Monday, November 21, 2016

Call me Helium (Hélio Oiticica & Jimi Hendrix), boné caco movo cesta páli-da!*****

***Portraits taken from the Internet. Roubado, sem crédito, porque só mortos caminhamos (Camélia, meu cú que ria!!)...
Jean-Michel Basquiat, Untitled (1981), image from Leonhard Emmerling's Basquiat;
Presuming Ed PLUS the history of rock ticket (for more potlatch invitations, see here);

***The War on Drugs is an Epic Failure (Jim Batt, Kim Boekbinder);
Jesse Owens (and Naoto Tajima) at Berlin Olympics 1936;
Dina Sfat, Elke Maravilha e Marília Pera;
Pessoa Nefasta (Gilberto Gil, 1984);
Let's Get Lost (about Chet Baker, by Bruce. Weber, 1988);  
In Search of Billie Holiday (Linda Lipnack Kuehl/BBC, 2021);
The Blues Exotic Scale (Music Theory for Guittar, 2019); 
Augmented Sixth Chords in Popular Music (Music Theory Advanced, 2016); 
Chomsky about the War on Drugs (see text below); 
Why Portugal Decriminalized all Drugs (Vice/Jamie Clifton);

"... blackness is also attributed to the sun, according to a certain long-hidden tradition. One of the shocks for candidates in the 'Mysteries' was the revelation 'Osiris is a blackgod.'"
Aleister Crowley, The Book of Thoth
"Or, si la mère de l'hermétisme chrétien est la Kabbale, son père est l'hermétisme égyptien (le Corpus Hermeticum est le pendant égyptien et hellénique du Zohar juif et de la Kabbale juive en général)."
Antoine Faivre, "Analyse des Méditations de Valentin Tomberg" (Accès de l'ésotérisme occidental)
"Una noche lo oyó llamar al Diablo 'padre' y pedirle que viniera a ajudarlo."
Mario Vargas Llosa (La guerra del fin del mundo)

"... and often she sang to Anthony alone, in Italian or French or in a strange and terrible dialect which she imagined to be the speech of the Southern negro."
F. Scott Fitzgerald (The Beautiful and Damned)
"The style, the grace, the coolness, the cynical zen detachment from the system came from the blacks. No white professor had to tell the blacks to turn on, tune in, and drop out of conformity."
Timothy Leary
"La octava carta, sobre los castigos corporales que había visto  impartir a  los siervos en patios y  calles  de la ciudad, y la novena sobre los instrumentos de tortura usados en tiempos de la esclavitud: el potro, el cepo, el collar de cadenas o gargalheira, las bolas de metal y los infantes, anillos que trituraban los pulgares..."
Galileo Gall/Mario Vargas Llosa (La guerra  del fin del mundo)

"Les impressionnistes avaient chassé le noir de leur palette, je l'y remettais — en bonne place — et un peintre amoureux, comme Renoir, autant de la lumière que de la couleur, par sa franchise et son honnêteté me confirmait ceci: le noir non seulement est une couleur mais aussi une lumière."
Henri Matisse (quoted by André Masson)
"Jimi Hendrix é um pensador e a ele dedico e a ele dedico todos os meus travellings [em Abismu], panorâmicas e planos fixos. Com ele descobri a necessidade de tudo dizer de uma só vez não importa com quê."
Rogério Sganzerla (Folha de São Paulo, 1979)

"In Detroit, if you were a white kid, your dream would be to be a black thug with a guitar and play like one."
Iggy Pop (Please Kill Me)
"Then the Ramones came back, counted off again, and played the best eighteen minutes of rock & roll that I had ever heard. You could hear the Chuck Berry in it..."
Legs McNeal (Please Kill Me)
"'Well, my older brother has some Hendrix stuff. Are you Experienced? is bloody great, actually!' Robert Smith enthused."
Lol Tolhurst (Cured)
"In fact, as a punk rocker, you were saver in those days at the black dances than you were going down to the local withe-boy pub. For me, hearing the bass that loud was a huge thing."
Jah Wobble (from Simon Reynolds, Rip It Up)

