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Anarhia

Cineva propunea mai demult ca – măcar pentru o singură zi – să fie abolite regulile forumului. Să vedem ce iese :D

Deocamdată … let the sunshine!

http://www.youtube.com/watch?v=b3V8EznD4Jo

mi-am amintit de „Hair” citind subiectul cu musicalul românesc.
dar nu-l pot pune acolo, fiindcă s-ar chema că-i offtopic :P

Judex, tu nu ar trebui sa fii cu Delia in luna de miere?

@Coco
M-am despartit de Delia de multisor. ;)

vin cu ceva ....

PURE ANARCHY

astă seară s-au prins ce am de gând şi mi-au tăiat netu'

I must take revenge :D

http://www.videosift.com/video/chomsky-on-anarchy

Măi, da'voi chiar nu dormiţi deloc?! :-O Oţi din cele la care se referea Coco Chanel în: femeile care se culcă devreme or avea ele tenul mai fraged, da'fac curul mare! :P :P

Cum la ora este imposibil să fii anarhic, melodia care-mi veni în minte e Una palabra a lui Carlos Varela: http://www.youtube.com/watch?v=xYiew...eature=related

Şi versurile:

Una palabra no dice nada
y al mismo tiempo lo esconde todo
igual que el viento que esconde el agua
como las flores que esconde el lodo.

Una mirada no dice nada
y al mismo tiempo lo dice todo
como la lluvia sobre tu cara
o el viejo mapa de algun tesoro.

Una verdad no dice nada
y al mismo tiempo lo esconde todo
como una hoguera que no se apaga
como una piedra que nace polvo.

Si un dia me faltas no sere nada
y al mismo tiempo lo sere todo
porque en tus ojos estan mis alas
y esta la orilla donde me ahogo,
porque en tus ojos estan mis alas
y esta la orilla donde me ahogo.

________________________________
Translation

A word does not say anything
And at the same time it hides everything
Just as the wind that hides the water
Like the flowers that mud hides.

A glance does not say anything
And at the same time it says everything
Like rain on your face
Or an old treasure map

A truth does not say anything
And at the same time it hides everything
Like a bonfire that does not go out
Like a stone that is born dust.

If one day you need me, I will be nothing
And at the same time I will be everything
Because in your eyes are my wings
And the shore where I drown,
Because in your eyes are my wings
And the shore where I drown

You live you learn, you love you learn/ You cry you learn, you lose you learn/ YOU...

Pentru toţi: vreau să vă gândiţi un picuţ la melodia asta: "YOU LEARN" - Alanis Morissette
- http://www.youtube.com/watch?v=AzEIVMjklCk

Şi Versurile:

Ooh, ooh, ooh...

I, recommend getting your heart trampled on to anyone, yeah
I, recommend walking around naked in your living room, yeah

Swallow it down (what a jagged little pill)
It feels so good (swimming in your stomach)
Wait until the dust settles

1-You live you learn, you love you learn
You cry you learn, you lose you learn
You bleed you learn, you scream you learn

I, recommend biting off more than you can chew to anyone
I certainly do
I, recommend sticking your foot in your mouth at any time
Feel free

Throw it down (the caution blocks you from the wind)
Hold it up (to the rays)
You wait and see when the smoke clears
(repeat 1)

I, I, oh, oh

Wear it out (the way a three-year-old would do)
Melt it down (you're gonna have to eventually, anyway)
The fire trucks are coming up around the bend
(rpt 1)

You grieve you learn, you choke you learn
You laugh you learn, you choose you learn
You pray you learn, you ask you learn
You live you learn

a de la Alguna vez tenemos allas.

păcat că singurele care le ştiu folosi sunt NUMAI acvilele.

Originally Posted by Dragomara:

a de la Alguna vez tenemos allas.

păcat că singurele care le ştiu folosi sunt NUMAI acvilele.

