Big-Boy & Ademir - Baile da Pesada - Grilo 1 - 1970 - Vinil

2001 - Uma Odisseia no Espaço - JurassiCast 51

Com a boca no mundo

Uma pausa para a boa música.

Chávez Ravine e Perfeição

Brasil, pais do futuro?
O Brasil esta mais para um grotesco paquiderme engordado diariamente pela corrupção, impunidade, desemprego, classe politica e empresarial corrupta, inflação, crescimento pífio, violência, descaso na saúde, etc, etc, etc.
Nadamos, nadamos, nadamos e morreremos na praia.
Brasil, pais continental com uma grande variedade de  recursos naturais disponíveis e natureza exuberante, entretanto falta competência, honestidade e tecnologia para melhor exploração desses recursos.
Sediaremos dois grandes eventos em menos de uma década quando ainda nos faltam ensino decente, aeroportos, ferrovias, portos, hospitais, estradas, segurança e saneamento básico.
Vale a pena lembrar de Chávez Ravine e Perfeição.

Perfeição

Legião Urbana

Vamos celebrar
A estupidez humana
A estupidez de todas as nações
O meu país e sua corja
De assassinos
Covardes, estupradores
E ladrões...

Vamos celebrar
A estupidez do povo
Nossa polícia e televisão
Vamos celebrar nosso governo
E nosso estado que não é nação...

Celebrar a juventude sem escolas
As crianças mortas
Celebrar nossa desunião...

Vamos celebrar Eros e Thanatos
Persephone e Hades
Vamos celebrar nossa tristeza
Vamos celebrar nossa vaidade...

Vamos comemorar como idiotas
A cada fevereiro e feriado
Todos os mortos nas estradas
Os mortos por falta
De hospitais...

Vamos celebrar nossa justiça
A ganância e a difamação
Vamos celebrar os preconceitos
O voto dos analfabetos
Comemorar a água podre
E todos os impostos
Queimadas, mentiras
E seqüestros...

Nosso castelo
De cartas marcadas
O trabalho escravo
Nosso pequeno universo
Toda a hipocrisia
E toda a afetação
Todo roubo e toda indiferença
Vamos celebrar epidemias
É a festa da torcida campeã...

Vamos celebrar a fome
Não ter a quem ouvir
Não se ter a quem amar
Vamos alimentar o que é maldade
Vamos machucar o coração...

Vamos celebrar nossa bandeira
Nosso passado
De absurdos gloriosos
Tudo que é gratuito e feio
Tudo o que é normal
Vamos cantar juntos
O hino nacional
A lágrima é verdadeira
Vamos celebrar nossa saudade
Comemorar a nossa solidão...

Vamos festejar a inveja
A intolerância
A incompreensão
Vamos festejar a violência
E esquecer a nossa gente
Que trabalhou honestamente
A vida inteira
E agora não tem mais
Direito a nada...

Vamos celebrar a aberração
De toda a nossa falta
De bom senso
Nosso descaso por educação
Vamos celebrar o horror
De tudo isto
Com festa, velório e caixão
Tá tudo morto e enterrado agora
Já que também podemos celebrar
A estupidez de quem cantou
Essa canção...

Venha!
Meu coração está com pressa
Quando a esperança está dispersa
Só a verdade me liberta
Chega de maldade e ilusão
Venha!
O amor tem sempre a porta aberta
E vem chegando a primavera
Nosso futuro recomeça
Venha!
Que o que vem é Perfeição!...

CALEIDOSCÓPIO O PORTO SEGURO DO ROCK: Traffic

CALEIDOSCÓPIO O PORTO SEGURO DO ROCK: Traffic: Volto as postagens botando luz nessa grande banda de Midlands, UK. Lançou álbuns fundamentais no final dos 60's e inicio dos 70's, ...

Traffic

Volto as postagens botando luz nessa grande banda de Midlands, UK.
Lançou álbuns fundamentais no final dos 60's e inicio dos 70's, tais como, Heaven Is in Your Mind (1967), Traffic (1968), John Barleycorn Must Die (1970), The Low Spark Of High (1970) & Welsome To The Canteen (1971).
O meu favorito é Traffic (1968).

Ouçam o audio.

http://rd.io/x/QSc3ySJLdlE/

A volta em grande estilo

Fiquei surpreso com os 49.000 visitantes desse blog.
Dê uma certa maneira esses números me servem de estímulo para voltar a postar.
Estou um pouco enferrujado, porém com o tempo e frequência vou adquirindo uma melhor forma.
Vários assuntos estão palpitando em meu encéfalo sequelado.

