Category Archives: MEMORIES

Watch “Herman’s Hermits – No Milk Today – True Stereo Long Version!” on YouTube



No milk today my love is gone away
The bottle stands forlorn a symbol of the dawn
No milk today it seems a common sight
But people passing by don’t know the reason why

How could they know just what this message means
The end of all my hopes the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen
No milk today it wasn’t always so
The company was gay we turn’d night into day
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up to down
No milk today it wasn’t always so
The company was gay we turn’d night into day
As music played the faster did we dance
We felt it both at once the start of our romance
How could they know just what this message means
The end of all my hopes the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen
No milk today my love is gone away
The bottle stands forlorn a symbol of the dawn
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up to down
No milk today my love is gone away
The bottle stands forlorn a symbol of the dawn
No milk today it seems a common sight
But people passing by don’t know the reason why
How could they know just what this message means
The end of all my hopes the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen
No milk today it wasn’t always so
The company was gay we turn’d night into day
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
All that’s left is a place dark and lonely
A terraced house in a mean street back of town
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Source: LyricFind


Songwriters: Graham Gouldman
No Milk Today lyrics © Music Sales Corporation

Watch “Et Si Tu N’Existais Pas – Joe Dassin Lyrics” on YouTube




Et si tu n’existais pas
Dis-moi pourquoi j’existerais?
Pour traîner dans un monde sans toi
Sans espoir et sans regrets

Et si tu n’existais pas
J’essaierais d’inventer l’amour
Comme un peintre qui voit sous ses doigts
Naître les couleurs du jour
Et qui n’en revient pas
Et si tu n’existais pas
Dis-moi pour qui j’existerais?
Des passantes endormies dans mes bras
Que je n’aimerai jamais
Et si tu n’existais pas
Je ne serais qu’un point de plus
Dans ce monde qui vient et qui va
Je me sentirais perdu
J’aurais besoin de toi
Et si tu n’existais pas
Dis-moi comment j’existerais?
Je pourrais faire semblant d’être moi
Mais je ne serais pas vrai
Et si tu n’existais pas
Je crois que je l’aurais trouvé
Le secret de la vie, le pourquoi
Simplement pour te créer
Et pour te regarder
Et si tu n’existais pas
Dis-moi pourquoi j’existerais?
Pour traîner dans un monde sans toi
Sans espoir et sans regrets
Et si tu n’existais pas
J’essaierais d’inventer l’amour
Comme un peintre qui voit sous ses doigts
Naître les couleurs du jour
Translate to English

Source: LyricFind


Songwriters: Claude Lemesle / Pasquale Losito / Pierre Delanoe / Toto Cutugno / Vito Pallavicini
Et si tu n’existais pas lyrics © Sony/ATV Music Publishing LLC, Downtown Music Publishing, Curci France Edition

Haiku: Believes (© poetic thought by GeorgeB @ euzicasa)


Haiku: Believes

(© poetic thought by GeorgeB @ euzicasa)

Some younger people

Believe TV shows are true…

What’s reality?

Note: Read other poetic thoughts published under “MENU”, in “The smudge and other poems”, my poetry Page!

Haiku: “In the Beginning” (© poetic thought by GeorgeB @ euzicasa)


Haiku: “In the Beginning”

(© poetic thought by GeorgeB @ euzicasa)

In the Beginning

There were nothing but darkness:

Just as in the End.

Watch “Woody Allen on The Meaninglessness of Life & The Role of The Artist” on YouTube


Watch “Busy hands create beauty, regardless of their size” on YouTube” on YouTube


Watch “Meiko Kaji (梶芽衣子) – CD Collection (CDコレクション)” on YouTube


Wikipedia: Meiko Kaji


https://en.wikipedia.org/wiki/Meiko_Kaji?wprov=sfla1

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Meiko Kaji

Meiko Kaji (梶 芽衣子 Kaji Meiko, born March 24, 1947) is a Japanese actress and singer. She has appeared in about 100 films,[3] with her most famous roles being outlaw characters in early 1970s films, such as the rebels of the Stray Cat Rock series, the assassin Lady Snowblood, and the murderous Nami Matsushima from the Female Prisoner 701: Scorpionseries.

Meiko Kaji

Native name
梶 芽衣子

Born
Masako Ohta[1][2]

March 24, 1947(age 72)

Occupation Actress, singer
Years active 1965-present

Life and careerEdit

Meiko Kaji was born Masako Ohta in the Kanda area of Tokyo and graduated from the Yakumo Academy high school in Meguro, Tokyo. She began to work in the film industry under her real name, Masako Ota, at Nikkatsu studio in 1965 after graduating from high school.[1] In 1969 she appeared in Nihon Zankyoden, one of a series of films directed by Masahiro Makino, who recognized her acting ability and gave her the stage name of Meiko Kaji.[2]From 1970 to 1971 she appeared in the Noraneko Rokku (Stray cat/Alleycat Rock) series of films about delinquent young people.

In 1971, Nikkatsu moved into the pink film business, and to avoid this, Kaji moved to Toei Company.[1] There she made the Female Convict 701: Scorpion series of films. In 1973 she took on the role of Yuki in the revenge-themed film Lady Snowblood, followed by a sequel, Lady Snowblood 2: Love Song of Vengeance. She went on to appear in several of Kinji Fukasaku‘s films, such as Yakuza Graveyard(1976). In 1978, she starred in Sonezaki Shinjū, for which she earned nominations for Best Actress at five different awards shows, winning four of them.[4]

Kaji has worked in television since the 1980s. In 1989 she portrayed Omasa, an informant, in the television drama Onihei Hankachō (the ShochikuFuji Television version starring kabukiactor Nakamura Kichiemon II).

Kaji is also a singer. She sang the theme song to Lady Snowblood, “Shura no Hana” (修羅の花), and the theme song of the Female Convict Scorpion series, “Urami Bushi” (怨み節). When both these songs were used in the 2003 Quentin Tarantino film Kill Bill,[1] there was a revival of interest in Kaji’s music that encouraged her to resume her musical career.[5] In 2009, she released a single, Onna wa yametai. In 2011, Kaji released her first new album in 31 years, Aitsu no suki-so-na burūsu (あいつの好きそなブルース)[6] with songs written by Ryudo Uzaki and Yoko Aki.

