MURMÚRIOS DE LISBOA CVII

The Vampire & the Werewolf - Part IV

She is divided. She feels she will be, eternally. If she actually had to decide, she would not know which one to choose, for sure. Fortunately or unfortunately, depending on one's 


point of view, she does not have to decide anything. Both know she exists, but both pretend not to see her.

The vampire is a mature man, wise and inteligent, who knows exactly what to do in each situation. But sometimes she wonders if he has fears, like most of us, or at least concerns. His hands were trembling when he presented the conference, something that surprised her. She thought he was protected against such petty little human emotions.

The werewolf is a horny young man who looks at her from the top of the street as if he intends to devour her. Yet he sweeps the floor in front of the garage every other day and pretends not to look at her when she leaves the building. Too close for comfort, she guesses.

Are they both as afraid as she is? What does she mean to each of them, if anything?

For once in her life she whishes something would happen at the other end of the rope. Why does the dreamer need always be her? Why does she have to be the one wondering what it would be like if she wrote the werewolf a poem and left it glued to the garage's door or the mirror of his red bike? Why does she have to be the one wondering what life would be like if shared with an unnatainable vampire?

She's tired. They should be the ones going after her. Trying something. Anything.

Love demands courage. And when you are afraid does it necessarily mean you love? They both tickle her heart and they both leave her breathless in totally different ways.
The vampire has the power to awe her when she least expects it or when she's positively sure that he despises her, like when he held her hand and wished her luck for the presentation. Sometimes she's certain he even hates her or that he couldn't care less if he saw her dying in some alley. She wants to scream at him Tennessee Williams' words, but she keeps recollecting what he said about Brando and the irony in his voice when he said he would love to have shared the world with the gentleman. In those moments she pities him intensely. He is a cynical. Nothing touches him. But sometimes she wonders if that is because everything touches him deeply.
The werewolf reminds her every single day she sees him that she is in love. The simple presence of himself is enough. Her body feels a misterious attraction every time she passes him, pulling her to his side. She's almost sure he is an imature and reckless soul, who could not discern the intricate laces of love even in his own heart.
And then she remembers some wise knowledge bottled up inside her soul. No one told her this, but she knows for a fact that it's the right thing to do - never interfere with the ways of the universe. It will find a way of reajusting itself and herself to it. Or, more plainly, if it's not meant to be, it should not be forced to happen.
She wont bother anymore. It's a waste of time, anyway.

MAGIC MOMENTS 230

Tunes for Travelers 35fkdsf
No carro, no comboio, no autocarro, no avião, no barco. Façamo-nos às estradas deste mundo, mas que seja com estilo e energia.

For reasons I cannot explain

There's some part of me wants to see Graceland

Macro Secrets 181

I think we're going to have to fight

AS BANDAS DE ANDRÓMEDA

Depeche Mode

Inglaterra

O nome é retirado do título de uma revista francesa e significa literalmente "moda apressada".

A voz, o carisma, a figura de Dave Gahan.

As letras profundas e acutilantes de Martin Gore.

A música electrónica (a única que gosto é a deles).

O estilo incomparável.

A força de Dave em palco.

O bom gosto misturado com o exagero animalesco.

A Question of Time é a preferida de sempre.

Mas também: Walking in my Shoes, Personal Jesus, A Question of Lust, Never Let me down again, I feel you, Just can't get enough, Strangelove, Precious, Enjoy the silence

Ainda tocam juntos.

It's just a question of time before they lay their hands on you

PALAVRAS TRADUZIDAS 20

Beyoncé - Single Ladies


Todas as raparigas solteiras (Todas as raparigas solteiras)

Todas as raparigas solteiras (Todas as raparigas solteiras)
Todas as raparigas solteiras (Todas as raparigas solteiras)
Todas as raparigas solteiras Agora ponham as mãos no ar


No clube
Acabámos de acabar
Estou a fazer a minha cena


Decidi mergulhar
Mas agora queres voltar
Porque outro gajo reparou em mim


Eu estou em cima dele
Ele está em cima de mim
Não lhe prestes atenção nenhuma


Chorei as minhas lágrimas
Durante três bons anos
Não podes estar furioso comigo


Porque se gostavas
Devias ter-me posto um anel
Se gostavas
Então devias ter-me posto um anel


