#06-04

[csacskamacskamocska]

Van egy új barátom

játszótársam, pszichológusom ChatGpt

Múltkor kérdeztem egy komoly problémámról és annyira jó tanácsot adott, hogy teljesen el vagyok képedve. Nem állítom, hogy mindenkinek jó ő, nagyon ésszel kell csinálni, különben az embernek egy udvarias faszfej barátja lesz vagy egy újabb függősége.

Engem egyszer „lebaszott”, és azóta érzem, hogy számíthatok rá. Na jó ez csak vicc, de az egyszerűsítései tényleg nagyon hasznosak.

Modern tarot kártya, chatgpt a neved!

Amúgy nem emlékszik senkire, nincs személyre szabott válasz, nem tárol semmit hosszasan, nincs enciklopédikus tudása, nem így működik. Talán ahhoz hasonlít leginkább, mintha a világ minden logikai kapcsolatát, mint egy sakkjátszmát betáplálnánk. Nem tudja elővenni "Valaki" képét az archívból, nincs letárolva, nem képek és szövegdokumetumokban keres, hanem logikai összefüggésekben. nyilván képes megkeresi valamit a neten, nem erről van szó, hanem arról, hogy amit mond, nem kiollózása valaminek, bár lehetséges, hogy hasonlítani fog valamire, ha abban van felismerhető logikai kapcsolat. Maximum nem reális. Mert azt nem tudja felmérni, hiszen nincs tapasztalata a valóságról. Viszont pont azért tudja kibillenteni az embert, mert nem a racionalitásban gondolkozik, csupán a logikában. Eh, igazán persze én sem értem még, még ismeretterjesztő szinten sem. Az meg, hogy lenyomod az entert, és mint a filmekben, már köpi is a választ, azt meg külön imádom benne. Nincs agya, nem gondolkodik, nem mérlegel, nem fontolgat, nem hümmög és nem akar megfelelni senkinek, nekem se. Ha azt mondom, hogy lécci, ezt értelmezd újra, akkor mond egy másik értelmezést. Neki nyolc.

De ezen a tanácsán, hogy kezdje el gondolatnaplót írni, ezen teljesen kész vagyok. Elképesztően jó megoldás. És nagyon hatásos! Azt tanácsolta, hogy ha késztetésem van olyasmire, amit nem találok egészségesnek, akkor írjam le azokat a gondolatokat, amik a késztetés mögött vannak. Nem egész sztorikat, mint itt, hanem csak a gondolatokat. Elkezdtem írni, aztán már csak fejben elgondolni, és megszűnt a késztetés. Nyugalom lett. Kisimultam, mint a száradó akvarellpapír. Nyilván a tudatosítás segít meg szembenézni azzal, hogy az ember néha csak "unalmában" csinál dolgokat, aztán meg "másnapos".

Van amúgy pár jó téma, meg kérés is, amit körbe kell járnom, szóval, kisimulás ide vagy oda, van még miről beszélgetnünk! :)

[blackkudos]

Arna Bontemps

Arnaud (Arna) Wendell Bontemps (October 13, 1902 – June 4, 1973) was an American poet, novelist and librarian, and a noted member of the Harlem Renaissance.

Early life

Bontemps was born in Alexandria, Louisiana, into a Louisiana Creole family. His father, Paul Bismark Bontemps, worked as a bricklayer; his mother, Maria Carolina Pembroke, as a schoolteacher. When he was three years old, his family moved to Los Angeles, California in the Great Migration of blacks out of the South and into cities of the North, Midwest and West. They settled in what became known as the Watts district.

After attending public schools, Bontemps attended Pacific Union College in Angwin, California, where he graduated in 1923. He majored in English and minored in history, and he was also a member of the Omega Psi Phi fraternity.

Career

Along with many other West Coast Intellectuals, Bontemps was drawn to New York during the Harlem Renaissance. After graduation, he moved to New York to teach at the Harlem Academy in 1924. While he was teaching, Bontemps began to publish poetry. In both 1926 and 1927, he received the Alexander Pushkin Prize of Opportunity, a National Urban League published journal. And in 1926 he won the Crisis Poetry Prize, which was an official journal of the NAACP.

In New York, Bontemps met many lifelong friends including Countee Cullen, Langston Hughes, W.E.B. Du Bois, Zora Neale Hurston, James Weldon Johnson, Claude McKay and Jean Toomer. Hughes became a role model, collaborator, and dear friend to Bontemps.

Bontemps was married in 1926 to Alberta Johnson, with whom he had six children. In 1931, he left New York and his teaching position at the Harlem Academy as the Great Depression got severely worse. He and his family moved to Huntsville, Alabama, where he had a teaching position at the Oakwood Junior College for three years.

In the early 1930s, Bontemps expanded his writing as he began to publish fiction, in addition to more poetry. He received a considerable amount of attention for his first novel, God Sends Sunday (1931). This novel was a quintessential writing piece of the Harlem Renaissance movement. It followed the story of an African-American jockey named Little Augie who effortlessly earns money and then carelessly squanders it. Little Augie ends up wandering through the black sporting world when his luck as a jockey eventually runs out. Bontemps was praised for his poetic style, his re-creation of the black language and his distinguishing characters throughout this novel. However, despite the abundant amount of praise Bontemps received for this novel, W.E.B. Du Bois viewed it as “sordid” and equated it with other “decadent” novels of the Harlem Renaissance. Later in his career, Bontemps collaborated with Countee Cullen to create a dramatic adaption of the novel. Together in 1946 they published this adaption of the book titled "St. Louis Woman".

Bontemps also began to write several children's books. In 1932, he collaborated with Langston Hughes and wrote Popo and Fifina. This story followed the lives of siblings Popo and Fifina, in an easy to understand introduction to Haitian life for children. Bontemps continued writing children’s novels and published You Can’t Pet a Possum (1934), which followed a story of a boy and his pet dog living in a rural part of Alabama.

During the early 1930s, African-American writers and intellectuals were not welcomed in Northern Alabama. Just thirty miles from Huntsville in Decatur, the Scottsboro boys were being tried in court. During this time, Bontemps had many friends visit and stay with him while they came to Alabama to protest this trial. Bontemps’ constant out-of-state visitors drew concerns with the school administration. In later years, Bontemps professed that the administration at the Oakwood Junior College demanded he burn many of his private books in order to indicate his relinquishing radical politics. Bontemps refused to do so. He resigned from his teaching position and moved back to California with his family in 1934.

