#chico buraque

[fabiansteinhauer]

Raizes do Brazil

1.

Als Onkel Franz 14 Jahre alt war und sich am Tisch schon ein zweites Stück Kirschkuchen nahm, während die übrigen Familienmitglieder noch mit dem ersten Stück krümmelten, sagte jemand: Wie Vati, der isst auch so schnell! Jemand anderem, hoffentlich nicht dem rivalisierenden großen Bruder, rutschte raus: Verrückt, und das, wo er nicht dein Vater ist!

So soll Franz im Alter von 14, das erzählt eine Familienlegende, das aller erste mal von den römischen Verhältnissen, also von gewissen Ausschweifungen im deutschen Erb- und Managerhaushalt erfahren haben, während seine älteren Geschwister angeblich alle schon Bescheid wussten. Aber das habe doch erzählt, habe ich doch, oder? wurde später eine Art stehende Redewendung und dämmriger running-gag in dem Zweig der Familie. Oma hatte für ein 1:1 gesorgt, Opa war auch ausschweifend.

Oben im Bild übrigens Sergio, wie Sergio de Holanda. Sergio junior war ja auch der Sohn des brasilianischen Schreibers Sergio senior. Sergio jr. , wie Chico Buarque, er war ja auch der Halbbruder von Chico Buraque. Der Mann im Bild, das ist mit vollen und legalem Namen Sergio Günther, wie Klaus Günther. Sergio war ja auch moderater Moderator wie Klaus Günther, allerdings drüben, also im Osten, in der DDR, wo er 1981 starb.

Mit der Brille wird das vorstellbar: Sergio Günther konnte der Dieter-Thomas Heck Ostdeutschlands gewesen sein. Die Geschichte ist bekannt, seitdem Chico Buarque einen Text daraus gemacht hat. Er nennt diesen Text einen Roman ("Mein deutscher Bruder"). Römisch ist der Text, also nicht aus dem unerschütterlich guten Gewissen heraus geschrieben, das erst die permanente Reformation hervorgetrieben hat.

2.

Vater Sergio (vom Sohn Chico eventuell jetzt abschweifend besungen u.a. in dem Song Cálice) hat ein Buch über dasjenige Brasiliens geschrieben, was man dort Raizes nennt. Nichts ist ohne!

Die Familie Buarque de Holanda ist nicht ohne. Brasilien ist auch nicht ohne. Man könnte Raizes, wie Martin Heidegger in dem Text über den Satz vom Grund das tut, mit Grund übersetzen, läge dann auch nahe, dass dann alles Boden unter den Füßen hat (wenn es denn Füße hat) und nichts schwebt.

Scheint aber gerade nicht der Fall zu sein, weder bei den Familien noch in Brasilien. Vilém Flusser nennt einen seiner autobiograpischen Berichte aus Brasilien treffend: Bodenlos. Nicht nur Exilanten wie Flusser, auch die Kolonialherren, die Sklaven und ihre Nachfahren, die Indigenen, die in ihrem unbeständigen Umgang mit Zeit und Raum nicht auf das Ursprüngliche verpflichtbar und insoweit alles andere als Ureinwohner sind, sondern jene tropische Sozietät bilden, die ihre Apokalypse schon hinter sich hat: sie alle kennen die Bodenlosigkeit bestens. Als Nachbarin Bianca erschossen wurde, merkte ich an, dass diese Gesellschaft bald explodieren würde. Ana Maria, beste Kennerin, korrigierte mich: Nein, das tut diese Gesellschaft seit 500 Jahren mit Schußwaffen, vorher flog sie anders auseinander.

Mit Raizes können auch Ursachen oder Prinzipien, so etwas wie (z.B. Ermächtigungs-) Grundlagen gemeint sein. Das Buch des Vaters Sergio kann man juridisch lesen: Alles lässt sich rechtfertigen, alles auf etwas zurückführen, alles hat Gesetze, alles kommt angeregt, geregelt oder regelmäßig oder wenigstens wie der Regen vor (also nicht unbedingt aus Gründen, sondern manchmal auch aus Wolken und meteorologisch).

Man kann Raizes auch mit Norm und Norm wiederum mit Bett übersetzen: Die Betten Brasiliens. Das wäre nicht schlecht, denn in Brasilien geht einiges auf und ab, wie die Flüsse und die Gründerpärchen. Alles ist gebettet und in Phantasien allzeit bereit, dem Sohn Sergio könnte diese Übersetzung besonders gut gefallen haben.

3.

