and my eyes are leaking

but all these fingers are speaking

through the strings

they're freakin' out

and everybody's waisting time

i'll say it again... (repeat)

oh the devil and me

we're playing games we shouldn't be

k i s s i n g

way up and around my tree

i used to have a yellow ring

around the color of my eye

but now it's gone and all that's left is

blue

blue blue blue blue

but from where i was coming

you were the only thing right

i guess i'm sorry for that

but if you think these bars of love you have forged

could keep me here locked up, and waiting and yours

well, baby you're wrong

coz baby i'm leaving

now decide what you need

a guide or a thief

someone to hold you

or sharpen your teeth

i ain't staying to find out

coz i think you're blind and i think you're deaf

and touching's the only sense you've got left

coz baby i'm leaving

waiting to be crushed

that is how you used to

hunger for my touch

dance little devil, dance

grasping o my flesh

like hanging from a rope

that is how you used to

give each other hope

dance little devil, dance

with her heavy, heavy load

she said oh my lord you're beautiful

now it's hard to do the pushing

when you're a needle and she's a cushion

i know there ain't gonna be too much mushin that way

he said she's just one more sheep

in a whole pretty big, wide heap

all the other is cotton for him to sleep on

i said why do we have to die

give it just more time

i'm gonna make it alright

fellas, brake it down

all he had left in him was his pain

she was a sweet field of sugarcane

and he was a walkin hurricane

he scratched his nails in the dirt

still he couldn't undo all the hurt

clang like sweat to his shirt

now you can't teach a new dog old tricks

you can't break what you cannot fix

you cannot because it, it really sticks to you

why do we have to die

give it just more time i'm gonna make it alright

i'm gonna take it home...

little more time

need a little little more time

(all i need is time to get over you)

i won't let your tired thoughts bring me back home from sea

i won't let you take this monkey off his tree

i won't let you roll your coaster over me

coz i'm growing, i'm growing tall this fall  <<ssshhh>>

i said i'm growing, i'm growing tall this fall

<<cool it>>

there used to be a time when we were high just like them trees

now the season's changed and we are falling with the leaves

now you are a vine and you are hangin 'round my knees

now you are a vine and you are begging honey please

but i'm growing, i'm growing tall this fall

ok guys do that part where you take that bridge

like pillows underneath her cheeks

now when she spoke an avalanche rolled on them from behind her teeth

suddenly the carpet was pulled from underneath my feet

and when i tried to get close she just laughed and got beneath the sheets

she said no, no, no i gotta prove you wrong

she had them big almond eyes which gave her away

when she stared through them you could see the tornadoes  play

i had the kind of empty hole that always made her pay

she had them dancing shoes that never let her stay

she said no, no, no i gotta prove you wrong

now suddenly she says here i am

coming back like a ghost before the wall

suddenly she says here i am

coming back like a ghost before the wall

oh my baby, she's just a little puppy

my baby she's just a little puppy but she's acting like a full grown bitch

my baby, she don't even know one card trick

oh my baby, she don't even know one card trick

oh my baby, she don't even know a card trick but she's acting like a full grown witch

oh my baby, i'm so over you

you got me singing the over you blues

see, this is what it is it's the over you blues

awh, c'mon one more time...

broken on the floor

my small ceramic pieces are bleeding like a shore

my head says 'no,' my body says 'go,' my heart says 'i don't know, just flow'

and i am left there standing dressed in my best smile

you don't say a word, instead we wait a while

you know how it goes from here

two sets of skin and lots of sweat and tears

suddenly your tired hand is resting on my knee

i can feel your warmth but i can't to be

clinging to your lower lip with my bare teeth

clinging to your love with my lost belief

you know how it goes from here

two sets of skin and lots of sweat and tears

ain't it fun when you - you ain't alone at night fall

ain't it fun when you've got - someone tickle your core

we're two vacant shells entangled in each other in the dark

we're two vacant cells imprisoning each other in the dark

i don't laugh and i don't cry

i don't think about you all the time

but when i do, i wonder why

you had to go out of my door and leave just like you did before

i know i said that i was sure but rich men can't imagine poor

one day baby we'll be old, oh baby we'll be old and think of all the stories that we could've told

little me and little you kept doing all the things they do

they never really think it through like i can never think you're true

here i go again the blame, the guilt, the pain, the hurt, the shame

the founding fathers of our plane

that's stuck in heavy clouds of rain

one day baby we'll be old, oh baby we'll be old and think of all the stories that we could have told...

tell me i'm weak

tell me these promises are not mine to keep

tell me i'm ugly, tell me you love me

tell me you cannot go through this world without me

oh i, i, i'm just a tree

my roots are with her but my leaves are falling

heal baby, heal

take all the time you will

i never thought i'd say this but i'm lettin' go of the bill

i don't wanna see your face here no more

still that doesn't mean that i'm shuttin' the door

no i, i, i'm just a tree

my leaves are with her

but my roots are very well thee, ohh...