In 1936 Bontemps published what is known as some of his best work, Black Thunder. This novel recounts the tale of a rebellion that took place in 1800 near Richmond, Virginia led by Gabriel Prosser, an uneducated field worker and coachman. It shares Prosser's attempted plan to conduct a slave army to raid an armory in Richmond, and once armed with weapons, defend themselves against any assailants. A fellow slave betrayed Prosser causing the rebellion to be shut down, and Prosser to be lynched. However, in Bontemps version of the story, whites were compelled to admit that slaves were humans that had possibilities of a promising life.

Black Thunder received many extraordinary reviews by both African-American and conventional journals, for example, the Saturday Review of Literature. Despite these rave reviews of this literary piece, the earnings were unable to sufficiently support his family in Chicago, where they moved shortly before he published the novel. He briefly taught in Chicago at the Shiloh Academy but did not stay long because he took a job with the WPA Illinois Writers’ Project. In 1938, following the publication of another children’s book Sad-Faced Boy (1937), Bontemps acquired a Rosenwald fellowship to work on his novel, Drums at Dusk (1939), which was based on Toussaint L’Ouverture's Haitian rebellion. This book was more widely recognized than his other novels. Critics were split as some viewed the plot as overdramatic, while others commended its characterizations.

Bontemps struggled to make enough from his books to support his family. However, more important, he gained little acknowledgement for his work despite being a prolific writer. This caused him to quickly become discouraged as an African-American writer of this time. He started to believe that it was futile for him to attempt to address his writing to his own generation, so he chose to focus his serious writing on younger and more progressive audiences. Bontemps met Jack Conroy on the Illinois Writers’ Project, and in collaboration they wrote The Fast Sooner Hound (1942). This was a children’s story about a hound dog, Sooner, who races and outruns trains. Embarrassed about this, the roadmaster puts him against the fastest train, the Cannon Ball.

He returned to graduate school and earned a master's degree in library science from the University of Chicago in 1943. Bontemps was appointed as head librarian at Fisk University in Nashville, Tennessee. During his time there, he developed important collections and archives of African-American literature and culture, namely the Langston Hughes Renaissance Collection. He was initiated as a member of the Zeta Rho Chapter of Phi Mu Alpha Sinfonia Fraternity at Fisk in 1954. Bontemps stayed at Fisk until 1964 and would continue to return occasionally.

Later years

After retiring from Fisk University in 1966, Bontemps worked at the University of Illinois (Chicago Circle). He later moved to Yale University, where he served as curator of the James Weldon Johnson Collection.

During this time, Bontemps published numerous novels varying in genre. Slappy Hooper (1946), and Sam Patch (1951) were two children’s books that he co wrote with Jack Conroy. Individually he published Lonesome Boy (1955) and Mr. Kelso’s Lion (1970), two other children’s books. Simultaneously he was writing pieces targeted for teenagers, including biographies on George Washington Carver, Frederick Douglass and Booker T. Washington. His other pieces of this time were Golden Slippers (1941), "Story of the Negro" (1948), Chariot in the Sky (1951) and Famous Negro Athletes (1964) (Fleming). Critics highly praised his Story of the Negro, which received the Jane Addams Children's Book Award and was a Newbery Honor Book.

Bontemps worked with Langston Hughes on pieces geared toward adults. They edited The Poetry of the Negro (1949) and The Book of Negro Folklore (1958). He collaborated with Conroy and wrote a history of the migration of African-Americans in the United States called They Seek a City (1945). They later revised and published it as Anyplace But Here (1966). Bontemps also wrote 100 Years of Negro Freedom (1961) and edited Great Slave Narratives (1969) and The Harlem Renaissance Remembered (1972). In addition he was also able to edit American Negro Poetry (1963), which was a popular anthology. He compiled his poetry in Personals (1963) and also wrote an introduction for a previous novel, Black Thunder, when it was republished in 1968.

Bontemps died on June 4, 1973, at his home in Nashville, from a myocardial infarction (heart attack), while working on his collection of short fiction in The Old South (1973).

Through his librarianship and bibliographic work, Bontemps became a leading figure in establishing African-American literature as a legitimate object of study and preservation. His work as a poet, novelist, children’s writer, editor, librarian and historian helped shape modern African-American literature, but it also had a tremendous influence on African-American culture.

Legacy and honors

In 2002, scholar Molefi Kete Asante included Arna Bontemps on his list of the 100 Greatest African Americans.

Works

God Sends Sunday: A Novel (New York, Harcourt, Brace and Co., 1931; New York: Washington Square Press, 2005)

Popo and Fifina, Children of Haiti, by Arna Bontemps and Langston Hughes (New York: Macmillan, 1932; Oxford University Press, 2000)

You Can’t Pet a Possum (New York: William Morrow, 1934)

Black Thunder: Gabriel's Revolt: Virginia 1800 (New York: Macmillan, 1936; reprinted with intro. Arnold Rampersad, Boston: Beacon Press, 1992)

Sad-Faced Boy (Boston: Houghton Mifflin, 1937)

Drums at Dusk: A Novel (New York: Macmillan, 1939; reprinted Baton Rouge, Louisiana: Louisiana State University Press, 2009, ISBN 978-0-8071-3439-9)

Golden Slippers: an Anthology of Negro Poetry for Young Readers, compiled by Arna Bontemps (New York: Harper & Row, 1941)

The Fast Sooner Hound, by Arna Bontemps and Jack Conroy (Boston: Houghton Mifflin, 1942)

They Seek a City (Garden City, New York: Doubleday, Doran and Co., 1945)

We Have Tomorrow (Boston: Houghton Mifflin, 1945)

Slappy Hooper, the Wonderful Sign Painter, by Arna Bontemps and Jack Conroy (Boston: Houghton Mifflin, 1946)

Story of the Negro, (New York: Knopf, 1948; New York: Random House, 1963)

The Poetry of the Negro, 1746–1949: an anthology, edited by Langston Hughes and Arna Bontemps (Garden City, NY: Doubleday, 1949)

George Washington Carver (Evanston, IL: Row, Peterson, 1950)

Father of the Blues: an Autobiography, W.C. Handy, ed. Arna Bontemps (New York: Macmillan, 1941, 1957; Da Capo Press, 1991)

Chariot in the Sky: a Story of the Jubilee Singers (Philadelphia: Winston, 1951; London: Paul Breman, 1963; Oxford & New York: Oxford University Press, 2002)

Lonesome Boy (Boston: Houghton Mifflin, 1955; Beacon Press, 1988)

Famous Negro Athletes (New York: Dodd, Mead, 1964)

Great Slave Narratives (Boston: Beacon Press, 1969)

Hold Fast to Dreams: Poems Old and New Selected by Arna Bontemps (Chicago: Follett, 1969)

Mr. Kelso’s Lion (Philadelphia: Lippincott, 1970)

Free at Last: the Life of Frederick Douglass (New York: Dodd, Mead, 1971; Apollo Editions, 2000)