Cada vez mais admiro as pessoas que são contra a quase tudo que andam fazendo por ai.
Por exemplo, o novo e provocativo livro do Lobão - Manifesto do nada na terra do nunca.
Mudando da "rapadura para carne seca" ultimamente estou muito envolvido com a pós graduação e o trabalho de conclusão de curso de modo que os ensaios clínicos e metanálise's estão na minha ordem do dia, porém ainda me sobra um tempinho para voltar a postar esses devaneios.
Como assistir The Black Keys BBC Radio 1: 

Mojo Magazine

A  revista Mojo edição de janeiro vêm com Johnny Marr na capa e encartado na edição um CD com músicas que tenham a participação do guitarrista.

O Aniversariante de Hoje

Sam Cooke was the most important soul singer in history -- he was also the inventor of soul music, and its most popular and beloved performer in both the black and white communities. Equally important, he was among the first modern black performers and composers to attend to the business side of the music business, and founded both a record label and a publishing company as an extension of his careers as a singer and composer. Yet, those business interests didn't prevent him from being engaged in topical issues, including the struggle over civil rights, the pitch and intensity of which followed an arc that paralleled Cooke's emergence as a star -- his own career bridged gaps between black and white audiences that few had tried to surmount, much less succeeded at doing, and also between generations; whereChuck Berry or Little Richard brought black and white teenagers together, James Brown sold records to white teenagers and black listeners of all ages, and Muddy Waters got young white folkies and older black transplants from the South onto the same page, Cooke appealed to all of the above, and the parents of those white teenagers as well -- yet he never lost his credibility with his core black audience. In a sense, his appeal anticipated that of the Beatles, in breadth and depth.

He was born Sam Cook in Clarksdale, MS, on January 22, 1931, one of eight children of a Baptist minister and his wife. Even as a young boy, he showed an extraordinary voice and frequently sang in the choir in his father's church. During the middle of the decade, the Cook family moved to Chicago's South Side, where the Reverend Charles Cook quickly established himself as a major figure in the religious community. Sam and three of his siblings also formed a group of their own, the Singing Children, in the 1930s. Although his own singing was confined to gospel music, he was aware and appreciative of the popular music of the period, particularly the melodious, harmony-based sounds of the Ink Spots, whose influence could later be heard in songs such as "You Send Me" and "For Sentimental Reasons." As a teenager, he was a member of the Teen Highway QCs, a gospel group that performed in churches and at religious gatherings. His membership in that group led to his introduction to the Soul Stirrers, one of the top gospel groups in the country, and in 1950 he joined them.

If Cooke had never recorded a note of music on his own, he would still be remembered today in gospel circles for his work with the Soul Stirrers. Over the next six years, his role within the group and his prominence within the black community rose to the point where he was already a star, with his own fiercely admiring and devoted audience, through his performances on songs like "Touch the Hem of His Garment," "Nearer to Thee," and "That's Heaven to Me." The group was one of the top acts on Art Rupe's Specialty Records label, and he might have gone on for years as their most popular singer, but Cooke's goal was to reach audiences beyond the religious community, and beyond the black population, with his voice. This was a tall order at the time, as the mere act of recording a popular song could alienate the gospel listenership in an instant; singing for God was regarded in those circles as a gift and a responsibility, and popular music, rock & roll, and R&B were to be abhorred, at least coming from the mouth of a gospel singer; the gap was so great that when a blues singer such as Blind Gary Davisbecame "sanctified" (that is, found religion) as the Rev. Gary Davis, he could still sing and play his old blues melodies, but had to devise new words, and he never sang the blues words again.