"... então, Ritinha, estou hospedado no mesmo hotel e pergunto se você está a fim de cheirar umas lagartas de fuder as cartilagens? Meu quarto é número tal, não pense bobagem, tenho idade para ser seu pai, só quero uma boa companhia."
Nelson Gonçalves (Rita Lee, Uma Autobiografia)
"O cantor Nasi lembra que, até os anos 1930, a cocaína era um 'tonificante' consumido por notáveis como Monteiro Lobato (que teria homenageado a substância criando o 'pó de pirlimpimpim' em seu Sítio do pica-pau amarelo) e Carlos Drummond de Andrade. 'Era um quitute servido em festas muito chiques, em bandejas de prata.'"
Ricardo Alexandre (Dias de Luta)
"Right after I was fired, John Sinclair was arrested for two joints of marijuana and sentenced to nine years in prison... All the forces of law and order were galvanized in those early years of the Nixon administration—this was a time when Attorney General John Mitchel had just come to power with a very strong antidrug, antiyouth, law and order message."
Danny Fields (Please Kill Me)

"I hate Art. It makes me sick. SoHo should be blown off the fucking map, along with all its artsy  assholes."
James Chance (Rip It Up)
"An ordinary theatre going public generally has a certain narrow-minded seriousness."
Constantine Constantius (translation by M. G. Piety)
"... in September 1920, Joyce wrote to Stanislaus of reports that he had been spy in Dublin for the Austrians, in Zurich for the British or for the Sinn Féiners, that his Ulysses was a pre-arranged German code, that he was a cocaine addict, the founder of dadaism, a bolshevik propagandist, the cavalier servente of the Dutch..."
Richard Ellmann
"Eine lange lateinische Abhandlung in Einer Nachtwache niederzuschreiben und auch noch ab-zuschreiben, mit dem Ehrgeiz in der Feder, es meinem Vorbilde Sallust in Strenge und Gedrängtheit nachzuthun, und einigen Grog von schwerstem Kaliber über mein Latein zu gießen, dies stand schon, als ich Schüler der ehrwürdigen Schulpforta war, durchaus nicht im Widerspruch zu meiner Physiologie, noch vielleicht auch zu der des Sallust — wiesehr auch immer zur ehrwürdigen Schulpforta..."

"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."
Baudelaire (Les Paradis artificiels)

"Menos justificável, ainda, a demonização da matemática e da geometria, que chega a ser um disparate no caso de obras como os 'bichos' de Lygia Clark, magníficos achados dentro da pesquisa de formas geométricas, inidentificáveis fora desse âmbito, apesar da ilusória titulação figurativa. Trata-se, me parece de uma distinção ideológica... Uma linguagem contestatária radical e minima mantém-se como denominador [entre concretos e neoconcretos] — em arco máximo do espectro — tanto na contestação antiartística dos labirintos e penetráveis de Hélio Oiticica quanto nas propostas urbanopaisagísticas e lúdico-labirínticas de Cordeiro ou no mobiliário sucinto de Geraldo de Barros, voltados para a socialização pragmática e coletiva."
"Longe de quezílias pessoais e dos sectarismos regionalistas, Hélio partilhou com Cordeiro a reformulação das propostas de vanguarda que convergiram nas mostras 'Opinião 65-66' e 'Nova Objetividade' (1967). Com a mesma abertura, Hélio soube dialogar com os poetas concretos. Em fins de 1968, rompendo definitivamente com o artificial antagonismo Rio-São Paulo, ele e Haroldo de Campos incitaram um intenso contato que frutificaria em muitos lances e laços de interlocução."
Augusto de Campos (Waldemar Cordeiro: Pontos de Partida e de Chegada)

