Bem o DECRETO agrede de hj mostra a visão de uma bem sucedida amiga ASA Nortina que se livrou do mundo falsário pseudo-cosmopolita das garotinhas mimadas de Brasília e nos traz a VERDADE sobre esse universo de meninas de 22 anos que não tem absolutamente nada na cabeça. Uma visão contundente sobre as meninas de cérebro de gelatina que fizeram escola de como ser uma desmiolada nos clássicos SIGMA e Objetivo na segunda metade dos anos 90 e vc OTÁRIO fica aí correndo atrás delas em lugares como Piauí, Landscape e Por do Sol como se isso fosse bonito.
A conversa se deu no Messenger e obviamente suprimi frases que pudessem comprometer a identidade dela. Logo eu a chamarei de ANA B.
Senhorita Ana B: “no final das contas todas são carentes pq papai e mamãe são funcionários públicos e não me deram atenção, então eu finjo que vou, mas não vou, digo que dou, mas não dou, falo de sexo, mas não faço, acho gatinho pq minha amiga acha.
Uso colcci pq todo mundo acha cool, falo inglês pq os riquinhos falam, e eles importam muito...”
Eu interrompendo: “uma visão contundente da realidade pseudo-cosmopolita das meninas com cérebro de gelatina de BsB!”
Ana B: “pseudo cosmopolita é A PALAVRA, CARA! Ou expressão.
Elas querem muito ser SP, mas se elas fossem a SP seriam só mais uma, não seriam "A" Maria Joana Antonieta só faço sucesso no Landscape... (obviamente eu suprimi o nome que Ana B disse para evitar constrangimentos) e etc...
Então elas vão a SP fazem um ctrl c ctrl v nas atitudes das mina paulicéia e praticam em bsb o RANCHO.”
Paulinho: pois é esquema provinciano
O Resto não interessa bodinha isso lhe basta para saber que vc foi detectada estudada em cativeiro e analisada. Por isso não me venha mais com conversinhas e xurumelas, meu negócio é MULHER DE VERDADE!
quarta-feira, 30 de maio de 2007
sexta-feira, 18 de maio de 2007
A grande volta por cima de Stallone em cima da pseudo-crítica & críticos de verdade
Muita gente deve estar notando minha picaretagem ao não escrever e postar frases. É uma picaretagem parcial, não total, pois apesar de não escrever são frases de coração sim, que se usadas com sabedoria vão contra as convenções da vida "cool". Ou seja essas frases além de ser do sábio Einstein estão dentro do meu propósito que é agredir a rapaziada IN sem nada na cabeça.
Enquanto não volto a escrever posto esse link e transcrevo a matéria de Richard Roeper crítico fodão dos EUA, notem a ironia dele em cima de críticos que gostatiam de ver o fracasso do do grande Stallone no bem aventurado Rocky Balboa . Fantástico o que ele escreveu, quem quiser mais aqui mesmo no decreto AGREDE tem uma crítica minha sobre Rocky VI. Procurem conhecer ele, vão ver que não é um borra botas como esses crítiCUZINHOS como Isabela Boscov da Veja, Marcelo Hessel do Omelete mas sim alguém de nome por lá que escreve com propriedade não se deixando levar por convenções doentias tipo atacar qualquer coisa que o Stallone faça. A crítica em mãos erradas sobe a cabeça das pessoas, normalmente mal amadas e invejosas. Com vcs o texto dele:
fonte http://www.suntimes.com/news/roeper/178768,CST-FTR-rocky20.article
Don't knock Rocky's comeback
December 20, 2006
BY RICHARD ROEPER Sun-Times Columnist
Sylvester Stallone will be the first to admit that like a lot of real-life heavyweight champions, Rocky Balboa went from beloved underdog hero to a late-night monologue punch line, thanks to increasingly cartoonish sequels featuring the likes of Hulk Hogan, Mr. T., Dolph Lundgren and some hack named Tommy Morrison.
When it was announced Stallone was planning a sixth edition of the "Rocky" franchise, some 30 years after the original and a decade and a half after the last installment, you had to wonder: who was he going to fight, Joan Rivers?
Well, here's the good news for those of us who will always have a soft spot for the Italian Stallion: "Rocky Balboa" is not the embarrassment many expected it to be. It's actually the best "Rocky" movie since the original -- a fitting and triumphant final chapter for one of the most iconic characters in the history of motion pictures.
Stallone (and original "Rocky" director John G. Avildsen) tried to take us back to Rocky's roots in "Rocky V," but he was KO'd by his own corny and meandering script and the charisma-free Morrison as Tommy "Machine" Gunn, the protege turned opponent.
In "Rocky Balboa," written and directed by Stallone with relative restraint and great heart, Rocky is again back in the old neighborhood, but this time it feels like he's there as the consequence of a natural flow of circumstances. This is about where we'd expect him to be at this point. Not exactly down and out, but living the days of a man without urgent purpose.