Kaji received acting offers from Hollywood but refused them all, saying she could not give a good performance in a language other than Japanese.[7]

FilmographyEdit

FilmsEdit

TelevisionEdit

  • Sasagawa Saho Matatabi Shirizu – Kuresakatouge e no chisou (1972) – Oshizu
  • Terauchi Kantarō Ikka (1974) TV series …. Shizue Terauchi
  • Sorekara no Musashi (1981) TV series … Yuri-hime
  • Ōoku (1983)
  • Kaseifu wa mita! 2 (1984) (TV)
  • Sutaa tanjō (1985) TV series
  • Tantei Kamizu Kyōsuke no satsujin suiri 8: Izu Shimoda-kaigan ni akai satsui ga hashiru (1988) (TV) …. Shōko Hamano
  • Aoi sanmyaku ’88 (1988) …. Umetaro
  • Onihei Hankachō (1989-2016)… Omasa
  • Kenkaku Shōbai (1998) TV series
  • Kaseifu ha mita! 21 (2003) (TV) …. Mayumi Hirao
  • Anata no tonari ni dare ka iru (2003) TV series …. Shimako Matsumoto
  • Nogaremono orin (2006) TV series
  • Hasshū mawari kuwayama jūbei(2007) TV series
  • Kenkyaku shobai: Haru no arashi(2008) (TV)
  • Kekkon shinai (2012) TV series
  • Joiuchi: Hairyo zuma shimatsu(2013) (TV)
  • Taxi Driver no Suiri Nisschi 34 (2013) (TV)
  • Gokuaku Gambo (2014) TV series
  • Joshu Seven (2017) TV series
  • What Did You Eat Yesterday? (2019) TV series

DiscographyEdit

SinglesEdit

Title (romaji) Title (Japanese) Released Notes
Jingi Komoriuta / Koi ni inochi o 仁義子守唄/恋に命を July 5, 1970
Inochi no Namida / Kanashii Egao 命の涙/悲しい笑顔 March 5, 1971
Hamabe no Meruhen / Ai he no kitai 浜辺のメルヘン/愛への期待 July 5, 1971
Gincho Wataridori / Gincho Buruusu 銀蝶渡り鳥/銀蝶ブルース March 5, 1972 Theme song from Wandering Ginza Butterfly
Urami Bushi / Onna no Jumon 怨み節/女の呪文 December 1, 1972 Theme song from Female Convict 701: Scorpion
Kaji Meiko No Miryoku

Watch “Le Meilleur de Ennio Morricone – Les Plus Belles Musiques de Films – [High Quality Audio]” on YouTube


Watch “The Traitor_Martha Wainwright_Leonard Cohen_I’m Your Man_720HD-022711.avi” on YouTube


  • Now the Swan it floated on the English river
    Ah the Rose of High Romance it opened wide
    A sun tanned woman yearned me through the summer
    And the judges watched us from the other side

    I told my mother “Mother I must leave you
    Preserve my room but do not shed a tear
    Should rumour of a shabby ending reach you
    It was half my fault and half the atmosphere”

    But the Rose I sickened with a scarlet fever
    And the Swan I tempted with a sense of shame
    She said at last I was her finest lover
    And if she withered I would be to blame

    The judges said you missed it by a fraction
    Rise up and brace your troops for the attack
    Ah the dreamers ride against the men of action
    Oh see the men of action falling back

    But I lingered on her thighs a fatal moment
    I kissed her lips as though I thirsted still
    My falsity had stung me like a hornet
    The poison sank and it paralyzed my will

    I could not move to warn all the younger soldiers
    That they had been deserted from above
    So on battlefields from here to Barcelona
    I’m listed with the enemies of love

    And long ago she said “I must be leaving,
    Ah but keep my body here to lie upon
    You can move it up and down and when I’m sleeping
    Run some wire through that Rose and wind the Swan”

    So daily I renew my idle duty
    I touch her here and there, I know my place
    I kiss her open mouth and I praise her beauty
    And people call me traitor to my face

  • Written by Leonard Cohen
    Lyrics © Sony/ATV Music Publishing LLC
    Lyrics powered by LyricFind

  • 3 Months Agoalerique
  • General Comment:

    Please, note parallels with famous ‘O Rose Thou Art Sick’ by William Blake, with specific reference to Englishness to remove further doubts. This is widened reinterpretation of the famous poem from the worm’s point of view.

    O Rose thou art sick.
    The invisible worm,
    That flies in the night
    In the howling storm:

    Has found out thy bed
    Of crimson joy:
    And his dark secret love
    Does thy life destroy.

  • 6 Years AgoJohnnyBee
  • My Interpretation:

    What the Traitor has betrayed is the ideal of love. His ‘scarlet fever’ is lust, but when it is satisfied by ‘lingering on her thighs’, the Traitor is shamed. He recognises that other young men go off to battle without high ideals and they too become ‘the enemies of love’.
    Lovely metaphors – great Leonard Cohen.

  • 8 Years AgoGeorgeb
  • General Comment:

    Well I guess, it is fundamentally positive, and for a long time I just amaze myself at the beauty of the methaphore, the idea of the world as a stage, as the scene of a quest, in which the spectators are the judges as well, then i heard Leonard Cohen’s explaantion of the line of thought that made him write the poem. It goes like this:

    “It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”.
    It talks about the unvoidable predicament of failure from without, and the only right posture when one’s faced with a situation in which one cannot but fail: standing guiltless, in the predicament in which you find yourself. I think that is positive: not blaming yourself for outcomes of which you could not fully control.

  • 9 Years AgoStrangerinme
  • General Comment:

    And long ago she said “I must be leaving,
    Ah but keep my body here to lie upon
    You can move it up and down and when I’m sleeping
    Run some wire through that Rose and wind the Swan”

    God what a punishment ( the cruelty of the victim is almost far more than of the criminal)
    He betrayed her , she doesn’t love him no more but she keeps her body for him to have sex with while her soul is somewhere else …

  • 9 Years AgoRJSoftware
  • General Comment:

    Damb, aint any Cohen song remotley happy?

  • 11 Years Agobhoover247
  • General Comment:

    The rose is the womans genitals, the swan would be his. The line “run some wire through the rose and wind the swan” would be the woman asking him to have sex with her. He daily performs his “idle duty” but he doesn’t love her. He has become an “enemy of love” for betraying his true love.

  • 12 Years AgoWinters
  • General Comment:

    1. It seems to be about a man settling for someone who is not right for him rather than what his heart desires. He becomes an enemy of love, The Men of Action Falling back is the man too weak to take action and leave, following his heart. He has a relationship of physical love but not real love. He is a traitor to himself.

Watch “Jeff Buckley – “Hallelujah”” on YouTube



Well I’ve heard there was a secret chord
That David played and it pleased the Lord
But you don’t really care for music, do you?
Well it goes like this:
The fourth, the fifth, the minor fall and the major lift
The baffled king composing Hallelujah

Hallelujah
Hallelujah
Hallelujah
Hallelujah
Well your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew ya
She tied you to her kitchen chair
And she broke your throne and she cut your hair
And from your lips she drew the Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
But baby I’ve been here before
I’ve seen this room and I’ve walked this floor
You know, I used to live alone before I knew ya
And I’ve seen your flag on the marble arch
And love is not a victory march
It’s a cold and it’s a broken Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Well there was a time when you let me know
What’s really going on below
But now you never show that to me do ya
But remember when I moved in you
And the holy dove was moving too
And every breath we drew was Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Maybe there’s a God above
But all I’ve ever learned from love
Was how to shoot somebody who outdrew ya
And it’s not a cry that you hear at night
It’s not somebody who’s seen the light
It’s a cold and it’s a broken Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Source: LyricFind


Songwriters: Leonard Cohen
Hallelujah lyrics © Sony/ATV Music Publishing LLC

Watch “Somewhere in Time (orchestra version), Conducted by Albert E Moehring” on YouTube


Watch “Unchained Melody – Mantovani and his Orchestra” on YouTube


Watch “Autumn Leaves – Mantovani and his Orchestra” on YouTube


Watch “Acker Bilk – Ramblin’ Rose” on YouTube


Watch “** I Can’t Stop Loving You ** – Acker Bilk” on YouTube


Watch “Mr. Acker Bilk – Feelings” on YouTube



Feelings, nothing more than feelings
Trying to forget my feelings of love
Teardrops rolling down on my face
Trying to forget my feelings of love

