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Olá. Sou o Yusanã Mignoni.
Este sítio reúne um pouco do meu
eu espalhado pela internet.
Trabalho com fotografia, trilhas sonoras e audiovisual em geral.
Moro em Chapecó/SC. Sinta-se livre para entrar em contato:
yusana @ gmail.com
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Photos
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Tracks
- 7 tracks (19:39)Trilha sonora original do curta-metragem "O Colecionador".
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Posts
- Jul 12, 10
embrulhando os sentimentos em jornais de ontem
encontrei-me perdido dentro de um ônibus sem
banheiro e já faziam doze semanas que um fagote
insuportável valsava minha dor como um sabonete
e vendo-te vir na direção contrária escorreguei
até chegar ao caderno literário onde fiquei horas
e horas cuidadosamente amassando minhas lágrimas
e jogando pela janela aquilo que eu não gostava
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nunca cheguei. - Apr 06, 10
- Jan 31, 10
Puta que pariu, é um robô. Um maldito robô.
Eu não estou na frente de um ser humano, é impossível.
Deseja alguma coisa, senhor? Posso ajudá-lo senhor?
Ai, sério, olha pra ti, criatura, ajude a si mesma.
O número nove? São sete e noventa o médio e nove e cinquenta o grande.
Não sei, já perdi a fome. Pára de me olhar assim. Pára de sorrir desse jeito.
Eles te pagam tão bem assim pra sorrir desse jeito o tempo todo? Meu deus, tira o braço de trás das costas, move-te como um ser normal. Não me trate como outro robô, pergunte-me as coisas sem usar as mesmas palavras toda vez.
Mais alguma coisa senhor?
Sim, sim, sim. Tira esse uniforme e vista-te como bem quiser, fala com as tuas gírias e os com os teus costumes, disponha-se conforme teu humor, mostra-te como alguém vivo, pelo amor de deus. Que merda, esse teu crachá com prêmios de boa funcionária a mostra não te levará a lugar nenhum, juro. Teu supervisor só o é porque conseguiu ser menos humana que você, tu só sobes a medida em que desces, tu só sobe a medida em que te chupam a alma fora, tu só sobes enquanto não és gente. E tem mais, eu sou gente ainda, eu sou um ser humano, eu não quero ouvir outro ser humano repetindo frases como uma máquina, eu não quero ter com alguém que não se parece com alguém, enojas-me isto, tiras-me o apetite. Não quero mais comer neste lugar em que tudo funciona sempre da mesma maneira, não quero mais dividir o recinto com meio-seres.
Pode aguardar um instantinho que já levamos para o senhor.
Eu aguardo, eu sento aqui e espero como todo mundo. Quem é teu chefe, guria? Será que todos aqui são tão máquinas como tu? Meu deus, já voltaste a teu prévio estado, coluna ereta, cabeça erguida, esperando outro robô faminto pedir outra comida robótica e mecanizada. Não tem ninguém aí, guria, aproveita e lê um jornal, entende o que acontece pelo mundo, pelo menos os quadrinhos, então, dá risada de alguma coisa, sente alguma coisa. Meu deus, não pode ser proibido sentir. Em que lugar estou em que é proibido sentir? Somos seres, oras! Meu deus, não consigo mais pensar em comer mais nada aqui, robôs cozinhando para outros robôs.
Uma coca e um número sete, por favor.
Mais alguma coisa, senhor?
São oito e trinta, senhor.
Pode aguardar um instantinho que já levamos para o senhor.
O senhor senta e espera seu banquete enquanto eu admiro os robôs interagindo. Um robô servindo a outro robô. Uma coca-cola e um número sete.