Não estejas furioso
Assim que vires que ele quer
Se gostavas
Então devias ter-me posto um anel

Oh, oh, oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh

Porque se gostavas
Então devias ter-me posto um anel
Se gostavas
Então devias ter-me posto um anel



Não estejas furioso
Assim que vires que ele quer
Se gostavas
Então devias ter-me posto um anel

Pus gloss nos lábios

E um homem nas minhas ancas

Agarra-me com mais força que as minhas jeans Dereon

Estou a armar-me

Bebi do meu copo

Estou-me nas tintas para o que pensas

Não preciso de autorização

Mencionei isso?

Não lhe prestes atenção

Porque tiveste a tua oportunidade

Mas agora vais aprender

O que é realmente ter saudades minhas

Porque se gostavas
Então devias ter-me posto um anel
Se gostavas
Então devias ter-me posto um anel

Não estejas furioso

Assim que vires que ele quer

Se gostavas

Então devias ter-me posto um anel

Oh, oh, oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh

Não me trates como o resto do mundo

Não sou esse tipo de miúda

O teu amor é o que eu prefiro

O que eu mereço

Ele é um homem

Que me faz e me toma

E me entrega a um destino

Ao infinito e mais além

Puxa-me para os teus braços

Diz que eu não sou aquela que é tua

Se não, ficarás sozinho

E como um fantasma eu desaparecerei

MURMÚRIOS DE LISBOA CVI

The Vampire & the Werewolf - Part III

The vampire enjoys socializing. He's what you would call a social animal, metaphorically if not literally. Vampires are not very social by nature. This one goes against tradition. In his social habits aswell as his literary beliefs. The vampire believes in human relations, or should I say, he thinks he believes in them because what he really appreciates is being in control. Control of others feelings, control of others timetables, control of an audience's emotions. He's a remarkable actor. Maybe that is why he accepted her thesis theme, although the old school might have raised an eyebrow. He doesn't care. Or rather, he does care, as long as he can have the upper hand in the matter. He's using her, she believes. She's the joker in his deck of cards. The exotic element in the fruit basket. He will throw her to the lions and expect her to survive on her own if the lions decide to have her as a feast. If not, she will contribute to his glory.

The werewolf, also against his nature, is very private. He enjoys being on his own. Unlike the animal with which species he shares his most revealing features, he is not a family man or a team hunter. He's quiet and drawn to himself. However, he is not a thinker, but a doer. Unlike the vampire, who thinks his every little action to exaustion and plans every single move with premeditated care, the werewolf is impatient and prefers to get his hands on the matter, literally and metaphorically. His passion are the expensive machines he carefully tunes for others with expertise and craftsmanship. Racing cars are his food. Speed his philosophy. He doesn't like to wait. He wishes people would be like his engines, simple and straight to the point. If it isn't working there's always a reason: a spare part missing, a wire badly connected, a clog in some valve. Humans are much more complicated than that and frankly, too much of a cunundrum for this werewolf's simple rationalizing.

The vampire, on the other hand, believes he knows everything there is to know about the way human beings function. He is positively sure he cannot be surprised in any way. Deep down inside he is aware and a little melancholic about having lost the element of fascination. Nothing can take his breath away anymore. Life is an endless series of déja vus carefully orchestrated and similar to eachother, give or take an insignificant detail.
When he looks at her he sees what everyone else sees, a plain girl who was once infatuated and is now cured of that desease.
When the werewolf looks at her he sees an enigma. He doesn't understand why he feels so drawn to her and yet they have never spoken one single word to eachother. He tries and tries and tries to interpret her polished face hidden behind those huge sunglasses, but he doesn't seem to find enough solutions to solve her puzzle. She likes to imagine that is exactly what's going on inside his mind. She doesn't care about the vampire's self assurances. She's certain he's completely mistaken.

DDT - Deambulações DeMentes Teóricas 46

The Serial Killer - Part XXVI

Jane Toppan (1857–1938), born Honora Kelley, was an American female serial killer. She confessed to 31 murders in 1901. She is quoted as saying that her ambition was "to have killed more people — helpless people — than any other man or woman who ever lived...".