Feelings, for all my life I’ll feel it
I wish I’ve never met you, girl
You’ll never come again

Feelings, wo oh oh feelings
Wo oh oh, feel you again in my arms
Feelings, feelings like I’ve never lost you
And feelings like I’ve never have you again in my heart
Feelings, for all my life I’ll feel it
I wish I’ve never met you, girl
You’ll never come again

Feelings, feelings like I’ve never lost you
And feelings like I’ve never have you again in my life
Feelings, wo oh oh feelings
Wo oh oh, feel you again in my arms
Feelings

Feelings, wo oh oh feelings
Wo oh oh, feel you again in my arms
Feelings

Feelings, wo oh oh feelings
Wo oh oh, feel you again in my arms
Feelings

Source: LyricFind


Songwriters: Barry Mann / Cynthia Weil
Feelings lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Editora e Importadora Musical Fermata do Brasil Ltda.

Definition: DICTIONARY ACCORDING TO AMBROSE BIERCE


Definition: DICTIONARY ACCORDING TO AMBROSE BIERCE

Definition: DICTIONARY ACCORDING TO AMBROSE BIERCE

https://pin.it/svdxquk3dwtzb7

Watch “Les Feuilles Mortes_Yves Montand à l´Olympia” on YouTube



Oh, je voudais tant que tu te souviennes
Des jours heureux où nous étions amis
En ce temps-là la vie était plus belle
Et le soleil plus brûlant qu’aujourd’hui

Les feuilles mortes se ramassent à la pelle
Tu vois, je n’ai pas oublié
Les feuilles mortes se ramassent à la pelle
Les souvenirs et les regrets aussi
Et le vent du Nord les emporte
Dans la nuit froide de l’oubli
Tu vois, je n’ai pas oublié
La chanson que tu me chantais
C’est une chanson qui nous ressemble
Toi tu m’aimais, et je t’aimais
Nous vivions tous les deux ensemble
Toi qui m’aimais, moi qui t’aimais
Mais la vie sépare ceux qui s’aiment
Tout doucement, sans faire de bruit
Et la mer efface sur le sable
Les pas des amants désunis
La, la, la, la
La, la, la, la
La, la, la, la
La, la, la, la
La, la, la, la
La, la, la, la
La, la, la, la
La, la, la, la
Mais la vie sépare ceux qui s’aiment
Tout doucement, sans faire de bruit
Et la mer efface sur le sable
Les pas des amants désunis
Translate to English

Source: LyricFind


Songwriters: Jacques Prevert / Joseph Kosma
Les Feuilles Mortes (Remasterisé) lyrics © Kobalt Music Publishing Ltd.

Watch “Fred Neil – A Little Bit Of Rain” on YouTube



If I should leave you
Try to remember the good times
Warm days filled with sunshine
And just a little bit of rain
And just a little bit of rain

And if you look back
Try to forget all the bad times
Lonely blue and sad times
And just a little bit of rain
And just a little bit of rain
And if I look back
I’ll remember all the good times
Warm days filled with sunshine
And just a little bit of rain
And just a little bit of rain
If I should leave you
Try to remember all the good times
Warm days filled with sunshine
And just a little bit of rain
And just a little bit of rain
Source: LyricFind


Songwriters: Fred Neil
Little Bit of Rain lyrics © BMG Rights Management US, LLC

Watch “Voilà – Françoise Hardy (1967)” on YouTube



  1. Voilà, je regarde les autres
    Pourtant, je ne leur trouve rien
    C’est comme ça
    Voilà, je vais avec les autres
    Le temps passe plus mal que bien
    C’est comme ça,
    Et toi, que fais-tu, es-tu content de tout?
    Je suis là, devant toi, toujours la même
    Oh! Pourquoi est-ce encore toi que j’aime
    Que j’aime, que j’aime, que j’aime?
    Tu es là, devant moi, toujours le même
    Oh! Pourquoi ne puis-je pas te dire
    Je t’aime, je t’aime, je t’aime?
    Voilà, je m’en retourne aux autres
    Qui m’aiment et que je n’aime pas
    C’est comme ça,
    Et toi, va retrouver cette autre
    Tu l’aimes ou c’est ce que tu crois
    C’est comme ça
    Voilà, on n’a rien, rien de plus à se dire
    Je suis là, devant toi, toujours la même
    Tu le vois, c’est encore toi que j’aime
    Que j’aime, que j’aime, que j’aime
    Tu t’en vas et plus rien ne vaut la peine
    Oh! Pourquoi ne puis-je pas crier:
    Je t’aime, je t’aime, je t’aime?
    Translate to English
    Source: Musixmatch


    Songwriters: Francoise Hardy

Modern education systems…are nothing but modern


Modern education  systems...are nothing but archaic

Modern education systems…are nothing but modern

https://pin.it/p72eyzw2d4yeqm

Watch “Glenn Gould – Beethoven, Concerto No. 5 in E-flat major op.73 “Emperor” – Part 2 (OFFICIAL)” on YouTube


Watch “Leonard Cohen – Sound Of Silence” on YouTube



Hello darkness, my old friend
I’ve come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
‘Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence

And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dare
Disturb the sound of silence
“Fools” said I, “You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you”
But my words like silent raindrops fell
And echoed
In the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, “The words of the prophets
Are written on the subway walls
And tenement halls”
And whisper’d in the sounds of silence
Source: LyricFind


Songwriters: Paul Simon
The Sound of Silence lyrics © Universal Music Publishing Group

WINSTON CHURCHILL: SOCIALISM IS THE PHILOSOPHY OF FAILURE, THE CREED OF IGNORANCE AND THE GOSPEL OF ENVY.


WINSTON CHURCHILL: SOCIALISM IS THE PHILOSOPHY OF FAILURE, THE CREED OF IGNORANCE AND THE GOSPEL OF ENVY.

WINSTON CHURCHILL: SOCIALISM IS THE PHILOSOPHY OF FAILURE, THE CREED OF IGNORANCE AND THE GOSPEL OF ENVY.

https://pin.it/q5rlcwgl6zqefx

REMEMBER: “JUST BECAUSE YOU DO NOT TAKE AN INTEREST IN POLITICS…”


REMEMBER:

REMEMBER: “JUST BECAUSE YOU DO NOT TAKE AN INTEREST IN POLITICS… DOESN’T MEAN POLITICS WON’T TAKE AN INTEREST IN YOU” PERICLES

https://pin.it/2do5edge5ctgdv

Watch “Leonard Cohen on Preparing for Death | The New Yorker” on YouTube


Watch “Leonard Cohen Chelsea Hotel #2 Live” on YouTube




I remember you well in the Chelsea Hotel
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah but you got away, didn’t you babe
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around
I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, “Well never mind,
We are ugly but we have the music”
And you got away, didn’t you babe,
You just turned your back on the crowd
You got away, I never once heard you say,
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around
I don’t mean to suggest that I loved you the best
I can’t keep track of each fallen robin
I remember you well in the Chelsea Hotel
That’s all, I don’t even think of you that often
Source: LyricFind