O que será que é o número sete? Meu deus, não sei o que é o número sete, mas deve estar lá dentro da cozinha higienizada e dentro dos padrões sanitários dentro de diferentes sacos plásticos todos com a mesma quantidade de ingredientes, todos esperando para serem misturados no número sete, todos os plásticos esperando para serem jogados ao lixo com os plásticos dos ingredientes dos números um ao doze ou sei lá quantos números, e todos os robôs esperando pra comerem seus números do mesmo jeito que comeram ontem e antes de ontem e semana passada e ano passado, com a mesma coca-cola que tomaram ontem e antes de ontem e semana passada e ano passado. E os números e as cocas-colas não são mais apreciadas, não são mais comida, são costumes, são costumes dos robôs, servirem números e cocas, comerem números e cocas. Tudo do jeito que os robôs já sabem como será, com o gosto que já sabem qual vai ser, com o preço que já sabem que vão pagar. Porque esses robôs podem viajar o mundo, mas outros robôs estarão lá para oferecerem os mesmos números e as mesmas coca-colas para que o robô que viaja não precise mudar sua culinária. Progresso, comodidade. Para isso que trabalhamos. Trabalhamos para ter progresso e comodidade. Depois de um dia de trabalho quero progresso e comodidade em troca. Quero o mesmo número e a mesma coca, quero essa rotina até que ela se esgote por completo. Trabalho, progresso, comodidade, número sete, coca-cola, oito e trinta.
Aqui está seu lanche, senhor.
Bandeja de plástico, papel, guardanapo, pão, alface, tomate, restos de vaca, queijo, restos de porco. Não estou mais com fome, não sou um robô.
Me vê uma coca, por favor.
Meu deus, eu pedi uma coca, eu sou um robô. A quanto tempo eu não faço um suco? A quanto tempo eu não tomo alguma coisa sem conservantes e sem ter passado pela mão de robôs? Quero correr até achar um pé de laranja, ou limão, ou qualquer coisa, e quero chupar a alma da natureza viva pro meu corpo quase sem alma, quase robô. Mas meu deus do céu, não tem pés de laranja dentro desse shopping, tem sapatos, tem esmaltes, tem vestidos, tem robôs usando sapatos e esmaltes e vestidos do próprio shopping dentro do shopping, tem coca-colas e outros lanches do número um ao dezessete, e tem celulares e computadores e elevadores e escadas rolantes que fazem as pessoas terem menos trabalho e chegarem mais rapidamente aos sapatos e vestidos e esmaltes e aos celulares e a outros elevadores e outras escadas rolantes. E as pessoas dão voltas e circulam nisto sem passarem por um pé de laranja ou nada que não seja comum, nada que já não tenha sido visto.
Aqui está a coca, senhor.
Merda, enquanto eu tomo essa coca e o número nove esfria na minha bandeja tem gente passando fome no mundo inteiro. Eu quero dar minha comida pra alguém que tá passando fome, mas não tem ninguém passando fome ao meu redor, aqui todo mundo come e ninguém pensa que existe alguém passando fome no mundo. Quero passar fome até encontrar um pé de laranja. Quero passar fome e ver alguém matar a fome com meu número nove. Quero passar fome e ver todos esses robôs passando fome. Quero deixar de ser um robô.
Obrigado, agradecemos a preferência, volte sempre, disse o robô.
Tenho vontade de rasgar-lhe a pele e mostrar-lhe as tripas que transformam os números em merda. Tenho vontade de mostrar a todos aqui o que realmente está acontecendo aqui nesta lanchonete.
Jogo a lata de coca no lixo reciclável, faço a minha parte.
Sorrio para o robô que deve estar contente por completar mais um ciclo mecânico de fome, progresso, comodidade, número nove, coca cola, sete e cinquenta, salário-mínimo mais bônus ao fim do mês.
Meu deus, eu penso, quanto vale a repetição infinita de momentos na vida que nunca mais voltarão e quanto vale a alma de um ser humano para que ele transforme-se numa máquina de repetição de momentos, de ciclos e de frases? Quando é que essa moça é gente? O que vão fazer com meu número nove inteiro em cima da mesa?
Mais alguma coisa senhor? São cinco e quarenta.
Meus deus, sejamos todos gente ao mesmo tempo, só pra ver a merda que dá. Tenhamos sentimentos, sejamos vivos. Eu cansei de ser vivo por todos vocês, alguém mais tem de dividir o peso da vida comigo, eu não consigo mais agüentar. Enquanto só eu for vivo e só encontrar robôs, minhas costas só arquearão cada vez mais, enquanto vocês seguem eretos e caminham com passo firme e mecânico.
