כותרות TheMarker >
    ';

    אזוטרי, אקלקטי ואידיוסינקרטי

    אזוטרי הוא דבר סודי הידוע רק למביני עניין.

    מקור המילה הוא ביוונית, במילה esoterikos, שפירושה "שייך לחוג הפנימי" (esōteros הוא "פנימי").
    השימוש המקורי במושג מיוחס לאריסטו, הפילוסוף היווני, שחילק את הידע לשניים: ידע אקזוטרי (חיצוני), שהוא נחלת הכלל, וידע אזוטרי (פנימי), הידוע רק לאנשי סוד.
    מיוונית: έσώτερoς
    ביטויים קרובים: "ליודעי ח"ן" (=חכמת הנסתר).

    אקלקטי - לַקטָני, נאסף ממקורות שונים, נלקח מכאן ומשם.

    אידיוסינקרטי - An idiosyncrasy is an unusual feature of a person. The term is often used to express eccentricity or peculiarity.
    The term idiosyncrasy originates from Greek ἰδιοσυγκρασία [idiosynkrasía], "a peculiar temperament", "habit of body" (ἴδιος, [idios] "one's own", σύν, [syn] "with" and κρᾶσις [krasis] "mixture").

    כלומר - אולי אני רוצה להגיד שאני מיוחדג'ת. אבל בעצם לא מובנת. נחשבת מוזרה. לא מתאימה לאף תבנית. לגמרי אחרת.
    (כמו שכבר אמרו מונטי פייתון:
    And Now for Something Completely Different)

    פוסטים אחרונים

    0

    רוקי רקון

    12 תגובות   יום רביעי, 26/5/10, 10:39


    היום פגשתי בנאדם שלא מכיר את Rocky Raccoon  !!!!

     

    שומושמיים!

    חזיז ורעם!!

     

    אז הלכתי לחפש... וכרגיל כשאני הולכת לחפש, אני לומדת כלמיני דברים חדשים ומענינים בדרך....

     

    דבר ראשון מצאתי וידאו משעשע של Mean Mr. Mustard

    שזה בכלל מהאלבום אבי רוד. ולא מהלבן הכפול, ממנו לקוח רוקי רקון.

     

    אבל אותו יוצר של האנימציה, (למזלי) הכין גם אנימציה לרוקי רקון.

     

    אחרי זה: מצאתי ערך בוויקיפדיה על השיר!!! (נו, אתם רואים?!?! אני לא היחידה שחושבת שזה שיר חשוב!)

    ומשם העניין התגלגל להרחבת הדעת: למדתי מה זה Pastiche גם לזה יש ערך בוויקופדיה. שם הם מזכירים את רפסודיה בוהמית של קווין. אז צריך להביא גם את זה לכאן. לא?

    וגם יש אזכור לחלקים של הרקויאם. ואם כבר מזכירים רקויאם, בשבילי יש רק אחד:

    וזה הרקויאם של מוצארט בהוצאת דויטשה גרמופון בביצוע הפילהרמונית של ברלין בניצוחו של פון-קאראיאן. אין אחר.

    ואז חייבים, אבל חייבים לשים את הדיסק הזה במערכת, ולהשמיע בפול-ווליום! ממש אין ברירה!

     

    טוב נו, מצאתי גם מאמר של Alan W. Pollack שמנתח את השיר רוקי רקון. גם מזה השכלתי.

     

    הנה כל שפע המידע הזה לפניכם, בשינוייים עריכתיים מוצדקים או שלא שנעשו על ידי שפחתכם הנאמנה...

     


     Now somewhere in the black mining hills of Dakota
    There lived a young boy named Rocky Raccoon
    And one day his woman ran off with another guy
    Hit young Rocky in the eye Rocky didn't like that
    He said I'm gonna get that boy
    So one day he walked into town
    Booked himself a room in the local saloon.

