Monday 28 November 2016

Funk Carioca - ordem da canção

Como CONTRA-CULTURA às avessas, 
como CLASSE às avessas, 
às avessas, 
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 Break da Caveira

O CALDO espesso de outro GOZO
O CALDO espesso de outra DOR.

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Wednesday 16 November 2016

Amiri Baraka's Black Dada Nihilismus

Black Dada Nihilismus

Against what light

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.


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
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

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Wednesday 9 November 2016


Release Date: 10/12/2016

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.K  My 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 in  tales 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)

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