CHUPA MINHA FAVELA

If you have experienced the “frontiers" & been interrogated & checked & stamped as an unofficial cultural creature by the 'officials'... there’s nothing naif about Chibundu Onuzo's article for the Guardian as some are saying.Only a select few with certain hues of passport can move freely on this Earth. Only the elect can travel and work with ease anywhere on the planet. The comments below are truly disgusting....& reproduce with fidelity the sea of prejudice, discrimination and hate that still surrounds immigration.

DREAM BABY DREAM DREAM FOR FREE
FOR FREE FALL Chupa minha favela lick it all.

http://www.theguardian.com/commentisfree/2015/jun/26/migrants-want-frightening-western-passport

LICK MY FAVELA & LET YOUR X's B Y's

LICK MY FAVELA - 12" version taken from the LP L.I.C.K MY FAVELA  (Kute Bash, 2006). 
BRUTALLY INDEPENEDENT SINCE 1995.

LET YOUR X'S BE Y'S (Soul Jazz Records, 2008)

" After wearing out the shine on my copy of their ‘Lick My Favela’ CD, it’s good to have Tetine back with a new release. The Brazilian duo are dropping a full length for choice UK label Soul Jazz Records on April 29th, preceded right at this moment by the Deize Tigrona voiced-single ‘I Go To The Doctor’ (featuring a tidy electro remix from local neighbours CSS).

Unless my thick fingers are deceiving me, ‘Let Your Xs Be Ys’ is Tetine’s eighth album, rollercoasting on a journey that began with 1996’s ‘Alexander’s Grave’, a release which drew musical comparisons with Philip Glass and theatrical similarities to Antonin Artaud - quite a combination. Yet this experimental hyrbid of music and performance has come to define Bruno Verner and Eliete Mejorado over the last 12 years - taking them from their Brazilian home to a long-standing residence in the UK and creative partnerships with Robin Rimbaud (Scanner), Sophie Calle and Igloo, and appearances at Sao Paulo’s Sonar, Whitechapel Art Gallery, Barbican Centre, Miami Music Conference and London’s South Bank.

Trying to pin down Tetine’s sound is almost an artform in itself - veering from the Clash’n'Kraftwerk beds that make up their largely funk-focussed aforementioned Favela EP, to the electronic rumble of last year’s single ‘A Historia Da Garca’, to the mix of electro, baile funk, minimal, new wave and sparse post punk on this latest release.

It’s perhaps no surprise that Tetine played curatorial duties on two important Brazilian compilations a few years back - ‘Slam Dunk Presents Funk Carioca’ (the first funk compilation released outside of Brazil) and ‘The Sexual Life Of Savages’ (also on Soul Jazz) - a near-defintive history of early 80s Brazilian post punk.

Ingested with their history in mind, ‘Let Your Xs Be Ys’ feels as playful as it is relaxed - soundtracking an artistic project that wears its authenticity, confidence and continuing need for experimentation proudly on its sleeve. Less ‘we do not give a fuck’, more ‘we do not need to give a fuck’ - a crucial difference in a music market riddled with attitude, desperately seeking substance." FAT PLANET (AUSTRALIA)

"Tetine are Feminists, un-followers and inventors of their own scene; an uncut diamond. If Art is really dead, then Tetine belong to a "nameless" genre - the makers of something wild, something alive."  Chicks On Speed

What makes Tetine so good is that their off-beat, messy quality makes them natural, seemingly effortless, and therefore beautiful.'  Vanessa Labi, The URB - 4,5/5

"The off-kilter, mutated funk, electro and sound manipulation that comprises this inventive and gravely album is an absolute treat" Joe Shooman, PLAN B, June 2008

"Il's se sont mis a la musique, avec une fixation sur l'electro au premier sens du term, soit le hip hop new yorkais sous influence Kraftwerk pratique par Afrika Bambaaata et consorts au debut des 80's ...  Meilleur morceau LET THE X BE X" Technicart France 4/5

"The gleeful merging of 80's synths, baile funk beats and Bruno Verner's  non-singing voice allow them to push over an hour mark." Tim Jonze, UNCUT 4/5

‘Soul Jazz have snapped them up and the results are hottt’ 
Tim Noakes Dazed & Confused. (recommended albums)

'The album is a breath of fresh air; at times evocative of early Pet Shop Boys, on tracks like What A Gift To Get, and at others conjuring up the template for the joyful sound of new Brazil on Ai Amor/Me So Horny. As a piece it holds together with wit and charm. Kinder than their full-on live shows it pulls you in and holds you with its ever changing flow and colour, never boring, always inventive’.  Nick Tesco / Music Week 

"Brazilian duo prone to rithualistic performances headline with a sound that ranges across electro punk, atonal orchestral pieces, baile funk and Miami bass..." Time Out London, Critics Choice.