Raizes würde ich, seitdem ich für the making of sils-maria die Rasenmäher auf dem Golfplatz in Sils-Maria studiert habe, mit einem Wort übersetzen, das etwas bezeichnet, was zwischen Rasen, Rasur, Raison, Reizen, Ratio(n), Radikalität und Radieschen sich bewegt und alles das assoziiert. Anregungen für diese Übersetzungen haben neben des Rasenmähern von Sils-Maria auch Pedro Parini und Thomas Schestag gegeben. Das Abgrasen Brasiliens? Das Rasieren Brasiliens? Das von unten nach oben Ragende (oder Wütende?) Brasiliens? Die Reize Brasiliens? Das Raisonieren Brasiliens? Die Raison Brasiliens? Das Brasilianische 'rationieren'? Too much, too soon.

Die letzte Version ist schon nicht schlecht, aber leider fällt mir noch kein deutsches Wort ein, das Rasen, Rasur, Radikale, Radieschen, Rationen, Reize und Raison bezeichnet. "Unitrac 95 L" ginge eventuell als mutige Übersetzung, aber ich will keine Schleichwerbung für Traktoren machen und der Unitrac 95 L kommt auch nicht aus Brasilien. Vielleicht sollte man Raizes als Fremdwort aufgreifen und beharrlich eindeutschen. Noch einmal mutiger: Die Raisen Brasiliens, oder für Heidi (Klum): The Raising of Brazil. Das stelle ich mit auch mit deutschem Akzent gut ausgesprochen vor. Der (Auf-)Stand Brasiliens? Zu populistisch und kompliziert in einem.

4.

Die deutschen Übersetzer, die das Buch für Suhrkamp übersetzt haben, haben sich für Wurzeln entschieden, die nennen das Buch von Sergio Buraque de Hollanda "Die Wurzeln Brasiliens". Sollte halt in Deutschland ein Bestseller werden. Werden die Deutschen radikal, sprechen sie nicht so gerne über Rasen oder Wüten, sondern lieber von ihren Wurzeln, Gemüsen und Gemüten (ausnahmsweise kein Rechtschreibfehler). Das Buch von Sergio Buarque de Holanda ist ein Klassiker aus den dreißiger Jahren, ein erklärungsreiches Buch, das mir mit seiner Erklärdichte wiederum ein Indiz für die Wahrheit der Arbeitsthese ist, mit der ich 2019 nach Brasilien ging. Die lautete nämlich, dass die Brasilianer die Russen Südamerikas sind. Weil die Russen alles im Alltag immer erklären und das auch erklären können, weil sie unübertroffene Meister darin sind, für alles eine Erklärung entweder parat zu haben oder aber aus dem Stehgreif entwickeln zu können und weil Sergio Burque de Holanda wirklich meisterliche Erzählungen dafür liefert, was und warum Brasilien so geworden sein soll, wie es damals war sehe ich einen russischen Zug in dem Buch.

Die Russen fabrizieren gute Literatur, das perfekte Buch kommt aus diesem Land (Anna Karenina). Gute Literatur ist "Die Wurzeln Brasiliens" auch, wirklich gute Literatur aus dem südlichen und oberen Drittel Brasiliens, von anderen Orten wurde anders geschrieben. Sohn Sergio Günther wird in der später sowjetische besetzten Zone, dann in der DDR verwurzelt, sagen wir mal: dorthin verpflanzt. Wenn das mal kein Zufall ist!

Na gut, ich habe nicht entschieden, den Titel des Buches Raizes do Brasil mit "Die Wurzeln Brasiliens" zu übersetzen. Ich hätte den Titel: "Das Rasen Brasiliens, seine Radikalen und ein paar Radieschen" gewählt. Darum werden meine Bücher eventuell auch nie Bestseller, obschon sie doch alle wirklich sehr sehr gut sind.

[protoslacker]

Milton + esperanza

The release of this record prompts a wagon load of links. First, the introductory notes and video at the link above are great.

Second NPR's Tiny Desk (Home) Concert is really nice. And a wonderful reprise to it is the music video of Outubro.

Spalding first heard Nascimento on Wayne Shorter's collaborative 1975 record Native Dancer. My most memorable hearing of Milton Nascimento was his song Anima on David Byrne's 1989 compilation Beleza Tropical - Brazil Classics !. That record made quite an impression on me. It's hard to believer it's been 35 years, but the album is still in print and worth listening to. There's alsoi s short documentary on the record on Youtube.