He tested the waters of popular music in 1956 with the single "Lovable," produced by Bumps Blackwelland credited under the name Dale Cooke so as not to attract too much attention from his existing audience. It was enough, however, to get Cooke dropped by the Soul Stirrers and their record label, but that freed him to record under his real name. The result was one of the biggest selling singles of the 1950s, a Cooke original entitled "You Send Me," which sold over two million copies on the tiny Keen Records label and hit number one on both the pop and R&B charts. Although it seems like a tame record today, "You Send Me" was a pioneering soul record in its time, melding elements of R&B, gospel, and pop into a sound that was new and still coalescing at the time.
Cooke was with Keen for the next two years, a period in which he delivered up some of the prettiest romantic ballads and teen pop singles of the era, including "For Sentimental Reasons," "Everybody Loves to Cha Cha Cha," "Only Sixteen," and "(What A) Wonderful World." These were extraordinarily beautiful records, and in between the singles came some early album efforts, most notably Tribute to the Lady, his album of songs associated with Billie Holiday. He was unhappy, however, with both the business arrangement that he had with Keen and the limitations inherent with recording for a small label -- equally to the point, major labels were knocking on Cooke's door, including Atlantic and RCA Records; Atlantic, which was not yet the international conglomerate that it later became, was the top R&B-oriented label in the country and Cooke almost certainly would have signed there and found a happy home with the company, except that they wanted his publishing, and Cookehad seen the sales figures on his songs, as well as their popularity in cover versions by other artists, and was well aware of the importance of owning his copyrights.
Thus, he signed with RCA Records, then one of the three biggest labels in the world (the others being Columbia and Decca), even as he organized his own publishing company, Kags Music, and a record label, SAR, through which he would produce other artists' records -- among those signed to SAR were the Soul Stirrers, Bobby Womack (late of the Valentinos, who were also signed to the label), former Soul Stirrers member Johnny Taylor, Billy Preston, Johnnie Morisette, and the Simms Twins.
Cooke's RCA sides were a strangely schizophrenic body of work, at least for the first two years. He broke new ground in pop and soul with the single "Chain Gang," a strange mix of sweet melodies and gritty, sweaty sensibilities that also introduced something of a social conscience to his work -- a number two hit on both the pop and R&B charts, it was his biggest hit since "You Send Me" and heralded a bolder phase in his career. Singles like bluesy, romantic "Sad Mood," the idyllic romantic soul of "Cupid," and the straight-ahead dance tune "Twistin' the Night Away" (a pop Top Ten and a number one R&B hit), and "Bring It on Home to Me" all lived up to this promise, and also sold in huge numbers. But the first two albums that RCA had him do, Hits of the Fifties and Cooke's Tour, were among the lamest LPs ever recorded by any soul or R&B singer, comprised of washed-out pop tunes in arrangements that showed almost none of Cooke's gifts to their advantage.
In 1962, Cooke issued Twistin' the Night Away, a somewhat belated "twist" album that became one of his biggest-selling LPs. He didn't really hit his stride as an LP artist, however, until 1963 with the release of Night Beat, a beautifully self-contained, dark, moody assembly of blues-oriented songs that were among the best and most challenging numbers that Cooke had recorded up to that time. By the time of its release, he was mostly identified through his singles, which were among the best work of their era, and had developed two separate audiences, among white teen and post-teen listeners and black audiences of all ages. It was Cooke's hope to cross over to the white audience more thoroughly, and open up doors for black performers that, up to that time, had mostly been closed -- he had tried playing the Copa in New York as early as 1957 and failed at the time, mostly owing to his inexperience, but in 1964 he returned to the club in triumph, an event that also yielded one of the most finely recorded live performances of its period. The problem with the Copa performance was that it didn't really represent what Sam Cooke was about in full -- it was Cooke at his most genial and non-confrontational, doing his safest repertory for a largely middle-aged, middle-class white audience; they responded enthusiastically, to be sure, but only to Cooke's tamest persona.

In mid-1963, however, Cooke had done a show at the Harlem Square Club in Miami that had been recorded. Working in front of a black audience and doing his "real" show, he delivered a sweaty, spellbinding performance built on the same elements found in his singles and his best album tracks, combining achingly beautiful melodies and gritty soul sensibilities. The two live albums sum up the split in Cooke's career and the sheer range of his talent, the rewards of which he'd finally begun to realize more fully in 1963 and 1964.

