tag:blogger.com,1999:blog-74666596435236459462024-03-13T02:59:24.551-04:00 Anales de Cafetín Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-7466659643523645946.post-57806983789626775702018-08-27T07:27:00.001-04:002018-08-27T07:28:14.791-04:00WOC Feminisms Workshop at St. Kate's<span style="color: blue;">I spent a week in a WOC Feminisms Workshop at St. Kate's. I was particularly moved by Sara Ahmed's work on her book <i>Queer Phenomenology</i> and wrote an informal end-of-the-week reflection, originally posted <a href="https://www.stkatemission.org/blog/2018/6/25/a-collective-reflection-on-women-of-color-feminisms-study-group">here</a>. You can also find it below:</span><br />
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<span style="color: blue;">The work of this week has been intense, enriching and powerful. A group of passionate members of the St. Catherine University community, led by Mission Chair and Professor Hui Wilcox took the time to reflect deeply on texts written by Women of Color (WOC), to think about the theoretical practices explained in the texts and to think about how these texts have a bearing on our disciplines and our lives.</span></div>
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<span style="color: blue;">I especially appreciated the range of texts that we read from the last thirty to forty years: it elucidated for me, and for the rest of the participants, the breadth of the feminist thought produced by women of color. We read many authors’ writing from a variety of humanities and social sciences disciplines and had a chance to reflect on this long history. I particularly enjoyed reading and learning about the work of Patricia Hill Collins, Sarah Ahmed, Chandra Talpade Mohanty, Trinh T. Minh-ha, bell hooks and Audre Lorde, among many others. Audre Lorde and bell hooks are well-established feminist thinkers whom I have heard of before but never got the chance to read their work with some depth before attending this workshop, and it was enriching as these two writers lay down the foundation of WOC feminist thought by proposing definitions for feminism based on reflections not of specific acts or agents of sexism and oppression, but rather reflections upon the different interlocking systems of oppression. These systems of oppression and their analysis create an economic structure and cultural superstructure that feminist work wants to undo.</span></div>
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<span style="color: blue;">Moreover, the work of Hill Collins, Sarah Ahmed, Mohanty and Minh-ha provided different theoretical entries onto feminism, wanting to provide an epistemology of black feminist thought, providing a phenomenological approach to the concept(s) of orientation(s), reflecting upon feminism as a transnational practice and writing at the intersection of postcoloniality and feminism respectively. I especially appreciated the work of Ahmed, as the concept of “orientation” can be very valuable for my work on space and Latin American cultural production for different reasons.</span></div>
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<span style="color: blue;">First, the concept of “orientations” can be used as a category that helps understand the specific plot of a novel through an analysis of space and subjects: how do subjects “orient” themselves in the story? How do their choices of orientation have a bearing on the development of the story? Second, “orientations” can serve to understand the context of the artifacts themselves within a system or a tradition: how does the text “orient itself” within a specific tradition? Is a writing within or against a specific set of texts? Moreover, how does the text circulate, and how does this set of market orientations determine its context, validity, and cultural capital? Third, I can reflect on the “orientation” of my work, the philosophical, ideological, methodological presuppositions of my work and how these have helped determine my objects of study (and the limits of such study) and finally, I can reflect on my own orientation, not only my positionality as a subject, but my personal trajectory and how that impinges onto my reflections, my ideas, my academic project and career.</span></div>
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<span style="color: blue;">I am extremely grateful that I had the opportunity to take part on this seminar, and I wished that it would have lasted a month and not just a week. Hui Wilcox’s leadership was both inviting and thoughtful as she made the seminar a place of reflection for a group of staff and faculty from various disciplines and with different goals for the week. The seminar has opened many different avenues for inquiry and provided many different authors that I hope to keep exploring in the coming months and years at St. Kate’s. Thank you for a wonderful week!</span></div>
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Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-19452157765667168572013-12-26T13:22:00.002-05:002018-08-20T13:02:10.018-04:00Notes on U.S. American contemporary Television: the right-wing looney, or Part I. <div class="MsoNormal" style="text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_jTdkbA6Au6GeldmH7gia30r0KYynE_GIYvWzDSkbExII84M8fjDNCwBV3RBKZVPPy7Cje_kMvIwhkcOBMeeizq2YzHfOgft6G49snkA2A2JhfdeB2GcY6_bC7olQZvDZ9YYue3okexc/s1600/Ron+Swanson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_jTdkbA6Au6GeldmH7gia30r0KYynE_GIYvWzDSkbExII84M8fjDNCwBV3RBKZVPPy7Cje_kMvIwhkcOBMeeizq2YzHfOgft6G49snkA2A2JhfdeB2GcY6_bC7olQZvDZ9YYue3okexc/s1600/Ron+Swanson.jpg" /></a></div>
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<span style="color: blue;"><span style="font-family: "courier new" , "courier" , monospace; text-indent: 0.5in;">I’d like to start this blog post with a perhaps, vacuous but
risky premise: television in the U.S. in the last 10 years has entered into a
golden age.</span><span style="font-family: "courier new" , "courier" , monospace; text-indent: 0.5in;"> </span><span style="font-family: "courier new" , "courier" , monospace; text-indent: 0.5in;">There have been a number of
shows that have not only been able to catch the attention of all kinds of
audiences across the country and the world, but also, they have shown a quality
in the writing, and the acting, that has been beyond any of the decades prior
to it.</span><span style="font-family: "courier new" , "courier" , monospace; text-indent: 0.5in;"> </span><span style="font-family: "courier new" , "courier" , monospace; text-indent: 0.5in;">There are many reasons for this
golden age that have to do with the advent of TV on the internet, Netflix-type
services where one can watch a whole season in one go, and the importance of
powerhouses of cable TV like HBO who have given film talent the opportunity to
be showcased in the small screen, and a number of other reasons.</span><span style="font-family: "courier new" , "courier" , monospace; text-indent: 0.5in;"> </span></span></div>
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<span style="color: blue; font-family: "courier new" , "courier" , monospace;">I have certainly been paying attention to many different
types of shows, but more than anything, I’ve been paying attention to sit-coms.<span style="mso-spacerun: yes;"> </span>That’s the genre that I have seemed to prefer
the last few years, and one that I hope continues to be as innovative as it has
been in the last 10 years, where the technique of single-camera set-up with a
cinema verité style has been employed in sitcoms like <i style="mso-bidi-font-style: normal;">The Office</i> and <i style="mso-bidi-font-style: normal;">Parks and
Recreation</i>, to great responses from audiences that have been able to
benefit, in my opinion, by the lack of laugh tracks, and the reality-tv style
interviews that help enhance character depth and plot intrigue.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">Though these are interesting characteristics of the U.S. America
sit-com, what interests me the most, what most piques my curiosity, is not the
technical developments of these shows in the last 10 years, its virtues and
issues – though in fact not all shows utilize this technique (<i style="mso-bidi-font-style: normal;">30 Rock</i> being a great counter-example),
and some of the most recent debutante shows are not really sticking with
it.<span style="mso-spacerun: yes;"> </span>What really interests me is a
particular type of character that seems recurrent in all sit-coms, and the
character on which much of the intrigue, plot-development, and comedic moments
rests.<span style="mso-spacerun: yes;"> </span>This is also a great development
of the last 10 years in television: the right-wing looney.<span style="mso-spacerun: yes;"> </span>Dwight Schrute, Jack Donaghy, Ron Swanson and
even Schmidt from <i style="mso-bidi-font-style: normal;">New Girl</i> (though
maybe a younger, “cooler” type) all embody the right-wing looney.<span style="mso-spacerun: yes;"> </span>All of these characters have
pro-capitalistic, small government, power-grabbing, male-dominant delusional
utopic fantasies of what the world should be – and the audiences of sit-coms
just fall in love with these characters – mainly because they can easily laugh
at them.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">Audiences love their rage, their over-the-top personalities,
their ridiculous pomposity, their overt orthodoxy, their phallic personas and
actions that overpower in many occasions, with their antics, the characters of
the well-intentioned, beautiful and politically-safe protagonists of these
shows.<span style="mso-spacerun: yes;"> </span>Just like Milton’s Satan, they
are also given the best lines – and the most outrageous ones: Swanson: <a href="http://www.youtube.com/watch?v=sy9FRli7ODg">“myperfect idea of government is one guy who sits in a small room at a desk, theonly thing he’s allowed to decide is who to nuke”</a>;
or Donaghy’s <a href="http://www.youtube.com/watch?v=K_P7yWnAAd0">“(on being asked why he’s wearing a tuxedo) it’s after six, whatam I? a farmer?”</a>; and even Schrute’s
<a href="http://www.youtube.com/watch?v=unSe7z-_yGA">“a horse doctor… is just a regular doctor who shots your horse in the head whenhis leg is broken”</a>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: blue; font-family: "courier new" , "courier" , monospace;">The audience loves these characters so much that in fact, as
an example to my theory, Nick Offerman (Ron Swanson) took a stand-up show on
the road based on his <i style="mso-bidi-font-style: normal;">Parks and
Recreation </i>persona.<span style="mso-spacerun: yes;"> </span>The end of <i style="mso-bidi-font-style: normal;">The Office</i> might be another example of
this, with the highlighted importance of Dwight Schrute, and the audience’s
complicit agreement with the writers of the show in the ultimate well-being of
Dwight: he got married to the real love of his life, and will live happily ever
after.<span style="mso-spacerun: yes;"> </span>I think the show could not have
ended with Dwight just being Dwight – his narrative arch needed to end with his
ultimate happiness, or the show would not have real closure.<span style="mso-spacerun: yes;"> </span>And in fact, it’s not that other characters
did not get the closure they wanted, but the end of Dwight’s narrative arch was
front and center. <o:p></o:p></span></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">I do wonder, how is conservative, white, middle-U.S. America
reading these characters, or their personas.<span style="mso-spacerun: yes;">
</span>Do they appear over the top to them?<span style="mso-spacerun: yes;">
</span>I think the answer is absolutely yes, and mainly because these are
different type of right-wing nut cases: the rural type, the small town type,
the big corporation type, the yuppie type, and not one person can feel so
identified with all of these that cannot recognize the prevalent tone in all of
them: over-the-top conservative social politics and/or over-the-top neoliberal
economics.<span style="mso-spacerun: yes;"> </span>But isn’t laughing at
someone, sometimes, the best form of flattery?<span style="mso-spacerun: yes;">
</span>As I say, don’t audiences love these characters? Meaning, that, in fact,
by laughing at their absurdity, they are actually condoning and accepting the
existence of such personas?<span style="mso-spacerun: yes;"> </span>Don’t we all
want Dwight to get married and be happy, at the end of <i style="mso-bidi-font-style: normal;">The Office</i>,<i style="mso-bidi-font-style: normal;"> </i>because he’s
a good person, despite his anti-Jim antics, his backward ways?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">But ok, fine!<span style="mso-spacerun: yes;"> </span>I can
expect this, they are right-wing looneys! We come to expect this of them right?
It’s just what they are.<span style="mso-spacerun: yes;"> </span>Bah! You might
even know some of these people in real life! Isn’t that so?<span style="mso-spacerun: yes;"> </span>Man, some of these people might even post on
your Facebook feed 24/7.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">Yet, the show <i style="mso-bidi-font-style: normal;">Portlandia,
</i>in my opinion, offers an interesting response.<span style="mso-spacerun: yes;"> </span>For a moment, let’s entertain the view that the
right-wing intelligentsia is pretty straight-forward about its views: “our way
or the highway” (or the other side of the thousands of miles-long wall they are
building along the border).<span style="mso-spacerun: yes;"> </span>Some of the
most recent political events, namely the government shut-down, shows that this
is indeed the case.<span style="mso-spacerun: yes;"> </span>Though, in the end, they
paid heavily for their intransigence.<span style="mso-spacerun: yes;"> </span>If
one believes this is true about the right-wing intelligentsia, one might say
that the left-wing, on the other hand, presents itself as much more
subtle.<span style="mso-spacerun: yes;"> </span>To explain this I will use the
IFC comedy show.<span style="mso-spacerun: yes;"> </span>On the very first
episode of the show, the characters sing a song that goes something like, <a href="http://www.youtube.com/watch?v=FE_9CzLCbkY">“the dream of the 90’s is alive in Portland, Portland, Portland”</a>.<span style="mso-spacerun: yes;"> </span>Now, on the second season, they start singing
the same song.<span style="mso-spacerun: yes;"> </span>Yet at the end, they add
a new punch line, <a href="http://www.youtube.com/watch?v=d2mAs5pnA34">“…the 1890’s”</a>.<span style="mso-spacerun: yes;"> </span>Lines
about hipster mustaches, coiffures and outfits, artisanal sausage-making and
micro-brews fill the beginning of the show as a critique of Portland, and U.S.
American, hipster culture.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">What the episode doesn’t mention, what’s funny about it, and
what I consider essential to understanding this phenomenon, is the orthodoxy
that accompanies it – a nostalgia for a time, a set of values, and a culture
that is beyond even the own personal histories of the people embracing it, and
an irreverent belief that this is, in fact, the only possible way of looking
at, and of living in, this world.<span style="mso-spacerun: yes;"> </span>Hipster
culture is the culture of the elites hiding themselves behind pop culture (I
knew Radiohead before Radiohead was Radiohead).<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">However, hipster culture is an old phenomenon disguised as a
new one: it’s a phenomenon that much resembles <a href="http://www.youtube.com/watch?v=54CeL2z9yrs">Slavoj Zizek’s oft-repeated story about the postmodernist father</a>: orthodoxy hidden behind
free-thinking.<span style="mso-spacerun: yes;"> </span>And this is true of the
new U.S. American seemingly-progressive, green, free-thinking left: “look, it’s
not that we want you to do what we say, it’s that the earth will be happier
(and we will avoid catastrophe of apocalyptic proportions if the earth is
happier) if you do what we say, but please, do what you like, you are free to
follow us or destroy the world if you don’t”.<span style="mso-spacerun: yes;">
</span>Is there a real choice to be made here?<span style="mso-spacerun: yes;">
</span>This is another version of the saying “our way or the highway”.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Portlandia</i>
utilizes the same character of the right-wing looney, but flips it around and
makes a left-wing, Whole Foods-loving, organic, free-range version of it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">What <i style="mso-bidi-font-style: normal;">Portlandia </i>might
be revealing is that shows like <i style="mso-bidi-font-style: normal;">The
Office</i>, <i style="mso-bidi-font-style: normal;">30 Rock</i>, and <i style="mso-bidi-font-style: normal;">Parks and Recreation</i> could be accurate
allegorical representations of contemporary U.S. politics: shows that, like the
U.S. American left, dress themselves to be progressive.<span style="mso-spacerun: yes;"> </span>These shows are about individuals like Jim
Halpert (he wants to start a company doing what he loves, and not necessarily
what will make him money), Leslie Knope (she wants to be a democratic
politician), Liz Lemon (he wants to be a happy successful woman writer in a
male-dominated corporate world) or Jessica Day (she wants to be a school teacher
and find real love), but in reality they are shows about right-wing nuts: the
Schrutes, the Swansons, the Donaghys…characters that get the most laughs, and
at the end, the most empathy.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">Isn’t that same logic that’s hiding behind this supposed
liberal government, and Barack Obama, which have big explosive rhetoric about
left-wing ideals but have demonstrated time and again that it is behind big
business and their interests; couldn’t provide universal healthcare for their
citizens (one of the only industrialized western world powers to not do so) and
the roll out and implementation of the existent Healthcare reform (<i style="mso-bidi-font-style: normal;">which does not include universal healthcare</i>)
was a small catastrophe; and in recently heavily debated news, led by whistleblower
Snowden,<span style="mso-spacerun: yes;"> </span>has been shown to spy on its
citizens constantly, as well as countless people around the world, including
the leaders of “ally countries” such as Germany, France, Spain, Brazil and even
Israel, resulting in violations of privacy (that have been deemed
unconstitutional, and reprehensible by judges and investigating committees) in
order to gain military surveillance control of the world?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="color: blue; font-family: "courier new" , "courier" , monospace;">In
my opinion, the right-wing looney character in contemporary U.S. American
television becomes the limit of the imaginary horizon of expectation for political
values – they are not beyond what is possible in reality.<span style="mso-spacerun: yes;"> </span>In other words, these so-called nuts are, in
fact not, hyperbolic, but truly what we have come to expect as normal: a
systematic shift to the right of all of the (possible and acceptable) political
ranges.<o:p></o:p></span></div>
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<span style="color: blue; font-family: "courier new" , "courier" , monospace;">...So...these “notes” are Part I, and in Part 2, I will discuss the show <i style="mso-bidi-font-style: normal;">Newsroom</i> and I will go beyond “the
right-wing looney” and talk some more about what I perceive as a systematic
shift to the right…</span><o:p></o:p></div>
Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-4274193884325095972013-12-25T05:00:00.000-05:002013-12-25T10:31:12.836-05:00Notes on the Exhibition “Brasiliens Moderne” at the Museum für Fotografie in Berlin<div class="WordSection1">
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<span style="font-family: Courier New, Courier, monospace;">Here's my review of "Brasiliens Moderne", an exhibition at the Museum für Fotografie in Berlin. Hope you like. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Courier New, Courier, monospace;">Introduction<o:p></o:p></span></b></div>
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<span style="font-family: Courier New, Courier, monospace;">The
exhibition “Brasiliens Moderne” at the Museum für Fotografie in Berlin combines
in the eye of four photographers – Marcel Gautherot, Thomaz Farkas, José
Medeiros and Hans Gunther Flieg – different perceptions about modernity in
Brazil.<span style="mso-spacerun: yes;"> </span>Modernity as opposed to nature,
or modernity as machines and objects, or modernity as the expressions of modern
life, - these are some of the aspects that are explored in these photographs. Some
of them assert Brazil’s entrance into modernity with the partial
industrialization the country encountered in the Southeast (especially in São
Paulo) portraying, almost quite literally, the gears that bring about
modernization (<b style="mso-bidi-font-weight: normal;">Fig. 1</b>); or the construction
of the city of Brasília (<b style="mso-bidi-font-weight: normal;">Fig. 2</b>),
where the key of the modern is everywhere to be appreciated in its vast,
precise, geometric and solid architecture.<span style="mso-spacerun: yes;">
</span>Some other photographs focus on the changes that are going in Brazil at
the time; also, the customs and peoples that perhaps could be forgotten with
the coming of modernity, although never truly are, or were, completely lost,
(traditional festivities and/or fishing, indigenous peoples and their
practices, capoeira, etc.) (<b style="mso-bidi-font-weight: normal;">Fig. 3</b>);
and the new traditions that come to be appreciated by a modern sensibility
(beaches, football (soccer) matches, national state celebrations, media
celebrities), the life of the streets, electric cables, and automobiles (<b style="mso-bidi-font-weight: normal;">Fig. 4</b>).<span style="mso-spacerun: yes;"> </span>Some other photographs, if viewed against one
another, highlight the differences and contrasts between a modern Brazil and
nature, but also, they help recuperate a sense of “naturalness” in the modern,
in its contours, its shadows, etc.<span style="mso-spacerun: yes;"> </span>Yet,
some of the most suggestive photographs of the exhibition focus on
subjects.<span style="mso-spacerun: yes;"> </span>Subjects that in their
presence, or that in absentia, suggest potential lines of expression for
capturing, thinking and critiquing the modern.</span><b style="line-height: 200%; text-align: center; text-indent: 0.5in;"><sup><span style="font-family: Courier New, Courier, monospace;">1</span></sup></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Courier New, Courier, monospace;">Figure 1</span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;"><br /></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;">Figure 2 </span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;"><span id="goog_1063006870"></span><span id="goog_1063006871"></span>Figure 3 </span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6EYki-b-ojy7F2il3TE0RR6DcXtqY0TOUzs9lQNaufW0TcOCXrUqCX3ugt3TFywu83stxkiFX5XGos2CY7r-uGutV8gPed7dSBgr3b99pNMQtH1YqC84SugWO6NOUBj_sY68x4gKVS4/s1600/Figure+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6EYki-b-ojy7F2il3TE0RR6DcXtqY0TOUzs9lQNaufW0TcOCXrUqCX3ugt3TFywu83stxkiFX5XGos2CY7r-uGutV8gPed7dSBgr3b99pNMQtH1YqC84SugWO6NOUBj_sY68x4gKVS4/s320/Figure+3.png" width="320" /></a></div>
<div style="text-align: center;">
<b><span style="font-family: Courier New, Courier, monospace;"><br /></span></b></div>
<div style="text-align: center;">
<b><span style="font-family: Courier New, Courier, monospace;">Figure 4 </span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkUVozHHXPr5hT2WeNwdlu3DN_7N7GEMVsF2P897q6Z-BqWDc-hHxgpJuaQ5vvxvNaa1zzRkDTsuVR07Nb189tqWazUlcI2oYrOJvSXfC9eUUIe88iXWP4I0tFKCbn_RO-peeu0p-Ze1E/s1600/Figure+4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkUVozHHXPr5hT2WeNwdlu3DN_7N7GEMVsF2P897q6Z-BqWDc-hHxgpJuaQ5vvxvNaa1zzRkDTsuVR07Nb189tqWazUlcI2oYrOJvSXfC9eUUIe88iXWP4I0tFKCbn_RO-peeu0p-Ze1E/s320/Figure+4.png" width="320" /></a></div>
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<b><span style="font-family: Courier New, Courier, monospace;"><br /></span></b></div>
<div style="text-align: center;">
<b><span style="font-family: Courier New, Courier, monospace;"><br /></span></b></div>
</div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-tab-count: 1;"> </span>When I think of modernity in Brazil,
I am always reminded of the poem “Pobre Alimária” (“Poor Beast”) by the
Brazilian Modernist poet Oswald de Andrade.<span style="mso-spacerun: yes;">
</span>The poem recounts the story of a horse and buggy that gets stuck in a
track.<span style="mso-spacerun: yes;"> </span>The driver, eager to get the fancy
lawyers he was driving to their offices, quickly releases the buggy, scaring
the animal, which ends up fleeing in desperation.<span style="mso-spacerun: yes;"> </span>The driver gets hold of the horse and
castigates it with a whip.<span style="mso-spacerun: yes;"> </span>The poem is
an example of the discontinuous passage to modernity in Brazil, the clash
between the modern and the pre-modern coexisting in one space. <span style="mso-spacerun: yes;"> </span>The impasse created in Brazil, not
unlike other places in Latin America, did not have a homogeneous process of
modernization – and the poem exemplifies the immense gap between the classes that were favored
by this passage and the others that were not, and this creates ambiguous ways of looking
at this very process of modernization.<span style="mso-spacerun: yes;"> </span>The one thing that
I find applicable to this exhibition from this poem, and my reading of it, is
that modernity, though it seems to imply a teleological imperative, it never
really fulfills it.<span style="mso-spacerun: yes;"> </span>There are different
ways in which one can imply modernity, or speak about it.<span style="mso-spacerun: yes;"> </span>This exhibition does, indeed, portray different ways of thinking about modernity.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Courier New, Courier, monospace;">Modernity vs. Nature<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;">The
photos of Marcel Gautherot in this exhibition seem to be arranged in three
particular moments.<span style="mso-spacerun: yes;"> </span>The first one
depicts a more natural, or pre-modern, Brazil.<span style="mso-spacerun: yes;">
</span>Photographs of indigenous communities in the northeast, pictures of the
frondose <i style="mso-bidi-font-style: normal;">floresta </i>(forest greens) of
Ceará or the swampy trees of the amazon forest are part of this moment (<b style="mso-bidi-font-weight: normal;">Fig. 5</b>).<span style="mso-spacerun: yes;"> </span>Also, Gautherot focuses his lens on fishermen
and <i style="mso-bidi-font-style: normal;">camponeses</i> (peasants) of the
north and northeast of Brazil, or religious or other traditional practices in
other parts of the country (Rio De Janeiro, Mina Gerais) (<b style="mso-bidi-font-weight: normal;">Fig. 6</b>).<span style="mso-spacerun: yes;"> </span>A second moment
shows the building-construction taking place in the city of Brasília, workers
putting together the pieces of modernity, dust, cranes, steel and cement (<b style="mso-bidi-font-weight: normal;">Fig. 7</b>).<span style="mso-spacerun: yes;"> </span>The third moment shows Brasília already
constructed, the<i style="mso-bidi-font-style: normal;"> Edifício Copan</i> or
some other modern structure in São Paulo (<b style="mso-bidi-font-weight: normal;">Fig.