In the early 1970's before my sister married her Brazilian husband they lived with us for a short while. He had some albums and among them were a few by Chico Buarque. At the time I reacted to hearing them rather like I imagine I'd have reacted hearing Frank Sinatra records. But on Beleza Tropical is the song Cálice written by Chico Buarque and Nascimento. I was living near my sister and brother in law when I discovered Byrne's compilation. My brother in law explained the the double entendre key to understanding the song: Cálice is a chalice or cup and in spoken Portuguese the word sounds almost exactly like word for "shut-up." There was a slight catch in his throat as he told me and that made me realize that his is a freedom song.

For historical context the Wikipedia article, Military dictatorship in Brazil is very good. And a blog post, Cálice – Humming Against the Dictatorship captures a concert performance where Chico Buarque and Gilberto Gil who were forbidden to sing the lyrics to the song. So hummed them and still had to flee into exile. Here is a video of Buraque and Nascimento performing the song.

On the Manhattan Transfer's 1987 album Brazil is a song Hear The Voices (Bahia De Todas As Contas). The lyrics on that album are mostly in English, so i grokked a lot more. And this song seems to reference Gilberto Gil. His songs were banned on the radio but his popularity popularity increased. People were taking their record players out on the street and cracking up the volume.

Luaka Bop has eight Brazil Classic releases. And there are many ways nowadays to explore music from across the globe. Caetano Veloso"s book Tropical Truth: A Story Of Music And Revolution In Brazil helped me to understand the music on Beleza Tropical a little more than ten years after first hearing the record. The book also was a touchstone in my opposition to the Iraq War. And is still relevant with the current rise of right-wing authoritarianism.

Music and language can be liberating. Milton Nascimento and Esperanza Spalding's collaboration is beautful and inspiring.

[sinceileftyoublog]

tētēma Interview: Reforming Raw Materials

Photo by Sabina Maselli

BY JORDAN MAINZER

Earlier this month, the project of Mike Patton (Faith No More, Dead Cross) and composer Anthony Pateras returned. tētēma’s new Necroscape follows 2014′s Geocidal and is even more aesthetically all over the place than that one. With violinist Erkki Veltheim and drummer Will Guthrie, the now-quartet combines Patton’s solemn-to-chaotic vocal arrangements (the title track, “Cutlass Eye”, “Dead Still”) with Pateras’ synth-heavy ambiance (“Wailt Till Mornin’”). But equally impressive are Guthrie’s percussive blasts (“Haunted On The Uptake”, buchla jam “Soliloquy”, the clattering “Flatliner’s Owl”), while Veltheim’s strings are ever present and all-encompassing.

Writing over email in lockdown, Pateras answered some questions about Necroscape; read his responses below.

Since I Left You: How have you been holding up?

Anthony Pateras: OK. I’ve been gardening and woodshedding on the piano to weather the lockdown.

SILY: What do you feel is the main difference between Necroscape and Geocidal?

AP: I feel Necroscape is much more concise and focused. Geocidal was a sprawling, chaotic affair that snapped into focus all of a sudden. Also, Necroscape is more or less a 4-piece band record, whereas Geocidal was more about creating a miniature orchestra around the voice with some of my favorite musicians.

SILY: Many of the tracks on Necroscape, like "Cutlass Eye", are 'heavier' than anything on Geocidal. They've got screaming, blast beats, and other things associated with punk or metal-adjacent genres and sub-genres. What contributed to this aesthetic shift?

AP: Wow, I guess I don’t hear any blast beats on there, nor punk or metal. Mike did mention at one point early on he’d just done the Dead Cross record and thought that had influenced “Cutlass Eye”. To me, this is one big musique concrète piece.

SILY: A track like "Haunted On The Uptake" combines very localized sounds with global pop structures. Is that a balance you consciously try to achieve when writing/recording the band's music?

AP: By localized sounds, I guess you mean close-miked? With this record, loosely speaking, I wanted to create song structures out of sounds that perhaps normally weren’t used in songs so often. So using specialized sounds is all part of that objective.

SILY: Are the vocals in "Dead Still" higher in the mix because the song has a more concrete message you felt needed to be heard?

AP: There is no message in that song. Making a record entails incorporating all kinds of flavors and perspectives. If each track has exactly the same sound stage and relationship between the parts, the ear gets fatigued very quickly and I wind up a very bored listener.

SILY: What about the title track made you want to name the album after it? Why did it make for a good opener?

AP: The album title came before the track title; then, when it came to lyrics we agreed that title somehow suited that track. As far as openers go, I wanted to do something quite understated and mysterious, not have this thing of the soft track or interlude in the middle of the record. I was trying to be a bit more structurally bold this time around, not come out with all guns blazing.

