Não consegui pregar olho esta noite, tenho o corpo cheio de bagas vermelhas. Coço-me com a ponta dos dedos, ao de leve, para não provocar feridas. Se meto a unha (e é uma tentação), estou feito.

Seriam três da manhã quando saí para a rua - a cabeça latejava por dentro, já não podia mais. Ainda os sentia a passear em cima de mim, a esfregar as patinhas de satisfação. Esforçava-me por não fazer bulir um pentelho e de repente, Zás, acendia a luz, sacodia os lençóis e punha-me a vasculhar a cama toda que nem doido. Nem um, nem um finalmente esborrachado entre as minhas unhas que esguichasse sangue por todos os lados. Só se aventuram às escuras os cobardes e mesmo assim devem vir camuflados, cobertos pelos pós das frinchas e dos recantos afiados do quarto. Largar um fósforo a isto tudo, atear fogo à palha podre do colchão e dançar de alegria no meio das labaredas enquanto os ouço (crack, crack) a estalar como castanhas ao lume.

A humidade vinda do rio encharcava-me os ossos, deixei de ouvir as badaladas da Sé. Acabou-se me o tabaco, o que ainda assim foi o pior de tudo. A comichão já não me incomodava muito, a não ser nas costas das maõs. O ardor nos tomates só começou mais tarde - pela manhã, se não estou em erro. Rabiei durante não sei quanto tempo, não se via vivalma, nem um ladrão de carros para dar dois dedos e cravar um cigarro. Por fim lá topei uma padaria aberta. As carcaças caíram-me na fraqueza - o costume.

Tenho um pacote de manteiga escondido no meu quarto. Aposto que a puta da velha não o encontra nem que vire tudo do avesso. Já não caio noutra: "Senhor João, o quarto não tem serventias". A velha descobriu um cacho de bananas podres por cima do guarda-fatos e foi um pandemónio. Não volto a comprar bananas da Colômbia, compram-se ainda verdes e dois dias depois estão completamente podres.

em recordações da casa amarela, joão césar monteiro

Written On The Forehead by pjharvey

não me beijes ao dizer adeus

hoje vou declarar-me,finalmente. falar nos teus olhos,na tua boca,no teu cabelo ainda molhado. no teu olhar distraído e no teu riso nervoso. vou falar nas tuas orelhas,nas tuas sobrancelhas e nos cantos da tua boca. olhar-te de costas e aproximar-me de ti,tapando-te os olhos com as minhas mãos.

Cheia de penas
Cheia de penas me deito
E com mais penas
Com mais penas me levanto
No meu peito
Já me ficou no meu peito
Este jeito
O jeito de querer tanto
Desespero
Tenho por meu desespero
Dentro de mim
Dentro de mim o castigo
Eu não te quero
Eu digo que não te quero
E de noite
De noite sonho contigo
Se considero
Que um dia hei-de morrer
No desespero
Que tenho de te não ver
Estendo o meu xaile
Estendo o meu xaile no chão
Estendo o meu xaile
E deixo-me adormecer
Se eu soubesse
Se eu soubesse que morrendo
Tu me havias
Tu me havias de chorar
Por uma lágrima
Por uma lágrima tua
Que alegria
Me deixaria matar.
lágrima, amália rodrigues

And now she's dead, forever dead and she's so dead and lovely now.
dead and lovely, tom waits

ROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCO
ROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCO
ROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCO
ROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCOROCOCO

Another rose wilts in East Harlem
And uptown downtown a thousand miles between us
She's waiting for the night to fall
Let it fall, I'll never make it in time

And I'll let it slide
I could wait all night
In a falling rain
I soaked in a lie

And why don't I
I could wait and find
And I'll write it slow
In a written reply

And why don't I
I could end that sigh
And I wanted to write
And fall to the a nigth

And I lied and told
or that I want it slow
or I can want it slow
And write it slow

Oh lie lie lie
Lala lie lie lie
Lala lie lie lie
Lala lie lie lie.
east harlem, beirut

Ma grande ambition dans la vie? Devenir immortal, puis mourir.
à bout de souffle, jean-luc godard

