Wesley Duke Lee, Caríssimo Wesselmann (1964);
Manabu Mabe, Composição Abstrata (1979);
Manabu Mabe, Sem Título (1997);
Manabu Mabe, Viver (1986);
Tomie Ohtake, Gravura em metal (1998);
From e. e. cummings, 100 selected poems (New York: Grove Press, 1954).
From Sylvia Plath, Ariel: the restored edition (New York: Harper, 2004).
(Portraits taken from the Internet)
"Hat Jemand, Ende des neunzehnten Jahrhunderts, einen deutlichen Begriff davon, was Dichter starker Zeitalter Inspirationnannten? Im andren Falle will ich’s beschreiben..."
Nietzsche (Ecce Homo)
"Robert had a few musical ideas already, and out of that session came what was to be 'Ariel.' I contributed a handful of lines inspired by my love for the poetry of Sylvia Plath, who is, to my mind, the greatest American poet."
"We played at Sylvia Plath's alma mater, Smith College, a private independent liberal arts women's college in Northampton, Massachusetts. It was an exceptional gig, as I recall, and I was pleased to be at a place where one of my heroes had been a student."
Lol Tolhurst (Cured: the tale of two imaginary boys)
"A SECRET
A secret! A secret!
How superior.
You are blue and huge, a traffic policeman,
Holding up one palm—
[...]
An illegitimate baby—
That big blue head!"
"The Jailor
[...]
I have been drugged and raped.
Seven hours knocked out of my right mind
Into a black sack
Where I relax, foetus or cat,
Lever of his wet dreams.
Something is gone.
My sleeping capsule, my read and blue zeppelin
Drops me from a terrible altitude.
Carapace smashed,
I spread to the beaks of birds.
[...]
All day, gluing my church of burnt matchsticks,
I dream of someone else entirely.
[...]."
"Elm
[...]
Is it the sea you hear in me,
Its dissatisfactions?
Or the voice of nothing, that was your madness?
Love is a shadow.
How you lie and cry after it
Listen: these are its hooves: it has gone off, like a horse.
[...]
I have suffered the atrocity of sunsets.
[...]
Now I break up in pieces that fly about like clubs.
A wind of such violence
Will tolerate no bystanding: I must shriek.
[...]"
"Lesbos
[...]
The baby smiles, fat snail,
From the polished lozenges of orange linoleum.
[...]"
A/Z's drawing after a famous photograph of Ademar Manarini, available with other A/Z's drawings and photographs at Fine Art America;
Alfredo Andersen, Brincando no Jardim;
Alfredo Andersen, Retrato de Dirceu Andersen (1930);
Almeida Júnior, Estudo de nú masculino (1873);
Candido Portinari, Menino de Brodowski (1946);
Tomie Ohtake, Sem título (1965);
Geraldo de Barros, Unilabor Chair (1954);
Ademar Manarini, Pavor (1951);
German Lorca, Cavalo Bravo (1970)
Depeche Mode's Enjoy the Silence;
Depeche Mode's Shake the Disease;
New Order's Sub-Culture [the video become unavailable at Youtube];
The Cure's Lullaby;
The Cure's The Forest;
The Cure's The Walk;
The Cure's Charlotte's Sometimes;
Duran Duran's Come Undone;
Duran Duran's Save a Prayer;
Bauhaus's In the Flat Field;
Bauhaus's Bela Lugosi's Dead;
Eurythmics's Sweet Dreams;
Siouxsie & the Banshees' Cities in Dust;
DAF 's Sato Sato;
DAF's Der Räuber und der Prinz;
Japan's Ghosts;
Soft Cell's Tainted Love;
Tubeway Army's Down in the Park [video became unavailable at Youtube];
Sigue Sigue Sputnik's Atari Babby;
Sigue Sigue Sputnik's Love Missile F1-11 [video became unavailable at Youtube];
B-52's Private Idaho;
Public Image Limited's Albatross;
Chrome's All Data Lost;
Chrome's New Age;
Factrix's Anemone Housing;
Tuxedomoon's No Tears;
Tuxedomoon's In Heaven;
The Resident's Burning Love;
Beirut Slump's See Pretty;
Throbbing Gristle's Persuasion ;
Throbbing Gristle's Separated;
Human League's Don't You Want Me;
Cabaret Voltaire's Yashar;
Depeche Mode's Martyr (Paul van Dyk Remix);
Depeche Mode's Only When I lose Myself (Lexicon Avenue Remix);
Radiohead's Down is the New Up;
Anton Corbijn, Control (2007);
"The Woodstock revolution started in 1966, peaked in 1976, and hit the wall with a thud! in 1980 with the election of Nancy Reagan."
"So good-bye to turn on, tune in, drop out... and hello to the motto of the 1980: Hang on. Hang in. Hang over."
"In the 1960's Dylan sang: 'We ain't gonna work on Maggie's farm no more.' Lennon sang: 'Give Peace a Chance.' In the somnambulant 1980s Michael Jackson, Prince, Madonna, George Michael kept us moving in the big auditorium-arenas under the watchful eyes of the security guards, but the lyrics are not high in socially redeeming value, while the anger of young activist musicians is limited to the denigrated punk-club scene."
"What do self-respecting, intelligent, ambitious young Americans do [in the 80s]? They perform. They master a craft. They learn to excel in a personal skill. They become entrepreneurs, i.e., people who organize, operate, and assume risks... They are politically and psychologically independent. They are notoriously nonloyal to institutions... black athletes led this evolution."
Timothy Leary
"Other singer-lyricists—Joy Division's Ian Curtis, Paul Haig of Josef K—were steeped in the shadowy unease and crippling anxiety of Dostoevsky, Kafka, Conrad, and Beckett. Three minute mininovels, their songs grappled with classic existentialist quandaries: the struggle and agony of having a self; love versus isolation..."
"Although Burgess drew specific inspiration from his hometown of Manchester, Clockwork Orange's backdrop was familiar to anyone living in Urban Britain during the 1970s. Tower blocks, skyways, shadowy underpasses: This was the desolate psychogeography of a new England created by town planners and Brutalist architects from the early 1960s onward."
"Influenced by Burroughs and his paradoxically depersonalized yet personified vision of Control, the Cabs developed a worldview in which power figured as a demonic, omnipresent force, a multitentacled yet sourceless network of domination and mind coercion. 'Being in a state of paranoia is a very healthy state to be in,' [Stephen] Mallinder said. 'It gives you a permanently questioning and searching nonacceptance of situations..."