The drowning death of his infant son in mid-1963 had made it impossible for Cooke to work in the studio until the end of that year. During that time, however, with Allen Klein now managing his business affairs, Cooke did achieve the financial and creative independence that he'd wanted, including more money than any black performer had ever been advanced before, and the eventual ownership of his recordings beginning in November of 1963 -- he had achieved creative control of his recordings as well, and seemed poised for a breakthrough. It came when he resumed making records, amid the musical ferment of the early '60s. Cooke was keenly aware of the music around him, and was particularly entranced by Bob Dylan's song "Blowin' in the Wind," its treatment of the plight of black Americans and other politically oppressed minorities, and its success in the hands of Peter, Paul & Mary -- all of these factors convinced him that the time was right for songs that dealt with more than twisting the night away.
The result was "A Change Is Gonna Come," perhaps the greatest song to come out of the civil rights struggle, and one that seemed to close and seal the gap between the two directions of Cooke's career, from gospel to pop. Arguably his greatest and his most important song, it was an artistic apotheosis forCooke. During this same period, he had also devised a newer, more advanced dance-oriented soul sound in the form of the song "Shake." These two recordings heralded a new era for Cooke and a new phase of his career, with seemingly the whole world open to him.
None of it was to be. Early in the day on December 11, 1964, while in Los Angeles, Cooke became involved in an altercation at a seedy motel, with a woman guest and the night manager, and was shot to death while allegedly trying to attack the manager. The case is still shrouded in doubt and mystery, and was never investigated the way the murder of a star of his stature would be today. Cooke's death shocked the black community and reverberated far beyond -- his single "Shake" was a posthumous Top Ten hit, as were "A Change Is Gonna Come" and theAt the Copa album, released in 1965. Otis Redding, Al Green, andSolomon Burke, among others, picked up key parts of Cooke's repertory, as did white performers, including the Animals and the Rolling Stones. Even the Supremesrecorded a memorial album of his songs, which is now one of the most sought-after of their original recordings, in either LP or CD form.
His reputation survived, at least among those who were smart enough to look behind the songs -- to hear Redding's performance of "Shake" at the Monterey Pop Festival, for example, and see where it came from.Cooke's own records were a little tougher to appreciate, however. Listeners who heard those first two, rather poor RCA albums, Hits of the Fifties and Cooke's Tour, could only wonder what the big deal was about, and several of the albums that followed were uneven enough to give potential fans pause. Meanwhile, the contractual situation surrounding Cooke's recordings greatly complicated the reissue of his work -- Cooke's business manager, Allen Klein, exerted a good deal of control, especially over the songs cut during that last year of the singer's life. By the 1970s, there were some fairly poor, mostly budget-priced compilations available, consisting of the hits up through early 1963, and for a time there was even a television compilation out there, but that was it. The movie National Lampoon's Animal House made use of a pair of Cooke songs, "(What A) Wonderful World" and "Twistin' the Night Away," which greatly raised his profile among college students and younger baby-boomers, and Southside Johnny & the Asbury Jukes made almost a mini-career out of reviving Cooke's songs (most notably "Having a Party," and even part of "A Change Is Gonna Come") in concert. In 1986,The Man and His Music went some way to correcting the absence of all but the early hits in a career-spanning compilation, but since the mid-'90s, Cooke's final year's worth of releases have been separated from the earlier RCA and Keen material, and is in the hands of Klein's ABKCO label. Finally, in the late '90s and beyond, RCA, ABKCO, and even Specialty (which still owns Cooke's gospel sides with the Soul Stirrers) each issued comprehensive collections of their portions of Cooke's catalog.

Club Penguin

A onda da molecada pré adolescente e cair na rede através do Club Penguin.
Segue o link ao lado => (www.clubpenguin.com/)

Dê volta mais uma vez ao Caleidoscópio. Às vezes me pergunto:_Porque tenho um blog? Deve ser pelo mesmos motivos que os navegadores do século XIV - XV -XVI tinham de sair mar aberto rumo ao desconhecido "...por favor eu estou aqui e posso fazer isso vocês estão vendo...!?" No mundinho pós moderno que habitamos ficar conectado e tão essencial quanto uma garrafa d'água para o andarilho sedento no árido deserto. Na Terça passada o programa ronca ronca retornou a OI FM, agora só na Web com direito a podcast no dia seguinte. Segue o link abaixo do podcast, e só clicar e ouvir, "Simples Assim": (http://oifm.oi.com.br/2012/12/confira-a-estreia-do-ronca-ronca-na-oi-fm/?c=Games) Nessa época onde pipocam várias listas com os melhores do ano não temos uma unanimidade no primeiro posto, entretanto há um cidadão que aparece em 5 listas diferentes ocupando as 3 primeiras posições e é o número 1 segundo a Mojo Magazine, estou falando de Jack White, com o álbum 4 estrelas, segundo o conceituado site AMG, intitulado "Blunderbuss". Confesso que ainda não ouvi o álbum, porém devo fazê-lo antes do "derradeiro" dia 21/12/2012, esta data parece aquela coisa esquizofrênica de Donnie Darko. Vale conferir as tais listas nas fontes (NME, Mojo, Uncut, Rolling Stones, Q Magazine, Blitz...). Conheço bem a capital de Goiás dos anos 80, mais precisamente entre os anos de 1985 - 1987, ano que o The Jesus and Mary Chain frequentava o meu Walkman ostensivamente, anos que descobrir os discos de vinil dos Mutantes lançados pelo selo Baratos Afins, enfim, uma loja de discos central perdida nas minhas memórias do século passado. Porque penso sobre tudo isso agora? BLACK DRAWING CHALKS - NO DUST STUCK ON YOU, que é um dos melhores álbuns lançados em 2012, não vivo bem sem as guitarras. No apagar das luzes de 2012, não poderia deixar de citar 2 puta álbuns: Abraçaço/Caetano Veloso e Tempest/Bob Dylan. Fui...