    Rocky Raccoon checked into his room
    Only to find Gideon's bible
    Rocky had come equipped with a gun
    To shoot off the legs of his rival
    His rival it seems had broken his dreams
    By stealing the girl of his fancy.
    Her name was Magil and she called herself Lil
    But everyone knew her as Nancy.
    Now she and her man who called himself Dan
    Were in the next room at the hoedown
    Rocky burst in and grinning a grin
    He said Danny boy this is a showdown
    But Daniel was hot-he drew first and shot
    And Rocky collapsed in the corner.

    The doctor came in stinking of gin
    And proceeded to lie on the table
    He said Rocky you met your match
    And Rocky said, Doc it's only a scratch
    And I'll be better I'll be better doc as soon as I am able.

    Now Rocky Raccoon he fell back in his room
    Only to find Gideon's bible
    Gideon checked out and he left it no doubt
    To help with good Rocky's revival.


     

    Rocky Raccoon

    From Wikipedia, the free encyclopedia

     

     

    "Rocky Raccoon" is a 1968 folk rock song by The Beatles from the double-disc album The Beatles (also known as The White Album). The song was primarily written by Paul McCartney, who was inspired while playing guitar with John Lennon and Donovan in India (where the Beatles had gone on a retreat).

     

    Composition

    The song, titled from the character's name, was originally "Rocky Sassoon", but McCartney changed it to Rocky Raccoon because he thought "it sounded more like a cowboy."[1] The Old West-style honky-tonk piano was played by producer George Martin.[2] The lyrics describe a conflict over a love triangle.

    During Take 8 of the song (featured on "The Beatles Anthology 3"), Paul McCartney flubbed the line "stinking of gin," singing "sminking" instead. This caused him to laugh, exclaim "Sminking?!?", and make up the remaining lines in the song. In this take, McCartney sings that Rocky is from "a small town in Minnesota," rather than "North Dakota," as he sings it in the album version.

    In Mojo magazine in October, 2008, McCartney acknowledged that the style of the song is a pastiche, saying, "I was basically spoofing the folksinger." Lennon attributed the song to Paul, saying "Couldn't you guess? Would I have gone to all that trouble about Gideon's Bible and all that stuff?"[3]

     


     

    Pastiche

    From Wikipedia, the free encyclopedia

     

    A pastiche is a literary or other artistic genre that is a "hodge-podge" or an imitation. The word is also a linguistic term used to describe an early stage in the development of a pidgin language.

     

    Hodge-podge

    In this usage, a work is called pastiche if it is cobbled together in imitation of several original works. As the Oxford English Dictionary puts it, a pastiche in this sense is "a medley of various ingredients; a hotchpotch, farrago, jumble." This meaning accords with etymology: pastiche is the French version of the greco-Roman dish pastitsio or pasticcio, which designated a kind of pie made of many different ingredients.

    Some works of art are pastiche in both senses of the term; for example, the David Lodge novel and the Star Wars series mentioned below appreciatively imitate work from multiple sources.

    Mass (music)

    A pastiche mass is a mass where the constituent movements are from different Mass settings.

    Masses are composed by classical composers as a set of movements: Kyrie, Gloria, Credo, Sanctus, Agnus Dei. (Examples: the Missa Solemnis by Beethoven and the Messe de Nostre Dame by Guillaume de Machaut.) In a pastiche mass, the performers may choose a Kyrie from one composer, and a Gloria from another, or, choose a Kyrie from one setting of an individual composer, and a Gloria from another.

    Most often this convention is chosen for concert performances, particularly by early music ensembles.

     

    Imitation

    In this usage, the term denotes a literary technique employing a generally light-hearted tongue-in-cheek imitation of another's style; although jocular, it is usually respectful.

    For example, many stories featuring Sherlock Holmes, originally created by Arthur Conan Doyle, have been written as pastiches since the author's time.[1][2] Ellery Queen and Nero Wolfe are other popular subjects of mystery parodies and pastiches.[3][4]

    A similar example of pastiche is the posthumous continuations of the Robert E. Howard stories, written by other writers without Howard's authorization. This includes the Conan stories of L. Sprague de Camp and Lin Carter. David Lodge's novel The British Museum Is Falling Down (1965) is a pastiche of works by Joyce, Kafka, and Virginia Woolf.