'Trying to pin down Tetine’s sound is almost an artform in itself . Ingested with their history in mind, ‘Let Your Xs Be Ys’ feels as playful as it is relaxed - soundtracking an artistic project that wears its authenticity, confidence and continuing need for experimentation proudly on its sleeve. Less ‘we do not give a fuck’, more ‘we do not need to give a fuck’ - a crucial difference in a music market riddled with attitude, desperately seeking substance.  Stuart Buchanan, FAT PLANET BLOG

"A Historia Da Garca sounds like a soundtrack for a dystopian flick: acid sounds; cool Portuguese raps, and spooky new wave synths. It's one of the freshest sounds I've heard in ages. I'm dropping the recommended here on originality.' Turntablelab, US 

"Proof that brazil's the place for some of the hardest-hitting and most genre-crossing grooves today -- thanks to the sound of groups like tetine and some of their contemporaries! the album's got a wicked blend of familiar favela grooves and artier new wave moments -- almost a sao paulo equivalent to the kind of street/club/art crossover sets coming out of new york in the early 80s! most numbers are heavy on beats and basslines, but also carry complicated elements on keyboards and sound samples -- used somewhat sparely and coldly, but warmed up from the bottom with a good dose of booty-shaking elements. although contemporary, tetine's music sits surprisingly well next to the soul jazz label's explorations of older new wave scenes from the us, uk, and brazil -- making the imprint a great place to launch a set like this! titles include "eu to aberta", "i go to the doctor", "you're the one", "everything must die", "men in uniform", "entertainment no 249", "what a gift to get", and russian roulette". Mojoknights, USA

 'Art duo Tetine’s pumped-up punk-meets-funk sound and frenzied on-stage antics make them a creative force to be reckoned with. Having released a prolific eight albums and performed everywhere from Sonar to the Whitechapel Gallery, Eliete Mejorado and Bruno Verner are beacons of their native Sao Paulo avant-garde electronic underground.(...) This is the radical duo who have brought Funk Carioca within London’s cultural radar'. Their lyrics may still talk of real-life sex and domesticity but this album is set to be worlds away from the sample-laden funk of their earlier tracks like ‘L.I.C.K. My Favela.' Aimee Farrell, FACT mag

‘Some of the tunes have brilliant 80’s sounding riffs like Let The X be X and Everything Must Die’ Album of The Week, TNT Magazine

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On another note: Facebook is telling us: I'm gonna fuck your 'business' if you don't buy our 'Boost Post' to reach more of your fans on Tetine's page.
 ____ SAY NO TO DIGITAL EXPLOTATION. 

WE'RE NOT A "BUSINESS" & WE WON'T BUY IT.

SAY NO TO DIGITAL SLAVERY

A Thousand Evil Wars You Just Can't Remember.

EVERYBODY KNOWS THE BOAT IS LIKING.

Solidarity is rare.
IN semio-capitalism we'll die. 
Friendship is replaced by competitiveness, precariousness, 'silent exploitation', uncertainty and anxiety and fear. 

YOU trust no one. You're a GHOST. AND you live in a constant state of insecurity.

The governing of precarization is to serve the productivity of the capitalist economy. In post-Fordism our anxieties become normalised under such conditions, destabilising our bodies and modes of subjectivation in order to be to governed through insecurity and precarization. This dynamic has brutally altered our perception of the other and of the physical and virtual world. 

Similarly, there is also our self-governing which has also established a current shared feeling of senseless productivity and competitiveness amongst individuals of all walks of life and in every form of social relations. Public and private spaces have also become undistinguishable. In this new order, YOU are always performing to the gaze of others. As a result, our bodies experience fear and anxiety and become zombified bodies that manifest themselves in unbearably selfish, nihilistic, uncommunicative, competitive and repetitive ways. At a time we live the end of history, these 'new feelings', these 'new insecurities' are easily detectable among the many types of self-medicated, networked and gentrified communities we come across in the globalised world.

In this sense, the exchange of cultural energies in social or virtual spaces are deemed impossible. Productivity becomes the only currency available and it is always at the service of semio-capitalism which manifests itself in the form of  sleepless 24/7 illusory-semiotic interactions, making cognitive workers both exhausted and addicted to perform. 

EVERYTHING IS VISIBLE, NOTHING IS DISGUISED. WE ARE IN RECORD. 

