idea for bedroom

gambar hello kitty di atas bisa di ganti apa saja sesuai ide dan kartun kesukaan kamu misalnnya doraemon  , bagi yang punya lahan kamar cukup luas mungkin ini salah satu ide yang bagus untuk kamar kamu


gambar di atas bisa menjadi ide kamar yang rumahnnya minimal banget , jadi walaupun sempit tetap elegant 


selain gambar no 2 kamu bisa mengambil gambar di atas sebagai suatu perbandingan 

so make yourself comfertable with your sweet room

nothing better

do re mi fa sol la si do ....

dream

i dream to be like ainun , so i can smile every day in my live , i wanna be smart like her to , i need to have someone that i love and can protect me in every moment in my life , i want all about her , at least maybe i was her antonim ....

i dont have anything even a friend , but the most beautiful things is i have huge dream , i want to be a doctor , i want to help people , freely , without any debt . 

so ...... hope that story will be come true

i start to write

it you , come to my lovely school and make me want to try writing about my live , to bring my world into book that made  by me , so thank you for let me know why you start  to write . in that incident i just relised your reason that make u start writing is same like me , so thanks

less miserables part 3

I’m sure audiences on both sides of the Atlantic would happily take me to the guillotines for these opinions. After all, Jackman cut his teeth in musicals and has been Oscar-nominated for his turn as Valjean. Grown men have reportedly wept at Crowe’s portrayal of the implacable policeman Javert’s final, “noble” gesture.

So what on earth is going on? Do I possess a “heart pumping porridge”, as the Telegraph’s film critic, Robbie Collin, said of those unmoved by this film?

Marni Nixon, the 82-year-old Hollywood musicals veteran, is known in the industry as the “ghostess with the mostess”, having been a “singing double” for everyone from Audrey Hepburn in My Fair Lady, Deborah Kerr in The King and I and – without her knowledge – Natalie Wood in West Side Story. Famously, Nixon was drafted in to sing the high notes in Marilyn Monroe’s rendition of Diamonds Are a Girl’s Best Friend. In her opinion, the Les Misérables film was misconceived.

“If you’re making a musical, you should hire singers,” she tells me. “Singers who can act. In a musical, you want singing that’s technically good. It’s cruel to make people who can’t sing, sing.”

For Nixon, Jackman wasn’t a bad singer, just miscast: “Acting-wise he was wonderful, but could have done with a nobler voice.” Crowe, on the other hand, “was nothing. It wasn’t that he was choosing to sing like that, he just couldn’t do anything else.”

The female actors, says Nixon, “came off much better” – apart from Helena Bonham Carter, that is, whose comic number, Master of the House, a duet with her screen husband Sacha Baron Cohen, is meant to provide the film’s light relief: “You couldn’t understand one word she said. There wasn’t enough tone in her voice to carry any emotion.”

Nixon is warm and funny; there’s nothing mean-spirited about her. She is passionate about singing, and musicals in particular. What, then, went so wrong with this one? Nixon believes it was Hooper’s decision to make an operatic musical in the vernacular: “It doesn’t suit this score to have actors speak-singing it. Les Misérables is written to be sung operatically, with long lines to make it come off.” She chuckles, adding: “Maybe the director told the actors, 'You don’t have to hold the notes that long, because it’s silly. It sounds like you’re singing!’ ”

She gives short shrift to Crowe’s “raw and real” defence: “We’re talking about a musical. Is that real? People don’t go around singing 'La la la la’ to each other all day!”

Madalena Alberto, who played a highly acclaimed and memorable Fantine in the 25th anniversary touring production of Les Misérables, was moved by Jackman’s performance, but admits to having “doubts” during some of his bigger numbers. “Bring Him Home is a beautiful song. I wanted it smaller; it should be a prayer to God. I missed a little of Valjean’s vulnerability. But whether it was a directing choice or his ability, I can’t be sure.”

So, rather than being sung to camera, should some of the numbers in Les Misérables have been – whisper it – overdubbed afterwards by professional singers? Is this as inauthentic as many critics claim?

“Strangely enough, I don’t think it matters if actors are dubbed,” says Nixon, “as long as it’s done really well, and you don’t notice the difference in timing, and that the actor and the singer are totally in synch. The energy levels need to be exactly the same.”

