** THIS IS SERIOUSLY DELICIOUS **: février 2011

vendredi 25 février 2011

CAN'T JUDGE A BOOK BY LOOKIN'AT ITS COVER

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Can't judge a book (sir Bo Diddley)
You can't judge an apple by looking at a tree
You can't judge honey by looking at the bee
You can't judge a daughter by looking at the mother
You can't judge a book by looking at the cover
Oh can't you see, oh you misjudge me
I look like a farmer, but I'm a lover
You can't judge a book by looking at the cover
Oh come on in closer baby,
hear what else I gotta say!
You got your radio turned down too low Turn it up!
You can't judge sugar by looking at the cane
You can't judge a woman by looking at her man
You can't judge a sister by looking at her brother
You can't judge a book by looking at the cover
Oh can't you see, oh you misjudge me
I look like a farmer, but I'm a Lover
You can't judge a book by looking at the cover
You can't judge a fish by lookin' in the pond
You can't judge right from looking at the wrong
You can't judge one by looking at the other
You can't judge a book by looking at the cover
Oh can't you see, oh you misjudge me
I look like a farmer, but I'm a lover
You can't judge a book by looking at the cover

jeudi 24 février 2011

I'M EVERY WOMAN

I'm every woman (mrs Chaka Khan)
With secrets you can't tell
Mix a special brew
Put fire inside of you
But anytime you feel, danger or fear
Instantly I will appear, 'cause

I'm every woman, it's all in me
Anything you want done, baby
I'll do it naturally
I'm every woman, it's all in me
I can read your thoughts right now
Every one from A to Z

I can sense your needs, like rain on to the seeds
I can make a rhyme of confusion in your mind
And when it comes down to some good old fashioned love
That's what I've got plenty of, 'cause

I'm every woman, it's all in me
Anything you want done, baby
I'll do it naturally
I'm every woman, it's all in me
I can read your thoughts right now
Every one from A to Z

I ain't braggin' 'cause I'm the one
You just ask me ooh and it shall be done
And don't bother to compare
'Cause I've got it
I've got it, I've got it, yeah

mardi 22 février 2011

WORK...

Let's work together (Canned Heat)
Together we'll stand Divided we'll fall
Come on now people Let's get on the ball
And work together Come on, come on Let's work together
Because together we will stand
Every boy, every girl and man
People, when things go wrong
As they sometimes will
And the road you travel It stays all uphill
Let's work together Come on, come on Let's work together
You know together we will stand
Every boy, girl, woman and man
Oh well now, two or three minutes
Two or three hours What does it matter now
In this life of ours
Let's work together Come on, come on Let's work together
Because together we will stand
Every boy, every woman and man
Ahhh, come on now...Ahhh, come on, let's work together...
Well now, make someone happy
Make someone smile
Let's all work together And make life worthwhile
Let's work together Come on, come on Let's work together
Because together we will stand
Every boy, girl, woman and man
Oh well now, come on you people Walk hand in hand
Let's make this world of ours A good place to stand
And work together Come on, come on Let's work together
Because together we will stand
Every boy, girl, woman and man
Well now together we will stand
Every boy, girl, woman and man

samedi 12 février 2011

MEN

What a man (Salt'n'Pepa)
What a man, what a man, what a man What a mighty good man
I wanna take a minute or two, and give much respect due
To the man that's made a difference in my world
And although most men are ho's he flows on the down low
Cuz I never heard about him with another girl
But I don't sweat it because it's just pathetic
To let it get me involved in that he said/she said crowd
I know that ain't nobody perfect, I give props to those
who deserve it And believe me y'all, he's worth it
So here's to the future cuz we got through the past
I finally found somebody that can make me laugh
You so crazy I think I wanna have your baby
My man is smooth like Barry, and his voice got bass
A body like Arnold with a Denzel face
He's smart like a doctor with a real good rep
And when he comes home he's relaxed with Pep
He always got a gift for me everytime I see him
A lot of snot-nosed ex-flames couldn't be him
He never ran a corny line once to me yet
So I give him stuff that he'll never forget
He keeps me on Cloud Nine just like the Temps
He's not a fake wannabe tryin' to be a pimz
He dresses like a dapper don, but even in jeans
He's a God-sent original, the man of my dreams
Yes, my man says he loves me, never says he loves me not
Tryin' to rush me good and touch me in the right spot
See other guys that I've had, they tried to play all that mac shit
But every time they tried I said, "That's not it"
But not this man, he's got the right potion
Baby, rub it down and make it smooth like lotion
Yeah, the ritual, highway to heaven
From seven to seven he's got me open like Seven Eleven
And yes, it's me that he's always choosin'
With him I'm never losin',
and he knows that my name is not Susan
He always has heavy conversation for the mind
Which means a lot to me cuz good men are hard to find
My man gives real loving that's why I call him Killer
He's not a wham-bam- thank-you-ma'am, he's a thriller
He takes his time and does everything right
Knocks me out with one shot for the rest of the night
He's a real smooth brother, never in a rush
And he gives me goose pimples with every single touch
Spends quality time with his kids when he can
Secure in his manhood cuz he's a real man
A lover and a fighter and he'll knock a knucker out
Don't take him for a sucker cuz that's not what he's about
Every time I need him, he always got my back
Never disrespectful cuz his mama taught him that