8</b>).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><br /></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><b>Figure 5</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRyngcGdMMtuqri4TUTKCOpTJ4TLXAXGjxi0XcVhahtvgdtAOEuaRmTHETc1OwQ0OZiF_UwA613i-9JJO8RLNBDpPVVDiv6l5omVfKNP2oqdjom4qOSoJ6SFaoXwV6mJ87BzIbJL19rE0/s1600/Figure+5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRyngcGdMMtuqri4TUTKCOpTJ4TLXAXGjxi0XcVhahtvgdtAOEuaRmTHETc1OwQ0OZiF_UwA613i-9JJO8RLNBDpPVVDiv6l5omVfKNP2oqdjom4qOSoJ6SFaoXwV6mJ87BzIbJL19rE0/s320/Figure+5.png" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><b><br /></b></span></span></div>
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b>Figure 6</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVobgVS4KNyX2CYelpsZhMHXRvQoYXx4ZgU7LiXCPgGK3LKF3Pf31D_Sydp6lYHXem_3URHFOXeeefE9ICZJYPc2B03b3wvwFaMxFjqT4VGc0cHNuZ6Po-CHYwSvgJDARx185APfTtbg/s1600/Figure+6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVobgVS4KNyX2CYelpsZhMHXRvQoYXx4ZgU7LiXCPgGK3LKF3Pf31D_Sydp6lYHXem_3URHFOXeeefE9ICZJYPc2B03b3wvwFaMxFjqT4VGc0cHNuZ6Po-CHYwSvgJDARx185APfTtbg/s320/Figure+6.png" width="314" /></a></div>
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<br /></div>
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b>Figure 7</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwuuJeSjGT5HPLzBLdEflK7x5XylxXejorrHQYd3AatOVj_kIvvblU57UUbJF0hasyBRh3VbX43R7bbBCnaO3APeZb_NNrSwQvwZU3Om2NnB6aqb2GpySY4vc89CEi-9HcBKEYap_6d3Q/s1600/Figure+7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwuuJeSjGT5HPLzBLdEflK7x5XylxXejorrHQYd3AatOVj_kIvvblU57UUbJF0hasyBRh3VbX43R7bbBCnaO3APeZb_NNrSwQvwZU3Om2NnB6aqb2GpySY4vc89CEi-9HcBKEYap_6d3Q/s320/Figure+7.png" width="320" /></a></div>
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<br /></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 8</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTm0EYkcoMnGXPW2V2lpzbpkeBokuBfg1OYY87_nDERMS6C_oTb7P0HYIH6e7K_XSez4vvOtPpNagdEWw4oeuMjhwlpGLoTjuXGkZ2db1vznR3E9Eo-hHlUo_KUPSd8b3kbu3lszPpssU/s1600/Figure+10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTm0EYkcoMnGXPW2V2lpzbpkeBokuBfg1OYY87_nDERMS6C_oTb7P0HYIH6e7K_XSez4vvOtPpNagdEWw4oeuMjhwlpGLoTjuXGkZ2db1vznR3E9Eo-hHlUo_KUPSd8b3kbu3lszPpssU/s320/Figure+10.png" width="320" /></a></div>
</div>
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<span style="font-family: Courier New, Courier, monospace;">There
are two interesting aspects that help think all of these photos as a whole: A)
The first and second moment in Gautherot rely not only in the landscape, but
also rely heavily in the human aspect of the story.<span style="mso-spacerun: yes;"> </span>Humans take an important role in the life
before the modern, and in the making of the modern.<span style="mso-spacerun: yes;"> </span>Yet, in the last moment, when Brasília has
come to completion (or when modernity has come to completion) the human element
seems to be secondary, or almost non-existent.<span style="mso-spacerun: yes;">
</span>The prominence of the human element is reduced dramatically in the scale
of the buildings of Brasília.<span style="mso-spacerun: yes;"> </span>The photos
of the finished buildings do have some human figures, but they are miniscule
compared to the grandiosity of the buildings, and also, the human figures are
quit spare.<span style="mso-spacerun: yes;"> </span>These photos have a feeling
of solitude, or almost desolation (<b style="mso-bidi-font-weight: normal;">Fig.
9</b>).<span style="mso-spacerun: yes;"> </span>This appreciation of Brasília,
not unlike the one for the U.S. American suburb, seems to express a bleak picture
of a type of mid-20<sup>th</sup> century alienating modernity.<span style="mso-spacerun: yes;"> </span>Gautherot captures this profoundly well.<span style="mso-spacerun: yes;"> </span>B) Yet, Gautherot also connects some of the
photographs of the natural world, with those of the current capital of
Brazil.<span style="mso-spacerun: yes;"> </span>He treats the objects by highlighting
their form, geometry and texture; and his almost chiaroscuro treatment of light
creates an interplay between light and shadow that is very unique.<span style="mso-spacerun: yes;"> </span>This parallel between these two moments
reinsert nature into the seeming bleakness of modernity.<span style="mso-spacerun: yes;"> </span>Gautherot could be telling the viewer that
the natural world and the modern world have more in common that apparent to the
eye (<b style="mso-bidi-font-weight: normal;">Fig. 10 and 11</b>). <o:p></o:p></span><br />
<span style="font-family: Courier New, Courier, monospace;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b>Figure 9</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSqEUra3udBUtekVlR54NvJGNn6KiN0G1S7kMMN7d28GuZJdxBF1w7oUKOcviO1vGpcQ_I1cCvJXQRPzFxD68ThkTlsdTKrrr5My8l5rNvJdaGHjMSih8w_ZmPpbnoEFjV_f7o3pTKlKg/s1600/Figure+9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSqEUra3udBUtekVlR54NvJGNn6KiN0G1S7kMMN7d28GuZJdxBF1w7oUKOcviO1vGpcQ_I1cCvJXQRPzFxD68ThkTlsdTKrrr5My8l5rNvJdaGHjMSih8w_ZmPpbnoEFjV_f7o3pTKlKg/s320/Figure+9.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 10</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg2l5IBe1uYrQsc_ylMkuLcGZm3CdaZFY-lWSZv_Jug7ZTcPsq-xZhNuqEMnPcXTLtCBvdIVETeh0OLJAHRFGMaYgHBztW0OXeREQ8zwF1018VXy0vDnysSjoMaLvGB-_4-4TRN9a8WGI/s1600/Figure+10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg2l5IBe1uYrQsc_ylMkuLcGZm3CdaZFY-lWSZv_Jug7ZTcPsq-xZhNuqEMnPcXTLtCBvdIVETeh0OLJAHRFGMaYgHBztW0OXeREQ8zwF1018VXy0vDnysSjoMaLvGB-_4-4TRN9a8WGI/s320/Figure+10.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 11</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOWSqIJ3EYkSyEczUhDVG-V1Tmj6T247S6WlRmBVmyHv_ON7KFL-l1YJLVQE5edT4H8OJ9Zg_mQO-sFilZtB7DM-MF9To-EQui9XYrfx0EjzTAhuznWIQWHsjG-BKoDzaxy4Eh6-tPpuk/s1600/Figure+11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOWSqIJ3EYkSyEczUhDVG-V1Tmj6T247S6WlRmBVmyHv_ON7KFL-l1YJLVQE5edT4H8OJ9Zg_mQO-sFilZtB7DM-MF9To-EQui9XYrfx0EjzTAhuznWIQWHsjG-BKoDzaxy4Eh6-tPpuk/s320/Figure+11.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></div>
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></div>
</div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;">Thomaz
Farkas has a very different view of Brasília than that of Marcel Gautherot
though both of them have photographs of the capital from similar angles and
viewpoints.<span style="mso-spacerun: yes;"> </span>Yet Farkas fills the
monuments and buildings of the city with human subjects.<span style="mso-spacerun: yes;"> </span>What in Gautherot is solitude, bleakness and
desolation, in Farkas is beaming with people and humanity (<b style="mso-bidi-font-weight: normal;">Fig. 12</b>).<span style="mso-spacerun: yes;"> </span>He takes pictures
of people walking, running, sitting at the Pacaembú Stadium in Brazil (the
stadium of S.C. Corinthians Paulista, “O timão” (the great team), “O time do povo”<span style="mso-spacerun: yes;"> </span>(The team of the people)), people standing on
a metal fence in Brazil, kids playing with a fake ball outside of the
stadium.<span style="mso-spacerun: yes;"> </span>Modernity for Farkas is filled
with people, living the modern life (<b style="mso-bidi-font-weight: normal;">Fig.
13</b>).<span style="mso-spacerun: yes;"> </span>Yet, he is also interested in
forms and shapes.<span style="mso-spacerun: yes;"> </span>The repeating
horizontal lines in a building, the half circles of a clay roof, and the
plethora of rhyzomatic cables in a street: modernity as an endless reproduction
of the same shapes and forms.<span style="mso-spacerun: yes;"> </span>Farkas
perhaps criticizes modernity here with this disorganized, and perhaps even dangerous,
array of cables in this street (<b style="mso-bidi-font-weight: normal;">Fig. 14</b>).<span style="mso-spacerun: yes;"> </span>Also, he chooses to take pictures of
Sacolândia (Gauntherot also took pictures of Sacolândia, although they are not
present in this exhibition), the outskirts of Brasília.<span style="mso-spacerun: yes;"> </span>These photos portray another side of the
story of the beautiful, immaculate and brand new city.<span style="mso-spacerun: yes;"> </span>Sacolândia is a favela where some of the
workers that made the “miracle” of Brasília possible lived.<span style="mso-spacerun: yes;"> </span>It was important for Farkas to show this
other failed side of modernity (<b style="mso-bidi-font-weight: normal;">Fig. 15</b>).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><br /></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b>Figure 12</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkrg_bVvOrTgWq9uxFWRCjOijZHz_szCZpw_z-e87HA3xP5vEJoyuJS_2ZYjPhlXKlj4hDkz2lhd5jKvJlaTPy1SRt6s1CFtkXS_6tw8_YdsTODPbrkwL1kyd0hOlJQNOcpo-p10_XFj0/s1600/Figure+12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkrg_bVvOrTgWq9uxFWRCjOijZHz_szCZpw_z-e87HA3xP5vEJoyuJS_2ZYjPhlXKlj4hDkz2lhd5jKvJlaTPy1SRt6s1CFtkXS_6tw8_YdsTODPbrkwL1kyd0hOlJQNOcpo-p10_XFj0/s320/Figure+12.png" width="320" /></a></b></span></div>
</div>
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<span style="font-family: Courier New, Courier, monospace;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b>Figure 13</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIbLOPu-C0a-kKTQ3kCgctkFE83cRbEqSS2yuZcQnkwbW1epRurYyllYTw2Vk39V9XllVksfiSnz6Mzlp7suYUsrWRb5wJnsvLjiwK6O_EhGv6yALeOY9rIzpd7ygf9Sgl2Wh-xruAW2w/s1600/Figure+13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIbLOPu-C0a-kKTQ3kCgctkFE83cRbEqSS2yuZcQnkwbW1epRurYyllYTw2Vk39V9XllVksfiSnz6Mzlp7suYUsrWRb5wJnsvLjiwK6O_EhGv6yALeOY9rIzpd7ygf9Sgl2Wh-xruAW2w/s320/Figure+13.png" width="320" /></a></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 14</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCYoH0-gsPsGm835SiT9b44hPVMxDWiWgrpEzNAYy_awwEVYOfPc22beV-iag7BtFv_PPsoMq9oR1n8mI6IHLFc9X447fIJ9XVWC9u9eue2uk-I5J_MmwB5T-8u5nYyaKpt_a_H5Ouyb8/s1600/Figure+14.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCYoH0-gsPsGm835SiT9b44hPVMxDWiWgrpEzNAYy_awwEVYOfPc22beV-iag7BtFv_PPsoMq9oR1n8mI6IHLFc9X447fIJ9XVWC9u9eue2uk-I5J_MmwB5T-8u5nYyaKpt_a_H5Ouyb8/s320/Figure+14.png" width="320" /></a></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b style="mso-bidi-font-weight: normal;">Figure 15</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi46wZPeZC-s4E11mdivJNz5i6nJM8J_ivnG3-TBhpwsQpJezq2SgWO7237aFWw-cQzUiTIRUo076e6vozBbGh-U8kUthqTiin5Vm-KaZxWTpDArM7yztU2ghyx8Aezk_DMu1U672KdLdA/s1600/Figure+15png.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi46wZPeZC-s4E11mdivJNz5i6nJM8J_ivnG3-TBhpwsQpJezq2SgWO7237aFWw-cQzUiTIRUo076e6vozBbGh-U8kUthqTiin5Vm-KaZxWTpDArM7yztU2ghyx8Aezk_DMu1U672KdLdA/s320/Figure+15png.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b style="mso-bidi-font-weight: normal;">Modernity as Machines</b><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">The
endless reproduction of shapes, forms, tools and machines is an important
technical aspect of the modern world.<span style="mso-spacerun: yes;">
</span>And the part of the exhibition that showcases Hans Gunther Flieg focuses
on this.<span style="mso-spacerun: yes;"> </span>The world of industrial
factories and machines make up most of Flieg’s photographs.<span style="mso-spacerun: yes;"> </span>Flieg’s work reinforces the importance of
machines, and of the people who build them and operate them, into the making of
modernity, and of a modern Brazil (<b style="mso-bidi-font-weight: normal;">Fig.