This brings me to the question I have been dying to ask Nixon, who, in My Fair Lady, hits that legendary high F at the end of I Could Have Danced All Night. Can anyone become a singer?

“I think the desire and the talent has to be innate,” she says. “And then it’s according to your imagination as to how you develop that.” I shall keep trying – and so should Russell Crowe.

less miserables part 3

I didn’t dislike all of the performances. Hathaway sang her anguished soul out in I Dreamed a Dream. I loved Eddie Redmayne’s performance as Marius, the earnest revolutionary. And the long-suffering Éponine, played by Samantha Barks, was not just technically adept but completely credible. You felt her pain.

As we were told countless times in the build-up to the film’s opening, the cast bravely recorded their vocals live, with no tweaking in the studio afterwards. As someone who is learning to sing, I know how hard it can be to perform live. As Crowe retorted when American Idol runner-up Adam Lambert dared to criticise the cast’s performances – resulting in hundreds of bile-filled tweets – the singing wasn’t meant to be technically perfect, but “raw and real”. Well, I’m fine with raw and real. I don’t believe singing has to be technically perfect but it does need to express emotion.

And for me, at key moments in the score, the vocals just weren’t raw and real enough. They weren’t sung from the gut. A decades-old rivalry between Hugh Jackman and Russell Crowe’s characters underpins the entire musical, and they needed to carry the film; instead, they sagged under its weight.

less miserables part 2

But then Russell Crowe opened his mouth. “We’ll be ready for these schoolboys, they will wet themselves with blood,” he boomed at one point, as the revolutionaries prepared to attack. Except he doesn’t boom. He whispers.
I wasn’t the only one who hated almost every minute of it. At work the next day, a colleague quietly admitted to having watched it stony-faced as the cinema audience sobbed around her. Anthony Lane, one of the world’s most eminent film critics, also demolished it, saying: “I screamed a scream as time went by.”
Les Misérables is about poverty, pain, isolation, frustration, suffering. The songs are, in every way, “big”. And that’s where, for me, it fell so woefully short. Where Hugh Jackman, as the long-suffering central character Jean Valjean, imprisoned for 17 years for stealing a loaf of bread, should have soared in moments of anger or pain, his vocals died. Instead of following through on the long, sustained notes – of which there are many in Les Mis – he cut them off with a weak, nasal vibrato. It was as if Jackman was afraid to go for it.

les miserables part 1

There were only 37 minutes to go. Surely we could make it to the end? But having spent the last two hours hoping vainly that things must get better, I gave in. “Let’s get out of here,” I said.

And so it was, on the film’s £8 million-grossing opening weekend, that I walked out of Les Misérables.

I’ve never done that to any film before. Directed by Tom Hooper (The King’s Speech), this is the musical that has already bagged a Golden Globe and been nominated for eight Oscars and nine Baftas. Everywhere you look there are five-star reviews, and reports of audiences crying so hard you can hardly believe this is Britain.

It is also a film that I’d been incredibly excited about ever since I saw the trailer with Anne Hathaway sob-singing I Dreamed a Dream. It was going to be epic. I would be swept up with the emotion. And, most of all, it was a melodrama with a grand, historical sweep, in which people would be doing – and doing it with incredible passion and grit – the thing I love most of all: singing.

That every line of dialogue in the film is “sung-through” – performed, rather than merely spoken – held no fear for me. And it started so well, with a seething sea and a swelling chorus of strong-armed convicts heaving a giant ship into shore.

cerita 1

aku sangat pintar dalam segala urusan matematika , aku sangat pecaya diri karena tidak ada soal matematika yang tidak bisa aku kerjakan , tapi entah mengapa ketika engkau datang ., semuannya menjadi berubah , aku bahkan tidak bisa mengerjakan soal yang mudah sekali pun .  konsentrasi ku pecah saat kau masuk ke ruang kelas , terasa seperti tak bisa berbicara ataupun bergerak , pandangan ku berubah hanya memandangmu , dan fikiranku hanya memikirkan mu .
pergilah jauh agar nilai matematika ku bisa kembali sempurna . tapi ku rasa aku tak akan bisa ....