SOMEWHERE IN TRANSYLVANIA, DRACULA THE MONSTER IS SLEEPING IN HIS COFFIN,
WAITING FOR NIGHT TO FALL. AS EXPOSURE TO THE SUN’S RAYS WOULD SURELY CAUSE HIM
TO PERISH, HE STAYS PROTECTED IN THE SATIN-LINED CHAMBER BEARING HIS FAMILY
NAME IN SILVER. THEN THE MOMENT OF DARKNESS COMES, AND THROUGH SOME MIRACULOUS
INSTINCT THE FIEND EMERGES FROM THE SAFETY OF HIS HIDING PLACE AND, ASSUMING
THE HIDEOUS FORMS OF THE BAT OR THE WOLF, HE PROWLS THE COUNTRY-SIDE, DRINKING
THE BLOOD OF HIS VICTIMS. FINALLY, BEFORE THE FIRST RAYS OF HIS ARCHENEMY, THE
SUN, ANNOUNCE A NEW DAY, HE HURRIES BACK TO THE SAFETY OF HIS HIDDEN COFFIN AND
SLEEPS, AS THE CYCLE BEGINS ANEW.

NOW HE STARTS TO STIR. THE FLUTTERING OF HIS EYELIDS ARE A RESPONSE TO
SOME AGE-OLD, UNEXPLAINABLE INSTINCT THAT THE SUN IS NEARLY DOWN AND HIS TIME
IS NEAR. TONIGHT, HE IS PARTICULARLY HUNGRY AS HE LIES THERE, FULLY AWAKE NOW,
IN RED-LINED INVERNESS CAPE AND TAILS, WAITING TO FEEL WITH UNCANNY PERCEPTION
THE PRECISE MOMENT OF DARKNESS BEFORE OPENING THE LID AND EMERGING, HE DECIDES
WHO THIS EVENING’S VICTIMS WILL BE. THE BAKER AND HIS WIFE, HE THINKS TO
HIMSELF. SUCCULENT, AVAILABLE, AND UNSUSPECTING. THE THOUGHT OF THE UNWARY
COUPLE WHOSE TRUST HE HAS CAREFULLY CULTIVATED EXCITES HIS BLOOD LUST TO A
FEVER PITCH, AND HE CAN BARELY HOLD BACK THESE LAST SECONDS BEFORE CLIMBING OUT
OF THE COFFIN TO SEEK HIS PREY.

SUDDENLY HE KNOWS THE SUN IS DOWN. LIKE AN ANGEL OF HELL, HE RISES
SWIFTLY, AND CHANGING INTO A BAT, FLIES PELLMELL TO THE COTTAGE OF HIS
TANTALIZING VICTIMS.