"'I ended up working two years in a university bookshop and I had every science-fiction paperback you could get. I was really into Philip K. Dick and Ballard' [Phil Oakey]."
"Drugs of the socially sanctioned sort flooded Manchester in the Seventies. Numbing and often incapacitating tranquilizers were massively overprescribed to help ordinary people (menopausal housewives, troubled teenagers, wage slaves cracked by stress and boredom) not so much manage their lives as be manageable."
"'The reality of the psychedelic experience isn't love and peace, it's insanity. If you actually took LSD and listened to our records, the trip would get so whacked-out you'd start laughing. Funny-scary, we called it. The bad trip would turn into a good trip, because you'd already been to th emost negative part of the universe' [Helios Creed/Chrome]."
"... underneath the campy surface the B-52's sound was stark and spiky, a tough dance groove midway between James Brown's minimal Afro-funk and the Leeds agit-funk of Gang of Four and Delta 5."
"... the debut Eurythmics album, In the Garden, featured Can's Holger Czukay and DAF's Robert Görl..."
"Whether it was the Human League's celebration of romance or Goth's patchouliscented romanticism, 1982 saw the return of that old (black) magic..."
"... Standard musical fixtures included scything guitar patterns, high-pitched post-Joy Division basslines that usurped the melodic role, beats that were either hypnotically dirgelike or 'tribal'..."
"Any suspect totalitarian leanings were mostly held in check by Goth's opposing attraction to Aleister Crowley's libertine dictum, 'Do what thou wilt shall be the whole of the law.'"
Simon Reynolds (Rip It Up)
"She looked like an ancient vampire countess who was definitely o a mission to capture my soul... Connie might have brought me close to death a lot of times, but in a way, she kept me alive. No one else did."
Dee Dee Ramone (Please Kill Me)
"I was so sick of hippie culture. People were trying to keep up those peace and love ideals, but it was so devalued. That was the era of real hip capitalism too... I found the hippie culture nauseating and prissy and sentimental, and smiley-faced. So Richard Hell just came over and said, 'This is what we are, we're the blank generation. It's over."
Mary Harron (Please Kill Me)
"Remember that season? Fall '86 I think, and all that Soviet madness? We wore Russian logos and listened to Sigue Sigue Sputnik. Oh, and we all quoted Karl Marx and went to those Yakov Smirnoff concerts (or was that just me?). Anyway, Communist chic was all the rage."
James St. James
"Who said that drugs will make you smile?"
Tommy Cash
"Je veux, dans cette dernière partie, définir, et analyser le ravage moral causé par cette dangereuse et délicieuse gymnastique, ravage si grand, danger si profond, que ceux qui ne reviennent du combat que légèrement avariés, m'apparaissent comme des braves échappés de la caverne d'un Protée multiforme, des Orphées vainqueurs de l'Enfer. Qu'on prenne, si l'on veut, cette forme de langage pour une métaphore excessive, j'avouerai que les poisons excitants me semblant non seulement un des plus terribles et des plus sûrs moyens dont dispose l'Esprit des Ténèbres pour enrôler et asservir la déplorable humanité, mais même une de ses incorporations les plus parfaites."
"Il est facile de saisir le rapport qui existe entre les créations sataniques des poëtes et les créatues vivantes qui se sont vouées aux excitants. L'homme a voulu être Dieu, et bientôt le voilà, en vertu d'une loi morale incontrolable, tombé plus bas que sa nature réelle... Il est vraiment superflue d'insister sur le caractère imoral du haschisch... Que je l'assimile à la sorcellerie, à la magie, que veulent, en óperant sur la matière, et par des arcanes dont rien ne prouve la fausseté non plus que l'efficacité, conquérir une domination interdite à l'homem ou permise seulement à celui que en est jugé digne..."
"Elle ne lève jamais les yeux; sa tête, coiffée d'un turban en loques, tombe toujours, et toujours regarde la terre. Elle ne pleure pas, elle ne gémit pas. De temps à autre elle soupire inintelligiblement, Sa soeur, la Madone, est quelquefois tempétueuse et frénétique, délirant contre le ciel et réclamant ses bien-aimés. Mais Notre-Dame des Soupirs ne crie jamais, n'accuse jamais, ne rêve jamais de révolte. Elle est humble jusqu'à l'abjection. Sa douceur est celles des êtres sans espoir..."
"... la plus jeune soeur se meut avec des mouvements impossibles à prévoir; elle bondit; elle a les sauts du tigre. Elle ne porte pas de clef; car, bien qu'elle visite rarement les hommes, quand il lui est permis d'approcher d'une porte, elle s'en empare d'assaut et l'enfonce. Et son nom est Mater Tenebrarum, Notre-Dame des Ténèbres... Telles étaient les Euménides ou Gracieuses Déesses..." Baudelaire/De Quincey (Les Paradis artificiels)
"Killing an Arab was inspired by the novel L'Étranger written by Camus, the protagonist, for reasons he doesn't understand and cannot explain, shoots an Arab on the beach... Although the song is a treatise on existential angst and has nothing to do with racism, it can attract the wrong type of seeker... At Kingston Poly, we got permission to play it after Robert calmly took several of the students aside and explained the song's literary origins... It wasn't just the skinheads who thought the song was racist: so did the college students!"
"We slept in the old Morgan Studio 1 for some sessions, which was kind of creepy, as it used to be a church. Above the new ceiling was an old, stained-glass roof. When the studio was dark it was visible in a ghostly kind of glow. At 4 a.m. it looked almost otherwordly."
"It's obvious to me now that one of the main things I got out of being in The Cure was that emotional release and understanding of where I was spiritually at any particular time. The lyrics have always spoken to me in a very helpful and healing way."
"I was playing the songs with ferocious intensity, madly slashing and berating the God who would let this happen to me when I was so young. I felt cast out of heaven and thrown down to earth like a damaged archangel."
"Robert doesn't play halfheartedly; when he plays his songs he has to inhabit them for them to work. I remember some tours where he would literally collapse after the gig and lie on the floor for thirty minutes to recover from the effort he'd put out."
"Pornography stands the test of time because it's not a slave to whatever the current fashions of the day were. It was born out of our own desperation and peculiar madness."
