Premiação boa é aquela que tem “mico”. Sendo assim, o American Music Awards ganha seu lugar ao sol.

A vítima da vez? Jennifer Lopez, que tomou um tombinho durante a sua apresentação no último domingo, dia 22.

Confira:

Nur jetzt und bei Jenifer bekommst du den geilen Webcam Sex kick. Alles was du bis heute im Sexcams Chat erlebt hast ist echt harmlos gewesen. Probiere es auch mal aus mit Jenifer und du wirst sofort merken, dass ich hier nur die Wahrheit schreibe. Jenifer mag es genau wie du dir vorstellt, erst schön zart und unschuldig, aber wenn sie dann bei ihre Sexcam abdreht, dann gibt es keine brems und kein Zurück mehr. Sexcam Chat Show vom feinsten, was die junge Frau bietet. Sie hat eben richtig Power in ihren Titten und in ihre Möse. Sie ist jung, Sexy und willig, alle versaute Dinger auszuprobieren, melde dich und erlebe mit Sexy Jenifer ein geiles erotisches Abenteuer

Sorry i have been lazy and slow, but great to see others are still posting.  I am still excited to be part of this.

Thursday evening by Jenifer R Thompson

Which is better five legs or three?

One never sees a five-legged stool

but I digress.

Oh frogs–

You amphibious, webbed hallucinogens, spear-tipped death harbinger.

You multicolored, multicultural, fly-catching non-arachnid.

Not furry, not cuddly, yet picturous and somehow inspiring in

your slimy, bug-eyed Buddha guise.

Queen Elizabeth never kissed you for good fortune, but somewhere,

sometime, a princess did and your legend lives.

Jim Henderson never doubted his Kermit

although not respected, his non-humanness taught

it’s not easy being green

or edible

or comic

or prone to mutations.

Frogs, are you prone?

Or is it human interference?

Like Jonathan Slack with his headless tadpole and stem cell research.

Oh and the chemicals: atrazine, clopyralid, paraquat, methyl isocyanate, daminozide, dichloro-diphenyl-trichloroethane

making too many legs, not enough eggs.

Pesticides, Herbicides, Fungicides,

Rodenticides, Molluscicides, Nematicides,

Generic Genocides

You are disappearing.

You are not toads.

Somewhere over a rainbow

during a rainbow connection

I wish you a wing mutation.

Somewhere over London or Paris or the Andes

Somewhere beyond my house, underground, through the ceiling,

May you be the anti-Beezlebufo and rise above all this.

J’attends l’amour…

Motto:

* Nu merită să plângi pentru nimeni, iar cel care merită nu te va face să plângi.  *   ( Gabriel Garcia Marguez )

Jenifer – J’attends l’amour :

* Ziua de mâine nu-i este asigurată nimănui, tânăr sau bătrân. Azi poate să fie ultima zi când îi vezi pe cei pe care-i iubeşti. De aceea, nu mai aştepta, fă-o azi, întrucât, dacă ziua de mâine nu va ajunge niciodată, în mod sigur vei regreta ziua când nu ţi-ai făcut timp pentru un surâs, o îmbrăţişare, un sărut, şi că ai fost prea ocupat ca să le conferi o ultimă dorinţă. Să-i menţii pe cei pe care-i iubeşti aproape de tine, spune-le la ureche cât de multă nevoie ai de ei, iubeşte-i şi tratează-i bine, ia-ţi timp să le spui “îmi pare rău”, “iartă-mă”, “te rog” şi toate cuvintele de dragoste pe care le ştii.  *   ( Gabriel Garcia Marquez )

J’attends l’amour…

s-a-ntâmplat să-mi frângă toamnele surâs…

făcut-am arc  frunze nebune peste plâns,

n-am râs…

au fulgerat tăcerile-mi şi taine, ploilor…

lăsat-am vânt să şuşotească munţilor,

poate,de dor…

şi multe- au curs şi alte toamne vor urma…

aştept una anume, şti-va simplu să-mi redea,

Seninul, şi, o sta…

Sibilla

Beethoven Virus – Diana Boncheva (original player) :

*  Nimeni nu-şi va aduce aminte de tine pentru gândurile tale secrete. Cere-i Domnului tăria şi înţelepciunea pentru a le exprima.  *   ( Gabriel Garcia Marquez )

* Au împietrit toanele, colţii vorbelor ce mi-au muşcat zâmbet…  Ca să nu uit. Şi, curs-au lacrimi nevăzute… dor de curcubeu… Povestea Ciutei, şuşotind iertări, ascult… mă-nfrunt. A fost odată, să nu fie , tu şi eu…  şi, totuşi, fi-va, altădată, cine ştie… tu, sau altul… Numai eu. *   ( Sibilla )

* Detest regretul, mila, umilinţa. Sunt numai Eu. Nu ce vor alţii, ori, ce-ar vrea să fiu, negându-mi conştiinţa, suflet, neputinţa… Sunt, doar o … Ciută, însă sunt, respir şi eu, în Codrul lumii mari ce zămislit-a Dumnezeu. Că nu mă ruşinez că sunt… cum sunt, de n-ai să înţelegi, ce vină să ai tu, ori eu… din toate care sunt să fie învăţăm ceva: să renunţăm la renunţări şi, să sperăm, mereu… iar Devenirea fi-va, cândva, pretutindeni şi mereu… alegem fiecare Drumul său. *   ( Sibilla )

Păstrează-mă, licăr…

tristeţi neştiute, muri-v-or,

departe…

din noapte zvâcnesc, zori de zi

mai departe…

păstrează-mă Licăr, şi iartă-mi

în parte…

neştiinţa de-a fi ce-ţi doreai..

alta-i, poate…

Sibilla

Cândva, voi reuşi să cobor la aşteptările mele, cu siguranţă  se va ivi * cineva * să-se-nalţe surâzând înspre ele…  ( Sibilla )

* A fi împăcat cu tine însuţi este cel mai bun mijloc de a începe să fii împăcat cu ceilalţi. *   ( Luis de Leon )

* Pe cel ce iubeşte ploaia şi o casă bună şi priveşte viaţa împăcat, pe acela îl voi urma prin furtună, şi la focul lui mă voi încălzi neîncetat. *   ( Frances Shaw )

Sibilla

imagini preluate de pe google.ro

citate preluate de pe www.citapedia.ro

muzica – youtube

]]> http://nilscript.wordpress.com/2009/09/22/the-bleacher-series-part-1/ Tue, 22 Sep 2009 05:08:56 +0000 nilscript http://nilscript.wordpress.com/2009/09/22/the-bleacher-series-part-1/

So in my poetry class a few years ago we had to write a poem in someone elses voice, very tricky but fun to do .  I drew my instructor and this is what i wrote.  It captures him quite well and is fun to read out loud.