16</b>).<span style="mso-spacerun: yes;"> </span>One has to remember that Brazil
is one of the most, if not the most, important economy in Latin America.<span style="mso-spacerun: yes;"> </span>Its industrial might demonstrated by the
cultural and material “little” empire that holds over South America (South
American nations consume Brazilian products, buy<i style="mso-bidi-font-style: normal;"> Tucanos </i>- Brazilian military airplanes – and
Brazilian-manufactured (though not yet Brazilian-branded) cars.<span style="mso-spacerun: yes;"> </span>Of note is the photo of the electronic store
in São Paulo, with its zig-zag walkway and the workers standing at
perfectly-spaced intervals in the walkway (<b style="mso-bidi-font-weight: normal;">Fig.
17</b>).<span style="mso-spacerun: yes;"> </span>Though this photo, and others
perhaps, was taken for company pamphlets and newsletters, it reinforces the
idea of modernity as perfectly timed and spaced clockwork machine-like
functionality.<span style="mso-spacerun: yes;"> </span>Modernity is or must be
perfection, or as closed to it as possible.<span style="mso-spacerun: yes;">
</span>Modernity is machines, and the machine-world, but it also represents a
type of lifestyle that comes with it. <o:p></o:p></span><br />
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<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><b>Figure 16</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi19njz_H3tSCo3x4xB8y4Ocs_hb8xtxqJsMeUYfKwrSwPvLvbK3Y502_9itJ3RzdjJFK-67-nmF_7InEHGr2UYeGc_i-RadKF5M58AMPMx-JBRIr3VyHQlovu4h2xvAwcSfIVIo_ukBHg/s1600/Figure+16.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi19njz_H3tSCo3x4xB8y4Ocs_hb8xtxqJsMeUYfKwrSwPvLvbK3Y502_9itJ3RzdjJFK-67-nmF_7InEHGr2UYeGc_i-RadKF5M58AMPMx-JBRIr3VyHQlovu4h2xvAwcSfIVIo_ukBHg/s320/Figure+16.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 17</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0IPXkFuFJLkpl8zANHVulabOtd1cmPLrhh_d9j0GROylCOOYGvzRAXvmgkZBlxLA8hnKCrb27JVGkN0a6fdFyhU0oLWi-j0xLGkfLGsSgeUqjiIoPgyVbqWiVJMwDS-3oxBk4rWtF0RA/s1600/Figure+17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0IPXkFuFJLkpl8zANHVulabOtd1cmPLrhh_d9j0GROylCOOYGvzRAXvmgkZBlxLA8hnKCrb27JVGkN0a6fdFyhU0oLWi-j0xLGkfLGsSgeUqjiIoPgyVbqWiVJMwDS-3oxBk4rWtF0RA/s320/Figure+17.png" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Courier New, Courier, monospace;">Modernity as Modern life<o:p></o:p></span></b></div>
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<span style="font-family: Courier New, Courier, monospace;">Though
José Medeiros, like Marcel Gautherot, painted pictures of indigenous
communities in the north of Brazil, and of Candômble and other rituals in different
parts of the country, I find his pictures of modern life in Rio de Janeiro much
more suggestive.<span style="mso-spacerun: yes;"> </span>Photos of couples
dancing, intellectuals sitting around in bars, a little boy attentively
watching a football (Soccer) match, a man reading a book by himself at a café,
etc. (<b style="mso-bidi-font-weight: normal;">Fig. 18</b>).<span style="mso-spacerun: yes;"> </span>In particular, two photos in this exhibition
caught my attention incredibly.<span style="mso-spacerun: yes;"> </span>The
first one is a sine qua non for any José Medeiros exhibition (if I may indulge
in hyperbole), and one that represents a type of modernity in “Brazilian
key”.<span style="mso-spacerun: yes;"> </span>The photo is that of the two cars
next to one another, with the twin peaks of Rio de Janeiro in the background
and a human figure approaching the cars from the beach (<b style="mso-bidi-font-weight: normal;">Fig. 19</b>).<span style="mso-spacerun: yes;"> </span>This picture makes
me think that Brazil is thinking modernity in its own particular way; beaches
and cars, the green landscape and the concrete must coexist for a Brazilian
modernity.<span style="mso-spacerun: yes;"> </span>But also, it makes me think
of the power that the Southeast of the country (Especially São Paulo and Rio de
Janeiro) have to represent Brazilian reality.<span style="mso-spacerun: yes;">
</span>Rio and Sampa are the industrial and cultural capitals of the country,
and they are not interested in letting their thrones go.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><br /></span></span>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 18</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWmgHww4NfLLMHrBflB5gffoPbCUUX8mOwfNgboNFnMG_7RI5b-WkJwacoA9J3FD4la-DRi3xvfzfMQpbtIin5HDD_ncClDY3ThCNqVvLFNxHy-XF8Du8SR27MF-wfd49beWRGbzlM1k/s1600/Figure+18.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWmgHww4NfLLMHrBflB5gffoPbCUUX8mOwfNgboNFnMG_7RI5b-WkJwacoA9J3FD4la-DRi3xvfzfMQpbtIin5HDD_ncClDY3ThCNqVvLFNxHy-XF8Du8SR27MF-wfd49beWRGbzlM1k/s320/Figure+18.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Figure 19</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehVQplyz7_zofpb7swZJsBV_KUCKbbdYh8MeV4nJAj3eI2lJL4fBa3kYdRy0NHJhiCL-ge35p8BNkJqxaoFUM0BXlDLDTTfM5DAUFWV2DvEzyvB5IKVbdx2_9ZS-taeQYStpldTBfnow/s1600/Figure+19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehVQplyz7_zofpb7swZJsBV_KUCKbbdYh8MeV4nJAj3eI2lJL4fBa3kYdRy0NHJhiCL-ge35p8BNkJqxaoFUM0BXlDLDTTfM5DAUFWV2DvEzyvB5IKVbdx2_9ZS-taeQYStpldTBfnow/s320/Figure+19.png" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-tab-count: 1;"> </span>The second photo that drew my
attention is the one of the male bather facing away from the camera.<span style="mso-spacerun: yes;"> </span>The camera captures the back and behind of a
muscular man from below.<span style="mso-spacerun: yes;"> </span>The man is wearing
only a sunga (Brazilian swimming trunks) with drops of water glistening with
the sun in his back <b style="mso-bidi-font-weight: normal;">(Fig. 20</b>).<span style="mso-spacerun: yes;"> </span>This homoerotic, and sensuous photograph and
the position of the subject bring to mind modernist paintings that José
Medeiros must have been familiar with.<span style="mso-spacerun: yes;">
</span>Among them, the black stoic face of “Bananal” by Lasar Segall, or the “Lavrador
de Café” by Cândido Portinari.<span style="mso-spacerun: yes;"> </span>But most
importantly, it reminds me of the famous modernist painting “O mestiço” also by
Portinari (It also recalls Medeiros’s own <i style="mso-bidi-font-style: normal;">camponês
</i>– <b style="mso-bidi-font-weight: normal;">Fig. 6</b>).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><br /></span></span>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><b>Figure 20</b></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNIXeIod_IM1fRSY9NkxRBb3ttgeNs2d6vmVF8EZ6l3pkzH81Z8o0H23FAeNpQjkQeJfXnU_T_8qSs2uoNPuGS5XDPN-y96BdiWghbZn8_B3qdptJ1JVHyBajQ3MyQGQvOHsWZXW29GqY/s1600/Figure+20.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNIXeIod_IM1fRSY9NkxRBb3ttgeNs2d6vmVF8EZ6l3pkzH81Z8o0H23FAeNpQjkQeJfXnU_T_8qSs2uoNPuGS5XDPN-y96BdiWghbZn8_B3qdptJ1JVHyBajQ3MyQGQvOHsWZXW29GqY/s1600/Figure+20.png" /></a></b></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><b>Figure 21 (Pic from http://taislc.blogspot.de/2009/01/cndido-portinari.html)</b></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8K2u0BCdQG5xB2GosO7wh0MctVvyCEAicJIPHVzgjQ6FC631orBds40FHV_WHQ1Poz8AXagorwn5eBL2HsczCYDvlPAmVRNMCVdafF7HM61DYvmOX8xn54xIxo9-0yoM61prS3IVrJ74/s1600/Figure+21.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8K2u0BCdQG5xB2GosO7wh0MctVvyCEAicJIPHVzgjQ6FC631orBds40FHV_WHQ1Poz8AXagorwn5eBL2HsczCYDvlPAmVRNMCVdafF7HM61DYvmOX8xn54xIxo9-0yoM61prS3IVrJ74/s320/Figure+21.png" width="274" /></a></b></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;">“O
mestiço” is a painting of a plantation worker (<b style="mso-bidi-font-weight: normal;">Fig. 21</b>).<span style="mso-spacerun: yes;"> </span>The worker is
facing the viewer with his arms crossed.<span style="mso-spacerun: yes;">
</span>His body is muscular, and his factions are either indigenous or
Afro-Brazilian, though the name of the painting forces the viewer to think of
this subject as <i style="mso-bidi-font-style: normal;">mestiço</i>.<span style="mso-spacerun: yes;"> </span>And this is one common way that Brazil
constructed its own identity, and how it wanted to construct the subject of
this new modernity: a subject that is a mix of races, and represents the best
of all.<span style="mso-spacerun: yes;"> </span>José Medeiros’s subject
references Portinari’s paintings in the tenacity of the male figure and in its
ambiguous phenotype, though in the case of the photo, the man faces away from
the camera.<span style="mso-spacerun: yes;"> </span>This is a different subject,
and it is indifferent to representation.<span style="mso-spacerun: yes;">
</span>If the modernist painters wanted to construct identity thinking of the
tenacity of plantation workers, José Medeiros’s photo does it with this equally
tenacious male figure that is no longer a plantation worker, or a peasant, but
a city dweller, with leisure time to spend at the beach.<span style="mso-spacerun: yes;"> </span>He, like Brazil, does not care to be
represented, and does not need to face the camera.<span style="mso-spacerun: yes;"> </span>This a bold gesture.<span style="mso-spacerun: yes;"> </span>A portrait where the <i style="mso-bidi-font-style: normal;">portrayed</i> decides that he does not want to be part of the illusion
of representation – perhaps he would rather represent himself.<span style="mso-spacerun: yes;"> </span>He, metaphorically perhaps, faces the
horizon, the future.<span style="mso-spacerun: yes;"> </span>And Brazil is, of
course, <i style="mso-bidi-font-style: normal;">o país do futuro</i> (the country
of the future), or imagines itself to be.<span style="mso-spacerun: yes;">
</span>Like the bird or plane that is (the plan of) Brasília flying to meet the
future, this subject also gazes in that direction – and the future is, of
course, the promise of modernity.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Courier New, Courier, monospace;">The Space of the Exhibit<o:p></o:p></span></b></div>
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<span style="font-family: Courier New, Courier, monospace;">The
exhibition in its physical arrangement of the photographs represents the
clockwork, precision of modernity.<span style="mso-spacerun: yes;"> </span>Right
angles in the walls breaking up the spaces of the photographs, and all of the
frames where the photographs are placed are almost identical in size, they are
almost all at the same height from the floor, and almost identically spaced
from one another.<span style="mso-spacerun: yes;"> </span>The walls are
immaculately white, and it does give you the feeling of standing in, or perhaps
outside of, one of those buildings in Brasília right after it was built.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">If
you let your eye wander as you watch any particular photograph in the
exhibition, and you catch the reflection of the glass that covers the photo,
you will see the seemingly endless array of photos perfectly arranged in the
walls behind you or to your right and/or left.<span style="mso-spacerun: yes;">
</span>It inspires an almost mise-en-abyme feeling.<span style="mso-spacerun: yes;"> </span>It is as if, by standing in front of only one
photo, you can have all of the others reproduced in the reflection of the one
that you are looking at (you can catch this reflection of the other walls, and
the photos in the walls, standing in front of almost any of the photos at the
exhibition).<span style="mso-spacerun: yes;"> </span>Yes, modernity is the age
of the mechanical reproduction, and a photography exhibit perhaps more than
anything else always alludes to this.<span style="mso-spacerun: yes;">
</span>However, the aura here is not lost, quite the opposite, it is gained in
this mise-en-abyme feeling.<span style="mso-spacerun: yes;"> </span>These
photographs are the trace of a moment that is long gone.<span style="mso-spacerun: yes;"> </span>Modernity in Brazil cannot be the same after
1964, and the dense, cloudy and authoritarian years (with “economic miracle”
and everything included) that came after.<span style="mso-spacerun: yes;">
</span>The exhibit makes us look back to the Brazil, and the plethora of Brazils
as represented by these different views of modernity, that wanted to be the
country of the future, from a future that is not exactly what it then
imagined.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;">The
dates of the exhibition encompassed a time that denoted an interesting
political time for Brazil, and many historians looking at the Brazil from this period remain ambiguous about its characterization, or at least, in the celebration of Brazilian progress during this era. <span style="mso-spacerun: yes;">C</span>audillo-style politician and strong authoritarian leader Getúlio Vargas marked this era until
1954 (though with a break in between from 1945-1951), and he is an ambiguous entity for many Brazilianists.<span style="mso-spacerun: yes;"> </span>The exhibition seems to
put us in this time, sans the political, quite well, but does not do a good job
of capturing modernity through a retroactive lens.<span style="mso-spacerun: yes;"> </span>The promise of modernity was devastated by
the authoritarian regime that kept Brazil under its reign for more than 20
years starting in 1964, and this exhibition does not seem to be very reflective
of this (Though one can argue that Thomaz Farkas’s photographs of Sacolândia,
and the misery of the working class there, are one way that it does engage in
reflection).<span style="mso-spacerun: yes;"> </span>Though the exhibit shows
different sides of modernity, it has a hard time engaging in the darker side of
it, barely touching it.<span style="mso-spacerun: yes;"> </span>The exhibition
does show the <i style="mso-bidi-font-style: normal;">camponeses </i>of the
Northeast of the country – though in almost nostalgic light – and the awe of
indigenous peoples touching an airplane (for example), but where are the underpaid workers of
São Paulo? The <i style="mso-bidi-font-style: normal;">malandros</i> of Rio de
Janeiro that the samba musician Noel Rosa is already talking about in the 1930s?<span style="mso-spacerun: yes;"> </span>I should admit, that not being in expert in
Brazilian photography, I am not sure that representations of these darker
aspects of modernity do exist, but surely I can think of interesting ways that
the exhibition could engage with these issues and questions.<span style="mso-spacerun: yes;"> </span>In the political atmosphere of 2013, when the
Brazilian government is once again repressing the voice of the public – the <i style="mso-bidi-font-style: normal;">black blocs </i>and other protesters that
have taken the streets in the last year – this seems a fairly tame view at a
modernity that has promised much for Brazil and the Brazilian people, but that
has in many occasions come up short.<span style="mso-spacerun: yes;">
</span>Though Brazil is the country invited to all of the cultural events of
Germany for this year – the Frankfurt Book Fair and other festivals showcasing
Brazilian culture, etc., there seems to be a barely-critical look at Brazil
(Perhaps, in hope of political correctness or…whatever), I would say that today
Brazil is not yet the country of the present, and still the country of the
future.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;">Notes</span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="mso-spacerun: yes;">1. All the pics in this blog post belong to the Instituto Moreira Salles, unless otherwise noted.</span></span></div>
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Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-72291136529723103152012-10-31T02:29:00.000-04:002012-10-31T02:43:17.898-04:00Some Album reviews for WTUL Sept. - Oct. 2012<span style="font-family: Courier New, Courier, monospace;">I am a DJ at <a href="http://www.wtulneworleans.com/">WTUL</a>, and sometimes I do Album Reviews of about 100 words or so - These are some of the reviews I wrote for September and October 2012. Some are good, some are bad. Whatevs. My favorite albums of the bunch were by Ombre, Bogan Via and of course, the XX. Enjoy!</span><br />
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<span style="font-family: Courier New, Courier, monospace;">Artist: Ombre<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: Believe You Me<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: Asthmatic Kitty<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 10/09/2012<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlTqiuLuXUcByznfpxDojM3Ma8mW-dl0R42aWklJxz2c9vxdLm7UlGpXC0GXr7ps_ZQH1iUyuihh4QwuAw-hW9XnYLRq6UE71LW5B_2H8XtrjD_g5PnMT-MGqzs8TNlmGH6PMGaQii97Q/s1600/Ombre.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlTqiuLuXUcByznfpxDojM3Ma8mW-dl0R42aWklJxz2c9vxdLm7UlGpXC0GXr7ps_ZQH1iUyuihh4QwuAw-hW9XnYLRq6UE71LW5B_2H8XtrjD_g5PnMT-MGqzs8TNlmGH6PMGaQii97Q/s1600/Ombre.jpeg" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Ombre is a band created by Helado Negro (The moniker
of the Florida-native, son of Ecuadorian immigrants, Brooklyn-based Roberto
Lange) and the Louisiana-born, Brooklyn raised Julianna Barwick. They have mixed the dark eerie pop of Helado
Negro with the ethereal wave aesthetic of Julianna Brawick to create the songs
that are in this collection, which is their first collaboration under this
moniker. The songs are a mix of loops
and ambient wave with some low-fi pop.
These “music-scapes” remind you of old beach photographs, and nostalgic
longing for those summers of discoveries and awakenings. My favorite songs are “Weight Those Words”
and “Cara Falsa”. The first one seems
like a post-modern indie pop bolero, equally awkward and beautiful; and the
second one reminds me of télépopmusik’s second album, “Angel Milk” and some of
those dark ballads there. <o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Try: 2!, 5, 6, 7!, 10</span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Flobots<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: The Circle in the
Square<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: Shanachie<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 10/09/2012<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhphyQWlfmyT54DG3Eftiv8Lr8VCFV6JD4hT249jvm06z-BtOCtU1fZzmj2TjZutAePQSDsKFFutQ2YC6z_8Ya_NGn8KAGsbhQmj9YMgshLywZ3oGW99T_GJM2hyphenhyphen7qYxJTTHvwtFF6r_Gk/s1600/THe+circle+in+the+square.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhphyQWlfmyT54DG3Eftiv8Lr8VCFV6JD4hT249jvm06z-BtOCtU1fZzmj2TjZutAePQSDsKFFutQ2YC6z_8Ya_NGn8KAGsbhQmj9YMgshLywZ3oGW99T_GJM2hyphenhyphen7qYxJTTHvwtFF6r_Gk/s320/THe+circle+in+the+square.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">This is Flobots third major release. They are a band from Denver, Colorado that
mixes hip-hop with hardcore infused rock (I wouldn’t say it’s quite hardcore,
but it’s close). Think of corny bands in
the 90’s and early 2000’s like Korn, Limp Bizkit and it is sad that I cannot
think of any good bands that fall in a similar category – but anyway, the point
is Flobots are actually pretty good.
They have crossed to the mainstream, their first-ever single
“Handlebars” was pretty popular but they are not too mainstream in my opinion
mainly because of their political lyrics.