    The fantasy writer Terry Pratchett is known for his use of pastiche, particularly in his early works Strata, a pastiche of various science fiction themes, The Light Fantastic, a humorous pastiche of the fantasy genre, and Wyrd Sisters, which was inspired by the plays of William Shakespeare, particularly Macbeth and Hamlet.

    Pastiche is also found in non-literary works, including art and music. For instance, Charles Rosen has characterized Mozart's various works in imitation of Baroque style as pastiche, and Edvard Grieg's Holberg Suite was written as a conscious homage to the music of an earlier age. Perhaps one of the best examples of pastiche in modern music is the that of George Rochberg, who used the technique in his String Quartet No. 3 of 1972 and Music for the Magic Theater. Rochberg turned to pastiche from serialism after the death of his son in 1963.

    Many of "Weird Al" Yankovic's songs are pastiches: for example, "Dare to Be Stupid" is a Devo pastiche, and "Bob" from the album Poodle Hat is a pastiche of Bob Dylan.

    "Bohemian Rhapsody" by Queen is unusual as it is a pastiche in both senses of the word, as there are many distinct styles imitated in the song, all 'hodge-podged' together to create one piece of music.

    Pastiche is prominent in popular culture. Many genre writings, particularly in fantasy, are essentially pastiches. The Star Wars series of films by George Lucas is often considered to be a pastiche of traditional science fiction television serials (or radio shows). The fact that Lucas's films have been influential (spawning their own pastiches - vis the 1983 3D film Metalstorm: The Destruction of Jared-Syn) can be regarded as a function of postmodernity.

    The films of Quentin Tarantino are often described as pastiches, as they often pay tribute to (or imitate) pulp novels, blaxploitation and/or Chinese kung fu films, though some say his films are more of an homage. The same definition is said to apply to the video games of Hideo Kojima as well, since they adopt many conventions of action films.

    Pastiche can also be a cinematic device wherein the creator of the film pays homage to another filmmaker's style and use of cinematography, including camera angles, lighting, and mise en scène. A film's writer may also offer a pastiche based on the works of other writers (this is especially evident in historical films and documentaries but can be found in non-fiction drama, comedy and horror films as well).

    Well-known academic Fredric Jameson has a somewhat more critical view of pastiche, describing it as "blank parody" (Jameson, 1991), especially with reference to the postmodern parodic practices of self-reflexivity and intertextuality. By this is meant that rather than being a jocular but still respectful imitation of another style, pastiche in the postmodern era has become a "dead language", without any political or historical content, and so has also become unable to satirize in any effective way. Whereas pastiche used to be a humorous literary style, it has, in postmodernism, become "devoid of laughter" (Jameson, 1991).

    In urban planning, a pastiche is used to refer to neighborhoods as imitations of building styles as conceived by major planners. Many post-war European neighborhoods can in this way be described as pastiches from planners like Le Corbusier or Ebenezer Howard. Alain de Botton describes pastiche as "an unconvincing reproduction of the styles of the past."[5]

    Postmodern art, media and literature can be characterized by intertextuality as the narrative mode, and the postmodern period can be characterized by the death of the grand narratives as proclaimed by Jean-François Lyotard in The Postmodern Condition: A Report on Knowledge (1979). The grand narratives such as religions, ideologies and the enlightenment project have been substituted by the small, local narratives, e.g. love of one’s family. Pastiche is intertextual in its very form as it is a recreation of an earlier text. In the postmodern pastiche the older text (the hypotext) may reflect one of the bygone grand narratives, yet its new postmodern version may reflect a local narrative, so that the two enter into a dialogue in the pastiche. This is for instance the case with Francis Glebas’ "Pomp and Circumstance"- the seventh segment in Fantasia 2000 from 1999, in which the grand religious narrative of the Deluge is merged with the local narrative of personal love, personified in Donald Duck and Daisy. Though the grand narratives may be dead as ontological frames, they can here in the pastiche narrative regain some of their ontological strength when the local narratives are confronted by them in this narrative way.