"Giving up Beethoven, the emotional climaxes and all, is fairly  simple for an American. But giving Bach is more difficult. Bach's music suggest order and glorifies for those who hear it their regard for order, which in their lives is expressed by daily jobs nine to five and the appliances with which they surround themselves and which, when plugged in, God willing, work... Jazz is equivalent to Bach (steady beat, dependable motor), and the love of Bach is generally coupled with the love of jazz. Jazz is more seductive, less moralistic than Bach. It popularizes the pleasures and pains of the physical life, whereas Bach is close to church and all that. Knowing as we do that so many jazz musicians stay up to all hours and even take dope, we permit ourselves to become sympathetically at least, junkies and night owls ourselves: by participation mystique. Giving up Bach, jazz, and order is difficult. Patsy Davenport is right."
John Cage (Indeterminacy)

"'Call me Helium' (Me chame de Hélio) — pedia Jimi Hendrix." Waly Salomão, Hélio Oiticica: Qual é o Parangolé (Companhia das Letras 2015, p. 25).
"Eu quis homenagear o que penso que seja a revolta individual social: a dos chamados marginais. Tal ideia é muito perigosa mas algo necessário para mim... o que me deixava perplexo era o contraste entre o que eu conhecia dele como amigo, alguém com quem eu conversava no contexto cotidiano tal como fazemos com qualquer pessoa, e a imagem feita pela sociedade, ou a maneira como seu comportamento atuava na sociedade... Esta homenagem [ao Cara de Cavalo] é uma atitude anárquica contra todos os tipos de forças armadas..." (p. 37).
"São dirigidos aos sentidos, para através deles, da percepção total, levar o indivíduo a uma suprassensação, ao dilatamento de suas capacidades sensoriais habituais, para a descoberta do seu centro criativo interior, da sua espontaneidade expressiva adormecida, condicionada ao cotidiano..." (p. 60).
"Todas essas relações poder-se-iam chamar 'imaginativo-estruturais', ultraelásticas, nas suas possibilidades e na relação pluridimensional que delas decorre entre 'percepção' e 'imaginação' produtiva (Kant), ambas inseparáveis alimentando-se mutuamente..." (p. 85).
"Eu sou filho de Nietzsche e enteado de Artaud. Desde os treze anos que leio Nietzsche" (p. 87).

"Angela Maria... uma criadora total, particular, mais do que Dalva: a primeira grande criadora negra do Brasil — isso é importante e mostra o prejudico que as pessoas têm com ela: Dalva era mestiça, mas branca. Mas Angela ninguém quer aceitar: é uma ameaça..." Helio Oiticica em Torquato Neto, Torquatália (p. 236).
"Ex-Amor, sem a vulgaridade, ou melhor, banalidade das novelas da Globo: supervulgar, inteligente... Adelino Moreira é justamente a imaginação nativa do Brasil, em tudo o que de gasto ou não esse conceito possa possuir: Angela ou Nelson Gonçalves sabem disso..." (p. 237). 
"Angela nada tem de cafona... Nunca hei de esquecer quando vi Emilinha de perto, da precisão de detalhes da vestimenta: cetim verde, sapato de salto altíssimo verde do mesmo, ou não, mas do mesmo tom: uma pintura digna de qualquer mestre expressionista alemão plus Matisse, sei lá..." (p. 237). 
"Vocês pensam que Nova York é porta do Paissandu? Ignorância mais provincianismo..." (p. 366).

See also:
- Concretos &/ou Brazilian Inteligentsia;
Cinema Novo's Judgment Day;
- Cordiais Saudações;
- Tropicalismo;
- Darkwaves beyond the 80's;
- Genug! Manifesto;
Godard's Sympathy for the Devil;

