TETINE

Thursday, 18 May 2017

R.MUTT - DUNKLES LEAD


R.MUTT - DUNKLES LEAD 

Bruno Verner - teclados / keys
Karla - voz / percussions
Bernardo Renno - Drum machine, keys
Marcos Basho - bass



Mais um pedaço de um pos-punk brasileiro não-ortodoxo e não tao distante assim apesar dos quase 30 anos. R. Mutt _'Dunkles Lied' foi gravada ao vivo num show no Madame Sata em 1987.
Fazíamos uma dobradinha aqui com o maravilhoso Sexo Explicito e ainda moravamos todos em BH - se não me engano participávamos de um projeto chamado BHZ Sonora com mais duas bandas mineiras O Ultimo Numero e O Grande Ah, parte de uma pequena tour pelo Rio de Janeiro e Sao Paulo organizada coletivamente pelas bandas.
Essa faixa é em alemão... e apesar da pose toda por trás - eu mesmo não falo uma palavra de alemão e  nunca falei - esse era um momento todo especial do nosso show na época.... tinha até uma certa arrogância ingênua meio posuda / meio German goth na performance. Enfim... a Karla, que era a outra vocalista do R. Mutt, estudava Alemão, era encantada por "all things German" e cantava essa faixa - um poema expressionista do sec 19 que musicamos. Um pouco depois ela tambem foi tocar com o AKT - super banda de meninas com a Sandra das Mercenarias e a Biba do Defalla .... e depois acabou se mudando pra Alemanha com o Thomas Pappon do Fellini com quem era casada. Isso e só pra contar que eu acho essa musica muito bonita e apesar da ingenuidade toda por traz - e de na época vivermos em um contexto completamente diferente no Brasil - ela acabou sendo premiada num concurso de musica autoral promovido pelo instituto Goethe em Stuttgart quando eles receberam nossa K7. Enfim a gente tambem era dark em Belo Horizonte, se imaginava em Berlin com sobretudos e achava que fazia parte do casting de Cristiane F... algum tipo de reflexo isso deve ter gerado.

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Wednesday, 17 May 2017

Brazil general strike: Behind the media silence

Brazil General Strike: Behind the Media Silence 
Watch video: We examine why Brazil's media outlets treated a national strike that paralysed much of the country as a non-story.
Last week, hundreds of thousands of Brazilians took to the streets and millions more stayed home in a general strike. Airports, factories, schools, public services were all shut down.
Last year, a different set of protests brought down a different government - that of former President Dilma Rousseff. But last year's demonstrations got wall-to-wall coverage in Brazil's privately-owned news outlets - including Globo, which is as dominant a TV presence as you will find in any country.
The subsequent impeachment of Rousseff paved the way for the current president, Michel Temer, whose austerity-based response to an economic recession led to the general strike last week.
But this time around Globo and other media outlets don't seem to find the protest story quite so compelling.
"The gulf in coverage is vast. The protests calling for impeachment against the Dilma government had huge visibility, with Globo's helicopter capturing the protest from the air and covering it all day long. With protests against Michel Temer, this doesn't exist," says journalist Joao Filho of The Intercept Brasil.
"When it came to the general strike the word 'strike' was avoided - they talk only about demonstrations, protests and vandalism," Filho says.
So why did the media treat the two strikes differently?
Critics suggest that's because right-wing media outlets prefer Temer and his austerity programme to Rousseff and her leftist predecessor Lula da Silva - and the social programmes that they brought in.
Another factor might be that Temer's government has been using taxpayers' money to persuade the news media to support his conservative agenda.
Like Globo, Brazil's other major networks, SBT and Record are family-owned or controlled - and their proprietors tend to tilt to the right politically, which is reflected in the coverage their platforms provide.
"The Temer government is buying editorial support. It's not simply increasing advertising funds, no - it's exchanging advertising funds for editorial support," says Filho. 
Interestingly, "strikers and demonstrators were never interviewed; our arguments for the general strike were never heard. The mainstream media clearly had an editorial tendency to discredit the strike," says Adriana Magalhaes, a press officer representing the United Workers' Central.
With multiple investigations into corruption, economic reforms affecting future pension cheques, state spending on advertising and where that money goes, the Brazilian political story is a complicated one. The story of the media reporting on it, really isn't.
Contributors:
Vladimir Goitia, financial journalist
Joao Filho, journalist, The Intercept Brasil
Adriana Magalhaes, press officer, United Workers' Central
Joao Feres, media analyst

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Tuesday, 16 May 2017

Blurring of fact and fiction

A blurring of fact and fiction as perception management.
The continual illusion
Not the perfect crime
The imperfect
Doubled
Past Present Future
No functions
STORIES
histories
for public private imagination
Gadafi or the Soviets or Central or South America
the order
the aim was 
to tell dramatic stories
Reality is not important
Reality is simply something you handle
Doubled 
Or


for two electronic voices - b.verner may 2017



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Realce or A Gente Precisa Ver O Luar

As a transcendental preparation when music really began to infiltrate my skin more consistently I bumped into Gilberto Gil's music. Gil made a huge impression on me.
The first time I heard his hit single 'Realce' on the radio in 1979 I knew I was listening to something special. And there I heard the harmonics of his modal/ cosmic disco-funk with jazz-fusion which then would follow him through many subsequent luminous tracks such as "Toda Menina Baiana", A Gente Precisa Ver O Luar", "Banda Um", "Palco", "Lente Do Amor", 'O Afoxé é' amongst many other pieces which were truly unusual, esoteric, afro-brazilian-futuristic pop. BUT this is another Gil. Not the USUAL Tropicalista, post bossa-novista. Instead the one who was entering the 80's equally interested in Earth Wind & Fire, late 70's disco-funk, reggae, MPB, baladas and radiophonic pop.