     

    זה ממש מעניין.

    לא התחלתי לגרד את השטח בהקשרים שעשיתי: למוצארט ולקווין. יש כאן עוד המון... אבל זה לא לעכשיו.


     

     

    Notes on "Rocky Raccoon"

        by Alan W. Pollack

     

     

         Key: C Major
         Meter: 4/4
          Form: Intro | Refrain A | Verse | Verse | Half Verse (climax) |
                      | Refrain B | Verse | Refrain A |
                      | Refrain B | Outro (with complete ending)
            CD: "White Album", Disc 1, Track 13 (Parlophone CDS7 46443-8)
      Recorded: 15th August 1968, Abbey Road 2
    UK-release: 22nd November 1968 (LP "White Album")
    US-release: 25th November 1968 (LP "White Album")


       

    General Points of Interest

        

    Style and Form

        Next note This light-heartedly delivered number about the very serious subject of an almost fatal romantic showdown finds Paulie dressed up again in something ordered from the costume party store; this time, it's a getup from the Wild, Wild American West.   

       Next note Compositionally, the song is a clever triumph of formal articulation over rote monothematicism by virtue of controlled, subtle variation in a number of departments. That's an excessively highfalutin way of saying, gee, the whole three and a half minute track is played out over the same unvarying eight-bar chord progression, and yet, rather than sounding painfully monotonous, it creates the impression of a something developed with the full formal scale and variety you typically expect from a "song"!   

       Next note The secret is in the handling of the vocal style, lyrics, and instrumentation. And it bears some comparison with the way Messrs. Berry and Penniman (et al) know how to create a high-level form out of what is otherwise an unvarying series of twelve-bar frames.   

     

    Melody and Harmony

        Next note The tune stays closely within a pentatonic scale (G - A - C - D - E) for the most part, ignoring for the moment the constant chromatic filling out of the downward sweep from E to C. If you bother to trace it carefully, you'll find that the places in the melody where either of the notes B or F occur are few and far between; you might even say they are strategically chosen: look to the half-spoken first verse and the two scat-sung choruses.

        Next note The harmonic content of the song consists of a simple chord progression repeated seventeen (count 'em, seventeen!) times in a loop:   

     

              Midline: |G       |-       |F#      |-       | Bassline: |A       |-       |D       |-       |   Chords: |a       |-       |D       |-       |        C:  vi7               V-of-V  Midline: |F nat.  |-       |E       |-       | Bassline: |G       |-       |C       |B       |   Chords: |G       |-       |C       |-       |        C:  V                 I        

        Next note Note the descending chromatic scale fragment running through this progression in an inner voice; you can hear this most clearly when the backing voices show up late in the song.

        Next note The bassline descends to B in the eighth measure, and I adjure you to "hear it" as a simple passing note under a sustained C-Major chord, rather than an event that causes the harmony to "progress" from C to e minor in the 6/4 (second) inversion.   

     

    Arrangement

        Next note An acoustic guitar, simply strummed, runs throughout the piece. It is supplemented at times by combinations of drum kit (sparingly), bass guitar, tack piano, harmonica, and backing vocals. I think I even hear a concertina or accordion in the last third of the track, but perhaps that's just still more harmonica.   

       Next note Supporting instruments are progressively added and subtracted in the service of articulating form and and a sense of forward progress.  

     

    Section-by-Section Walkthrough

        

    Intro

        Next note The opening section of four measures of just acoustic guitar strumming is nicely atmospheric, yet the a-minor seventh choice of chord is tonally ambiguous.     

    Assorted Verses and Refrains

        Next note Watch how Paul sculpts something approaching traditional song form out of his seventeen looped iterations, especially impressive when you consider that the ballad-level "story" is told almost continuously, throughout:  

     

       Next note Call the first two loops an extension of the intro, or perhaps and "easing ones way" into the song, proper. In contrast to the rest of the song, this pair is half sung with the words declaimed against the underlying beat, Paul's ol' Western accent is comically exaggerated, and the rhyme scheme tentative, at best.      

