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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Monday, 10 April 2017

Trump Brexit Express


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Sunday, 9 April 2017

Franco 'Bifo’ Berardi - ‘In the lonely cockpit of our lives’

It seems that the young pilot Andreas Lubitz who hurled himself and the airplane, packed with innocent people against the rocks of a mountain, concealed the medical certification of depressive pathology from his employer, Lufthansa. This is bad of course, but totally understandable: turbo-capitalism does not like workers who go on leave for health reasons and most of all it dislikes references to depression. 

Depressed, me? Don’t even mention it. I feel fine, I’m perfectly efficient, happy, dynamic, energetic, and most of all competitive. I go jogging every morning and I’m available for over time. It is the philosophy of the low cost airlines, you know? And the philosophy of the perfectly deregulated economy where everybody is demanded to give ceaselessly the best, in order to survive. 

After this suicidal mass murder air companies are invited to double-check the psychological conditions of the workers. Pilots should not be maniac, depressed, melancholic or panic-prone. And what about bus drivers and policemen, steel workers, and school teachers? Everybody will be subjected to psychological screening in order to detect and expel from the labor market those who suffer from depression.  

Good idea indeed, except that the absolute majority of the contemporary population should be put on leave. It’s easy to target those who are officially labeled as psychopaths, but what of all those people who suffer from unhappiness, try to keep calm but might fly into a rage in dangerous situations? Hard to distinguish between unhappiness and looming aggressive depression, and the proportion of people who suffer from despair is growing and growing. The frequency of psychopathology has been on the rise in the last few decades, and according to the World Health Organisation, the suicide rate has increased by 60% in the last four decades, and is dangerously high among the youngsters.

What in the last four decades has been pushing people to run and willingly embrace the black dog? There is a relationship between this incredible surge in suicidal propensity, and the triumph of neoliberal coercion to compete. And also between the spread of psychic frailty and the loneliness of a generation that is meeting people only through a connected screen. 

For every person who succeeds in committing suicide there are twenty people who unsuccessfully try to kill themselves. We must acknowledge that a sort of epidemic of suicide is underway on the planet earth.

Here possibly lies the deep explication of some appalling phenomena of our time that we tend to read in political terms, but cannot be fully realised through the political lens. Contemporary terrorism should be interpreted first of all as the spreading of a penchant for self-suppression. I know that the shaheed (suicidal terrorist) is apparently acting for political, ideological or religious motivations. But this is only the rhetorical surface. The inmost motivation of suicide is always despair, humiliation and misery. He or she who decide to destroy their own life is someone who is experiencing life as an unbearable load, and sees death as the only way out, and in murder the only vengeance against those who have deceived, humiliated and insulted her/him.

The most likely cause of the surge in suicide and particularly in murderous suicide is the transformation of social life into a factory of unhappiness of which it appears impossible to escape. The decree to be a winner, compared with the consciousness that winning is impossible, means that the only way to win (at least for a moment) is destroying other’s lives then committing suicide. 

Andreas Lubitz has sealed himself in that gory cockpit because his suffering was intolerable to him, and because he blamed his colleagues and the passengers and all the human beings of the planet as guilty of his suffering. He did what he did because he could not get rid of the unhappiness that has been devouring contemporary mankind since advertising began bombing the social brain with mandatory cheerfulness, and digital loneliness has been multiplying the nervous stimulation and encasing the bodies in the cage of the screen, and financial capitalism has been forcing everybody to work more and more time for the miserable salary of precariousness.

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Thursday, 30 March 2017

Telepaticamente post punk

1 - capacidade de existência coletiva

2 -  coletividade  poética, comportamental, semântica via musica. Musica via arte. Moda via musica.

3 -  em todos os cantos do brasil / uma geração que não necessariamente se conhecia, se conhecendo

4.  Telepatia, electronica, comunicação telepatica,  auto-didatismo, video poker

5 - produzindo originalidade com muito pouco

6 -  no ultimo momento musical antes do cancelamento geral do futuro, the end of history? historia

7  - A minha, a minha vida é essa subir Bahia, descer Floresta.

8  - Automatic Lover, Meteor Man

9 - Thomas Morus Dub

10 - Collective consciousness.

11 -  Trincheira, complexo B, pó moderno, incapazes do nirvana, DCE

12 -. On the radio, on the ra-dio

13 - synths lancinantes, drum machines /  MMT8

14 - Nada

15 - Utopia - distopia num coletivo comum, incomum.

Pic _  Trincheira Bar, Belo Horizonte 1986, courtesy from the archives of Eri Gomes.

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Monday, 20 March 2017


Watching myself live and thinking through Virno's  Deja-vu and The End of The History teachings.

" The 'now' is camouflaged as the already-been, and is thus duplicated in an imaginary 'back then', in a fictitious 'other-then'

And the affirmation of an eternal present, a centripetal and despotic actuality is provoked by deja-vu, namely by the form of experience in which there prevails - as Bergson put it - ' the feeling that the future is closed, that the situation is detached from everything  although I am attached to it.

Karl Mannheim prophesied in "Ideology and Utopia" -  p 235-36

" It is possible... that in the future, in a world in which there is never anything new, in which all is finished and each moment a repetition of the past, there can exist a condition in which thought is utterly devoid of all ideological and utopia elements"  Or: "A post historical situation, then; but also at the same time, a condition marked by majestic pathology of which we have already spoken: "there is never anything new...each moment [is] a repetition of the past'.


" The formation of memory, Bergson maintains, "is never posterior to the formation of perception; it is contemporaneous with it". Far from being the blurred copy or the belated spectre of immediate experience, the majestic trace is its inevitable correlate. If 'between the perception and the memory there seems to be a difference of intensity or degree, but not of nature' (if, that is, memory we're the residue of perception), then that would rule out their being coexistence and simultaneous."

"There would be no memory at all if it were not, first of all, memory of the present. But then why is deja-vu the exception and not the rule? Why is it 'not being produced every moment? Bergson respondes: between the two heterogenous forms in which we understand the hic et nunc, the impulse to action always and on each occasion privileges the perception-from to the detriment of the memory-form.

"LET US REPEAT. The memory of the present is juxtaposed to the perception of the present. It is precisely in their simultaneous, co-extensive reference to the same object that memory and perception demonstrate their heterogeneity. We can no longer say that memory looks to 'back then' and perception to 'now', but rather must admit that there is a perceived present that exists in memory.

There are two kinds of memory:

1. procedural memory (the past congealed in savour faire, or habit, conserved as technique or ethos) and 

2. semantic memory (the explicit re-evocation of signs and meanings that are inherent to long ago experiences.

     Painting your faded memories by David Szauder

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Painted Baby (Self-Service)

Painted Baby (Self-Service) is an experimental video/spoken-word piece concerned with the relationship between memory, voice, physicality and the ontology of the “outside” and the “underground” as spaces of exceedance of languages, chance, eeriness and resistance. A young girl and a woman are interconnected in different temporalities. The film examines a constellation of rites of passages and confronts forms of physicality, dance, fear, innocence, sexuality and child exploitation. Painted Baby (Self-Service) was shot in guerrilla style and looks into discourses of improvisation (past, present and futurities) as it celebrates Brazilian Cinema Marginal and No Wave filmmaking as influences and ghostly presences in the works of Tetine.

Conceived, produced and directed by Tetine (Bruno Verner & Eliete Mejorado). Music by Tetine: Bruno Verner, on piano and effects / Eliete Mejorado, vox, effects / Dancer: Yoko Afi

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