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02/08/30 01:30 ú@€@U@mn@V@@@@@ @ @@ QQQQQQQQQQQQQ ßßßßßßßß ÈÈ@@@@^ @V@¿@mn Ú@@ ißÖß=j@ @Ìêñª¯ÅVJXŸ¡å£B Q_Q_Q_QQ_QQ_|Âä_Q@_QQQQQQQQQQQQQQQ \\\\\\\\\\\ @ª±ª @@ ª±ª @@@@@@@@BGM@Miles Davis / Round Midnight
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w¶³ñÍŒOªÈ¢ F02/08/30 01:31
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æ[Ö¢ VjfpWd/c F02/08/30 01:33
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w¶³ñÍŒOªÈ¢ F02/08/30 01:33
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w¶³ñÍŒOªÈ¢ F02/08/30 01:34
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æ[Ö¢ VjfpWd/c F02/08/30 01:39
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7 F
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æ[Ö¢ VjfpWd/c F02/08/30 01:41
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æ[Ö¢ VjfpWd/c F02/08/30 01:43
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æ[Ö¢ VjfpWd/c F02/08/30 01:51
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w¶³ñÍŒOªÈ¢ F02/08/30 12:27
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15 F
äÓùm 25EvhmVw F02/08/30 13:08
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17 F
æ[Ö¢ FUCK5LO2 F02/08/30 14:44
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19 F
æ[Ö¢ FUCK5LO2 F02/08/30 15:08
^PPPPPPPPPPPPPPPPP | @IXXÌCD³ŠÄ¿åB _Q@@@QQQQQQQQQQQQQQ @ @b ^ @ @ É ú@€@U@mn@V@@@@@ @ @@QQQQQQQQQQQ ßßßßßßß@ È È@@@ ^ @V@¿@mn ÉÚ ißÖßGj@ @±êÈñ©Ç€Ÿ¡å£cB Q_ ÈÈQ_Q_QQ|Âä_Q@_QQQQQQQQQQQ @@i@@,,jú \ / @ Â\\\\\\\ _(Q_.É @ª±ª @ ª±ª @@@@@@BGM Bill Evans / Waltz For Debby
20 F
w¶³ñÍŒOªÈ¢ F02/08/30 15:11
Bill Evans Ì Waltz For Debby RêàD«ô
21 F
w¶³ñÍŒOªÈ¢ F02/08/30 15:16
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22 F
æ[Ö¢ FUCK5LO2 F02/08/30 16:30
^PPPPPPPPPPPPPPPPP | @medeskiÌš©ßAoð³ŠÄŸ³¢B _Q@@@QQQQQQQQQQQQQQ @ @b ^ @ @ É ú@€@U@mn@V@@@@@ @ @@QQQQQQQQQQQ ßßßßßßß@ È È@@@ ^ @V@¿@mn ÉÚ ißÖßGj@ @medeski,martin&wood(?)Í ÜèD«¶áÈ¡å£cB Q_ ÈÈQ_Q_QQ|Âä_Q@_QQQQQQQQQQQ @@i@@,,jú \ / @ Â\\\\\\\ _(Q_.É @ª±ª @ ª±ª @@@@@@BGM Louis Armstrong / when the saints go marching in
23 F
jL 4CiY67Vw F02/08/30 18:23
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25 F
w¶³ñÍŒOªÈ¢ F02/08/30 22:27
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w¶³ñÍŒOªÈ¢ F02/08/30 23:02
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w¶³ñÍŒOªÈ¢ F02/08/30 23:55
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32 F
æ[Ö¢ VjfpWd/c F02/08/31 02:51
ú@€@U@mn@V@@@@@ @ @@ QQQQQQQQQQQQQ ßßßßßßßß ÈÈ@@@@^ @V@¿@mn Ú@@ ißÖß=j@ @ŒOüêY꜡å£B Q_Q_Q_QQ_QQ_|Âä_Q@_QQQQQQQQQQQQQQQ \\\\\\\\\\\ @ª±ª @@ ª±ª @@@@@@@@BGM@jobin / no more blues
33 F
w¶³ñÍŒOªÈ¢ F02/08/31 02:52
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35 F
æ[Ö¢ VjfpWd/c F02/08/31 03:05
^PPPPPPPPPPPPPPPPP | @ÄâÁœŒ _Q@@@QQQQQQQQQQQQQQ @ @b ^ @ @ É ú@€@U@mn@V@@@@@ @ @@QQQQQQQQQQQ ßßßßßßß@ È È@@@ ^ @V@¿@mn ÉÚ ißÖß;j@ @êt²y·é¡å£ Q_ ÈÈQ_Q_QQ|Âä_Q@_QQQQQQQQQQQ @@i@@,,jú \ / @ Â\\\\\\\ _(Q_.É @ª±ª @ ª±ª @@@@@@@@@@@BGM Robert Johnson / cross road blues
36 F
æ[Ö¢ VjfpWd/c F02/08/31 03:19
ú@€@U@mn@V@@@@@ @ @@ QQQQQQQQQQQQQ ßßßßßßßß ÈÈ@@@@^ @V@¿@mn Ú@@ ißÖß=j@ @DQN¿áñÖÌšlÑɱÌÈð¡éå£ Q_Q_Q_QQ_QQ_|Âä_Q@_QQQQQQQQQQQQQQQ \\\\\\\\\\\ @ª±ª @@ ª±ª @@@@@@@@BGM@Bill Evans / My Foolish Heart
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39 F
æ[Ö¢ FUCK5LO2 F02/08/31 22:34
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40 F