    1. Somewhere ...   

    2. ...eye.  Rocky didn't like that ...    

                 

        Next note The next pair could be called a verse section, but I'm going to take the liberty of labeling it "refrain A" because of the way in which the title phrase appears on the downbeat of the section, and the way in which the same gesture reappears much later in the song. The first line of each couplet contains its own internal rhyme ("Raccoon" and "room"; "come" and "gun"), but the pair of them is held together by the rhyme created by the end of each couplet ("Bible" and "rival"). Paul's singing now with his full voice, and the addition of the harmonica help set this off from what preceded.  

    3. Rocky Raccoon checked into his room ...      

    4. Rocky had come ...     

                 

        Next note Next is a "plain" verse, with the story continued, and the rhyming scheme just like the previous one. Add cymbals and bass guitar to the backing track.      

    5. His rival it seems ...      

    6. Her name was Magill ...     

              

        Next note Followed by another "plain" verse, with the same rhyming scheme again. Now add some drums.      

    7. Now she and her man ...   

    8. A - Rocky burst in ...     

                 

        Next note The climax (and exact midpoint) of the song includes only a single loop iteration; the only place like this in the whole track!      

    9. But Daniel was hot ...     

                 

        Next note "Refrain B" shifts to scat singing in the lyrics and adds the piano to the backing track. We're back in the paired loop business. The tempo remains constant, but the shift here to an oompah polka beat sets this section off from the rest of the song.      

    10. Da da da da da ...  

    11. Do do do do do ...     

                 

        Next note The next verse returns to the earlier rhyming scheme and strumming beat, and it drops the piano from the backing track. Do we also have a return of the harmonica, or is this a new part for concertina or the like?    

    12. Now the doctor came in ...  

    13. He said, Rocky you met your match ...     

                 

        Next note Let's call the next section the return of "refrain A". True, the story continues here, but the echo of the title phrase on the downbeat in combination with another reference to a certain edition of the Holy Bible usually found in hotel rooms resonates strongly, don't you think? Note the unique application here of the backing vocals.      

    14. Rocky Raccoon, he fell back in his room ...  

    15. Gideon checked out ...     

                 

        Next note And of course, we complete the song with a reiteration of the scat sung "refrain B".      

    16. Da da da da da ...  

    17. Do do do do do ...     

        

    Outro

        Next note Just where an eigthteenth iteration of the loop might begin, the song ends with an implied four measures of the C-Major (I) chord sustained, a sort of balancing out the four-measure intro.


     

     

    דרג את התוכן:

      תגובות (12)

      נא להתחבר כדי להגיב

      התחברות או הרשמה   

      סדר התגובות :
      ארעה שגיאה בזמן פרסום תגובתך. אנא בדקו את חיבור האינטרנט, או נסו לפרסם את התגובה בזמן מאוחר יותר. אם הבעיה נמשכת, נא צרו קשר עם מנהל באתר.
      /null/cdate#

      /null/text_64k_1#

      RSS
        27/5/10 13:59:


      והנה למה אני כל כך אוהבת את השיר:

       

      זה מהמאמא של אלן פולק:

       

      Style and Form

          Next note This light-heartedly delivered number about the very serious subject of an almost fatal romantic showdown finds Paulie dressed up again in something ordered from the costume party store; this time, it's a getup from the Wild, Wild American West.   

         Next note Compositionally, the song is a clever triumph of formal articulation over rote monothematicism by virtue of controlled, subtle variation in a number of departments. That's an excessively highfalutin way of saying, gee, the whole three and a half minute track is played out over the same unvarying eight-bar chord progression, and yet, rather than sounding painfully monotonous, it creates the impression of a something developed with the full formal scale and variety you typically expect from a "song"!   

         Next note The secret is in the handling of the vocal style, lyrics, and instrumentation. And it bears some comparison with the way Messrs. Berry and Penniman (et al) know how to create a high-level form out of what is otherwise an unvarying series of twelve-bar frames.   