vendredi 4 février 2011

WALL&DECO

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°Cowgirl in the sand°

Hello cowgirl in the sand, Is this place at your command
Can I stay here for a while
Can I see your sweet sweet smile
Old enough now to change your name
When so many love you is it the same?
It's the woman in you that makes you want
to play this game.
Hello ruby in the dust Has your band begun to rust
After all the sin we've had
I was hopin' that we'd turn back
Old enough now to change your name
When so many love you is it the same
It's the woman in you that makes you want
to play this game.
Hello woman of my dreams
This is not the way it seems
Purple words on a grey background
To be a woman and to be turned down
Old enough now to change your name
When so many love you is it the same
It's the woman in you that makes you want
to play this game.
(mr neil young)

°Dance me to the end of love°

Dance me to your beauty with a burning violin
Dance me through the panic 'til I'm gathered safely in
Lift me like an olive branch and be my homeward dove
Dance me to the end of love
Dance me to the end of love
Oh let me see your beauty when the witnesses are gone
Let me feel you moving like they do in Babylon
Show me slowly what I only know the limits of
Dance me to the end of love
Dance me to the end of love
Dance me to the wedding now, dance me on and on
Dance me very tenderly and dance me very long
We're both of us beneath our love, we're both of us above
Dance me to the end of love
Dance me to the end of love
Dance me to the children who are asking to be born
Dance me through the curtains that our kisses have outworn
Raise a tent of shelter now, though every thread is torn
Dance me to the end of love
Dance me to your beauty with a burning violin
Dance me through the panic till I'm gathered safely in
Touch me with your naked hand or touch me with your glove
Dance me to the end of love
(sir leonard cohen)

Les enfants terribles, roman de Jean Cocteau (1889-1963), roman provocateur et cruel, il respire aussi la poésie et la sensibilité. Il traite de l’adolescence et présente plusieurs thèmes appartenant à la mythologie personnelle de Cocteau.. Il existe une adaptation cinématographique de l’œuvre réalisée par Jean-Pierre Melville en 1950. Les dialogues ont été écrits par Cocteau. Ce dernier a également choisi la musique : le concerto pour piano en la mineur de Jean-Sébastien Bach.

Cocteau a écrit son livre en moins d’un mois alors qu’il était en convalescence à la clinique de Saint-Cloud pour cause de désintoxication. En effet, touché par la mort de Raymond Radiguet, il se serait consolé dans l’opium.

Une journée à Londres, dans les beaux quartiers. Les destins convergents de quelques âmes errantes. Un roman étrange.
Tôt le matin, tard le soir, Clarissa Dalloway se surprend à écouter le clocher de Big Ben. Entre les deux carillons, une journée de printemps, une promenade dans la ville, le flux des états d'âme et le long monologue d'une conscience. Clarissa tente " de sauver cette partie de la vie, la seule précieuse, ce centre, ce ravissement, que les hommes laissent échapper, cette joie prodigieuse qui pourrait être nôtre ". Et pourtant résonne déjà dans ce livre, le plus transparent peut-être de l'œuvre de Virginia Woolf, comme la fêlure de l'angoisse ou le vertige du suicide.

Il est toujours intimidant d'approcher les monuments littéraires, ces "livres culte" héritiers d'une génération, d'une époque mythique : la "Beat generation" comme elle s'est baptisée. En d'autres termes la littérature américaine des années 50/60, contestataire, immorale et souvent hallucinogène, dont Hubert Selby Jr fut l'une des grandes voix, plébiscité aussi bien par Burgess et Beckett que par Lou Reed ou David Bowie... Tour à tour encensé, haï, censuré par les tribunaux britanniques puis marginalisé de son fait (il a vécu la fin de sa vie seul et quasiment anonyme à Los Angeles), il est une référence incontournable de nombreux jeunes auteurs actuels. Ecrit en 7 ans, Last Exit to Brooklyn paru en 1964, est un premier roman sorti du "bas-ventre de New York", "un boulet de charbon rougeoyant arraché à l'enfer de l'âme humaine" qui lui a valu, dès sa sortie d'être comparé à Céline. Dans ce recueil de six nouvelles, Selby raconte non pas le rêve américain rose et clinquant mais la réalité des quartiers sordides où les déshérités tentent de trouver une issue de secours, une "exit", à l'impasse de leur vie.

