sexta-feira, junho 22, 2018

quinta-feira, junho 21, 2018

Olha nós a tocar baladas de amor.


BIG BLACK ANGEL e EVIL RISING @ Capote Fest 2018

‪A propósito desta capa, malta que se tem manifestado contra o Trump e, em especial, contra a separação das famílias de imigrantes, prefere agora apontar que este é (sic) “um photoshop preguiçoso”. Porque é isso que interessa, né? Prioridades de doutores.‬

quarta-feira, junho 20, 2018

‪O peeps não quer saber que o Marinho e Pinto tenha votado a favor do artigo 11 #LinkTax e do artigo 13 #UploadFilter, fazendo-os aprovar no Parlamento Europeu; o peeps nem sequer faz ideia do que se trata. Mas depois, o peeps fica revoltadinho, com cósquinha no pupu, porque Marcelo Rebelo de Sousa vai cantar um tema com os Xutos e Pontapés para homenagear o Zé Pedro. Este dito peeps poderia, sem fazer muito barulho, enfiar a língua numa torradeira ligada, para replicar esse arraial de belezura que foi o fogo de artifício de Coscorões-da-Arrentela, na passagem de 1978 para 1982. “Ai, credo, és tão bruto.” Sou nada. Sou lindo. Este peeps é que é cocó.‬

Nick Anderson

Pia Guerra

1986 é para sempre

Foi ontem exibido o último episódio de 1986. Que futuro aguarda a série, não sabemos, mas saímos de coração cheio, tantas e tão boas foram as manifestações de apreço. Poderão sempre rever os episódios no RTP Play porque, como disse o Nuno Markl e muito bem, é possível regressar aos lugares onde fomos felizes, e sermos felizes outra vez. Obrigado a todos os que tornaram isto possível, a todos os que, acompanhando, acarinhando, fizeram valer ainda mais a pena. E obrigado, Nuno Markl, por me teres chamado para te acompanhar nesta magnífica aventura.

A par da barbárie do que se passa nos EUA, na Austrália, Húngria, Itália, temos a selvajaria dos comentadores de FB que, mesmo aqui em Portugal, se desdobram em justificações para o que Trump está a fazer, como se fosse possível justificá-lo. A mesma cassete psicopata, fascista, criminosa, repetida até à exaustão por gente que depois, na sua fotografia de perfil - e na mais ignominiosa ironia - ostenta fotografias em que aparece acompanhada dos filhotes, num ambiente de santa castidade, com ar de quem acabou de fazer biscoitinhos no forno para ofertar à criançada. Dá vómitos, dá muitos vómitos, saber que convivemos com gente desta estirpe, saber que existem, saber que votam. Há aquela anedota do tipo que conduz e ouve na rádio que há um maluco a conduzir em contramão na autoestrada. E diz: “Só um? São às dezenas!”. A piada resulta porque pensamos logo que é ele que está mal, uma vez que a maioria conduz em sentido contrário. Isto das maiorias escolherem é produto de uma democracia saudável, assente em princípios humanistas. Mas uma democracia doente não pode ser chamada de democracia. Se o critério da maioria assenta em ideiais não-democráticos, ao ponto de eleger criminosos, resta-nos conduzir em contramão. Resistir, resistir, resistir.

Cartoon de Tjeerd Royaards

terça-feira, junho 19, 2018

Mete mais alto #573

Às vezes, é difícil não achar que os anos 90 foram o ponto alto do mundo ocidental e que, a partir daí, foi sempre a descer.

segunda-feira, junho 18, 2018

domingo, junho 17, 2018

Se algum dia eu começar a dizer coisas sem sentido, por favor lagostim cacilheiro tambor.

sábado, junho 16, 2018

Mete mais alto #571 e #572

O Miguel Martins anda a ouvir uns belos malhões.

Anette Peacock - My Momma Never Taught Me How To Cook


Karen Mantler and her cat Arnold Get the Flu

Espera aí que eu nunca liguei a futebol, mas agora que o New York Times está a fazer reviews a jogos do Mundial, não posso perder este comboio para uma modernidade cosmopolita e sofisticada que me permita ter do que falar durante o brunch no rooftop.

sexta-feira, junho 15, 2018

Mete mais alto #570


Dorothy Ashby - Hip Harp ( 1958)

Dorothy Jeanne Thompson (August 6, 1930 – April 13, 1986), better known as Dorothy Ashby, was an American jazz harpist and composer. Ashby extended the popularization of jazz harp past a novelty, showing how the instrument can be utilized seamlessly as much a bebop instrument as the saxophone. Her albums were of the jazz genre, but often moved into R&B, world and other musics, especially on her 1970 album The Rubaiyat of Dorothy Ashby, where she demonstrates her talents on another instrument, the Japanese koto, successfully integrating it into jazz.