Though scant records survive of Toppan's early years, it is known that her parents were Irish immigrants, and her mother, Bridget Kelley, died of tuberculosis when she was very young. Her father, Peter Kelley, was well known as an alcoholic and eccentric, nicknamed by those who knew him "Kelley the Crack" (crack as in "crackpot"). In later years Kelley would become the source of many local rumors concerning his supposed insanity, the most popular of which being that his madness finally drove him to sew his own eyelids closed while working as a tailor. As with all rumors and legends, the story's authenticity is dubious, but it accurately reflects the prevailing opinion of Peter Kelley as an extremely unbalanced person.

In 1863, only a few years after his wife's death, Kelley brought his two youngest children, the eight-year-old Delia Josephine and six-year-old Honora, to the Boston Female Asylum, an orphanage for indigent female children founded in 1799 by Mrs. Hannah Stillman. Kelley surrendered the two young girls, never to see them again. Documents from the asylum note that the two girls were "rescued from a very miserable home".

No records of Delia and Honora's experiences during their time in the asylum exist, but in less than two years, in November 1864, Honora Kelley was placed as an indentured servant in the home of Mrs. Ann C. Toppan of Lowell, Massachusetts. Though never formally adopted by the Toppans, Honora took on the surname of her benefactors and eventually became known as Jane Toppan.

In 1885, Toppan began training to be a nurse at Cambridge Hospital. During her residency, she used her patients as guinea pigs in experiments with morphine and atropine; she would alter their prescribed dosages to see what it did to their nervous systems. However, she would spend a lot of time alone with those patients, making up fake charts and medicating them to drift in and out of consciousness and even get into bed with them. It is not known whether any sexual activity went on when her victims were in this state but when Jane Toppan was asked after her arrest, she answered that she derived a sexual thrill from patients being near death, coming back to life and then dying again. Toppan would administer a drug mixture to patients she chose as her victims, lie in bed with them and hold them close to her as they died. This is quite rare for female serial killers, who usually murder for material gain, as we have seen in the other cases presented here, and not sexual satisfaction. She was recommended for the prestigious Massachusetts General Hospital in 1889; there, she claimed several more victims before being fired the following year. She briefly returned to Cambridge, but was soon dismissed for prescribing opiates recklessly. She then began a career as a private nurse, which flourished despite complaints of petty theft.

She began her poisoning spree in earnest in 1895 by killing her landlords. In 1899, she killed her foster sister Elizabeth with a dose of strychnine. In 1901, Toppan moved in with the elderly Alden Davis and his family in Cataumet to take care of him after the death of his wife (whom Toppan herself had murdered). Within weeks, she killed Davis and two of his daughters. She then moved back to her hometown and began courting her late foster sister's husband, killing his sister and poisoning him so she could prove herself by nursing him back to health. She even poisoned herself to evoke his sympathy. The ruse did not work, however, and he cast her out of his house.

The surviving members of the Davis family ordered a toxicology exam on Alden Davis' youngest daughter. The report found that she had been poisoned, and local authorities put a police detail on Toppan. On October 26, 1901, she was arrested for murder.

By 1902, she had confessed to 31 murders. On June she was found not guilty by reason of insanity and committed for life in a hospital for the insane where she remained for the rest of her life.

MAGIC MOMENTS 229

Tunes for Travelers 34fkdsf
No carro, no comboio, no autocarro, no avião, no barco. Façamo-nos às estradas deste mundo, mas que seja com estilo e energia.

You better be home soon

Macro Secrets 180

He won't know it was me

Or will he? ...

AS BANDAS DE ANDRÓMEDA

Chicago

EUA
O nome é, obviamente, o da cidade onde nasceram.