Their songs addressed controversial topics, and usually attempt to rile
up the listeners. This set of songs
seems heavily influenced by the financial crisis and the events of Zucotti Park
and the Occupy Wall Street movement.
They are a live band, utilize many instruments, and bring influences
from soul, jazz, funk and reggae. If you
don’t love them at first, give them a second chance. <o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Try: 7,12, 15. </span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Bebe<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Title: Un Pokito de Rocanrol<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: EMI Music Spain<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Date: 10/09/2012<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4RqzbMvIaiGBq12FKJ6V33b7mI6TzDtqjZpEwKYDVG305hvy433mE675EujUseXKgxXfWJWB3HivkSNURYj3iw8F2dRHWdLvMui74bIU_uvxJAi2RZp6or6S-C5WokeOwRpJF2aEagUA/s1600/un+pokito+de+rocanrol.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4RqzbMvIaiGBq12FKJ6V33b7mI6TzDtqjZpEwKYDVG305hvy433mE675EujUseXKgxXfWJWB3HivkSNURYj3iw8F2dRHWdLvMui74bIU_uvxJAi2RZp6or6S-C5WokeOwRpJF2aEagUA/s1600/un+pokito+de+rocanrol.jpeg" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><i>Un Pokito de Rocanrol</i> is Bebe’s third release. She’s a Spanish pop artist that became very
popular after her single “Malo” that came out in 2004. Bebe mixes the sounds of southern Spain –
principally flamenco – with a pop sensibility to make easy-going, upbeat
music. She’s well known for her fast
verses, and witty but light lyrics. In this third album, we can see that she’s
evolved from her beginnings. She’s
utilizing a larger space of musical references, including punk, hip-hop,
rockabilly, French chanson and of course
rock and roll. The name of the album
means “a little bit of rock and roll” and I think that all of her influences
are packed through a rock/pop/adult alternative aesthetic. She’s not groundbreaking, but she makes good
Spanish pop. Her single K.I.E.R.E.M.E.
is definitely an M.I.A.-influenced hit, and would make a great addition to your
set. <o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">RIYL: “Mala” Rodriguez, Jarabe de Palo, Julieta
Venegas, Macaco<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Try: 6, 7!</span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Turtle Giant<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: All Hidden Places EP<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: Self-Released<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 9/25/2012<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Turtle Giant is a Brazilian indie band based out of
Macau (China). This is their first
album, and it is a commanding effort.
They are creating musical landscapes with a tremendously powerful rock
sensibility. Their music is touching,
powerful and absorbing. They make truly
lovely music and add up to the troop of indie bands from Brazil that are making
their way out of the traditional Brazilian sounds of Samba, Bossa Nova and
MPB. Macau may seem like an odd place
for a Brazilian rock band – but in fact, it is a former Portuguese colony. And you can recognize their Brazilian
influences in their arpeggio-full guitars (though distorted) and their
Portuguese ones, as their deep, dark melancholic ballads bring to mind nostalgic
Lisboan fado singers. This is a powerful
debut. RIYL: Explosions in the Sky, A
Banda Mais Bonita da Cidade, The Cigarettes, Try: 3, 4</span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Anna Estrada<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: Volando<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: Feral Flight
Productions<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 9/25/2012<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Anna Estrada does not provide anything new for the
latin jazz community. Her music falls
right into this genre with everything you would expect. Yet, her voice has an oxymoronic sweet and
raspy quality that makes it very interesting.
She reminds me of the old Bolero singers, and the low-fi versions of
their songs that survive today: they are not perfect, they sound odd, but they
transmit the feelings of the songs they played quite well. Anna Estrada manages just that. Her version of “Mais Que Nada” is
lovely. I think that it is in those
songs that the band tries something more modern, and with a much more defined
pop sensibility, that it achieves true success.
The Spanish and Portuguese versions of the song “Paciencia” in this
album are an example of that, and these are what makes this album
salvable. Try: 4,5, 11. </span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: The XX<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: Coexist<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: XL / Young Turks<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 10/30/2012<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMjP_-CUdiOkL_AWMdCfrckSw8134-X_CoUpwHN4kLwlywP1gDGqgYklK3vnXD825S16ObAyDtETs7oEw70qqji006V-VQ46kUlpcpOEUPNnYcAcEBshjDbJEqUbeO4njV4aLetu0G3zM/s1600/coexist+xx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMjP_-CUdiOkL_AWMdCfrckSw8134-X_CoUpwHN4kLwlywP1gDGqgYklK3vnXD825S16ObAyDtETs7oEw70qqji006V-VQ46kUlpcpOEUPNnYcAcEBshjDbJEqUbeO4njV4aLetu0G3zM/s1600/coexist+xx.jpg" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">The XX is one of the most innovative bands of the
first decade of this new millennium, in my humble opinion. It is incredible that they manage to be so
with the use of a few effects, super reverb, and terrible stage personas. Or maybe, it is precisely that what makes
them interesting. It seems like they are
always holding back. This new album is a
continuation on a theme, a variation, a fine-tuning. Dark, ambient-like, reverb-filled songs with
deep and powerful minor chords, songs and lyrics that seemed as if one wanted
to express only half of what one feels – or maybe they are poorly expressing
what they feel and keep coming back to some of the same thoughts (These kids
are very young). Certainly the band has
benefited from Jamie´s side projects (as Jamie XX), and some of these songs
have catchy beats, and you could even dance to them. Over all, this is a lovely album that makes
me a devout follower. <o:p></o:p></span></div>
<span style="font-family: Courier New, Courier, monospace;">Try: All – 1!, 2!, 3!, 5!, 6!, 11!</span><!--EndFragment-->
<br />
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<span style="font-family: Courier New, Courier, monospace;">Artist: Super Robot Party<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: Electrocity<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: SRP Productions 2012 /
Self-Released<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 10/30/2012<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-m1lACVGGr63VQzBsOM9msyTZucT-epOnETZdw5sfi_1Xik9iZaCKbS0cF_F0GLNRfHt5FL-Whdat5eCkhmsdijg-KgnQw3E32q8ubgpNmtJhDLn8mzLB6nC6MaitNn9c9Hk749mW0MU/s1600/super+robot+party.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-m1lACVGGr63VQzBsOM9msyTZucT-epOnETZdw5sfi_1Xik9iZaCKbS0cF_F0GLNRfHt5FL-Whdat5eCkhmsdijg-KgnQw3E32q8ubgpNmtJhDLn8mzLB6nC6MaitNn9c9Hk749mW0MU/s1600/super+robot+party.jpg" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">This album and this band sound a lot like I would
imagine Explosions In The Sky would if they used lyrics, and if the lyrics were
written based on the feelings of a teenager: they are very obvious and commonplace. Yet there are a few things that make this
album worth listening to. Among them I
would have to say the use of a grungy, alternative sound that is very uncommon
nowadays, unless the band has been playing since the 90s which apparently this
band hasn’t. Their distortion sounds
almost vintage, outdated. Track 5,
“Velour”, I’ve heard somewhere and I feel like I should know it, may be a
soundtrack to a movie, but I can’t pinpoint it, perhaps it is a cover (of a
band from the 90s?). Not a great album, but
has a few songs that will save it. <o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">RIYL – Explosions in the Sky, 90s rock/alternative <o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Tracks – 1, 2, 3, 5. </span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Les Racquet<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: Les Racquet<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: Self-Released<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Date: 10/30/2012<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfP287Wb8Z2oia4CE2ta9941Uk8GE7lL27kJb6p_S_oCkyxpy6qUUvK8fvfThC0YKvHAv0TLM_dfkjB6jtGbJ1C7Dq8l71YIt9Xjs1XnDbjadU9RzJPcnpaOYetq0mT6f-oacnwLFF-4/s1600/les+racquet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfP287Wb8Z2oia4CE2ta9941Uk8GE7lL27kJb6p_S_oCkyxpy6qUUvK8fvfThC0YKvHAv0TLM_dfkjB6jtGbJ1C7Dq8l71YIt9Xjs1XnDbjadU9RzJPcnpaOYetq0mT6f-oacnwLFF-4/s1600/les+racquet.jpg" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Les Racquet is a Brooklyn-based indie rock trio, and
this is their first album, which was originally released last year. They have a very expressive sound that mixes
bits of ska, reggae, rock, and other wordly sounds with a pop-sensibility that
makes it a very easy-to-listen album.
They strive to create three-part harmonies in their songs, and the
result is quite enchanting. They are
great musicians, but their songs are not excessively intricate like the songs
of some of their counterparts from the borough.
It looks like they are in it to make people enjoy music with their
bodies and their souls and the results are decent. They have room to grow, but this is a good
debut. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Courier New, Courier, monospace;">Try: 1!, 2, 3, 9!</span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Bogan Via<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Title: Wait Up EP<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Label: CW Media (BMI)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Date: 10/30/2012<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace;">There has been a healthy increase in bands composed of
a male and female duo making really good music: Wye Oak, Beach House, The XX,
the White Striples, just to name a few.
Bogan Via adds up to this growing group of bands with a sound that is
very close to Beach House and Wye Oak, probably somewhere in between these two,
but closer to the former. Madeleine
Miller’s voice is sweet, and refreshing, and Bret William Bender’s is a bit
more pungent, creating a great complement to Miller´s. This EP has a decent range of songs that will
give a taste of what the band is about.
Their sound is that of a more youthful Beach House, not so depressing
and dark. Their song Wait Up is a must
for your show! <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Courier New, Courier, monospace;">RIYL: Beach House, Wye Oak, Au Revoir Simone<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Try – All, 1!, 4!, 5!, 6!</span><o:p></o:p></div>
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<span style="font-family: Courier New, Courier, monospace;">Artist: Trapper Schoepp &
The Shades<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Title: Run, Engine, Run<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Label: Side One Dummy Records<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Date: 10/30/2012<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace;">Trapper Schoepp is the leader of this band, where his
brother and two more guys play. It is
clear that Schoepp, and his band, wants to
make an Americana/Country album with an appeal that goes beyond the usual
listeners to those genres. It’s a bit
closer to an alternative/rock album, but the influences of those two genres is
quite clear, and adds an interesting sound to the mix, and perhaps, makes them
stand out from the usual crowd of alternative albums being played in the top 40
stations. But Schoepp makes the attempt
to write beautiful, youthful, spirited songs that make this album a nice poetic
undertaking – not completely played out to perfection, but a nice attempt for a
nice debut. <o:p></o:p></span></div>
<span style="font-family: Courier New, Courier, monospace;">Try: 1, 4, 8</span><!--EndFragment-->
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<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Artist: Reptile Youth<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Title: Reptile Youth<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Label: Rough Trade
Distribution<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Reviewed by: DJ Xfilósofo
(CM)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;">Date: 10/30/2012<o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZEoPmLWlRlEA_6-pUvmjkYdZXy7esL1BsaF5Lc7TXGHGPsf-bmDE4rZ4qyRWP-XOK3AUm81MIpKmu8rtSR8vAEbbgwIRyj7Mxbd87nAWAPvWP1Ke5Jk8KqD8IaqXsgZh1VZr0sK2w6Ag/s1600/reptile+youth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZEoPmLWlRlEA_6-pUvmjkYdZXy7esL1BsaF5Lc7TXGHGPsf-bmDE4rZ4qyRWP-XOK3AUm81MIpKmu8rtSR8vAEbbgwIRyj7Mxbd87nAWAPvWP1Ke5Jk8KqD8IaqXsgZh1VZr0sK2w6Ag/s320/reptile+youth.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Northern European bands, Norwegian, Danish, and
especially Swedish ones have always had an incredibly interesting output,
especially in recent years. Reptile
Youth is a good example to that, though perhaps not the best example. Definitely a worthy one. Their chords are light and happy, and their
songs have an upbeat air that reminds me of bands like Phoenix (French), Polock
(Spanish) and Those Dancing Days (Swedish).
They are somewhere in between these three: Phoenix is a bit more
technical, Polock more youthful, Those Dancing Days a bit more upbeat. Yet some of their songs have the power to
just make you get up and dance, and this band has been praised for their super
energetic live shows! It’s growing on
me! <o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Tracks – 1, 2!, 4!, 5!</span><o:p></o:p></div>
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<!--EndFragment--><br />
<!--EndFragment-->Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-70666896163827104042012-09-13T13:14:00.002-04:002012-09-13T13:14:32.034-04:00<span class="Apple-style-span" style="color: #333333; line-height: 17px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">For those of you lovers of Música Poplar Brasileira (MPB), and living in New Orleans, come to this at Tulane!</span></span><br />
<span class="Apple-style-span" style="color: #333333; line-height: 17px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6Tjm9ntQu8OM_Idykp9sDa3Dpy8pwy_TR0iWABR3ag6IkDkJbKGW1MUCyiZv6kOSTLY3cMercxupFoVluCYpkiPzFKzrkt0rm8sluX9kmYI85Sx9l2n01p4jIhYq4sxNz10ay234Oxo/s1600/Luca+Bacchini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6Tjm9ntQu8OM_Idykp9sDa3Dpy8pwy_TR0iWABR3ag6IkDkJbKGW1MUCyiZv6kOSTLY3cMercxupFoVluCYpkiPzFKzrkt0rm8sluX9kmYI85Sx9l2n01p4jIhYq4sxNz10ay234Oxo/s320/Luca+Bacchini.jpg" width="247" /></a></div>
<span class="Apple-style-span" style="color: #333333; line-height: 17px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></span>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-71768889057723965152012-06-04T15:30:00.001-04:002016-04-29T20:40:16.443-04:00I think you're a Contra: A Reading of Vampire Weekend's first two albums<br />
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">This
weekend I had a short but lively discussion about a band that I really like:
Vampire Weekend. I love their music, and
I had the chance to see them live once and although I am not a fan of large
theater-style locations for rock shows, it is almost impossible now to catch an
act like Vampire Weekend at a smaller venue. I caught the show almost two years ago at Mahalia Jackson Theather in New Orleans. They were able to pull the crowd into the show, they made it fun. Even in a venue like Mahalia Jackson. Even though they are part of that movement of “Indie Music” that gained
a tremendous amount of strength during the first decades of the 2000s in NYC
(With bands like MGMT, Animal Collective, The Dirty Projectors, TV on the
Radio, Brazilian Girls, The Strokes, etc.), they are barely Indie now, being
played and well-received in many mainstream radio stations, and TV stations
around the nation. I think they don’t
only make great music, but that they are also great musicians, incorporating a
variety of “World Music” sounds into their aesthetic, and making a blend of
sounds that has become a recognizable trademark for them, but at the same time
always pushing boundaries and reaching to new musical spaces. Even the titles of their songs have an
“international” point of reference and appeal.
“Horchata” (Horchata is a Central American beverage) and “Cape Cod
Kwassa Kwassa” (Kwassa Kwassa is a dance rhythm from the Democratic Repulic of
Congo) are just but examples of this particular aspect of their aesthetic that
chooses to incorporate international sounds and themes into their own
music. <o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">While
I enjoy Vampire Weekend’s project quite a bit, I find their music and their
approach slightly problematic. Perhaps,
at first glance, nobody would even question it, or even wonder about it, but I
think that they are, in fact, political.
They take a political stance that, at its best, is ambiguous. I don’t want to fail to see the irony in
their music, but as much as irony has become a trait of the mainstream, through
the growing ever-presence and appropriation of the figure of the “hipster”, it
is a danger that many fail to understand, because irony by definition always
tries to cover its point of enunciation.
So, although it may seem a silly argument by some, we can tell irony,
precisely because we can tell when it doesn’t exist. We can distinguish straightforward truth from
irony, which always presents its opposite as the truth. But in a culture where irony is the modus
operandi of comedians, bloggers, culture critics, artists, etc. - when do we
distinguish irony, from old-fashioned, sweet, little
“straightforwardness”? For me, the
reception of Vampire Weekend is problematic precisely because I can’t tell
where they are coming from, but their assertions, ironic or not, seem so strong
that still manage to upset me. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Take
a song, for example, like “I think you’re a Contra”. The chorus is perhaps a conversation between
two friends:<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">I
think you’re a Contra<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">I
think that you lie<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Don’t
call me a Contra<br />
Till you’ve tried<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"> One accuses, the other one responds. It’s a song about political stances, and
about motives. One, perhaps a liberal,
well-meaning U.S. American leftist accuses; the other one responds not by
denying the accusation, but by proposing that perhaps “To be a Contra” is a
stance that it’s easy to acquire, and that when you <i style="mso-bidi-font-style: normal;">are</i> in fact a Contra, you don’t quite see it that way. Perhaps, this is easier understood with a
couple more lines of the song, <o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">You
wanted good schools and friends with pools<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">You’re
not a Contra<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">So,
here, perhaps it is revealed that this is song is not literally about
“Contras”, but maybe it is about a political stance in favor of U.S.
Imperialism. Contras, of course, are a
figure of dramatic importance in the violent and direct involvement of the U.S.
in Latin American politics. Of course
many would argue that the U.S. involvement in Latin America (as in many other
regions of the world) was not out of some “humanist” believe for justice and
liberty, but out of a believe to keep their economic interests in the best
position possible (These two things, I suppose, don’t necessarily need to be
mutually exclusive). So in the song, one
of the voices is saying that “To be a contra” means to support U.S. Imperialism
and that this necessarily and unfortunately means “good schools” and “friends
with pools”. And the contention of
another one of the voices in the song is that you cannot equate those two
things, that wanting to perpetuate the white-picket-fence-birthday-pool-party-and-BBQ-suburban U.S. American reality does not
necessarily mean that one is in favor of the atrocities committed by U.S.
foreign policy, especially in the second half of the 20<sup>th</sup> century
(those committed by Contras mainly). The song
is ambiguous in its political position, but I think that in the end it is
condemning the hypocrisy of well-meaning left-wing liberals that live in
wealthy neighborhoods with “good schools” and have “friends with pools” but at
the same time want to fight for international human rights, and for a more
benevolent U.S. foreign policy without changing their lifestyles. <o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Clearly,
Vampire Weekend has a space of enunciation that it is equivalent with the
social milieu that contemplates these questions. It is the upper, middle class world of the
liberal left-wing, Ivy-league college students that ponder over these
quandaries when they first encounter these realities, more likely during their
college years. The songs talk about Cape Cod, college campuses, diplomat’s sons, Louis Vuitton bags, trips to Argentina,
the English language and Oxford commas, winters drinking “Horchata” in some
beachy paradise – the world of privileged college kids from the Northeastern
U.S. They speak from this reality, and
their preferred target audience is probably these same kids. Vampire Weekend talks about a very particular
way of life, and there is a sense of nostalgia for it – a sense that there is
something that has been lost. <o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">The
song “Giving Up The Gun” is a very high-brow reference to a book about Japanese
culture by the same name (Thanks Kate R.! for your thoughts on this), and also
I think it is a reference, musically, to Billy Joel’s “We didn’t start the
fire”. To me, the melody in the song
recalls Billy Joel’s. I have shared my
thoughts on this to some friends, and I would say that most of them, though not
all, could see some resemblance in the melody.