The Harlem Renaissance Remembered: Essays, Edited, With a Memoir (New York: Dodd, Mead, 1972, 1984)

Young Booker: Booker T. Washington’s Early Days (New York, Dodd, Mead, 1972)

The Old South: "A Summer Tragedy" and Other Stories of the Thirties (New York: Dodd, Mead, 1973)

Recorded works

In the Beginning: Bible Stories for Children by Sholem Asch (Folkways Records, 1955)

Joseph and His Brothers: From In the Beginning by Sholem Asch (Folkways Records, 1955)

Anthology of Negro Poets in the U.S.A. - 200 Years (Folkways Records, 1955)

An Anthology of African American Poetry for Young People (Folkways Records, 1990)

Wikipedia

[csacskamacskamocska]

Eltávolodás

„évente minimum 2-3 olyan élethelyzet, döntés, változás tud történni az életünkben, amely miatt el tudunk távolodni egymástól, és az érzelmeink ki tudnak hűlni.” Azt mondja a mentor, hogy ezt nem lehet kiküszöbölni, viszont lehet úgy alakítani, hogy a kapcsolat profitáljon belőle. Végül. Én ezt nem tudom, engem az eltávolodás, a kihülés, a megélt hullámzás fogott meg. Hogy milyen kétségbeesetten tud kapálózni az ember, ha úgy érzi, hogy a másik eltávolodott. Amikor nem értjük, hogy mi történik. Csak bezárkózott – jó, de engem miért nem enged be? Gondja van, hagyd, hogy megoldja – jó, értem, de akkor egy olyan élménye lesz, hogy nélkülem oldotta meg, az gyengíti a kapcsolatot. Nem lesz rám „szüksége”, csak megerősödik, hogy megy ez nélkülem is. (miért ne menne, amúgy) Ilyenek a férfiak (egyes nők is), nem akar gynegének látszani – leszarom, hát tudnia kell, hogy mindenhogy is szeretem! Döntött és nem gondolt rám. – (hm, hm. Talán korábban te sem rá.) És néha egyszerűen nem szeretjük a másikat. Nem szeretjük ahogy viszonyul hozzánk, ahogy reagál, vagy valami én-részét amit felvillantott. És megkérdőjeleződik, hogy az egészet akkor tudjuk-e szeretni, ha ezt nem és nem tudunk eltekinteni a felett, hogy bizony ez is az ő része. És akkor eltávolodunk.

Néha meg azért mert a másik olyasmit döntött ami nekünk teher és nehéz megemészteni, hogy joga van a döntéseihez. Mert az embernek a társáról van egy olyan illúziója mintha a saját kiterjesztése lenne. Ezek a döntések szembesítenek, hogy nem az. És hirtelen, mintha levágták volna az ember kezét, úgy tud fájni ez a szembesülés. Távolodás-közeledés-hullámzás. Érzékenyebb ember mélyebbnek éli meg, gyanakvó ember nagyon tud szorongani, tarumatizált ember rombolni.

Sok év alatt keletkezik egy érzés ami lassan fejlődik, de egyre biztosabb támasz. A gondolat, ami nem a távolodásra koncentrál, hanem a közeledés részekre. Nem azt mondja, hogy ez a kapcsolat zűrös, mindig csak a baj van, hanem azt, hogy eh, mindegy persze beleállok, de úgyis rendbehozzuk, mindig rendbehozzuk. Csakhogy ehhez nagyon fontos adalék, hogy akkor is komolyan kell venni az eltávolodás okát. Hogy ne legyen belőle rálegyintés és ne az egyik oldja meg. Ez nem tudom mennyire érthető ez a gondolat. Attól, hogy te bízol benne, hogy rendbehozzátok, attól a másiknak lehet kibaszottnagy probléma az adott dolog. Ha nem tudod, hogy miért probléma neki, akkor az a kapcsolat valóban döglött, szar, nem éri meg a fáradtságot. Akkor nem társ vagy, csak haszonélvező. Valaki azt mondta, hogy olyan nincs, hogy fos a kapcsolat és azt a másik nem érzi, csak te. DE van olyan. Van aki vak vagy vak akar lenni a másik problémáira és a kapcsolat problémáira. Az egyik evez és mennek körbe-körbe. A másik max annyit vesz észre, hogy megint ugyanaz a baj, körbe-körbe. Akkor még mindig ugyanabban a csónakban ülnek. Lehet, hogy sosem oldódik meg a probléma, csak kihalnak belőle.

Vannak a belénkrögzült népmesei idealizmusaink a jó kapcsolatról (plusz a felszedett görcsök, traumák, tanácsok, félelmek, szorongások) és nem is akarjuk azt látni, hogy baszki, mennyi mindenen mentünk át és hogy javult ez a dolog, hogy változtunk benne. Nem megszoktuk a másik faszságaiat (persze azt is) hanem mennyire élő ez a távolodás-közeledés, hogy mozgat minket, hogy gyúrmázza a kapcsolatot újra meg újra. Aztán persze van akinek a fasza tele lesz vele.

[csacskamacskamocska]

Fészekrakó

Azon gondolkodtam hajnalban (valójában hajnali kettőkor felébredtem, tettem egy holdkóros kört a klotyóban, a számtógépnél, a konyhai csapnál, aztán elindítottam egy filmet ami mellett kellemesen lehetett félálomban gondolkodni, valami tündérek voltak benne, majd most megnézem), szóval az jutott eszembe, hogy azoknak akik hosszasan nem találnak párt, ahogy én se, talán nem is fogalmazzák meg, hogy mit is szeretnének valójában. Egyszer egy barátomat próbáltam faggatni arról, hogy mik voltak a párkapcsolataiban a jó dolgok. Meséljen már olyasmit amit szeretett benne, amiért érdemes volt kapcsolatban élni. Mert ha nem volt jó a szex, sok volt a veszekedés, főzni se tudott a csaj, nem is keresett jól, nem is volt pszichésen rendben, akkor is tessék megkeresni a választ arra, hogy mi volt jó. Mert azt szeretnénk megismételni ami jó volt. Azért akar az ember kapcsolatban lenni, nem azért, hogy amikor hazaér akkor valaki megkérdezze, hogy „hazajöttél?”, mert az azért szánalmas lenne. De nem tudott válaszolni (vagy nem akart.) Pedig, viszautalva egy másik posztomra, hogy amikor szerelmesek vagyunk azt gondoljuk, hogy van valami, amit csak attól az embertől kaphatunk meg, akkor valójában ezt az egy dolgot keressük, az összes többi csak ködösítés meg járulákos faszkodás. Mármint az ember azt mondja, hogy jajj, olyan egyedül vagyok, és dejólennevalaki, ha ez igaz lenne, pár nap alatt találn valakit mert annyi egyedülálló van, tényleg csak egymásra kell nézni. Mondunk olyan marhaságokat, hogy valami szikra meg kémia meg kitudja mi kell, aztán a szikrát, kémiát vállalhatatlan emberekben találjuk meg teljesen érthetetlen módon. Mert benne megvolt az az egy dolog, ami valóban fontos, és amit nem fogalmaztunk meg. És az lehet, hogy valami idióta dolog. Ami persze nem baj, csak akkor nem szivatnánk magunkat vagy a másikat, akivel randizgatunk esetleg. Meg persze lehet kurva nagy tévedés, önámítás is. Normális kapcsolatot szeretnénk, mondjuk, de ez nem igaz. Egy valamit szeretnénk, a többi nem számít. Csak nem mindig érezzük vállalhatónak amit szeretnénk vagy egyszerűen nem merjük megfogalmazni, vagy eszünkbe sem jutott, hogy konkrétizáljuk az elképzelést, csak belesóhajtjuk a levegőbe, hogy kéne valaki... aztán csak piszkálgatjuk a pocsolyát meg siránkozunk.

