domingo, 9 de fevereiro de 2014

Especial Cordas 4 - David Garrett



Olááá pessoas!
Cá estou eu, aproximadamente uns 1200 depois, para dar continuidade ao Especial Cordas! \o/
Falarei hoje sobre um rapaz chamado David Garrett. Ele é um violinista formado de maneira erudita mas que adora flertar com o rock, tendo chegado a gravar um cd completo com covers de diversas bandas e versões "roqueadas" de sinfonias, chamado Rock Symphonies. Os três primeiros vídeos postados fazem parte do DVD ao vivo desse trabalho - Open Air Live.
Em 2012 lançou o cd "Music" (mais recente da carreira adulta) em em 2013 um cd gravado aos seus quatorze anos, chamado "14" (justo, né? rs).
É bastante comum verificar a participação de guitarra, contrabaixo, arranjos eletrônicos, bateria e as vezes até outros instrumentos de percussão nos trabalhos dele. Vamos conhecer?

Master of Puppets (cover do Metallica):
video

November Rain (cover do Guns N' Roses):
video

Smooth Criminal (cover do Michael Jackson):
video

Serenade (Schubert):
video

Csardas Gypsy Dance Alice:
video

E duas versões bem legais presentes no cd "Music":
Tico Tico (ao vivo):
video

Viva La Vida (cover do Coldplay):
video


Momento Observações Aleatórias...
- "Como David Garrett não tinha o apoio financeiro dos seus pais para estudar na Juilliard School, ele teve que custear seus estudos, e para isso trabalhou em um bar, em um café, na biblioteca da escola e também na Outfitters Urban Store, onde foi sondado para se tornar um modelo 7 e, assim, ganhando ao apelido de "Beckham do violino"." (fonte Wikipedia)
- O que me leva à segunda observação: existe um bonequinho do David Garrett! rsrs 
Possivelmente não há nenhum realizado em larga escala, mas no Deviat'Art a customizadora mary-vassilieva retratou o violinista. Me divertiu, tenho que dizer!


Imagens e vídeos: Reprodução.
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Perdeu as partes anteriores do especial? Veja aqui: Vanessa MaeAngels of Venice e Bond.

^.~


sábado, 8 de fevereiro de 2014

All Nightmare Long - Metallica


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video


Fonte: djscam16

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All Nightmare Long

Luck. Runs. Out.

Crawl from the wreckage one more time.
Horrific memory twists the mind.
Dark, rutted, cold and hard to turn.
Path of destruction feel it burn.

Still life… incarnation.
Still life… infamy.

Hallucination.
Heresy.
Still you run, what's to come, what's to be.

Cause we...
Hunt you down without mercy
Hunt you down all nightmare long
Feel us breathe upon your face
Feel us shift, every move we trace
Hunt you down without mercy
Hunt you down all nightmare long

Luck. Runs. Out.
You crawl back in,
But your luck runs out.

Luck. Runs. Out.

The light that is not light is here
To flush you out with your own fear
You hide, you hide but will be found
Release your grip without a sound

Still life… immolation.
Still life… infamy.

Hallucination.
Heresy.
Still you run, what's to come, what's to be.

Cause we...
Hunt you down without mercy
Hunt you down all nightmare long
Feel us breathe upon your face
Feel us shift, every move we trace
Hunt you down without mercy
Hunt you down all nightmare long

Luck. Runs. Out.
You crawl back in, but your luck runs out.

Then you crawl back in,
Into your obsession.
Never to return.
This is your confession.

Hunt you down without mercy
Hunt you down all nightmare long
Feel us breathe upon your face
Feel us shift, every move we trace
Hunt you down without mercy
Hunt you down all nightmare long

Luck. Runs. Out.
You crawl back in, but your luck runs out.
Your luck runs out.




Imagem: Reprodução.

