Heart-healthy

I just want to be perfect! #blackswan

'It is a capital mistake to theorize before one has data. 

Insensibly one begins to twist facts to suit theories, 

instead of theories to suit facts.'

Sherlock Holmes / A Scandal in Bohemia

Ian & Patrick

the way you look tonight*

Neden "Sherlock veya House'lara hayran oluruz?"u yazdığımda bazı davranışlara hiç mi hiç anlam veremememle alakalı sancılı bir sorgulama sürecinden geçiyor bir yandan çalışma masamın kenarında asılı House karakteri için okuma yapan Hugh Laurie'nin fotoğrafına bakarken bir yandan da Sherlock'u üst üste izleyip kitabını okumaya başladığım zamanları yaşıyordum.

Şimdi öğrendim ki aslında Sherlock ve House gerçekten ilintiliymiş ve House, Sherlock'tan esinlenerek oluşturulmuş. Etkilendim çünkü belli ki başarılı olmuş ve ben daha bu kasti yapılan benzetmeleri bilmezken bile aralarında istemsiz bir bağ kurmuşum. Hala bu karakterler üzerine düşünüyorum, çok sık.

Yazıyı yazdığım dönemlerin sonucuna gelirsek, mantık süzgecine takılan şeyler birikirse içinden başka hiç bir şeyin geçmesine izin vermeyen bir engele dönüşüyor. House veya Sherlock'lara günlük hayatta öyle kolayca rastlayamayız belki ama en azından size mantıklı gelen şeylerle devam ettiğiniz bir yolun olması önemli. O yolda yalnız bile olsa, beyni uyuşturmayan düşüncelerle kalabilmeli. Gerçi beyni çalışmaktan bitkin bırakacak şeyler hep olacak o zamanlarda belki biraz house piyanosu veya sherlock kemanı lazımdır.

Derya.

Wikipedia analizi olarak: Dr.Gregory House ile ünlü hayali dedektif Sherlock Holmes arasındaki benzeşmeler ve göndermeler tüm seri boyunca izlenmektedir. Shore, Holmes'un hayranı olduğunu ve karakterin hastalarına olan umursamazlığını gördüğünü söylemiştir. House'ın araştırma metodu olan tanıların imkânsızlıklarını mantık ile eleme yöntemi ile Holmes'un yöntemleri benzerlik taşımaktadır. Her iki karakter de bazı enstürmanlar çalmaktadırlar (House piyano, gitar ve armonika çalarken; Holmes da keman çalmaktadır). her ikisi de ilaç bağımlısıdır (House Vicodin bağımlısıdır; Holmes ise kokain). House'un Dr. James Wilson ile arkadaşlık ilişkisi Holmes'un Dr. John Watson ile ilişkisini anımsatmaktadır. Wilson karakterini oynayan Robert Sean Leonard da oynadığı karakterin ismi olan Wilson ile Watson arasındaki benzerliğe dikkat çekmiştir. Shore, House'ın isminin Holmes'a hürmeten seçildiğini söylemiştir. House'ın apartman numarası olan 221B, Holmes'un sokak numarasına bir atıfdır.

Dizinin bölümlerindeki bazı karakterler de Sherlock Holmes hikâyelerindeki kahramanları refere etmektedir. Dizinin ilk bölümünde konu olan hasta Rebecca Adler ilk Holmes hikâyesindeki Irene Adler karakteri ile isim benzerliği taşımaktadır. House'u vuran dengesiz kişi Profesör Moriarty ise Holmes'un baş düşmanıdır.[5] Dördüncü sezonun "It's a Wonderful Lie" bölümünde House hediye olarak "Conan Doyle ikinci baskı"sını alır. Beşinci sezonun "Joy to the World" bölümünde House ekibini bir Joseph Bell kitabı ile kandırmaya çalışır ki bu kitap da, Conan Doyle'a Sherlock Holmes için ilham kaynağı olmuştur. Gregory House'un yaşadığı apartman dairesinin numarası 221, daire kodu B'dir. Bu Sherlock Holmes'un Londra'daki adresi 221B Baker Sokağı'na bir referanstır. Dizinin tasarım aşamasında Gregory House'un büyük bir erkek kardeşi olması düşünülmüş ve bu rolü Hugh Laurie'nin yakın dostu ve meslektaşı Stephen Fry'a vermek planlanmış olsa da bu tasarı sonradan rafa kaldırılmıştır.(Ayrıca Stephen Fry, Sherlock Holmes: A Game of Shadows filminde Sherlock Holmes ün abisi rolünde oynamıştır.) Bu kardeş fikri Sherlock Holmes'un ağabeyi Mycroft Holmes'a bir gönderme yapma amacı taşımıştır.