"My other memory of that session is twofold: one, the view from the upstairs room of the studio looking out over London in the early morning, just as the sun was rising and the mist was still enveloping the treetops. The other was..."
"Depeche Mode and The Cure had a lot in common: we both originated in 'new towns,'us in Crawley and them in Basildon, and both bands still have a large US following, which can't be said for some of our peers... We have also over the years shared several crew members."
Lol Tolhurst (Cured: the tale of two imaginary boys)
Aleister Crowley's The Book of Thoth:
- 18/The Moon [Pisces, the last of the signs, the last stage of the winter, gateway to resurrection, midnight, the sacred Egyptian beetle (which "bears the sun in his silence through the darkness of the night, and the bitterness of the winter"), "sinister and forbidden landscape," waning moon, moon of witchcraft, "the poisoned darkness which is the condition of the rebirth of light," "prejudice, superstition, ancestral loathing," "the howling of wild beasts," the threshold, "the dreadful madness of pernicious drugs," the dark night of the soul ("an horror of great darkness came upon me," said Abraham)] [from Nietzsche's Ecce Homo: "Rechne ich dagegen von jenem Tage an vorwärts, bis zur plötzlichen und unter den unwahrscheinlichsten Verhältnissen eintretenden Niederkunft im Februar 1883 — die Schlußpartie, dieselbe, aus der ich im Vorwort ein paar Sätze citirt habe, wurde genau in der heiligen Stunde fertig gemacht, in der Richard Wagner in Venedig starb — so ergeben sich achtzehn Monate für die Schwangerschaft. Diese Zahl gerade von achtzehn Monaten dürfte den Gedanken nahelegen, unter Buddhisten wenigstens, daß ich im Grunde ein Elephanten-Weibchen bin."];
- 9/The Hermit [the Hand ("tool or instrument par excellence"), the letter Yod (which is "the foundation of all the other letters of the Hebrew alphabet, merely combinations of it in various ways, and also "the first letter of the name Tetragrammaton," symbolizing the Father, "the highest form of Mercury, and the Logos, the Creator of all worlds," "the spermatozoon"), the sign of Virgo, corn, wheat, Persephone (queen of underworld) (concealed within Mercury is a light which pervades all parts of the Universe equally... one of his titles is Psychopompos, the guide of the soul through the lower regions") ("these symbols are indicated by his Serpent Wand, which is actually growing out of the Abyss, and is the spermatozoon developed as a poison, and manifesting the foetus... following him is Cerberus... this trump is shewn the entire mystery of Life in its most secret workings... the method")];
***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien):
"Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from "Mode," entry in Brittanica, by Mieczyslaw Kolinski);
Lasar Segall, Retrato de Lucy I (1935);
Candido Portinari, Retrato de João Candido com Cavalo (1941);
Samico, Retrato de Criança (1956);
Manabu Mabe, Abstracionismo (1967);
Mário Quintana, Antologia Poética (Rio de Janeiro: Alfaguara, 2015), com um ensaio de Eucanaã Ferraz;
"Hat Jemand, Ende des neunzehnten Jahrhunderts, einen deutlichen Begriff davon, was Dichter starker Zeitalter Inspirationnannten? Im andren Falle will ich’s beschreiben..."
Nietzsche (Ecce Homo)
"Quem souber apreciar a cristalina, abstrata e rigorosa arquitetura dodecafônica, quase geométrica, de sua 'Suíte para piano'opus 25 ou de seu 'Quinteto de sopros', jamais poderá imaginar que a frase que se segue foi dita por Arnold Schönberg: 'Aquele que não possuir o romantismo em seu coração é um ser humano decrépito."
"Schönberg soube entender e mesmo exercitar muito bem o pathos wagneriano, mas, em vez de tentar espichá-lo ou 'modernizá-lo', como o fez Richard Strauss, ele provocou a sua imposão. Ao contrário de Debussy, que assumiu um radical distanciamento daquele estilo e técnicas composicionais, tecendo por fora e lentamente a sua contribuição renovadora, Schönberg provocou um envenenamento na engrenagem das formas, levando-as ao superlativo da expressividade, ao conflito, a uma neurótica impulsiva subjetividade onde o indivíduo situava-se como centro absoluto, intérprete e juiz do universo. A evolução desse comportamento espiritual, que veio desembocar em nosso século no expressionismo; que contou com figuras como Nolde, Kokoschka, Kandinsky, Chagal e Roualt na pintura; Wedekind, Werfel e Kafka na literatura; Wiene, Lang, Pabst, Dreyer e Murnau, no cinema, teve, em música, na obra de Arnold Schönberg, o seu carro-chefe."
Júlio Medaglia (Música Impopular)
"A CANÇÃO, a simples canção, é uma luz dentro da noite.
(Sabem todas as almas perdidas...)
[...]
E sob o aéreo, o implacável, o irresistível ritmo dos teus pés,
Deixa rugir o Caos atônito..."
"— em meio aos ruídos da rua
alheio aos risos da rua —
todas as jubas do Sol
por uma trança da Lua!"
"Os luares extáticos...
A noite parada..."
"Havia um corredor que fazia cotovelo:
Um mistério encanado com outro mistério, no escuro...
[...]
Nós éramos quatro, uma prima, dois negrinhos e eu.
[...]
Onde andará agora o pince-nez da tia Tula?"
"Até o grande relógio de pêndulo parou.
O tempo está morto de pé dentro dele como um chefe asteca.
[...]
Os felinos farejam-me.
Antes eu estivesse morte e não sentiria nada...
Mas
A primeira coisa que um morto faz depois de enterrado
É abrir novamente os olhos...
Como é que eu sei disso, meu Deus?!
Tão fácil acender a luz... Estendo a mão
Para a lâmpada de cabeceira e toco
Uma parede fria
Úmida
Musgosa..."
"O meu Anjo da Guarda é dentuço,
Tem uma asa mais baixa que a outra.
[...]
Poeta, está na hora em que os galos móveis dos para-raios
Bicam a rosa dos ventos..."
"Que o digam as nuvens, esses lerdos e desmesurados cágados das alturas...
E então para disfarçar a gente faz literatura... e diz aos amigos que foi apenas uma folha morta que se desprendeu... ou que um pneu estourou, longe... na estrela Aldebaran..."
"Ai esquinas esquecidas...