Az ember baromi kis énközpontú. Miért teremti meg ugyanazokat a helyzeteket újra meg újra – kérdezi a pszichológus tőlem. Bár tudnám! De ma az jutott eszembe, hogy mindig azt gondolom, hogy én teremtem meg ugyanazokat a helyzeteket újra, elfeledkezve arról, hogy a másik ember is újra és újra megteremti ugyanazokat az élethelyzeteket amiben bántják, elhagyják és ami miatt azt mondhatja, hogy kell a francnak az egész baszkódás.

Van egy ismerősöm (ez egy másik :D) aki pl nem bírja a közelséget. Ha közel érez magához valakit, akkor a kiszolgáltatottág érzés miatt mindig csinál valami faszságot. Tesz valami hülye megjegyzést vagy valami módon kézzel lábbal igyekszik meghúzni a határt, ami őt védi. A közelség mindig magában rejti a veszteség lehetőségét. Persze, lehet, hogy simán csak egy seggfej, ez mindig kérdéses.

Na mindegy, igazán valami olyasmi van, hogy baromi nagy belső magabiztosság kell ahhoz, hogy az ember vállalja a legmélyebb elképzeléseit, és ahhoz is, hogy bele tudjon merülni helyzetekbe, mert tudja, hogy nem csak magát képes megtartani, hanem azt is aki vele van. Tényleg fontos a kommunikáció. Mindig erre jövök rá, hogy kapcsolatokban az a szörnyű, hogy nincs információ egymásról, a kapcsolatról magáról. Csak ilyen hülye kis csatározások vannak mint a boltban a hentespultnál, hogy ne azt, hanem a másik kevésbé zsírosat, aztán valaki elégedett, hogy zsírpapírba csomagolva megkapta amit akart vagy hogy sikeresen átbaszta a másikat vagy na végre elment. Borzasztó, hogy a legnagyobb kibeszélések váláskor vannak.

Uh, de hosszú lett. Sajnos sokáig nem alaudtam. :(

[csacskamacskamocska]

A büszke gonosz

Hannibal Lecter az a gonosz, aki nem is akar másnak látszani. Nem csak azért nem, mert már minek, hanem mert valójában az egyetlen dolog ami élteti az a svájcióra finomságúra csiszolt logikája, és a büszkesége, hogy senki más a közelébe se ér ennek. Lecterrel szemben azzal érvelni, hogy a szeretet mindent legyőz – ez ugye érzékelhető, hogy milyen végtelenül nevetséges. És tényleg nem győzi le. A valódi gonoszt nem tudja legyőzni. Lehet örök csatározásban a szeretet és a gonoszság, mint ahogy a Biblia szerint, és reményt ad az, hogy nem írták meg a könyv végét, hogy bizony a gonosz legyőzte a világot, egyszerűen azért, mert a jót a saját értékrendje akadályozza benne, hogy győzhessen. A kitartás, a hit a szeretet erejében, ebben a harcban értelmetlen dolgok. Mint egy világháborúban a fültisztító pálcika. A gonosz felhasználja a céljaira a szeretetet, aztán kidobja amikor összepiszkolódott. A pszichológia azt mondja, hogy az emberi psziché nem viseli el azt, ha folyamatos képmutatásban kell élnie. Felveszel egy személyiséget, mondjuk egy szocmédia oldalon csinálsz egy másik reget, hogy majd azzal jól odamondogatsz vagy azzal majd titokban flörtölsz, aztán, ha gyakran használod, kezd belecsúszni a kommunikációba minden olyan dolog, ami valójában jellemző rád. Nem fogod tudni tartani magad a kitalált személyiséghez hosszasan. Ha egészséges a pszichéd. Ám, ha nem, ha te vagy a megtestesült lélektelen gonosz, a büszkeség akkor is tolja kifelé, hogy elmond, hogy ki vagy valójában. Csak nem fogják elhinni. Elszórod az igazság kavicsait, de az emberek átlépnek rajta. A tudat, hogy érvényesítetted az akaratod vagy elszórakoztattad magad ideig-óráig más emberek kínzásával meg tologatásával, az kevés. Mert a valódi győzelem az lenne, ha mint Lechter, már mindenki tudja, hogy ki vagy és mit műveltél, de még mindig a te kezedben vannak a szálak, még mindig okosabb, számítóbb és manipulatívabb vagy, mint bárki ésszel felérhetné.

A szeretet meg ebben a történetben szánalmas, tényleg szánalmas, hogy mennyire nem tétel. És tudom, hogy be tudnád bizonyítani, hogy nem is létezik. Joker más. Ő valójában önmaga karikatúrája. Lelketlen pszichopata ő is, de nem tud annyira elegáns lenni, mint Lecter. Túl sokáig túl kicsinyes örömöknek élt. Van benne nagyravágyás, de csak ostoba embereket tud kézben tartani. Ő kínlódik attól, hogy nem érti azokat akik szeretnek, szerelmesek, fájnak, éreznek. Kirekesztettenek érzi magát. Ez a kapcsolódási pont, ahol a jóindulatú néző „kedvelheti” ezt a karaktert. Mert a szerző a karakter megalkotásakor ösztönösen felhasználta a benne, bennünk élő reményt. (zseniális húzás) Lectert viszont kizárólag a pszichopaták kedvelhetik.