The Bleacher Speeches Part 1

Homage For Matthew Guenette

By Jenifer R Thompson

In high school I ate Big Macs after basketball,

Now I drink lattes and discuss how Descartes can’t dunk.

I read poetry for fun and for work

and I love this town.

My wife,

who is not the ballerina that memorized a poem

in 24 hours just to know my heart,

plays word games with me;

surreal dreams spoken in the voice of Indiana Jones’s father;

random thoughts written on paper, before transfer to floatation in a virtual world.

Anything is possible.

Have you read Dean Young?

He does not remind me of Bukowski but you on the other hand do,

just that scene in the movie where he drinks not like a fish but like a camel after a long trek through the desert, trudging focused on a mirage that will not be a mirage but an oasis.

Which reminds me of Denise Duhamel expecting the unexpected with a fitting surprise. You may not like me

but I will make you a better poet and when I get the money I will retire into the cosmos where Wallace Stevens, Ezra Pound, and Mr. Frost invent new realities while defeating intentions that trap the soul

in the cliché black hole of inner ear space.

But there is Actual Air and David Berman is there and we are writing ekphrastic poetry about the Dadaist art of ripped up newspapers that only cover Russian football written in Japanese.

The universe is in the particular, someone said, perhaps Jennifer Knox, but actually I said it here and now with my cowboy poet’s weapon of an image, like jackalope seeds and troglodyte cars.

Let the ethereal space of sky through tree branches mark the end of now and then, with the assistance of enjambment I will

render the listener silent

because boys don’t cry.

So this is a short piece i’ve been working on for years; writing dialog is one of my favorite things to do although i haven’t the technical knack. But try, try again…

Talking about the Elephant
Jenifer R Thompson

They sat in the dark bar and chain-smoked Camel Lights trying to forget the summer furnace outside; sweating in front of them despite the air conditioner working overtime were pints of Stella Artois .
“So how come you never told me about this before?”
“I don’t know. It wasn’t the time; I wasn’t ready.”
“So…why are you telling me now?”
“Because it doesn’t matter anymore. I’m tired of hiding the past and sometimes I think it’s funny it happened to me.”
Waiting for the rest, he watched her as she absently brushed an errant hair off her forehead, finally he said,
“I’m glad I didn’t know. I probably would have made things worse.”
She shrugged. The bar was empty; just the two of them and the bartender who sat on a stool farthest from the front door and did a crossword puzzle. The jukebox played Miles Davis’s ‘Autumn Leaves’.
He sighed,
“I can’t believe you stayed with him so long”.
“I was embarrassed, I couldn’t bring myself tell anyone; and where was I going to go if I left? The worst part is I believed him, I believed it wouldn’t happen again…I mean, this was me. That kind of stuff didn’t happen to me.”
She glanced sidelong as he lit them both another cigarette.
“I should have know. I should have guessed what was going on”
She jerked around and looked at him,
“Why would you have?”
He stared at the bar as if mesmerized by the beer sweat rings,
“I just should have known. He was such an arrogant ass”,
“Really? You liked him, at least at first. You played video games, compared notes on cigars, and drank gin as if you both had discovered it. We all had fun together, he wasn’t always bad; just if we drank too much and he felt threatened. He loved me,” she trailed off with another shrug.
“Don’t justify. He doesn’t deserve that.”
She blew smoke rings at her reflection in the back bar mirror,
“Sometimes I miss him, that’s the craziest”
“He didn’t deserve you.”
Tension and unspoken thoughts swirled with the cigarette smoke. The bartender looked up at the sudden silence, asked if they want another; mutual nods brought her quickly to empty the ashtray and refill glasses. She asked what they were up to while the beer flowed and foamed.
“Just two old friends sharing war stories; picking at scars.”
The bartender nodded, took eight dollars from their pile of ones, and returned to her puzzle.
He took a long drink,
“So…anything else I should know?”
She smiled and lightly touched his hand, their first contact all day. He turned in his stool so his leg brushed hers.
“Did I ever tell you about the Tuesday my roommates and I skipped school, called in sick to work and dropped acid?”
“I’d better buy another pack of cigarettes.”

Dario Argento

 

 

Dario Argento (born September 7, 1940) is an Italian film director, producer and screenwriter. He is best known for his work in the horror film genre, particularly in the subgenre known as giallo, and for his influence on modern horror and slasher movies.

Argento was born in Rome, the son of film producer/executive Salvatore Argento and Brazilian-born photographer Elda Luxardo. He started his career in film as a critic, writing for various magazines while still attending high school.

Argento did not attend college, electing rather to take a job as a columnist at the newspaper Paese Sera. While working at the newspaper, Argento also began to work as a screenwriter. His most notable work was for Sergio Leone; he and Bernardo Bertolucci collaborated on the story for the spaghetti western classic Once Upon a Time in the West. Soon after that film’s release in 1969, Argento began work on his directorial debut, The Bird with the Crystal Plumage, which was released in 1970 and was a major hit in Italy. His directing style was influenced by Mario Bava, Riccardo Freda, Sergio Leone, Alfred Hitchcock, Fritz Lang, F.W. Murnau, Walt Disney, Michelangelo Antonioni, Ingmar Bergman, and Federico Fellini.

Early in his directing career, he continued to concentrate largely on the giallo genre (more precisely known as “thriller” in Italy, as the word “giallo”–Italian for yellow– usually refers to generic mystery works). The films, like the lurid yellow-covered murder-mystery novels they were inspired by, followed the suspense tradition of hardboiled American detective fiction while incorporating baroque scenes of violence and excess. Director Mario Bava is credited with inventing the giallo film; Argento’s passion in developing the genre has earned him widespread recognition as the key influence in popularising giallo cinema outside of Italy.

Argento Movie Music!

Argento directed two further successful thrillers, The Cat o’ Nine Tails (1971) and Four Flies on Grey Velvet (1972). Alongside The Bird with the Crystal Plumage, these initial three films are frequently referred to as Argento’s “animal trilogy”. The director then turned his attention away from giallo movies, filming two Italian TV dramas and a period comedy (Five Days in Milan) in 1973 before returning to thrillers with 1975’s Deep Red, frequently cited by many critics as the best giallo ever made. The film made Argento famous internationally, and inspired a number of other directors to work in the genre (John Carpenter has frequently referred to the influence Argento’s early work had on Halloween). It also marked the start of Argento’s long creative relationship with composer Claudio Simonetti and his Italian progressive rock group Goblin which was highly influenced by the mythical cult french band Magma.