Wingardium Leviosa


note: https://www.youtube.com/watch?v=Iw3izcZd9zU

https://www.youtube.com/watch?v=kijpcUv-b8M

Benedict*

The delay is nothing, the decision is everything...

Sevgili Turgut,

Zoraki bir romantizm var sanki anlatmaya çalışmakta. Temmuz ayı için düşündüğüm şeyleri sorularla bile anlatamıyorum. Ama dün "Gerçek nedir?" diye soran bir konuşma dinledim.

Turgut, gerçek göreceli olabilir mi? Anlamak bile zorlaşabilir mi insanın hayatında? Nasıl ama nasıl günden güne böyle hızla değişiyor tüm anılar? 

Ama sizi unutmuyorum. Bana öğütlediklerini de unutmuyorum. Acaba siz dağıldığınızda nasıl toparlanıyordunuz? Acaba siz toparlanıyor muydunuz yoksa hep dağınık kalmanın keyfini mi sürüyordunuz? Kafan hep toplu muydu Turgut? 

Bazen insan "Kendimi zamanın akışına bıraksam şöyle bir oh ne güzel" diyor. Modern zamanlarda insanlar en çok çalışarak kaçıyor hayal kırıklıklarından. Hayal kırıklığım olduğundan değil ama herkesin bazen kaçmayı istediğini biliyorum. Sen kaçar mıydın acaba. Yoksa hep gücün var mıydı anlatmaya kendini. 

Neye değer verirdin en çok, anlatmaya mı anlaşılmaya mı?

Zor zamanlarda yaşıyoruz. Sizin zamanlar nasıldı tam bilemiyorum tabi. Sevgi kurtarıyor muydu dünyayı acaba. Bu zamanlarda dünyayı sevgi falan kurtarmıyor. Oradan oraya koşturmaya çalışırken çoğu insan önce kellesini kurtarmaya çalışıyor. Haklılar tabi bir düzeyde. Sonunda insan kimseyi hiç bir şey için suçlayamıyor. Nedensellik dizisini bir takip etmeye başladı mı hiç bir şeyin sonu yok. 

Zaten havalarda çok bunaltıyor. Evde oturamıyoruz, klima desen çarpıyor. Bir de hiç esmiyor! 

Yağmurlu günleri bekliyorum.

Biliyorum sen "Belki yağmura gerek kalmazdı, insanlar bu kadar kirli olmasaydı." dersin şimdi.

Göğe bakma durağında buluşalım mı?

Selamlar,

Derya  

big eyes

Why are their eyes so big?

You've already made the choice. Now you have to understand it.

To M......

O! I care not that my earthly lot
Hath — little of Earth in it —
That years of love have been forgot
In the fever of a minute —

I heed not that the desolate
Are happier, sweet, than I —
But that you meddle with my fate
Who am a passer-by.

It is not that my founts of bliss
Are gushing — strange! with tears —
Or that the thrill of a single kiss
Hath palsied many years — ­

’Tis not that the flowers of twenty springs
Which have wither’d as they rose
Lie dead on my heart-strings
With the weight of an age of snows.

Nor that the grass — O! may it thrive!
On my grave is growing or grown —
But that, while I am dead yet alive
I cannot be, lady, alone.

Edgar Allan Poe

Arendt*

TRYING TO UNDERSTAND IS NOT THE SAME AS FORGIVENESS.

"Zur Person" Interview . https://www.youtube.com/watch?v=dsoImQfVsO4

love V.