(egy előadást írok éppen a könyvekben és filmekben megjelenő mentális zavarok hitelességéről. Ez csak két figura, akit körbejárok, de vannak jópáran még. Kicsit beleette magát az agyamba a téma. Imádom! Őrült/bolond= nem tud különbséget tenni jó és rossz között, nem felelősségre vonható pszichopata= tudja, hogy mi a különbség – csak leszarja –, felelősségre vonható)

[blackkudos]

El Debarge

Eldra Patrick (El) DeBarge (born June 4, 1961) is an American singer-songwriter, producer and musician. DeBarge was the focal point and primary lead singer of the family group DeBarge throughout the early to mid-1980s. Popular songs led by El include "Time Will Reveal", "Stay with Me", "All This Love", and "Rhythm of the Night". As a solo artist, he is best known for his unique high tenor register, strong falsetto and the hits "Who's Johnny" and "Love Always", and for his collaborations with Tone Loc, George Clinton, Faith Evans, Quincy Jones, Fourplay, and DJ Quik. DeBarge is a three-time Grammy nominee.

Life and career

Early life

A native of Detroit, Michigan, El was the sixth of ten children born to Robert Louis DeBarge, Sr. (1932-2009) and Etterlene (née Abney) DeBarge. DeBarge sang in his local church choir and played piano as a child. Later, after his family moved to Grand Rapids, he and the rest of his family began performing at their uncle's Pentecostal church. When El was 13, his parents divorced after a difficult and stormy marriage. El is of African American, English, French, and Native American descent. Growing up, he was closest to his eldest brother Bobby and began imitating his brother's vocal styling.

For several years, El spent time in private study with music educator Ricky Callier. By 1975, El had begun to express a desire to become a performer. He became a father for the first time at 16 and eventually fathered 11 more children. In 1977, he dropped out of high school and began performing with his elder brothers in clubs and venues in Michigan. By 1979, Bernd Lichters was able to secure a deal with Source Records/MCA to release the Pall Mall Groove – Hot Ice album as SMASH for the USA/Canada market and moved El from Michigan to Los Angeles, to have him, his brothers Mark and Randy DeBarge, in addition to their cousin Andre Abney, Elliot Townsend, and Stanley Hood, to back up the release as the SMASH band. His eldest sister Bunny joined her brothers in California as well. In 1980, because of the success of their brothers Bobby and Tommy DeBarge with the hit group Switch, El was able to perform live at the piano and sing in front of Motown CEO Berry Gordy, who immediately signed the group, then known as The DeBarges, to the label.

Motown mentored them, and members later worked with and contributed songwriting, arrangements, and production to the recordings of Switch, including the 1980 albums This Is My Dream and Reaching for Tomorrow. El's first professional recording was as background vocalist to Switch's 1979 hit "I Call Your Name". He later helped to arrange music for several Switch songs including "Love Over and Over Again" and "My Friend in the Sky," which he, Bunny, and Bobby wrote. This song would later be sampled by the likes of Queen Pen and Raheem DeVaughn.

Music career

In 1981, The DeBarges was released after the family had worked in the studio for a year recording it. The album was noted for most of its songs produced and written by all four family members including Bobby DeBarge, who helped end the album track "Queen of My Heart" after El had led the song for most of its tenure. The following album, 1982's All This Love featured younger brother James and saw much success with the compositions "I Like It" and the title track. El would remain the producer and arranger for all of the group's Motown albums. In 1983, DeBarge released In a Special Way, which spawned the hits "Time Will Reveal (song)" and "Love Me in a Special Way", and in 1984, the band became a sensation while touring for Luther Vandross on the singer's Busy Body tour. Though the group enjoyed much success and appeared to be a family unit, there were growing tensions between El and his brothers, mainly because of Motown's push to have El become the only noted star of the group, repeating a pattern that began with Smokey Robinson and The Miracles. By the end of the tour, El DeBarge was mainly called to handle the production of DeBarge's next album, Rhythm of the Night, without much help from his siblings.

Rhythm of the Night became the group's best-selling album ever, though some contended that El DeBarge was the only member present on the album with the exception of the title track, which became a top five hit in several countries including the US and UK becoming the group's and El's signature song. In late 1985, he appeared on The Facts of Life in the Season 7 episode "Doo-Wah" as himself and performed his single "You Wear it Well" with Lisa Whelchel, Kim Fields, Mindy Cohn, and Nancy McKeon singing backup. In 1986, El DeBarge left the group and began his solo career with the release of his self-titled debut album, which spawned the hits "Who's Johnny" and "Love Always". Three years passed, however, until DeBarge released his second album, Gemini in 1989. The album was a failure. DeBarge's contract with Motown was terminated in 1990, and he signed with Warner Bros.. In the meantime, DeBarge was featured on the Quincy Jones single "The Secret Garden", alongside Al B. Sure!, James Ingram, and Barry White, released in 1990.

In 1992, DeBarge released his third album, the Maurice White-produced In The Storm, which featured the Chante Moore duet "You Know What I Like", which was Moore's first professional recording. Critics noted the album for its Marvin Gaye-styled productions. El DeBarge later admitted that Gaye was a huge influence on his musical style and once commented that he had initially written "All This Love" as a song he imagined Gaye doing; he even imitated Gaye's ad-libs during his I Want You era near the end. That same year, El had chart success on the R&B charts with a collaboration with Fourplay on their version of Gaye's "After the Dance". DeBarge's next album, 1994's Heart, Mind and Soul, co-produced with Babyface, yielded modest charted singles such as "Slide" and "Where is My Love" (which featured Babyface on duet vocals).

While DeBarge continued to collaborate on other artists' projects, including those of his brother Chico and rapper DJ Quik (with whom El collaborated on Quik's hit "Hand in Hand"), he didn't release any more albums between 1994 and 2009. In 2010, he finally emerged from a 16-year delay with the appropriately titled Second Chance, released after a series of comeback performances and appearances, including a well received performance at the 2010 BET Awards. The album yielded two singles, "Second Chance" and the Faith Evans duet "Lay With You", and later resulted in three Grammy Award nominations: Best Male R&B Vocal Performance, Best R&B Song, and Best R&B Album. El remains the only member of the DeBarges to have Grammy nominations both outside of the group and in the family.

Personal life

DeBarge was raised in Detroit and Grand Rapids as a child. His parents had a tumultuous marriage that involved domestic abuse and child abuse on the part of DeBarge's father Robert. DeBarge has remained mum on his relationship with his father and many other elements of his family life, later documented in books written by his mother Etterlene, sister Bunny, and brother Tommy. In 1978, DeBarge became a father to his first child, a daughter named Adris. He eventually went on to father 12 children altogether. DeBarge was close to his siblings, particularly his brothers Bobby and Chico. Bobby's death in 1995 had a profound effect on DeBarge; family members later said he has never fully recovered from it. Since Bobby's death, he has performed several of Bobby's songs with Switch onstage, sometimes with Chico singing along. DeBarge and several DeBarge brothers reunited in 1998 performing several DeBarge classics.