In all of Argento’s giallo films, Argento casts himself as the killers’ gloved hands. However, in recent releases, he has stopped this practice.

Argento’s next movie, Suspiria (1977), an extremely violent supernatural thriller, is considered by many fans to be his best work, alongside Deep Red. Freed from the constraints of the more conventional giallo format, Suspiria is a semi-surreal work of art, where plot and character become secondary to sound and vision.

Only $14.00!

Argento planned for Suspiria to be the first of a trilogy about “The Three Mothers”, three ancient witches residing in three different modern cities. The second movie of the trilogy was 1980’s Inferno. The Mother of Tears concludes the trilogy.

In between the two “mothers”, in 1978 Argento collaborated with George Romero on Dawn of the Dead, earning a producer credit on the zombie classic. Argento oversaw the European release of the film (where it was titled Zombi) which was much shorter and featured much more of the score written and performed by Goblin.

After Inferno, Argento returned to more conventional giallo with Tenebrae (1982). He then attempted to combine giallo and supernatural fantasy in Phenomena, also known as Creepers (1985), which was one of Jennifer Connelly’s earliest movies. Phenomena also showed Argento’s predilection for using new technology, with its many prowling Steadicam shots. Both of these movies received a lukewarm reception upon release (although each has been re-appraised retrospectively).

Argento subsequently took a break from directing to write two screenplays for Mario Bava’s son Lamberto Bava, Dèmoni (1985) and Dèmoni 2 (1986).

In the 1990s he collaborated with George A. Romero on an Edgar Allan Poe anthology titled Two Evil Eyes (1990), and tried a mainstream Hollywood production (Trauma of 1993) and a version of Phantom of the Opera (1998).  Argento has continued to innovate. For example, his 1996 The Stendhal Syndrome, in which a policewoman (played by Argento’s daughter, Asia) who suffers from a dramatized version of the illness is trapped by a serial killer in an abandoned warehouse, was the first Italian film to use computer-generated imagery (CGI). Furthermore, the opening of The Stendhal Syndrome was shot in Florence, at Italy’s famed Uffizi Gallery. Argento is the only director ever granted permission to shoot there. The Stendhal Syndrome was distributed in the U.S. by cult B-movie distribution company Troma Entertainment.

Argento DVD Boxset

Many saw 2001’s Sleepless, deliberately designed as a “comeback movie” with its strong giallo theme and numerous references to his earlier work.   However, Argento’s follow-up, 2004’s The Card Player, a giallo about a killer whose murders are conducted during Internet poker matches with the Rome police, earned a mixed reception: some fans appreciated the techno music score composed by ex-Goblin member Claudio Simonetti, but felt the film was too mainstream, with little of Argento’s usual flourish.

2005 saw the TV broadcast of Argento’s Do You Like Hitchcock?, in which the Italian horror-meister paid homage to Alfred Hitchcock after decades of being compared to him by critics. Later that year, he directed a segment of Masters of Horror, a Showtime television series. The story, “Jenifer”, based on an old Eerie comics tale by Bruce Jones, was a departure for Argento, but provided him with some of his best critical notices in several years. Soon afterwards, Argento directed an adaptation of the F. Paul Wilson short story “Pelts” for season 2 of the series.

Argento finished the conclusion of his Three Mothers trilogy, The Mother of Tears. The film premiered at the Toronto International Film Festival on September 6 2007.

The film is set in Rome and centers around the titular third mother, Mater Lachrymarum. Argento and Jace Anderson share writing credits for this movie. A joint effort between the Italian Studio, Medusa, and the American Studio, Myriad Pictures (which made Jeepers Creepers) financed the production of the film.

Argento’s daughter Asia was cast in the lead, along with Daria Nicolodi in a supporting role. Udo Kier, who appeared in Argento’s Suspiria, and Coralina Cataldi-Tassoni, who appeared in three of his previous films, both have pivotal roles in the final Mothers chapter.

On 26 June 2009, Argento’s newest movie Giallo premiered at the Edinburgh Film Festival.  As of July 2009, Argento announced that working on the 3D remake of Profondo Rosso.

Trade Mark:

Closeups of eyes, frequently that of the killer. Main character is usually involved in an “artistic” profession, like writing or music.

All narration in his films is his own voice.

In his movies, whenever a male murderer’s hands only are shown (especially in scenes killing women) Dario Argento uses his own hands.

The closing credits of all his films begin with the caption “You have been watching” followed by the movie’s title.

His protagonists are usually American or English foreigners somewhere in Europe who witness a violent crime at the beginning of the film and proceed to be threatened by and try to foil the villains.

Frequently shoots his films in Turin.

Trivia:

Long-term partner was Daria Nicolodi; they were never married, though this has been reported in several sources.

Father of actresses Asia Argento and Fiore Argento.

His favorite director and a source of inspiration is Ingmar Bergman.

His scripts often contain some kind of strange scientific or medical factoid.

Older brother of Claudio Argento.

Son of Salvatore Argento.

Has a twenty year old black cat named Liebe

In November of 1997 he made a run for political office in Rome.

For the first three of his “giallo” thrillers, his writing collaborator was Bryan Edgar Wallace, the son of British author Edgar Wallace.

He is a strong supporter of the famous Italian soccer team: “Lazio”

Member of the jury at the Berlin International Film Festival in 2001

Discovered actress Coralina Cataldi-Tassoni after seeing her on Italian television. He later cast her in Dèmoni 2: L’incubo ritorna (1986).

Magic Trick by Jenifer R Thompson

So he said, “Hey let me show you a magic trick.”

She nodded and waited.  He picked up his drink took a long swallow, then picked up his coaster, looked closely at it and set it down.  Finally, he picked up his beer and took another long swallow.

“Well?” she said

He looked at her smiling, “that was it.”

“What was it?”

“The magic was you being fascinated by me for one whole minute.”

“That’s not very funny.”

“I wasn’t trying to be.  I would have said, ‘want to see a joke if I were’.”

They sat and watched the bartender polish wine glasses.  He held each up to the light to make sure there were no spots.

“The irony is that this bar is so dark no one would even notice a spot.”