“I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee’s life of the poet. She died young—alas, she never wrote a word. She lies buried where the omnibuses now stop, opposite the Elephant and Castle. Now my belief is that this poet who never wrote a word and was buried at the cross–roads still lives. She lives in you and in me, and in many other women who are not here to–night, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh. This opportunity, as I think, it is now coming within your power to give her. For my belief is that if we live another century or so—I am talking of the common life which is the real life and not of the little separate lives which we live as individuals—and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting–room and see human beings not always in their relation to each other but in relation to reality; and the sky. too, and the trees or whatever it may be in themselves; if we look past Milton’s bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare’s sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would he impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.” 
― Virginia Woolf, A Room of One's Own

Sevgili Turgut,

Sana birkaç sorum var. Bir hocam bazen soruların cevaplar kadar önemli olduğunu hatırlattı bana. Sadece sorularının olması da cevaplar kadar anlamlı olabilirmiş. Neyi anlaman gerektiğini bilmek için önemli mesela.

1-      Söz verdiğinde tutar mısın? Sözün büyüğü küçüğü var mıdır yalanın pembesi beyazının olabilme ihtimaliyle eş değerde olabilir mi?

2-      Olgunluk nedir? Bir yaştan sonra mı gelir?
3-      Gençlik nedir? Hangi hataları gençliğine verebilir insan? İlla aptalca şeyler yapıp bunlara gençlik mi demeli, duygusal gelgitlerimize aşk demek gibi midir bu da?
4-      İlişkilerde mesafe kurmayı bilmeyen insanlar bunları karşısındakini aptal sanarak mı yapar? Her davranışın neden ve sonuç ilişkisini kurar da 3 maymunu oynamayı karlı mı sayar birey?
5-      Kararlar neye göre verilir? Öncelikleri her zaman belirlenebilir mi kişinin?
6-      Kişi neden içinde bulunduğu ve parçası olduğu bütünlükleri her zaman olduğu şekliyle algılayamaz da kişiden kişiye her şeyin anlamı ve tanımı değişir?
7-      Olağan gördüklerimizin içinde kendimize kurduğumuz anlamlar dünyası bir başkası için olağan içinde görülmüyor olsa da yine de birey konuşup anlayabilir mi?
8-      Duruş nedir? Bir yere zincirli midir?
9-      İlişkiler kişileri hep aynı mesafeden mi görür? Yoksa ilişkiler de bulutlar gibi hareket edebilir mi? Sadece rüzgar, atmosfer hareketleri, yörünge, mesafeleri etkilemeye yeter mi, doğal olarak değişir mi her şey?
10-   Neyin anlamı büyüktür? Neyin anlamı küçüktür? Neyi önemseyip düşünür de kişi neyi önemsemeden geçer? İrili ufaklı mıdır olgular? Yoksa her parça birbirine eşit oranda etki edebilecek kuvvette midir? Bir kelebek kanadından fırtına kopabilir mi?
11-   Nasıl vazgeçer insan? Nasıl unutur? İnsan unutabilir mi?
12-   Bazı sorulara cevap versen bile izleyen sorulara cevap veremeyeceğinden emin olduğunda kişi hiç birine cevap vermemeyi seçmeli midir? Bu zaman kazanmak mıdır?
13-   Bir haftadır geçmeyen baş ağrısı bir beyin tümörü olabilir mi? Cevaplanmayan sorular baş ağrısı yapar mı?

Daha başka sorularım da var. İstersen bazıları için kendi şıklarımı da ekleyebilirim cevap niyetine ama bunun anlamlı olduğu düşüncesinde değilim. Birey çerçevesi çizilmiş yollar içinde kendine cevap aramamalı. En maddi olguların bile yarın hala aynı doğrulukta kalacağından emin olamıyoruz. İnsanların bir laneti olacaksa bundan iyisini düşünemiyorum. Sürekli merak içinde yaşamak bir zevk iken hiçbir cevaptan emin olamamak ızdırabı içinde kıvranıyorum.

Sana yazmamın nedeni cevaplarının doğruluğuna olan güvenimden değil ama o rakı masasında olup sizinle merak içinde olmayı hayal ediyor olmamdandır. Rakıyla insan özgürleşiyor. Ne çok boğuluyoruz topluluklarda. Anlamak için değil ama birlikte aramak için bana yazar mısın?