încă mai stau pe gânduri dacă ... (am un detonator, so to say) :P

then I'd be free

PEQUEÑO POEMA INFINITO

Para Luis Cardoza y Aragón

Equivocar el camino
es llegar a la nieve
y llegar a la nieve
es pacer durante veinte siglos las hierbas de los cementerios.
Equivocar el camino
es llegar a la mujer,
la mujer que no teme la luz,
la mujer que mata dos gallos en un segundo,
y luz que no teme a los gallos
y los gallos que no saben cantar sobre la nieve.
Pero si la nieve se equivoca de corazón
puede llegar el viento Austro
y como el aire no hace caso de los gemidos
tendremos que pacer otra vez las hierbas de los cementerios.
Yo vi dos dolorosas espigas de cera
que enterraban un paisaje de volcanes
y vi dos niños locos
que empujaban llorando las pupilas de un asesino.

Pero el dos no ha sido nunca un número
porque es una angustia y su sombra,
porque es la guitarra donde el amor se desespera,
porque es la demostración de otro infinito que no es suyo
y es las murallas del muerto
y el castigo de la nueva resurrección sin finales.

Los muertos odian el número dos,
pero el número dos adormece a las mujeres
y como la mujer teme la luz
la luz tiembla delante de los gallos
y los gallos sólo saben volar sobre la nieve
tendremos que pacer sin descanso las hierbas de los cementerios.

Little Infinite Poem

To take the wrong road
is to arrive at the snow
and to arrive at the snow
is to graze for twenty centuries on graveyard weeds.

To take the wrong road
is to arrive at woman,
woman who isn't afraid of light,
woman who kills two roosters in one second,
light which isn't afraid of roosters,
and roosters who don't know how to sing on top of the snow.

But if the snow takes the wrong heart,
the Southern Wind could very well arrive
and since the air cares nothing for groans,
we will have to graze once more on graveyard weeds.

I saw two mournful wheat-spikes made of wax,
burying a countryside of volcanoes,
and I saw two insane little boys
who wept as they pushed on a murderer's eyeballs.

But two, that has never been a number!
It is anguish and also its shadow,
it's only the guitar where love feels its discouragement,
it's only the demonstration of someone else's infinity
and the walls around a dead man,
and the punishment of the new resurrection that will never end.

Dead people hate the number two,
but the number two makes women drop off to sleep,
and since women are afraid of light,
and light trembles before roosters,
and since all roosters know is how to fly over the snow,
we will have to graze on graveyard weeds forever.

iubitul meu,

Federico Garcia Lorca

Asta e topicul tau, sor'mio?
http://www.youtube.com/watch?v=Ssvit5McAZc

Iarta-ma, Kri!

nu-i al meu, frăţioare :)

e al oricui vrea să vină aici

bardzo dziękuję :)

lubię muzykę Chopina

Moonlight Sonata

A spring evening. A large room in an old house. A woman of a certain age, dressed in
black, is speaking to a young man. They have not turned on the lights. Through both
windows the moonlight shines relentlessly. I forgot to mention that the Woman in
Black has published two or three interesting volume of poetry with a religious flavor.
So, the Woman in Black is speaking to the Young Man:

Let me come with you. What a moon there is tonight!
The moon is kind – it won’t show
that my hair turned white. The moon
will turn my hair to gold again. You wouldn’t understand.
Let me come with you.

When there’s a moon the shadows in the house grow larger,
invisible hands draw the curtains,
a ghostly finger writes forgotten words in the dust
on the piano – I don’t want to hear them. Hush.

Let me come with you
a little farther down, as far as the brickyard wall,
to the point where the road turns and the city appears
concrete and airy, whitewashed with moonlight,
so indifferent and insubstantial
so positive, like metaphysics,
that finally you can believe you exist and do not exist,
that you never existed, that time with its destruction never existed.
Let me come with you.

We’ll sit for a little on the low wall, up on the hill,
and as the spring breeze blows around us
perhaps we’ll even imagine that we are flying,
because, often, and now especially, I hear the sound of my own dress
like the sound of two powerful wings opening and closing,
you feel the tight mesh of your throat, your ribs, your flesh,
and when you enclose yourself within the sound of that flight
you feel the tight mesh of your throat, your birds, your flesh,
and thus constricted amid the muscles of the azure air,
amid the strong nerves of the heavens,
it makes no difference whether you go or return
it makes no difference whether you go or return
and it makes no difference that my hair has turned white
(that is not my sorrow – my sorrow is
that my heart too does not turn white).
Let me come with you.