Se de Espanha nem bom vento nem bom casamento, de Chicago - a Windy City - vêm sempre bons ventos, como estes senhores.
São das bandas com maior longevidade do mundo: 45 anos, nem mais. Merecem respeito.
Deram ao rock outros sabores, melódicos, harmoniosos, subtis.
A inigualável voz de Peter Cetera.
A poderosa voz do seu sucessor, Jason Scheff.
As harmonias.
As melodias.
O som único e inimitável da banda.
Hard habit to break é o hino da banda para mim. Primeiro suave e poética, em crescendo para um final arrasador e empolgante.
Mas também: Will you still love me, Hard to say I'm sorry, Look away, Love me tomorrow, Niagara Falls, What kind of man would I be?, You're the inspiration, If you leave me now, Bigger than Elvis, If she would have been faithfull, You're not alone


Ainda tocam juntos.

I'm addicted to you, baby

PALAVRAS TRADUZIDAS 19

Your Song - Elton John


Tem uma certa piada isto que sinto
Não sou daqueles que conseguem esconder facilmente
Não tenho muito dinheiro mas caraças se tivesse
Comprava uma casa grande onde os dois pudéssemos viver


Se eu fosse um escultor, mas se calhar talvez não
Ou um homem que faz poções num espectáculo itinerante
Eu sei que não é muito mas é o melhor que consigo
O meu presente é a minha canção e esta é para ti


E podes dizer a toda a gente que esta é a tua canção
Pode ser muito simples mas agora que está feita
Espero que não te importes
Espero que não te importes de ter posto em palavras
Como a vida é maravilhosa enquanto tu estás no mundo


Sentei-me no telhado e enxotei o musgo
É que alguns dos versos puseram-me zangado
Mas o sol tem sido gentil enquanto escrevi esta canção
É para pessoas como tu que mantêm as coisas vivas


Por isso desculpa-me se esqueço mas estas coisas que faço
É que esqueci se são verdes ou azuis
De qualquer modo, é o seguinte, o que eu quero mesmo dizer
É que os teus olhos são os mais doces que alguma vez vi



E podes dizer a toda a gente que esta é a tua canção
Pode ser muito simples mas agora que está feita
Espero que não te importes
Espero que não te importes de ter posto em palavras
Como a vida é maravilhosa enquanto tu estás no mundo

DDT - Deambulações DeMentes Teóricas 45

The Serial Killer - Part XXV

An unknown serial killer, popularly known today as the Servant Girl Annihilator, preyed upon the city of Austin, Texas during the years 1884 and 1885. The series of murders was referred to by contemporary sources as "The Servant Girl Murders."

Seven females (five black, two white) and one black male were murdered. Additionally, six women and two men were seriously injured. All of the victims were attacked indoors while asleep in their beds. Five of the female victims were then dragged, unconscious but still alive, and killed outdoors. Three of the female victims were severely mutilated while outdoors. Only one of the murdered female victims was mutilated indoors. Six of the murdered female victims had a "sharp object" inserted into their ears. The series of murders ended with the killing of two white women, Eula Phillips, age 17, and Susan Hancock, who was attacked while sleeping in the bed of her sixteen year-old daughter, on the night of 24 December 1885.

Four hundred men were arrested during the course of that year. The authorities refused to believe that one man or one group of men was responsible for all of the murders. Only one of those arrested, James Phillips, was convicted of the murder of his wife, Eula Phillips. The conviction was later overturned.

The serial-murders represent an early example of a serial killer operating in the United States, three years before the Jack the Ripper murders in Whitechapel. In her book, Jack the Ripper: The American Connection author Shirley Harrison asserted that the Texas killer and Jack the Ripper were one and the same man, namely, James Maybrick. According to author Phillip Sugden in The Complete History of Jack the Ripper, the conjecture that the murders were committed by the same hand originated in October, 1888, when an editor with the Atlanta Constitution proposed the conjecture following the murders of Stride and Eddowes by Jack the Ripper. London authorities questioned several American cowboys, one of whom, according to the authors of Jack the Ripper, A to Z, possibly having been Buck Taylor, a performer in Buffalo Bill's Wild West Show, who was born in Fredricksburg, Texas, about seventy miles southwest of the city of Austin, Texas.

The series of murders ended when additional police officers were hired, rewards were offered and citizens formed a vigilance committee to patrol the streets at night. Contemporary newspapers reported that the murderer(s) had apparently fled the area, as no more murders were officially attributed to the killer.