’WHY, COUNT DRACULA, WHAT A NICE SURPRISE, ’ THE BAKER’S WIFE SAYS, OPENING
THE DOOR TO ADMIT HIM. (HE HAS ONCE AGAIN ASSUMED HUMAN FORM, AS HE ENTERS
THEIR HOME, CHARMINGLY CONCEALING HIS RAPACIOUS GOAL.)
’WHAT BRINGS YOU HERE SO EARLY?’ THE BAKER ASKS.
’OUR DINNER DATE, ’ THE COUNT ANSWERS. ’I HOPE I HAVEN’T MADE AN ERROR. YOU
DID INVITE FOR TONIGHT, DIDN’T YOU?’
’YES, TONIGHT, BUT THAT’S NOT FOR SEVEN HOURS.’
’PARDON ME?’ DRACULA QUERIES, LOOKING AROUND THE ROOM PUZZLED.
’OR DID YOU COME TO WATCH THE ECLIPSE WITH US?’
’ECLIPSE?’
’YES. TODAY’S THE TOTAL ECLIPSE.’
’WHAT?’
’A FEW MOMENTS OF DARKNESS FROM NOON UNTIL TWO MINUTES AFTER. LOOK OUT THE
WINDOW.’
’UH-OH. I’M IN BIG TROUBLE.’
’EH?’
’AND NOW IF YOU’LL EXCUSE ME . .’
’WHAT, COUNT DRACULA?’
’MUST BE GOING-AHA-OH GOD . . . ’FRANTICALLY HE FUMBLES FOR THE DOORKNOB.
’GOING? YOU JUST CAME.’
’YES-BUT-I THINK I BLEW IT VERY BADLY . . .’
’COUNT DRACULA, YOU’RE PALE.’
’AM I? I NEED A LITTLE FRESH AIR. IT WAS NICE SEEING YOU . . .’
’COME. SIT DOWN. WE’LL HAVE A DRINK.’
’DRINK? NO, I MUST RUN. ER-YOU’RE STEPPING ON MY CAPE.’
’SURE. RELAX. SOME WINE.’
’WINE? OH NO, GAVE IT UP-LIVER AND ALL THAT, YOU KNOW. AND NOW I REALLY
MUST BUZZ OFF. I JUST REMEMBERED, I LEFT THE LIGHTS ON IN THE CASTLE-BILLS’LL
BE ENORMOUS . . .’
’PLEASE, ’ THE BAKER SAYS, HIS ARM AROUND THE COUNT IN FIRM FRIENDSHIP.
’YOU’RE NOT INTRUDING. DON’T BE SO POLITE. SO YOU’RE EARLY.’
’REALLY, I’D LIKE TO STAY BUT THERE’S A MEETING OF OLD ROUMANIAN COUNTS
ACROSS TOWN AND I’M RESPONSIBLE FOR THE COLD CUTS.’
’RUSH, RUSH, RUSH. IT’S A WONDER YOU DON’T GET A HEART ATTACK.’
’YES, RIGHT-AND NOW-’
’I’M MAKING CHICKEN PILAF TONIGHT, ’ THE BAKER’S WIFE CHIMES IN.
’I HOPE YOU LIKE IT.’
’WONDERFUL, WONDERFUL, ’ THE COUNT SAYS, WITH A SMILE, AS HE PUSHES HER
ASIDE INTO SOME LAUNDRY. THEN, OPENING A CLOSET DOOR BY MISTAKE, HE WALKS IN.
’CHRIST. WHERE’S THE GODDAMN FRONT DOOR?’
’ACH, ’ LAUGHS THE BAKER’S WIFE, ’SUCH A FUNNY MAN, THE COUNT.’
’I KNEW YOU’D LIKE THAT, ’ DRACULA SAYS, FORCING A CHUCKLE, ’NOW GET OUT OF
MY WAY.’ AT LAST HE OPENS THE FRONT DOOR BUT TIME HAS RUN OUT ON HIM.
’OH, LOOK, MAMA, ’ SAYS THE BAKER, ’THE ECLIPSE MUST BE OVER. THE SUN IS
COMING OUT AGAIN.’
’RIGHT, ’ SAYS DRACULA, SLAMMING THE FRONT DOOR. ’I’VE DECIDED TO STAY.
PULL DOWN THE WINDOW SHADES QUICKLY-QUICKLY! LET’S MOVE IT!’
’WHAT WINDOW SHADES?’ ASKS THE BAKER.
’THERE ARE NONE, RIGHT? FIGURES. YOU GOT A BASEMENT?’
’NO, ’ SAYS THE WIFE AFFABLY, ’I’M ALWAYS TELLING JARSLOV TO BUILD ONE
BUT HE NEVER LISTENS. THAT’S SOME HUSBAND, MY JARSLOV.’
’I’M ALL CHOKED UP. WHERE’S THE CLOSET?’
’YOU DID THAT ONE ALREADY, COUNT DRACULA. UNT MAMA AND I LAUGHED AT IT.’
’ACH-SUCH A FUNNY MAN, THE COUNT.’
’LOOK, I’LL BE IN THE CLOSET. KNOCK AT SEVEN-THIRTY.’
AND WITH THAT, THE COUNT STEPS IN THE CLOSET AND SLAMS THE DOOR.
’HEE-HEE--HE IS SO FUNNY, JARSLOV.’
’OH, COUNT. COME OUT OF THE CLOSET. STOP BEING A BIG SILLY.’ FROM INSIDE
THE CLOSET COMES THE MUFFLED VOICE OF DRACULA.
’CAN’T-PLEASE-TAKE MY WORD FOR IT. JUST LET ME STAY HERE. I’M FINE.
REALLY.’
’COUNT DRACULA, STOP THE FOOLING. WE’RE ALREADY HELPLESS WITH LAUGHTER.’
’CAN I TELL YOU, I LOVE THIS CLOSET.’
’YES, BUT . . .’
’I KNOW, I KNOW . . . IT SEEMS STRANGE, AND YET HERE I AM, HAVING A BALL.
I WAS JUST SAYING TO MRS. HESS THE OTHER DAY, GIVE ME A GOOD CLOSET AND I CAN
STAND IN IT FOR HOURS. SWEET WOMAN, MRS. HESS. FAT, BUT SWEET . . . NOW, WHY
DON’T YOU RUN ALONG AND CHECK BACK WITH ME AT SUN-SET. OH, RAMONA, LA DA DA DE
DA DA DE, RAMONA . . .’