PLEM, PLEM, PLEM, PLEM.
Quero jogar o peso da vida em todos vocês, quero devolver a alma inútil de todos vocês, que só me faz carga e sofrimento, quero que sejamos todos vivos e dividamos o preço de o sermos em mais do que sete e quarenta ou nove e setenta. Quero poder vê-los e olhar em vossos olhos sem sentir um arrepio do fundo d'alma de quem vê um semelhante que está morto estando vivo. Quero poder sentí-los, cada um como o é, quero...
Puta merda, preciso sair desse monte de gente. Cada ser que me passa, despeja um pouco mais de sentir na carroça da minha alma, e eu sigo como um amuleto, um furta-sentimentos, que é necessário para que todos continuem em seu caminho de progresso, comodidade, números sete e nove, coca-colas, e toda essa porra que vemos quando olhamos e reparamos ao redor. Um furta-seres que carrega na alma as almas que os robôs já não sabem mais vestir e anda por aí com as costas arqueadas pelo peso de mil homens e ao cuidar de todos acaba não sendo nenhum.
Preciso sair daqui.
Preciso alcançar meu carro.
Preciso sair daqui.
Preciso alcançar meu carro, sair daqui, deitar na minha cama e descansar.
Preciso descarregar a vida. Amanhã é dia de trabalho.
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Info
- SummaryFotógrafo interessado em cinema.Specialties: Fotografia Still, Direção de Fotografia e Direção de cena.Experience
- Feb 2010 - PresentTécnico Audiovisual / Universidade Federal da Fronteira Sul
- 2007 - PresentFotógrafo / Freelancer
- Dec 2010 - Oct 2011Chefe de Programação Visual / Universidade Federal da Fronteira Sul
- Jun 2009 - Feb 2010Monitor Social / Prefeitura Municipal de Chapecó
Education-
2009 - 2012Universidade Comunitária da Região de ChapecóTecnólogo in Produção Audiovisual
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2006 - 2007Pontifícia Universidade Católica do Rio Grande do SulTecnólogo in Produção Audiovisual: Cinema e Vídeo
Additional Information-
Websites:
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Honors:Prêmio Sindaspi de Fotografia, 2010
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Tweets
- @ericoassis @dianapassy Hahaha. Imaginei-me num estande com uma cadelinha na coleira. Mas ei, não sei se gosto mais dessa comparação.
- @aquelesluan Eu só não gosto porque acho feio mesmo. Tênis > tudo.
- A Suécia também mudou de lado. RT @YourAnonNewsBR: #Piratebay multado e fundadores são presos - http://t.co/zUPbUlj0
- “Mas se os lances jogados forem outros?” - “Então precisaremos de outro livro”.Jan 31, 12 from web Reply, Retweet, Favorite
- “Mas é um livro sobre as regras, sobre como jogar?” - “Não, é sobre uma possível posição alcançada após três lances no jogo”.Jan 31, 12 from web Reply, Retweet, Favorite
- O autor resmungava que ninguém o entendia quando ele falava que estava trabalhando em um livro de xadrez sobre uma posição específica.Jan 31, 12 from web Reply, Retweet, Favorite
- Lembrei aqui de um prefácio que li ano passado em um livro sobre xadrez com o nome de "Variante do Avanço na Defesa Francesa".Jan 31, 12 from web Reply, Retweet, Favorite
- @fabridoss É bom mas dava pra tirar esses 40 minutos e ficar até melhor, talvez.
- @ursocongelado Empregada tá na tua casa até essa hora? Que burguesia.
- @kiadd Porra, Mediafire não, cara. MEDIAFIRE NÃO.
- @giuliabin Estarei em Porto Alegre na data do show. Não sei se resistirei.
- @rlevino Não rola. Quando chegar num nível crítico, toda vez que tu entrar vai aparecer um aviso vermelho gigante te mandando deletar algo.
- @sonnengotter Baita jogo. Morri sete milhões de vezes e não consegui terminar.
- @braziu Único jeito de se viver.