Songwriters: Leonard Cohen
Chelsea Hotel #2 lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management
I remember you well in the Chelsea Hotel
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left

Ah but you got away, didn’t you babe
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around

I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, “Well never mind,
We are ugly but we have the music”

And you got away, didn’t you babe,
You just turned your back on the crowd
You got away, I never once heard you say,
I need you, I don’t need you
I need you, I don’t need you
And all of that jiving around

I don’t mean to suggest that I loved you the best
I can’t keep track of each fallen robin
I remember you well in the Chelsea Hotel
That’s all, I don’t even think of you that often

Source: LyricFind


Songwriters: Leonard Cohen
Chelsea Hotel #2 lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management

MEDICAL LIBRARY- HEALTH AND LIFESTYLE: HUMAN BRAIN


MEDICAL LIBRARY- HEALTH AND LIFESTYLE: HUMAN BRAIN

MEDICAL LIBRARY- HEALTH AND LIFESTYLE: HUMAN BRAIN

https://pin.it/bxp3db6ublxvas

Wikipedia: List of The Blacklist characters


https://en.m.wikipedia.org/wiki/List_of_The_Blacklist_characters?wprov=sfla1

List of The Blacklistcharacters

The Blacklist is an American crime drama television series that premiered on NBC on September 23, 2013. Raymond “Red” Reddington (James Spader), a former government agent turned high-profile criminal, who had eluded capture for decades, voluntarily surrenders to the FBI, offering to cooperate on capturing a list of criminals who are virtually impossible to catch. He insists on working with a rookie profiler by the name of Elizabeth Keen (Megan Boone). The show also stars Diego Klattenhoff, Ryan Eggold and Harry Lennix. The pilot episode was written by Jon Bokenkamp and directed by Joe Carnahan. Executive producers for the series include Bokenkamp, John Eisendrath, and John Davis for Sony Pictures Television, Universal Television, and Davis Entertainment. In February 2015, The Blacklist was renewed for a third season,[1] with Hisham Tawfiq promoted to main cast.[2]

Cast overview

Actor Character Position Seasons
1 2 3 4 5 6 7
James Spader Raymond “Red” Reddington Confidential informant, FBI Main
Megan Boone Elizabeth “Liz” Keen/Masha Rostova Special Agent, FBI
Special consultant, FBI
Main
Diego Klattenhoff Donald Ressler Special agent, FBI
Director of the Counterterrorism Division, FBI
Main
Ryan Eggold Tom Keen/Jacob Phelps/Christopher Hargrave Covert operative Main
Parminder Nagra Meera Malik Field agent, CIA Main
Harry Lennix Harold Cooper Director of the Counterterrorism Division, FBI Main
Amir Arison Aram Mojtabai Computer specialist, FBI Recurring Main
Mozhan Marnò Samar Navabi Agent, Former Mossad agent Main
Hisham Tawfiq Dembe Zuma Reddington’s bodyguard Recurring Main

Main characters featured in The Blacklis

Raymond Reddington/Ilya Koslov

Raymond Reddington is portrayed by James Spader, since 2013

Portrayed by James Spader

Raymond “Red” Reddington is a former government agent, presumed to be a member of the United States Navy, and number 4 on the FBI’s Most Wanted List.[3] A U.S. Naval Academygraduate, he once worked in US counterintelligence and was being groomed for Admiral when something happened on his way home for the Christmas holidays. It is later revealed that Reddington was accused of committing treason by leaking information to the Soviet Union which led to the death of several American naval officers. Nicknamed “the concierge of crime”, Reddington is known for brokering deals between criminals. He willingly surrenders to the FBI and provides information on a roster of criminals that he refers to as The Blacklist: dangerous criminals who are so careful to avoid leaving any traces behind that the FBI has not even detected their existence. His ethics are somewhat murky, and he espouses the use of some crimes (such as extortion, counterfeiting, torture, and murder) in the service of “the greater good”. He uses his arrangement with the FBI to pursue his own secret agenda; it was revealed that he needed their help to find Berlin, a mysterious nemesis who had been attacking his organization.

He has an unexplained interest in Elizabeth Keen and knows personal secrets about her that she has never made public. He will stop at nothing to protect her and even went as far as to block her memories of the fire she was trapped in. But she finally regains them and learns that when her father attacked her mother, she killed him while still a child. Red explains that he never wanted Liz to end up like him and was trying to prevent that. He had a romantic affair with Liz’s mother, Katarina Rostova, and it is implied several times that he may be Liz’s biological father. No proof of this is ever shown, and Red himself initially denies it when directly confronted by Liz, although he does claim that he knew her father well. Red is confirmed as Liz’s father in “Dr. Adrian Shaw: Conclusion”, and in “Mr. Kaplan: Conclusion”, he finally acknowledges this to Liz after she presents him with a DNA test confirming his paternity. In “Monarch Douglas Bank”, it was revealed that Red used to be married to Naomi Hyland and has a daughter named Jennifer. In “Dr. Linus Creel”, when he confronted Naomi about her, he discovers that Jennifer left her after her marriage to Frank and hasn’t tried to make contact since then.

After the death of Alan Fitch, Reddington comes into conflict with the Director, the new head of the Cabal. The Director did not believe that Reddington had the Fulcrum, a blackmail file which Reddington had used as leverage to force a stalemate with the Cabal, and wanted to end the détente and kill Reddington. In response, Reddington urgently began seeking the Fulcrum, and managed to collect various items needed to decrypt it. Finally, after he confessed to Liz that he had initially hired Tom Keen to enter her life and watch over her, she gave him the Fulcrum, after which he was shot by the Director’s agents. However, he survived. He continued to throw obstacles into Liz’s path as she sought to find out more about her mother. When Liz was framed by the Cabal for the assassination of Senator Hawkins, Reddington countered by gathering 11 of the world’s top investigative journalists and giving them the information contained in the Fulcrum. He later helped Liz go on the run after she assassinated Attorney GeneralTom Connolly, a member of the Cabal.

Accompanied by Liz, Reddington goes on the run to gather various resources needed for his plan to bring down the Director and exonerate Liz. He eventually succeeds in forcing the Cabal to abandon the Director, and then kills him. However, Red is unable to clear Liz completely of the killing of Tom Connolly and she only returns to the taskforce as an asset like Red himself. He meets with Laurel Hitchin, who suggests he weakened the Cabal so that they would invite him to join it.

After watching Liz die in his arms Dembe convinces Red to leave the van containing her body and Ressler places his FBI windbreaker around Red’s shoulders and leads him over to the car with Dembe. As Ressler lets go of Red’s arm and Red goes to get into the car he collapses and Dembe catches him saying: “I got you.” And preceding to help Red into the car. After being told to stay away from Agnes by Tom in “Cape May”, Red goes on a self-imposed exile to get away from everything and find better means to cope with Liz’s death. He rescues a woman who attempted suicide one time and takes her back to the abandoned hotel. Only when a man talks to Red at the beach, that he realized the woman he rescued was a ghost and it was she who tells him that he did save her, through channeling his grief in losing Liz. In “The Artax Network”, Red finally visits Dom, the father of Katarina, and while he still blames him for what he done, Dom reluctantly allows Red to stay. When Aram tracks him down to try and convince Red to help them again, he refuses to leave and sends Aram on his way. Dom later convinces Red to leave and honor his word to the FBI, saying that Red’s got good people who count on him. As a token of gratitude, Red fixes a C♯ key on Dom’s piano and leaves. Red later visits Aram and tells him they have work to do.