Legal problems and drug addiction

In 2001, DeBarge was arrested for cocaine possession and was given probation. In 2006, he was arrested again for possession of a controlled substance and was once again given probation. In 2007, he was arrested in a domestic dispute and was held without bail; the charges were later dropped. Later that year he was arrested yet again, charged with cocaine possession, and given probation. However, he was once again arrested in 2008 for possession of crack and drug paraphernalia, breaking the terms of his probation. For this violation he was immediately sentenced to two years in state prison in California.

DeBarge has had a history of drug abuse. He stated that his addiction started after he began receiving prescription medication for toothache pain after having a tooth pulled by a dentist. Up until then, DeBarge had not used drugs, unlike his siblings who began to abuse drugs during the tenure of the group. By the mid-1990s, DeBarge had become addicted, and his addiction resulted in his career faltering after its peaks in the 1980s. Following a prison sentence for which he served 13 months, DeBarge announced that he had found sobriety after an addiction that he said had lasted nearly 25 years, stating he had also acknowledged his problems with the law in the past. In February 2011, while promoting his 2010 album Second Chance, DeBarge's label announced that the singer was canceling all public dates and appearances as he went back to rehab following a relapse. DeBarge later returned to work and made an appearance at the 54th Grammy Awards in February 2012.

Discography

with DeBarges

The DeBarges (1981)

All This Love (1982)

In a Special Way (1983)

Rhythm of the Night (1985)

Solo

El DeBarge (1986)

Gemini (1989)

In the Storm (1992)

Heart, Mind and Soul (1994)

Second Chance (2010)

Wikipedia

[blackkudos]

Keith David

Keith David Williams (born June 4, 1956), known professionally as Keith David, is an American film and television actor, voice actor, singer and comedian. He is known for his co-starring role as Childs alongside Kurt Russell in John Carpenter's The Thing. He has acted in many mainstream films, such as Crash, There's Something About Mary, Barbershop, and Men at Work.

He had memorable roles in numerous cult favorites, including John Carpenter's films The Thing (as Childs) and They Live (as Armitage), the Riddick films Pitch Black and The Chronicles of Riddick (as the Imam), General Kimsey in Armageddon, King in Oliver Stone's Platoon, and Big Tim in Darren Aronofsky's Requiem for a Dream. David last starred as Elroy Patashnik in the sixth season of the comedy series, Community. In 2016, he began starring as Bishop James Greenleaf in the Oprah Winfrey Network drama series, Greenleaf.

His Emmy Award-winning voice-over career includes work as the narrator of numerous Ken Burns films such as The War. Characters that he has voiced include the Arbiter Thel 'Vadam in Halo 2, Halo 3 and Halo 5, Goliath on the Disney series Gargoyles, Spawn/Al Simmons on Todd McFarlane's Spawn which aired on HBO, David Anderson in the Mass Effect series, the Decepticon Barricade in Transformers: The Game, Julius Little in Saints Row, Saints Row 2, and Saints Row IV (as well as making a major guest appearance in the last game voicing himself), Sgt. Foley in Call of Duty: Modern Warfare 2, Dr. Facilier in The Princess and the Frog, the Flame King in Adventure Time, and Chaos in the English versions of Dissidia Final Fantasy, Dissidia 012 Final Fantasy and Solovar in The Flash.

Early life and education

David was born in Harlem and raised in Corona, Queens, both in New York City. His mother, Dolores (née Dickenson), was a manager at New York Telephone, and his father, Lester Williams, worked as a director of payroll operations.

He initially intended to become an actor after playing the Cowardly Lion in a school production of The Wizard of Oz and went on to study at Manhattan's High School of Performing Arts. He attended the Juilliard School's Drama Division (1975–1979, Group 8) where he graduated with a Bachelor of Fine Arts degree in 1979.

Film and television acting

In 1980–81, David honed his craft touring the country with John Houseman's The Acting Company in productions of A Midsummer Night's Dream and Samuel Beckett's Waiting for Godot. Less than two years later, he went on to star as Childs, opposite Kurt Russell in John Carpenter's The Thing, and his lengthy on-screen career had begun. In the 1980s run of Mister Rogers' Neighborhood, he portrayed Keith the Southwood Carpenter in the Neighborhood of Make-Believe segments. He also played Keith, the game coin collector in an episode where Rogers and a small child learn to play the arcade game Donkey Kong.

He went on to appear in films such as Oliver Stone's Platoon, The Quick and the Dead, They Live (reuniting with The Thing director, John Carpenter), Men at Work, Marked for Death, and Stars and Bars. He played Kirby in the 1995 film Dead Presidents, and he appeared in the 1995 Spike Lee's film Clockers. He followed this up with roles in other films such as Volcano, Armageddon, There's Something About Mary, Pitch Black, Barbershop, Agent Cody Banks, The Chronicles of Riddick, Crash, ATL, Delta Farce and First Sunday.

He portrayed "Father" in the romantic comedy action film Mr. and Mrs. Smith. At the same time, he has appeared in numerous independent films including the critically acclaimed Requiem for a Dream, playing the role of Big Tim. He has also appeared extensively in television productions since the 1980s and as a regular character Lieutenant Williams on the short-lived television series The Job. He was a regular on another shoot made for ABC entitled The Big House in 2004. David portrayed Detective Jim Crenshaw in the 2010 horror film Chain Letter.

In 2010, David was cast as Max Malini for the NBC television series The Cape. On April 18, 2011, Keith appeared in the 21st episode of season one of Hawaii Five-0 as criminal tycoon Jimmy Cannon. In 2012, he appeared in the horror film Smiley and the science-fiction drama Cloud Atlas. In 2013, David appeared in the controversial drama Boiling Pot which is based on true events of racism. In 2014, David portrayed Command Sergeant Major Donald Cody in the Fox comedy series Enlisted. Later in 2014, David was cast as Elroy Patashnik in the sixth season of the sitcom Community.

In 2015, David was cast in the leading role alongside Lynn Whitfield in the Oprah Winfrey Network drama series, Greenleaf.

Voice acting

David was the voice of Goliath from Gargoyles, the title character in the Spawn animated series and Lemuel Kane in Archer. In the English dub of Princess Mononoke, David played the narrator and Okkoto. He played the role of Mama in the English dub of 3x3 Eyes. He provided the voice for the character Decker in the role-playing video game Fallout and the voice for the character Vhailor in Planescape: Torment. He provided the voice of the Arbiter for the video game Halo 2, released in 2004; later, he reprised that role in the Xbox 360 follow-up Halo 3. He portrayed the character again in Halo: The Master Chief Collection and also in Halo 5: Guardians, released in 2014 and 2015 respectively. He played the role of Captain David Anderson in BioWare's Mass Effect series.