(repeat first verse and first chorus)

i know these words are tearing you apart

still i told you right from the start

this is our little song

it's gonna play out

i said baby if you insist

she said why do you keep seeing things you know that don't exist

i said baby i love you, now what can i do, i'll probably love you 'till the day i die

she oh pretty honey, if that's true then give me both them pretty eyes

i said baby you can have them, you can have my eyes

i was thinking if she took them i won't see her lies

but my baby i could taste her lies

she said baby get into this sack

i said, baby i don't know what's there

she said all i wanna do with you is i wanna take you with me everywhere

i said, okay, baby take me everywhere

take me through the day and through the night

she said ah hoawh pretty honey, don't you kid with me

i really don't got that kinda time

still i said baby, you can have me and i got right in

i was thinking if she took me i could taste her skin

but my baby, all i taste is her lies

oh my honey all i taste is her lies

baby you can have them, you can have my eyes

i was thinking if she took them i won't see her lies

but my baby i could taste her lies

oh my baby, oh my honey

oh my baby, oh my baby, i can

ta'a'aa'a'a'aa'ayayayaaa'a'a'aayayayayaysate

her

lies

said i got me a hangwoman, hangin' 'round my bed

lord i don't know but i, i think she wants me dead

i said i don't know, but i think she wants me dead (c'mon Go)

hangwoman hangwoman, got me wearing my best clothes

oh little pretty hangwoman, got me wearing my best clothes

but if it's a wedding or a funeral only she knows

said if it's a wedding or a funeral only god knows

now make me cry

hangwoman hangwoman, tied that noose around my neck

oh little pretty hangwoman, tied that noose around my neck

hang woman tied that noose so our love would never break

I'm not sure what to make of this book.  It was well-written and fast-paced. It's a very quick, taut book.  I liked it, but I felt...confused by it.  I read a review that said it was a choose-your-own-adventure book, which is rather accurate.  If you want it to be a ghost story, it is.  If you want it to be supernatural, it is. If you want it to be a thriller, it is.  If you want it to be a story about the scars war give people and the land, it is.  The problem is that I never liked choose-your-own-adventure books; as I've stated before, I like a straightforward plot and have never felt the need to function as a deus ex machina in whatever I was reading.  Besides, I'd always get confused about what page I was on and where I had come from or been in those books LOL. 

I didn't like the characters.  Thirty-year-old Molly's "issues" irritated me.  Her supposedly terrible life seemed more the life a spoiled brat chose than something that a cruel fate had inflicted upon her.  Kleat was one-dimensional and Duncan seemed to be a cipher, which was, well, appropriate.  I felt like you could have substituted any characters in the plot.  In some ways it seemed like those particular characters didn't matter, though they end up mattering a lot to the truth of what is going on.

Long does an amazing job of making the scenery come alive...literally.  Plants grow massively overnight and seem to have a mind of their own.  I was appropriately creeped out by the setting.  Long makes the setting one more threat to Molly, Kleat and O'Brian, which reminded me a lot of Scott Smith's The Ruins.  I like the ghost story elements of the book, and I like how Kleat and O'Brian are involved, but it seemed weak drawing Molly actively into that story and giving her a reason to be there.  I think it was overkill to force everyone involved to have a connection.

Interesting book and almost lyrical in spots.  Also recommended:

• The Descent: what would we do if we discovered if hell existed and we could access it? (Long)
• The Ruins:  sometimes it's better to stay in your hotel room and lounge by the pool instead of going exploring (Smith)

they met when he was in a hospital

he whispered i ain't got no heart into the room

she said i'll make you smile again and made an air plain out of some pretty words put in a spoon

he said i'll never see again my eyes are sort of twisted inwards deep into my throat

she said don't worry babe i'll open up your jam i'll open up my pretty self

she laid down in his road

said how do ya know

maybe you are

she peeled the skin away so everyday he's cry and in those tears he'd lie to find some peace

she'd brake from all his words but she was made of mercury

she'd come together later piece by piece

and it became a game they played under the blankets in the bed

pretending she was small and he was big

and she became so small he could lift her body and heart and all

he held her up naked

she was just his fig

just his fig

said how do ya know

maybe you are

Just sittin here tryin to come up with another reconing wallpaper. You know, it's actually pretty hard drawing a wallpaper. You got to get everything in puportion and you have to fill the page. ~sigh~ it's worth it though (I love drawing) all together it comes out good in the end ^_^
Heh I'm on gaia right now, man is this place weird. When I first started (2nd year they were out) everything was good and fun. Even when the dating forums were up everything was good. Now though, HOLY CRAP!! I'm sitting here looking for a good place to talk, and I see all these forums about Girls bend over and guys stick it in.............. WHAT THE FUCK (pardon my language). Really what the hell do these people think they are doing, that site is rated PG13, 13!!! ~sigh~ I guess I just sound old, but I still think that those things they put on there are still screwed up -_-

