaine and I lived in the East Village, we had a place that cost maybe a hundred dollars a month – six floor walk up with no bathroom – and now that same apartment is like a thousand dollars. Not only did it change aesthetically because they destroyed a lot of places, but the beauty of New York City for me was that people could come from all over – young people, people of any age – with ideas, with no money, but had creative instincts, or a plan, a design, could come and get some cheap apartment, get a job at a book store as I did, and build their life. You can’t do that anymore; it’s a completely different economic structure.
— Patti Smith
Saturday, July 21
I feel like there’s something about playing a certain way — it’s almost like a dance or something like that. If I play a certain way then a certain sound comes out of the drum. Some of those songs it’s really hard to get the right sound. It’s just this crazy, intense, draining kind of experience trying to get the right sound out of each song.
— Benjamin Weikel