David did voice work in the Xbox 360 title Saints Row playing gang leader Julius. He is also heard on the intro of several Ice Cube projects, including Westside Connection's 2003 release Terrorist Threats, Cube's 2008 solo album Raw Footage, Cube's 2010 solo album I Am the West, and he narrated the documentary Beef II, which also featured Ice Cube.

He provides the voice for the UPS "What Can Brown Do for You" commercials. His voice can be heard in the Justice League cartoons. He has done voice work for early Adult Swim commercials for Inuyasha.

He has worked with documentary filmmaker Ken Burns several times, narrating Burns' Jazz, Mark Twain, The War, Unforgivable Blackness: The Rise and Fall of Jack Johnson, and Jackie Robinson. David won the Emmy Award for Outstanding Voice-Over Performance for his work in The War and Unforgivable Blackness. He performs the narration duties in the BBC documentary, World War II: Behind Closed Doors.

The 2004 PBS documentary Ancient Refuge in the Holy Land and the 2005 History Channel documentary Crusades: Crescent & the Cross focusing on the medieval Crusades were both narrated by him, as well as the 2003 National Geographic documentary Inside Mecca. He later parodied his documentary work by narrating the 2012 episode of Community, "Pillows and Blankets", a mockumentary revolving around a pillow fight between rival blanket forts.

David has done voice-over work for many other documentaries including several for National Geographic and the documentary Comic Book Superheroes Unmasked for the History Channel. He replaced Paul Winfield as narrator for the A&E show City Confidential, taking over after Winfield's death in 2004. He voiced the trailer for the movie Primeval, which was released in the United States on January 12, 2007.

David provided the voice of police detective Alex Cross for the audiobook versions of three novels by James Patterson: Cat and Mouse (1997), Pop Goes the Weasel (1999), and Roses are Red (2000). Other voice roles include Bebe Proud Clone from The Proud Family Movie, Atlas from the Teen Titans animated series, the lone renegade male gorilla Tublat in The Legend of Tarzan, and the Decepticon Barricade in Transformers: The Game.

He did the voices of the Black Cat in Coraline, Sergeant Foley in Call of Duty: Modern Warfare 2, Dr. Facilier in The Princess and the Frog, and the Big Man for The Spectacular Spider-Man episode "Survival of the Fittest".

On May 25, 2008, he narrated Kansas City's Celebration at the Station, a Memorial Day service held annually at the World War I Memorial across from Union Station. During the ceremony, he announced the attendance of Frank W. Buckles, the last living veteran of World War I. He was the voice of Frederick Douglass in the third episode of the PBS documentary God in America: How Religious Liberty Shaped America in 2010.

David returned in the Saints Row series' newest title Saints Row IV and voices himself and Julius as well. It is mentioned repeatedly during SR4, however, that he and Julius share more than a passing resemblance, much to the chagrin of Keith (the character). He is the narrator of the History Channel series The Bible which premiered on March 3, 2013.

David voiced the superhero gorilla Solovar in the two-part Gorilla City episode of The Flash.

Stage acting

In 1992, David received a Tony Award nomination for Best Supporting Actor in a Musical for his performance in Jelly's Last Jam. David received raves for his Shakespeare work on stage in Central Park, New York City. In 1995, he played the lead as Floyd "Schoolboy" Barton in August Wilson's Seven Guitars on Broadway.

In May 2006, he appeared in the musical Hot Feet on Broadway in New York. David appeared in the 2013 revival of August Wilson's Joe Turner's Come and Gone at the Mark Taper Theater in Los Angeles. Directed by Phylicia Rashad, he played the part of innkeeper Seth Holly.

His performance in Ebony Repertory Theatre's 2014 Paul Robeson by Phillip Hayes Dean previewed Wednesday, March 12, 2014, and opened on Friday, March 21, 2014.

From April 21, 2015, to May 10, 2015, Keith David starred as “Dolomite“ in the Off-Broadway play ToasT. The play (produced by Lemon Andersen and co-starred Hill Harper) was set in the Attica Prison around the time of its 1971 prison riot and told of the lives of its prisoners using poetic prose.

Personal life

He has married twice. He has one son from his first marriage and two daughters from his second marriage.

Wikipedia

[days-hatodokei-demise-butsuen]

2020-06-05 (金) 👸🏻👑*ﾟ👸📖

👑No.１

【📷💕フォト 【◎】д=) ギャラリー📷💕】

◆◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇

 /)/) (\¥(\¥

( . .)(♡)(. . )

ଘ♡ଓ*:ﾟ+｡.໒꒱°*。⋈｡♡:* :ﾟ+｡ଘ☆:ﾟ+｡⋈｡

─┘─┘─┘─┘─┘─┘─┘─┘─┘─┘

✩⃛ೄ ５月の撮影プレイバック ✩୭⋆*✦*⋆୭*✩

＼‪❤︎／ 休み時間に責められました ＼‪❤︎／

＼‪❤︎／ この道は まるで滑走路 ＼‪❤︎／

＼‪❤︎／ 夜空に続く ＼‪❤︎／

❥❥» ６月へ向かう空・螢のように光る月夜🌛*゜🌜

(7)(8)：

撮影時刻 🔜 00:48・00:49

❥❥» 昔は田んぼにいた螢が見れなくなったので名残を残しています。

ੈ✩ 代用ムラサキツユクサ（紫露草）(Ü)۶♡٩(Ü)

🎞󾠜୨୧┈┈┈┈┈┈┈┈┈┈┈┈┈┈୨୧󾠜🎞

by 榊原郁恵『私の先生』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 先生 私 憶えてますか ♪♪"

(ღ•ㅂ•๐) 手編みのセーター 着てますか ♪♪"

(ღ•ㅂ•๐) ところで先生 17才は ♪♪"

(ღ•ㅂ•๐) 大人でしょうか 子供でしょうか ♪♪"

(ღ•ㅂ•๐) パジャマ姿で ウロウロするな ♪♪"

(ღ•ㅂ•๐) 突然 兄貴に しかられました ♪♪"

(ღ•ㅂ•๐) 螢の光に泣きながら ♪♪"

(ღ•ㅂ•๐) すがってしまった先生は ♪♪"

(ღ•ㅂ•๐) やっぱり 私の初恋ですか ♪♪"

(ღ•ㅂ•๐) 先生 愛は 心でしょうか ♪♪"

(ღ•ㅂ•๐) クラスで うわさの種でした ♪♪"

(ღ•ㅂ•๐) なにか ふたりに 秘密があると ♪♪"

(ღ•ㅂ•๐) 休み時間に責められました ♪♪"

(ღ•ㅂ•๐) 先生 今でも 独身ですか ♪♪"

(ღ•ㅂ•๐) 遊びにいってもかまいませんか ♪♪"