Therefore, the possibility of a 'meaningful' exchange or of an encounter  never seems to take place. One might even inaugurate a new narrative as the beginning of a new vision or of a future but that will never fully happen because what takes place instead is the prospect of the impossibility of such exchanges. This prospect of impossibility asphyxiates in equal amounts both producers and consumers of semio-capital in these social relations, therefore, leaving the individual bodies who produce at the mercy of precariousness unhappy and paranoid.
On the other hand, if the vast majority of cognitive workers disconnect from their circuit of virtual or real ‘friends' they may 'disappear', 'get lost in space' or simply 'die'. That said, they might stop 'signifying' to the other even in the process of an illusory-semiotic exchange. Besides that they might also freeze, paralyse themselves and may be bound to solitude and silence - becoming living-dead creatures in a contemporary society obssesed with cognitive labour exchange (mainstream or parallel). 

You are nothing if you are not with us. 

On your own you worth nothing. 

You are inexistent, de-seuxalised and out of our narrative. 

The game is no longer able to please the 'passive' or the 'extremely active' players of the impossible exchange. The players are trapped in a repetitive model of a perpetual-present that never ends. 

Time hasn't stop, however, it feels always the same.
Same time tomorrow.
The machine wants you to believe this is the only possible way to interact.
As a result, unhappiness, anxiety, panic, melancholia and depression kicks in.

As time seems to stop, meaning becomes impossible. 

Future becomes repetition. 

The encounter does not happen properly.

The semiotic process is incomplete: as if we could only have Hjelmslev's plans of expression functioning as an auto-generator of infinite other plans of expression  to cancel the possibility of meaning and freedom. 

In this sense the sign, language, energy and music become impossible. 

We can't perceive it. 

Something is missing. 

Language does not work anymore.

The impossible exchange becomes an addiction; an addiction to productivity, a addiction to repetition.
An addiction to perform a moment for the impossibility of a future: the one that never comes,

An eternal wait.
A nothing which is the only possible reality.

In this dream:  

"Art" becomes semio-capital. 

"Language" becomes semio-capital.

"Music" becomes semio-capital 

"Dexterity" becomes semio-capital. 

"Madness" becomes semio-capital.
"Melancholia" becomes semio-capital.
"Dyslexia" becomes semio-capital.
"Failure" becomes semio-capital.
"Success" becomes semio-capital.
"Laziness" becomes semio-capital
"Family" becomes capital.
"Community" becomes capital.
"Death becomes semio-capital
"Life" becomes semi-capital

DANCE TO DEATH: same time tomorrow. We’re in record.

The impossibility of the gift is confirmed.

Before I used to sleep.

Time stops. The future will not come. 

Same time tomorrow.

"For cognitive workers, particularly in conditions of precariousness, solidarity is rare. Everyone feels alone, pushed to complete at the mercy of precariousness. Language is captured by the networked machine and turned into an essentially productive activity” (Franco Bifo Berardi - Heroes, Mass Murder & Suicide, Verso 2015)

Note: The beginning of precariousness and precarity as a social ontology can be traced back to the late 18th and 19th century according to Isabel Lorey via Foucault's The Will To Knowledge: The History of Sexuality, Vol 1. 

'Trying to exchange and to signify - Tetine, live at WMF< Revolution N10, Berlin 2005

Productive or Unproductive: Fear, Anxiety, Insecurity and cognitive works.

WE NEED TO UNPRODUCE IT.
DO NOT PRODUCE FOR
UNPRODUCE IT
THE HIGHEST PROPOSAL IS TO HAVE NO PURPOSE AT ALL  


******************************
On fear, anxiety, productivity, performativity and unproductive labour in the age of semio-capitalism.

Excerpt from: State of Insecurity by Isobel Lorey, Verso 2015

"For Marx, the only relationship that constitutes productive labour is the one with capital. 'Productive labour is exchanged directly for money as capital', and consequently 'counterposes the values created by labour to the worker himself as capital' The services of a doctor, just like those of a cook, signify an exchange of labour 'for money as money', and therefore are not considered productive. Marx also clarifies the distinction between the two exchange relationships of labour with the example of a performer: 'A singer who sings like a bird is an unproductive worker. If she sells her singing for money, she is to that extent a wage labourer or a commodity dealer. But the same singer when engaged by an entrepreneur who has her sing in order to make money, a productive worker, for she directly produces capital'. For Marx then an activity is unproductive when the product is not separable from the act of producing, as with all executant artists, orators, actors, teachers, doctors, clerics, etc. Here Marx describes one of the fundamental aspects of virtuoso labour: it is an activity without work that produces something in speaking and affective performing. Virtuoso labour thus corresponds to a performative activity..... 