Thematically, the songs are related, too. Billy Joel’s song is essentially an apologia
of U.S. Foreign Policy, especially that of the second half of the 20<sup>th</sup>
Century, and Vampire Weekend’s is perhaps a response to this song. It is the realization that the U.S. is
“giving up the gun”, that its relevance in the world sphere is being
reduced. This is not necessarily
completely true, but certainly China’s economic growth, mixed with the growth
of antagonism of the world’s public opinion (in my opinion, rightly so) of U.S.
foreign policy, and with the added strain in the U.S. economy that has been
placed by the recent stock market crash and the subsequent crisis that ensued,
makes for an environment that foresees the U.S. imminent decline as the only world power. “Your sword is old and rusty”, and “Now,
you’re giving up the gun” are two lines repeated in the song continuously, as an augury of what perhaps is to come. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">But
still, a sense of nostalgia prevails.
The covers of both albums seem to me to represent not only this melancholia,
but at the same time, a stubborn stance against time. The cover of their eponymous first album
features an old-fashioned chandelier at a home, with some slightly visible
heads underneath, as if a bunch of people standing at a house-show where
Vampire Weekend would be playing for some of their friends. The old world, its ideologies, stand strong
above the heads of these young people, who are faceless, silent, lacking in
agency as they are not shown in the picture.
The second cover is that of a young woman who clearly looks like a
model, but is beginning to show the first signs of aging. She gazes at the viewer intently, with an
almost-surprised look in her face, but still stunning and beautiful, with a
Polo shirt on, as if defying the passage of time, of fashion, and again, of
ideology. What dominates both album
covers is the will to perpetuate a past.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimD68e5X4QmHVj2k41XHEP4T7TN9cAK7OVVju03P5wcOwaTzcalEucK2tnlPOzNKDrQf2pS5E86prNE8KrWkXH8HTOZqcOrltFIDdW_tV-2WxJ1lcQCvD-OSAnqVwNc92H04yDCrwGoWs/s1600/VW+-+Contra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimD68e5X4QmHVj2k41XHEP4T7TN9cAK7OVVju03P5wcOwaTzcalEucK2tnlPOzNKDrQf2pS5E86prNE8KrWkXH8HTOZqcOrltFIDdW_tV-2WxJ1lcQCvD-OSAnqVwNc92H04yDCrwGoWs/s1600/VW+-+Contra.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLQVMoMrIEi7e1ENWd-nYA1tsnJHw8Cjji22X-aUHFZvsmj8NjI01DrROJfF_XPbHJb28NJW2VAFGssGS16pxKYRNyYpPg4DVE4aQlC4BgqL1BpCsP9Os073M3OSZEir9inZcTiw-hPs/s1600/vw+-+vw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLQVMoMrIEi7e1ENWd-nYA1tsnJHw8Cjji22X-aUHFZvsmj8NjI01DrROJfF_XPbHJb28NJW2VAFGssGS16pxKYRNyYpPg4DVE4aQlC4BgqL1BpCsP9Os073M3OSZEir9inZcTiw-hPs/s1600/vw+-+vw.jpg" /></a></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Even
with their pretty amazing set of musical references, taking cue from genres all
around the world, Vampire Weekend perpetuates a past. In contemporary musical production, bands
like Brazilian Girls, Forró In the Dark, Gotan Project, have mixed the more
traditional rock-electronica-indie sounds with those autochthonous sounds from
other regions of the world. They have
managed to make a sound that is precisely a fusion of different traditions – an
assertion that is, of course, arguably so.
But in Vampire Weekend I do not see a fusion, but an appropriation of
the sounds beyond their cultural boundaries.
The Imperialism represented in “I think you’re a Contra” is not too
different from their appropriation.
Taking from the world to profit from it. But they just wanted friends with pools, and
good schools. It’s not their fault. <o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">I
would be wrong not to see that there is a hint of mistrust, of comedy, in their
songs. “Who gives a fuck about an Oxford
comma”, says one of their songs, implying a ridiculous quality in a type of
lifestyle, that of the elite that worries about Oxford commas and such
things. This is, I imagine, a lifestyle
that Vampire Weekend is familiar with, and certainly, that many of their
listeners are familiar with too. And so,
this declares that there is an irony prevailing their songs, their themes and
their music. But as I said earlier, when
does the irony stop and the real message begin?
This is, to me, a bit dangerous.
I love Vampire Weekend’s music, but when I listen to them I can’t help
but think of the cover of that album and that model staring me intently, defying me with her
orthodoxy, and I can’t help but think of the phrase “You just wanted good
schools, and friends with pools / you’re not a Contra”. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"> </span><o:p></o:p></div>
Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-49126650390040673952012-05-26T22:22:00.003-04:002012-06-04T15:31:51.951-04:00Old Album Reviews for WTUL<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">I wanted to share with y'all some quick album reviews that I did last year for WTUL. </span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Here, hope you like! </span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Artist: Empresarios<o:p></o:p></span></div>
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</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Title: Sabor Tropical<o:p></o:p></span></div>
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</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Label: Fort Knox Recordings<o:p></o:p></span></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">
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Reviewed by: DJ Xfilósofo (CM)<o:p></o:p></div>
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Date: 10/18/2011</div>
</span></div>
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</span><br />
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Empresarios
has the lounge-friendly sound similar to that of electronic groups such as Bajofondo,
Gotan project and Sidestepper. Probably
not as “chill out” as the Gotan’s, the Bajofondo´s, the Federico Aubele’s, but
not as party friendly as Sidestepper.
They have an eclectic sound mixing many “tropical sounds” such as boogaloo,
cumbia, salsa, reggaeton, and son cubano with electronic music. This band is from Washington, DC, and it does
not surprise me, because their sound seems inspired by the 18<sup>th</sup>
Street Lounge giants – Thievery Corporation.
They have dark, heavy, beat-dominated electronic music mixed with “world
sounds” just like Thievery. In the case
of Empresarios, those “world sounds” are a plethora of different genres coming
from Latin America. Their album is aptly
named Sabor Tropical – “Tropical Taste” – as that´s what it is. A bit of electronica with a tropical
taste. RIYL: Bajofondo, Gotan Project,
Sidestepper, Federico Aubele. Try: 3, 6,
8, 14<o:p></o:p></span></div>
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Artist: Vicente García<o:p></o:p></div>
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Title: Melodrama<o:p></o:p></div>
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Label: Capitol Latin<o:p></o:p></div>
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Reviewed by: DJ Xfilósofo (CM)<o:p></o:p></div>
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Date: 10/18/2011<o:p></o:p></div>
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</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; font-size: 16px;">Vicente García is the former frontman for Calor Urbano, a Dominican band formed in 2002 that mixed Soul, Funk, Disco, Hip Hop, Neo Soul and Nu-Jazz. After 2010, Vicente García decided to start a solo career and this is his first album. Melodrama is a mix of Soul, Blues, Salsa, Bachata, Boogaloo American Folk and Latin Alternative all wrapped up together with the pop sensibility of García. There has been a new wave of very successful singer songwriters in Latin American pop such as Juanes, Ximena Sariñana, Julieta Venegas, Javiera Mena, Federico Aubele, and most recently, Diego García. He wants to locate himself within this particular “latin indie” phenomenon. However, I think Vicente García (no relation to Diego García – former frontman of NYC´s band Elefant) is, musically, a direct descendant of the Latin music giant Juan Luis Guerra. In fact, Juan Luis Guerra gave his support for García and his album. Although García puts forth a good effort, something in the album sounds a bit too “mainstream” and I find it a bit lacking in creativity. Yet, his songs are catchy as hell! Try: 2!, 4, 5, 7, 11</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Artist: Jose Conde<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Title: Jose Conde<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Label: Pipiki Records<o:p></o:p></span></div>
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Reviewed by: DJ Xfilósofo<o:p></o:p></div>
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Date: 10/18/2011<o:p></o:p></div>
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Jose
Conde is a son of Cuban immigrants. He
was born in Chicago and grew up in Miami.
After graduating from Berklee, he moved to Brooklyn where he has been
based ever since. He was the front man
of Ola Fresca, an Afro-Cuban music band based out of NYC. This is his first solo album, and in here,
one can see the influence of Son Cubano, Afro-Cuban music and other latin
sounds. Conde is definitely well-versed
in Latin music and this album transverses a great number of genres pulled
together quite nicely with a hint of experimentation and jazz. Some of the album reminds me of Robi Draco
Rosa´s loungy, easy-listening type album <i style="mso-bidi-font-style: normal;">Mad
Love</i> – probably the worst Draco Rosa album – and maybe even some
Bacilos. Arguably, Jose Conde is at his
worst when he sounds like this. When
Conde tries to tackle, however, more autochthonous genres and make something
new out of them is when he really sounds brilliant and powerful. Try: 1, 5, 7, 10, 12<o:p></o:p></div>
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Artist: Fakuta<o:p></o:p></div>
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Title: Al Vuelo<o:p></o:p></div>
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Label: Michita Rex<o:p></o:p></div>
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Reviewed by: DJ Xfilósofo<o:p></o:p></div>
<span style="font-size: 12pt;">Date: 10/18/2011</span>
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Fakuta
is the moniker of Pamela Sepúlveda Ariza, one of the members of the burgeoning
indie scene in Santiago de Chile. She
has been a member of many different groups and musical collectives, and also
has been working as a soloist under this name.
Her songs have circulated numerous blogs for a while now, and after four
years she finally released this highly anticipated debut album. This is considered by many of the followers
of indie music in Latin America the best album of 2011. She works under a genre that some call
“mathematical pop”, and I can describe it as a glitch-like electronic genre
with an arresting twee-pop sensibility.
Her voice is sweet and enchanting, and glides through the captivating
melodies of her songs. Her lyrics are
beautifully written – philosophical odes to love, relationships, nostalgia,
urban landscapes and non-places and the passage of time. RIYL: Au Revoir
Simone, Radiohead, Wye Oak, Beach House, Björk, Dënver (Chilean Band), Holly
Miranda, Class Actress<o:p></o:p></div>
<span style="font-size: 12pt;">Try: All.
1!, 2!, 3!, 4!, 5!, 7!, 10!</span>
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</span></div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-31948352405260752932011-04-16T13:35:00.000-04:002012-06-04T15:31:40.059-04:00Clásico en cuatro movimientos: Preludio<br />
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Hoy empiezan 18 días fascinantes. Ah sí. Termino mi primer año de doctorado, lo cual en si es bastante estresante. Pero al otro lado del océano atlántico, donde se juegan algunas de las ligas más importantes del deporte rey, allí, se juega algo que pocas veces ha sido visto: cuatro superclásicos en 18 días. El F.C. Barcelona y el Real Madrid F.C. se encontrarán en cuatro ocasiones en este corto tiempo para definir su posición en las tres competiciones en las cuales toman parte en el presente año (Liga, Copa del Rey y Champions), dándole al final de la temporada futbolística del 2010-2011 mucho de que hablar, y bastante diversión. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">En primera instancia, se juegan cosas muy importantes en este cuatro partidos, pero seguramente más para el Madrid. En liga, el Barça está a ocho puntos del Madrid, y aún si pierde este partido, todavía estarán a cinco. En copa, se encuentran en la final. El Barcelona ya ganó la final hace dos años, pero el Madrid no lo ha ganado en 18 años. En Champions, es la primera vez que el Madrid llega a semifinales desde la temporada 2002-2003, y no ha pasado de octavos de final desde la temporada 2003-2004. El Barça ganó hace dos años, y llegó a semifinales el año pasado. Josep Guardiola no tiene nada que demostrar en el Barça. Ha ganado casi todas las competiciones que ha disputado, con excepción de una copa del rey y una Champions en la temporada 2009-2010. Mourinho, quien ha ganado un sinnúmero de competencias, en su primer año en el Real Madrid quiere intentar ganar algo para demostrar que vale la pena. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Bueno ya teniendo los antecedentes a la mano, hablemos del partido en si. Y para hacer eso, veamos las posibles alineaciones:<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">F.C. Barcelona: Valdes, Maxwell, Busquets, Pique, Dani Alves, Keita, Iniesta, Xavi, Afellay, Villa y Messi.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Real Madrid F.C.: Casillas, Marcelo, Albiol, Carvalho, Sergio Ramos, Khedira, Xabi Alonso, Pepe, Di María, Benzema, C. Ronaldo.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Bueno, hablemos ahora del Barça: una de las grandes dificultades que tiene el equipo para este partido es que no puede utilizar a dos de sus grandes jugadores: Puyol y Abidal. Puyol estaba lesionado, y lleva así hace tres meses, y aunque está recuperado para el partido, es muy probable que no sea titular. Eric Abidal tuvo una intervención quirúrgica dado a que tenía un tumor en su hígado. Esta en recuperación, y volverá al campo, pero no hasta la siguiente temporada. Estos dos jugadores son fundamentales en el dibujo técnico de Guardiola puesto que Puyol es la base central de la defensa bleugrana y es el capitán del equipo. Abidal es un jugador que tiene ida y venida, corre bastante, a pesar de sus 31 años, sigue en excelente condición física, y tiene excelente quite de balón. Con la formación posible, el problema es que Maxwell no es tan bueno como Abidal en la recuperación, y es un poco inconsistente en las salidas, además de esto es un jugador que Mourinho conoce muy bien porque jugó bajo su mando en el Internazionale. Busquets ha mostrado criterio para jugar como central, pero no es su posición ideal, y esto podría ocasionar problemas en jugadas de rápido devenir, y en jugadas de fuera de lugar, puesto que estas ideas no las tiene tan claras, a mi parecer. Definitivamente, tiene mucho control del balón y será un gran acompañante. Busquets es alto, pero no es muy corpulento, y Benzema le podría ganar en fuerza física constantemente. En el medio campo no estoy nada preocupado. Keita es fuerte, y aunque puede verse un poco solo porque Xavi e Iniesta jugarán más volcados al ataque seguramente, creo que es un recuperador ideal, y con mucha salida. Por la izquierda problablemente estará Afellay, aunque Pedro ya está recuperado de su lesión porque todavía está fuera de ritmo. Afellay es un jugador rápido, pero no tiene experiencia en los clásicos, y todavía me parece que no se acopla totalmente al DNA bleugrana. Villa no lleva anotado gol en nueve partidos. Lo cual, aunque no lo crean, es muy peligroso para el Madrid. Para un jugador de la talla de el Guaje, entre más partidos lleves sin marcar, más posibilidad hay de que marques en el siguiente. Para Villa ya estamos en una probabilidad demasiado alta. Yo digo que el Guaje marca hoy. Messi está en su mejor temporada y va a querer marcarle a este Madrid, ya que nunca le ha marcado a ningún equipo en el cual Mourinho sea técnico. Pero ya vimos todo lo que dio volcado más hacia el medio campo en el clásico que se jugó en el Nou Camp.</span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Ahora el Madrid: La verdad, las dos ausencias del Madrid, que la verdad no considero fundamentales, son Lass Diarra y Granero. Son dos jugadores con perfil ofensivo, pero que no son fundamentales en el dibujo técnico de Mourinho, no como lo son Di María, y Ozïl. Lo curioso de este Madrid que posiblemente veremos es que Ozïl precisamente va a ver el comienzo del partido desde el banquillo. Este jugador, quien ha sido la joyita que ha conseguido el Madrid en el verano, es uno de los jugadores que más ha marcado diferencia en esta temporada. Pero Mourihno decidió volcarse con un trivote ultra defensivo. Pepe y Khedira, el primero central y el segundo mediocentro defensivo, serán acompañados por Xabi Alonso, uno de los mejores centrocampistas del mundo, y probablemente el único de los tres que tiene calidad para salir con el balón en los pies y apoyar al equipo ofensivamente de manera categórica. Con la pegada que tiene de media distancia, el Barça tendrá que cuidarse a cerrar los espacios rápidamente para que el no pueda disparar. La opción de laterales es curiosa, porque podría marcar a Messi con un lateral izquierdo como Arbeloa que tiene más labor defensiva que ofensiva, pero escojé a Marcelo el cual es un jugador que se volca determinantemente al ataque. Puede dejar muchos espacios para Alves y Messi. El Madrid va a jugar a tener el balón en los pies. A cerrar espacios en el medio del campo, y a jugar a un rápido contragolpe donde pueden capitalizar la velocidad de Di María, y la pegada de C. Ronaldo. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Las claves del partido: decir que las claves del partido serán C. Ronaldo y Messi no es decir mucho la verdad. Siempre son las claves del partido. Son los jugadores más importantes en el campo. Y por eso, todo estará pendiente de que hacen, y por donde están, y los dos equipos harán todo el esfuerzo posible para cerrarles espacios, y para hacerles marcación escalonada, y para que no corran en espacio abierto, porque la velocidad de estos dos jugadores dejará a los defensas sin oportunidades. A mi parecer, para Madrid, la clave será Di María. Di María es un jugador rápido, con mucho criterio, y un jugador al cual Alves no estará marcando mucho, porque este último estará preocupado por acompañar a Messi. Me parece que Mourinho peca demasiado poniendo tantos defensas en el campo de juego. Esta en su campo. Con su gente. Su Bernabeu. Su Cibelles. Para el Barça la clave estará en ordenar su defensa. El ataque del Barça es casi invencible. Romperán las barreras que se presenten, de eso estoy seguro. Con el balón en los pies, la movilidad de sus delanteros, y el motorcito de Terrassa y Don Andrés en el medio campo haciendo de las suyas, lo importante es que mantengan criterio atrás. Si Busquets, Keita y Pique hacen lo suyo. El partido es del Barça. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: 'American Typewriter';">Pues eso. Este es el preludio. Y lo llamo así por las razones obvias. Es partido primero. Pero también, el preludio es un movimiento de corta duración, y en el caso de este partido, me refiero a que es el partido con menor importancia en cuestión de puntos, o de trofeos. Especialmente para el Barça. Pero como todos los preludios, lo importante es lo anímico. Los preludios son muy importantes porque preparan la composición. Exponen los temas, los patrones, la visión: los preludios deben ganarse al público. Y veremos que nos regala este preludio. Y nos vemos. Coda al Fin. <o:p></o:p></span></div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com1tag:blogger.com,1999:blog-7466659643523645946.post-64014742611843436742010-11-29T14:58:00.002-05:002012-06-04T15:32:13.083-04:00Antonio Ungar gana el Premio Herralde<div class="separator" style="clear: both; text-align: center;">