NOW THE MAYOR AND HIS WIFE, KATIA, ARRIVE. THEY ARE PASSING BY AND HAVE
DECIDED TO PAY A CALL ON THEIR GOOD FRIENDS, THE BAKER AND HIS WIFE.
’HELLO, JARSLOV. I HOPE KATIA AND I ARE NOT INTRUDING?’
’OF COURSE NOT, MR. MAYOR. COME OUT, COUNT DRACULA. WE HAVE COMPANY!’
’IS THE COUNT HERE?’ ASKS THE MAYOR SURPRISED.
’YES, AND YOU’LL NEVER GUESS WHERE, ’ SAYS THE BAKER’S WIFE.
’IT’S SO RARE TO SEE HIM AROUND THIS EARLY. IN FACT I CAN’T EVER REMEMBER
SEEING HIM AROUND IN THE DAYTIME.’
’WELL, HE’S HERE. COME OUT, COUNT DRACULA!’
’WHERE IS HE?’ KATIA ASKS, NOT KNOWING WHETHER TO LAUGH OR NOT.
’COME ON OUT NOW! LET’S GO!’ THE BAKER’S WIFE IS GETTING IMPATIENT.
’HE’S IN THE CLOSET, ’ SAYS THE BAKER, APOLOGETICALLY.
’REALLY?’ ASKS THE MAYOR.
’LET’S GO, ’ SAYS THE BAKER WITH MOCK GOOD HUMOR AS HE KNOCKS ON THE
CLOSET DOOR. ’ENOUGH IS ENOUGH. THE MAYOR’S HERE.’
’COME ON OUT, DRACULA, ’ HIS HONOR SHOUTS, ’LET’S HAVE A DRINK.’
’NO, GO AHEAD. I HAVE BUSINESS IN HERE.’
’IN THE CLOSET?’
’YES, DON’T LET ME SPOIL YOUR DAY. I CAN HEAR WHAT YOU’RE SAYING. I’LL
JOIN IN IF I HAVE ANYTHING TO ADD. ’EVERYONE LOOKS AT ONE ANOTHER AND SHRUGS.
WINE IS POURED AND THEY ALL DRINK.
’SOME ECLIPSE TODAY, ’ THE MAYOR SAYS, SIPPING FROM HIS GLASS.
’YES, ’ THE BAKER AGREES. ’INCREDIBLE.’
’YEAH. THRILLING, ’ SAYS A VOICE FROM THE CLOSET.
’WHAT, DRACULA?’
’NOTHING, NOTHING. LET IT GO.’