Rocky's in his 50s now, and he runs a nice little Italian restaurant named after his late wife, Adrian. (We see Talia Shire only in a few brief flashbacks.) There's a back room in the eatery filled with Rocky memorabilia from the glory days, and the Rock himself comes in most nights to shake hands with the customers, pose for photos and tell the same stories, over and over. (And over.)
Remember Spider Rico, the ham-and-egger who battled it out with Rocky in that dingy gym during the opening minutes of the first film, the two of them slugging it out for a combined purse of less than a hundred bucks? He's more than a little punchy these days, but he's harmless, and Rocky makes sure Spider has a booth in the restaurant and a warm meal every night. (In a nice touch, Pedro "One Punch" Lovell, a knockout artist who once fought and lost to Ken Norton on national TV, reprises his role as Spider three decades later. According to IMDB.com, those are the only two acting jobs Lovell has ever had.)
Rocky's old friend Paulie is still kicking around the neighborhood, and his son (Milo Ventimiglia of the TV hit "Heroes") is now a would-be businessman in his early 20s who loves his pop but is understandably weary of his friends bellowing "Rocky Junior!" when they're out on the town, and Philadelphians yelling "Yo, Rock!" at his father and taking pictures with their cell phone cameras.
Each year on the anniversary of Adrian's death, Rocky takes Paulie on a tour of the old haunts: the pet shop where Adrian worked; Rocky's old apartment; the site of the ice rink where they had their first date. One night, he even walks into the old tavern where he and Paulie used to hang out, and the 40-ish bartender tells him she used to be little Marie, the girl who told the Rock, "Screw you!" back in the mid-1970s after he walked her home one night and tried to warn her about the mean streets. They strike up a touching friendship that might turn into a romance somewhere down the road.
As an actor, writer and director, Stallone handles all of these vignettes with just the right mixture of sentiment, humor and realism. For this reviewer, who remembers seeing the original "Rocky" multiple times as a teenager at the old River Oaks Theater in Calumet City, seeing Rocky reconnect with some of his old associates and revisiting the familiar haunts was a multi-layered serving of nostalgia. It was like a class reunion where past conflicts are forgiven and everybody remembers the good times.
Still, through all these lovely scenes, there's the 800-pound boxing glove in the room. This is a "Rocky" film, and "Rocky" has to fight, and how in the world are the sixtysomething Stallone and his fiftysomething alter ego going to pull this off without humiliation?
By confronting the issue head-on. When a video game fantasy matchup with the current champion (Antonio Tarver as Mason "The Line" Dixon, and you're right, that's a terrible nickname) shows Rocky coming out on top, the money men step forward with an offer for Rocky to fight the champ for real in Vegas -- in a controlled exhibition, of course. When Rocky accepts the challenge, the media experts call it folly, and his son begs him not to do it. Even his old friend Duke (Tony Burton), who used to train Apollo Creed back in the day, says they're going to have to tailor Rocky's training program to account for his arthritis and other ailments.
If you think we're going to get one last training sequence and a rousing, bruising fight that becomes something more than an exhibition before the final bell sounds on Rocky's boxing career, you would not be wrong. Thirty years after Rocky Balboa and Apollo Creed tangled on New Year's Eve in a bicentennial stunt that turned into the greatest boxing match of all time, the Rock exits the ring on his own terms. Yes, it's corny and improbable, but it works.
When Premiere magazine listed the "100 Greatest Movie Characters of All Time" a few years ago, they had Rocky Balboa at No. 64, well behind the likes of Freddy Krueger, Carl Spackler from "Caddyshack" and Jeff Spicoli from "Fast Times at Ridgemont High." I love those characters, but that ain't right. Rocky belongs up there with Atticus Finch and Rick Blaine and George Bailey and Ellen Ripley and Annie Hall.
He is an American original.
Enquanto não volto a escrever posto esse link e transcrevo a matéria de Richard Roeper crítico fodão dos EUA, notem a ironia dele em cima de críticos que gostatiam de ver o fracasso do do grande Stallone no bem aventurado Rocky Balboa . Fantástico o que ele escreveu, quem quiser mais aqui mesmo no decreto AGREDE tem uma crítica minha sobre Rocky VI. Procurem conhecer ele, vão ver que não é um borra botas como esses crítiCUZINHOS como Isabela Boscov da Veja, Marcelo Hessel do Omelete mas sim alguém de nome por lá que escreve com propriedade não se deixando levar por convenções doentias tipo atacar qualquer coisa que o Stallone faça. A crítica em mãos erradas sobe a cabeça das pessoas, normalmente mal amadas e invejosas. Com vcs o texto dele:
fonte http://www.suntimes.com/news/roeper/178768,CST-FTR-rocky20.article
Don't knock Rocky's comeback
December 20, 2006
BY RICHARD ROEPER Sun-Times Columnist
Sylvester Stallone will be the first to admit that like a lot of real-life heavyweight champions, Rocky Balboa went from beloved underdog hero to a late-night monologue punch line, thanks to increasingly cartoonish sequels featuring the likes of Hulk Hogan, Mr. T., Dolph Lundgren and some hack named Tommy Morrison.