Uzun zamandır denizi dinlemiyoruz buna alıştık ama artık yıldızları bile göremiyoruz.

Göğe bakma durağında buluşalım mı?

Selamlar,

Derya.

the starry night

“I would rather die of passion than of boredom.”

—  Vincent van Gogh





NOTE: “Although I find myself in financial difficulties, I nevertheless have the feeling that there is nothing more solid than a `handicraft' in the literal sense of working with one's hands. If you became a painter, one of the things that would surprise you is that painting and everything connected with it is quite hard work in physical terms. Leaving aside the mental exertion, the hard thought, it demands considerable physical effort, and that day after day.”

J.J.Rousseau

“If there is a state where the soul can find a resting-place secure enough to establish itself and concentrate its entire being there, with no need to remember the past or reach into the future, where time is nothing to it, where the present runs on indefinitely but this duration goes unnoticed, with no sign of the passing of time, and no other feeling of deprivation or enjoyment, pleasure or pain, desire or fear than the simple feeling of existence, a feeling that fills our soul entirely, as long as this state lasts, we can call ourselves happy, not with a poor, incomplete and relative happiness such as we find in the pleasures of life, but with a sufficient, complete and perfect happiness which leaves no emptiness to be filled in the soul.”
― Jean-Jacques Rousseau

Kumru gibi.

Ben yaklaşık bir haftadır bir bestede kayboluyorum. Bazen insan birine sarılmak ister. Eylem olarak ister bunu. Sanki doğası gereği uyumak gibi mesela ihtiyacı vardır buna da. Ben çoğu zaman böyle hissetmem ama bugün bu notalara sarılıyorum, kumru gibi.

While thinking about determinism...

Nothing in the universe happens by chance or accident.  The universe is a coherent concurrence and interaction of innumerable conditions attendant on the infinite number of energy patterns.  In the state of Awareness, all this is obvious and can be clearly seen and known. Outside that level of awareness, it could be likened to innumerable, invisible magnetic fields which automatically coalesce or repel one’s position and which interact according to the positions and relative strengths and polarities.  Everything influences everything else and is in perfect balance.
~ David R. Hawkins

Cut in half but still alive!

4 Mevsim...

Bahar mezarına gömsünler sizi 

Yapraklar gibi buluştunuzdu 

Kokular gibi seviştinizdi 

Bahar mezarına gömsünler sizi 

Yaz mezarına gömsünler sizi 

İlk kezmiş gibi buluştunuzdu 

Son kezmiş gibi seviştinizdi 

Yaz mezarına gömsünler sizi

Güz mezarına gömsünler sizi 

Salkımlar gibi buluştunuzdu 

Ağular gibi seviştinizdi 

Güz mezarına gömsünler sizi 

Kış mezarına gömsünler sizi 

Sokaklar gibi buluştunuzdu 

Çarşılar gibi seviştinizdi 

Kış mezarına gömsünler sizi

Cemal Süreya

Not: http://filucusu.blogspot.com.tr/2015/03/fazl-say-muzik-benim-goge-bakma-duragm.html