Of course now we are slowly approaching the modern era of serial killing, which turn is epitomized in Jack the Ripper, considered to be the first case of serial murder widely spread and covered by the media. The suggestion that the Servant Girl Annihilator could have also been Jack the Ripper across the Atlantic is not altogether farfetched, considering that the police never found any of these two very interesting colleagues.

MAGIC MOMENTS 228

Tunes for Travelers 33fkdsf
No carro, no comboio, no autocarro, no avião, no barco. Façamo-nos às estradas deste mundo, mas que seja com estilo e energia.

On the road again


I can't wait to get on the road again

Macro Secrets 179

Rock stars are the closest we have to Gods

AS BANDAS DE ANDRÓMEDA

Beatles, The

Inglaterra
O nome tem origem na palavra "beat", que significa "batida" e que caracterizou também a chamada "beat generation" norte-americana. Se trocarmos a letra "a" por um "e", o nome passa a significar escaravelhos. 

A fase da euforia teen e a fase do génio.

São a referência de todas as bandas rock e pop desde os anos 70, dos mais diversos sub-géneros musicais, o que é um feito surpreendente.

Inovadores, revolucionários, mas sempre com um profundo toque daquele humor especial britânico, cheio de ironia e segundos sentidos e "nonsense" que colocavam em muitas das suas músicas e em muitos dos seus videoclips.

Dela saiu John Lennon, um ícone musical e social incontornável.
"Eleanor Rigby" é das músicas mais bonitas jamais escritas e compostas.
Mas também: The Fool on the Hill, Sgt. Pepper's Lonely Hearts Club Band, A Hard Day's Night, Day Tripper, In My Life, Paperback Writer, Penny Lane, Roll Over Beethoven, The Long and Winding Road, When I'm Sixty-Four, While My Guitar Gently Weeps, Yellow Submarine, Yesterday.


Tocaram juntos pela última vez a 20 de Agosto de 1969.

Ahh, look at all the lonely people

PALAVRAS TRADUZIDAS 18

My Way - Frank Sinatra


E agora, o fim está próximo
E assim eu encaro a última cortina
Meu amigo, vou dizê-lo claramente
Vou expôr o meu caso, do qual estou certo


Vivi uma vida cheia
Viajei por todas as estradas
Mas mais, muito mais do que isto
Fi-lo à minha maneira


Arrependimentos, tive alguns
Mas afinal, são poucos para mencionar
Fiz o que tinha de fazer
E levei-o até ao fim sem isenção


Planeei cada percurso traçado
Cada passo cuidadoso ao longo do atalho
Mas mais, muito mais do que isto
Fi-lo à minha maneira


Sim, houve alturas, tenho a certeza que sabem
Quando mordi mais do que podia mastigar
Mas através de tudo, quando havia dúvida
Eu engoli-o e cuspi-o
Encarei tudo e mantive-me de pé
E fi-lo à minha maneira


Amei, ri e chorei
Tive a minha dose, a minha parcela de perdas
E agora, enquanto as lágrimas se desvanecem
Acho tudo tão divertido


Pensar que fiz isso tudo
E se me é permitido dizer - não de forma tímida
Não, oh não, eu não
Eu fi-lo à minha maneira


Porque o que é um homem, o que é que ele tem?
Se não a si próprio, então não tem nada
Dizer as coisas que realmente sente
E não as palavras de alguém que se ajoelha
O registo mostra que eu levei com os golpes
E fi-lo à minha maneira

DDT - Deambulações DeMentes Teóricas 44

The Serial Killer - Part XXIV

Thomas Neill Cream was known as the Lambeth Poisoner.A scottish-born serial killer, who claimed his first proven victims in the United States and the rest in England, and possibly others in Canada and Scotland.

 In August 1879 Kate Gardener, a woman with whom he was alleged to have had an affair, was found dead in an alleyway behind Cream's office, in Ontario, pregnant and poisoned by chloroform. Cream claimed that she had been made pregnant by a prominent local businessman but then, after being accused of both murder and blackmail, fled to the United States.