Introdução à Escrita Criativa: Exercícios para escritores de histórias

Bom, apesar de não compartilhar muito esse aspecto, gosto muito de escrever e tenho interesse em desenvolver um livro - mesmo que não seja para publicação, mas pelo exercício da criatividade. 

Esse texto legal a seguir dá algumas dicas práticas para a produção literária:
English 50 – Intro to Creative Writing: Exercises for Story Writers
More Exercises:
Write the first 250 words of a short story, but write them in ONE SENTENCE. Make sure that the sentence is grammatically correct and punctuated correctly. This exercise is intended to increase your powers in sentence writing.
Write a dramatic scene between two people in which each has a secret and neither of them reveals the secret to the other OR TO THE READER.
Write a narrative descriptive passage in a vernacular other than your own. Listen to the way people speak in a bar, restaurant, barber shop, or some other public place where folks who speak differently ("He has an accent!") from you, and try to capture that linguistic flavor on the page.
Play with sentences and paragraph structure: Find a descriptive passage you admire, a paragraph or two or three, from published material, and revise all the sentences. Write the passage using all simple sentences (no coordination, no subordination); write the passage using all complex-compound sentences; write the passage using varying sentence structure. The more ways you can think to play with sentence structure, the more you will become aware of how sentence structure helps to create pacing, alter rhythm, offer delight.
Focus on verbs: Find a passage that you admire (about a page of prose) and examine all of the verbs in each sentence. Are the "active," "passive," "linking?" If they are active, are they transitive or intransitive? Are they metaphorical (Mary floated across the floor.)? What effects do verbs have on your reading of the passage?
Take a passage of your own writing and revise all of the verbs in it. Do this once making all the verbs active, once making all the verbs passive. Then try it by making as many verbs as possible metaphorical (embedded metaphors).
Characters: There are two types of characters: well rounded and flat.
Create character sketches. This is a good exercise to perform on a regular basis in your journal. Sometimes you can just create characters as they occur to you, at other times it is good to create characters of people you see or meet. Some of the best sketches are inspired by people you don't really know but get a brief view of, like someone sitting in a restaurant or standing by a car that has been in an accident. Ask yourself who they are, what they are about. The fact that you don't really know the person will free you up to make some calculated guesses that ultimately have more to say about your own vision of the world than they do about the real person who inspired the description. That's okay, you are NOT a reporter, and ultimately the story you intend to tell is YOUR story.
Write a character sketch strictly as narrative description, telling your reader who the character is without having the character do or say anything.
Revise the above to deliver the character to the reader strictly through the character's actions.
Revise the above to deliver the character strictly through the character's speech to another character.
Revise the above to deliver the character strictly through the words/actions of another character (the conversation at the water fountain about the boss).
Often when we call a character "flat" we mean that the author has failed in some way; however, many good stories require flat characters. Humor often relies on flat characters, but often minor characters in non-humorous pieces are also flat. These characters usually appear to help move the plot along in some way or to reveal something about the main character. A flat character is one who has only ONE characteristic. You can create whole lists of these and keep them in your journal so that you can call upon them when you need a character to fit into a scene.
Young writers are prone to write autobiographical pieces. Instead of writing about people like yourself, try writing about someone who is drastically different in some way from you. Writing about someone who is a good deal older or younger than you will often free up your imagination. It helps to make sure you are delivering enough information to your reader so that the reader can clearly see the character and understand the character's motives.
Write a scene of about five hundred words in which a character does something while alone in a setting that is extremely significant to that character. Have the character doing something (dishes, laundry, filing taxes, playing a computer game, building a bird house) and make sure that YOU are aware that the character has a problem or issue to work out, but do NOT tell your reader what that is.  
This page created and maintained by Jim Manis; last updated February 10, 2000.

Fonte: http://www.stumbleupon.com/su/2gVUuZ/:iRXox2S0:aJutnZ7A/www2.hn.psu.edu/faculty/jmanis/assign/e50xs2.htm/ 

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