08 Mart 2015, benim kurallarım

1- Cinsiyetçi küfürler kullanma! Kadınla cinsel ilişkiyi bir küfür olarak kullanmak, bu fiile aşağılayıcı bir anlam katıyor. Kadının toplumdaki yerine yönelik korkunç bir algıyla birlikte kadında erkekle cinsel ilişki isteğini de öldürüyor. Bir kadın olarak da asla bu küfürlere tepkisiz kalma! 
2- Hala söylemeye gerek duyuluyor olması korkunç olsa da şiddetin her türlüsüne dur de! 
Sadece fiziksel değil psikolojik şiddetin de farkında olarak, boyun eğmemenin bir seçenek olduğunu unutma. Hiç bir şeyin tek bir yolu yok ve kimsenin kimseye ihtiyacı yok. Tepkisiz kalma, ses ver, çalış! 
3- Şekilci algılara, kadının biçimi, güzellik algısı, konumlamalara aldanma! 
Herkes kadar özgür herkes kadar birey herkes kadar özel olduğunun farkında ol. Basit güzellik algılarıyla kendini yarıştırıp, erkek algısı üzerinden kendini tanımlama. Ev işleri ilk görevin değil. Bir erkekten de bunları beklemeye alış. Onun da eli ve beyni var hatta eli veya beyni olmasa da bu işleri yapabilir. Sana bu kalıpların ne kadar zaman kaybettirdiğini fark et.
4- Kendine ait bir oda bul! 
Virginia Woolf'a kulak ver ve düşünmek için kendine bir oda bul. O odada kendi içinde kendini yeniden doğur, bu kadınlara özgü harika bir evrim. Düşün! Analiz et! Çok çalış! Kendin için beynini çalıştır! Fark et!
5- Cinselliğin sadece erkeklere özgü bir zevk olmadığının farkında ol! 
Bir kadının erkeği cinsellik yüzünden terk etmesinin bir erkeğin kadını terk etmesinden çok daha mantıklı olabileceği bir hayatta yaşadığımızı hatırla. Kadının en azından erken boşalma problemi yaşamayacağından emin ol. Kadınların da orgazım olduğunu hatta üst üste olabildiğini aklında tut. Bekareti bir değer ölçüsü olarak benimsemiş erkeğin aynı oranda bakir olup olmadığını sorgula. Cinselliğin sağlıklı bir hayatın gereklerinden olduğunu unutma.
6- Kendine saygu duy!
Kimsenin seni öncelikle kadınlığınla tanımlamasını kabullenme. Birey olarak varlığının farkında ol. Kimseden getirip önüne haklarını koymasını bekleme. Kendi tanımlarınla, kendi aklınla düşün ve tekrar çok çalış, daha çok çalış, varlığını ve kendi yerini bulmak için...

Terence Fletcher: I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any fucking moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is... an absolute necessity. Otherwise, we're depriving the world of the next Louis Armstrong. The next Charlie Parker. I told you about how Charlie Parker became Charlie Parker, right?

Andrew: Jo Jones threw a cymbal at his head.

Terence Fletcher: Exactly. Parker's a young kid, pretty good on the sax. Gets up to play at a cutting session, and he fucks it up. And Jones nearly decapitates him for it. And he's laughed off-stage. Cries himself to sleep that night, but the next morning, what does he do? He practices. And he practices and he practices with one goal in mind, never to be laughed at again. And a year later, he goes back to the Reno and he steps up on that stage, and plays the best motherfucking solo the world has ever heard. So imagine if Jones had just said: "Well, that's okay, Charlie. That was all right. Good job. "And then Charlie thinks to himself, "Well, shit, I did do a pretty good job." End of story. No Bird. That, to me, is an absolute tragedy. But that's just what the world wants now. People wonder why jazz is dying.

Terence Fletcher: There are no two words in the English language more harmful than good job.

Not: Wes Anderson

From a letter to Nikolay Chekhov

Moscow, March, 1886

My little Zabelin,

I've been told that you have taken offense at gibes Schechtel and I have been making. The faculty of taking offense is the property of noble souls alone, but even so, if it is all right to laugh at Ivanenko, me, Mishka and Nelly, then why is it wrong to laugh at you? It's unfair. However, if you're not joking and really do feel you've been offended, I hasten to apologize. 

People only laugh at what's funny or what they don't understand. Take your choice. 

The latter of course is more flattering, but—alas!—to me, for one, you're no riddle. It's not hard to understand someone with whom you've shared the delights of Tatar caps, Voutsina, Latin and, finally, life in Moscow. And besides, your life is psychologically so uncomplicated that even a nonseminarian could understand it. Out of respect for you let me be frank. You're angry, offended...but it's not because of my gibes or of that good-natured chatterbox Dolgov. The fact of the matter is that you're a decent person and you realize that you're living a lie. And, whenever a person feels guilty, he always looks outside himself for vindication: the drunk blames his troubles, Putyata blames the censors, the man who bolts from Yakimanka Street with lecherous intent blames the cold in the living room or gibes, and so on. If I were to abandon the family to the whims of fate, I would try to find myself an excuse in Mother's character or my blood spitting or the like. It's only natural and pardonable. It's human nature, after all. And you're quite right to feel you're living a lie. If you didn't feel that way, I wouldn't have called you a decent person. When decency goes, well, that's another story. You become reconciled to the lie and stop feeling it. 