In “Dr. Adrian Shaw: Conclusion”, while Red is being held captive and threatened by Alexander Kirk, Red admits that he is in fact Elizabeth Keen’s father. As Kirk goes to kill him, Red whispers something to Kirk that changes his mind and the two men disappear by the time the FBI arrive. Red later tells Liz that Kirk is “gone” but doesn’t elaborate further and doesn’t tell her that he’s her father.

In “Lipet’s Seafood Company” Red is berated by Cooper for letting Alexander Kirk go, but Red tells him that Kirk is gone and won’t be coming back and moves on. Red works to meet with the President-Elect to whose campaign he contributed in exchange for his help with the Alexander Kirk situation and is eventually able to secure a Presidential pardon for Liz killing Tom Connolly. As a result, Liz is able to be reinstated as an FBI agent.

In “The Apothecary”, Red is poisoned and needs the FBI to find Asa Hightower, the man who poisoned him. When confronting Marvin Gerard for not being at the dinner, he learns that Dembe has left him.

In “Dembe Zuma” Red finds out that Dembe left his side in order to find the traitor in his syndicate. Aram helps him out by procuring one name, Kathryn Nemec, whom Red recognizes as Mr. Kaplan. When confronting the man who housed her and shot Dembe, Red and Baz discovered he wired a bomb and escaped as he died in his house.

In “Requiem”, Kaplan calls Red and he confronts her for hiding Liz from him. She tells him she needed to do what she should’ve done years ago in keeping Liz away from him and mentions that she has just begun her revenge. When Red tries to claim that she helped build his syndicate tight, Kaplan reminds him that she is the one who knows where the bodies of the people he had killed are buried and that she hid them from the FBI over the years, including that of Diane Fowler. This makes Red worried when Kaplan reveals that they can be used to not only attack his syndicate, but also destroy him from within.

In “Mr. Kaplan”, many of Red’s associates have broken rank and joined Kaplan in her plans for revenge. He also learns that Julian Gale, a rogue FBI agent, is working with her in order to procure the immunity deal between Red and the FBI. Red tries to appeal to Kaplan to end the war, but she refused, telling him that Liz needs to know the truth.

In “Mr. Kaplan, Conclusion”, Red takes Ressler to Hitchin’s cleaner, Henry Prescott, to help him find a barrel marked back two years ago. When they open it, Red tells Ressler that he had just found Reven Wright. With the evidence, he and Ressler appeal to Hitchin for help. When she tried to refuse, Red tells her that unless she wants to be held accountable for both the Task Force’s downfall and the murder of Wright, she better uphold her end of the bargain and end the indictment on the Task Force. Red tries to appeal to Kaplan again at the bridge, promising he won’t shoot her. He is shocked when she decided to jump to her own death. Later on, Red is confronted by Liz who tells him that she now knows he’s her father. At Tansi Farms, Red and Dembe discover the suitcase buried there is gone and that they must get it back before Liz discovers the truth about how her mother, Katarina Rostova, died.

In “Ian Garvey: Conclusion”, despite taking Garvey hostage and en route to collecting the skeletal remains of Katarina, Ian rams his sedan into another car, leaving Red and Dembe there as he escapes. Red later confronts Garvey after learning that the latter now knows that Liz is his daughter. Only then, Jennifer confronts Red for what he’s done and the fact that Ian saved her and Naomi’s life from their disappointment when they learned of his criminal career. Red then recognizes her from all the years. Despite Garvey shooting first, Red fires back and shoots him.

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Achievement

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Watch “Ludwig van Beethoven Symphony No. 6, (Full version)” on YouTube


Published on Mar 30, 2017

I (0:00)

II (10:56)

in (24:10)

W (29:21)

v (32:22)

Ludwig van Beethoven Symphony No. 6, (Full version) I. Happy Arrival 0:00

It. By the Brook 10:56

III.

V. Shepherd’s Song 32:22

Conducted by Frans Briiggen (Orchestra of the 18th Century) I’m happy for you all. Thank you for watching this nice symphony. Beethoven’s 6th Symphony (Pastoral) A Love of Nature The Pastoral Symphony is a charming masterpiece which both paints a picture of nature and describes man’s feelings towards it. Beethoven‘s great love of nature, the delight in strolling through the countryside in Vienna, the fact that he always found his equilibrium in the heart of nature, all these inspired him to create his sixth symphony. Beethoven’s 6th Symphony is filled with colorful sounds, simple folk tunes. nice development, and a feeling of calm beauty. It contains meaningful emotional aspect which reflects mankind’s feelings towards the natural world. Beethoven began sketching out his 6th symphony in 1802 and finished it in 1808. ‘How happy I am to be able to walk among the shrubs. the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs.‘ Beethoven said in the summer of 1808. The premiere of the 6th Symphony was probably the grandest musical event in Beethoven’s life. It was a massive conceit packed with lndelible moments of brand new Beethoven music! This programmatic endeavor is clearly expressed through the suggestive title of the symphony, as well as through the titles of each movement. When Beethoven found refuge in the midst of nature, he jotted down themes inspired by the trill of birds, the trickling of creeks or the rustle of leaves. In a notebook from 1803 was found an outline of a river’s trickling with the additional note: ‘The greater the river, the more grave the tone.’-Beethoven spread out the sympho-y into five movements and gave each movement a little subtitle explaining what it was about. I. ‘Happy Arrival’ (Awakening of cheerful feelings upon arrival in the country) The Pastoral symphony opens with warmth and calm, setting the scene as we arrive in the countryside. This has a programmatic indication. In this movement, we find a genuine popular sonority through the choice of instruments neatly weaved together. [Allegro ma non troppo]

II. ‘By the Brook’ (T he natural scene of the stream) This slow movement is a beautiful depiction of the delicate nature of… nature itself. It is a wonderful scene of nature with exceptionally musical themes in the pure pastoral air. You can almost breathe the fresh country air! It is more of a description of sensations rather than images. Towards the end, we find the onomatopoeic sounds of birds. [Andante molto mosso]

III. ‘Merrymaking’ (Joyful gathering of countryfolk) Now we turn our attention to the loud, jolly peasants who live in the countryside. Here we see them celebrate with a joyful dance. Of course. these are simple folks, so the music itself is simple, but very energetic. [Allegro]

IV. ‘ThunderStorm’ (Heavy rumblings of natural forces) 29.21 With no pause between the previous movement and this movement, there is a dramatic surprise, hinting at trouble ahead. Yes, a storm is brewing! Beethoven inserts fantastic lightning crashes and a whirl of wind. He renders the stages of the storm as it unravels on the horizon and moves closer more and more threatening.