De volta às postagens depois de um longo período hibernando. Estava ausente desde o primeiro dia deste ano que está passando mais rápido que corrida de motovelocidade. Hoje é uma data muito especial para mim. Estou completando 48 primaveras nesse planetinha que é apenas uma frágil poeira cósmica na imensidão do universo. Geralmente é um dia que costumo ficar deprimido....não sei por quais motivos nem nunca pensei em ir consultr o analista por causa disso. Comecei o dia deixando o meu rebento na escola e partimos eu e a Rosana para o centro da cidade. Rio de janeiro. Depois de duas horas e meia de engarrafamento finamente chegamos. Nada havia sido planejado. Deixamos o carro no estacionamento e caminhamos pelas ruas do Saara rumo à Confeitaria Colombo para o breakfast com pães, torradas, mel, queijo, presunto, mamão, abacaxi e café. Papo vai papo vem, barrigas cheias saímos e caminhamos até a Praça Olavo Bilac, junto ao Mercado da Flores, chegamos à Tropicalha Disco e de lá sai com três espetaculares pepitas sonora. Nada de Michael Telo's da vida & cia. As pepitas são Thin Lizzy - 'Live and Dangerous'/Vinil Edição Japonesa, Grahan Nash - 'Songs For Beginners'/Vinil Nacional e David Crosby - 'If I Could Remember My Name'/Vinil Nacional. Afinal 'Music Is Love. À tarde buscamos o Fabrício na escola e fomos a lanchonete com um pit stop na banca de jornal para comprar figurinhas do Pokemom, afinal o rebento tem apenas 8 e não 48 anos como o pai. Mas um dia ele chegará aos 48 anos, talvez ele ainda queira ouvir Thin Lizzy, Grahan Nash ou David Croby como o pai, quem sabe....? Ainda faltava algo para tornar o dia perfeito falar com o meu velho pai que já teve 8, 48, mas que tem 85 anos. Dentro da sabedoria de suas palavras ouvir que o "tempo passa muito rápido e quando pensamos em fazer alguma coisa o tempo já passou..." Agradeço por mais um ano de vida, por ver meu filho brincando com cartas de Pokemon e pensando nos amigos da escola, pela minha esposa Rosana, pela minha mãe que me colocou no mundo as 6:30 am de uma manhã de 1964 e pela existência do meus pais que me deram o melhor presente do dia: as suas existências.

2012 Chegando...

Que Venha 2012

Feliz Natal
(John Lennon)

Então é Natal
E o que você tem feito?
Um outro ano se foi
E um novo apenas começa
E então é Natal
Espero que tenhas alegria
O próximo e querido
O velho e o Jovem

Um alegre Natal
E um feliz ano novo
Vamos esperar que seja um bom ano
Sem sofrimento

E então é Natal
Para o fraco e para o forte
Para o rico e para o pobre
O mundo é tão errado
E então feliz Natal
Para o negro e para o branco
Para o amarelo e para o vermelho
Vamos parar com todas as lutas

Um alegre Natal
E um feliz ano Novo
Vamos esperar que seja um bom ano
Sem sofrimento

E então é Natal
E o que você fez?
Um outro ano se foi
E um novo apenas começa
E então feliz Natal
Esperamos que tenhas alegria
O próximo e querido
E velho e o Jovem

Um alegre Natal
E um feliz ano novo
Vamos esperar que seja um bom ano
Sem sofrimento
A guerra acabou, se você quiser
A guerra acabou agora.

Esta mensagem é universal não importa a época

Feliz 2012 a todos
É sempre tempo de renovar e de viver em paz...