Well I fell better LOL. Anyone up for tennis?? Anyone??....................... CHECK PLEASE

[EDIT] Wow sorry, I didn't see that it got cut off. My bad. Click pic for full.  [EDIT]

It's a little big sry. Well I hope that you all have a good night Peace Out ^_^

by Paco de Onis - Skylight Pictures (2008 Producers Institute project "The Reckoning")

The first day at BAVC: start with 9 teams of documentary filmmakers, video editors and multimedia developers, add online gaming and mapping and software thinkers and Second Life producers and a visionary musician, stir and simmer for 10 days, sprinkle with old and new media execs, all under the watchful eye of chef de cuisine Wendy Levy and her high-tech sous chefs, and you’ve got an amazing stew for social change in the making!

At yesterday’s Sourcing the Future panel we heard lots of ideas on how to increase the visibility of a documentary project, thinking of it more as content than programming, getting users to spread your work through social networks, the usual head-scratching about monetizing social issue work, but I was left with this big question: how do we take someone who has become engaged with an issue and move them to political action? With some issues you can make individual changes in your lifestyle that can impact the larger picture, like the food you eat, the car you drive, etc. But other issues require collective action and political pressure. At Skylight we’re producing a project to raise public awareness about the International Criminal Court (ICC) titled "The Reckoning," and the work it’s doing to bring perpetrators of war crimes and mass atrocities to account - so far 106 countries have joined the Court, but the US hasn’t - how will we get the US to join? It’s going to require political pressure - if we succeed in engaging the public, we’ll have to go the next step and organize those engaged people to help us educate and press policy makers to support this important new Court. Beyond all the online tools we can bring to bear, we also need to bring people together off line. We’re planning to offer screening kits the way MoveOn and Robert Greenwald did during the 2004 campaign, so that people can get together around the issue and meet each other, and hopefully create nodes of engaged citizens around the country to get behind the ICC and the important impact it can have in the defense of human rights and justice.

The panel on public radio that we heard in the afternoon was a great reminder of the enduring role of radio as a prime communication platform, and through talk radio with listeners calling in from their cellphones, it can still be the most important interactive forum for a community, as we saw while filming for "The Reckoning" in Africa.

This past Tuesday The Reckoning performed a "Bat." This is not a form unique to Reckoning. It's been around for a long time, having been created by former iO team Georgia Pacific. The Bat is performed in a black theater, with all the lights off. The performers sit in a semi-circle on chairs on the stage, don't look at one another, and create their improvised worlds strictly via vocal performance. It's like "watching" an improvised radio play.

Often in improvisation, we marvel at the universe created via the object and environment work of the performers. Steve Waltien, TJ Jagodowski and a few others are masters of this type of work, and Jagodowski particularly can make something as mundane as removing a twist-tie from a loaf of bread look so real that the mundane becomes spectacular. To watch great improvisors create universes that they all collectively recognize and honor makes for frequently great theater. In a Bat, however, this does not exist, and it draws the audience in to the form by allowing us to create our own universes.

In last night's Reckoning show there were two scenes at the center of the action that highlight the above. In the first, Holly Laurent and Charlie McCrackin play a father/daughter having a conversation that is extremely heartfelt and real. Despite the theater being black, my imagination told me that they were in a kitchen. And I can still, today, see the color and pattern of the wallpaper, the size and shape of the coffee mug Holly's character was sipping tea from, the little scuff on the side of the kitchen table where the dad taps his wedding ring as he reads the newspaper, the breakfast mess in the sink and the already-read newspaper on a chair in the corner. What's notable is not that I drew this conclusion (it's actually a version of my wife's parents' kitchen), but rather what is notable is that my wife, sitting next to me, saw it in a completely different light. And I'm sure the people in front, behind, to the left and right of us, all saw a different setting based on their own experiences and interpretations of the dialog The Reckoning was delivering.

Improv is a difficult artform. It requires the performers to make quick decisions determining character, emotion, body language, environment and more at the top of a scene, and to evaluate and alter the above as the scene and the show progress, taking what is offered by their partners and making drama from it. The Bat does not require any less dexterity from the performers, because even though they are not moving and we can't see them, they are working through those environments in their heads and acting them out, just only via voice. We as the audience, though, whether we acknowledge it or not, are participating to a high degree in a Bat, because we're allowed to decide if Holly is drinking tea or a water or nothing, and if Charlie is sitting or standing or laying on a sofa, plus a whole lot more. We get to add to the drama in our heads, and figure part of it out as we go along for the ride with The Reckoning.

Vídeo Fireproof

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© 2007 Flicker Records.

Fuente del Vídeo: PillarTV Channel (YouTube).
PD: Si ven errores en la traduccion por favor avisen.
Bendiciones

Vídeo Fireproof

© 2007 Flicker Records.

Fuente del Vídeo: PillarTV Channel (YouTube).
PD: Si ven errores en la traduccion por favor avisen.
Bendiciones