The instruments with grave chords cellos and double basses through their sounds announce the storm, then the staccato sounds of the violins render the falling raindrops, and through the timpani and the flutes we sense the thunder and lightning. Then comes the rainbow. Above all these images, we feel the tense disposition that captures man facing the realities of nature. There is an urgent sense of human fear since humanity is powerless against the forces of nature. When the storm is over, all living creatures come to the surface, taking their place in the natural cycle. This is rendered by a choral of flutes which come as a sunray. [Allegro]

V. ‘Shepherd‘s Song’ (Expression of thanks when the storm is over) As the storm fades away, all the animals emerge, and there‘s a general feeling of relief. Sunshine reappears, and everyone’s mind is relaxed aqain. This is
the song of gratitude towards nature. It is a calm movement, full of mind is relaxed again. This is the song of gratitude towards nature. It is a calm movement, full of grace. It starts out quiet, but quickly gets faster and happier. The music is fairly simple. but this makes Its emotions of gratitude endearing. [Allegretto]

Beethoven’s Pastoral Symphony, through its simplicity. is just sincere and natural.

‘IV. Allegro (Storm and tempest) (extract)’ by Roger Norrington

YOGA: NAMASTE


YOGA: NAMASTE

YOGA: NAMASTE

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Symphony No. 6 (Beethoven) – Wikipedia


https://en.m.wikipedia.org/wiki/Symphony_No.6%28Beethoven%29

Symphony No. 6 (Beethoven)

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: Pastorale[1]), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,[2] the symphony was first performed in the Theater an der Wien on 22 December 1808[3] in a four-hour concert.[4]

Symphony No. 6
by Ludwig van Beethoven
Beethoven sym 6 script.PNG

Part of a sketch by Beethoven for the symphony

Other namePastoral SymphonyKeyF majorOpusOp. 68PeriodClassical periodFormSymphonyBased onNatureComposed1802–1808DedicationPrince Lobkowitz
Count RazumovskyDurationAbout 40 minutesMovementsFiveScoringOrchestraPremiereDateDecember 22, 1808LocationTheater an der Wien, ViennaConductorLudwig van Beethoven

Background

Instrumentation

Form

In film

Notes

References

External links

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MUSIC
Beethoven’s Symphony No. 6 in F Major, Op. 68
June 12, 200610:39 AM ET
Audio will be available later today.
Hear an Interview with Conductor Christoph Eschenbach
“Pastoral”

Composed in 1808

Premiered December 1808

Published 1809 in Leipzig

Many of Beethoven’s works are titled, yet many of these names came from friends or from those to whom the pieces were dedicated. The Sixth Symphony, however, is one of only two symphonies Beethoven intentionally named. Beethoven’s full title was “Pastoral Symphony, or Recollections of Country Life.” Although it was composed in the same time period and dedicated to the same people as the Fifth, the works have many differences. The “Pastoral” is known as a “characteristic” symphony and closely resembles “Le musical de la nature” by Rheinish composer Justin Heinrich Knecht. Beethoven publicly declared the piece’s “extramusical” purpose: an expression of nature. His affinity for nature and his love for walks through the country outside Vienna were captured in the Sixth, as well as in the notes scribbled on sketches of the symphony.

Notes on Beethoven’s Sixth Symphony
CHRISTOPHER H. GIBBS

Most of the familiar titles attached to Beethoven’s works were put there by someone other than the composer. Critics, friends, and publishers invented the labels “Moonlight,” “Tempest,” and “Appassionata” for popular piano sonatas. Prominent patrons’ names—Archduke Rudolph, Count Razumovsky, Count Waldstein—became wedded to compositions they either commissioned or that are dedicated to them, thereby winning a sort of immortality for those who supported the composer.

Beethoven himself crossed out the heading “Bonaparte” from the title page of the Third Symphony, but later wrote in “Sinfonia eroica” (Heroic Symphony), and it is his only symphony besides the Sixth to bear an authentic title. To be sure, stories about “fate knocking at the door” in the Fifth and the choral finale of the Ninth have encouraged programmatic associations for those works, beginning in Beethoven’s own time. But, in the end, it is the Sixth Symphony, the “Pastoral,” that stands most apart from his others, and indeed from nearly all of Beethoven’s instrumental and keyboard music, in its intentional, publicly declared, and often quite audible extramusical content. Beethoven’s full title is: “Pastoral Symphony, or Recollections of Country Life.”

“More an Expression of Feeling Than Painting”

And yet the Sixth Symphony does not aspire to the level of musical realism found in a work like Berlioz’s Symphonie fantastique or in Richard Strauss’s later tone poems. In the program for its premiere, Beethoven famously noted that the “Pastoral” contained “more an expression of feeling than painting.” He had earlier objected to some of the musical illustration in Haydn’s oratorios The Creation (1798) and The Seasons (1801), with their imitations of storms, frogs, and other phenomena. He probably would not have cared much for what the “New German School” of Berlioz, Liszt, and Wagner would later advocate and create.

Beethoven’s “Pastoral” Symphony belongs to a tradition, going back to the previous century, of “characteristic” symphonies. Indeed, the titles for the movements that Beethoven provided closely resemble those of “Le Portrait musical de la nature,” written nearly 25 years earlier by the Rheinish composer Justin Heinrich Knecht. (It is doubtful Beethoven knew the music of the piece, but he did know the titles.) Scattered comments that Beethoven made in his sketches for the Symphony are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.”

Regardless of the musical and aesthetic implications that the “Pastoral” Symphony raises with respect to the program music—a key issue for debate over the rest of the century—it unquestionably offers eloquent testimony to the importance and power of nature in Beethoven’s life. The composer reveled in walking in the environs of Vienna and spent nearly every summer in the country. When Napoleon’s second occupation of the city in 1809 meant that he could not leave, he wrote to his publisher: “I still cannot enjoy life in the country, which is so indispensable to me.” Indeed, Beethoven’s letters are filled with declarations of the importance of nature in his life, such as one from 1810: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.”

Companion Symphonies

Beethoven wrote the “Pastoral” primarily during the spring and fall of 1808, although some sketches date back years earlier. Its composition overlapped in part with that of the Fifth Symphony, which might be considered its non-identical twin. Not only did both have the same period of genesis and the same dedicatees (Count Razumovsky and Prince Lobkowitz), but they were also published within weeks of one another in the spring of 1809 and premiered together (in reverse order and with their numbers switched).

The occasion was Beethoven’s famous marathon concert of December 22, 1808, at the Theater an der Wien, and was the only time he premiered two symphonies together. Moreover, the program also included the first public performance of the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy. Reports indicate that all did not go well, as musicians playing after limited rehearsal struggled their way through this demanding new music, and things fell apart during the “Choral” Fantasy. Although the Fifth and Sixth symphonies are extremely different from one another in overall mood, there are notable points of convergence, such as the innovations in instrumentation (the delayed and dramatic introduction of piccolo and trombones in the fourth movements) and the splicing together of the final movements.

A Closer Look

Beethoven’s descriptive movement titles for the “Pastoral” were made public to the audience before the premiere. The first movement, “Awakening of cheerful feelings upon arriving in the country,” engages with a long musical tradition of pastoral music. From the opening drone of an open fifth in the lower strings to the jovial coda, the leisurely and often repetitive pace of the movement is far from the intensity of the Fifth Symphony. The second movement, “Scene by the brook,” includes the famous birdcalls: flute for the nightingale, oboe for the quail, and two clarinets for the cuckoo (Berlioz copied the effect for two of the birds in the pastoral third movement of his Symphonie fantastique).