       

       

      Arrangement

          Next note An acoustic guitar, simply strummed, runs throughout the piece. It is supplemented at times by combinations of drum kit (sparingly), bass guitar, tack piano, harmonica, and backing vocals. I think I even hear a concertina or accordion in the last third of the track, but perhaps that's just still more harmonica.   

         Next note Supporting instruments are progressively added and subtracted in the service of articulating form and and a sense of forward progress.  

       

       

      Assorted Verses and Refrains

          Next note Watch how Paul sculpts something approaching traditional song form out of his seventeen looped iterations, especially impressive when you consider that the ballad-level "story" is told almost continuously, throughout:  

       

       In contrast to the rest of the song, this pair is half sung with the words declaimed against the underlying beat, Paul's ol' Western accent is comically exaggerated, and the rhyme scheme tentative, at best.      

       

        27/5/10 13:54:


      שרון, שמת לב למה שכתוב בויקיפדיה?

       

      In Mojo magazine in October, 2008, McCartney acknowledged that the style of the song is a pastiche, saying, "I was basically spoofing the folksinger."

      הנה לך!

      זה שיר של מקארטני!! ועוד איך!

       

        27/5/10 11:08:

      צטט: שרון קדם 2010-05-27 08:43:23

      צטט: (עי)דנהנחושת 2010-05-27 08:26:11

      צטט: שרון קדם 2010-05-26 12:18:41

      ביטלס זה תמיד טוב, וזה אחד מהטובים.

      היה לי פעם הקלטה של שלישיית "קצת אחרת" מבצעים את זה.

      גרוניך עשה את זה טוב

      היה לא מזמן פסטיבל ביטלס בחולון.

      שמעתי ילדים (בני טיפש-עשרה-עשרים) מדברים בנייד בנסיעה במונית שרות:

      "יש פסטיבל,.... אתם באים?"

      וחשבתי: אני כל כך אוהבת את המקור.

      שום חיקוי לא ממש עובד בשבילי.

      מעדיפה לשים דיסק ולשמוע את המקור, מאשר ללכת להופעה של כל שלמה דיק או מרי...

      הייתי שם בפסטיבל, בהופעת הפתיחה במחווה ללנון.  אמנים ישראלים ביצעו שירים של הביטלס שהוא כתב.

      את רוב האמנים לא הכרתי, דווקא הביצועים של גרוניך שפתח את הערב היו המשעממים ביותר, היתר היו מקוריים מאד ומעניינים מאד כשכל אחד נתן אינטרפטציה משלו לשירים, כמו למשל ערן צור שליווה עצמו עם גיטרה בס בלבד.

      גמני אוהב את המקור, אבל עדיין היה מעניין ומהנה מאד.

       

       

      אויש!

      למה לא אמרת לי שהדרמת עד חולון???

      הייתי מצפינה לשם, אם הייתי יודעת....

       

        27/5/10 08:43:

      צטט: (עי)דנהנחושת 2010-05-27 08:26:11

      צטט: שרון קדם 2010-05-26 12:18:41

      ביטלס זה תמיד טוב, וזה אחד מהטובים.

      היה לי פעם הקלטה של שלישיית "קצת אחרת" מבצעים את זה.

      גרוניך עשה את זה טוב

      היה לא מזמן פסטיבל ביטלס בחולון.

      שמעתי ילדים (בני טיפש-עשרה-עשרים) מדברים בנייד בנסיעה במונית שרות:

      "יש פסטיבל,.... אתם באים?"

      וחשבתי: אני כל כך אוהבת את המקור.

      שום חיקוי לא ממש עובד בשבילי.

      מעדיפה לשים דיסק ולשמוע את המקור, מאשר ללכת להופעה של כל שלמה דיק או מרי...

      הייתי שם בפסטיבל, בהופעת הפתיחה במחווה ללנון.  אמנים ישראלים ביצעו שירים של הביטלס שהוא כתב.

