Interessante que esta canção tenha sido ressuscitada logo nesta época. Segundo Tom Ewing, é o segundo post de uma série de quatro, numa construção de um epílogo do britpop.

“Brimful Of Asha” is one of those occasional number ones about how glorious and liberating music is. “Dancing Queen” is another, so is “Come On Eileen” Unlike those records, “Brimful” was not originally about dancing – it was about music and film not just as communal escape but communal resistance. An unbreakable thread linked the band of 1997 to the band of 1993. “We don’t care about no government warnings, about the promotion of the simple life or the dams they are building”, to quote the record’s most resonant, compact line, one the remix shrewdly keeps. But any song about that can be very easily diverted to dancing, which has a long, intimate relationship with community and resistance.



Isto me fez pensar um pouco mais do que deveria ter feito — pelo menos originalmente.

Gosto, enfim, de pensar que minha posse mais importante, a que eu detenho de maneira não absoluta, mas necessária, nunca contingente, seja uma forma bem tímida de esperança, algo que só aparece quando provocado mesmo.

Dentre o material, há os objetos necessários enfim. Nestes, no momento, posso destacar algo como um livro. Lembro agora da antologia da Ellen Willis, mesmo que, em alguns momentos, ela tenha sido radical, extrema, e Valis, do Philip K. Dick. Livros que, invariavelmente, serão livros. Mas isto é outro problema.

(Resposta à pergunta de hoje do The Daily Post, cujo tema em relação à posse)

Damon Albarn

Well, indeed… Everyday Robots isn’t exactly a direct record. It’s very abstract at times, like in ‘Hollow Ponds’. The dates flow through the headphones like you’re flicking through the pages of a photo album, or a series of snapshots from your life. The heatwave, ’76…the A12 link road, ’91…

DA: I think the role or the objective of a good songwriter is to write something incredibly personal and private that somehow becomes more universal. I mean, I always use this example, and it’s a ridiculous comparison, really, but when Tammy Wynette wrote ‘D.I.V.O.R.C.E.’, it was a very personal thing to her, but now it’s become something everyone can take on. I can only dream of having songs that have that kind of universal appeal, but the principle’s the same.

Damon Albarn ao The Quietus.


Natu­ral­mente que nossa idolatria da per­for­mance é, por neces­si­dade, con­tra­di­tó­ria e dis­tor­cida. Na mesma medida em que nos pros­tra­mos diante de santos con­tem­po­râ­neos como Senna, nos delei­ta­mos na des­cons­tru­ção pública de outros de nossos ícones. Acom­pa­nha­mos com delícia e horror o espe­tá­culo da auto-destruição de Michael Jackson ou a infâmia do mais recente ídolo do rock encon­trado morto e drogrado e nu (não neces­sa­ri­a­mente nessa ordem) em sua banheira. Torcemos pela pobre­zi­nha do Big Brother, e no momento seguinte vemos com um misto de inveja e indig­na­ção sua decisão de posar para a Playboy. Intuímos, no entanto, que faz tudo parte do espe­tá­culo e que toda religião tem seus sacri­fí­cios e vítimas.

Paulo Brabo, O culto da performance

Período correto

My vexation—the thing that makes me spew endless bile on Twitter, the thing that makes me rant and rave about all of this—comes from the total and sneaky manner in which digital music distribution and increasingly-powerful engines of influence like Pitchfork have destroyed music fandom, by turning it into a salable commodity without the fans’ consent. When fans bought records, they had their say, their dollar vote. When big labels engaged in channel-stuffing to get shitty records falsely elevated chart position, that was unethical, and false, and people rebelled against it through punk, hip-hop and indie music, etc.

What is the modern response for subjugated fans now that music distribution and recommendation platforms are profiting from their attention, regardless of the nature of that attention? You might be listening to something, and just retching over how bad it is; you would never pay money for it, but because you landed on it, someone’s getting paid. How can anyone delude themselves a referendum based on this kind of binary tallying is valid? This system cedes the same corrupt control over music promotion to digital publishers and the PR firms they’re cozy with.

Chris Ott, Period-Correct Pop

Playlist, WSUM, 2014-04-29

Pattern Recognition


Podcast ( mb):

First Hour:

  1. It Takes Twoby DJ E-Z Rock from It Takes Two[Profile/Arista]
  2. The Dap Dipby Sharon Jones & The Dap Kings from Dap Dippin’ With…[Daptone]
  3. Behold, Numbers! [new release] by RJD2 from More Is Than Isn’t[RJ’s Electrical Connections]

Second Hour:

Upcoming Shows (in Madison, unless otherwise noted):.

  • Thu, 01 May, The Uncluded (Aesop Rock & Kimya Dawson) + Toki Wright And Big Cats + Charles Grant @ High Noon Saloon, 8:30pm, $16 adv $18 dos, 18+
  • Fri, 02 May, Cloud Nothings + Protomartyr + Fire Retarded @ High Noon Saloon, 9:30pm, $13 adv $15 dos, 18+.
  • Fri, 02 May, Horseshoes And Hand Grenades + Dead Horses @ Majestic, 9pm, $10.
  • Sat, 03 May, REVELRY MUSIC & ARTS FESTIVAL, UW Campus, Langdon Street, Noon-10pm, $5 (students) – $30.
  • Sat, 03 May, Trust + Mozart’s Sister @ The Frequency, 9pm, $10 adv $12 dos…

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Is net neutrality dying? Has the FCC killed it? What comes next? Here’s what you need to know

Um bom resumo do que acontece.


The issue of net neutrality is back in the news again, thanks to some proposed rule changes by the Federal Communications Commission, changes that the regulator says are aimed at protecting a “free and open internet.” A chorus of critics, however, say the commission is trying to eat its cake and have it too — by pretending to create rules that will protect net-neutrality, while actually implementing what amounts to a pay-to-play version of the internet, one that favors large incumbents.

It’s a complicated topic, and one that is prone to a certain amount of hysteria and hyperbole. So what follows is a breakdown of what you need to know, and what some legal experts, technology insiders and advocacy groups are saying about it:

Why is the FCC changing its rules?

The regulator’s ability to monitor and punish breaches of net neutrality was thrown into limbo by a court ruling…

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Transient Beauty

Dialética simbólica.

The Secret Map

“Nothing is static. Everything is evolving. Everything is falling apart.” – Chuck Palahniuk, Fight Club.

Nothing is static, as fictitious character Tyler Durden says in the novel Fight Club. Certainly not in Seoul, a city whose internal cogs move so fast it wouldn’t know how to slow down, continuously and rapidly evolving. So too for the country’s seasons, which are indeed distinct, yet vastly over-proportioned in the extreme ends of Summer and Winter. Spring doesn’t last long.

The first warm winds of the year allow many things to bloom in Korea. The first empty rice wine bottles of the season sprout all over the country’s convenience store seating. The unveiling of the lower halves of the nation’s young women mirror the covering of all things flesh-related in the old. Floral arrangements are furiously installed in any green space around the cities as the first minute buds on the trees begin…

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