como TEXTO às avessas o FUNK (CARIOCA) foi & é uma das coisas mais poderosas que o outro Brasil (aquele longe de você....) ja gerou.
O Funk copia/copiou, sampleia/sampleou, re-semantiza/re-semantizou
Continuando original.
Não há bossa que desvie
Não há Tropicalia que antropofagie
Nao há MPB que o mereça.
A bossa nova é chata.
No continuum da canção popular brasileira O LUGAR DO FUNK é de outra ordem. NO AVESSO NO ESPESSO NO EXPRESSO TRANS BRAZILIAN EXPRESS No Break da Caveira O CALDO espesso de outro GOZO O CALDO espesso de outra DOR.
is false what breath sucked, for deadness. Murder, the cleansed
purpose, frail, against God, if they bring him bleeding, I would not
forgive, or even call him black dada nihilismus.
The protestant love, wide windows, color blocked to Mondrian, and the ugly silent deaths of jews under
the surgeons knife. (To awake on 69th street with money and a hip nose. Black dada nihilismus, for
the umbrellad jesus. Trillby intrigue movie house presidents sticky on the floor. B.D.N., for the secret men, Hermes, the
blacker art. Thievery (ahh, they return those secret gold killers. Inquisitors of the cocktail hour. Trismegistus, have
them, in their transmutation, from stone to bleeding pearl, from lead to burning looting, dead Moctezuma, find the West
a grey hideous space.
2.
From Sartre, a white man, it gave the last breath. And we beg him die, before he is killed. Plastique, we
do not have, only thin heroic blades. The razor. Our flail against them, why you carry knives? Or brutaled lumps of
heart? Why you stay, where they can reach? Why you sit, or stand, or walk in this place, a window on a dark
warehouse. Where the minds packed in straw. New homes, these towers, for those lacking money or art. A cult of death
need of the simple striking arm under the streetlamp. The cutters, from under their rented earth. Come up, black dada
nihilismus. Rape the white girls. Rape their fathers. Cut the mothers throats.
Black dada nihilismus, choke my friends
in their bedrooms with their drinks spilling and restless for tilting hips or dark liver lips sucking splinters from the masters thigh.
Black scream and chant, scream, and dull, un earthly hollering. Dada, bilious what ugliness, learned in the dome, colored holy shit (i call them sinned
or lost burned masters of the lost nihil German killers all our learned
art, member what you said money, God, power, a moral code, so cruel it destroyed Byzantium, Tenochtitlan, Commanch (got it, Baby!
For tambo, willie best, dubois, patrice, mantan, the bronze buckaroos.
For Jack Johnson, asbestos, tonto, buckwheat, billie holiday.
For tom russ, loverture, vesey, beau jack,
(may a lost god damballah, rest or save us against the murders we intend against his lost white children black dada nihilismus
QUEER
AND MUTANT FUNK CUTS (2000-2005) is a new record by Tetine.The album features 13 sexually-charged mutant queer electro-funks
sang in Portuguese and English, with tracks recorded between 2000 and 2005 when
Tetine relocated to London from São Paulo.
Featuring Tetine’s bedroom booty
queer Funk Carioca / Baile Funk cuts and produced before the hype Baile Funk
experienced in Europe and America in the mid 2000’s, these tracks represent earlier
forms of marginal Latin ghetto electro and are also a love declaration to Brazilian
underground scenes Bruno Verner & Eliete Mejorado championed endlessly
through their radio show Slum Dunk broadcasted on Resonance Fm, and later on
through the pioneering mixtape Slum Dunk Presents Funk Carioca Mixed by Tetine,
released on Mr Bongo in 2004 - the first Baile Funk album to be released in Europe
- influencing an entire new generation of young artists such as M.I.A and Diplo
at the time.
Tetine’s QUEER AND MUTANT FUNK CUTS is an experimental dance album which mix
funk carioca beats with electro, industrial, synth pop and Miami bass. The
record includes Tetine’s heavily bass-driven numbers such as underground micro
hit“L.I.C.KMy Favela”, politically-charged anarcho funks such as “Zero Zero Cinco Cinco (Se Vende) a.k.a Tu so Quer Colonizar (You Just Want to Colonize) in conjunction
with dirty electro-funks such as “Melô
Do Italiano” (The Italian’s montage), “Melô
Do Estudante” (The Student’s Montage), Ele
é Loiro (He’s Blonde) or 55.Lyrically, Tetine evoke a quirk collection of
sexualized urban landscapes as they rap
and sing about sex in public parks, betrayals, porn cinemas in downtown São
Paulo intales involving cars, policemen,
council flats, dark staircases, saunas, clubs, lifts and stereotyped encounters
with bearded Italians, blondie Germans, Turkish lovers and Brazilian
footballers.
Crude, political, queer, brutal and melancholic Latin ghetto electro cuts for your hips and ears.
Tetine - Queer and Mutant Funk Cuts (2000-2005) out on Slum Dunk Music (2016)