I know that each one of us travels to love alone,
alone to faith and to death.
I know it. I’ve tried it. It doesn’t help.
Let me come with you.

This house is haunted, it preys on me –
what I mean is, it has aged a great deal, the nails are working loose,
the portraits drop as though plunging into the void,
the plaster falls without a sound
as the dead man’s hat falls from the peg in the dark hallway
as the worn woolen glove falls from the knee of silence
or as moonbeam falls on the old, gutted armchair.

Once it too was new – not the photograph that you are starting at so dubiously –
I mean the armchair, very comfortable, you could sit in it for hours
with your eyes closed and dream whatever came into your head
– a sandy beach, smooth, wet, shining in the moonlight,
shining more than my old patent leather shoes that I send each month to the shoeshine shop on the corner,
or a fishing boat’s sail that sinks to the bottom rocked by its own breathing,
a three-cornered sail like a handkerchief folded slantwise in half only
as though it had nothing to shut up or hold fast
no reason to flutter open in farewell. I have always has a passion for handkerchiefs,
not to keep anything tied in them,
no flower seeds or camomile gathered in the fields at sunset,
nor to tie them with four knots like the caps the workers wear on the construction site across the street,
nor to dab my eyes – I’ve kept my eyesight good;
I’ve never worn glasses. A harmless idiosyncracy, handkerchiefs.

Now I fold them in quarters, in eighths, in sixteenths
to keep my fingers occupied. And now I remember
that this is how I counted the music when I went to the Odeion
with a blue pinafore and a white collar, with two blond braids
– 8,16,32,64 –
hand in hand with a small friend of mine, peachy, all light and picked flowers,
(forgive me such digressions – a bad habit) – 32, 64 – and my family rested
great hopes on my musical talent. But I was telling you about the armchair –
gutted – the rusted springs are showing, the stuffing –
I thought of sending it next door to the furniture shop,
but where’s the time and the money and the inclination – what to fix first?
I thought of throwing a sheet over it – I was afraid
of a white sheet in so much moonlight. People sat here
who dreamed great dreams, as you do and I too.
and now they rest under earth untroubled by rain or the moon.
Let me come with you.

We’ll pause for a little at the top of St. Nicholas’ marble steps,
and afterward you’ll descend and I will turn back,
having on my left side the warmth from a casual touch of your jacket
and some squares of light, too, from small neighborhood windows
and this pure white mist from the moon, like a great procession of silver swans –
and I do not fear this manifestation, for at another time
on many spring evenings I talked with God who appeared to me
clothed in the haze and glory of such a moonlight –
and many young men, more handsome even than you, I sacrificed to him –
I dissolved, so white, so unapproachable, amid my white flame, in the whiteness of moonlight,
burnt up by men’s vocarious eyes and the tentative rapture of youths,
besieged by splendid bronzed bodies,
strong limbs exercising at the pool, with oars, on the track, at soccer (I pretended not to see them),
foreheads, lips and throats, knees, fingers and eyes,
chests and arms and things (and truly I did not see them)
– you know, sometimes, when you’re entranced, you forget what entranced you, the entrancement alone is enough –
my God, what star-bright eyes, and I was lifted up to an apotheosis of disavowed stars
because, besieged thus from without and from within,
no other road was left me save only the way up or the way down. – No, it is not enough.
Let me come with you.

I know it’s very late. Let me,
because for so many years – days, nights, and crimson noons – I’ve stayed alone,
unyielding, alone and immaculate,
even in my marriage bed immaculate and alone,
writing glorious verses to lay on the knees of God,
verses that, I assure you, will endure as if chiselled in flawless marble
beyond my life and your life, well beyond. It is not enough.
Let me come with you.