Ai lampiões de fins de linha...
Quem me abana das antigas
Janelas de guilhotina?"
"E as vovozinhas de saia-balão
Como paraquedistas às avessas que subissem do fundo do tempo.
O relógio marcava a hora
[...]
Em cima do telhado...
Como um catavento que perdeu as asas!"
"Os grilos são poetas mortos."
"— Seu Mário, o senhor ainda não leu o CRUEL AMOR?"
"Desaparecido na batalha do Itororó!"
"...cachorrinho Victor."
"Nossas Almas? Seil lá!"
"Deve haver tanta coisa desabada...
Deve haver tanta coisa desabada
Lá dentro... Mas não sei... É bom ficar
Aqui, bebendo um chope no meu bar...
E tu, deixa-me em paz, Alma Penada!
Não quero ouvir essa interior balada...
Saudade... amor... cantigas de ninar...
Sei que lá dentro apenas sopra um ar
De morte... Não, não sei! não sei mais nada!
Manchas de sangue inda por lá ficaram,
Em cada sala em que assassinaram...
Pra que lembrar essa medonha história?
Eis-me aqui, recomposto, sem um ai.
Sou o meu próprio Frankenstein — olhai!
O belo monstro ingênuo e sem memória..."
"A lua de Babilônia
Numa esquina do Labirinto
às vezes
avista-se a Lua."
"Não! como é possível uma lua subterrânea?
(Mas cada um diz baixinho:
Deus te abençoe, visão...)"
"Terceira canção de muito longe
Da última vez que atravessei aquele corredor escuro
Ele estava cheio de passarinhos mortos..."
"Traduzido de Raymond Queneau
Meus Deus, que vontade me deu de escrever um poeminho
Olha, agora mesmo vai passando um!
Pst pst pst
Vem para cá para que te enfie
Na fieira dos meus outros poemas
Vem cá para que eu te entube
Nos comprimidos de minhas obras completas
Vem cá para que eu te empoete
Para que eu te enrime
Para que eu te enritme
Para que eu te enlire
Para que eu te empégase
Para que eu te enverse
Para que eu te emprose
Vem cá...
Vaca!
Escafedeu-se."
Paulo Sacks, Darlene Glória and Paulo Porto in Toda Nudez Será Castigada (1973);
more Nelson Rodrigues in cinema: Fernanda Montenegro and Ivan Cândido, in Leon Hirszman's A Falecida (1965);
the 1976's film for which Beethoven composed the 2nd Movement of his 7th Symphony;
"I was sort of involved in a charity to cheer up monsters..."
Andy Warhol
"Foi provavelmente uma das experiências mais bem-aventuradas que já tive."
Gerald Thomas, Entre Duas Fileiras
"... they are lyricists who plunge themselves into the abyss of laughter and then let its volcanic might cast them onto the stage..."
Constantine Constantius (translation M. G. Piety)
"What would it mean to hear The Magic Flute as focused around Papageno and Papagena? Or to read Mahler's Ninth through its 'backward' (vulgar) elements, rather than hear those elements, as Anthony Newcomb does, as a means to create a 'forward-moving' teleology? To hear Beethoven's Seventh not in terms of a heroic composer drawing on dance elements in order to invent new 'characteristic' styles, but in terms of a dancing Low, who is composing Beethoven?"
Richard Middleton
"Jabor filmou as vísceras de Nélson... O Casamento seria montado sobre o cadáver de Adriana Prieto... eternidade da musa, sempre Adriana." [Jabor filmed the guts of Nelson Rodrigues. The Wedding would be edited over Adriana Prieto's corpse... eternity of the muse, Adriana always], Glauber Rocha, Revolução do Cinema Novo (Cosac Naify, 2004, p. 449);
"Para mim, o caso de Lupicínio é mais ou menos como aquele de um outro Rodrigues, o Nelson. 'Ninguém enxerga o óbvio. Só os profetas enxergam o óbvio', diz o Dr. Camarinha, personagem de O Casamento. A linguagem de Nelson Rodrigues é, como ele próprio a definiria, 'o óbvio ululante', ou, como diria José é Lino Grünewald, 'o ovo do óbvio'. Não se poderá compreender Nelson Rodrigues (o escritor) com aprioris intelectualistas. Nelson é o anti-intelectual, o anti-Rosa, num certo sentido. Se, como quer Décio Pignatari, a poesia de Oswald de Andrade é a poesia da posse contra a propriedade, poesia por contato direto, sem preâmbulos ou prenúncios, sem poetizações, poesia que transforma o lugar-comum em lugar-incomum, Nelson Rodrigues — menos intelectual e mais possesso — tem algo de Oswald em sua antiliteratura, em sua presentificação bruta da roupa suja do diálogo cotidiano", Augusto de Campos, "Lupicínio Esquecido?" (O Balanço da Bossa e Outras Bossas, Perspectiva, 1974);
Oswald de Andrade, A/Z mixed media rough sketch, available with other A/Z drawings and photographs at Fine Art America;
Antonio Parreiras, Residência da Família Parreira Horta, circa 1898;
Cecília Meireles, Menino com cesto à cabeça;
Candido Portinari, O Flautista (1942);
Pierre Verger;
Jesuíno do Monte Carmelo, Detalhe do forro da Igreja da Ordem Terceira do Carmo Itu;
São Francisco das Chagas, Capela da Nossa Senhora dos Aflitos, São Paulo, (Percival Tirapeli, Arte Sacra Colonial);
Aleijadinho, Nosso Senhor da Paciência (Museu Nacional de Belas Artes do Rio de Janeiro, Antônio Francisco de Lisboa, o "Aleijadinho": o que vemos e o que sabemos);
Aside by Ezra Pound (Salutation, Commission);
Mário de Andrade (O Capoeira, Relicário, Bonde, Contrabando, Passionária, Procissão de Enterro, Simbologia, Sábado de Aleluia, Ressurreição);
Mário Quintana (A Cozinheira);
Wesley Duke Lee, O Tríptico (update figuras do Guardião & Guardiã, adptado às circustâncias) ["Essa parte foi considerada chocante e, para remediar a situação, a Eminência Parda colou a parte móvel com Araldite, numa atitude espantosa de autoritarismo e desrespeito ao artista, que nesse momento se encontrava no exterior... Wesley retorna e transforma o retrato num tríptico, pintando uma tarja negra sobre os olhos da mulher retratada e colocando a cada lado do retrato os guardiões... acopla à tela um retrato do Chefe, com sua moldura dourada, típica do ecletismo... a Eminência Parda é representada de óculos escuros..." Cacilda Teixeira da Costa, Wesley Duke Lee, Edusp 2005, p. 117-18];
Ouvindo Oswald (Funarte, 1999/Youtube);
George Antheil's Violin Sonata n. 2 (Vahid Khadem-Missagh and Gottlieb Wallisch, 2015,Youtube);
"A operação metafísica que se liga ao rito antropofágico é a da transformação do tabu em totem."