AND SO SOME TIME PASSES, UNTIL THE MAYOR CAN STAND IT NO LONGER AND
FORCING OPEN THE DOOR TO THE CLOSET, HE SHOUTS, ’COME ON, DRACULA. I ALWAYS
THOUGHT YOU WERE A MATURE MAN. STOP THIS CRAZINESS.’
THE DAYLIGHT STREAMS IN, CAUSING THE EVIL MONSTER TO SHRIEK AND SLOWLY
DISSOLVE TO A SKELETON AND THEN TO DUST BEFORE THE EYES OF THE PEOPLE PRESENT.
LEANING DOWN TO THE PILE OF WHITE ASH ON THE CLOSET FLOOR, THE MAYOR SAYS, ’DOES THIS MEAN DINNER IS...'
count dracula, woody allen

I love the sound of you walking away, you walking away.
em walk away, franz ferdinand

se me deixasses decidir escolheria passar um dia-só nós dois. esquecer o pó que descansa no chão e levantar os pés de tão pesados. se me deixasses decidir escolheria-te para mulher dos meus sonhos. levar-te-ia a passear e te perder. olharia por ti quando te sentisses triste e com medo do escuro,tão longe. se me deixasses decidir escolheria esta maça vermelha que de tão suja se esconde nesta mesa. não olharia para trás quando me deixasses e fazer-te-ia uma celebração,ao amor. se me deixasses decidir escolheria esta saia e esta camisola verde às florzinhas e deixaria-te usar o perfume novo. só desta vez. se me deixasses decidir escolheria a tua voz de tão fina e frágil. o teu choro tão suave. se me deixasses decidir escolheria estes lábios e esta boca para te poder dizer.

só desta vez.

vou ficar calado a esperar o que acontece.

sem permissão

sou tímido. dizes que não sei falar em público. que sou acanhado. não sei estar. onde pôr as mãos, os pés, onde acenar com a cabeça e sorrir. interromper a conversa e dizer,
talvez só deixe de ser tímido quando estou em palco.

O tubo cardíaco continua a elongação e dobragem no 23.º dia. A porção cefálica do tubo dobra-se ventralmente, caudalmente e para a direita e a porção caudal desvia-se dorsocranialmente e para a esquerda. Esta inclinação cria a alça cardíaca. Ela está completa até ao 28.º dia.
em langman-embriologia médica, t.w. sadler

i won't fuck us over, i'm mr. november, i'm mr. november, i won't fuck us over i won't fuck us over, i'm mr. november, i'm mr. november, i won't fuck us over.
em mr. november, the national

este é para mais tarde recordar

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 then you got away, didn't you babe...

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.
chelsea hotel no. 2, leonard cohen

You like me. You like me. Look up, if you like me. Look up, if you like me.
skins

pudesse eu arrancar-te.

Bastava às vezes o verde do teu casaco verde quando atravessavas à tarde entre a estação e o teatro onde eu estava.
pedro mexia

If you knew how I missed you
You would not stay away today
Don't you know how I love you
Stay here my dear with me

I need you here my darling
Together for a day a day
Together never parting
Just you just me my love

I can't go on without you
Your love is all I'm living for
I love all things about you
Your heart your soul my love

I need you here beside me
Forever and a day a day
I know whatever betides me
I love you I love you I do
if you knew, nina simone

unidos como os dedos da mão.
em jornada, fernando lopes graça

Quero foder contigo.
Quero que sejas o meu abrigo.
E eu serei sempre o teu amigo,
Esperma e amor é calor, é sabor.

Rapas as pernas com a gillette.
Vejo porno na internet,
Mas tu é que és o meu filete.
Quando finalmente estás lisa pareces-te com a Mona Lisa,
Mas cheiras como um queijo de Nisse.

Quero foder contigo.
Quero que sejas o meu abrigo.
Se tu não foderes comigo,
eu não foderei contigo.
quero foder contigo, ena pá 2000

No one laughs at God in a hospital
No one laughs at God in a war
No one's laughing at God when they're starving or freezing or so very poor

No one laughs at God when the doctor calls after some routine tests
No one's laughing at God when it's gotten real late and their kid's not back from that party yet

No one laughs at God when their airplane starts to uncontrollably shake
No one's laughing at God when they see the one they love hand in hand with someone else and they hope that they're mistaken
No one laughs at God when the cops knock on their door and they say, "We've got some bad new, sir"
No one's laughing at God when there's a famine, fire or flood

But God can be funny
At a cocktail party while listening to a good God-themed joke or
Or when the crazies say he hates us and they get so red in the head you think that they're about to choke