But what if the singer becomes  a self-entrepreneur? Does the relation between labour and capital implode in her very self? Is she to be designated "unproductive"in Marx's sense if not only she takes her voice to market, bur also in her artistic independence and with projects subject to time limits, constantly sells her whole personality when singing ' like a bird' serves her to get the next job? Do not performative, communicative knowledge workers -these being the virtuosos of today, simultaneously service-providers, producers and self-entrepreneurs - stand in the values they have created opposite themselves as capitalised forms of life, in a manner that resembles and yet it is totally different from the relationship Marx defined as productive labour?

..... in the post Fordist era of cognitive capitalism, Arendt classifications no longer apply and that Marx's conceptual apparatus clearly does not seem adequate as a means of understanding contemporary forms of production and their related forms of life. For these become intensified in new relations, where productive labour, in its totality, appropriates the special characteristics of the performing artist. In post Fordism, those who produce surplus-value behave -from the structure point of view, of course - like the pianists, the dancers etc. Virtuosity and the components of freedom, and their concomitant insecurities, thus structure - in a way that differs from Arendt's formulation - not just political action today, but increasingly also modes of production, especially in new 'immaterial' labour relations based on a broad concept of creativity, which can by no means be considered 'unproductive'

When performative labour becomes a new form of productive labour, then the activities of the artist and the teacher become the rule rather than the exception. They not only interweave in Marx's sense with "serving" or reproductive labour in the household, but also in general sense with service-provider work, which does not present itself exclusively as servile.
When labour appears ever more frequently as knowledge and service work, and is based to an ever greater degree of communication, then the intellect, thinking and speaking in general increasingly coincide with the realm of labour. What these performative cognitive activities have in common is that in them the entire person, with their knowledge and their affects, becomes part of the capitalist production process, as do their relationship to those who direct or commission these activities and to those for whom they are carried out.  Indeed - and this is not necessarily covered by the concept of 'immaterial labour' - subjectivations and social relations emerge in this production process. Although the materiality of performative labour is not oriented to the traditional production of products, this does not mean that it is without materiality. It is a materiality of not only performative bodies but also of subjectivations and socialites.

The capitalised materiality of the social has repercussions for the public sphere. The post Fordist worker becomes a self-enterprenerial AGENT (i'd say - a bad or good agent instead of 'virtuoso' like Isabel Lorey puts it says) also because she or he must perform their exploitable self in multiple social relations before the eyes of others. The realisation of this self, reduced to labour, requires the performance in public. In post-Fordist production relations, the intellect becomes public - something which would have been unthinkable for Arendt. Being 'exposed to the gaze of others', which was fundamental to her conception of the public, has developed into one of the decisive characteristics of 'virtuoso' working and living conditions. The presence of the other has become both an instrument and object of labour.

In performative cognitive activity, work and social relations are interwoven; producing, acting and speaking coincide.... On the one hand, this post-Fordist form of labour is based on social relations and influences them in a way similar to the ways traditionally attributed to political action; on the other hand, and beyond this, performative cognitive activities are themselves increasingly arranged as social cooperations. Cognitive labour appropriate the characteristics of  the virtuoso political. 

The Privatisation of Risks and Cares

In neoliberal governing through precarization as insecurity, it is generally at the level of self-government that a special mode of subjectivation of anxiety enters the foreground. This happens through a confrontation with the dimension of the precarious that I call precariousness. In the current dynamic of governmental precarization, it becomes increasingly difficult to to distinguish between an abstract anxiety over existential precariousness (anxiety that a body because it is mortal, cannot be made invulnerable) and a concrete fear of politically and economically induced precarization ( fear of unemployment or of not being able to pay the rent r health care bills even when employed); both of these negative cares overlap.

As Virno writes:

What we have, then, is a complete overlapping of fear and anxiety. If I lose my job, of course I am forced to confront a well defined danger, one which gives rise to a specific kind of dread; but the real danger is immediately coloured by an unidentifiable anxiety... One might say: fear is always anxiety-ridden; circumscribed danger always makes us face the general risk of being in this world... The loss of one's job, or the change which alters the features of the functions of labour, or the loneliness of metropolitan life - all these aspects of our relationship with the world assume many of the traits which formally belonged to the kind of anxieties one feels outside the walls of the community.

The social and political link between a frightening precariousness (which a political community is supposed to protect against) and the threat of prbcarized others is no longer capable of establishing social security for most of those within the community. For many, the anxious worry arriving from existential vulnerability is no longer distinguishable from a fear arising from precarization. There is no longer any reliable  protection from what is unforeseeable, from what cannot be planned for, from contingency.

THE 4TH WORLD - An Animal With The Demand To Make Choices.

Another day in the 4th world. New piece coming together. Soon in a 'cinema' near you! with Eli Mejorado ‪#‎4thworld‬ # TETINE

Stills from The 4th World / An Animal With The Demand to Make Choices - opens 26th of July in Sao Paulo.

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