abril 14, 2015 § Deja un comentario

necklace4
Un hombre del pueblo de Neguá, en la costa de Colombia, pudo subir al alto cielo.
A la vuelta, contó. Dijo que había contemplado, desde allá arriba, la vida humana.
Y dijo que somos un mar de fueguitos. El mundo es eso -reveló- Un montón de gente, un mar de fueguitos.
Cada persona brilla con luz propia entre todas las demás. No hay dos fuegos iguales. Hay fuegos grandes y fuegos chicos y fuegos de todos los colores. Hay gente de fuego sereno, que ni se entera del viento, y gente de fuego loco, que llena el aire de chispas. Algunos fuegos, fuegos bobos, no alumbran ni queman; pero otros arden la vida con tantas ganas que no se puede mirarlos sin parpadear, y quien se acerca, se enciende.
El Mundo, Eduardo Galeano.

marzo 23, 2015 § 4 comentarios

Pero los ideólogos del hippismo consideraban que Brian y los Beach Boys no eran hype, no estaban en la onda. “Es un grupo de baja calidad (…) Su música no ha variado desde sus primeros elepés hasta ahora”, decía uno de los primeros números de la recién nacida Rolling Stone, tribunal sumarísimo que elevaba a los altares o condenaba al ostracismo con la misma naturalidad. El fundador de la publicación, el limitado periodista Jann Wenner, apuntaba que el “genio creativo” de Brian Wilson era “esencialmente un artificio promocional” (…) Como traca final, un desatino: “Good Vibrations no es rock and roll”.
Con la excepción de un grupo de jóvenes periodistas, los medios cercanos a la escena hippie denostaban a Brian con villanía y, lo que resulta infame, sin ápice de ecuanimidad.
(…)
brian_wilson-3654-num101Si de lo que se trataba era de expandirse artificialmente, Brian andaba metido en las drogas hasta el cuello -claro que no lo anunciaba en los titulares como Jerry García…- Si se pretendía aplaudir el riesgo y la capacidad de rebelión del rock, Brian caminaba un universo por delante de sus compañeros. Pero el ambiente no era imparcial. Algunos parecían creer que un guitarrista que tocaba con los dientes o una cantante que penaba por emular a Bessie Smith podían incitar a la revolución y hacer de Amérika un territorio libertario.
beach-boys-smile-sessions-11-7-11-4tumblr_m4qr7nCI0t1r5r87ho5_1280Extraídos de Bendita Locura, José Ángel González Balsa.

Carol Kaye

febrero 23, 2015 § 1 comentario

carol1 carol2  carol4carol3

febrero 9, 2015 § 2 comentarios

desobediencia civilSi un hombre camina en el bosque por el puro placer de hacerlo durante la mitad del día, se arriesga a que lo tachen de vago. Pero si dedica el día entero a especular, a talar ese bosque y a esquilmar la tierra, será considerado un ciudadano industrioso, un emprendedor.
La forma en que la mayoría de los hombres se gana la vida, no es más que una manera de buscar fortuna y de esquivar el verdadero sentido de la existencia.
Porque, para lo esencial, les falta discernimento; pero también en parte porque sus objetivos son mediocres.
H. D.Thoreau

enero 30, 2015 § Deja un comentario

0f69f3120adb5aa8e7d6578a45648f5fimageDesde ya mismo se puede visitar la expo de Niki de Saint Phalle en el Guggenheim de Bilbao.
Tras la retrospectiva de Yoko Ono (de la que salí conmocionada), sólo falta que le dediquen una super retrospectiva a Maruja Mallo y les beso los pies.

libros

La crueldad tiene corazón humano
y la envidia humano rostro;
el terror reviste divina forma humana
y el secreto lleva ropas humanas.

Las ropas humanas son de hierro forjado,
la forma humana es fragua llameante,
el rostro humano es caldera sellada
y el corazón humano, su gola hambrienta.
W. Blake.

enero 30, 2015 § 1 comentario

 Esto me hace mucha ilusión <3

krecords

TANTA COMO ESTO!
http://killrockstars.bandcamp.com/track/the-only-one

(inglés de Wisconsin, primera maqueta de Charades, 2001)

enero 22, 2015 § 5 comentarios

Entrevista a Bjork

I have nothing against Kanye West. Help me with this—I’m not dissing him—this is about how people talk about him. With the last album he did, he got all the best beatmakers on the planet at the time to make beats for him. A lot of the time, he wasn’t even there. Yet no one would question his authorship for a second. If whatever I’m saying to you now helps women, I’m up for saying it. For example, I did 80% of the beats on Vespertine and it took me three years to work on that album, because it was all microbeats—it was like doing a huge embroidery piece. Matmos came in the last two weeks and added percussion on top of the songs, but they didn’t do any of the main parts, and they are credited everywhere as having done the whole album. [Matmos’] Drew [Daniel] is a close friend of mine, and in every single interview he did, he corrected it. And they don’t even listen to him. It really is strange.

Pitchfork: How does it make you feel when this happens now?

B: I have to say—I got a feeling I am going to win in the long run, but I want to be part of the zeitgeist, too. I want to support young girls who are in their 20s now and tell them: You’re not just imagining things. It’s tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I’ve been guilty of one thing: After being the only girl in bands for 10 years, I learned—the hard way—that if I was going to get my ideas through, I was going to have to pretend that they—men—had the ideas. I became really good at this and I don’t even notice it myself. I don’t really have an ego. I’m not that bothered. I just want the whole thing to be good. And I’m not saying one bad thing about the guys who were with me in the bands, because they’re all amazing and creative, and they’re doing incredible things now. But I come from a generation where that was the only way to get things done. So I have to play stupid and just do everything with five times the amount of energy, and then it will come through.

When people don’t credit me for the stuff I’ve done, it’s for several reasons. I’m going to get very methodical now! [laughs] One! I learned what a lot of women have to do is make the guys in the room think it was their idea, and then you back them up. Two! I spend 80% of the writing process of my albums on my own. I write the melodies. I’m by the computer. I edit a lot. That for me is very solitary. I don’t want to be photographed when I’m doing that. I don’t invite people around. The 20% of the album process when I bring in the string orchestras, the extras, that’s documented more. That’s the side people see. When I met M.I.A., she was moaning about this, and I told her, “Just photograph yourself in front of the mixing desk in the studio, and people will go, ‘Oh, OK! A woman with a tool, like a man with a guitar.’” Not that I’ve done that much myself, but sometimes you’re better at giving people advice than doing it yourself. I remember seeing a photo of Missy Elliott at the mixing desk in the studio and being like, a-ha!

It’s a lot of what people see. During a show, because there are people onstage doing the other bits, I’m just a singer. For example, I asked Matmos to play all the beats for the Vespertine tour, so maybe that’s kind of understandable that people think they made them. So maybe it’s not all sexist evil. [laughs] But it’s an ongoing battle. I hope it doesn’t come across as too defensive, but it is the truth. I definitely can feel the third or fourth feminist wave in the air, so maybe this is a good time to open that Pandora’s box a little bit and air it out.

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