- @innuendoblues Mas se eu pudesse viver disso, viveria numa boa.
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Posts
- Oct 31, 11
Morning Links:
- Regional slang goes national with the help of Twitter.
- Oversharing As Privacy: Hasan M. Elahi offers the FBI TMI to cover his ASS.
- Geek Squad repair agent locked inside Best Buy store does a Reddit AMA.
- Morning Distraction: Cyclomaniacs 2.
- Morning Wood: Tess Taylor.
- Morning List: 5 Halloween Parties Too Badass to Be Real (That Totally Are).
[image: woosk.]
Tagged: Morning Links - Oct 29, 11
“The problem with the world is that the intelligent people are full of doubts while the stupid ones are full of confidence.”
- Charles Bukowski (via dirrtyfilthynasty) - Oct 29, 11
Fonte: canal damewse
Introdução: Francisco BoniIntrodução
O canal damewse interrompeu a sua gloriosa produção de videos da Sagan Series (Série Sagan) — traduzidos pela equipe do Bule Voador e disponíveis aqui — para lançar outra série de videos emocionantes feitos com entrevistas e declarações de outro grande cientista e divulgador de ciência: Richard Feynman.
Richard Feynman ganhou o prêmio Nobel de Física em 1965. Ele é considerado por muitos a maior mente científica desde Einstein.
Na década de 80, Richard Feynman teorizou a respeito de um computador quântico que utilizasse das leis da mecânica quântica para realizar tarefas que um sistema que obedece as leis da física clássica não consegue, sendo pioneiro na área de computação quântica. Introduziu o conceito de nanotecnologia no encontro anual da Sociedade Americana de Física, no início da década de 60, discorrendo sobre o controle e manipulação da matéria em escala atômica.
A maior contribuição de Feynman à Física foi o desenvolvimento da eletrodinâmica quântica, a qual foi desenvolvida paralelamente por Julian Schwinger e Sin-Itiro Tomonaga. Na década de 1950, Feynman trabalha na teoria das interações fracas, e nos anos 1960, ele trabalhou na teoria das interações fortes. Também trabalhou na superfluidez do hélio líquido.
No começo da década de 50, Feynman se interessa pela América do Sul e acaba indo lecionar como convidado de Jayme Tiomno no Centro Brasileiro de Pesquisas Físicas no Rio. Entre 1951 e 1952, Feynman passa vários meses no Brasil e sua estada é relatada no capítulo ‘O americano, outra vez!’ do seu Livro ‘O senhor está brincando, Sr. Feynman!’. Entre outros assuntos ele descreve sua divertida experiência com o povo brasileiro, com a língua portuguesa e com a música (percussão e samba). No final do capítulo ele se utiliza da experiência que teve com seus alunos e suas falhas durante o aprendizado para fazer uma crítica ao método de aprendizado por meio da memorização mecânica em vez de usar o raciocínio.
Recomendamos assistir em tela cheia, na qualidade 720p, sem distrações. Clique em “CC” para ativar/desativar as legendas e selecione Português (Brasil). Basta dar play no video que o botão irá aparecer.