O. A. (A Crise da Filosofia Messiânica)
"... gar nicht vom Opfer (der Mahlzeit) zu reden..."
Nietzsche (Der Antichrist)
"Minha ligação com esse pessoal todo, Caetano Veloso, Gal Costa, Gilberto Gil, é nossa disposição de voltar a Oswald de Andrade. Oswald é o ponto de ligação entre o meu trabalho e Caetano, Gil, os poetas concretistas de São Paulo, que têm essa nova compreensão estética, e Fernando Coni Campos, Zé do Caixão."
Rogério Sganzerla (entrevista a Marcos Faerman, 1969)
"O Nelson Pereira tem filmes maravilhosos, Boca de ouro, Mandacaru vermelho, que é dez vezes melhor que Fome de Amor, embora ele não saiba, Barravento [de Glauber Rocha] é sensacional, gosto muito de Deus e o diabo, gosto do primeiro filme do Miguel Borges que chama-se Canalha em crise. O cinema brasileiro quando era feito no mato ou na favela. São caminhos que Oswald de Andrade apontava: no sertão ou na favela. Eram filmes extremamente interessantes pela ingenuidade. Do momento em que o cara deixou de ser ingênuo pra ser um pouquinho menos ingênuo se fodeu todo. Deu aquela: sou autor, vou filmar o meu universo, o meu estilo, os meus mitos, as minhas sensibilidades. Aí o cara não tinha nem muita sensibilidade, nem muita coragem e nem muito talento..."
Rogério Sganzerla (Pasquim, 1970)
"Em outubro de 1929 vieram o crash da Bolsa e a crise do café. Oswald e Pagu se engajavam no Partido Comunista. E o criador de Serafim Ponte Grande, julgando-se curado do 'sarampão antropofágico', virou 'casaca de ferro da Revolução Proletária'. As ideias e concepções da antropofagia foram postas de lado por muito tempo. Só em 1945, depois de sua ruptura com os comunistas, é que Oswald, intelectualmente recuperado, se dispôs a aprofundar os temas antropofágicos."
"Tivesse escrito em inglês ou francês, quem sabe até em espanhol, e sua antropofagia já teria sido entronizada na constelação de ideias de pensadores tão originais e inortodoxos como McLuhan, Buckminster Fuller, John Cage... A antropofagia, que salvou o sentido do modernismo, é também a única filosofia original brasileira e, sob alguns aspectos, o mais radical dos movimentos literários que produzimos."
Augusto de Campos (Revistas Re-Vistas: Os Antropófagos)
"Os livros — o que restava da edição de 1945 — estavam empilhados, se bem me lembro, no alto de um armário numa dependência interna do apartamento. Oswald os distribuía, assim, generosamente, aos poucos amigos e simpatizantes. Tal era a solidão do poeta, já quase sexagenário, que, 'de facho em riste, bancando o Trótski, em solilóquio com a revolução permanente' — como o descrevera Patrícia Galvão um ano antes — continuava a vociferar contra tudo e contra todos em defesa do modernismo e da antropofagia, à espera do resgate das futuras gerações."
Augusto de Campos (Oswald, Livro Livre)
"A violenta compressão a que Oswald submete o poema, atingido sínteses diretas, propõe um problema de funcionalidade orgânica que causa espécie em confronto com o vício retórico nacional, a que não se furtaram, em derramamentos piegas, os próprios modernistas e que anula boa parte da obra de um Mário de Andrade, por exemplo."
"Terra de muitos estudantes e estudiosos de filosofia mas de poucos filósofos, o Brasil tem em Oswald um dos raros intelectuais a que esse termo, em sua acepção integral, pode ser aplicado sem constrangimento. Embora seus escritos continuem a ser rejeitados pelo mundo acadêmico, evidenciam-no como um solitário pensador original... Oswald não enrolava o pensamento em cipoais argumentativos. Era sintético e direto. Tinha o 'defeito' literário de escrever bem."
Augusto de Campos (Pós-Walds)
"Hat Jemand, Ende des neunzehnten Jahrhunderts, einen deutlichen Begriff davon, was Dichter starker Zeitalter Inspiration nannten? Im andren Falle will ich’s beschreiben..."
Nietzsche (Ecce Homo)
"... certain emotions as vital to me... faced with the infinite and ineffable imbecility of the British Empire, as they were to Propertius some centuries earlier, when faced with the infinite and ineffable imbecility of the Roman Empire..."
(Pound about his "Homage to Sextus Propertius"; New Selected Poems and Translations, edited by Richard Sieburth, New Directions, 2010, p. 298).
This was (still is) written against "the new rich artists, literary officials, pompous academicians, provincial geniuses, and the poets of parliamentary report" &/or members of "the Freemasonry of Cronyism" [novos-ricos da arte, empregados públicos da literatura, acadêmicos de fardão, gênios das províncias, poetas do Diário Oficial... Maçonaria da Camaradagem] (Paulo Prado, "Poesia Pau Brasil").
Brazil: society of "derelict savants" [náufragos eruditos] and encyclopedic congestion [rebentaram de enciclopedismo] (Oswald de Andrade, "Falação").
An Aside by Mário de Andrade (sem tradução, que preguiça!):
"Quanto a algum escândalo possível que o trabalho possa causar, sem sacudir a poeira das sandálias, que não uso sandálias dessas, sempre tive uma paciência (muito) piedosa com a imbecilidade pra que o tempo do meu corpo não cadenciasse meus dias de luta com noites cheias de calma..." (1st Preface to Macunaíma).
"o violeiro
Vi a saída da lua
Tive um gosto singulá
Em frente da casa tua
São vortas que o mundo dá"
"ditirambo
Meu amor me ensinou a ser simples
Como um largo de igreja
Onde não há nem um sino
Nem um lápis
Nem uma sensualidade"
"guararapes
[...]
