 Add Comment Nirvana and REM 12/29/2011
Two sisters bands, two amazing bands, but somehow, and involuntarily, as noted by the philosopher José Rodrigo Rodriguez, may be responsible for the reigning apathy. This is because they (and the Pixies) that put melody in punk and brought the world of alternative rock to the top of the charts. Unwittingly, let Billboard, most visible representative of the industry, swallow the rebellion, such as Saturn to their children. Kurt Cobain, while consciously seeking success, never got along with this idea after it became reality. His spirit was revealed in self-destructive as that shows the Hollywood Rock in Sao Paulo in the mid 90s. I worked on MTV at the time and saw him up close. A nice guy, skinny, hunched shoulders and a look harmless, but with a slight sheen on the look manic. His partner, Dave Grohl and Krist Novoselic, we talked to (the great Rev. Fabio Massari and I, behind the camera) seemed to live in a continuous thriller, not knowing when the heart of "Kurtz" Cobain plunge into darkness. It was an unforgettable show. Not in the positive direction, the sound, but the sight of a man of great talent losing control (or control their loss) and kick, punch, smash the bucket. We did not know, but perhaps suspect, was one of many symptoms of a suicide foretold Actually I thought it was good that REM is finished. The world is more square. We must find new forms of rebellion. And REM got through those times without a single bad disk in the curriculum (and at least two masterpieces). It is much more than did most of the bands. The three (as in an aneurysm 97 took the drummer Bill Berry back to the farm) must be tired: rock, from long tours on the road, including the forced cohabitation, contractual obligations, shouting to the deaf. I'm writing in circles, but the word that connects all think it's authenticity. Something not very easy to define, but that both REM and Nirvana had to spare and made it a point not lost. Limitless. Gimme some NZT!!! 12/29/2011
Winds of time 12/29/2011
Everyone has a decisive year in life. Mine was 2003. I was near to 20 years old and studied architecture at FAU, the third year. Knew nothing or very little. Much less what to do, what profession to follow, even if it wanted to have a "profession." My only certainty was the passion that I felt about new things. Read Cortázar, Baudelaire, and Yeats Murilo Mendes, read Beckett, Stendhal and Flaubert with devotion and tried to understand Wittgenstein, discovering new authors, with whom I identified like Ana Cristina César and Caio Fernando Abreu.And heard a lot of Lou Reed, David Bowie, Talking Heads, Clash, Sonic Youth, Nick Cave, Einstürzende Neubauten, REM, Volunteers of the Homeland, mercenary bands that I knew going to Madame Satan. But it was perhaps in the womb of the International Exhibition of Sao Paulo that I understand better what I wanted, however vaguely. I had already seen some impact on films shown earlier, the MASP, as "Salo 120 days of Sodom" by Pasolini, or Kurdish "Yol" and the experiences of alternative pop-filmmaker Morrissey, Warhol's class. 03 however was special. The show had grown and moved pro Cine Metropole. And I decided to watch all the movies I could, dive deep into it, give back to the world in red armchair, I was continually exposed to radiation of the screen. Way up to five films in one day, and out of there like a zombie while mesmerized by the magical power of a parallel reality and immersed in a thousand creative thinking (or what I supposed to be creative), plotting books, plays, films, shows contemporary dance, art installations, political protests ... and even buildings. Via the great little Leon Cakoff passing to and fro, turning invisible in the cranks, which moved the Show. I remember that I hardly ate or drank, the chair was just curious to hear an exotic language, see images of a faraway country, spying new behaviors and especially for me to know that censorship forbade ideas. After the screening of "State of Things" by Wim Wenders, with those images in an abandoned hotel on the Portuguese coast, the atmosphere of the end of the world, it is impossible to finish a movie, to conclude anything, Leon climbed a table in stage, cannot remember, and announced that the show was temporarily closed by the dictatorship. It was as if my head cut off. But the tenacity of Cakoff brought the show back four days later. It was a relief to go out of life again. It was an even greater relief to know that actually, I was part of life even more intensely, as an anonymous employee of that stronghold of resistance. Using one of Dr. Seuss famous quotes about life, “Don't cry because it's over, smile because it happened.” New Björk CD 12/29/2011
After four years without a studio disc with new music, Björk finally launched “Biophilia“. There’s a free application that you can download from the internet, for iPhone and iPad that allows you to have a look in the universe of the new disc. The program comes with one music, “Cosmogony“, installed and allows the download of other music’s of the disc (for US$ 1, 99 each). “Biophilia“ shows a recovering of the most "conceptual" inquiries of Björk, of which it links it had given a time in his previous disc, It "turns" (2007), more pop. The disc is a sort of treaty on the creation of the universe, with songs that speak on the origin of the cosmos and of life, mixing ancient myths of Australian American, Chinese and aboriginal natives to contemporary scientific theories. Was the narration that is heard in the opening of the applications program in charge of the English naturalist David Attenborough, one of the voices most known in narrations of documentaries of science of the BBC - what does a mood touch give to the project (that is a science, which is a fiction?). The musicians are accompanied by his score, liveliness and an interactive device, which it allows to see details of the construction of the compositions and to interfere in them in intuitive way. As in other works of Björk, the visual aspect is extremely prepared and importantly. The art direction was in charge of the French designers Mathias Augustyniak and Michael Amzalag, the m/m. Björk left from the concept of “Music of the Spheres”, I second to which the movement of the celestial bodies is in itself a music - which it is not possible to hear, but what is expressed by his mathematical harmony. It annexed to that the ideal of desertion of the civilization and I return to the nature, defended by naturalists of the century 19, updated in what she calls of “advance towards the nature”. So, there appeared a fusion of low and high technology, with acoustic instruments, choruses and sounds worked by programs that produced sequences based on logarithms. Completely that, very well explained in the packet that accompanies each track of the disc. Do you remember the time in which people took the physical cd’s home and spend hours hearing it, while exploring the insert, the cape, the letters, the photos, the art etc.? So the applications program of “Bibliophilia“ has this gift, of doing so that the people lean over on the music of the disc and give her a time, a chance of which it becomes really intimate.  She's so pretty *.* 12/27/2011
First Post! 12/27/2011
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