Façon Jules et Jim, voici l'histoire d'une fantastique virée glauque à travers l'Amérique des années 60. Ils sont trois dans une voiture pour aller exécuter un plan conçu sous l'emprise de l'alcool. On trouve d'abord « il » ou « je » ou plus simplement Jim Harrison qui est le narrateur, poète perdu dans ses rêveries béates et son amour de la pêche ; puis Tim, le grand balafré revenu du Viêt-nam, rongé par les drogues et abruti de violence ; enfin Sylvia, la compagne de Tim. Convaincus du bien-fondé de leur « mission », ils se mettent en route vers le Grand Canyon pour faire sauter un barrage qui, selon eux, nuit à la reproduction des truites. La voiture regorge d'alcool, de munitions, de drogue et de dynamite. Le résultat dépassera en horreur tout ce qu'ils pouvaient imaginer…

A collection of writings on rock and roll, youth culture of the 1960s and 1970s, the formation of the White Panthers and a myriad of other rants and reviews, this book is a freakin' manifesto of the times. Naturally, some of it is dated in terms of context and the language overblown at times, but the discussions of the potential of culture to change people's thinking and the corporate world's understanding of that still ring true. Any modern rock or hiphop artist who really believes in the power of music to change the world should read this book. And, even more importantly, they should heed this book! So should those who listen and dance.

C’est une histoire simple, lente, presque statique. Celle de Lin, femme ordinaire ou presque, mère de famille, amie fidèle, et danseuse de renom. Une femme comme les autres dont la vie semble aller pour le mieux : l’amour, le bonheur familial, l’aisance matérielle. Un mari qui l’aime et la désire – et inversement. Bref le verni parfait de la famille idéale, qui pourtant craque lentement au fil des pages. Tout semble aller à la perfection et pourtant rien ne va, ou alors de travers. Pourquoi ? L’expression chaotique d’une solitude indicible, la création progressive d’une vie parallèle (famille d’un côté, métier-passion de l’autre). Nancy Huston décrit des gestes. Glisse du sens là où il ne devrait pas y en avoir. Crée le décalage.

This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation—from the basics of "How to Draw a Line" to the complexities of color theory—provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum.

Je viens de finir un roman de Hemingway:
"Le soleil se lève aussi"...

Il raconte l'histoire d'un Américain, Jake Barnes, vivant en France car travaillant à Paris en tant que journaliste. Entre un amour inabouti et une amitié plus que pesante, Jake est un héros discret et émouvant. Le roman dresse un beau portrait du Paris des écrivains de l'entre-deux-guerres ainsi que des fameuses fêtes de San Fermin à Pampelune où une majeure partie de l'action se joue. Cette nouvelle a rendu Hemingway célèbre, elle a inspiré de nombreuses jeunes femmes à travers les Etats-Unis à porter les cheuveux courts et des pulls, comme Brette Ashley - et de se comporter comme Brette.

"J'ai 34 ans, tu sais. Je ne veux pas être une de ces garces qui débauchent les enfants." (...)

"City of Quartz - Los Angeles, capitale du futur" by Mike Davis
Rythmé par un va-et-vient permanent entre culture et société, entre réel et imaginaire, entre passé et présent, City of Quartz explore le destin de Los Angeles à travers son urbanisme et son architecture, ses élites politiques et économiques, ses intellectuels et ses artistes, sa police et sa multiethnicité.
Pétrie de mythes hollywoodiens et de contradictions écologiques et sociales, la mégapole L.A. y est décrite comme le prisme grossissant permettant de saisir certaines tendances lourdes de la société américaine privatisation grandissante des espaces publics, séparatisme fiscal et résidentiel des possédants, polarisation sociale et économie de la drogue, développement des dispositifs de sécurité et de surveillance.
Paradigme de l'Extrême-Occident, Los Angeles nous parle aussi des virtualités de notre avenir social et urbain. Le livre de Mike Davis est désormais un classique de la sociologie urbaine.

After à fortnight Anthony and Gloria began to indulge in "practical discussions", as they called those sessions when under the guise of sever realism they walked in an eternal moonlight.
"Not as much as I do you," the critic fo belles-lettres would insist. "If you really loved me you'd want every one to know it."
"I do," she protested, "I want to stand on the street corner like a sandwich man, informing all the passers-by."
"Then tell me all the reasons why you're going to marry me in June."
"Well, because you're so clean. You're sort of blowy clean, like I am. There's two sorts, you know. One's like Dick: he's clean like polished pans. You and I are clean like streams and winds. I can tell whenever i see a person whether he is clean, and if so, which kind of clean he is."

Got it?
(The beautiful and damned, F. Scott Fitzgerald)