This is Beethoven’s only symphony with five movements and the last three lead one into the next. The third is entitled “Merry gathering of peasants” and suggests a town band of limited ability playing dance music. The dance is interrupted by a “Tempest, storm” that approaches from afar as ominous rumblings give way to the full fury of thunder and lightning. The storm is far more intense than other well-known storms—such as by Vivaldi and Haydn—and presages later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some scattered moments of disruption before the “Shepherds’ hymn—Happy and thankful feelings after the storm” brings the work to its close. Regardless of Beethoven’s declared intentions, this music seems to function on both descriptive and expressive levels, therein fueling arguments about the issue ever since his time.

Program note © 2006. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

Web Resources
The Philadelphia Orchestra’s Site
Philadelphia Orchestra
Ludwig van Beethoven
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Watch “Leonard Cohen Interview – Part 1 of 3” on YouTube


Watch “Isn’t it a Pity – Nina Simone” on YouTube


Isn’t it a pity
You don’t know what I’m talking about, yet
But I will tell you soon
It’s a pity

Isn’t it a pity
Isn’t it a shame
Yes, how we break each other’s hearts
And cause each other pain

How we take each other’s love
Without thinking anymore
Forgetting to give back
Forgetting to remember
Just forgetting and no thank you
Isn’t it a pity

Some things take so long
But how do I explain
Why not too many people can see
That we are all just the same
We’re all guilty

Because of all the tears
Our eyes just can’t hope to see
But I don’t think it’s applicable to me
The beauty that surrounds them
Child, isn’t it a pity

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How we break each other’s hearts
And cause each other pain
How we take each other’s love
The most precious thing
Without thinking anymore

Forgetting to give back
Forgetting to keep open our door
Isn’t it a pity
Isn’t it a pity

Some things take so long
But how do I explain
Isn’t it a pity
Why not too many people
Can see we’re all the same

Because we cry so much
Our eyes can’t, can’t hope to see
That’s not quite true
The beauty that surrounds them
Maybe that’s why we cry
God, isn’t it a pity

Lord knows, it’s a pity
Mankind has been so programmed
That they don’t care about nothin’
That has to do with care
C-a-r-e

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How we take each other’s love
The most precious thing
Without thinking anymore
Forgetting to give back
Forgetting to keep open the door

But I understand some things take so long
But how do I explain
Why not too many people
Can see we’re just the same

And because of all their tears
Their eyes can’t hope to see
The beauty that surrounds them
God, isn’t it a pity
The beauty that surrounds them
It’s a pity

We take each other’s love
Just take it for granted
Without thinking anymore
We give each other pain
And we shut every door

We take each other’s minds
And we’re capable of take each other’s souls
We do it every day
Just to reach some financial goal
Lord, isn’t it a pity, my God
Isn’t it a pity, my God
And so unnecessary

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Just a little time, a little care
A little note written in the air
Just the little thank you
We just forget to give back
‘Cause we’re moving too fast
Moving too fast
Forgetting to give back

But some things take so long
And I cannot explain
The beauty that surrounds us
And we don’t see it
We think things are just the same
We’ve been programmed that way

Isn’t it a pity
If you want to feel sorry
Isn’t it a pity
Isn’t it a pity
The beauty sets the beauty that surrounds us
Because of all our tears
Our eyes can’t hope to see

Maybe one day, at least, I’ll see me
And just concentrate on givin’, givin’, givin’, givin’
And ’til that day
Mankind don’t stand a chance
Don’t know nothin’ about romance
Everything is plastic
Isn’t it a pity
My God

Watch “Iosif Ivanovici – Donauwellen Walzer (Waves of the Danube Waltz)” on YouTube


COLOR PSYCHOLOGY


COLOR PSYCHOLOGY

COLOR PSYCHOLOGY

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Watch “Chicago The Musical – “All That Jazz”” on YouTube


Watch “JIM CROCE – I’LL HAVE TO SAY I LOVE YOU IN A SONG” on YouTube



Well, I know it’s kind of late
I hope I didn’t wake you
But what I’ve got to say can’t wait
I know you’d understand
‘Cause every time I tried to tell you
The words just came out wrong
So I’ll have to say “I love you” in a song

Yeah, I know it’s kind of strange
Every time I’m near you
I just run out of things to say
I know you’d understand
‘Cause every time I tried to tell you
The words just came out wrong
So I’ll have to say “I love you” in a song
‘Cause every time the time was right
All the words just came out wrong
So I’ll have to say “I love you” (I love you) in a song
Yeah, I know it’s kind of late (it’s kind of late)
I hope I didn’t wake you
But there’s something that I just got to say
(I know you’d understand)
I know you’d understand
‘Cause every time I tried to tell you
The words just came out wrong
So I’ll have to say “I love you” in a song
Source: LyricFind


Songwriters: James Croce
I’ll Have to Say I Love You in a Song lyrics © BMG Rights Management

Watch “Bob Seger- Night Moves” on YouTube


  1. 2 of 5

    I was a little too tall
    Could’ve used a few pounds
    Tight pants points hardly reknown
    She was a black haired beauty with big dark eyes
    And points all her own sitting way up high
    Way up firm and high
    Out past the cornfields where the woods got heavy
    Out in the back seat of my ’60 Chevy
    Workin’ on mysteries without any clues
    Workin’ on our night moves
    Trying’ to make some front page drive-in news
    Workin’ on our night moves in the summertime
    In the sweet summertime
    We weren’t in love oh no far from it
    We weren’t searching for some pie in the sky summit
    We were just young and restless and bored
    Living by the sword
    And we’d steal away every chance we could
    To the backroom, the alley, the trusty woods
    I used her she used me
    But neither one cared
    We were getting our share
    Workin’ on our night moves
    Trying to lose the awkward teenage blues
    Workin’ on out night moves
    In the summertime
    And oh the wonder
    Felt the lightning
    And we waited on the thunder
    Waited on the thunder
    I woke last night to the sound of thunder
    How far off I sat and wondered
    Started humming a song from 1962
    Ain’t it funny how the night moves
    When you just don’t seem to have as much to lose
    Strange how the night moves
    With autumn closing in
    Source: Musixmatch


    Songwriters: SEGER ROBERT CLARK
    Night Moves lyrics © Gear Publishing, Gear Publishing Company Inc, GEAR PUBLISHING CO., INC., HIDEOUT RECORDS/DISTRIBTRS INC (GEAR PUBLISHING DI, HIDEOUT RECORDS DIST. INC.