SILY: Why did you want to close the album with a track in Italian [ “Funerale Di Un Contadino”]?

AP: That was a last minute call. It’s a live recording from our show at MOFO [MONA FOMA/Museum of Old and New Art: Festival Of Music and Art] in 2017, which was a cover we worked up for that occasion. It’s from an amazing album from 1970 called Per un Pugno di Samba, a collaboration between Ennio Morricone and Chico Buraque, who is Brazilian but sings in Italian here. Freaking mind blowing album.

SILY: What's the inspiration behind the sequencing of the album?

AP: Nothing specific, sequencing for me comes down to how the album functions as a whole and how it can be used to enhance a universal structure between songs. I personally think it’s a great shame that people don’t do ‘albums’ so much anymore as listeners, whereas I’m a big fan of that. A long-range landscape or idea to get stuck into can be very nourishing. A group of disconnected tracks [can], too, but everything feels so fragmented now I like to try and hold attention for longer.

SILY: Many of your key track descriptions almost read like music reviews, combining disparate references to describe and aesthetic. Do you think taking in Necroscape requires this type of context?

AP: No, I don’t. I wrote those because the label asked me to and because it was a fun contextual exercise. The references to me don’t feel disparate, and I feel the music is pretty straightforward and can be absorbed as such.

SILY: What's the inspiration behind the album art?

AP: The album art is from a couple of exhibitions by an amazing Australian artist called Talitha Kennedy. I met her in Sydney when I started work on this album. One night we were drinking wine at her place surrounded by all of these striking leather sculptures and they stayed with me until 4 years later when it was time to sort out the artwork.

SILY: Are there or were there any plans to perform these new tracks live?

AP: Maybe! Now with the pandemic, it's hard to plan anything involving live music. All of my touring has been cancelled for 6 months, for example.

SILY: What's next for you?

AP: I’m composing a bunch of abstract electro-acoustic concert works which specifically interrogate direct compositional relationships between rhythm, timbre, and space.

SILY: Is there anything you've been listening to, reading, or watching that's caught your attention, inspired you, comforted you, or moved you, either before or during social distancing?

AP: I’ve been revisiting the composer Conlon Nancarrow’s Player Piano Studies, music which I studied many years ago. To put it mildly, it’s some of the most brilliant and astonishing music ever conceived for any instrument. He wrote them in complete isolation in Mexico after relocating there from the US. I guess my feeling is, if Nancarrow can sit completely isolated for over 40 years and make incredible music that no one else could possibly do, the best use of my time right now is to go deep and try to follow his example, at least for a couple of months! The last thing I want to be doing is making internet broadcasts; I feel a positive side to all of this could be artists taking the time to deepen their practice and come out the other end with something really special to share.

necroscape by tetema

[antiheromag]

AM I DEAD YET?--MARY BYKER (POP WILL EAT ITSELF) and NOKO (APOLLO 440, MAGAZINE)--Release Debut, Self-Titled LP! Watch Official Music Video for "Leaving Me Behind"

AM I DEAD YET?–MARY BYKER (POP WILL EAT ITSELF) and NOKO (APOLLO 440, MAGAZINE)–Release Debut, Self-Titled LP! Watch Official Music Video for “Leaving Me Behind”

Retro-Cinematic, Noir Electronic duo AM I DEAD YET?, made up of POP WILL EAT ITSELF and GAYE BYKERS ON ACID frontman MARY BYKER with APOLLO 440 and MAGAZINE guitarist and long-time collaborator NOKO, has released their stunning, debut, self-titled LP. Out Now via Wire-Sound and worldwide via Cargo, the 11 track LP introduces audiences to the pair’s hauntingly unique sonic universe.

[rockrevoltmagazine]

Mary Byker (Pop Will Eat Itself) and Noko (Magazine) Come Together with AM I DEAD YET?

Retro-Cinematic, Noir Electronic duo AM I DEAD YET?, made up of POP WILL EAT ITSELF and GAYE BYKERS ON ACID frontman MARY BYKER with APOLLO 440 and MAGAZINE guitarist and long-time collaborator NOKO, has released their stunning, debut, self-titled LP. Out Now via Wire-Sound and worldwide via Cargo, the 11 track LP introduces audiences to the pair’s hauntingly unique sonic universe.