God can be funny
When told he'll give you money if you just pray the right way
And when presented like a genie
Who does magic like Houdini
Or grants wishes like Jiminy Cricket and Santa Claus

God can be so hilarious
Ha ha
Ha ha

No one laughs at God in a hospital
No one laughs at God in a war
No one's laughing at God when they've lost all they got and they don't know what for

No one laughs at God on the day they realize that the last sight they'll ever see is a pair of hateful eyes
No one's laughing at God when they're saying their goodbyes

But God can be funny
At a cocktail party while listening to a good God-themed joke or
Or when the crazies say he hates us and they get so red in the head you think that they're about to choke

God can be funny
When told he'll give you money if you just pray the right way
And when presented like a genie
Who does magic like Houdini
Or grants wishes like Jiminy Cricket and Santa Claus

God can be so hilarious.
laughing with, regina spektor

Y ya sabe usted lo que hace todo el mundo cuando se levanta.
abre los ojos, alejandro amenábar

because the dead do not improve.
em tennessee, silver jews

The Man: The clocks stopped at one seventeen one morning. There was a long shear of bright light, then a series of low concussions. Within a year there were fires on the ridges and deranged chanting. By day the dead impaled on spikes along the road. I think it's October but I can't be sure. I haven't kept a calender for five years. Each day is more gray than the one before. Each night is darker - beyond darkness. The world gets colder week by week as the world slowly dies. No animals have survived. All the crops are long gone. Someday all the trees in the world will have fallen. The roads are peopled by refugees towing carts and road gangs looking for fuel and food. There has been cannibalism. Cannibalism is the great fear. Mostly I worry about food. Always food. Food and our shoes. Sometimes I tell the boy old stories of courage and justice - difficult as they are to remember. All I know is the child is my warrant and if he is not the word of God, then God never spoke.
em the road, cormac maccarthy/joe penhall

Jesse Pinkman: What good is being an outlaw when you have responsibilities?
Badger: Darth Vader had responsibilities. He was responsible for the Death Star.
Skinny Pete: Yeah. Two of them bitches.
em breaking bad, vince gilligan

I'm in New York for a TBS network presentation. They just told me they're a basic cable network. WTF!!!?
conan o'brien

não lhe deixes pôr-te mão,
ai tu impõe-te ò conceição.
em conceição, b fachada

There's no savin' anything
I'll swallow the shine of the sun
There's no savin' anything
I'll swallow the sun

But I won't a runaway
'Cause I won't run
No, I won't be a runaway
What makes you think I enjoy being led to the flood?
We've got another thing comin' undone
And it's takin' us over

We don't bleed when we don't fight
Go ahead go ahead throw your arms in the air tonight
We don't bleed when we don't fight
Go ahead go ahead throw our shirts in the fire tonight

What makes you think I enjoy being led to the flood?
We've got another thing comin' undone

But I won't be no runaway
'Cause I won't run
No, I won't be a runaway
'Cause I won't run
But I won't be no runaway
What makes you think I enjoy being led to the flood?
We've got another thing comin' undone
And it's takin' forever

We don't bleed when we don't fight
Go ahead go ahead throw your arms in the air tonight
We don't bleed when we don't fight
Go ahead go ahead throw our shirts in the fire tonight

What makes you think I enjoy being led to the flood?
We got another thing comin' undone
We got another thing comin' undone
And it's taking forever

I go breaking everything
With you swallowing the shine of the sun
I'll go breaking everything
With you swallowing the sun

But I won't be no runaway
Cause I won't run
No, I won't be no runaway
Cause I won't run
No, I won't be no runaway
What makes you think I enjoy being led to the flood?
We got another thing comin' undone
And it's taking us over

We don't bleed when we don't fight
Go ahead go ahead throw your arms in the air tonight
We don't blee
Go ahead go ahead throw our shirts in the fire tonight

What makes you think I enjoy being led to the flood?
We got another thing coming undone
We got another thing coming undone
And it's taking us over
And it's taking forever.
runaway, the national

(parte 2)

MAL POSSO ESPERAR.

precisava de companhia para ir fumar um cigarro à varanda.