Mas que sujeito loiro!"
"II
Bestão querido
Estou sofrendo
Sabia que ia sofrer
Que tristeza esse apartamento de hotel
[...]
Que distância!
Não choro
Porque meus olhos ficam feios"
"pronominais
[...]
Deixa disso camarada
Me dá um cigarro!"
*****fragmentos e imagens tirados de Mário de Andrade, Tatiana Longo Figueiredo e Telê Ancona Lopez, Poesia Completa, vols. 1 e 2 (Rio de Janeiro: Nova Fronteira, 2013);
Lundu Característico by Joaquim Callado (Arranjo Marcus Viana, Sebastião Vianna/Youtube);
Lundu Característico by Joaquim Callado (Rosivaldo Cordeiro & Amarande Laffon/Youtube);
Lundu Anonimo (video not available anymore);
Francisco Mignone/ Valsa de Esquina #2;
"Hat Jemand, Ende des neunzehnten Jahrhunderts, einen deutlichen Begriff davon, was Dichter starker Zeitalter Inspirationnannten? Im andren Falle will ich’s beschreiben..."
Nietzsche (Ecce Homo)
"Como repórter, vou a uma festa no Conservatório Dra- mático e Musical. O Dr. Sorriso que é o Elói Chaves, Se- cretário da Justiça, faz ali uma conferência de propaganda dos Aliados. Quem o saúda é um aluno alto, mulato, de dentuça aberta e de óculos. Chama-se Mário de Andrade. Faz um discurso que me parece assombroso. Corro ao palco para arrancar-lhe das mãos o original que publicarei no Jornal do comércio. Um outro repórter, creio que d'0 Estado, atra-ca-se comigo para obter as laudas. Bato-o e fico com o discurso. Mário, lisonjeado, torna-se meu amigo."
Oswald de Andrade (Homem sem Profissão)
"São de uma violência brutal os poemas imputados, reconheço... derivavam todos (basta ver as datas) de circunstâncias especiais e íntimas de minha vida, quando me visitou o Demônio do Meio-Dia..."
(Carta a Oneyda Alvarenga, Rio de Janeiro, 29 de Outubro, 1940)
"Eu não me contentei em desejar a felicidade, me fiz feliz."
(Segundo prefácio ao Macunaíma)
"essa contemplatividade puramente de adoração que existe na reza e no êxtase... aquele estado extático de misticismo (religioso) que terá de ser a contemplação da Divindade, que é minha esperança e que botei no final de Macunaíma... Macunaíma vai pro céu, conforme o pensamento dele: procurar Ci..."
(Mário de Andrade, Cartas a Tristão de Ataíde/H. de Campos, Morfologia)
Uma enorme estupidez escrita por Mário de Andrade a respeito de Erik Satie:
"Quanto a Eric [sic] Satie, que tem de ser o assunto deste meu artigo já no fim, hoje é quasi [sic] um fantasma esquecido. O seu valor musical é bastante escasso para que, já por este lado, ele se possa aproximar de Laforgue. Além disso, o seu humorismo, também incomparável com o real humorismo do poeta, foi sempre esteticamente errado. Está longe do verdadeiro humorismo musical que encontramos, por exemplo, num Schumann, num Rossini... em Satie o humorismo é aposto à música, deriva do nome da peça, ou das observações literárias escritas sobre as notas... A comicidade não é imediatamente musical, vem provocada por associações críticas essencialmente intelectuais, e não sonoras."
(Mário de Andrade, Música, Doce Música, em que ao lado de idéias interessantes, como uma compreensão da dimensão mais inconsciente e instintiva das formas musicais, e uma que outra realmente importante, sobre o desnivelamento da modinha, há outro tanto de bobagens, como a total miopia diante de tendências mais arrojadas da música erudita contemporânea)
***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien):
"Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from "Mode," entry in Brittanica, by Mieczyslaw Kolinski);
Marcel Duchamp, Notes;
Gucci;
Comme des Garçons (video was taken out of Youtube);
Dior;
Margaret Howell (video was taken out of Youtube);
Issey Miyake (video was taken out of Youtube);
Y-3 (video was taken out of Youtube);
Vivienne Westwood (video was taken out of Youtube);
Neil Barrett;
Maison Margiela;
Prada;
Rick Owens;
Givenchy;
Lou Dalton;
Craig Green SS16;
Thom Browne;
Commentary scholium, illustration and key (since that affair came into fashion):
"L'homme riche, oisif, et qui, même blasé, n'a pas d'autre occupation que de courir à la piste du bonheur; l'homme élevé dans le luxe et accoutumé dès sa jeunesse à l'obéissance des autres hommes, celui enfin qui n'a pas d'autre profession que l'élégance, jouira toujours, dans tous les temps, d'une physionomie distincte, tout à fait à part. Le dandysme est une institution vague, aussi bizarre que le duel; très ancienne, puisque César, Catilina, Alcibiade nous en fournissent des types éclatants; très générale, puisque Chateaubriand l'a trouvée dans les forêts et au bord des lacs du Nouveau-Monde... Ces êtres possèdent à leur gré et dans une vaste mesure, le temps et l'argent, sans lesquels la fantaisie, réduite à l'état de rêverie passagère, ne peut guère se traduire en action... Si j'a parlé d'argent, c'est parce que l'argent est indispensable aux gens qui se font un culte de leurs passions; mais le dandy n'aspire pas à l'argent comme à une chose essentielle; un credit indéfini pourrait lui suffire; il abandonne cette grossière passion aux mortels vulgaires. Le dandysme n'est même pas, comme beaucoup de personnes peu réfléchies paraissent le croire, un goût immodéré de la toilette et de l'élégance matérielle. Ces choses ne sont pour le parfait dandy qu'un symbole de la supériorité aristocratique de son esprit. Aussi, à ses yeux, épris avant tout de distinction, la perfection de la toilette consiste-t-elle dans la simplicité absolue, qui est, en effet, la meilleure manière de se distinguer. Qu'est-ce donc que cette passion qui, devenue doctrine, a fait des adeptes dominateurs, cette institution non écrite qui a formé une caste si hautaine? C'est avant tout le besoin ardent de se faire une originalité, contenu dans les limites extérieures des convenances... On voit que, par de certains côtés, le dandysme confine au spiritualisme et au stoïcisme. Que le lecteur ne se scandalise pas de cette gravité dans le frivole, et qu'il se souvienne qu'il y a une grandeur dans toutes les folies, une force dans tous les excès. Étrange spiritualisme! Pour ceux qui en sont à la fois les prêtres et les victimes, toutes les conditions matérielles compliquées auxquelles ils se soumettent, depuis la toilette irréprochable à toute heure du jour et de la nuit jusqu'aux tours le plus périlleux du sport, ne sont qu'une gymnastique propre à fortifier la volonté et à discipliner l'âme. En