When it was announced Stallone was planning a sixth edition of the "Rocky" franchise, some 30 years after the original and a decade and a half after the last installment, you had to wonder: who was he going to fight, Joan Rivers?
Well, here's the good news for those of us who will always have a soft spot for the Italian Stallion: "Rocky Balboa" is not the embarrassment many expected it to be. It's actually the best "Rocky" movie since the original -- a fitting and triumphant final chapter for one of the most iconic characters in the history of motion pictures.
Stallone (and original "Rocky" director John G. Avildsen) tried to take us back to Rocky's roots in "Rocky V," but he was KO'd by his own corny and meandering script and the charisma-free Morrison as Tommy "Machine" Gunn, the protege turned opponent.
In "Rocky Balboa," written and directed by Stallone with relative restraint and great heart, Rocky is again back in the old neighborhood, but this time it feels like he's there as the consequence of a natural flow of circumstances. This is about where we'd expect him to be at this point. Not exactly down and out, but living the days of a man without urgent purpose.
Rocky's in his 50s now, and he runs a nice little Italian restaurant named after his late wife, Adrian. (We see Talia Shire only in a few brief flashbacks.) There's a back room in the eatery filled with Rocky memorabilia from the glory days, and the Rock himself comes in most nights to shake hands with the customers, pose for photos and tell the same stories, over and over. (And over.)
Remember Spider Rico, the ham-and-egger who battled it out with Rocky in that dingy gym during the opening minutes of the first film, the two of them slugging it out for a combined purse of less than a hundred bucks? He's more than a little punchy these days, but he's harmless, and Rocky makes sure Spider has a booth in the restaurant and a warm meal every night. (In a nice touch, Pedro "One Punch" Lovell, a knockout artist who once fought and lost to Ken Norton on national TV, reprises his role as Spider three decades later. According to IMDB.com, those are the only two acting jobs Lovell has ever had.)
Rocky's old friend Paulie is still kicking around the neighborhood, and his son (Milo Ventimiglia of the TV hit "Heroes") is now a would-be businessman in his early 20s who loves his pop but is understandably weary of his friends bellowing "Rocky Junior!" when they're out on the town, and Philadelphians yelling "Yo, Rock!" at his father and taking pictures with their cell phone cameras.
Each year on the anniversary of Adrian's death, Rocky takes Paulie on a tour of the old haunts: the pet shop where Adrian worked; Rocky's old apartment; the site of the ice rink where they had their first date. One night, he even walks into the old tavern where he and Paulie used to hang out, and the 40-ish bartender tells him she used to be little Marie, the girl who told the Rock, "Screw you!" back in the mid-1970s after he walked her home one night and tried to warn her about the mean streets. They strike up a touching friendship that might turn into a romance somewhere down the road.
As an actor, writer and director, Stallone handles all of these vignettes with just the right mixture of sentiment, humor and realism. For this reviewer, who remembers seeing the original "Rocky" multiple times as a teenager at the old River Oaks Theater in Calumet City, seeing Rocky reconnect with some of his old associates and revisiting the familiar haunts was a multi-layered serving of nostalgia. It was like a class reunion where past conflicts are forgiven and everybody remembers the good times.
Still, through all these lovely scenes, there's the 800-pound boxing glove in the room. This is a "Rocky" film, and "Rocky" has to fight, and how in the world are the sixtysomething Stallone and his fiftysomething alter ego going to pull this off without humiliation?
By confronting the issue head-on. When a video game fantasy matchup with the current champion (Antonio Tarver as Mason "The Line" Dixon, and you're right, that's a terrible nickname) shows Rocky coming out on top, the money men step forward with an offer for Rocky to fight the champ for real in Vegas -- in a controlled exhibition, of course. When Rocky accepts the challenge, the media experts call it folly, and his son begs him not to do it. Even his old friend Duke (Tony Burton), who used to train Apollo Creed back in the day, says they're going to have to tailor Rocky's training program to account for his arthritis and other ailments.
If you think we're going to get one last training sequence and a rousing, bruising fight that becomes something more than an exhibition before the final bell sounds on Rocky's boxing career, you would not be wrong. Thirty years after Rocky Balboa and Apollo Creed tangled on New Year's Eve in a bicentennial stunt that turned into the greatest boxing match of all time, the Rock exits the ring on his own terms. Yes, it's corny and improbable, but it works.
When Premiere magazine listed the "100 Greatest Movie Characters of All Time" a few years ago, they had Rocky Balboa at No. 64, well behind the likes of Freddy Krueger, Carl Spackler from "Caddyshack" and Jeff Spicoli from "Fast Times at Ridgemont High." I love those characters, but that ain't right. Rocky belongs up there with Atticus Finch and Rick Blaine and George Bailey and Ellen Ripley and Annie Hall.
He is an American original.
quarta-feira, 9 de maio de 2007
Sucesso & trabalho por Einstein
"O único lugar onde o sucesso vem antes do trabalho é no dicionário."
Albert Einstein
Albert Einstein
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