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Hace algunas semanas se hizo público el anuncio del ganador del Premio Herralde para este año, quien es el colombiano Antonio Ungar. Pueden encontrar la nota de el periódico madrileño El País <a href="http://www.elpais.com/articulo/cultura/colombiano/Antonio/Ungar/gana/Herralde/satira/feroz/Latinoamerica/elpepucul/20101108elpepucul_5/Tes">aquí</a>. Antonio Ungar es un joven escritor colombiano quien ha publicado algunos libros, y quien no ha tenido mucho reconocimiento en Colombia aunque hace parte de un grupo de jovenes escritores colombianos que han tenido algo de buena prensa. Aunque los nombres de Mario Mendoza, Juan Gabriel Vazquez, Santiago Gamboa y/o Efraím Medina Reyes son mucho más comunes, a mi parecer, en la boca de los "conocedores", y también creo que sus libros tienen bastante más difusión que los de Antonio Ungar, es este último quien gana el preciado Herralde. Le he seguido, y por supuesto que no soy el único, la trayectoria desde que publicó <em>Zanahorias voladoras</em> en el 2004 en la Editorial Alfaguara, y por boca de alguno de mis queridos amigos peruanos se que este libro tuvo buena prensa y presentó su libro en varios lugares de latinoamérica. Igual creo que sus libros no se consiguen fácilmente y es una pena. <br />
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Sus dos primeros textos publicados en Norma a finales de siglo, <em>Trece circos comunes</em> y <em>De ciertos animales tristes</em> son imposibles de conseguir, y su penúltima incursión en la ficción <em>Las orejas del lobo </em>(Ediciones B) tampoco es de fácil acceso. A contrario de esto, su último libro<em>, Tres ataúdes blancos </em>que saldrá muy pronto (o tal vez ya salió) posiblemente cambie totalmente la difusión del autor, al cual considero uno de los mejores narradores colombianos contemporáneos. <br />
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Afortunadamente parece que los dos libros de Norma fueron compilados este año también en una edición de Alfaguara que lleva el nombre de <em>Trece circos y otros cuentos comunes</em> para los interesados. Me gustaría decir más de esa narrativa cortante y melancólica; de los extraños pero delicados perfiles psicológicos de sus personajes, y de la aparente fácil lectura de sus relatos, que esconden honduras del alma profundamente exploradas. Pero será en otro momento con algo más de tiempo. Por ahora les dejo la inquietud, y ojalá, las ganas de leer a este joven y genial escritor.Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-37147778643419949642010-06-18T14:01:00.005-04:002012-06-04T15:32:24.820-04:00De adioses y silencios.<div align="justify">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePo_NC8ksV_w-mPcOoZKH1iNyCRzbtDZpTFQbf2DvthjCW9qnTUJA4MpKACjb4UYXU2wY0OFdRriq8Pf7aBbVilMySeJ4zlrw65f9iAF077eiUzmmDCaLEMzboebSH3zchfl635_u25A/s1600/Saramago.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5484175863241416242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePo_NC8ksV_w-mPcOoZKH1iNyCRzbtDZpTFQbf2DvthjCW9qnTUJA4MpKACjb4UYXU2wY0OFdRriq8Pf7aBbVilMySeJ4zlrw65f9iAF077eiUzmmDCaLEMzboebSH3zchfl635_u25A/s320/Saramago.jpg" style="cursor: hand; display: block; height: 219px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a> José de Sousa Saramago, mejor conocido como José Saramago, murió hoy despues de una convalescencia que lo había tenido enfermo por mucho tiempo. Recuerdo el primer libro que leí de él: <em>Ensayo sobre la ceguera</em>. Despues de leer aquel libro, leí muchos más. Lo empecé a leer en el verano del 2000, cuando mi madre me vino a visitar despues de que me mudara a los Estados Unidos. Ese libro viajaba en sus maletas, y me lo regaló. Me acuerdo del absoluto silencio de alguna que otra tarde veraniega de la sala de mi tía Lucero en miami cuando lo empecé a leer, y recuerdo el frío invierno del 2000-2001 en NY cuando lo terminé.<br />
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Le debo mucho a Saramago en mi vida literaria. El, más que cualquier otro autor, hizo que yo me enamorara de las palabras, de su poder, y de sus falencias. El hizo que me enamorara de novelar fantasias y realidades por igual. De leer y escribir. Que son parte de la misma cosa.<br />
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Su último libro, Caín, mucho más corto de a lo que nos tiene acostumbrado, parecía esconder un secreto. Parecían sus últimas palabras. Recuerdo comentarselo a algunos de mis amigos. Sí, no es dificultad alguna augurar que un libro es último, cuando el escritor tiene 87 años. Pero en el caso de Saramago, algo me decía que estaba dejando un último testamento (ya escribiré sobre esto en otra entrada).<br />
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¡Saramago! Adios. Buen viaje, si es que hay alguno. Ahora perteneces al reino de los silencios. De las ausencias. Ahora hablarás más que nunca. Y yo seguiré (re)leyendo.</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-92071220142747962582010-06-16T02:39:00.006-04:002012-06-04T15:32:37.244-04:00ND/NF: La Pivellina: A story of compassion<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTbmS8BNuUj52bqNNiAq3Fb6uUGPOj5Rvf6xPthaGnzOvWUveGjTJpwmtT2Vta7iINsfvth2jjATN50FzcX2pOLbnYslArnWWB51335-t_NGwidkDl064hLWfoAiOqZ7bHCicmSJWNfg4/s1600/la_pivellina.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5483257987625377954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTbmS8BNuUj52bqNNiAq3Fb6uUGPOj5Rvf6xPthaGnzOvWUveGjTJpwmtT2Vta7iINsfvth2jjATN50FzcX2pOLbnYslArnWWB51335-t_NGwidkDl064hLWfoAiOqZ7bHCicmSJWNfg4/s320/la_pivellina.jpg" style="cursor: hand; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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This was probably the sweetest movie out of the festival. I didn't watch all the movies in the New Directors/New Films Festival of 2010, but I can probably say that this movie is in fact the sweetest of them all. I said it twice because I want you to notice. </div>
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It is the simplest out of all of the movies that I watched, and it plays out in a documentary fashion, which is in fact, the background that Tizza Covi and Rainer Frimmel bring to the table (In fact, this movie has become much more interesting after watching it and doing a bit of research, and it has to do with this very point). It has a very simple narrative structure that follows the life of an older couple that have a very modest (if not poor and decrepit) ambulant circus which they set up in parks, and parking lots alike, hoping for anyone to come and watch and give them some money. They live in tents and trailer homes with their goats and other animals that are part of the show. The story starts when Patty, the female of the couple, is walking her dog in the park, and finds a toddler girl, probably 2 or 3 years old, left alone in her swing. In the girl's jacket pocket, Patty finds a simple note that just says to take care of her, that she will be back soon for her. So Patty, not knowing what to do, decides to take the girl in, and assumes the copy is from her mother. Tairo, her husband, is not very happy with the situation, and urges Patty to call the cops. Tairo is worried that if the cops are to find out they are keeping a young girl that is not theirs, they will be accused of kidnapping, and because of their particular situation, or "otherness", the cops will not be sympathetic to their cause. I don't think cops are sympathetic to circus gypsies that keep little girls that don't belong to them. But if it were that simple. Patty does not want to call the cops because she hopes that her mother will come back, and she does not want the little girl to be taken away from the little mother, even if in fact, she doesn't know who this person is. </div>
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The movie plays out in poor neighborhoods of what appears to be Rome, and it is the simple story of Patty, Tairo and the young teenager (probably 13 or 14) Walter who falls in love in a fraternal fashion with the toddler, and is happy to take care of her, feed her, and keep her close to him to have the girl have a good time. All that Patty, Tairo and Walter are trying to do is to have Asia, the little girl, have a good time, and not be afraid that her mother is not around. Patty hopes that the mother will show at one point or another and claim the girl back. This finally becomes an ambiguous feeling as Patty starts feeling attached to Asia, her delicate smile, and her beautiful presence. Asia is indeed beautiful. I imagine it would be hard to capture the charisma of a three year old in film, and try to make it look as if it is not a film, as if it is in fact reality. Or maybe it's very easy. Maybe toddlers in movies, like Asia, don't know exactly what's going on, and just manage to have absolute fun. But Asia's happiness and sadness are both captured in this film which makes it absolutely beautiful, and devastating at times. </div>
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Walter is, by far, the strongest character in the film. He has a mix of naivete, good manners and boyish attitude that cannot but be absolutely natural. He gives a tremendous "performance" and by his young age and devoted care to Asia wins the audience easily. Nothing is more charming than a young boy taking care of a toddler. It's probably an old and stupid stereotype. I accept it. But boys are roudy, and careless and immature. And this boy is that, sure. Plays soccer, has a girlfriend and is mean to her, but also lives by himself in a trailer, cooks his own meals, and manages to care for this little girl in his innocent ways.</div>
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This is a poor, circus, gypsy, filthy, and ignorant family that lives in the outskirts of society. Struggling for money, with not even a "proper" home to live in, but they have something that is much more meaningful than any capitalistic consummer gain, whether it is money, a home, good clothes, a good education, a proper bath and a good family, they have compassion, for a stranger like Asia. </div>
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What seems very interesting about this film after having watched it, and after having done some research is that this is not the first film that features Patty, Walter and Tairo. The directing couple Covi and Frimmel had already featured these three characters in <em>a DOCUMENTARY</em> called "Babooska" in 2005. Babooska, if I don't remember incorrectly, is a minor character in this movie ("La pivellina"), I believe it is Walter's grandmother that appears from time to time, or maybe, does not appear, and she's just merely mentioned. "Babooska" was a documentary depicting the life of this circus act, and of all of the different aspects of Babooska's life and the lives of those that were close to her. </div>
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I don't think "La pivellina" is also a documentary. I believe it is a work of fiction, because of some of its narrative techniques. However, the fact that Patty, Walter and Tairo stop being real people, to play themselves as characters in this new movie is very interesting. I did not want to anticipate a post that I was planning later on where I was going to pull together all of these film reviews that I am doing, but I seem to be needing to give a little heads up by saying something here. This is a tremendous play on the idea of the "other". Patty, Walter and Tairo who function as "others" for society (because of the fact that they do not belong to the consumer-based capitalistic normative), take on the role of a person who is not really an "other" but an integral part of modern society (and probably some ancient societies as well), the "actor" in order to play that role of "otherness" that they originally represented. It's almost as if they stepped out of their own reality in order to see it clearly. And the audience now sees that we are all "others" that don't belong, or partially belong, but at the same time that we are not "others" because perhaps we are all capable of what this family was capable of, even if we don't practice it as much as we should, even when we forget day to day about how easy it is and how helpful it can be to "others". That thing that we are capable of doing is to have compassion for others. Strangers, foreigners, or friends. It's all the same thing anyway. </div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-920445174247939012010-06-03T01:11:00.006-04:002012-06-04T15:32:46.528-04:00ND/NF: I am love: An affair with Tilda Swinton<div align="justify">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAtm1mWbqhO9iTBfD2HoqbMGroonywe3TXWbptEZs_vg5IFDEZp5M6tpArv1X3yBo7aPrLQxRRdbDSY2tiRuxJc642riPwMpDMkwZ1inJzEoLI2Hg-Xzd8LM7Nbf3Zi86nxCRfxPsFyw/s1600/i_am_love.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5478411261867026994" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAtm1mWbqhO9iTBfD2HoqbMGroonywe3TXWbptEZs_vg5IFDEZp5M6tpArv1X3yBo7aPrLQxRRdbDSY2tiRuxJc642riPwMpDMkwZ1inJzEoLI2Hg-Xzd8LM7Nbf3Zi86nxCRfxPsFyw/s320/i_am_love.jpg" style="cursor: hand; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
Tilda Swinton gives an spectacular performance in this Italian film by the young director Luca Guadagnino. Her Italian is probably not the best, but since she's playing a russian immigrant who married into the family of a textile factory empire, it's probably not very important in any case. This film, as all the others I watched in the 2010 version of ND/NF was a film that had me pondering over it for many an hour (partly the reason why I have not posted about them until now, two months after the festival). I am Love is an outdated sort of film. It's a story of love, deceit, desire and lust. And there are plenty of those. In Hollywood and outside. But perhaps it is much more than that. There are lots of things happening in the background, things that are said, and in my opinion, others equally interesting that are left unsaid.<br />
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The Recchi family is all you would expect of an upper class Milano family to be, and to look like. They have an air of entitlement, but they are respectful, mindful of their wealth, sophisticated, chic, and absolutely beautiful. The third generation, Edoardo, Elisabetta and Gianluca, are three young angels. They are stunning and very nice to look at. But they have their share of problems. The story of "Io sono l'amore" revolves around Emma (Tilda Swinton) and the infatuation that she starts developing over one of her son's Edoardo's friends, Antonio, who is an adept chef. Food takes in important role in the movie (Is that supposed to be very italian?, I don't know what to think...). There's cooking food, and enjoying food, and eating it, possibly, becomes a metaphor for consumming the phallus and for knowing that which is not oneself, for bridging boundaries, but it also has a taste of hedonism.<br />
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Yes, this family is the epitome of hedonism. They are the burgeoisie. Rich, powerful, sophisticated, the makers of culture. They are the embodiment of what society should be like. Families should be patriarchal, the power passed down from grandfather to fathers and sons (and this actually happens in the movie, when, grandpapa Recchi gives his son Tancredi and Edoardo ownership and control over the family business to continue on the dynasty, with the appropriate speech, of course), women should be pieces of furniture, adequately smart, of course, and beautiful, but they operate in the pheriphery of business, and they don't quite care much for it. Not that I care about business either. But if my family seems to be doing quite well in this whole textile company things, whether man or woman, I'd care to at least make sure that it continues, I suppose.<br />
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The only remark where one sees that women actually care to even comment on the business is when, after the company is passed down to Tancredi and Edoardo, Tancredi and his other son Gianluca decide that the company should not longer exist as tradition has perhaps set way and are trying to sell off the company so that it will become some sort of financial conglomerate and make the Recchis richer than ever. The person overseeing the process is a British Sikh, played by Waris Alhuwalia (who I have not seen playing main roles, but seems to me a very decent actor), and I point this out because I think it is very important for the movie that it is a British Sikh, and not anyone else who is assisting them in this financial move. The remark, to go back to the original point here, is made by Elisabetta who after hearing from worried Edoardo about what Tancredi and Gianluca are doing, just says "Well, we'll be even richer than before." Not without its mark of sarcasm. Edoardo loves his company, the legacy which was placed under his care, loves a particular way of life. One of the scenes features him, walking with his wife, around the company that he loves so much, mingling with workers somewhat, but at one point says something just fantastic, "Oh my grandfather used to eat in the cafeteria, with the workers, to make them feel as if he belonged with them." Right. He didn't. It was a charade. Like this whole movie seems. A charade of wealth, of money, of power. A charade about to be broken, dismantled, and a way of life to be exposed.<br />
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Two of the instances of the destruction of the burgeoisie way of life, of the idyll depicted in the movie, were already mentioned (Emma's infatuation with Edoardo's friend, and the selling of the textile company). One of the other moments where the perfect, idyllic, adorable milano family breaks apart is when Elisabetta confesses to her mother that she's gay, and is in love with another woman. Emma ends up cheating on her husband, and the infatuation with Antonio leads to a secret relationship between the two. Antonio does not want Edoardo, who has just financed Antonio's new restaurant in the outskirts of Milan, to know about his affair with Emma, and Emma, of course, does not want anyone in her family to know about Antonio.<br />
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Something very important to point out, and perhaps the foreshadowing moment for the emplotment of the movie happens when grandpapa Recchi is about to give the speech where he will pass down the company's control to Edoardo and Tancredi. It is the grandfather's birthday and Elisabetta, who had promised some of her artwork as a gift, gives her grandfather a photograph she has taken. Her grandfather does not seem very pleased, and asked her why she didn't paint a picture, and ends up dismissing the photograph and thanking Elisabetta and telling her that she still owes him a painting. Old art against new art.<br />
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The climax of the movie develops when Antonio prepares an important dinner at the Recchi Mansion for the Recchi family and Mr. Kubelkian (Ahluwalia), and Antonio makes the family a soup (again, food is very important!) that he has learned to make from Emma, revealing to Edoardo (the only one who catches on) his relationship with Edoardo's mother. Edoardo realizes instantly, looks at his mother and walks away from the table, shocked. Emma runs after him, and tries to speak to him. Edoardo is furious, disappointed, confused. They are speaking right outside the house, near a fountain pool, and in a freak accident, when Edoardo pulls away from his mother, he trips and falls hitting his head on the pool. Edoardo dies in the hospital, leaving behind a pregnant wife. It is not clear what is going on, or why Edoardo reacted exactly the way he did, but there had been a sexual tension built up between the two friends (Edoardo and Antonio), especially in Edoardo's looks toward Antonio, and although it is left unsaid, one can imagine that Edoardo was in love with Antonio. His resilience to let go of the past, let of go of his family's business legacy, becomes his resilience to accept himself, to accept the love that he clearly had for Antonio (Antonio probably loved him too...when Edoardo was getting married, Antonio didn't look too happy).<br />
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Perhaps the movie is some sort of analogy for Italian society. Not sure. A society that in the hands of Prime Minister Berlusconi (and AC Milan's owner) has been notorious for its nonacceptance of others, such as foreigners, and for its extreme right wing conservatism. It's perhaps too much to conclude, as my knowledge of Italian politics and culture is very limited. But as an outsider, this is my small commentary.<br />
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What's very interesting about this movie is that the relationship with those "others", with that "difference" that ultimately breaks down the Recchi dynasty is not absolutely clear. In one instance, Edoardo's resilience for the financial move (now, you see my point about the British Sikh?) seems to be honorable, Elisabetta's fear of not being accepted by her father and family is expected, and Edoardo's love for Antonio is not even mentioned. So it is not clear if the movie wants to sponsor an acceptance of that which is not tradition, of that which is an "other", of that which is "difference" in the world, or if in fact, is advocating against it. At the end, the movie seems a big parody. A parody of a perfect 20th century rich, traditional, powerful italian family. But it's the 21st century and it's not clear if the movie has a particular stance. And that's what makes the movie fantastic. It keeps its ambiguity and by doing that, shows the difficulty about a postmodern, globalizing, capitalistic, gender and sexually mixed world. There are no clear answers, and the power of tradition is awfully strong.<br />