This house can’t bear me anymore.
I cannot endure to bear it on my back.
You must always be careful, be careful,
to hold up the wall with the large buffet
to hold up the table with the chairs
to hold up the chairs with your hands
to place your shoulder under the hanging beam.
And the piano, like a closed black coffin. You do not dare to open it.
You have to be so careful, so careful, lest they fall, lest you fall. I cannot bear it.
Let me come with you.

This house, despite all its dead, has no intention of dying.
It insists on living with its dead
on living off its dead
on living off the certainty of its death
and on still keeping house for its dead, the rotting beds and shelves.
Let me come with you.

Here, however quietly I walk through the mist of evening,
whether in slippers or barefoot,
there will be some sound: a pane of glass cracks or a mirror,
some steps are heard – not my own.
Outside, in the street, perhaps these steps are not heard –
repentance, they say, wears wooden shoes –
and if you look into this or that other mirror,
behind the dust and the cracks,
you discern – darkened and more fragmented – your face,
your face, which all your life you sought only to keep clean and whole.

The lip of the glass gleams in the moonlight
like a round razor – how can I lift it to my lips?
however much I thirst – how can I lift it – Do you see?
I am already in a mood for similes – this at least is left me,
reassuring me still that my wits are not failing.
Let me come with you.

At times, when evening descends, I have the feeling
that outside the window the bear-keeper is going by with his old heavy she-bear,
her fur full of burns and thorns,
stirring dust in the neighborhood street
a desolate cloud of dust that censes the dusk,
and the children have gone home for supper and aren’t allowed outdoors again,
even though behind the walls they divine the old bear’s passing –
and the tired bear passes in the wisdom of her solitude, not knowing wherefore and why –
she’s grown heavy, can no longer dance on her hind legs,
can’t wear her lace cap to amuse the children, the idlers, the importunate,
and all she wants is to lie down on the ground
letting them trample on her belly, playing thus her final game,
showing her dreadful power for resignation,
her indifference to the interest of others, to the rings in her lips, the compulsion of her teeth,
her indifference to the interest of the others, to the rings in her lips, the compulsion of her teeth,
her indifference to pain and to life
with the sure complicity of death – even a slow death –
her final indifference to death with the continuity and knowledge of life
which transcends her enslavement with knowledge and with action.

But who can play this game to the end?
And the bear gets up again and moves on
obedient to her leash, her rings, her teeth,
smiling with torn lips at the pennies the beautiful and unsuspecting children toss
(beautiful precisely because unsuspecting)
and saying thank you. Because bears that have grown old
can say only one thing: thank you; thank you.
Let me come with you.

This house stifles me. The kitchen especially
is like the depths of the sea. The hanging coffeepots gleam
like round, huge eyes of improbable fish,
the plates undulate slowly like medusas,
seaweed and shells catch in my hair – later I can’t pull them loose –
I can’t get back to the surface –
the tray falls silently from my hands – I sink down
and I see the bubbles from my breath rising, rising
and I try to divert myself watching them
and I wonder what someone would say who happened to be above and saw these bubbles,
perhaps that someone was drowning or a diver exploring the depths?

And in fact more than a few times I’ve discovered there, in the depths of drowning,
coral and pearls and treasures of shipwrecked vessels,
unexpected encounters, past, present, and yet to come,
a confirmation almost of eternity,
a certain respite, a certain smile of immortality, as they say,
a happiness, an intoxication, inspiration even,
coral and pearls and sapphires;
only I don’t know how to give them – no, I do give them;
only I don’t know if they can take them – but still, I give them.
Let me come with you.

One moment while I get my jacket.
The way this weather’s so changeable, I must be careful.
It’s damp in the evening, and doesn’t the moon
seem to you, honestly, as if it intensifies the cold?
Let me button your shirt – how strong your chest is
– how strong the moon – the armchair, I mean – and whenever I lift the cup from the table
a hole of silence is left underneath. I place my palm over it at once
so as not to see through it – I put the cup back in its place;
and the moon’s a hole in the skull of the world – don’t look through it,
it’s a magnetic force that draws you – don’t look, don’t any of you look,
listen to what I’m telling you – you’ll fall in. This giddiness,
beautiful, ethereal – you will fall in –
the moon’s marble well,
shadows stir and mute wings, mysterious voices – don’t you hear them?

