Siempre me quedará
Bebe

Cómo decir que me parte en mil
las esquinitas de mis huesos,
que han caído los esquemas de mi vida
ahora que todo era perfecto.
Y algo más que eso,
me sorbiste el seso y me decían del peso
de este cuerpecito mío
que se ha convertío en río.
de este cuerpecito mío
que se ha convertío en río.

Me cuesta abrir los ojos
y lo hago poco a poco,
no sea que aún te encuentre cerca.
Me guardo tu recuerdo
como el mejor secreto,
que dulce fue tenerte dentro.

Hay un trozo de luz
en esta oscuridad
para prestarme calma.
El tiempo todo calma,
la tempestad y la calma,
el tiempo todo calma,
la tempestad y la calma.

Siempre me quedará
la voz suave del mar,
volver a respirar la lluvia que caerá
sobre este cuerpo y mojará
la flor que crece en mi,
y volver a reír
y cada día un instante volver a pensar en ti.
En la voz suave del mar,
en volver a respirar la lluvia que caerá
sobre este cuerpo y mojará
la flor que crece en mi,
y volver a reír
y cada día un instante volver a pensar en ti.

Cómo decir que me parte en mil
las esquinitas de mis huesos,
que han caído los esquemas de mi vida
ahora que todo era perfecto.
Y algo más que eso,
me sorbiste el seso y me decían del peso
de este cuerpecito mío
que se ha convertío en río.

Siempre me quedará
la voz suave del mar,
volver a respirar la lluvia que caerá
sobre este cuerpo y mojará
la flor que crece en mi,
y volver a reír
y cada día un instante volver a pensar en ti.
En la voz suave del mar,
en volver a respirar la lluvia que caerá
sobre este cuerpo y mojará
la flor que crece en mi,
y volver a reír
y cada día un instante volver a pensar en ti.

"It's time to kick ass and chew bubble gum, and I'm all outta gum!"

-Roddy Piper

Jacques-Louis David, The Death of Marat, 1793, Oil on canvas.
Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium.

"This painting can be regarded as David's finest work, in which he has perfectly succeeded in immortalizing a contemporary political event as an image of social ideals. David's painting of Marat represents the peak of his involvement in the Revolution where invention, style, fervent belief and devotion combine to produce one of the most perfect examples of political painting. David presented the painting to the Convention on 14 November 1793.

Jean-Paul Marat saw himself as a friend of the people, he was a doctor of medicine and a physicist, and above all he was editor of the news-sheet Ami du peuple. He suffered from a skin disease and had to perform his business for the revolution in a soothing bath. This is where David shows him, in the moment after the pernicious murder by Charlotte Corday, a supporter of the aristocracy. David had seen his fellow party member and friend the day before. Under the impact of their personal friendship David created his painting "as if in a trance," as one of his pupils later reported.

David takes the viewer into Marat's private room, making him the witness of the moments immediately after the murder. Marat's head and arm have sunk down, but the dead hand still holds pen and paper. This snapshot of exactly the minute between the last breath and death in the bathroom had an immense impact at the time, and it still has the same effect today.

David has used a dark, immeasurable background to intensify the significance. The boldness of the high half of the room above the figure concentrates attention on the lowered head, and makes us all the more aware of the vacuum that has been created. The distribution of light here has been reversed from the usual practice, with dark above light. This is not only one of the most moving paintings of the time, but David has also created a secularised image of martyrdom. The painting has often, and rightly, been compared with Michelangelo's Pietà in Rome; in both the most striking element is the arm hanging down lifeless. Thus David has unobtrusively taken over the central image of martyrdom in Christianity to his image of Marat. Revolutionary and anti-religious as the painting of this period claimed to be, it is evident here that it very often had recourse to the iconography and pictorial vocabulary of the religious art of the past."

Source: Web Gallery of Art

"Life consists not in holding good cards but in playing those you hold well."

-Josh Billings

Jan Vermeer, Girl with a Pearl Earring, 1665, Oil on canvas.
The Mauritshuis, The Hague, Netherlands.

"As this girl stares out at the viewer with liquid eyes and parted mouth, she radiates purity, captivating all the gaze upon her. Her soft, smooth skin is as unblemished as the surface of her large tear-drop shaped earring - like a vision emanating from the darkness, she belongs to not specific time or place. Her exotic turban, wrapping her head in crystalline blue, is surmounted by a striking yellow fabric that falls behind her shoulders, lending an air of mystery to the image."

-Aurthur Wheelock, Johannes Vermeer, with contributions by Albert Blankert , Ben Broos and Jorgen Wadum, Washington, 1995.