sábado, agosto 11, 2007

te merece

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"te merece"
     Zeca Pagodinho to Gilberto Gil before the show.

You have to put a lot of edge into a Beatles' song to get it across to me. Gilberto Gil succeeded with his Banda Larga version of Get Back at Circo Voador last night. The presentation was actually clear, even crisp, which is belied in this shitty YouTube recording:

Jojo was a man who
Thought he was a loner
But he knew it couldn't last
Jojo left his home
In Tucson, Arizona
For some California grass
Get back, get back
Get back
To where you once belonged
Get back Jojo
Sweet Loretta Martin
Thought she was a woman
But she was another man
All the girls around her
Say she's got it coming
But she gets it while she can
Get back Loretta
Get back Loretta,
Your mother's waiting for you
Wearing her high-heel shoes
And her low-neck sweater
Get on home Loretta
Get back, get back
Get back
To where you once belonged

Banda LargaBanda Larga:
     Gilberto Gil, vocais, guitarra
     Arthur Maia, baixo
     Alex Fonseca, bateria
     Bem Gil, guitarra
     Claudio Andrade, teclados
     Gustavo de Dalva, percussão
     Sergio Chiavazzolli, guitarras

XIII Rio International Cello Encounter 2007.

A-and then tonight the mouldy old hipsters at the opening night of the Rio Cello Encounter with their rendition (in the sense of meat packing) of Sargeant Pepper's what not - did definitely not! I will get their names and hopefully the name of the incredibly incompetent (even by Brazilian standards) sound & video crew.

11/8/2007 - Sala Cecília Meireles, 20h

Os Britos:
     George Israel, vocais, guitarra, saxofone
     Rodrigo Santos, baixo
     Guto Goffi, bateria
     Nani Dias, guitarra

The Suits:
     Victor Biglione, violão, arranjos e concepção
     David Chew, violoncelo
     Theo Weber, violoncelo
     Lars Hoefs, violoncelo
     Hugo Pilger, violoncelo
     Alex Rocha, contrabaixo
     André Tandeta, percussão
     Haroutune Bedelian, violino
     Robert Chew, violino
     Bia Paes Leme, arranjos

Love, love, love, love, love, love, love, love, love.
There's nothing you can do that can't be done.
Nothing you can sing that can't be sung.
Nothing you can say but you can learn how to play the game
<snip !!!>
          Who can sing this shit with a straight face?

and you know something's happenin'
But you don't know what it is

     Bob Dylan, Ballad Of A Thin Man.

I am confused by the ageing flower children I seem to see everywhere these days. And curious about them, and ... embarassed maybe. The gray-headed guys hangin' with young girls, this I understand; but then there are the frumpy ladies, usually alone, dancing by themselves as if nothing had ever changed.

Except that it has changed, utterly. The woman beside me at Gilberto Gil in a monotone samba-in-place, gyrating oblivious single frequency solipsism. Or the skinny old thing at the Cello Encounter trying to find the groove like a 17 year old, looking for someone to dance with, screaming out, "lower the guitar [volume]", which was good advice since the cellos and violins disappeared entirely into the thin electronic soup, gruel.

I wonder what it feels like to Gilberto Gil, who is also caught in this machine of pop music; like the machine of the internet, a collective by any name would smell as rank; how do you 'get with the program' and still keep the energy high? Oobviously you don't, but Gil at least has moments.

A young woman climbed up on the stage to kiss him and ... he kissed her back! (before the guards lifted her back down where she belonged.

A-and everwhere you turn there is BR - Petrobras; Canecão Petrobras (with the 'Petrobras' in bigger letters than the 'Canecão'); Rio Cello Encounter / Petrobras; front and centre. Bigger than the government, bigger than Lula. Is this is how José Sergio Gabrielli de Azevedo works out his conflicting ideologies? Must be.


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