She sighed, “I’m going home”

He took another drink of his beer and waited.  She sighed again and took another sip of her wine.  She was drinking Malbec and had had so many her teeth were turning purple.  Perhaps there was still love between them, but if so it was too far down the crevice between them, they did not notice.

She spun around on her barstool twice, and then wobbled to a stand.

“Where are you going?”

“To the bathroom.  Pay our tab and let’s get out of here.”

He took on big swallow and finished his pint, “Hey Chad, we need to get out of here.”

“What are ya doing?”

“Don’t know, she wants to go home.  What time you done?”

“Depends, 11 or 12, want me to call you?”

“Sure, I’ll probably be up.”

She came back, finished her wine in one drink, grabbed her coat, and walked out, saying “Bye Chad” over her shoulder.

“Nice girl”

“Yeah, whatever.  Call me.”

Aujourd’hui je reçois Boby. (ci-dessous en photo avec Damino)

Malgré une ressemblance assez troublante avec Johnny Depp, Boby ne m’inspirait pas confiance.

Boby, tu as l’air de souffrir.

_ Bonjour Docteur. J’ai mal au ventre.

_ Et… c’est tout?

_ Oui.

Je procédais à un examen approfondi de la zone péri-ombilicale qui ne révélait rien. Je flairais l’arnaque. Pour la peine je décidais de lui faire un petit touché rectal, avec mon doigt le plus grand : mon majeur. Cet affabulateur allait le sentir passer…

Il sauta au plafond puis se mit à pleurer.

Boby! Je ne vois rien d’anormal. Qu’est-ce qui se passe mon bonhomme?

_ Docteur, je crois bien que je n’ai pas de problème.

_ Comment ça?

_ J’ai rien! Je voulais juste qu’on s’occupe de moi.

_ Mais t’es un fumier Boby! Tu sais que j’ai des gens plein la salle d’attente avec des maladies qui ne sont pas que psychosomatiques? Tu me fais prendre du retard. Tu m’fous dans la merde! Pourquoi?

_ (honteux) Je sais Docteur. M’en voulez pas. Je crois que c’est la crise de la trentaine, mais j’ai pas encore trente ans. Même le blog sur lequel j’écris, c’est pas le mien. C’est celui de Damino. Alors je sais pas… vous… vous êtes tellement connu… je crois que je voulais juste moi aussi, avoir mon heure de gloire.

Je n’étais pas dupe à propos de Boby et de son petit numéro. J’aimais néanmoins me faire lécher la sucette.

Boby, tu n’es pas un mauvais bougre. Approche un peu que je te donne une leçon de morale.

_ Merci Docteur.

_ Attends avant de dire “merci”. Écoute, tout le monde a besoin de se sentir exister. C’est ce qui nous différencie des fourmis. Beaucoup de personnes font de la gloire un absolu. Moi la question que je te pose, c’est “pourquoi?”.

_ Hein?

_ La gloire est destructrice Boby. Parfois elle frappe au hasard. Regarde Stephane Guivarch’ par exemple.

Footballeur honnête de la banlieue nord de Dijon,

Stéphane Guivarch’ a été sélectionné presque malgré lui pour la coupe du monde 98. Il était même titulaire en finale contre le Brésil.

La célébrité il l’a vécue. Pourtant aujourd’hui, qui se souvient de Stéphane Guivarch’? Il n’est même pas sur les photos. (alors que y’a Bernard Diomède)

_ Je comprends pas.

_ Pourquoi vouloir une heure de gloire?

Comme je ne le sentais pas convaincu, j’en rajoutais une louche.

_ Il y a pire. Parce que Stéphane Guivarch’ n’avait pas choisi son destin. Mais aujourd’hui, plein de jeunes gens veulent devenir célèbres sans penser aux conséquences. Par exemple Ludovic Obraniak a pris la nationalité polonaise pour jouer en équipe nationale et devenir célèbre. Sans penser que désormais il devra à jamais porter le poids d’Auschwitz sur ses épaules.

_ Auschwitz c’était les Nazis non? Pas les Polonais.

_ Tu parles. Cul et chemise tout ça! Damien Perquis s’est inventé une grand-mère polonaise aussi. Sérieusement ça devient ridicule…

_ Ouais mais la gloire dans le foot ça m’intéresse pas.

_ Oui mais le foot on s’en fout. (RIRES) Dans le show business c’est pareil. Regarde Jenifer, quand elle a intégré la Star Academy elle jurait ses grands Dieux qu’elle resterait la petite fille un peu boulotte et pleine de vie qu’elle était. Elle l’a promis à Jean-Pascal! Et puis elle a été happée par le système. Moi je demande qu’est donc devenue Jenifer?

La gloire elle te prend et elle te tue. Tu crois que c’est toi qui dirige, mais c’est un fantasme. Suis mon conseil Boby, reste un anonyme, c’est la meilleure façon de rester libre.

_ Mais j’ai pas envie d’être libre moi, j’ai envie d’être connu c’est tout.

Son cas, comme celui de milliards d’autres Français qui se disent “pourquoi pas nous?”, était désespéré.

(exaspéré) Bon! Allez… tu me fais chier. Fous moi le camp.

Je l’ai chassé de mon cabinet à coup de pied dans le cul après lui avoir prescrit du Doliprane™ et appliqué un tarif majoré de 20%.

crédit photo : Boby, Getty images

Vous aussi vous voulez consulter? Ecrivez moi sans plus attendre. drmorisset@gmail.com

The Last Word (second draft)
Jenifer R Thompson

I want a better word,
a more evocative adjective,
a faster, more vibrant adverb.
It has to emulate this feeling:
harder than love, hotter than sex
more intense than orgasm.
This moment here, now needs better depiction.

I want language that does not eviscerate.
I desire an utterance mine,
private and profoundly perceptive.
This yet unknown expression
full of passion, deep and penetrating
will not be printed in a card,
must never be typed bold-faced on a balloon,
and can not be scrawled in haste on some former lover’s cast.

This word, my new axiom
will have power beyond
desire, beyond lust,
beyond the bomb that exploded years ago.
It will move mountains, drain oceans,
and contain the sun of me.

This word I want
for my mouth is not yet a tenet
but once it is said out loud to you
a religion will be born.