I just can't get you out of my head
Boy your loving is all I think about
I just can't get you out of my head
Boy it's more than I dare to think about.
em can't get you out of my head, kylie minogue

- [holding an inflatable raft] I blew this up for you.
- Why did you want me to shave you? Hmm? Why?
- So I could swim out further.
- Swim out?
- Yes.
- What are you saying?
- [he struggles for words] That I want you with me.
- What?
- Diane.
- What are you talking about? You want me to watch you die?
- I want you with me, that's all.
- But is this what you did? Made me fall in love with you to watch you...
- I don't see it that way at all. I love you.
em fur: an imaginary portrait of diane arbus de steven shainberg

Meu amor, eu volto já
Vou por aí, vou ver o mar
Ouvir o canto da sereia
E duvidar, vou duvidar,
Do céu, do sol, do chão, do ar,
Vou-me afundar
na ferida escura e esquiva
que me tem
Cativo,
Imóvel,
Sem solução
Meu amor, se eu naufragar
Se me perder no teu olhar
Desaparecer sob o luar
Me consumir de bar em bar
Na bruma bêbada de um cais
Gritar que quero mais que a vida
E mais e mais e mais
Perdoa
Perdi-me
Na confusão

Se porém eu me encontrar
Talvez o mar se acalme no meu peito
E eu possa pôr os pés no chão e respirar
E abraçar a solidão
E ocupar o meu lugar
Na vasta e tensa imensidão
E então voltar
E, se tu ainda me quiseres,
Meu amor, se desejares
Dou-te tudo o que sobrar
De mim.
vou sair para comprar cigarros, jp simões

She: a crying woman is a scheming woman.
em antichrist, lars von trier

Please keep your distance
The trail leads to here
There's blood on your fingers
Brought on by fear

I campaigned for nothing
I worked hard for this
I tried to get to you
You treat me like this.
em candidate, ian curtis

I... I used to make long speeches to you after you left. I used to talk to you all the time, even though I was alone. I walked around for months talking to you. Now I don't know what to say. It was easier when I just imagined you. I even imagined you talking back to me. We'd have long conversations, the two of us. It was almost like you were there. I could hear you, I could see you, smell you. I could hear your voice. Sometimes your voice would wake me up. It would wake me up in the middle of the night, just like you were in the room with me. Then... it slowly faded. I couldn't picture you anymore. I tried to talk out loud to you like I used to, but there was nothing there. I couldn't hear you. Then... I just gave it up. Everything stopped. You just... disappeared. And now I'm working here. I hear your voice all the time. Every man has your voice.
em paris,texas por sam shepard

música à volta de círculos

as veias e arteríolas que percorrem o teu corpo são feitas de água pura. também eu queria saber desenhar um círculo perfeito,que nos fechasse e nos juntasse contra o mar.

sobra-me tempo para cantar

Viver sempre sossegado
Cada amor em cada lado
Mas ele mesmo, até morrer
Vá-se lá saber
O que sentia todo o dia, até anoitecer

Viveu sempre, em todo o lado
Com seus dons de namorado
Sempre, sempre a envelhecer
Vá-se lá dizer
O que fazia todo o dia, até amanhecer

É bom ter má fama
Dá para ter vazia a cama
E nesta solidão de Kant
Ser tido um grande amante

É bom ter de fundo
Que anda pelas bocas do mundo
E quem quizer acreditar
Ao menos não vem cá espreitar

Fez de tudo, até calçado
Mas seu jeito de empregado
Só deixava perceber
Para quem queria ver
De cada dia uma alegria, para desaparecer

Fez de tudo, de empregado
Só não fez do seu passado
Um segredo para esconder
Já não vai vencer
Mas respondia para se defender:

b fachada, tempo para cantar

e aqui vamos nós

pode ser que um dia eu e tu possamos viajar no tempo e voltar.

encolher de ombros

Okay,i get it. Is that your trademark?

recortar e colar

- hoje o avatar ultrapassou o titanic,em receitas.
- também; para o filme que é.