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Emma, after Edoardo's funeral and her confession of her love for Antonio, takes off for her house, packs up (with the help of her loving maid, who cries as she helps her pack) some of her belongings and runs away with all of her family in the living room watching as she goes. She embraces Elisabetta for a last time, who is happy to see her leave, finally free from the Recchis, from herself.</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-39920537518050287692010-05-08T20:04:00.005-04:002016-04-29T20:34:41.227-04:00ND/NF Films: Dogtooth<a href="http://www.newdirectors.org/2010/wp-content/uploads/2010/03/dogtooth.jpg"><img alt="" border="0" src="http://www.newdirectors.org/2010/wp-content/uploads/2010/03/dogtooth.jpg" style="cursor: hand; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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This is one of the quirkiest films I have ever watched in my life. But it is also one of the most suggestive films as well. It is a story about a family that is absolutely controlled by the patriarch of the family. The film combines dark humor with a strange perversity that makes it very odd to watch. The family is composed of five family members. Two young girls and a young guy probably in their mid-twenties, the mother and father. The father works in a factory near their place of residence, and the mother and children remain in their home all the time. They are kept inside by a preposterous lie created by the father and mother that makes them fear the outside. It is not clear what this lie is, but is a tantalizing lie that makes one of the girls fascinated with the idea about the outside. </div>
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There is no clear story line to the movie, it is just a jumble of different happenings surrounding, mainly, the life of the three "children". In this sense, it is very clear that the movie is allegorical, because it is more preoccupied with creating a scenario, than by telling a story. This is not necessary a negative aspect of the movie. I suppose the teleological characteristic that is inherent in movie-making would suppose that there should exist a distinct story line with a distinct purpose, but plenty of bad movies are made that have distinct story lines and distinct purposes. Pick any Hollywood film and it will most likely be a great example of this. </div>
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The main point of Dogtooth is control. How ares lives controlled? The patriarch manages to control the lives of his children (and his wife as well but in a different way) by creating a paradigm that they understand and makes sense to them. The idea behind this paradigm is to keep the "children" inside the house. The outside is a terrible world that they are not ready to manage or to deal with. The father does this by many different means. The most important mean that he uses to control their lives is language. He uses language in a variety of ways. For example, objects are called by different names so that a "chair" may be called the "sea" or a "sofa" might be called "salt". I still don't quite understand why there is a need to use "wrong" names for certain objects, but it is part of the father's plan to control every aspect of his children's lives. One of the telling scenes of this control comes when the father, after having dinner with his family, asks the children if they would like to hear their grandfather sing. Then, he puts an old LP of Frank Sinatra in English (I should mention now this is a Greek movie in Greek, watched by me in translation) and translates the song as saying something like "Family is very important, children should be respectful and follow their parents' orders" etc. I don't know what the song was that played in the movie, but I think it is clear that the lines were "accurately" translated by the father for the purpose of ideological brainwash. </div>
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However, like in all apparatuses of ideological control, and the dogmas that are transmitted by these paradigms, there are things that don't make sense, and that create differences that translate to injustices. The father brings in a woman that is a security guard at the factory where he works to sleep with his son. It is left partially unsaid, but it is clear that it is believed that the boy has some certain sexual impulses that must be satiated; an impulse that is not shared by his sisters (right...). The movie fails in one point here...there is a scene in the movie where the sisters seem to be encountering, dealing and acting on those sexual impulses, and in a moment where one of the sisters wants to "lick" her sister, the movie shies away from having them experiment sexually. The sister ends up licking her sister's leg or shoulder but not other interesting spots that may be more...impulsive. It is not that this would satisfy my impulses as a viewer (ahh, possibly), but it makes the sisters look naive, and kind of ends up reinforcing the boy/girl difference and hierarchy. </div>
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The movie is disturbing at times. All the women in the movie are victims of psychological and physical violence that is, if I may, absolutely disgusting at times to watch. The mother is seen suffering throughout the movie for the lie that she's imposing in her own children. Why does she continue with this? It is not really answered. In a scene when the father meets the security guard (that has been sleeping with the son) after she has possibly jeopardized the idyllic nature of 'home' by lending some Hollywood movies to one of the sisters, the father beats the woman with a VCR in her apartment. It is an extremely violent scene. People in the theater were laughing, as the woman was violently beaten. I won't try to distinguish myself from other viewers. I wanted to laugh too, I controlled myself and I didn't. But this was intended. My whole reaction was intended by the director. Or so I think. And this is where this movie is brilliant. </div>
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The movie is called 'Dogtooth' because "only when one of the dogteeth (canine teeth) is longer than the other, will they be allowed to go outside", or so goes a saying that the sisters and brother talk about. One of the sisters then takes a five- or ten-pound weight to her face, breaks her dogtooth, leaving blood and tooth pieces al over the sink and runs away: someone will always want to run away into the unknown. </div>
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The implications of this movie are very interesting to think about. Home, outside, outsiders, insiders, immigration, boundaries, borders, foreignness. All of these themes, and ideas, are in question here. </div>
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More pseudo film reviews to come from ND/NF....</div>
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See you soon in our Cafetin!</div>
Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com2tag:blogger.com,1999:blog-7466659643523645946.post-36135698830208188322010-05-08T19:44:00.006-04:002010-05-08T21:41:58.025-04:00Tumblr!!! and Twitter!So, I've just started another blog at <a href="http://www.tumblr.com/">Tumblr</a> for random media or pieces of information that I find that I would like to post, and share with the world. That blog is called "De todo y el silencio" or "Of Everything and Silences". I have linked this Tumblr as an RSS feed to the Coffee on the upper right hand corner...where it says "<a href="http://xfilosofo.tumblr.com/">Xfilosofo Tumblr</a>"....enjoy!!!<div><br /></div><div>Also, I've added the RSS for my twitter right above that...Enjoy that too!!! </div><div><br /></div><div><a href="http://www.twitter.com/xfilosofo">My tweets...</a></div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-2180357854226373052010-03-24T01:11:00.007-04:002012-06-04T15:33:12.694-04:00ND/NF Festival<div>
La versión 2010 del festival de <a href="http://www.newdirectors.org/2010/">New Directors/ New Films</a> nos empieza a acompañar desde el día de hoy en NYC. Espero poder regalarles algunas criticas sobre algunas películas. Creo que será un festival muy interesante este año. </div>
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Algunas películas que se ven interesantes...pero no se olviden de mirar el website! </div>
<a href="http://www.newdirectors.org/2010/i-killed-my-mother-jai-tue-ma-mere/">I Killed My Mother. Dir: Xavier Dolan</a><br />
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<a href="http://www.newdirectors.org/2010/dogtooth/">Dogtooth. Dir: Yorgos lanthimos</a></div>
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<a href="http://www.newdirectors.org/2010/the-father-of-my-children/">The Father of my Children. Dir: Mia Hansen-Love</a><br />
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Nos vemos pronto!<br />
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</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-9041312915069327202009-12-24T10:58:00.004-05:002016-04-29T20:34:56.672-04:00Felices FiestasHe estado en hiato por razones varias. En enero se renueva la conversación sobre García Márquez y la contemporaneidad literaria latinoamericana, más entradas sobre eventos musicales en NYC, más entradas sobre fútbol, y mucho más.<br />
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Felices fiestas y Feliz año. ¡Que se nos viene el 2010!Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-11767042985779628002009-10-31T14:25:00.004-04:002015-05-29T13:48:21.893-04:00Agro Ingreso Seguro y los pobres en Colombia<div align="justify">
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¿Por qué empezar esta entrada, este ensayo, este escrito con los zapatos de Van Gogh? Pues sí, obvio, porque los tengo en la cabeza. Los tengo metidos, y me estan carcomiendo un poquito el cerebro. Llevo mucho pensando en ellos. ¿Y que tienen que ver estos zapatos con el programa de Agro Ingreso Seguro en Colombia (AIS? Pues, ese ensayo de Derrida, que habla de la restitución. Porque de esto se trata todo esto, ¿A quién le pertenecen los zapatos? ¿de quién, fantasma no presente? ¿Será como nos dice Heidegger, de alguna campesina trabajadora? ¿O pertenecerán al mismo Van Gogh? Pues este es el asunto que nos lleva hoy por los caminos de las palabras. Esás preguntas son, de alguna manera, parecidas a las que hoy en día se hacen los Colombianos en relación con el AIS. ¿A quién le pertenecen esos subsidios? ¿A a oligarquía Colombiana, mejor preparada para la presentación de un proyecto feasible, concreto y que demuestre la puntuación necesaria para su aprobación? ¿o al campesino, solitario, que dedica sus días, al sol, con su haz y su brazo acanelado pero con el castigo moderno de su poca educación? ¿y que finalmente, le sirve más a Colombia?<br />
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El proyecto de AIS se fundó con la idea en mente de renovar, mejorar, tecnificar los modelos de producción agrícola en Colombia para desarrollar mecanismos de competividad que pudieran obtener el resultado de seguridad alimenticia para Colombia, y para sus vecinos. Dentro de esta idea, el proceso de subsidios se haría a aquellos individuos que pudieran demostrar que pueden crear un proyecto viable de mejora de producción, ya sea en tecnología o mecanismos, para cumplir con estos objetivos. Pueden leer <a href="http://www.elespectador.com/impreso/articuloimpreso-ais-seguridad-el-sector-agricultor">este artículo</a> para ver la idea que tiene Andrés Felipe Arías, Ex ministro de Agrícultura, apodado con mucho cariño de parte de sus disidentes como ‘Uribito’ no por su parecido físico sino por su similitud en materia política, del AIS, y de su razón conceptiva del proyecto. </div>
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Desafortunadamente, AIS a logrado que algunas familias adineradas de Colombia lograrán hacerse recipientes del subsidio, con nada módicas sumas de dinero para acaudalar impetuosamente sus largos bancos de dinero adquirido. Intempestivamente, la revista Cambio publicó <a href="http://www.cambio.com.co/paiscambio/847/ARTICULO-WEB-NOTA_INTERIOR_CAMBIO-6185730.html">este artículo</a> que demostraba un inherente y sistémico sindrome de inequidad en la aprobación y debito de estos subsidios. La realidad es que díficilmente el pequeño agricultor puede llegar a demostrar el puntaje adecuado para ganarse el subisidio. Es cierto que no es imposible, pero por razones de tiempo, dinero, y difusión de la información, los pequeños agricultores y los campesinos son los menos beneficiados por este tipo de propuestas. Arías dice, como comenta <a href="http://www.eltiempo.com/archivo/documento/MAM-3641989">este artículo</a>, que el subsidio debe ayudar a ricos y pobres, pero la realidad muestra algo totalmente distinto, y Como nos dice este <a href="http://www.eltiempo.com/archivo/documento/MAM-3647292">otro artículo</a>, quedan muchas cosas que explicar. El mismo Arías nos dice que los subsidios a los ricos pueden ayudar a erradicar desigualdad. Esto lo pueden leer en <a href="http://www.cipcol.org/?p=1137">este blog</a> (Ahí pueden encontrar una discusión bastante interesante, y bastante informativa sobre el tema).<br />
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No alargo mucho esta entrada en mi blog, ya que puse muchos hipervínculos a artículos para que pudieramos leer, y pues con poco tiempo para esto, los dejo finalmente con <a href="http://www.eltiempo.com/opinion/columnistas/rudolfhommes/ARTICULO-WEB-PLANTILLA_NOTA_INTERIOR-6361987.html">el artículo</a> de Rudolf Hommes, ex-ministro de Hacienda durante el gobierno de Cesar Gavíria. El problema es de restitución, y de cuales son las metas. El gobierno de Colombia quiere una mejor Colombia dándole más dinero, más derechos y mejor vida a los ricos, porque eso, al final del asunto, también va ayudar a los pobres, dicho en simples palabras. Creen que al enriquecerse ellos, y por lo tanto Colombia, en realidad se está enriqueciendo el país. Pero somos cada vez mas pobres, menos educados, mas hambrientos, y menos humanos. Los indígenas siguen siendo desplazados, las universidades públicas desposeídas, la salud es un negocio y no un derecho, y la vida un paradigma de sumas y restas. Para la mayoría de Colombianos es un paradigma de muchas restas, y pocas sumas. “En surcos de dolores el bien germina ya”, dice el himno. Surcos que solo los ricos van a poder labrar. </div>
Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com1tag:blogger.com,1999:blog-7466659643523645946.post-67621551102083791182009-10-28T10:50:00.005-04:002012-06-04T15:33:41.420-04:00Y me pido la palabra...Honduras, Colombia y política externa de Estados Unidos<div align="justify">
A través de mamaradio.blogspot.com, el blog de Mario Murillo, profesor de Hosftra University, encontré <a href="http://colombiajournal.org/colombia317.htm">este artículo</a> muy interesante sobre la aparente inefectividad de los Estados Unidos en la crisis política que esta viviendo Honduras. El golpe de estado propiciado por Micheletti en contra del presidente Zelaya, o destitución como algunos de mis amigos Hondureños prefieren, parece no haber recibido la reacción esperada de parte de Washington. Como le dije a algunos amigos cuando Obama fue seleccionado como el Premio Nobel de la Paz, los suecos saben jugar muy bien al ajedrez. Pues Obama también juega al ajedrez. En este caso, le sirve mucho no asociarse fuertemente con Zelaya, quien es un aliado de Chavéz en la región, y podría causar bastante de que hablar a la maquinaria republicana de extrema derecha en los Estados Unidos. Bueno, entonces c4 x b5. Alfil por peón.
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Disfruten del artículo de Colombia Journal: <a href="http://colombiajournal.org/colombia317.htm">http://colombiajournal.org/colombia317.htm</a>
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y de Mama radio, blog de Mario Murillo también: <a href="http://mamaradio.blogspot.com/">http://mamaradio.blogspot.com/</a>
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<br /></div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-3781208961275675382009-10-14T10:16:00.008-04:002012-06-04T15:34:36.160-04:00Análisis del partido Colombia vs. Chile: El tigre apagado y la desconexión Colombia.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyATGntZsopLVLGRY1-H9iZtBdM6QGE35Cf20GOJrK7i5U5NWHs77jjzvFRd2oBLYOpoNJfQBsJcyCyOAX1HCKNbzwiWPCq2KvQISAKkOi9kyb6RHqxW2-sBcYHITv-2cb5wY5paUE8Q/s1600-h/colchi-(27).jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5392549895756004418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyATGntZsopLVLGRY1-H9iZtBdM6QGE35Cf20GOJrK7i5U5NWHs77jjzvFRd2oBLYOpoNJfQBsJcyCyOAX1HCKNbzwiWPCq2KvQISAKkOi9kyb6RHqxW2-sBcYHITv-2cb5wY5paUE8Q/s320/colchi-(27).jpg" style="cursor: hand; display: block; height: 205px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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En primera instancia disculparme porque el análisis que presento solo tomará en cuenta el segundo tiempo del partido, y los comentarios que escuché del primero. Desafortunadamente, problemas técnicos con la señal me impidieron poder ver el partido completo. Pero creo que me pude hacer una buena idea del partido, aún solo viendo el segundo tiempo. </div>
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A decir verdad, partidos como este, selecciones como esta, fueron las que me quitaron las ganas de seguir viendo fútbol por alla en el 94', cuando clasificados al mundial realizado en Estados Unidos, como uno de los favoritos, entre las diez primeras selecciones del mundo, no demostramos absolutamente nada. Todo el trabajo que se hizo en las eliminatorias, para nada. Y al volver de la selección a Colombia, la muerte de Andrés Escobar me dejo totalmente desganado. Dejé de ver fútbol por doce largos años. Hasta que en el mundial del 2006, Ronaldinho, Messi, Podolski, Klose, y jugadores de ese calibre, me devolvieron las ganas de ver este, el deporte rey, que es un arte, a su manera. Pero ver a Colombia es undirse en la más nítida desesperación, es no saber, ni entender, más de fútbol, es ver otra cosa. Parece otro deporte. No ese que aprecio. </div>
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Comparto, de alguna manera, con G. Meluk, editor de deportes del tiempo, que Colombia sufre porque hay una sobreestimación de la calidad de sus jugadores. El dice que los jugadores Colombianos no son tan buenos, y punto. Yo diría que hay un gran potencial que no sea manejado bien, y que no se ha hecho relucir. Colombia, despues del sagaz y fortuito 5-0 de ese 5 de septiembre de 1993, siempre gana los partidos antes de jugarlos. Los jugadores no entregan su alma en la cancha. Bueno, no todos. El único que nos hubiera podido dar ese poquito más de ganas para ganar sería Vargas. Pero desafortunadamente, con Fabián alejado de las canchas por esa descarada lesión, Colombia sin él no tiene garra. </div>
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Bueno, dejemos ahi las cosas foráneas al análisis del partido. Primero, me voy a hechar flores. Les dije, Jackson, que llevaba, dos en dos partidos, no iba a marcar, a menos que marcara Falcao. Y Falcao, no se desperto. Sin Falcao despierto, el partido no se gano. Y además, como cosa rara, Lara utilizó a Falcao en una posición la cual no le pertenece, por lo menos en los últimos 20 o 30 minutos del segundo tiempo. Es decir, se dieron las dos cosas que yo me esperaba. Que Lara utiliza mal a Falcao, y que Falcao no mostrara garra. </div>
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Pero bien, analizemos la formación de Colombia. Ospina, Pablito, Yepes, Cristian, Zuñiga, Pabón, Aguilar, Guarín, Hernandez, Jackson y Falcao. El primer punto negativo es utilizar, para un partido tan importante, a Zapata en vez de Córdoba, y a Pabón en vez de reorganizar el medio campo con Marín por la izquierda. Era importante utilizar jugadores de no solo buena condición técnica, sino de experiencia en partidos que hay que definir. En esto fallo Lara. </div>