You're no riddle to me, and it is also true that you can be wildly ridiculous. You're nothing but an ordinary mortal, and we mortals are enigmatic only when we're stupid, and we're ridiculous forty-eight weeks of the year. Isn't that so?

You often complain to me that people "don't understand" you. But even Goethe and Newton made no such complaints. Christ did, true, but he was talking about his doctrine, not his ego. People understand you all too well. If you don't understand yourself, then it's nobody else's fault. 

As your brother and intimate, I assure you that I understand you and sympathize with you from the bottom of my heart. I know all your good qualities like the back of my hand. I value them highly and have only the greatest respect for them. If you like, I can even prove how I understand you by enumerating them. In my opinion you are kind to the point of fault, magnanimous, unselfish, you'd share your last penny, and you're sincere. Hate and envy are foreign to you, you are open-hearted, you are compassionate with man and beast, you are not greedy, you do not bear grudges, and you are trusting. You are gifted from above with something others lack: you have talent. This talent places you above millions of people, for there is only one artist for every two million people on earth. It places you in a very special position: you could be a toad or a tarantula and you would still be respected, because talent is its own excuse. 

You have only one failing, the cause of the lie you've been living, your troubles, and your intestinal catarrh. It's your extreme lack of culture. Please forgive me, but veritas magis amicitiae. The thing is, life lays down certain conditions. If you want to feel at home among intellectuals, to fit in and not find their presence burdensome, you have to have a certain amount of breeding. Your talent has brought you into their midst. You belong there, but...you seem to yearn escape and feel compelled to waver between the cultured set and your next-door neighbors. It's the bourgeois side of you coming out, the side raised on birch thrashings beside the wine cellar and handouts, and it's hard to overcome, terribly hard. 

To my mind, civilized people ought to satisfy the following conditions:

1. They respect the individual and are therefore always indulgent, gentle, polite and compliant. They do not throw a tantrum over a hammer or a lost eraser. When they move in with somebody, they do not act as if they were doing him a favor, and when they move out, they do not say, "How can anyone live with you!" They excuse noise and cold and overdone meat and witticisms and the presence of others in their homes. 

2. Their compassion extends beyond beggars and cats. They are hurt even by things the naked eye can't see. If for instance, Pyotr knows that his father and mother are turning gray and losing sleep over seeing their Pyotr so rarely (and seeing him drunk when he does turn up), then he rushes home to them and sends his vodka to the devil. They do not sleep nights the better to help the Polevayevs, help pay their brothers' tuition, and keep their mother decently dressed. 

3. They respect the property of others and therefore pay their debts. 

4. They are candid and fear lies like the plague. They do not lie even about the most trivial matters. A lie insults the listener and debases him in the liar's eyes. They don't put on airs, they behave in the street as they do at home, and they do not try to dazzle their inferiors. They know how to keep their mouths shut and they do not force uninvited confidences on people. Out of respect for the ears of others they are more often silent than not. 

5. They do not belittle themselves merely to arouse sympathy. They do not play on people's heartstrings to get them to sigh and fuss over them. They do not say, "No one understands me!" or "I've squandered my talent on trifles!" because this smacks of a cheap effect and is vulgar, false and out-of-date. 

6. They are not preoccupied with vain things. They are not taken in by such false jewels as friendships with celebrities, handshakes with drunken Plevako, ecstasy over the first person they happen to meet at the Salon de Varietes, popularity among the tavern crowd. They laugh when they hear, "I represent the press," a phrase befitting only Rodzeviches and Levenbergs. When they have done a penny's worth of work, they don't try to make a hundred rubles out of it, and they don't boast over being admitted to places closed to others. True talents always seek obscurity. They try to merge with the crowd and shun all ostentation. Krylov himself said that an empty barrel has more chance of being heard than a full one. 