I would usually dismiss much of Chomsky's narrative in this video as unreliable conspiracy theory; but since totally incredible things such as Trump, Brexit & Bolsonaro indeed turned up as totally REAL, what would be fair to believe in?! at least Chomsky gives a clear narrative from the opposite side of what has now "succeeded"; what he says about the so-called War on Drugs reminds me of Burroughs and seems particularly important:
"... you have to really ask yourself whether controlling coca production has anything to do with the purpose of all of this... for decades the United States has been fighting what is called the drug war, to try to get rid of the opium production... it has essentially no effect on opium production, but it has had other effects, perfectly predictable effects... in the United States it is a technique for reintroducing slavery.... black life was criminalised and you had a new slave class... for a couple of decades after the Second World War, there was a substantial economic growth, industrial growth, so black men could get job as other workers and start moving into a relatively decent life... well, but by the 70s that essentially was over... the economy moves towards financialization, towards the elimination of industrial production, the neoliberal policies were introduced, you got this huge superficial population again... what do you do with them? throw up them into jail... and in fact that is exactly what happened; so the consequences of the drug war here was primarily, domestically to reincarcerate a large part of the black population, and also Hispanic population... and in fact they are again factory labour, they are cheap and easy exploitable labour... it is called voluntary, but when you are in jail voluntary has a special meaning... and you know when people complain about say... Guantanamo, it is all kind of a little ironic, because American prisons aren't that much different, they are torture chambers, it is a horrible system... and there were other consequences: it is a way of frightening the rest of the population here, imposing what is called law & order; so if you want to frighten and control the population, they have to be afraid of something; and they can be afraid of, you know, Hispanic narcotraffickers that are trying to destroy us and that sort of thing... the fact that it consistently fails in its alleged purpose, namely, reducing drug use, or even availability of drugs, doesn't matter, because it is succeeding in its actual purpose... in fact three, quite conservative, Latin American ex-presidents, Zedillo, Cardoso and Gaviria... put out a study which calls for just the elimination of the drug war, they said it's got nothing to do with controlling drugs..." (Noam Chomsky, History of US Rule in Latin America): 

****Excerpts from a Michèle Lamy & GAIKA interview (Dazed, March 2018): 
"I always want to explore ‘radical luxury’ – I mean, I like radical more than I like luxury, and it’s very nice to be able to combine art and the commercial, but it’s one thing to say something, but you need to demonstrate it with the theme. And so we have the collection upstairs and this here (the boxing studio)." 
"For me it’s about equality, it’s about honesty. It’s about all these things where I can’t accept the alternative. Like some of the things we just seem to accept in the world as normal. Misogyny, racism, intolerance, you know, we have conversations surrounding these things in the media all the time, but nothing’s changing. And when you think about it, it’s pretty abhorrent. You know, you have to tell men not to rape people, like, including people who supposedly run the world, they have to be told not to rape…"
"I think boxing is a good metaphor for the fight we face and how we should be fighting it. You know, boxing is one-on-one. You look your opponent in the eyes and there are a lot of rules and and there is a lot of respect, traditionally. You know, it brings in a lot of different people; you take people off the street, and kids, and people from all different walks of life, and you see people realise themselves and their potential in the boxing ring. Instead of taking a gun and shooting 20 people in anger, you can be measured and see how to be strong and how to stand for yourself as an individual here."
"The world’s changing and I think the power in the world is shifting and changing. It’s shifting away from the West, it’s shifting away from men, and you’ve got one of two reactions: accept the world is changing and be part of it, or build walls, physically or metaphorically to stop it and to block it out... Yeah, to be like Trump and his wall, you know, in the White House cowering thinking ‘we are the last supreme white beings’, sitting there with his finger on the nuclear button... So extreme. You know, I think that it (Trump’s appointment) made a lot of people wake up..."
"You know, it never really made sense to me – the massive amount of inequality in the world just seems unnecessary. It just doesn’t seem like an efficient way to keep the world turning if you think of it as a machine or a structure. It’s purely about ego as far as I can tell, it’s not even just about the material side of things or money, it’s about dominance."
"... since the dawn of the internet, and people being constantly connected to these violent images every minute, every second, it’s important that the press change too. The media should be analysing themselves and changing the way they do things. I want to see unbiased opinions, I don’t want to see left-wing newspapers or right-wing newspapers. I want to see a tribune that covers it all in a fair way..." Michèle Lamy and GAIKA go head to head on the fight for the future (Dazed, 2018)

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