Sonic Youth

A cada nova audição dos discos do Sonic Youth sejam os lançados nos 80, 90 ou 2000 é sempre uma viagem sonora muito prazerosa. Curto bastante o álbum Murray St de 2002 principalmente a intrumental faixa 3 intitulada Rain On Tin com seus 7:57 min de duração emoldurada pelas guitarras de Lee Ronaldo, Thurston Moore e Jim O'Rourke uma verdadeira obra prima sônica.
Vejam o vídeo



Também curto muito a faixa 2 Disconnection Notice.

Did you get yr disconnection notice?

Mine came in the mail today

They seem to think I'm disconnected

Don't think I know what to read or write or say

Glossaries injected daily

Words + numbers spell out the price to pay

It simply states, "yr disconnected, baby"

See how easily it all slips away.

Vejam o vídeo:



Outra faixa desse grande álbum é The Empty Page que abre o disco.

Vejam o vídeo:



Enfim quis registra aqui a minha admiração pelo Sonic Youth que tive o prazer de assistir aqui no Rio de Janiro em 2005.

Sequência ronca ronca

Sid Barrett

Rocky Erickson

Gil Scott Heron

Papa John Creach

Mais uma vez ronca ronca

Qual programa de rádio no Brasil você ouve numa mesma sequência Papa John Creash, Gil Scott Heron, Sid Barrett, Rocky Erickson e Nina Simone?
Se vocêu respondeu Ronca Ronca, a resposta está correta.

Ronca Ronca

Um dos melhores programa de rádio em todo o mundo a quase 30 anos. Então, só me resta desejar, vida longa ao ronca ronca.

Bom Domingo a Todos os Visitantes

Tangled Up In Blue

Early one morning the sun was shining.
I was laying in bed
Wondering if she'd changed it all.
If her hair was still red.
Her folks, they said, our lives together
Sure was gonna be rough.
They never did like Mama's homemade dress.
Papa's bankbook wasn't big enough
And I was standing on the side of the road,
Rain falling on my shoes,
Heading out for the east coast.
Lord knows I've paid some dues getting through,
Tangled up in blue.

She was married when we first met.
Soon to be divorced.
I helped her out of a jam, I guess,
But I used a little too much force.
We drove that car as far as we could;
Abandoned it out west.
Split it up on a dark sad night;
Both agreeing it was best.
She turned around to look at me
As I was walking away.
I heard her say over my shoulder
"We'll meet again someday on the avenue."
Tangled up in blue.

I had a job in the great north woods
Working as a cook for a spell,
But I never did like it all that much
And one day the axe just fell.
So I drifted down to New Orleans
Where I happened to be employed
Working for a while on a fishing boat
Right outside of Delacroix,
But all the while I was alone.
The past was close behind.
I seen a lot of women,
But she never escaped my mind and I just grew
Tangled up in blue.

She was working in a topless place
And I stopped in for a beer.
I just kept looking at the side of her face
In the spotlight so clear
And later on as the crowd thinned out
I's just about to do the same,
She was standing there in back of my chair.
Said to me "Don't I know your name?"
I muttered something underneath my breath.
She studied the lines on my face.
I must admit I felt a little uneasy
When she bent down to tie the laces of my shoe.
Tangled up in blue.

She lit a burner on the stove and offered me a pipe.
"I thought you'd never say hello," she said,
"You look like the silent type."
Then she opened up a book of poems
And handed it to me.
Written by an Italian poet
From the thirteenth century
And every one of them words rang true
And glowed like burning coal
Pouring off of every page
Like it was written in my soul from me to you
Tangled up in blue.

I lived with them on Montague Street
In a basement down the stairs.
There was music in the cafe's at night
And revolution in the air.
Then he started into dealing with slaves
And something inside of him died.
She had to sell everything she owned
And froze up inside
And when finally the bottom fell out,
I became withdrawn.
The only thing I knew how to do
Was to keep on keeping on like a bird that flew
Tangled up in blue.

As pessoas não mudam eleas apenas envelhecem.
Todo homem ao nascer torna-se um acorrentado.
Aonde quer que se vá, às lembranças da dor sempre o acompanharão.
Dos muito encontros e desencontros da vida perdas irreparáveis nos confundem na estrada.
A dor da solidão será a única companhia nas noites frias e chuvosas.

Hoje só me resta beber uma taça de vinho, ouvir Blood on the Tracks e assistir La Strada.