“For me it’s pretty much all Leonard Cohen at the end of the day, with some residual David Bowie, Abba, Nick Cave, Scott Walker and Chico Buraque. Basically any important musician who’s recently dead. I’ve brought my new found voice and some basic piano playing and programming, Noko then transforms my crude doodling into something beautiful sounding with added bongos…” – MARY BYKER

“I never got over John Barry, Ennio Morricone, Serge Gainsbourg, Hank Marvin, Brian Wilson, the post-punk dystopia of Magazine, Joy Division and Cabaret Voltaire and an awful lot of ‘70s progressive rock : King Crimson, Yes and Goblin. All of this stuff has a huge bearing on my contribution to our sound.

As a 2-piece, I play pretty much all the instruments. Inevitably the computer forms the centre of our sonic universe, though guitar is at the core of it all. I do have a primal love for the bottom-end of a harpsichord though. What I’ve enjoyed playing most on our stuff is the bongos – I got an amazing pair for my birthday last year and haven’t looked back…” Noko

Track List: 1. Leaving Me Behind 2. Loneliness 3. Solid Gone 4. Joe Meek Shall Inherit The Earth 5. Ghosted 6. People Are Dangerous 7. Wasted on Me 8. Futuristic Paranoia 9. Master of Disguise 10. Fake Flowers 11. Thanks for Sharing

Click HERE to Download / Stream Am I Dead Yet? Online

Last century, Mary joined Noko’s band, Apollo 440, as frontman and they went chart-bound with, among others, their genre-busting, ‘Ain’t Talkin’ ’bout Dub’. Their collaboration, ‘Stop The Rock’, hit world-wide and nearly 20 years after its release, the film and advertising synchronizations show no sign of slowing down. The track recently flew into a stadium near you on Budweiser’s global FIFA World Cup commercial.

To date over 50 Apollo 440 tracks have appeared in Hollywood film & TV blockbusters (Gone In 60 Seconds, Driven, Resident Evil, The Sopranos, etc), and the band were also commissioned to record the themes for the Lost In Space & Charlie’s Angels 2000 movies, and the mega-selling video games, Gran Turismo, FIFA 2000, Forza Motorsport & Spider Man, alike.

Noko’s non-Apollo 440 previous includes work-outs with The Cure (bass), Pete ‘Buzzcocks’ Shelley (bass & guitar), with Howard Devoto in Luxuria & Magazine (guitar), and bass with Japanese superstar guitarist Tomoyasu ‘Kill Bill’ Hotei. Noko has also scored a number of feature films, notably French-language noir thrillers, Une Affaire D’Etat and La Proie.

Mary’s previous includes vocalising for psychedelic-grebo giants, Gaye Bykers On Acid, industrial monsters, Pigface, and Black Country indie perennials, Pop Will Eat Itself. He even delivered on Nervous with DJ Fresh and took it to #1 in the BBC Radio 1 dance chart. To this day, Mary fronts the Gaye Bykers & The Poppies, and like Noko, composes film scores & TV documentary soundtracks.

Connect with Am I Dead Yet?: Official | Facebook | Twitter

Mary Byker (Pop Will Eat Itself) and Noko (Magazine) Come Together with AM I DEAD YET? was originally published on RockRevolt Mag

[solongseku-goodbyeren]

It's 5x5 friday!

[excynic]

CÁLICE (The Chalice) Chico Buarque & Milton Nascimento

 This indescribable feeling, upon listening to an unfamiliar song in an unfamiliar language for the first time, that it is charged with lyrical potency.  A serendipitous playback of a borrowed playlist introduced me to this gem of human perseverance. 

[namultidao-blog-blog]

E pela minha lei a gente era obrigado a ser feliz...

[antiheromag]

AM I DEAD YET?--MARY BYKER (POP WILL EAT ITSELF) and NOKO (APOLLO 440, MAGAZINE)--Release Debut, Self-Titled LP! Watch Official Music Video for "Leaving Me Behind"

AM I DEAD YET?–MARY BYKER (POP WILL EAT ITSELF) and NOKO (APOLLO 440, MAGAZINE)–Release Debut, Self-Titled LP! Watch Official Music Video for “Leaving Me Behind”

Retro-Cinematic, Noir Electronic duo AM I DEAD YET?, made up of POP WILL EAT ITSELF and GAYE BYKERS ON ACID frontman MARY BYKER with APOLLO 440 and MAGAZINE guitarist and long-time collaborator NOKO, has released their stunning, debut, self-titled LP. Out Now via Wire-Sound and worldwide via Cargo, the 11 track LP introduces audiences to the pair’s hauntingly unique sonic universe.