In 1982 I went to see him live at Mineirinho stadium in Belo Horizonte.
To see and hear all of these songs performed by his Banda Um changed my life and my understanding of what music could be.

One another note it led me to Post Punk and Punk Funk.







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Monday, 1 May 2017

Sparks still fresher than fresh

Hippopotamus from Sparks new album. Still fresher than fresh.
Yes yes yes speculative pop and so grand.

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Monday, 17 April 2017

Mc Linn Da Quebrada >> BlasFemea

Mc Linn da Quebrada avisa com todas as letras! Todas as letras. Sem economizar... e furando o esquema. Colírio para os olhos, vê-la e ouvi-la. 
BASS / POWER / VOZ / BODY & SOLIDARITY sem mediocridade.

Talvez a melhor combinação do que poderíamos chamar de "nova" musica brasileira (anos luz-em disposição e concepção) do que chamam de "nova" mpb. Linn é experiencial, experimental. Seu corte é outro, sua onda é outra. Sem cacoetes de industria, de braços de violão. Uma outra ação. Ocupação profanamente sagrada, feminilidade, blasfemeando em versos de navalha na-valha cortantes seu conhecimento transviado pardo, preto, canto eletrocutado, sua voz e seu corpo selecionado. 
No sangue corre funk sensual, trupe teatral, capoeira, garagem, favela, sexo, igreja, terreiro, rap, improvisação, disco, POP,  com p maiúsculo, canto-fala, canto-bala, segredo e espelho.....  em vertentes luminosas ou escuras via Deize Tigrona, Tati e Valesca Popozuda...e até mesmo, porque não, Mano Brown, Emicida? Por outras vias, outras calçadas, outras periferias. 

Sem esquecer de Badsista / Mafalda pela produção excelente. Pelo P O D E R  do bass, do eco, dos portamentos de arrepio, pelo acompanhamento sequencial da voz, pelo bass de fio dental. Pela virada sagrada do baixo quando Linn canta-grita-melisma " e calcinha de fio dental".
Pelas cordas, pela percussão, pelos andamentos.
Todos os musicos, todos 'produtores' em conjunção.

Digo isso para dizer que  a versão da faixa "Mulher" para o video-curta Blasfemea ja nasce como a melhor coisa produzida em 2017 no Brasil como não se ouvia ha muitos anos.
Um frescor, que em tempos "retro-ativos" e impotentes parece não ter lugar.
Mas há! 
Navalha na-valha, navalha na boca. Seu des-lugar é singular-plural. 
Múltiplo nao-mediocre.

E que eco eh esse? 
Só o tempo sente.
Só o tempo dirá.
O tempo dirá. 





.Abaixo os participantes blasFêmea por Mc Linn Da Quebrada

"blasFêmea é: Alice Guurl, Aretha Sadick, Ariane Oliveira, Cássia Caneco, Danna Lisboa, Fabiana Pimenta, Fernanda Gandini, Gabriela Duchamp, Gilda Genofre, Gori Albuquerque, Julia Katharine, Jup Pires, Kiara Felippe, Leticia Souza, Magô Tonhon, Manauara Clandestina, Mc Dellacroix, Mellyna di Marcuze, Neon Cunha, Nerie Bento, Onika Emanuella, Thais Nogueira, Thais Oliversi, Vanessa Theghettogirl, Verónica Valenttino, Verônica Vieira, Vita Pereira. Que atuaram no vídeo e atuam na minha vida 💕 é tbm Flora Dias, Alice Andrade Drummond e Bruno Risas, que fizeram a direção de fotografia. É Nubia Abe, que fez fotografia adicional e still e todas as pessoas envolvidas no projeto." 

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Thursday, 13 April 2017

Revolution is My Boyfriend

These are stills from Tetine's new video for the song "Revolution is My Boyfriend"

Tetine’s new video "Revolution is My Boyfriend” is out on April 17th. 

As we walk, the numbers keep running. 
Numbers, dates, economies and sex: outdated memories of the present, past and future. 
False recognitions. 
Becoming animal or the snobbery of memory?
An Animal Numeral.
In real and formal anachronism. Duplicating as language keeps collapsing.
As we walk, we fall. As we talk, we forget 

Revolution is my boyfriend is a death electro-industrial-samba dedicated to what is left of...
There's bass.
There's melody.
There's tension.

Revolution is my Boyfriend is a love song.  

"We thought we had correct knowledge - how very sophisticated to know, knowing that one does not know, to know, presenting oneself sincerely as not knowing, to know how to construct in an open, decided, instigating way, the knowledge ultimately of an analyst” To restart the revolution is not to re-begin it, it is to cease to see the world alienated, men to be saved or helped, or even to be served, it is to abandon the masculine position, to listen to femininity, stupidity and madness without regarding them as evils. 
Hatred for the pimp who disguises himself as a girl without having the desire to be one, sinister masculine caricature of the nobleman in drag.
End of the outburst” Lyotard in Libidinal Economy 

The song is taken from the album" Queer & Mutant Funk Cuts (2000-2005) and was originally recorded in 2004 and written after watching The Raspberry Reich by Canadian filmmaker Bruce La Bruce.



We go out again
Wash and go
Every now and then

I'm calling you
From the other side of town
And this is love
From the bottom of my heart
Which is going down

I went to the cinema
I heard this phrase
Revolution is my Boyfriend

(written by b.verner / eliete mejorado) p & c 2004










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