      את רוב האמנים לא הכרתי, דווקא הביצועים של גרוניך שפתח את הערב היו המשעממים ביותר, היתר היו מקוריים מאד ומעניינים מאד כשכל אחד נתן אינטרפטציה משלו לשירים, כמו למשל ערן צור שליווה עצמו עם גיטרה בס בלבד.

      גמני אוהב את המקור, אבל עדיין היה מעניין ומהנה מאד.

       

        27/5/10 08:26:

      צטט: שרון קדם 2010-05-26 12:18:41

      ביטלס זה תמיד טוב, וזה אחד מהטובים.

      היה לי פעם הקלטה של שלישיית "קצת אחרת" מבצעים את זה.

      גרוניך עשה את זה טוב

      היה לא מזמן פסטיבל ביטלס בחולון.

      שמעתי ילדים (בני טיפש-עשרה-עשרים) מדברים בנייד בנסיעה במונית שרות:

      "יש פסטיבל,.... אתם באים?"

      וחשבתי: אני כל כך אוהבת את המקור.

      שום חיקוי לא ממש עובד בשבילי.

       

      מעדיפה לשים דיסק ולשמוע את המקור, מאשר ללכת להופעה של כל שלמה דיק או מרי...

       

       

        27/5/10 04:08:

      צטט: (עי)דנהנחושת 2010-05-27 02:25:55

      צטט: alfasin 2010-05-27 01:30:19

      איך "מרחת" ככה את העמוד מותק ?

      או שזה רק אצלי ???

       

      היי!

      לא אמתי לך כבר מזמן שאני לא מותק?

      (אמא לא מרשה לי)

      הנה שיר בשבילך. לזכור.


      "אמא לא מרשה לי" זה דגם של בגד ים.

      מאחורה הוא נראה כביקיני... אבל מקדימה רואים שזה בעצם בגד-ים שלם...

      הנה תמונה: (זה הימני. תתרכז...)

       

       איזה מותק את תאמיני לי...

      :)))

        27/5/10 02:25:

      צטט: alfasin 2010-05-27 01:30:19

      איך "מרחת" ככה את העמוד מותק ?

      או שזה רק אצלי ???

       

      היי!

      לא אמתי לך כבר מזמן שאני לא מותק?

      (אמא לא מרשה לי)

      הנה שיר בשבילך. לזכור.


      "אמא לא מרשה לי" זה דגם של בגד ים.

      מאחורה הוא נראה כביקיני... אבל מקדימה רואים שזה בעצם בגד-ים שלם...

      הנה תמונה: (זה הימני. תתרכז...)

        27/5/10 02:16:


      זה בזכות הקפה:

       

      אם אתה מסתכל על העמוד בכרום או בפייר-פוקס, זה "נמרח"

      אם באקספלורר (ישן. שלי לא האחרון שיש.. אולי גם לא ישן אבל אני לא יודעת)

      אז העמוד יוצא בסדר.

       

      הקפה כנראה לא עומד טוב בהבדלים בין הדפדפנים.

       

       

        27/5/10 01:30:

      איך "מרחת" ככה את העמוד מותק ?

      או שזה רק אצלי ???

        26/5/10 12:18:

      ביטלס זה תמיד טוב, וזה אחד מהטובים.

      היה לי פעם הקלטה של שלישיית "קצת אחרת" מבצעים את זה.

      גרוניך עשה את זה טוב

        26/5/10 11:45:

      צטט: ראסטי נייל 2010-05-26 11:42:49

      מעריך כל מי שאוהב מוסיקה באובססיביות כזו...

      בטח ובטח שביטלס

      אפילו שירים שגם צ'רלס מנסון מחבב

       

      אוי!

      כמה קללות בתגובה אחת!

       

        26/5/10 11:42:

      מעריך כל מי שאוהב מוסיקה באובססיביות כזו...

      בטח ובטח שביטלס

      אפילו שירים שגם צ'רלס מנסון מחבב

      תגובות אחרונות

      ארכיון

      פרופיל

      עידנהנחושת
      1. שלח הודעה
      2. אוף ליין
      3. אוף ליין