Deep, deep the fall,
deep, deep the ascent,
the airy statue enmeshed in its open wings,
deep, deep the inexorable benevolence of the silence –
trembling lights on the opposite shore, so that you sway in your own wave,
the breathing of the ocean. Beautiful, ethereal
this giddiness – be careful, you’ll fall. Don’t look at me,
for me my place is this wavering – this splendid vertigo. And so every evening
I have little headache, some dizzy spells.

Often I slip out to the pharmacy across the street for a few aspirin,
but at times I’m too tired and I stay here with my headache
and listen to the hollow sound the pipes make in the walls,
or drink some coffee, and, absentminded as usual,
I forget and make two – who’ll drink the other?
It’s really funny, I leave it on the window-sill to cool
or sometimes drink them both, looking out the window at the bright green globe of the pharmacy
that’s like the green light of a silent train coming to take me away
with my handkerchiefs, my run-down shoes, my black purse, my verses,
but no suitcases – what would one do with them?
Let my come with you.

Oh, are you going? Goodnight. No, I won’t come. Goodnight.
I’ll be going myself in a little. Thank you. Because, in the end, I must
get out of this broken-down house.
I must see a bit of the city – no, not the moon –
the city with its calloused hands, the city of daily work,
the city that swears by bread and by its fist,
the city that bears all of us on its back
with our pettiness, sins, and hatreds,
our ambitions, our ignorance and our senility.
I need to hear the great footsteps of the city,
and no longer to hear your footsteps
or God’s, or my own. Goodnight.

The room grows dark. It looks as though a cloud may have covered the moon. All at
once, as if someone had turned up the radio in the nearby bar, a very familiar musical
phrase can be heard. Then I realize that “The Moonlight Sonata”, just the first
movement, has been playing very softly through this entire scene. The Young Man will
go down the hill now with an ironic and perhaps sympathetic smile on his finely
chiselled lips and with a feeling of release. Just as he reaches St. Nicolas, before he
goes down the marble steps, he will laugh – a loud, uncontrollable laugh. His laughter
will not sound at all unseemly beneath the moon. Perhaps the only unseemly thing will
be that nothing is unseemly. Soon the Young Man will fall silent, become serious, and
say: “The decline of an era.” So, thoroughly calm once more, he will unbutton his shirt
again and go on his way. As for the woman in black, I don’t know whether she finally
did get out of the house. The moon is shining again. And in the corners of the room the
shadows intensify with an intolerable regret, almost fury, not so much for the life, as for
the useless confession. Can you hear? The radio plays on:

ATHENS, June 1956

Yiannis Ritsos
(Greece, 1909 - 1990)
Plagued by turberculosis, family misfortunes, and repeated persecution for his Communist views, Yiannis Ritsos ( Monemvasia 1909-Athens 1990) spent many years in sanatorums, prisons, or in political exile while producing dozen of volumes of lyrics, dramas and translations.
Beginning as a follower of the updated demotic tradition, Ritsos went through a phase of militant, doctrinaire poetry, as in Trakter [Tractors] (1934) and O Epitaphios [Funeral Procession] (1936) – a work symbolically burned by the fascist government of Metaxas at the foot of the Acropolis. During the Nazi Occupation of Greece (1941-1944) and the subsequent Civil War (1946-1949), Ritsos fought with the communist guerillas; after their defeat he was arrested and spent four years in prison camps. In the 1950s O Epitaphios, set to music by Mikis Theodorakis, became the anthem of the Greek left.