- Oct 29, 11
- Oct 29, 11
- Dec 07, 11Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), better known by her stage name Nina Simone , was an American singer, songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, folk, R&B, gospel, and pop.Born the sixth child of a preacher's family in North Carolina, Simone aspired to be a concert pianist as a child. Her musical path changed direction after she was denied a scholarship to the prestigious Curtis Institute of Music in Philadelphia, despite a well-received audition. Simone was later told by someone working at Curtis that she was rejected because she was black. She then began playing in a small club in Philadelphia to fund her continuing musical education to become a classical pianist and was required to sing as well. She was approached for a recording by Bethlehem Records, and her rendition of "I Loves You Porgy" became a smash hit in the United States in 1958. Over the length of her career, Simone recorded more than 40 albums, mostly between 1958 — when she made her debut with Little Girl Blue — and 1974.Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach, and accompanied with her expressive jazz-like singing in her characteristic low tenor. She injected as much of her classical background into her music as possible to give it more depth and quality, as she felt that pop music was inferior to classical. Her intuitive grasp on the audience-performer relationship was gained from a unique background of playing piano accompaniment for church revivals and sermons regularly from the early age of six years.After 20 years of performing, she became involved in the civil rights movement and the direction of her life shifted once again. Simone's music was highly influential in the fight for equal rights in the USSimone was born Eunice Kathleen Waymon in Tryon, North Carolina. The sixth of eight children in a poor family, she began playing piano at age three; the first song she learned was "God Be With You, Till We Meet Again". Demonstrating a talent with the instrument, she performed at her local church, but her concert debut, a classical recital, was given when she was twelve. Simone later claimed that during this performance her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people. Simone said she refused to play until her parents were moved back to the front, and that the incident contributed to her later involvement in the civil rights movement.Simone's mother, Mary Kate Waymon, was a strict Methodist minister and a housemaid. Simone's father, John Divine Waymon, was a handyman who at one time owned a dry cleaning business, but who also suffered bouts of ill health. Mary Kate's employer, hearing of her daughter's talent, provided funds for piano lessons. Subsequently, a local fund was set up to assist in Simone's continued education. With the assistance of this scholarship money she attended high school.After finishing high school, she had studied for an interview with the help of a private tutor to study piano further at the Curtis Institute, but she was rejected. Simone believed that this rejection was related directly to her race. Simone then moved to New York City, where she studied at the Juilliard School of Music.To fund her private lessons, Simone performed at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, whose owner insisted that she sing as well as play the piano. In 1954 she adopted the stage name Nina Simone. "Nina" (from niña, meaning 'little girl' in Spanish) was a nickname a boyfriend had given to her, and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the movie Casque d'or. Simone's mixture of jazz, blues, and classical music in her performances at the bar earned her a small, but loyal, fan base.In 1958, she befriended and married Don Ross, a beatnik who worked as a fairground barker, but quickly regretted their marriage. After playing in small clubs, in 1958 she recorded a rendition of George Gershwin's "I Loves You Porgy" (from Porgy and Bess), which she learned from a Billie Holiday album and performed as a favor to a friend. It became her only Billboard top 40 success in the United States, and her debut album Little Girl Blue soon followed on Bethlehem Records. Simone missed out on more than $1 million in royalties (mainly because of the successful re-release of My Baby Just Cares for Me during the 1980s) and never benefited financially from the album, because she had sold her rights to it for $3,000.After the success of Little Girl Blue, Simone signed a contract with Colpix Records, and recorded a string of studio and live albums. Colpix relinquished all creative control to her, including the choice of material that would be recorded, in exchange for her signing the contract with them. At this point, Simone only performed pop music to make money to continue her classical music studies, and was indifferent about having a recording contract. She kept this attitude toward the record industry for most of her career.Simone married a New York