Watch “Willie Nelson – Blue Eyes Crying In The Rain” on YouTube



In the twilight glow I see them
Blue eyes cryin’ in the rain
When we kissed goodbye and parted
I knew we’d never meet again

Love is like a dyin’ ember
Only memories remain
Through the ages I’ll remember
Blue eyes cryin’ in the rain
Some day when we meet up yonder
We’ll stroll hand in hand again
In a land that knows no partin’
Blue eyes cryin’ in the rain
Now my hair has turned to silver
All my life I’ve loved in vain
I can see her star in heaven
Blue eyes crying in the rain
Source: LyricFind


Songwriters: Fred Rose
Blue Eyes Crying in the Rain lyrics © Sony/ATV Music Publishing LLC

ESL: SUMMARY


ESL: SUMMARY

ESL: SUMMARY

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Watch “Dean Winchester | A Single Man Tear” on YouTube


  1. 2 of 4

    A single man tear slips down his face
    He shows emotion without a trace
    He hides behind a mask so strong
    Worried that he could be wrong
    I wish that he could see the way I see him
    The perfect brother
    A man without sin
    Cause underneath the manly sheen
    It is my brother
    A boy named Dean
    A single man tear
    A single man tear
    A single man tear that’s all we fear
    A single man tear
    That’s all i’ll spare
    I bury feelings, don’t show I care
    Even though I’m haunted
    Must be the man daddy wanted
    Wish I could be as strong as Sam
    Blaze my own trail
    Be my own man
    But underneath this broken mask
    It is my father, with all his wrath
    A single man tear
    A single man tear
    A single man tear that’s all we fear

    Source: Musixmatch


    Songwriters: Christopher J. Lennertz / ROBBIE THOMPSON

    A Single Man Tear lyrics © WARNER OLIVE MUSIC LLC., WARNER-BARHAM MUSIC LLC.

Watch “4 Non Blondes – What’s Up (Official Video)” on YouTube



Twenty-five years and my life is still
Trying to get up that great big hill of hope
For a destination

I realized quickly when I knew I should
That the world was made up of this brotherhood of man
For whatever that means
And so I cry sometimes
When I’m lying in bed just to get it all out
What’s in my head
And I, I am feeling a little peculiar
And so I wake in the morning
And I step outside
And I take a deep breath and I get real high
And I scream from the top of my lungs
What’s going on?
And I say, hey yeah yeah, hey yeah yeah
I said hey, what’s going on?
And I say, hey yeah yeah, hey yeah yeah
I said hey, what’s going on?
Oh, oh oh
Oh, oh oh
And I try, oh my god do I try
I try all the time, in this institution
And I pray, oh my god do I pray
I pray every single day
For a revolution
And so I cry sometimes
When I’m lying bed
Just to get it all out
What’s in my head
And I, I am feeling a little peculiar
And so I wake in the morning
And I step outside
And I take a deep breath and I get real high
And I scream from the top of my lungs
What’s going on?
And I say, hey hey hey hey
I said hey, what’s going on?
And I say, hey hey hey hey
I said hey, what’s going on?
And I say, hey hey hey hey
I said hey, what’s going on?
And I say, hey hey hey hey
I said hey, what’s going on?
Oh, oh oh oh
Twenty-five years and my life is still
Trying to get up that great big hill of hope
For a destination
Source: LyricFind


Songwriters: Linda Perry
What’s Up? lyrics © Sony/ATV Music Publishing LLC

Watch “Shivaree – Goodnight Moon – Clipe” on YouTube



There’s a nail in the door
And there’s glass on the lawn
Tacks on the floor
And the TV is on
And I always sleep with my guns when you’re gone

There’s a blade by the bed
And a phone in my hand
A dog on the floor
And some cash on the nightstand
When I’m all alone the dreaming stops
And I just can’t stand
What should I do I’m just a little baby
What if the lights go out
And maybe and then the wind just starts to moan
Outside the door he followed me home
So goodnight moon
I want the sun
If it’s not here soon
I might be done
No it won’t be too soon ’til I say goodnight moon
There’s a shark in the pool
And a witch in the tree
A crazy old neighbor and he’s been watching me
And there’s footsteps loud and strong coming down the hall
Something’s under the bed
Now it’s out in the hedge
There’s a big black crow sitting on my window ledge
And I hear something scratching through the wall
What should I do I’m just a little baby
What if the lights go out
And maybe and then the wind just starts to moan
Outside the door he followed me home
So goodnight moon
I want the sun
If it’s not here soon
I might be done
No it won’t be too soon ’til I say goodnight moon
Source: LyricFind


Songwriters: Ambrosia Nicole Parsley / Duke Mcvinnie
Goodnight Moon lyrics © Warner Chappell Music, Inc, Words & Music A Div Of Big Deal Music LLC

ESL: Synonyms, Antonyms, Homonyms List


ESL: Synonyms, Antonyms, Homonyms List

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Watch “Rhapsody In Blue (1945) – Rhapsody in Blue Debut” on YouTube


Rhapsody In Blue (1945) Directed by Irving Rapper1945 141 min

Robert Alda stars alongside musical greats Al Jolson, Paul Whiteman, and Oscar Levant in this biopic treatment of the life of composer George Gershwin. The film traces Gershwin’s rise, from his first big hit “Swanee” (performed by Al Jolson, playing himself), to his collaborations with lyricist brother Ira (Herbert Rudley) to the heights of artistic achievement with the debut of “Rhapsody in Blue” at Aeolian Hall

Starring Robert Alda, Joan Leslie, Alexis Smith

Category People & Blogs

Do you believe in…chocolate??? Watch “Hot Chocolate (I Believe in Miracles)” on YouTube



I believe in miracles
Where you from
You sexy thing, sexy thing you
I believe in miracles
Since you came along
You sexy thing

Where did you come from, baby?
How did you know I needed you?
How did you know I needed you so badly?
How did you know I’d give my heart gladly?
Yesterday I was one of the lonely people
Now you’re lying close to me, making love to me
I believe in miracles
Where you from, you sexy thing? (Sexy thing, you)
I believe in miracles
Since you came along, you sexy thing
Where did you come from, angel?
How did you know I’d be the one?
Did you know you’re everything I prayed for?
Did you know, every night and day for?
Every day, needing love and satisfaction
Now you’re lying next to me, giving it to me
I believe in miracles
Where you from, you sexy thing? (Sexy thing, you)
I believe in miracles
Since you came along, you sexy thing
Oh! Kiss me, you sexy thing
Touch me baby, you sexy thing
I love the way you touch me, darling, you sexy thing
Oh! It’s ecstasy, you sexy thing
Yesterday I was one of the lonely people
Now you’re lying close to me, giving it to me
I believe in miracles
Where you from, you sexy thing? (Sexy thing, you)
I believe in miracles
Since you came along, you sexy thing
Oh, touch me
Kiss me, darling
I love the way you hold me, baby
Oh, it’s ecstasy
Oh! It’s ecstasy (Sexy thing, you sexy thing, you)
Kiss me, baby (Sexy thing, you sexy thing, you)
I love the way you kiss me, darling (Sexy thing, you sexy thing, you)
Oh, yeah (Sexy thing, you sexy thing, you)
Love the way you hold me (Sexy thing, you sexy thing, you)
Keep on lovin’ me, darling (Sexy thing, you sexy thing, you)
Keep on lovin’ me, baby (Sexy thing, you sexy thing, you)
Source: LyricFind


Songwriters: Brown Wilson
You Sexy Thing lyrics © Kobalt Music Publishing Ltd., Music & Media Int’l, Inc

Yoga: how to Upward Facing Dog Pose (Urdha Mukha Svanasana)


Yoga: how to Upward Facing Dog Pose (Urdha Mukha Svanasana)

Yoga: how to Upward Facing Dog Pose (Urdha Mukha Svanasana)

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