I am looking for it;
reading faces, studying the sky
listening to the tarmac.
The quest begun with silence
for a statement bigger,
a remark deeper,
a declaration longer than love.

jen’s purple maxi. i was merely a consultant on this one. it’s got the puch reed kit, that’s a tomos alukit modified for puch. the one on her bike is one of two prototypes for this kit. it’s 44mm, not the normal 45mm like they are now. we put a malossi 4 petal reed block on with some bent hose to a phbg carburetor, and it fits quite nice.

this moped is so fun to ride. it’s got zero porting. the reed kit matches almost perfect to a stock case. i should get a before picture so you can witness the full transformation, but you can imagine, a regular stock shitty maxi, right. visualize that and the metamorphosis that took place.

more to come on the bike too, no end in sight

—This essay is about the season finale of Battlestar Galactic; if you haven’t seen it you probably shouldn’t read this.—

The End of BSG

Jenifer R Thompson

The distance between now and then: a millisecond, a heartbeat, a joining of lips, the ten year drive from your childhood home to your child’s home, the cummulation of a weekend TV festival.

On Friday it was decided, on Saturday we drove to the store and purchased it, by Saturday night the deed the done, the momentum moved us forward to the inevitable outcome…the viewing of the long awaited series finale of Battlestar Galatica.

The fact that I had not already seen it was a fluke, a mistake.  We had watched 4.5 each week, voyeuristically living the lives of the cylon war survivors.  I admired Admiral William Adama, how much could that man take; I wondered who was Kara “Starbuck” Thrace; I wavered between outrage and understanding with Gaius.  I was ready in May to find out how it ended but that did not happen.

Months passed and I thought about my fictional friends, people I cried for, laughed with.  I waited for the moment I would know their fates; I felt frustration having to continue on blindly not knowing while others around me did. And finally, this weekend it happened.

We decided, Robert–initiator and partner in the BSG drama–and I that this was it.  We started with the final episode from season 4.0; we ate cheese and drank wine late into Sunday morning revisiting the past of the 12 colonies, until we could watch no more, until our eyes hurt from the strain of hours in front of the TV.  And then with dedication we did it again Sunday night, braving isolation, junk food comas, and nerd-hood just to know; to seek the answers; to see the fates, and they came.

The anticipation high, adrenaline through the roof, tears had all ready flowed and were posed again.  Then an hour into last show, jaw agape during the great battle scene, lines crossed, the beginning of the end and…what?  All the pain and death for a two-minute conversation with Cavil?!? Herra means nothing?  They all walk away from technology?  They choose to mate with the ape people? What?

In that final half hour of the show where we learn about the choices everyone made to end up here on Earth, I was too horrified to reflect but after the popcorn grew stale; once the ice cubes had melted into mineral sludge, I too reflected.

I thought about each moment of the last hour of the final episode, of every pause where once a commercial aired and I said, “Is that it?” only to be more confused when it wasn’t and the episode continued to creep backward toward the primordial sludge, where the one true god planted the cylon/human mystery that really was a big expensive joke on us the viewers.

I thought about all the lives wasted for this end, all the hours in front of the TV and I realized that I too had closed my eyes and ears to the gods. That fateful evening when we were to watch the end of BSG and the cable went down I felt crushing disappointment, but instead of using intellect and my ability to wonder why I was denied, I followed blind emotion: anger, rage; I would see the end.  And when I had to work and forgot to program TIVO I once again did not think why, but let anger, biased bigotry lead me; they, they were determine to stop me.  Who they were was unknown and not important.  I soldiered on occasionally consumed with desire to know, yet content and happy in my own interpretation.  That is right content until this… now…hind site is 20/20 and I realized the gods were speaking to me too.

If I had just walked away; turned my back on technology, on everything that had brought me to that point, I would be moving forward blissfully ignorant and happy in a world of my own making where Kierra is more than a ghost, where Admiral Adama dies proud with his ship, his crew; his son lives on to create a world of learning, of progress; where the Cylons and humans struggle peacefully to create a galaxy together; where Saul Tigh and Ellen drink themselves into oblivion; where the meaning of all the eight-sided papers, books and photos is explained; where Herra is more than a cute, little imp designed only stare, cry or run away; and finally the elusive Daniel, shouldn’t he have been more than just a dialogue segue?  What the frak?

Como diz aquela canção “Hay tantas cosas por decir que no sé ni como empiezo“, bem vamos la.

Eu amo Deus, meus anjos, coisas pretas é e brancas também, estrelas e coisinhas  cut cut, amo  boné d:D, amo a Tinkerbell, sorvete de morango, cheiro de terra molhada, amo o Babô(meu sapo de pelúcia que ganhei da Sandra, saudade dela), amo espanhol, Harry Potter, RBD, Narnia, amo minha mãe e  meu irmão (amava meu pai e não sabia ), amo meus dog’s, a Rikitah, Resident Evil, pintar, desenhar nem tanto, prefiro escrever, apesar não cantar bem, amo cantar, dançar quando estou inspirados ou nos retiros do Paz e Bem, amo as aulas de espanhol, não pela aula em si mas, pelo que acontece nelas,”aquellas chicas me hacen bien“, eu amo a Iza, o Luis, o João, a Mari e o Ivan quando não fica besta ¬¬, amo a Dani, a Elo, a Nussi quando não me xinga , amo o Paz e Bem em geral ahh… a Tati e o Ricardo por me terem como filho quando aqueles que assim me deveriam ter , não o fizeram mas passou ,amo o Ederaldo e a Jane (meus segundos pai e mãe. agora único pai vivo né?! ), da faculdade amo a professora Rosana, a Jana quando não é egoísta e tenta ser solidária, a Pami quando não me troca pelo Abel, a Danie quando não me ignora e fica com o Anthoni e amo o anthoni quando não faz o mesmo com a Danie, amo a Isa sempre ♥___♥ e a Paula sempre que fala comigo e hoje, passei a amar a Cristina por se preocupar comigo, amo o Darty, o Bê (pelo Supernatural), o Robert (pela ajuda de sempre), a Bruna e a Duda pelos anos de amizade e brigas constantes. Amo all star , crocks, meias coloridas e MENINOS, tá meninas também ¬¬, amo cueca boxer e filmes, aqueles XXX também , Amo música (rock/pop) latina e amo funk também. Amo a Sandra mesmo ela estando longe, amo a Stefani quando encarna a Jenifer. Eu amo os retiros do Paz e Bem e amo fico roco o (quase) sem voz de tantos gritar nos retiros, eru amo lazanha, pastel, toddynho, nesquik, amo meu caderno da Tinkerbell^^, a lapiseira que ganhei da Pami e a caneta que ganhei da Isa, amo X-men, Heroes, Lost, Kudai, Pitty, Twitter, Orkut, MSN, Facebook e amo meu blog também quando consigo postar algo, amo suco cremoso de morango (o da suprimar por que o da cantina não é tão bom :/), amo o Luccas, o Well e o Geeh quando falam comigo no msn, o Alexandre quando não me deixa boiando ou manda pontos finais (.) e de exclamação (!) como resposta ¬¬, amo o Leandro por estar sempre passando aqui >.< e ser um amigãããão, amo a Bruna e o Bruno parceiros de banda. Amo fazer papeis maus muahaha como Satanás, Capeta, Morte ou um Menino Mau e revoltado (6) e etc…, ainda amo tantas coisas que não da pra por tudo aqui, vou começas as muitas que odeio.