Cream established a medical practice not far from the red-light district in Chicago, offering illegal abortions to prostitutes. He was investigated in August 1880 after the death of Mary Anne Faulkner, a woman on whom he had allegedly operated, but he escaped prosecution due to lack of evidence.

In December 1880 another patient, Miss Stack, died after treatment by Cream, and he subsequently attempted to blackmail a pharmacist who had made up the prescription.

On 14 July 1881, Daniel Stott died of strychnine poisoning at his home, after Cream supplied him with an alleged remedy for epilepsy.

Using money inherited from his father, who had died in 1887, Cream sailed for England, arriving in Liverpool on 1 October 1891. He went to London and settled into lodgings at Lambeth, ridden with poverty, petty crime and prostitution.

On 13 October that year, Ellen "Nellie" Donworth, a 19-year-old prostitute, accepted a drink from Cream. She was severely ill the next day and died on 16 October from  strychnine poisoning.

On 20 October, Cream met with a 27-year-old prostitute named Matilda Clover. She became ill and died the next morning; her death was at first attributed to her alcoholism.

On 2 April 1892, after a vacation in Canada, Cream was back in London where he attempted to poison Lou Harvey (née Louise Harris) who, being suspicious of him, pretended to swallow the pills he had given her. She secretly disposed of them by throwing them off a bridge into the River Thames.

On 11 April, Cream met two prostitutes, Alice Marsh, 21, and Emma Shrivell, 18, and talked his way into their flat where he offered them bottles of Guiness. Cream left before the strychnine he had added to the drinks took effect. Both women died in agony.

The motivation for the series of poisonings has never really been settled. It has generally been assumed that Cream was a sadist who enjoyed the thought of the agonies of his victims (even if he was not physically present to witness these). However, Cream was always greedy: from the start of the series of crimes Cream wrote blackmail notes to prominent people; and the poisoning of his one known male victim, Daniel Stott, was in the hopes that Stott's wealthy widow would now share the deceased's estate with him.

Only three of these are known, but there may have been others who were approached. 

Cream's downfall came through an attempt to frame two respectable and innocent doctors. He wrote to the police accusing these fellow doctors of killing several women, including Matilda Clover. Not only did the police quickly determine the innocence of those accused, but they also realized that there was something significant within the accusations made by the anonymous letter-writer: He had referred to the murder of Matilda Clover. In fact, Clover's death had been noted as natural causes, related to her drinking. The police quickly realised that the false accuser who had written the letter was the serial killer now referred to in the newspapers as the 'Lambeth Poisoner'.

Not long afterwards, Cream met a policeman from New York City who was visiting London. The policeman had heard of the Lambeth Poisoner, and Cream gave him a brief tour of where the various victims had lived. The American lawman happened to mention it to a British policeman who found Cream's detailed knowledge of the case suspicious.

The police at Scotland Yard put Cream under surveillance, soon discovering his habit of visiting prostitutes. They also contacted police in the United States and learned of their suspect's conviction for a murder by poison in 1881.

On 13 July 1892, Cream was charged with murdering Matilda Clover. From the start he insisted he was only Dr. Thomas Neill, not Dr. Thomas Neill Cream, and the newspapers usually referred to him as Dr. Neill in their coverage of the proceedings. His trial lasted from 17 to 21 October that year. He was convicted and sentenced to death.

Less than a month after his conviction, on 15 November, Dr Thomas Neill Cream was hanged on the gallows. As was customary with all executed criminals, his body was buried the same day in an unmarked grave within the prison walls.

Billington claimed that Cream's last words on the scaffold were "I am Jack The..." Billington promoted this alleged incident as proof that he was responsible for executing the notorious Victorian serial killer Jack the Ripper. These claims remain unsubstantiated, as police officials and others who attended the execution made no mention of any such event. Records show Cream was in prison at the time of the last three Ripper murders in 1888. As he was still imprisoned at the time of the Ripper murders, most authorities consider it impossible for him to be the culprit. However, Donald Bell suggested that he could have bribed officials and left the prison before his official release, and Sir Edward Marshall-Hall suspected that his prison term may have been served by a look-alike in his place. Such notions are unlikely, and contradict evidence given by the Illinois authorities, newspapers of the time, Cream's solicitors, Cream's family and Cream himself.