Dorothy Thompson grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, she would provide support and background to their music by playing the piano. She attended Cass Technical High School where fellow students included such future musical talents and jazz greats as Donald Byrd, Gerald Wilson, and Kenny Burrell. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

She attended Wayne State University in Detroit where she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. At first her fellow jazz musicians were resistant to the idea of adding the harp, which they perceived as an instrument of classical music and somewhat ethereal in sound in jazz performances. So Ashby overcame their initial resistance and built support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Ed Thigpen, Richard Davis, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband, John Ashby, on drums, regularly toured the country, recording albums for several record labels. She played with Louis Armstrong and Woody Herman, among others. In 1962 Down Beat magazine's annual poll of best jazz performers included Ashby.

In the late 1960s, the Ashbys gave up touring and settled in California where Dorothy broke into the studio recording system as a harpist through the help of the soul singer Bill Withers, who recommended her to Stevie Wonder. As a result, she was called upon for a number of studio sessions playing for more pop-oriented acts.

Ashby died from cancer on April 13, 1986 in Santa Monica, California. Her recordings have proven influential in various genres. The High Llamas recorded a song entitled "Dorothy Ashby" on their 2007 album Can Cladders. Hip hop artists have sampled her work often, including Jurassic 5, on their album Feedback, as well as Andre Nickatina on his song Jungle. Bonobo included the track 'Essence of Sapphire' on his mix album 'Late Night Tales'...

Tracklist:
01.Pawky (Dorothy Ashby)...(00:00)
02.Moonlight In Vermont (J.Blackburn/K.Suessdorf)...(07:05)
03.Back Talk (Dorothy Ashby)...(12:23)
04.Dancing In The Dark (H.Dietz/A.Schwartz)...(17:30)
05.Charmaine (L.Pollack/E.Rapee)...(22:16)
06.Jollity (Dorothy Ashby)...(26:20)
07.There's A Small Hotel (L.Hart/R.Rodgers)...(30:00).

Personnel:
1.Dorothy Ashby - harp
2.Frank Wess - flute
3.Herman Wright - bass
4.Art Taylor - drums.

Genre:Jazz
Recorded: Van Gelder Studio,Hackensack,New Jersey;March 21,1958.
Label:Prestige – 7140
Liner Notes – Ira Gitler
Recording Supervisor – Bob Weinstock
Engineer – Rudy Van Gelder.

Mete mais alto #569


Mike Oldfield 'Tubular Bells' Live at the BBC 1973 (or 1974) (high quality / remastered)

High quality remastered live studio performance of Tubular Bells Part 1 for BBC TV '2nd House', filmed on 30 November 1973, originally broadcast on BBC2 on 1 December, with a cast including Oldfield, his brother Terry (flute), Fred Frith (and other members of Henry Cow), Steve Hillage, Pierre Moerlen, Tom Newman, Mike Ratledge, Mick Taylor, Karl Jenkins and others. It includes a new part for oboe.

Video remastered in to HD.
Audio remastered and restored with some subtle stereo widening.
All remastering done by Peter Nicholls.

Tubular Bells Live Performance on BBC TV
"BBC TV 2nd House Performance": live-in-the-studio performance for the BBC, filmed on 30 November 1973, originally broadcast on BBC2 on 1 December, with a cast including Oldfield, his brother Terry (flute), Fred Frith (and other members of Henry Cow), Steve Hillage, Pierre Moerlen, Tom Newman, Mike Ratledge, Mick Taylor, Karl Jenkins and others. It includes a new part for oboe.

This has been released on the Elements DVD and is on the 2009 reissue of Tubular Bells

Music copyright Mike Oldfield.
Video copyright BBC.
This production by Peter Nicholls 2016

Mete mais alto #568


Starless by King Crimson. Another taster from the new King Crimson album - "Radical Action to Unseat the Hold of Monkey Mind".

As those lucky enough to have seen it live will know, the opening chord of this song are often accompanied by an intake of breath. Like an incoming tide of realisation, all the variations on "I never thought I’d hear this live", or "crikey, this is my favourite", "OMG I’ve died and gone to heaven" and a few more sentiments besides.

The complexities behind capturing the seven-headed Crimson on video are described in David Singleton's liner notes:

"It is something of a truism in the history of Crimson that any show that is filmed will not be one when heaven meets earth and the angels descend. The presence of cameras and cameramen iintroduces an intrusive element into the relationship between the artist, the music and the audience. Our solution was to return to the concept of "BootlegTV" and prioritise the music and the performance rather than the pictures. We embedded a single cameraman (the long-suffering Trevor Wilkins) on this tour, and he filmed every night with a a series of cameras hidden discreetly on the stage where they would intrude on neither artist nor audience. The compromise is thus in the visuals and not in the music."

The set was recently described by John Kelman in "All about jazz" as "the definitive live Crimson release from the definitive live Crimson lineup; a landmark recording from a group whose discography is filled with them."

Mete mais alto #567


Khruangbin @ Villain | Pitchfork Live

Hell fuckin' yeah!

Vivendo a distopia, final do Acto II.

Europeans killed ACTA, and we have just SIX DAYS to save the internet again!

Cada vez se acrescentam mais letras a LGBT. Para atalhar caminho, proponho que se passe já para ABCDEFGHIJKLMNOPQRSTUVWXYZ.