7. If they have talent, they respect it. They sacrifice comfort, women, wine and vanity to it. They are proud of their talent, and so they do not go out carousing with trade-school employees or Skvortsov's guests, realizing that their calling lies in exerting an uplifting influence on them, not in living with them. What is more, they are fastidious. 

8. They cultivate their aesthetic sensibilities. They cannot stand to fall asleep fully dressed, see a slit in the wall teeming with bedbugs, breathe rotten air, walk on a spittle-laden floor or eat off a kerosene stove. They try their best to tame and ennoble their sexual instinct... What they look for in a woman is not a bed partner or horse sweat, [...] not the kind of intelligence that expresses itself in the ability to stage a fake pregnancy and tirelessly reel off lies. They—and especially the artists among them—require spontaneity, elegance, compassion, a woman who will be a mother... They don't guzzle vodka on any old occasion, nor do they go around sniffing cupboards, for they know they are not swine. They drink only when they are free, if the opportunity happens to present itself. For they require a mens sana in corpore sano. 

And so on. That's how civilized people act. If you want to be civilized and not fall below the level of the milieu you belong to, it is not enough to read The Pickwick Papers and memorize a soliloquy from Faust. It is not enough to hail a cab and drive off to Yakimanka Street if all you're going to do is bolt out again a week later. 

You must work at it constantly, day and night. You must never stop reading, studying in depth, exercising your will. Every hour is precious. 

Trips back and forth to Yakimanka Street won't help. You've got to drop your old way of life and make a clean break. Come home. Smash your vodka bottle, lie down on the couch and pick up a book. You might even give Turgenev a try. You've never read him. 

You must swallow your pride. You're no longer a child. You'll be thirty soon. It's high time!

I'm waiting...We're all waiting...

Yours,

A. Chekhov

Steven Patrick Morrissey

Bir süredir Pelin'den sürekli Morrissey duyuyorum. Ve aslında o kadar çok duymuşum ki artık dinlemesem de tanıdık gelmeye başlamış. Dinlemeye başlamak müzikleriyle olabilir ama daha önemlisi benim için söylediklerine kulak vermek, pür dikkat bu güzel adama bakmak. Vejetaryen ve bir hayvan hakları savunucu olarak...

Biraz okudum. Daha da okuyacağım. Ama not düşmeyi seviyorum ve bir röportajını buraya eklemeye karar verdim. Hem ufak bir hatırlatma hem de saygı duruşu niyetinde olsun...

http://www.peta2.com/heroes/morrissey-interview/

Here is Dan’s interview with Morrissey in September of 1985. Morrissey was known to give interviews sparingly, but when approached with the animal rights topic he was most cordial and willing—even though it was 3 a.m.!

Dan Mathews: Thanks very much for chatting at this hour.

       Morrissey: Sure. I don’t usually give interviews, especially on this tour.

DM: In the interviews that you do in England, is the animal rights subject often discussed?

       Morrissey: Oh, yeah. It’s very much accepted as a major issue in England.

DM: When did you write “Meat Is Murder?”
       
       Morrissey: Back in October 1984.

DM: Did you get any problems from your record company, Rough Trade, about such a shocking title?

       Morrissey: None whatsoever. As soon as we had decided on that as the title track, it made the headlines in the British newspapers and got very wide attention. That whole subject is very controversial over there and so “Meat Is Murder” was an extension of it. The big crime of the whole matter was that the title song did not get any air play on the daily radio. The album entered the charts at number one but they never played the title song!

DM: Are you aware of some of the other songs dealing with animal abuse?

       Morrissey: Certainly. Howard Jones has a song called “Assault and Battery,” and Captain Sensible also does one called “No Meat.”

DM: You’ve heard the mini-e.p. “Their Eyes Don’t Lie,” haven’t you?
    
       Morrissey: Yes, that was heartwarming.

DM: How long have you been a vegetarian?

       Morrissey: I became a vegetarian when I was about 11 or 12 years old. My mother was a staunch vegetarian as long as I can remember. We were very poor and I thought that meat was a good source of nutrition. Then I learned the truth. I guess you could say I repent for those years now.