vérité, je n'avais pas tout à fait tort de considérer le dandysme comme une espèce de religion [The rich, idle man, who even if blasé has no other occupation than to run on the track of elation; the man brought up in luxury and familiar, since youth, with the acquiescence of others—in a word: the man whose specialty is nothing but elegance, he will always, at all times, be blessed with unmistakable, unique features. Dandyism is a vague institution, no less bizarre than duelling; age-old, since Cesar, Catilina, Alcibiades are staggering specimens of it; very disseminated, since Chateaubriand was able to find it in the forests and lakes of the New World... Those creatures own time and money to their liking and abundantly, without which their fantasy, degraded into the state of fleeting reveries, cannot be turned into action... I referred to money because it is indispensable to people worshiping their own passions; but a dandy does not seek money as something essential; an unspecific amount of credit might be enough to him; he surrenders the rude passion for money to the vulgar mortals. Dandyism is not even what many unadvised people seems to think of it, some immoderate craze for dressing and material elegance. For the consummate dandy, those things are nothing but symbols of the aristocratic superiority of his soul. Moreover, to his eyes, charmed by distinction rather than by anything else, perfection in dressing consists in absolute simplicity, which is, certainly, the best road to distinctiveness. What is then this passion that, turned into a doctrine, has won such a commanding enthusiasts, this unwritten institution that fostered such a lofty caste? It is above all the passionate urgency of being original within the limits of conventions... We see that, in some respects, dandyism border on spiritualism and stoicism. This earnestness in frivolity should not give way to scandal. The reader must recall that there is greatness in every madness, strength in every excess. What a fantastic kind of spiritualism! To those that are at the same time the priests and the victims, all the intricate material conditions with which they comply (from the impeccable dressing at every hour of day and night to the dangerous sports), are nothing but gymnastics likely to strengthen the will and to improve the soul. I was not on the wrong when I thought that dandyism is a kind of religion]."
"La mode doit donc être considérée comme un symptôme du goût de l'idéal surnageant dans le cerveau humain au-dessus de tout ce que la vie naturelle y accumule de grossier, de terrestre et d'immonde, comme une déformation sublime de la nature, ou plutôt comme un essai permanent et successif de réformation de la nature... toutes les modes son charmantes, c'est-à-dire relativement charmantes, chacune étant un effort nouveau, plus ou moins heureux, vers le beau, une approximation quelconque d'un idéal dont le désir titille sans cesse l'esprit humain non satisfait... La femme est bien dans son droit, et même elle accomplit une espèce de devoir en s'appliquant à paraître magique et surnaturelle; il faut qu'elle étonne, qu'elle charme; idole, elle doit se dorer pour être adorée. Elle doit donc emprunter à tous les arts les moyens de s'élever au-dessus de la nature pour mieux subjuguer les coeurs et frapper les esprits" [Fashion must accordingly be considered a symptom of the taste for the ideal floating over all that is coarse, earthly and filthy, and which is accumulated in the human brain by natural life. It is a sublime distortion of nature, or rather a permanent and ongoing endeavour to reform nature... all fashions are charming, that is, relatively charming, each one being a new, more or less fortunate effort towards the beautiful, the approximation to an ideal whose yearning titillates endlessly the unfulfilled human soul... A woman has a right, it is even her duty, to struggle to look bewitching and supernatural; she must astound, enthral; idole, she must shine like gold. She must borrow from every art the means to rise over nature so as to subjugate the hearts and strike the souls].
Baudelaire (Le Peintre de la vie moderne, translation into English by A/Z)
"Le soir, au souper, ledit Des Marais fit venir un de ses jeunes pages, originaire de Villegongis, nommé Eudémon, si bien coif'é, tiré à quatre épingles, pomponné, si digne en son attitude qu'il ressemblait bien plus à un petit angelot qu'à un homme... Eudémon, demandant la permission du vice-roi son maître, se leva, le bonnet au poing, le visage ouvert, la bouche vermeille, le regard ferme et les yeux posés sur Gargantua avec une modestie juvénile... Tout cette déclaration fut prononcée par lui avec des gestes si appropriés, une élocution si distincte, une voix si pleine d'éloquence, un langage si fleuri, et un si bon latin qu'il ressemblait plus à Gracchus, à un Cicéron ou à un Paul-Emile du temps passé qu'à un jeune homme de ce siècle."
"Cela fait, ils sortaient de leur demeure, accompagnés d'un jeune gentilhomme de Touraine, nommé l'écuyer Gymnaste, qui lui enseignait l'art de chevalerie. Changeant alors de tenue, il montait un cheval de bataille, un roussin, un genet, un cheval barbe, cheval léger, et lui faisait faire cent tours de manège, le faisait volter en sautant, franchir le fossé, passer la barrière, tourner court dans un cercle, à droite comme à gauche."
"Quant à parader et faire les petits exercices de manège, nul, sur un cheval, ne le faisait mieux que lui. Le maître écuyer de Ferrare n'était qu'un singe en comparaison. On lui apprenait notamment à sauter en vitesse d'un cheval sur un autre sans mettre pied à terre (ces chevaux étaient dits de voltige), à monter des deux côtés, sans étriers et la lance au point, à guider à volonté le cheval sans bride..."
"Il nageait en eau profonde, à l'endroit, à l'envers, sur le côté, de tous les membres, ou seulement des pieds; avec une main en l'air, portant un livre, il traversait toute la Seine sans le mouiller, en traînant son manteau avec les dents comme faisait Jules César. Puis, à la force d'une seule main, il montait dans un bateau en se rétablissant énergiquement; de là il se jetait de nouveau à l'eau, la tête la première, sondait le fond, explorait les creux des rochers, plongeait dans les trous et le gouffres. Puis il manoeuvrait le bateau..."