police detective, Andrew Stroud, in 1961; Stroud later became her managerIn 1964, she changed record distributors, from the American Colpix to the Dutch Philips, which also meant a change in the contents of her recordings. Simone had always included songs in her repertoire that drew upon her African-American origins (such as "Brown Baby" and "Zungo" on Nina at the Village Gate in 1962). On her debut album for Philips, Nina Simone In Concert (live recording, 1964), however, Simone for the first time openly addressed the racial inequality that was prevalent in the United States with the song "Mississippi Goddam", her response to the murder of Medgar Evers and the bombing of a church in Birmingham, Alabama that killed four black children. The song was released as a single, and it was boycotted in certain southern states. "Old Jim Crow", on the same album, addressed the Jim Crow Laws.From then on, a civil rights message was standard in Simone's recording repertoire, becoming a part of her live performances. Simone performed and spoke at many civil rights meetings, such as at the Selma to Montgomery marches.Simone advocated violent revolution during the civil rights period, rather than Martin Luther King's non-violent approach, and she hoped that African Americans could, by armed combat, form a separate state. Nevertheless, she wrote in her autobiography that she and her family regarded all races as equal.She covered Billie Holiday's "Strange Fruit", a song about the lynching of black men in the South, on Pastel Blues (1965). She also sang the W. Cuney poem "Images" on Let It All Out (1966), about the absence of pride she saw among African-American women. Simone wrote "Four Women", a song about four different stereotypes of African-American women, and included the recording on her 1966 album Wild Is the Wind.Simone moved from Philips to RCA Victor during 1967. She sang "Backlash Blues", written by her friend Langston Hughes on her first RCA album, Nina Simone Sings The Blues (1967). On Silk & Soul (1967), she recorded Billy Taylor's "I Wish I Knew How It Would Feel to Be Free" and "Turning Point". The album Nuff Said (1968) contains live recordings from the Westbury Music Fair, April 7, 1968, three days after the murder of Martin Luther King, Jr. She dedicated the whole performance to him and sang "Why? (The King Of Love Is Dead)", a song written by her bass player, Gene Taylor, directly after the news of King's death had reached them. In the summer of 1969 she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park.Together with Weldon Irvine, Simone turned the late Lorraine Hansberry's unfinished play To Be Young, Gifted, and Black into a civil rights song. Hansberry had been a personal friend whom Simone credited with cultivating her social and political consciousness. She performed the song live on the album Black Gold (1970). A studio recording was released as a single, and renditions of the song have been recorded by Aretha Franklin (on her 1972 album Young, Gifted and Black) and by Donny Hathaway.Simone left the United States in September 1970, flying to Barbados and expecting Stroud to communicate with her when she had to perform again. However, Stroud interpreted Simone's sudden disappearance, and the fact that she had left behind her wedding ring, as an indication of a desire for a divorce. As her manager, Stroud was in charge of Simone's income.When Simone returned to the United States she learned that a warrant had been issued for her arrest for unpaid taxes (as a protest against her country's involvement with the Vietnam War), causing her to return to Barbados again to evade the authorities and prosecution.Simone stayed in Barbados for quite some time and she had a lengthy affair with the Prime Minister, Errol Barrow.[[25] A close friend, singer Miriam Makeba, then persuaded her to go to Liberia. After that she lived in Switzerland and the Netherlands, before settling in France during 1992.She recorded her last album for RCA Records, It Is Finished, during 1974. Simone did not make another record until 1978, when she was persuaded to go into the recording studio by CTI Records owner Creed Taylor. The result was the album Baltimore, which, while not a commercial success, did get good reviews and marked a quiet artistic renaissance in Simone's recording output. Her choice of material retained its eclecticism, ranging from spiritual songs to Hall & Oates' "Rich Girl". Four years later Simone recorded Fodder On My Wings on a French label. During the 1980s Simone performed regularly at Ronnie Scott's jazz club in London, where she recorded the album Live at Ronnie Scott's in 1984. Although her early on-stage style could be somewhat haughty and aloof, in later years, Simone particularly seemed to enjoy engaging her audiences sometimes by recounting humorous anecdotes related to her career and music and by soliciting requests. In 1987, the original 1958 recording of "My Baby Just Cares For Me" was used in a commercial for Chanel No. 