Despite all his misfortunes, Ritsos eventually achieved a personal, humanitarian medium devoid of anger and recrimination. In long poems like his celebrated Romiosyni (1947), Moonlight Sonata (1956) and most of his later volumes, Ritsos writes with compassion and hope, celebrating the life, toil, and dignity of the common man in an unadorned and direct language. In 1967, Ritsos was arrested again by the Greek junta and exiled, and was prohibited from publishing until 1972. By the end of his life, and contrary to all odds, Ritsos had published 117 books, including numerous plays and essays.

tot am ajuns în Grecia :)

http://www.youtube.com/watch?v=cXNApZ2ALiQ

Doamne, ce râs are!

Oh God!!!!!!!!!!!!!!!

Hey boss, did you ever see a more splendiferous crash? :)

Σ' αγαπώ γιατί είσαι ωραία!

http://www.youtube.com/watch?v=3sd0KXvseJI

(e din Asia Mică)

într-o seară, într-o taverna ... l-au cântat pentru mine

am şi dovezi: filmul :)

Miau!!!!!!!!!!!!!!!!!!!!!!!!!
Minunat!

să îl poţi cânta (transcriere):

Sagapo,
sagapo giati eisai oraia,
sagapo giati eisai oraia,
sagapo giati eisai esy…

Ki agapo,
agapo kai olo to kosmo,
agapo kai olo to kosmo,
giati zeis kai esy mazi…

To para,
to parathiro kleismeno,
to parathiro kleismeno,
to parathiro kleisto…

Anoikse,
anoikse to ena filo,
anoikse to ena filo,
tin eikona sou na do…

Sagapo,
sagapo giati eisai oraia,
sagapo giati eisai oraia,
sagapo giati eisai esy…

şi traducere:

Te iubesc,
Te iubesc pentru cat esti de minunata,
Te iubesc pentru cat esti de minunata,
Te iubesc pentru ca esti tu…

Iubesc de asemenea,
Iubesc intreaga lume,
Iubesc intreaga lume,
Pentru ca ii apartii…

Fereastra,
Fereastra este inchisa,
Fereastra este inchisa,
Fereastra inchisa…

Priveste,
Priveste orbul,
Priveste orbul,
Sa vada chipul tau…

http://www.youtube.com/watch?v=evfD3...eature=related

Da, stiu, tu esti doar pe jumate! =))

Mesecina :)

http://www.youtube.com/watch?v=-bpESBxrzTw

Nema vise sunca
Nema vise meseca
Nema tebe, nema mene
Niceg vise, nema joj.
Pokriva nas ratna tama
Pokriva nas tama joj.
A ja se pitam moja draga
Sta ce biti sa nama?
Mesecina, mesecina,
joj, joj, joj, joj
Sunce sija ponoc bije,
joj, joj, joj, joj
Sa nebesa, zaproklija
Niko ne zna, niko ne zna
Niko ne zna, niko ne zna
Niko ne zna sta to sija

Da, e moja draga!
Si?

suntem la Anarhie

un Kalashnikov pentru domnu'

http://www.youtube.com/watch?v=CYrye...eature=related

Zvoncici, zvoncici, cavro pistolcici
Caje, suje, ajde, hopaaaaa

Boom, boom....

Zoki, zorice, cavro bobonice
Caje, suje, ajde, hopaaaaa

Boom, boom....

Dalakovac, Markovac, Mala Krsna, Lajkovac,
Caje, suje, ajde, hopaaaaa

Boom, boom....

Zoki, zorice, cavro bobonice
Caje, suje, ajde, hopaaaaa
Boom, boom....

Cigani ! Stoj !

Tigancusa esti frumoasa!

"Am întâlnit ţigani fericiţi" (Skupljači perja)

Olivera Vučo - Đelem, đelem

http://www.youtube.com/watch?v=JDQo9...om=PL&index=15

Filmul a fost premiat la Cannes, în 1967 (FIPRESCI şi Marele Premiu al Juriului)

http://www.youtube.com/watch?v=rp7wt...layer_embedded

http://www.ce-review.org/00/41/kinoeye41_partridge.html

Za tsiganskoy zvezdoy

http://www.youtube.com/watch?v=EX6ux...eature=related

de la Eldar Ryazanov citire :)

şi Mihalkov iubire