w¶³ñÍŒOªÈ¢ F02/08/31 23:50
age
41 F
æ[Ö¢ FUCK5LO2 F02/09/01 00:03
ú@€@U@mn@V@@@@@ @ @@ QQQQQQQQQQQQQ ßßßßßßßß ÈÈ@@@@^ @V@¿@mn Ú@@ ißÖß=j@ @¡úàJXŸ¡å£B¶Ü²²šqÍé©å£ Q_Q_Q_QQ_QQ_|Âä_Q@_QQQQQQQQQQQQQQQ \\\\\\\\\\\ @ª±ª @@ ª±ª @@@@@@@@BGM@Miles Davis / Round Midnight
42 F
w¶³ñÍŒOªÈ¢ F02/09/01 00:05
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43 F
æ[Ö¢ FUCK5LO2 F02/09/01 00:08
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44 F
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45 F
æ[Ö¢ FUCK5LO2 F02/09/01 01:04
^PPPPPPPPPPPPPPPPP |@BGMªNO MORE BLUES ÆÍŒ³Þ²Ëw¡ êÌhigh C ªÅÈÄ¢ÁœàñŸ(ù¡ _Q@@@QQQQQQQQQQQQQQQQQQQQ @ @b ^@^ @ @ É@@| @ù©µ¢Ë` ú@€@U_@@QQQQQQQQQQQQQQQQQQQQQ ßßßßßb /@ È È@@@ ^ @V@¿@mn ÉÚ ißÖßGj@ @ ÌØÈ¢Z²©ç·²ÖÌ]²ªD«ÈñŸ¡å£ Q_ ÈÈQ_Q .ÈÈ Âä_Q@_QQQQQQQQQQQQQQQ @@i@@,,jú@ i @ ,,jÞ \ / @ Â\\./ @ | \\\ _(Q_.É@@ _(Q_.É @ª±ª @ ª±ª @@@@@@@BGM Stan Getz / No More Blues
46 F
IamDQNc. F02/09/01 01:06
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æ[Ö¢ FUCK5LO2 F02/09/01 01:10
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49 F
w¶³ñÍŒOªÈ¢ F02/09/01 01:10
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äÓùm 25EvhmVw F02/09/01 01:12
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51 F
IamDQNc. F02/09/01 01:13
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52 F
æ[Ö¢ FUCK5LO2 F02/09/01 01:14
^PPPPPPPPPPPPPPPPP | @¡úÅoCgIíÁœñŸI _Q@@@QQQQQQQQQQQQQQ @ @b ^ @ @ É ú@€@U@mn@V@@@@@ @ @@QQQQQQQQQQQ ßßßßßßß@ È È@@@ ^ @V@¿@mn ÉÚ ißÖßG j@šæêŸå£B£tI Q_ ÈÈQ_Q_QQ|Âä_Q@_QQQQQQQQQQQ @@i@@,,jú \ / @ Â\\\\\\\ _(Q_.É @ª±ª @ ª±ª @@@@@@@@@@@BGM Kool&Gang / Jungle Boogie
53 F
æ[Ö¢ FUCK5LO2 F02/09/01 01:16
>>51 á€Ì©BMy Foolish HeartÍAouWaltz For DebbyvÉüÁÄéæ`
54 F
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55 F
w¶³ñÍŒOªÈ¢ F02/09/01 01:18
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IamDQNc. F02/09/01 01:19
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æ[Ö¢ FUCK5LO2 F02/09/01 01:19
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äÓùm 25EvhmVw F02/09/01 01:21
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59 F
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60 F
æ[Ö¢ FUCK5LO2 F02/09/01 01:24
^PPPPPPPPPPPPPPPPP | @X}^[Aà€XŸËBHÌÈ©¯Äæ _Q@@@QQQQQQQQQQQQQQ @ @b ^ @ @ É ú@€@U@mn@V@@@@@ @ @@QQQQQQQQQQQ ßßßßßßß@ È È@@@ ^ @V@¿@mn ÉÚ ißÖßG j@ @X}^ÁÄ¢€Èå£cB Q_ ÈÈQ_Q_QQ|Âä_Q@_QQQQQQQQQQQ @@i@@,,jú \ / @ Â\\\\\\\ _(Q_.É @ª±ª @ ª±ª BGM Louis Armstrong / Moon River
61 F
IamDQNc. F02/09/01 01:26
Moon RiverÈ箯éÈB©¯æ€B
62 F
æ[Ö¢ FUCK5LO2 F02/09/01 01:27
63 F
IamDQNc. F02/09/01 01:29
ñÜèåäv¶áÈ¢¯ÇQœç¡é©ÈB œªÁœÌÌàÌŸÆB Moon RiverŸÆvÁœç[CgZi[fŸÁœBÆÙÙB
64 F
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65 F
æ[Ö¢ FUCK5LO2 F02/09/01 01:33
^PPPPPPPPPPPPPPPPP | @Ê޲ijñA¿ñŸÆ«Íœª¢¢©µçH _Q@@@QQQQQQQQQQQQQQ @ @b ^ @ @ É ú@€@U@mn@V@@@@@ @ @@QQQQQQQQQQQ ßßßßßßß@ È È@@@ ^ @V@¿@mn ÉÚ ißÖßG j@ @AñÔÅsñŸå£cB Q_ ÈÈQ_Q_QQ|Âä_Q@_QQQQQQQQQQQ @@i@@,,jú \ / @ Â\\\\\\\ _(Q_.É @ª±ª @ ª±ª BGM Count Basie / Take The "A" Train
66 F
IamDQNc. F02/09/01 01:34
>>65 [[[I¡·«œ¢B³Coé©àH
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æ[Ö¢ FUCK5LO2 F02/09/01 01:35