5 perfume in the United Kingdom. This led to a re-release of the recording, which stormed to number 4 on the UK's NME singles chart, giving her a brief surge in popularity in the UK. Her autobiography, I Put a Spell on You, was published in 1992. She recorded her last album, A Single Woman, in 1993.In 1993, Simone settled near Aix-en-Provence in Southern France. She had suffered from breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet, Bouches-du-Rhône on April 21, 2003. (In addition, Simone received a diagnosis of bipolar disorder in the late 1980s. Her funeral service was attended by singers Miriam Makeba and Patti Labelle, poet Sonia Sanchez, actor Ossie Davis, and hundreds of others. Elton John sent a floral tribute with the message "You were the greatest and I love you".[ Simone's ashes were scattered in several African countries. She left behind a daughter, Lisa Celeste Stroud, an actress and singer, who took the stage name Simone, and has appeared on Broadway in Aida.Discography(Studio&Lives):1958 Little Girl Blue (Studio) Bethlehem Records part 1 part 2
1959 Nina Simone and Her Friends (Studio) Bethlehem Records
1959 The Amazing Nina Simone (Studio) Colpix Records altrn
1959 Nina Simone at Town Hall (Live and studio) Colpix Records altrn
1960 Nina Simone at Newport (Live) Colpix Records part 1 part 2
1960 Forbidden Fruit (Studio) Colpix Records
1962 Nina at the Village Gate (Live) Colpix Records part 1 part 2
1962 Nina Simone Sings Ellington (Live) Colpix Records
1963 Nina Simone at Carnegie Hall (Live) Colpix Records
1964 Folksy Nina (Live) Colpix Records
1964 Nina Simone in Concert (Live) Philips Records altrn
1964 Broadway-Blues-Ballads (Studio) Philips Records altrn
1965 I Put a Spell on You (Studio) Philips Records
1965 Pastel Blues (Studio) Philips Records altrn
1966 Nina Simone with Strings (Studio) (strings added) Colpix
1966 Let It All Out (Live and studio) Philips
1966 Wild Is the Wind (Studio) Philips
1967 High Priestess of Soul (Studio) Philips
1967 Nina Simone Sings the Blues (Studio) RCA Records
1967 Silk & Soul (Studio) RCA Records altrn
1968 Nuff Said (Live and studio) RCA Records
1969 Nina Simone and Piano (Studio) RCA Records
1969 To Love Somebody (Studio) RCA Records
1970 Black Gold (Live) RCA Records
1971 Here Comes the Sun (Studio) RCA Records
1972 Emergency Ward (Live and Studio) RCA Records altrn
1974 It Is Finished (Live) RCA Records
1978 Baltimore (Studio) CTI Records
1982 Fodder on My Wings (Studio) Carrere
1984 Backlash (Live) StarJazz
1985 Nina's Back (Studio) VPI
1985 Live & Kickin (Live) VPI
1987 Let It Be Me (Live) Verve
1987 Live at Ronnie Scott's (Live) Hendring-Wadham
1993 A Single Woman (Studio) Elektra RecordsCompilation:2000 The Essential Nina Simone" (compilation, RCA, ) FLAC - Oct 28, 11
ACTUAL CONVERSATION I HAD WHEN I WAS 8:
ME: Why is the band called Queen?
DAD: Because, um, they really, really like the Queen, Ned.
ME: …
DAD: …
ME: Why did Freddie Mercury die?
DAD: …
ME: …
DAD: He got AIDS.
ME: How do you get AIDS?
DAD: (not wanting to explain STDs) He, uh, was sharing needles.
ME: Well that was generous of him.
DAD: It was.
ME: When I get AIDS, I’ll share my needles.
DAD: … - Oct 27, 11
Submitted by: emilyks
Posted at: 2011-10-26 06:02:33
See full post and comment: http://9gag.com/gag/416724 - Oct 28, 11
Shared by Yusanã Mignoni
Some people have a legitimate reason to feel depressed, but not me. I just woke up one day feeling sad and helpless for absolutely no reason.
"trying to use willpower to overcome the apathetic sort of sadness that accompanies depression is like a person with no arms trying to punch themselves until their hands grow back"
It's disappointing to feel sad for no reason. Sadness can be almost pleasantly indulgent when you have a way to justify it - you can listen to sad music and imagine yourself as the protagonist in a dramatic movie. You can gaze out the window while you're crying and think "This is so sad. I can't even believe how sad this whole situation is. I bet even a reenactment of my sadness could bring an entire theater audience to tears."
But my sadness didn't have a purpose. Listening to sad music and imagining that my life was a movie just made me feel kind of weird because I couldn't really get behind the idea of a movie where the character is sad for no reason.
Essentially, I was being robbed of my right to feel self pity, which is the only redeeming part of sadness.
And for a little bit, that was a good enough reason to pity myself.
Standing around feeling sorry for myself was momentarily exhilarating, but I grew tired of it quickly. "That will do," I thought. "I've had my fun, let's move on to something else now." But the sadness didn't go away.
I tried to force myself to not be sad.
But trying to use willpower to overcome the apathetic sort of sadness that accompanies depression is like a person with no arms trying to punch themselves until their hands grow back. A fundamental component of the plan is missing and it isn't going to work.