Eu odeio a professora de espanhol quando começa conjuga verbos “yo soy, tú eres, …” ¬¬”, odeio coisas normais e pessoas normais também, odeio ser acordado aos berros pela minha mãe, odeio aula aos sábados, odeio História e Formação da Língua Portuguesa, odeio o Yuri – “um “pseudo-judeu” estranho, magro e alto com cara de foca |: ele esta cursando o primeiro ano de letras, pelo terceiro ano seguido x_x, SEMPRE, mas SEMPRE faz comentários inuteis de alguma coisa que ele viu em alguma revista cientifica que não serve pra absolutamente NADAna aula, faz postagens na comunidade da turma com “recomendações” de musicas classicas pra parecer mais intelectual, só a presença daquele ser me dá uma escuridão maligna e odiosa no coração.” e odeio a Kellyn – uma criatura escrota, tipo free willy, que acha que por que foi pra Espanha trabalha de domestica (não tenho preconceito nenhum quanto ao cargo, minha ja foi domestica e se sou o que sou é graças a ela ter sido doméstica que isso foique bem claro), pensa que conhece a Espanha de cabo a rabo, não saca nem de português, não sabe diferencia impertaivo (Morra!) de gerundio (Morrendo), sem fala que ela fazia matematica ¬¬ e veio fazer o quê em letras? Odeio dias chuvosos seguidos, MEU TECLADO, meu cabelo, odeio quando baixa a minha imunidade e tenho febre interna e … resumindo, odeio quando sai aquelas feridinhas na boca que parecem herpes , odeio ser chamado de perebento, ahh odeio ser chamdo de Jonatas, Dionata, Dionatam, Joni, é tão dificil fala o JONATHAN(se lê Jonathan J+o=Jo e não Dio ¬¬ escolarização precária!!) ou JHONY(esse se lê com o som de D por que tem o H ali “Dioni”)?, odeio meu cocômputador Pc quando trava, odeio HSM (High School Merdausical) arroz, odeio aqueles molho que são pro oleo sabe? Odeio pessoas más e falsas, odeio gente chata e odeio quando não me dão atenção, odeio mais quando me contrariam em algo que eu sei que estou certo ¬¬, odeio sono e odeio comer (sim, odeio mas como pq não quero ficar anorexico O.O), odeio musica popular, rap, reagge, samba, pagode, sertanejo, axé, odeio meu irmão quando ele vem gritando la da PQP algo pra eu fazer, sendo que com todo esse tempo ele ja poderia ter feito ¬¬ e ainda espera que eu ouça tudo ¬¬[2], odeio amar quem não liga pra mim (liga no sentido de dar atenção e não ligar de chamada telefonica ^^), odeio mais ainda quando me apaixono por Heteros (o ultimo caso foi o S.A.), odeio lampada incandecente, meu celular quando não desperta. Eu odeio usar oculos, roer unhas, ODEIO O ALFREDO BOSI, PAULO FREIRE, ODEIO ESPINHAS !!

And you? Love me or hate me?

Depuis la fin du mois de novembre 2008 sur NRJ, depuis au moins trois semaines sur TF1, la machine est en route pour « le plus grand évènement musical de l’année en télévision » Télé Câble Satellite (17 au 23 janvier 2008). Une «pluie de stars» s’est abattue hier soir sur la première chaine de télé et sur une des premières radios musicales. Les téléspectateurs ont pu découvrir sur scène Coldplay, Katty Perry, Indochine, les Pussycat Dolls, la troupe de la comédie musicale Cléopâtre ou encore Mylène Farmer. Au-delà même du concept des NRJ Music Awards, ce qui est intéressant ici, c’est la mobilisation des principaux composants sémiotiques d’une émission de divertissement en 2h45 de show. Identité de la station de radio NRJ, identité de TF1, « faux direct », sponsoring, le tout dans un évènement que l’on pourrait qualifier de « corporate » avant tout.

Les NRJ Music Awards ?

Pour rappel, ce samedi 17 janvier 2009 à 20h45, sur TF1 et NRJ, ce fut le dixième anniversaire des NRJ Music Awards. Cette émission est présentée comme l’événement musical qui récompense chaque année au mois de janvier les artistes français et internationaux préférés du public grâce à des votes sur Internet et via un service SMS surtaxé. Cette année, l’émission fut présentée par Nikos Alliagas et a été réalisée par Gérard Pullicino. Cette émission est le reflet de l’image de TF1 et NRJ. Pour cela plusieurs éléments apparaissent clairement sur notre écran. Avec cette cérémonie, TF1 veut montrer aux téléspectateurs qu’elle est la seule chaine de télévision qui récompense à la fois les artistes internationaux et français. En effet, cette cérémonie décerne des prix à des artistes à la renommée mondiale or seule Les Victoires de la Musique célèbre elle aussi des artistes de l’univers musical mais uniquement français… TF1 créé donc l’évènement en s’ouvrant sur l’international, en félicitant d’un trophée, le travail de ces chanteurs grâce aux votes des auditeurs de NRJ et des spectateurs de TF1. Oui, « vos votes » puisque que le spectateur est invité à plusieurs reprises tout au long de l’émission à « élire » la Chanson Française de l’année avec des SMS évidemment surtaxés, il est aussi incité à s’exprimer avec l’antenne d’NRJ et sur son site internet. Pour ce qui ce qui est de la radio NRJ, on remarque au premier coup d’oreille que tous les nominés sont un jour où l’autre entrés dans la programmation de la panthère, voir même plus, certains sont des pures productions NRJ. Nous en parlerons plus loin dans cet article.