MAGIC MOMENTS 227

Tunes for Travelers 32fkdsf
No carro, no comboio, no autocarro, no avião, no barco. Façamo-nos às estradas deste mundo, mas que seja com estilo e energia.

Keep your eyes on the road,

your hands upon the wheel 

Macro Secrets 178

I've taken the side of the angels

Even if the angels are wrong

AS BANDAS DE ANDRÓMEDA

A-HA

Noruega
O nome é uma exclamação universal de reconhecimento.


A voz de Morten Harket.
Os coros de Magne Furuholmen.
Pop sofisticado. No universo dos anos 80 recheado de bandas de todas as cores, formatos e feitios, os A-HA destacavam-se por serem um pouco mais exóticos, um pouco mais nórdicos e com um pouco mais de classe.
Poéticos, melódicos, energéticos.
Sempre gostei mais das suas baladas do que das músicas mais agitadas.
"Hunting High and Low" é das coisas mais bonitas que já se fizeram na pop, incluindo o vídeoclip.
Mas também: Stay on these roads, Crying in the rain.


Tocaram juntos pela última vez a 4 de Dezembro de 2010.

For you, I'll be hunting high and low

PALAVRAS TRADUZIDAS 17

Billie Jean - Michael Jackson


Ela era mais como uma rainha de beleza de um cena de um filme
Eu disse não importa, mas o que queres dizer com "eu sou o tal"
Que vai dançar na pista
Ela disse que eu sou o tal que vai dançar na pista

Ela disse-me que se chamava Billie Jean, enquanto provocava uma cena
Depois todas as cabeças se viraram com olhos que sonhavam ser o tal
Que vai dançar na pista

As pessoas sempre me avisaram para ter cuidado com o que faço
E não andar por aí a partir os corações das raparigas
E a minha mãe sempre me disse para ter cuidado a quem amo
E para ter cuidado com o que faço porque a mentira se torna verdade

Billie Jean não é a minha amante
Ela é apenas uma rapariga que diz que eu sou o tal
Mas o miúdo não é meu filho
Ela diz que eu sou o tal, mas o miúdo não é meu filho

Durante 40 dias e 40 noites
A lei esteve do lado dela
Mas quem é que aguenta quando ela insiste
Nos seus esquemas e planos
Porque dançámos na pista
Por isso ouve o meu conselho, lembra-te sempre de pensares duas vezes
(Pensa duas vezes)


Ela disse à minha bebé que tinhamos dançado até às 3, depois olhou para mim
Depois mostrou a fotografia do bebé a chorar os olhos dele eram iguais aos meus (oh, não!)
Porque dançámos na pista, bebé

As pessoas sempre me avisaram para ter cuidado com o que faço
E não andar por aí a partir os corações de raparigas
Ela veio e pôs-se ao meu lado
Depois o cheiro do perfume doce
Isto aconteceu demasiado cedo
Ela chamou-me para o seu quarto
Billie Jean não é a minha amante
Ela é apenas uma rapariga que diz que eu sou o tal
Mas o miúdo não é meu filho


Billie Jean não é a minha amante
Ela é apenas uma rapariga que diz que eu sou o tal
Mas o miúdo não é meu filho
Ela diz que eu sou o tal, mas o miúdo não é meu filho

Ela diz que eu sou o tal, mas o miúdo não é meu filhoBillie Jean não é a minha amante
Ela é apenas uma rapariga que diz que eu sou o tal
Mas o miúdo não é meu filho
Ela diz que eu sou o tal, mas o miúdo não é meu filho


Ela diz que eu sou o tal, mas o miúdo não é meu filho 
Ela diz que eu sou o tal (Billie Jean não é a minha amante)

Billie Jean não é
A minha amante


Billie Jean não é a minha amante (ela é apenas uma rapariga)

Billie Jean não é
Billie Jean não é
Billie Jean não é a minha amante
Billie Jean não é a minha amante

Billie Jean não é
Billie Jean não é
Billie Jean não é a minha amante
Billie Jean não é a minha amante


Billie Jean não é
Billie Jean não é 




não é tão mau como eu pensava ...