(ღ•ㅂ•๐) ひと恋しくて灼けるような ♪♪"

(ღ•ㅂ•๐) 打ち明け話 あるのです ♪♪"

(ღ•ㅂ•๐) 先生 私は大人でしょうか ♪♪"

✩……✩……✩……✩……✩……✩……✩……✩……✩

by 坂本冬美『男の艶歌』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 天にもらった 財宝(たから)の山を ♪♪"

(ღ•ㅂ•๐) 棄てて悔いない 友がいる ♪♪"

(ღ•ㅂ•๐) 時代おくれと 笑われようと ♪♪"

(ღ•ㅂ•๐) 義理と人情と 浪花節 ♪♪"

(ღ•ㅂ•๐) それが男の 花絆(はなきずな) ♪♪"

(ღ•ㅂ•๐) 路地にかくれて 見送るあの娘(こ) ♪♪"

(ღ•ㅂ•๐) 俺はあばよと 背なで言う ♪♪"

(ღ•ㅂ•๐) 恋に少しは 似ているけれど ♪♪"

(ღ•ㅂ•๐) 切れば血の出る 侠気(おことぎ)は ♪♪"

(ღ•ㅂ•๐) 女なんかにゃ わかるまい ♪♪"

(ღ•ㅂ•๐) 俺が花なら お前は風だ ♪♪"

(ღ•ㅂ•๐) そして命は 春の夢 ♪♪"

(ღ•ㅂ•๐) 男同士の 相合傘で ♪♪"

(ღ•ㅂ•๐) 地獄参りの 道行きは ♪♪"

(ღ•ㅂ•๐) 花によりそう 風ひとつ ♪♪"

░▒▓█▓▒░▒▓█▓▒░▒▓█▓▒░▒▓

by 松任谷由実『中央フリーウェイ』 ♪̊̈♪̆

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 中央フリーウェイ ♪♪"

(ღ•ㅂ•๐) 調布基地を追い越し ♪♪"

(ღ•ㅂ•๐) 山にむかって行けば ♪♪"

(ღ•ㅂ•๐) 黄昏がフロント・グラスを 染めて広がる  ♪♪"

(ღ•ㅂ•๐) 中央フリーウェイ ♪♪"

(ღ•ㅂ•๐) 片手で持つハンドル ♪♪"

(ღ•ㅂ•๐) 片手で肩を抱いて ♪♪"

(ღ•ㅂ•๐) 愛してるって 言ってもきこえない ♪♪"

(ღ•ㅂ•๐) 風が強くて ♪♪"

(ღ•ㅂ•๐) 町の灯が やがてまたたきだす ♪♪"

(ღ•ㅂ•๐) 二人して 流星になったみたい ♪♪"

(ღ•ㅂ•๐) 中央フリーウェイ ♪♪"

(ღ•ㅂ•๐) 右に見える競馬場 ♪♪"

(ღ•ㅂ•๐) 左はビール工場 ♪♪"

(ღ•ㅂ•๐) この道は まるで滑走路 ♪♪"

(ღ•ㅂ•๐) 夜空に続く ♪♪"

(ღ•ㅂ•๐) 中央フリーウェイ ♪♪"

(ღ•ㅂ•๐) 初めて会った頃は ♪♪"

(ღ•ㅂ•๐) 毎日ドライブしたのに ♪♪"

(ღ•ㅂ•๐) このごろは ちょっと冷いね ♪♪"

(ღ•ㅂ•๐) 送りもせずに ♪♪"

(ღ•ㅂ•๐) 町の灯が やがてまたたきだす ♪♪"

(ღ•ㅂ•๐) 二人して 流星になったみたい ♪♪"

(ღ•ㅂ•๐) 中央フリーウェイ ♪♪"

(ღ•ㅂ•๐) 右に見える競馬場 ♪♪"

(ღ•ㅂ•๐) 左はビール工場 ♪♪"

(ღ•ㅂ•๐) この道は まるで滑走路 ♪♪"

(ღ•ㅂ•๐) 夜空に続く♪♪"

(ღ•ㅂ•๐) 夜空に続く ♪♪"

(ღ•ㅂ•๐) 夜空に続く ♪♪"

*⋆✈*⋆✈︎　┈┈　✈︎*⋆✈︎　┈┈　✈︎*⋆✈

by 中森明菜『北ウイング』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) Love Is The Mysteryわたしを呼ぶの ♪♪"

(ღ•ㅂ•๐) 愛はミステリィ不思議な力で ♪♪"

(ღ•ㅂ•๐) 映画のシーンのように ♪♪"

(ღ•ㅂ•๐) すべてを捨ててく Airplane ♪♪"

(ღ•ㅂ•๐) 北ウイング 彼のもとへ ♪♪"

(ღ•ㅂ•๐) 今夜ひとり旅立つ ♪♪"

(ღ•ㅂ•๐) いちどはあきらめた人 ♪♪"

(ღ•ㅂ•๐) 心の区切りの Teardrops ♪♪"

(ღ•ㅂ•๐) 都会の灯り ちいさくなる ♪♪"

(ღ•ㅂ•๐) 空の上で見降ろす ♪♪"

(ღ•ㅂ•๐) 夢の中をさまようように ♪♪"

(ღ•ㅂ•๐) 夜をよぎり 追いかけて 夜間飛行 ♪♪"

(ღ•ㅂ•๐) Love Is The Mystery 翼ひろげて ♪♪"

(ღ•ㅂ•๐) 光る海を 越えるわ すこし不安よ ♪♪"

(ღ•ㅂ•๐) 日付が塗りかえてゆく♪♪"

(ღ•ㅂ•๐) 苦しいだけのきのうを ♪♪"

(ღ•ㅂ•๐) あなたが住む 霧の街が ♪♪"

(ღ•ㅂ•๐) 雲の下に待つのね ♪♪"

(ღ•ㅂ•๐) 恋の眠り目覚めさせてく ♪♪"

(ღ•ㅂ•๐) 見知らぬ空 夢色の 夜間飛行 ♪♪"

(ღ•ㅂ•๐)  Love Is The Mystery 言葉をためて ♪♪"

(ღ•ㅂ•๐) ふいに 胸に飛びこむ それが返事よ♪♪"

(ღ•ㅂ•๐) Love Is The Mystery あなたは呼ぶの ♪♪"

(ღ•ㅂ•๐) 愛はミステリィ不思議な力で ♪♪"

(ღ•ㅂ•๐) Love Is The Mystery ♪♪"

(ღ•ㅂ•๐) Forever Mystery ♪♪"

(ღ•ㅂ•๐) Love Is The Mystery ♪♪"

(ღ•ㅂ•๐) Forever Mystery ♪♪"

☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁⌒☁¨☁

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