When I couldn't will myself to not be sad, I became frustrated and angry. In a final, desperate attempt to regain power over myself, I turned to shame as a sort of motivational tool.
But, since I was depressed, this tactic was less inspirational and more just a way to oppress myself with hatred.Which made me more sad.
Which then made me more frustrated and abusive.
And that made me even more sad, and so on and so forth until the only way to adequately express my sadness was to crawl very slowly across the floor.
The self-loathing and shame had ceased to be even slightly productive, but it was too late to go back at that point, so I just kept going. I followed myself around like a bully, narrating my thoughts and actions with a constant stream of abuse.
I spent months shut in my house, surfing the internet on top of a pile of my own dirty laundry which I set on the couch for "just a second" because I experienced a sudden moment of apathy on my way to the washer and couldn't continue. And then, two weeks later, I still hadn't completed that journey. But who cares - it wasn't like I had been showering regularly and sitting on a pile of clothes isn't necessarily uncomfortable. But even if it was, I couldn't feel anything through the self hatred anyway, so it didn't matter. JUST LIKE EVERYTHING ELSE.
Slowly, my feelings started to shrivel up. The few that managed to survive the constant beatings staggered around like wounded baby deer, just biding their time until they could die and join all the other carcasses strewn across the wasteland of my soul.
I couldn't even muster up the enthusiasm to hate myself anymore.
I just drifted around, completely unsure of what I was feeling or whether I could actually feel anything at all.
If my life was a movie, the turning point of my depression would have been inspirational and meaningful. It would have involved wisdom-filled epiphanies about discovering my true self and I would conquer my demons and go on to live out the rest of my life in happiness.
Instead, my turning point mostly hinged upon the fact that I had rented some movies and then I didn't return them for too long.
The late fees had reached the point where the injustice of paying any more than I already owed outweighed my apathy. I considered just keeping the movies and never going to the video store again, but then I remembered that I still wanted to re-watch Jumanji.
I put on some clothes, put the movies in my backpack and biked to the video store. It was the slowest, most resentful bike ride ever.
And when I arrived, I found out that they didn't even have Jumanji in.
Just as I was debating whether I should settle on a movie that wasn't Jumanji or go home and stare in abject silence, I noticed a woman looking at me weirdly from a couple rows over.
She was probably looking at me that way because I looked really, really depressed and I was dressed like an eskimo vagrant.
Normally, I would have felt an instant, crushing sense of self-consciousness, but instead, I felt nothing.
I've always wanted to not give a fuck. While crying helplessly into my pillow for no good reason, I would often fantasize that maybe someday I could be one of those stoic badasses whose emotions are mostly comprised of rock music and not being afraid of things. And finally - finally - after a lifetime of feelings and anxiety and more feelings, I didn't have any feelings left. I had spent my last feeling being disappointed that I couldn't rent Jumanji.
I felt invincible.
And thus began a tiny rebellion.
Then I swooped out of there like the Batman and biked home in a blaze of defiant glory.
And that's how my depression got so horrible that it actually broke through to the other side and became a sort of fear-proof exoskeleton. - Oct 26, 11
- Oct 27, 11
Shared by Yusanã Mignoni
Baita disco.Исполнитель: Charlie Brown Jr
Альбом: Transpiracao Continua Prolongada
Год выхода: 1997
Страна: Brazil
Жанр: Rapcore / Alternative
Время: 41:11 мин.
Качество: 192 kbps.
Размер: 56 Мб.01 Tributo Ao Frango Da Malasia (Intro)
02 O Coro Vai Come!
03 Tudo Que Ela Gosta De Escuta
04 Sheik
05 Hei! Arreia… (Vinheta)
06 Gimme O Anel
07 Molengol´s Groove (Vinheta)
08 Aquela Paz
09 Quinta-feira
10 Proibida Pra Mim (Grazon)
11 Lombra
12 Corra Vagabundo
13 Falar, Falar…
14 Festa
15 Escalas Tropicais
16 Charlie Brown Jr - Oct 26, 11
Submitted by: bennybb
Posted at: 2011-10-26 04:27:47
See full post and comment: http://9gag.com/gag/416416