"Dieu merci, il faisait bon la voir! Mias je vous en décrirai bien davantage dans le livre que j'ai écrit sur La Dignité des braguettes. J'attire votre attention sur le fait que, si elle était bien longue et ample, elle était également bien garnie à l'intérieur et bien pour-vue; elle ne ressemblait en rien aux trompeuses braguettes d'un tas de galants, qui ne sont pleines que de vent, au grand détriment du sexe féminin."
Rabelais, Gargantua (translation de Guy Demerson)
"Masque glabre, lèvres maussades, yeux très noir, brûlants, enfiévrés d'éther ou d'opium, Charles Baudelaire fait sensation partout, et même dans le salon du Commandant. Fardé comme une femme de mauvaise vie, petites mains manucurées, corps pris dans une tunique bleue à boutons d'or, la tenue des guillotinés avec le grand col blanc cravaté de noir."
"Mallarmé signe d'ailleurs des chroniques de mode dans une gazette pour dames sous le pseudonyme de mademoiselle Satin."
"Depuis l'exposition Impressionnistes, il apprécie de plus en plus Monet, l'artiste l'épate, et l'homme aussi, pauvre mais si richement vêtu."
Sophie Chauveau (Manet Le secret)
"I still had my old-lady bubble hairdo—and my dear, I spent the entire day in the beauty salon: starting with a wash and mousse, setting it with rollers, under the drier, then backcomb, hairspray, tese, hairspray, curling iron, hairspray—it took HOURS. By the time I was through, it was enormous. Über bubble! I was Super Society Woman!"
James St. James
"Cabaret Voltaire drew hard stares for the way they looked, too. They were fashion crazy, starting with the skinhead look in their early teens, progressing to glam, and finally developing a do-it-yourself style based around old clothes from charity thrift stores, which they customize with paint."
"The first time Philip Oakey met Ian Craig Marsh [from Human League], the later was dressed to distress. 'I had really tight drainpipe jeans, stitched at the crotch with leather, and instead of T-shirt I had a pair of women's tights, with the crotch ripped out for my neck to go through, pulled over my head and stretched really tight. And I'd got a cigarette and burned holes in it, so it was split everywhere..."
Simon Reynolds
"... il apparait comme absolument évident que certain costumes millénaires, à destination rituelle, bien qu'ils aient été à un moment donné d'époque, conservent une beauté et une apparence révélatrices, du fait de leur rapprochement avec les traditions qui leur donnèrent naissance."
A. Artaud (Le théâtre de la cruauté)
"On danse avec son vêtement autant qu'avec son corps; ou, plutôt, le vêtement devient quelque chose comme l'espace intersticiel, lui-même dansant, entre le corps et l'atmosphère qu'il habite."
Didi-Huberman
"In arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well—at least by dressmakers."
"Even were he never to appear, the story of the beautiful is already complete—and broidered, with the birds, upon the fan of Hokusai."
Whistler
"When clothes-makers were making good clothes out of good materials, an ordinary guy who bought a suit or a shirt without giving too much thought to anything except 'does it fit?' would be likely to come away with a nice-looking suit with good detailing out of a nice piece of material... The moderate-priced clothes-makers really are giving people junk these days. On top of the awful way the clothes are made (long stitches, no linings, no darts, no finished seams), they're made out of synthetics that look awful from the first to the last wearing..."
"[but...] Think rich. Look poor."
The Philosophy of Andy Warhol
"And since 1966, we have observed this new breed, 'the students' who tend to wear blue jeans and running shoes. Their dress and gestural signals are as important as the identifying markings and scents of different species of mammals."
Timothy Leary, Chaos & Cyberculture
"A man cannot dress, but his ideas get cloath'd at the same time; and if he dresses like a gentleman, every one of them stands presented to his imagination, genteelized along with him—so that he has nothing to do, but take his pen, and write like himself."
Tristram Shandy
"And the store, Sex, had a definite ideology, it wasn't about selling anything, it was about creating attitude. It wasn't some fucking middle-of-the-road golden oldies shop; far from it."
Malcolm McLaren (Please Kill Me)
"And this is not a dress, it's an ecosystem."
James St. James
"Zuzu Angel foi uma das maiores estilistas brasileiras do anos 1960 e 70. Seu filho, Stuart Angel, militante do MR-8, organização radical de esquerda, foi preso, barbaramente torturado e assassinado pela repressão em 1971. A estilista começou uma peregrinação para encontrá-lo e enterrá-lo dignamente. Zuzu morreu na madrugada de 14 de abril de 1976, em acidente de carro só reconhecido como intencional em 1998."
Marcelo Netto e Rogério Medeiros, Memórias de uma guerra suja
"Rodrigo olhou para a própria roupa. Maldita poeira de Santa Fé! Pusera aquela roupa de linho branco, limpíssima, havia menos de meia hora e ela já estava tomando uns tons rosados... Era preciso calças as ruas transversais e reformar o pavimento da Rua do Comércio. Em suma: era urgente derrubar o Trindade!"
Erico Veríssimo
**************************************************************
As appears from a most antient account of the family, wrote upon strong vellum, and now in perfect preservation:
'The crowd also stopped outside the flagship store of H&M, a giant of fast fashion. Safia Minney, the founder of Fair Trade clothing company People Tree made an impassioned speech about how fashion needed to change its ways. “I’m calling on London fashion week to have the courage and the strength to change everything it does,” she said, while behind her, standing hands outstretched, several young people dressed in red robes.'
'The protesters were mainly young. Mohan Keryk, 17, said the action was the start of things to come: “We have to continuously be active. We need the change.” Tolmeia Gregory, 19, who described herself as an environmental activist and sustainable fashion blogger, said: “There’s a big mindset shift that needs to happen. It’s an emergency, but a lot of people aren’t there yet.”'
'Earlier in the day, the British Fashion Council’s Positive Fashion initiative – which focuses on sustainability, diversity and human rights – hosted a panel discussion. The event was standing room only. Experts including the journalist Tamsin Blanchard, the model and environmentalist Arizona Muse, Extinction Rebellion’s Bel Jacobs and the designer Phoebe English discussed issues around the climate emergency.'
'The group is targeting the fashion industry for its actual environmental impact. The United Nations has said it uses more energy than the aviation and shipping industry combined, with a projected 63% increase in the global consumption of apparel by 2030.'
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