DM: So it was your mother who first interested you in the animal rights movement, or did you find out about it on your own?

       Morrissey: I would definitely say that my mother started me. She’s very active. She often goes on anti-hunt rallies in the U.K. She has influenced me very much.

DM: Do the Smiths do many benefits for the animal rights groups in England?

      Morrissey: We get literally swamped with requests to do benefit shows, but it’s very difficult. There is a load of ridiculous fighting that goes on between some groups, and so if you do a show for one you can find yourself in trouble with the others. I think we contribute a great lot to the animal rights movement in that it is our main theme. We really get a lot of people thinking and talking and help keep the issue going strong, at least in England. It’s our big platform and we use it, and I think that’s as effective as doing benefits. We were in Scotland not long ago and were interviewed on a TV news show. The show was at 6 o’clock in the evening, right at dinner time, and we were able to get some vile slaughterhouse film footage on the air to get people to think about what they were really eating. That made a huge impact.

DM: What kind of reaction do you get from your fans considering your stand on animal issues?

      Morrissey: That’s an interesting question. We get endless positive response, generally. Something strange happened at a show once, though, in Stokes, a city in England. It was unfortunate. While we were playing the song “Meat Is Murder,” somebody in the audience threw a heap of sausages onto the stage, and oddly, they hit me in the face and part of them got in my mouth. They were a good shot, but they really missed the point. It was horrible. I had to just run off the stage and heave! I really vomited. Eating meat is the most disgusting thing I can think of. It’s like biting into your grandmother.

DM: That response doesn’t sound too positive.

      Morrissey: It was clearly an isolated case. I get lots of mail every day from people all over saying how glad they are that someone is finally saying what we are saying. From Americans especially, we get a tremendous response thanking us for ?Meat Is Murder? and telling us that they have become vegetarians and all. It’s wonderful! When we played in Madrid, it was a great high point as well. We did an open-air concert in front of 350,000 people and it was televised to all of Spain. During “Meat Is Murder,” they translated the words on television. It was “Carnes Es Asesinato” or something like that. That was great. Then the next night, we played in Barcelona and they did the same thing again. And Spain uses all the meat, too. And they do that horrible bullfighting! We were hopeful that they learned something from our shows there.

DM: What do you think of the Animal Liberation Front? Did you know that in April, they raided a lab in California and freed hundreds of animals?

      Morrissey: No, I hadn’t heard about that. That’s great. Yeah, I think they do really important work. I’m happy that they are active in America also.

DM: So you’ve just toured Europe, and now you’re playing in America.

      Morrissey: Yes, and a bit of Canada, too. We love the audiences here. Everyone’s really excited.

DM: Is it discouraging to you to think that while everyone is singing along with “Meat Is Murder” at a concert, they may very well go out and have a hamburger after the show?

       Morrissey: I don’t think that at all. The amount of letters I get from this country keeps me from getting discouraged. Every day, I read letters from fans saying how they have really been changed by our album and that they no longer eat meat. Now, it may not be the same impact as we’ve had in England, but I’m happy nonetheless. Things are fine here. It’s much more difficult finding vegetarian restaurants, and it makes me ill to see so many dead animals on the roadways, but otherwise, things are great. The tour is going quite nicely.

Read more: http://www.peta2.com/heroes/morrissey-interview/#ixzz3Qm1eIpe5

Birdman

Bu yıl ki oscar adaylarının her biri bir harika.

Birdman ile bir çok sahne var hatırlanacak ama filmin en seksi sahnesini not edeceğim sanırım buraya Edward Norton sevgimle...

Sam: "If you were not afraid what would you wanna do to me?"

Mike: "I'd pull your eyes out of your head, I’d put them in my own skull, and look around so I could see the street the way I used to when I was your age."

The Imitation Game

Sometimes it is the people no one imagines anything of who do the things that no one can imagine.

There's a sign on the wall 

But she wants to be sure, 

Cause you know, sometimes words have two meanings. 

In a tree by the brook, there's a songbird who sings 

Sometimes, all of our thoughts are misgiven. 

Genco Erkal*

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