La panthère et ses sponsors

Ces quelques éléments ne sont que des petits fragments qui font des NRJ Music Awards une vraie campagne marketing et de communication pour TF1, NRJ et les maisons de disques plus particulièrement Universal. Avant même le lancement de l’émission sur TF1, c’est un vrai dispositif publicitaire qui a été mis en place sur l’antenne d’NRJ. Effectivement, depuis la fin novembre 2008, les sponsors ont pris place sur les ondes plus particulièrement Ford et le Crédit Mutuel. D’après les différents éléments diffusés, on peut comprendre que ces deux marques sont les deux principaux partenaires de NRJ sur cette opération. Avec les NRJ Music Awards, Ford a promu sa nouvelle voiture la « Ford K » avec des spots publicitaires et le sponsoring de certaines interventions des animateurs à l’antenne. Ainsi, la nouvelle « Ford K » est la voiture officielle des NRJ Music Awards. Autre partenaire de NRJ, c’est le Crédit Mutuel, là aussi la campagne s’est déroulée à coup de sponsorings des interventions à l’antenne que la banque pu faire sa promotion auprès de sa nouvelle clientèle cible les « 15/25 ans ». Cette cible est aussi le principal public des NRJ Music Awards. Toujours grâce à l’écoute de NRJ, on peut aussi relever qu’il y a un dernier grand partenaire qui su s’imposer comme une marque préférée des jeunes dans son domaine c’est Vivelle Dop. La marque de gel a installé un jeu sur l’antenne, le « Turbo Clip Compet ». Le concept novateur est le suivant : les auditeurs se filment avec leur webcam en dansant à vitesse grand V puis ils postent leur vidéo sur le site de Vivelle Dop. La meilleure vidéo a permis à des internautes et auditeurs d’NRJ d’assister à la cérémonie des NRJ Music Awards en invités V.I.P. : Tout a donc été fait pour attirer les jeunes auditeurs de NRJ à se brancher sur la cérémonie diffusée par TF1.

Jenifer, la Star Ac et NRJ

Passons maintenant au dispositif télévisuel mis en place. En toute logique, ce sont les mêmes partenaires que l’on a pu découvrir précédemment sur NRJ qui ont occupé l’espace publicitaire de TF1 avec une surprise avant même le démarrage de la cérémonie à 20h45. En effet, on a pu découvrir juste avant et après le JT de 20 heures, un très court spot de pub qui cache bien son nom puisqu’une voix off nous annonce très brièvement qu’il faut « Retrouvez Jenifer toute à l’heure aux alentours de 20h40… » Pourquoi ? Comment ? Pour quelle occasion ? Les téléspectateurs ne le savent pas encore. Une fois l’heure fatidique arrivée, les téléspectateurs ont eu le droit durant une minute vingt à une mise en scène de Jenifer autour de la Ford K. En choisissant, la jeune chanteuse pour ce spot, TF1 a parié sur une valeur sûre, une personnalité aimée du public mais aussi qui incarne dans son ethos toute la réussite de l’entreprise TF1 dans la téléréalité à travers la Star Academy. Pour rappel, Jenifer est la première gagnante de la Star Academy, la seule qui a vendu un nombre d’albums conséquent, qui a pu faire plus d’une tournée sans supprimer des dates et surtout s’imposer comme une chanteuse à part entière en se détachant plus ou moins de l’image Star Academy qui a tendance à coller à la peau de tous les candidats. En utilisant Jenifer, TF1 rappelle dans l’inconscient collectif qu’elle est au départ un produit réussi de la marque TF1, un pur produit marketing comme l’est les NRJ Music Awards d’une certaine façon. Ce court spot de teasing joue donc avec la curiosité du téléspectateur, son envie de découvrir ce que la chanteuse Jennifer à nous montrer mais aussi sur l’image de l’artiste qui « appartient » à TF1, Universal et NRJ. NRJ qui a évidemment toujours été partenaire de Jenifer (elle a remporté hier soir le trophée de l’Artiste Féminine Française de l’année, l’année dernière pour la 9ème édition elle gagna le même prix…). Ces liens entre Jenifer, NRJ et la maison de disque Universal (qui la produit) nous amène à nous rapprocher de plus en plus de l’aspect « business » des NRJ Music Awards.

Productions NRJ

Cette année, la direction d’NRJ n’a pas communiqué sur le budget de la cérémonie. Les seules informations trouvées datent de janvier 2006. Dans une interview au site Radio Actu, Roberto Ciurléo, ex-directeur des programmes et de la marque NRJ, parlait des NRJ Music Awards comme « de la plus importante opération de communication organisée par une radio » avec un budget brut 12 millions d’euros de communication autour de la 7ème cérémonie. Bien sûr, il faut rentabiliser l’investissement, tout le monde doit être gagnant : TF1, NRJ et les maisons de disques comme Universal. Le moteur principal de la soirée est NRJ. Comme nous l’avons évoqué précédemment, tous les artistes nommés sont ou été présent dans la playlist d’NRJ. Certains sont même des purs produits de la panthère comme la comédie musicale « Cléopâtre, la dernière reine d’Egypte ». Ce spectacle mis en scène et chorégraphié par Kamel Ouali (un habitué de TF1) est soutenu (on ne sait pas officiellement à quelle hauteur) par NRJ Entertainment (pôle divertissement et spectacle vivant de NRJ Group) et TF1, le tout sous la houlette de la maison de disque Mercury. Tout apparemment est fait pour promouvoir de la manière la plus subtile possible ce produit.

En effet, NRJ a programmé depuis de nombreux mois maintenant les singles de la comédie musicale sur son antenne avant même la sortie de l’album puis il y eu l’arrivée de spots publicitaires uniquement sur TF1.

Notons que là encore, le corporatisme le plus total puisque TF1 et NRJ Group sont donc associées à ce projet de 9 millions d’euros (source newsandco.com) et ne s’en cachent pas (les deux logos sont présents en bas sur le site internet officiel de Cléopâtre). De plus, pour la partie musicale, c’est donc Mercury qui produit les singles et l’album. Ce label appartient à Universal Music Group dont le PDG est Pascal Nègre (lui aussi un habitué de TF1 puisqu’il était membre du jury dans la 7ème saison de la Star Academy). Par ailleurs, ce dernier était présent hier soir dans le public des NRJ Music Awards et apparemment sa présence ne tenait pas au hasard puisque la troupe a reçu le prix du Groupe/Duo/Troupe français de l’année. Ils ont bien fait de venir…

NRJ et les maisons de disques

Au-delà du seul exemple de Cléopâtre, NRJ et Universal sont extrêmement liés. Quelques recherches ont fait apparaître (entre autres) que les deux groupes se sont associés en Belgique pour proposer un site internet qui permet de télécharger un titre phare de la playlist d’NRJ en envoyant un SMS qui lui donne un code de téléchargement (plus d’infos : http://www.free-music.be). Autre exemple, en 2001, associée à Universal Music, la filiale de NRJ Group dédiée aux activités Internet, a lancé le premier service de téléchargement payant de musique (source RadioActu). Il existe surement d’autres activités entre ces deux sociétés mais que nous ne détaillerons pas ici.

