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Lou Reed The Day John Kennedy Died

I dreamed I was the president of these United States I dreamed I replaced ignorance, stupidity and hate I dreamed the perfect union and a perfect law, undenied And most of all I dreamed I forgot the day John Kennedy died I dreamed that I could do the job that others hadn't done I dreamed that I was uncorrupt and fair to everyone I dreamed I wasn't gross or base, a criminal on the take And most of all I dreamed I forgot the day John Kennedy died Oh, the day John Kennedy died Oh, the day John Kennedy died I remember where I was that day, I was upstate in a bar The team from the university was playing football on TV Then the screen went dead and the announcer said, "There's been a tragedy There's are unconfirmed reports the president's been shot and he may be dead or dying." Talking stopped, someone shouted, "What!?" I ran out to the street People were gathered everywhere saying, did you hear what they said on TV And then a guy in a Porsche with his radio hit his horn and told us the news He said, "The president's dead, he was shot twice in the head in Dallas, and they don't know by whom." I dreamed I was the president of these United States I dreamed I was young and smart and it was not a waste I dreamed that there was a point to life and to the human race I dreamed that I could somehow comprehend that someone shot him in the face Oh, the day John Kennedy died Oh, the day John Kennedy died Oh, the day John Kennedy died Oh, the day John Kennedy died

ker·nel (kûrnl) n. 1. A grain or seed, as of a cereal grass, enclosed in a husk. 2. The inner, usually edible seed of a nut or fruit stone. 3. The most material and central part; the core: "that hard kernel of gaiety that never breaks" Evelyn Waugh.

We present the poetry of Dylan Thomas, read by the author. Thomas often wrote for the sound of words as much as for their meaning, and hearing his rich voice and dramatic style lends a new sense to his verse. The New York Times called Thomas "both a maker and speaker of poetry," and this reading demonstrates the poet's unique manipulation of language and metaphor. Thomas was known for his stormy private life and alcoholism, and died in 1953 at the age of 39. Dylan Thomas, Part 1 .au format (4.8 Mb), .gsm format (1 Mb), .ra format (0.6 Mb). This selection includes "No Sun Shines," "The Hand that Signed the Paper," "Should Lanterns Shine," the song-like "And Death Shall Have No Dominion," and the first verse of "Altarwise by Owl Light." [audio]Dylan Thomas, Part 2 .au format (5 Mb), .gsm format (1 Mb), .ra format (0.6 Mb). Selections include the meditative "Poem in October," "This Side of the Truth," "Love in the Asylum," and "The Hunchback in the Park." [audio]Dylan Thomas, Part 3 .au format (4.7 Mb), .gsm format (1 Mb), .ra format (0.6 Mb). This selection includes some of his best-known works, including "Do Not Go Gentle Into That Good Night," which meditates on the need to maintain activity into old age, "On the Marriage of a Virgin," "In My Craft or Sullen Art," which discusses his own creativity, and "Ceremony After a Fire Raid."

DylanThomas, 29 July 2006 10/10 Author: tadziofilippini from Brazil The key to understand this great movie is the poem by Dylan Thomas: "in my craft or sullen art" "In my craft or sullen art Exercised in the still night When only the moon rages And the lovers lie abed With all their griefs in their arms I labour by singing light Not for ambition or bread Or the strut and trade of charms On the ivory stages But for the common wages Of their most secret heart. Not for the proud man apart From the raging moon I write On these spindrift pages Nor for the towering dead With their nightingales and psalms But for the lovers, their arms Round the griefs of the ages, Who pay no praise or wages Nor heed my craft or art." Two works of art:the film and the poem tadzio filippini

OLGA Texto de Alessandra Cavagna, concebido numa estética expressionista, onde passado, presente e futuro se alternam em total desprendimento cronológico, como a memória que se fragmenta sem linearidade. O cenário que representa um tabuleiro de xadrez serve também de cela para Olga. Trata-se de um texto biográfico que mostra os últimos instantes de vida de Olga Benário, mulher que desde tenra idade lutou contra a opressão e as diferenças sociais. Confinada numa cela solitária, tendo como única companhia a sua própria memória, único ponto de conflito, única possibilidade de diálogo, discussão, reflexão e debate. Ela que sempre foi de grupo, se vê agora perante ela mesma. Olga divide-se em duas: aquela da realidade, presa num campo de concentração, momentos antes de sua execução, e aquela da memória, espécie de alter-ego, fruto de suas recordações e alucinações. Memória e Realidade fundem-se e desprende-se colocando as duas “Olgas” diante uma da outra. Corporalmente, buscaram-se aproximações às propostas de Pina Bausch, misturando verossimilhança a sentimentos e emoções viscerais. O cenário é uma cela solitária do campo de concentração nazista representada por um tabuleiro de xadrez. de Alessandra Cavagna direção de Geraldo Fernandes com Alessandra Cavagna e Silvana Lins