Netflix film crews 'banned from looking at each other for longer than five seconds' in #metoo crackdown

Sai mais uma medida fascizóide ridícula para que os pseudo-modernos possam rejubilar enquanto bebem um copo e debatem sobre os direitos fundamentais, e assim. Higienizai, filhx, higienizai.

quinta-feira, junho 14, 2018

Tenho cá para mim que a letra deste "Bells & Circles" (Underworld & Iggy Pop) é a mais relevante peça literária do séc. XXI, relevância dada pela realidade dos factos.
Um pequeno excerto:

No more rock critics
No more european ideas of good and bad
Only a vengeful god does not allow smoking on the airplane
There will be no revolution
And that's why it won't be televised

In an effort to get people to look
into each other’s eyes more,
and also to appease the mutes,
the government has decided
to allot each person exactly one hundred
and sixty-seven words, per day.

When the phone rings, I put it to my ear
without saying hello. In the restaurant
I point at chicken noodle soup.
I am adjusting well to the new way.

Late at night, I call my long distance lover,
proudly say I only used fifty-nine today.
I saved the rest for you.

When she doesn’t respond,
I know she’s used up all her words,
so I slowly whisper I love you
thirty-two and a third times.
After that, we just sit on the line
and listen to each other breathe.

Jeffrey McDaniel, “The Quiet World” from The Forgiveness Parade

Palavras sábias do Senhor Iggy Pop ao som dos Tipos Que Sabem da Poda


If I had wings, I wouldn't do anything beautiful and transcendent
No, I'd get my finger into everything I wanted
I'd do all the beautiful things,
those thing you can't do
Because nobody wants you to be able to do the things that make you feel good
Like you can't smoke on the airplane
I remember smoking on the airplane
I used to love the smoke on the airplane
Those were the golden days of air travel
They would just open the door at the airport
And you'd walk right out the tarmac
And up those stairs and light a big cigarette
And stick it in the ashtray
and the stewardess would come along
And if she was hot, you can try to pick her up
Once I was flying from New York to DC,
I didn't have much time
And the stewardess was smoking
She was all dusky tall American beauty
And I put down my tray table,
snorted a gram of cocaine
Till I got up my courage to say, "Can I have your phone number?"
And she gave me the number
that was the good news
The bad news was I got too stoned and I lost the number
The stewardess would've been better than the cocaine
I made an error in judgement
But still I remember smoking on the airplane
Smoking on the airplane
Smoking on the airplane
everybody did it
They gather at the back on the way to Australia
And all puff up at once outside the bathroom
And that's why if I had wings
That would be a bad idea, I guess
According to everything I've been taught about the laws of
Ethics and karma and good behavior
If I had wings, I'd go, yum, yum, yum-yum, yum-yum, yum, ow
I'd have fun
If I had wings, I'd have fun
Smoking on the airplane
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Teenage boys used to hijack the airplane and send it to Cuba
Castro would charge twenty grand, the airline would get your airplane back
He had a good business (you can't do that, you can't do that)
It's over (you can't do that, you can't do that)
It's over for the liberal democracies (you can't do that)
It's over (you can't do that)
Here comes the jungle (you can't do that)
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings (you can't do that)
Sunlight on my wings (you can't do that)
Sunlight on my wings (you can't do that)
No more rock critics (you can't do that, you can't do that)
No more (you can't do that)
European ideas of (you can't do that)
Good and bad (you can't do that)
Only a vengeful (you can't do that)
God does not allow smoking on the airplane
(You can't do that, you can't do that)
(You can't do that) There will be no revolution (you can't do that)
And that's why (you can't do that)
It won't be televised (you can't do that)
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Sunlight on my wings
Sunlight (you can't do that)
Sunlight (you can't do that)
Sunlight (you can't do that)
Sunlight (you can't do that)
If I had wings

Nosferatu: Phantom der Nacht (1979)
de Werner Herzog
com Klaus Kinnski, Isabelle Adjani

terça-feira, junho 12, 2018

Haja alguém que coloque, em photoshop, uma tarte naquela mão.

Someone please photoshop a pie onto that hand.‬


‪#TrumpKim #TrumpKimSummit

segunda-feira, junho 11, 2018


VIslumbrai este sketch que escrevi e que foi exbido sábado passado no Donos Disto Tudo: "Querido, Fomos Despejados de Casa!", onde Gustavo Santos e os Queridos despejam pessoas das suas casas para poderem alugá-las a turistas. Excelsas interpretações de Manuel Marques, Ana Bola e Gabriela Barros.

‪Quando comes tão à pressa que até bates com a colher nos dentes.‬

Até m'engasguei-me.

Alejandro Miguel Justino Crawford, poeta, artista, videasta responsável por videos e VJing de Childish Gambino, Tame Impala, MGMT, Edward Shape & The Magnetic Zeros, e d’A Favola da Medusa, estará connosco para ler alguns poemas da sua lavra. A ler, estará também o inefável Miguel Martins; tudo acompanhado pelo theremin submerso de Filipe Homem Fonseca [sou eu, peeps!]. Dia 4 de Julho no Bar Irreal.