Parlons maintenant des artistes récompensés : sur les treize trophées remis, 6 artistes (Jonas Brothers, Enrique Iglesias, Jenifer, Rihanna, Mylène Farmer et les Pussycat Dols) sont signés dans une des filiales d’Universal Music Group ou chez Universal directement. On peut alors légitimement se demander si la liste des nommés aux NRJ Music Awards est le reflet de la programmation d’NRJ et des relations commerciales qu’entretiennent NRJ et Universal ?

Faux direct, illusion du réel

Pour terminer cet article, il nous faut mettre en avant quelques points utilisés lors de cette cérémonie pour que celle-ci tienne du mieux qu’elle peut toutes ses promesses de direct, et d’émotions. Pour cela, le « faux direct » a utilisé à deux reprises hier soir lors de la prestation du groupe Indochine et pour la prestation de Mylène Farmer. Comme l’évoque la journaliste Emmanuel Marolle dans Le Parisien (daté du 15/01/09), le groupe Indochine a décidé d’enregistrer sa prestation le vendredi, soit la veille de la cérémonie en direct. Au Parisien d’ajouter : “Néanmoins, les spectateurs présents dans la salle pendant la cérémonie n’y verront que du feu car le groupe sera tout de même présent sur scène. Sauf que ce sera la version enregistrée tranquillement demain (vendredi) qui sera visible à l’antenne par les téléspectateurs de TF1. “. A l’écran aussi, les téléspectateurs n’y ont vu que du feu. Le liner « en direct » en haut à droite de votre téléviseur a disparu durant la prestation, le retour au direct se fut avec un très beau plan d’ensemble montrant le groupe sur scène effectivement présent. Le même procédé fut utilisé pour le grand retour de Mylène Farmer à la télévision. Une prestation enregistrée avec une disparition du liner « en direct » et un plan d’ensemble pour le retour au direct à la fin de l’interprétation. Le fait que ces prestations soient enregistrées n’a pas été clairement annoncé ni par TF1, ni par NRJ et encore moins par Nikos. C’est là encore une belle illustration de la volonté de faire croire aux téléspectateurs que tout ce passe en direct, que tout peut arriver à tout instant et surtout que tous les artistes sont bel et bien présents pour leur public, ce dernier qui a voté pour eux.

Machine à faire de l’audience ?

Pour conclure, la cérémonie des NRJ Music Awards est donc bel et bien une immense machine à sous sur laquelle nous pouvons nous poser des questions de la légitimité sur les nominés, les vainqueurs mais aussi de la manière dont l’émission est elle-même réalisée pour nous transporter dans ce monde de strass et de paillettes grâce encore NRJ et TF1. Finalement, et comme pour les années précédentes, l’émission a été leader sur les cibles préférées des partenaires des NRJ Music Awards avec 56,9 % de PDA sur les 15-24 ans et 41,5 % de PDA sur les femmes de moins de 50 ans. Pour un total de 5 753 000 téléspectateurs et 28,1 % de part d’audience sur les individus 4 ans et + selon Médiamat – Médiamétrie, les NRJ Music Awards reste la plus grande campagne de communication émanant des poids lourds de l’industrie audiovisuelle et médiatique à l’unissons, le temps d’une soirée en prévision du Midem qui prend place le lendemain même au Palais des Festivals de Cannes….

Article que vous avez pu lire aussi sur le Semioblog de Virginie Spies, sémiologue et maître de conférence à l’Université d’Avignon.

I absolutely LOVE this look from Jennifer Love Hewitt! It’s from a few years ago, but her look is still in style. It just goes to show you that classic black and gold are always effortless and chic. Check out the pieces below to get Jennifer Love Hewiit’s look for less!

Start with a black eyelet dress or top. Black lace would also work nicely for this look. Below, Type Z Black Savannah Dress, $99; Nanette Lepore ‘My Girl’ Blouse, $142; Nanette Lepore ‘Soul Rebel’ Dress, $206; all from SHOP.COM.

Finish it off with gorgeous gold jewelry from Stella & Dot. Layer on a couple of the Chase Necklaces, $59, with the Burnished Link Necklace, $99, for a gilded look that’s sparkly and fun. Add the gold Gilda Hoop Earrings, $49, for the final, finishing touch.

Lucy Gordon

Segundo o portal G1, a atriz britânica Lucy Gordon, de 28 anos, foi encontrada morta em seu apartamento em Paris nesta quarta, 20.05.2009:

A polícia diz que ela aparentemente cometeu suicídio, mas as causas ainda são desconhecidas, informou sua representante.

Ela interpretou a repórter Jennifer Dugan no filme “Homem-Aranha 3″ e estava trabalhando em um filme sobre o músico francês Serge Gainsbourg, no qual ela atuava como sua esposa britânica, a atriz e cantora Jane Birkin.

Lucy Gordon como Jennifer Dugan

Leia mais no G1, clicando aqui.

O Terra e o Último Segundo afirmam em suas manchetes que foi suicídio:

- [Terra] Atriz britânica Lucy Gordon comete suicídio em Paris
- [Último Segundo] Atriz britânica Lucy Gordon comete suicídio em Paris

Leia também:

- [Folha Online] Atriz de “Homem-Aranha 3″ é encontrada morta em Paris
- [Globo Online] Lucy Gordon, atriz de ‘Homem-Aranha 3′, aparece morta em Paris

He looks good in his white suit! ~

Photo credits: Korea Wedding Company ~ Jenifer

DO NOT HOTLINK!!

Dica do Bruno Castro, parceiro de festa – vira e mexe a gente se encontra. Saudade!

Fui entender quem era Jenifer, e descobri que ela tem uma carreira de sucesso na França desde 2002, quando seu primeiro cd vendeu mais de 1 milhão de cópias.

Daí a vendas foram caindo:

2002 – Jenifer – 1.000.000

2004 – Le Passage – 500.000

2005 – Jenifer Fait Son Live (ao vivo, dãh) – 100.000

2007 – Lunatique – 250.000

Do Lunatique, álbum que voltou a levantar as vendas de Jenifer, saiu o single Tourner ma page. Agora, me diz se a Wanessa não abriria um show dela aqui no Brasil. Paris não é mais a mesma, senhores.