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Frightening or friendly, the classic revenant is a ghost, a spectre returning from the dead. Sir Walter Scott, in his novel the _Fair Maid of Perth_ used it that way in 1828, in one of the earliest uses of the word in English. Somewhat chillingly he wrote, "Nor of taking the fatal leap, had my revenant the slightest recollection." We borrowed "revenant" from the French, who created it from their verb "revenir," which means simply "to return" (as does its Latin ancestor, "revenire"). Later we appended a more earthly meaning; a revenant can be any flesh-and- blood returnee when we use it simply to mean a person who shows up after a long absence.
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"Burglary," which means "forcible entry into a building especially at night with the intent to commit a crime (as theft)," and "burglar" ("one who commits burglary") have been with us since the 16th century. "Burgle" and its synonym "burglarize" didn't break into the language until the 19th century, however, arriving almost simultaneously around 1870. "Burgle" is a back-formation (that is, a word formed by removing a suffix or prefix) from "burglar. "Burglarize" comes from "burglar" as well, with addition of the familiar "-ize" ending. Both verbs were once disparaged by grammarians ("burgle" was considered to be "facetious" and "burglarize" was labeled "colloquial"), but they are now generally accepted. "Burglarize" is slightly more common in American English, whereas "burgle" seems to be preferred in British English.
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"Cerulean" comes from the Latin word "caeruleus," meaning "dark blue," which may be from "caelum," the Latin word for "sky." "Cerulean" is not the only color name that's closely associated with the sky. "Azure" (which comes from a Persian word for lapis lazuli -- a rich blue stone) can mean specifically "the blue color of the clear sky" or "the unclouded sky." Both words appear frequently in poetry. William Wordsworth, for example, used both words often in his poems. In "Artegal and Elidure," he wrote, "Where be the temples which, in Britain's Isle, / For his paternal Gods, the Trojan raised? / Gone like a morning dream, or like a pile / Of clouds that in cerulean ether blazed!" And in "The White Doe of Rylstone," the doe is "White as whitest cloud on high, / Floating through the azure sky."
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English speakers took "supererogation" from the Medieval Latin verb "supererogare," which means "to perform beyond the call of duty." That Latin word, in turn, derives from the prefix "super-," meaning "over and above," plus "erogare," meaning "to expend public funds after asking the consent of the people." The earliest English uses of "supererogation" occurred in religious contexts, where it often referred to the doing of good deeds beyond those required for salvation. By the late 1500s, "supererogation" was being applied to any act performed above and beyond obligation.
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Fly me to the moon Lyrics/music by Bart Howard (1954) Fly me to the moon, And let me play among the stars. Let me see what spring is like on Jupiter and Mars. In other words, hold my hand! In other words, darling, kiss me. Fill my heart with song, and let me sing forever more. You are all I long for, all I worship and adore. In other words, please be true! In other words, I love you!
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w¶³ñÍŒOªÈ¢ F02/09/11 03:10
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