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No soy un fánatico de Hernandez, pero de los mejores partidos de la selección fue ese en que conectaron los dos Giovanis contra Ecuador (Es una lástima que por problemas físicos Moreno no pudo estar todo el partido), y Hernandez, aunque no necesariamente de mi parecer, es, hoy por hoy, uno de los jugadores más tecnicos, sino el más tecnico, sin contar a Riquelme, jugando en latinoamerica. Bueno, y en todo el continente americano. Pero eso sobra. Dicho eso, yo dejo a Hernandez, todo el partido, porque, como se dice a veces en el fútbol, es uno de esos jugadores, que puede no hacer nada en todo un partido, pero con un toque de genialidad, te lo arregla. Entonces, no dar la oportunidad de que Moreno y Hernandez se complementaran fue también un problema grave.</div>
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Hubo algunos errores defensivos al final del segundo tiempo en los dos últimos goles, y en eso, fue donde pesó el error de poner a Zapata. Porque Córdoba es considerado uno de los jugadores más rápidos del mundo, y tal vez hubiera hecho la diferencia. A Zapata, el mediocampo y los delanteros chilenos, se lo comieron vivo. Se regalaron mucho al ataque, con Zuñiga como volante casi, y con los otros defensas muy adelantados. Como dijeron del Atlético de Madrid actual, esto de la linea de defensa adelantada, es uno de los peores inventos en el fútbol. Pero en el caso de la selección, no había de otra, entonces, era mejor intentarse irse al todo por el todo.</div>
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Los cambios que hubo, no me gustaron mucho. No hubiera sacado a Guarín, pero debo decir, que Marrugo, en contra de mis expectativas, fue el único que demostro garra. No Moreno, que es un jugador muy tecnico, y metió gol, pero tuvo mucho tiempo el balón en los pies, y el gol se lo encontro. O sea, que a ese gol no le doy tanto mérito. Y Rodallega. Rodallega, preciso lo de siempre. No jugó un buen partido. Corrió mal, recibió los balones mal, y uno de los pocos tiros que hizo, fue un gol de campo. Sí, un gol de campo, de esos de fútbol americano, que tienen que pasar bien arriba, entre esos dos palos de la T en ese deporte. ay Rodallega, te quieren tanto que por que juegas en el Wigan. Y que porque le metiste gol al Manchester. Pero para mi, todavia no has hecho mérito. </div>
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Colombia circulo bien el balón, pero no hizo lo que yo pensaba que iba a hacer tacticamente, que era circular el balón por el medio. Arriesgo más por los costados, y cuando Lara vió que no le dió resultado, sacó al mejor jugador que le puede entrar por el medio, Hernandez, para ver si podía seguir jugando por los costados. De verdad que Lara debe quedarse en la selección, porque él lee los partidos muy bien, dejenme decirles. Eso fue la falla de Colombia. No tocar el balón. Miren, esos que dicen, y dijeron, que el fútbol de Colombia tenía que ser más vertical. Tal vez tenían razón. Bueno, ahora el fútbol es más vertical en Colombia. Pero metemos menos goles. hmm, que raro eso. No se les olvide la Roja actual, y el fútbol culé. Ese fútbol es el colombia que conocemos. El del toque toque. No se les olvide. </div>
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Y finalmente, lo mas grave de Colombia, sigue siendo lo de siempre: los delanteros. Falcao, jugando por las bandas, como Messi, es fatal. Rodallega y Jackson recibiendo balones, haciendo de pivot, pero parecían rídiculos. La mayoría de balones que les llegaban, con ellos de espaldas al arco, terminaban en el pase atrás mandando un globito. Se les olvido hasta como hacer un pase atrás, dar la vuelta y correr en diagonal. Paupérrimo, esto. Sigue sin haber conexión entre los mediocampistas ofensivos, y los delanteros. Y Lara, hombre, por favor, a Falcao no lo pongas a correr, a hacer nada. Ponlo en el punto de penal, y dile, quedate aqui, cuando te llegue un balón, le pegas al arco. Punto. Eso es lo que hace él. Punto. Rodallega nada, y Jackson, Jackson lo rescato solo porque es su tercer partido con la selección. Y esperaban mucho de él. A este muchacho le falta, es bueno, y tiene garra, pero necesitaba más claridad de sus compañeros, para que se sintiera más comodo. Y bueno, por ahí Quintero hubiera podido hacer algo, con su regate, pero no estoy seguro. No ha demostrado tampoco mucho, pero creo que va a tener buena proyección, este muchacho. </div>
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Entonces, para la próxima, recuerden. Goles, Delanteros, regates, medio campos ofensivos. Conexión. Estas son las claves para ganar, en lo que refiere a la selección Colombia. La identidad del fútbol colombiano ha sido un fútbol de toque toque, y de buena conexión entre delanteros y mediocampistas. Y esta es la identidad que se debe reencontrar. </div>
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Mención de mérito a David Ospina, que camina por buenos pasos, y se convertira en uno de los mejores arqueros que Colombia ha tenido. Fue un excelente partido para él, y se consolidó para los procesos que se vienen. El será el arquero de Colombia en el futuro más próximo, hasta que aparezca algún jovencito más. </div>
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Está también la pregunta de si debe seguir Lara, pero será para otra ocasión. Pero si yo fuera Luis Suarez, no apoyaría tan ciegamente a Lara, a menos de que no quiera que me hechen el bulto a mi. </div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-78464358892060175092009-10-10T08:37:00.006-04:002012-06-04T15:35:12.069-04:00Un Tigre entre dragones: la única esperanza para la selección Colombia<a href="http://www.miathletic.com/media/galeria/6/8/4/9/8/n_athletic_de_bilbao_posibles_fichajes-158948.jpg"><img alt="" border="0" src="http://www.miathletic.com/media/galeria/6/8/4/9/8/n_athletic_de_bilbao_posibles_fichajes-158948.jpg" style="cursor: hand; display: block; height: 518px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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Aunque los medios proponen, muy airadamente, y no se con que tanta crítica, sí, estos bípedos parecidos a los Homo Sapiens que se disponen a hablar de fútbol constantemente (como yo) pero que a veces dicen mas tonterias que certezas, que Colombia va a hacer un juego ofensivo. Les voy a decir porque esto no es realmente así rápidamente. Colombia no va a jugar ofensivamente, aunque lo necesita. Colombia ha jugado con un medio enganche, y un delantero su gran mayoría de partidos en la selección, y con tres volantes de marca. Esto es un fútbol muy defensivo. Tres volantes de marca es mucho, si la idea es anotar goles. Como lo dice Meluk, el fútbol de Colombia ha sido muy tecnico, muy táctico, pero nada ofensivo. Pero no me convence lo que dice Meluk en su columna de opinión de hoy. De que Colombia va a jugar un fútbol ofensivo. Ojala. Lo veremos en la cancha en algunas horas. Pero, la planteación es y sigue siendo de tres volantes de marca. Que porque este Dorlan Pabon es un correlon, y corrió en el partido contra Mexico, de todas maneras, no me la creo. Ya ha habido partidos con Marín en la izquierda pero dedicado a marcar, y con otros nombres que supuestamente eran dizque volantes ofensivos, pero terminaron defendiendo. A ver, digamonos verdades, hasta Falcao ha defendido casi todos los partidos. Esto es peripatético. Pero bueno, no tan peripatetico como decir que Colombia esta planteando un partido distinto de lo que ha hecho anteriormente. El unico partido que valió la pena en toda esta eliminatoria fue cuando Giovanni Hernandez y Giovanni Moreno jugaron juntos. Eso era fútbol ofensivo. Dorlan Pabón? Caray. No se la crean. Aunque entiendo lo de los tres volantes. El juego de Colombia va a ser simple. Ganar en el mediocampo. Bielsa juega con tres delanteros, entonces, Colombia quiere contrarestar esto armando linea de tres, y ganando los balones en el mediocampo, circulando el balón. Pero le tengo miedo a esto. Porque es a lo que ha jugado Colombia todo este tiempo...y no ha tenido resultados.<br />
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Entonces, el primer punto que quería dejar bien claro es que este importantisimo partido que nos jugamos contra Chile, ni esta planteado diferente, ni tiene nada de nada en cuanto a revelaciones tácticas, técnicas, o fútbolisticas que no hallan intentado de hacer antes Pinto o Lara en la selección. Este partido no se trata de jugar distinto. Este partido, para Colombia, va a hacer de individualidades. Y bueno, no hablemos de individualidades, de una, Radamel Falcao García. El va a decidir el partido para Colombia. Punto.<br />
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¿Por qué me decidido por hacer semejante declaración? ¿Por qué le entrego el peso del partido a este muchacho que poco, o nada, ha hecho con la selección? ¿Por qué me permito a darle tanta importancia a este joven dizque goleador? Unas simples razones.<br />
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Primera: Lo de Colombia ha sido simple en toda este eliminatoria. Falta de goles. Falta de delanteros. Falcao es el único de la actualidad fúbolistica colombiana que tiene el nivel para definir el partido.<br />
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Segunda: No van a hacer Teo ni Jackson. Jackson probablemente marcara su gol. Pero no hasta que marque Falcao. Esta muy tibio en esto de las eliminatorias. Y el de esta noche, es un partido de miedo. Y contra el Chile de Bielsa.<br />
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Tres: Falcao esta teniendo suerte con las redes en Europa. Y no con cualquier equipo. Con los dragones del Oporto, peleandose puesto con Mariano Gonzalez, el Cebollita, Hulk, Varela, Farías...delanteros de buena talla...y el tigre, la ha hecho bien. Ha tenido suerte pero la ha hecho bien.<br />
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Cuatro: Si hay algún delantero en Colombia que halla jugado partidos díficiles, y que halla enfrentado rivales duros, y que halla definido partidos, es él. Falcao.<br />
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Cinco: a lo bien, miren, Falcao es un ridiculo. Habla como Argentino, se cree cercano a Dios, no solo porque es muy religioso sino porque en realidad es prepotente, y se que solo ha metido un gol en la selección. Creanme, no me cae bien ahora. Antes, tal vez. Pero ahora no. Pero es el único delantero colombiano actualmente que tiene el fogeo para esta clase de partidos. Es una realidad. Punto.<br />
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Entonces, a este tigre, que le saca las uñas a los periodistas todo el tiempo, pero que esta en una deuda gravisima con la selección Colombia, le doy la batuta. Ojala, y ojala que Lara no le halla dicho que se ponga de volante de marca por la izquierda, como lo ha hecho en otros partidos. O ojala, que Falcao, no lo escuché.<br />
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Pasar al mundial ya no importa. Puede que si puede que no. Hagan la matemática. Ya la hecho yo mil veces. No me importa. lo que importa es que hay que salir de estas eliminatorias en alto, con ganas de más, con ganas de volver en las siguientes a plantear con un equipo establecido. Este puede ser el gran comienzo para establecer esa esperanza para la siguiente decada. Falcao, ponte la camiseta hoy como si fuera la de River. Demuestranos que a esta, la de los tres colores primarios, tambien la quieres.</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com1tag:blogger.com,1999:blog-7466659643523645946.post-87004512715349662492009-07-15T01:19:00.007-04:002016-04-29T20:31:05.710-04:00Gabriel García Marquez. Primera parte: y aparece Macondo en la realidad Latinoamericana.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8MUts1oTEjJre9B9_nM8ezXjirshP71KwIafNWkNiOmgFA-un1rpWMS43QbsuXuuTr_fxCmX-USkKf97nFI3c_0ObouhHplWlRQeVBCPUfOIp6px_m2Z-x6i4jdfjPS3bfWY5zZgSJ2c/s1600-h/Cienanosprimeracaratula.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5364122427964736866" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8MUts1oTEjJre9B9_nM8ezXjirshP71KwIafNWkNiOmgFA-un1rpWMS43QbsuXuuTr_fxCmX-USkKf97nFI3c_0ObouhHplWlRQeVBCPUfOIp6px_m2Z-x6i4jdfjPS3bfWY5zZgSJ2c/s320/Cienanosprimeracaratula.jpg" style="cursor: hand; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 214px;" /></a><br />
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No es fortuito, ni se la crean, que la novela más importante de Gabriel García Márquez, por popularidad, haya sido publicada en Buenos Aires. Pero mucha gente no piensa en eso. Macondo simplemente se les apareció, a algunos como espejismo caribeño de una realidad otra a la cual no pertenecían, y a otros, como espejo de una realidad un poco más íntima. Eso en cuanto a los lectores promedios de la novela, en Latinoamérica. Otros lectores verían, tal vez, un idílico paraíso lleno de aventuras fantásticas que se convierte finalmente en el más grande de los infiernos, y otros, más letrados, buscarían en sus páginas el compás de toda una historia literaria latinoamericana. Pero lo que sí nos queda claro es que en Cien años de soledad empieza algo. Y hay un antes, y un después. Me dispongo en las próximas líneas y párrafos a hablar un poco acerca del tema. Tampoco es fortuito que me ponga a hablar de esto ahora mismo. No que García Márquez no vaya a ser tema de hablar por mucho tiempo, pero tengo por lo menos en mente un enfoque para la discusión que me dispongo a realizar. No les voy a decir todavía el porque de mi disposición a escribir de Gabo, más bien, hablemos de Macondo, de ese pueblo de barro y caña brava donde las cosas, que aún carecían de nombre, había que señalarlas con el dedo.<br />
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El libro apareció en quioscos y librerías de Buenos Aires exactamente en Junio 5 de 1967. Fecha no inusual, y poco importante en el mundo si no fuera por los “nubarrones bélicos” (Eligio García Márquez, 15) que empezaban casi al otro lado del mundo. Israel estaba invadiendo a Egipto. Y bueno, no sería ni la primera ni la última vez que Israel va invadir a alguien, pero curiosamente, me pregunto, si tuvo esto algo que ver con el éxito inmediato de la novela. El Buenos Aires de aquel entonces (la verdad no se si el actual también) constaba de la segunda comunidad más grande de Judíos, y no sería por casualidad, que ellos se cruzarían con aquella portada, y con ese galeón español que los saludaría extrañamente, mientras ellos, atravesaban los estantes en busca de la información necesaria, esa información fresca de las imprentas, que les hablaba de un mundo, que de alguna manera, ya no les pertenecía. Curiosamente, así me siento hoy con Gabo y con Macondo. Es ya un mundo que no me pertenece. Pero, bueno. Mejor no desvarío. Sigamos con nuestra historia. Entonces, aquel influjo tal de transeúntes que en un lunes poco común dentro de los más comunes se dispusieron a comprar el diario, habría algunos que se toparían con este otro mundo, el de un pueblo, en la mitad de algún lugar del Caribe, donde una familia, una estirpe sin igual, como esta de los Buendía sería victima irremediable de esta voz, esa voz, que aún ahora, parece apostólica, clamándola, arrojándola, definitivamente, a destruirse a si misma después de Cien años de soledad. Les digo un secreto. En Colombia, llevamos 199 años de soledad, no se nos quita el letargo, y no se nos cura la maldición.<br />
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La historia de Macondo no empezó con Cien años de soledad, pero este libro ayudo para inmortalizar este lugar. Ya muchos han leído esta novela, ya se ha ganado su escritor un Premio Nobel, y ya el Caribe cuenta con un lugar específico en la conciencia del mundo. Ese lugar, ese estereotipo, o prototipo, fue parcialmente comprado y vendido a través de esta novela, como también de otras, de esas a las cuales se les catalogaron rápidamente como novelas del Realismo Mágico. Esas novelas donde lo real aparece como magia, y la magia como lo cotidiano. Pero no es solo eso, nos dicen muchas cosas más. Nos dicen cosas mas fregadas, mas despercudidas, nos acentúan extraños y oscuros acordes de una realidad mucho más frígida y dura para el latinoamericano, y es que nos miramos a nosotros mismos con un espejo que muestra algo distinto a lo que ven los demás. Esto, particularmente, es lo que me ha causado tantos problemas con Macondo. Y con García Márquez. Este último se ganó una audiencia global vendiendo un producto. Vendió una realidad latinoamericana que era lo que se esperaban los de afuera. Ah sí. Los Latinoamericanos. Esos. Los que se acuestan con las primas, y hacen fiestas opulentas de días enteros, los que viven con un infinito calor entre la suciedad, los que se acuestan con muchas mujeres y tienen muchos hijos, los soñadores perezosos, los que viven en el pasado, entre la selva, con los animales, o en el desierto, con una que otra palma, ante un calor absoluto. No creo que esto era lo que disponía García Márquez. Me parece que esto sería darle poco crédito. Pero eso, de todas maneras, fue lo que logró. Pero no todo fue negativo. Es cierto. Logró de alguna manera, poner la literatura latinoamericana en un panorama global. Los grupos editoriales ahora miraron hacia Latinoamérica, y miraron a los escritores que salían de ahí como una manera de incrementar sus arcas. Que no esta nada mal. Al fin y al cabo escribir libros también es un negocio. Y uno bueno. Eso sí, obviamente no era, ni es, ni fue, el único escritor, ni tampoco el más joven, ni tampoco el mejor. Pero si fue el que logró más éxito editorial. Otros nombres, por supuesto, J.M. Arguedas, Carlos Fuentes, Vargas Llosa, J. Cortázar, Benedetti, y que no falte, su eminencia Alejo Carpentier, por enumerar unos pocos, entre una plétora de escritores que salieron de ese mismo tiempo. Años más, años menos.<br />
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Macondo, entonces, y García Márquez, se convirtieron en un punto de referencia. Existe el mundo después de Macondo, y el mundo antes. Ya algunos habrán escuchado de Alberto Fuguet, y sus secuaces, y su grupito el McOndo. Bien. Otros habrán escuchado de Andrés Caicedo, el joven y erudito escritor colombiano, quien, de alguna manera definió sus cuentos, en relación y absoluta negación de la realidad Macondiana. Y de ahí en adelante, pues hay muchos libros y escritores más de los cuales hablar, y a los cuales nombrar. Pero es curioso que este, un muchachito, medio jipiolo, flaco, con chancletas, por ahí andando en Cartagena, muy asoleado, muy bien leído, y poco bien alimentado, proveniente de un pequeño pueblito, tal vez igualmente reciente y con algunas cosas careciendo de nombre, al cual le decían los indios Cataca, ahora más conocido como Aracataca, halla podido escribir aquel libro acerca de ese pueblo inolvidable. Ma-con-do. Tres simples sílabas. Escritas a máquina, o a mano tal vez por primera vez, pero que como todas las manos, se quiera o no, están condenadas a desaparecer terriblemente en el olvido. Esas manos ya son el olvido que seremos.<br />
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Carmen Balcells, agente del autor, y otros más, y periódicos y revistas, y palabras, información, como la que aquel día cualquiera proclamo que Israel se metió en Egipto, ese Junio 5 de 1967, ahora, esa misma información proclama otra calamidad: Gabo no escribe más. </div>
Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com1tag:blogger.com,1999:blog-7466659643523645946.post-1439891873011987352009-06-27T02:21:00.008-04:002012-06-04T15:35:00.938-04:00Apagaron a la Furia. Análisis España vs. EE.UU. Copa Confederaciones.<div align="justify">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKy7X2c5J2L3F76ezUq4YA4kGtuboAHNyxu_ukmeSuvuNq6LyzW3WPJ1vsQEZIMJ_bA6tVcEJSyPbk2JoBj6BThyphenhyphencsCwIRuJKo4hNJcmqb1MsRkYnJBNGbzbcZgk_P2SxHkdZGop0g0x4/s1600-h/larojavsEEUU62009cescxaviguaje.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5351905308974760850" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKy7X2c5J2L3F76ezUq4YA4kGtuboAHNyxu_ukmeSuvuNq6LyzW3WPJ1vsQEZIMJ_bA6tVcEJSyPbk2JoBj6BThyphenhyphencsCwIRuJKo4hNJcmqb1MsRkYnJBNGbzbcZgk_P2SxHkdZGop0g0x4/s320/larojavsEEUU62009cescxaviguaje.jpg" style="cursor: hand; float: left; height: 236px; margin: 0px 10px 10px 0px; width: 320px;" /></a> Eso fue. Todo se resume a esto precisamente. Ha esta hermosa pelota diseñada para esta Copa Confederaciones, estos jugadores, y el desespero inmenso de España de hacer su fútbol. ¿Cómo gana la roja sus partidos? No como Inglaterra, ni como Brasil. Lo gana con esta. Con la pelota. En los pies. Y fue exactamente lo que llegaron a quitarle los once de Estados Unidos. Y la verdad, lo hicieron de maravilla.<br />
En primera instancia, marquemos las diferencias. No tiene nada que ver con gustos y disgustos. Aunque algunos pensaran que el mismo odio por las políticas imperialistas de Estados Unidos que poseo, se trasladara a mis comentarios futbolísticos. Cerca. Pero no. Creo que con explicar el fútbol será suficiente. Pues la cosa es la siguiente, Estados Unidos y España técnicamente son equipos muy distintos. Las capacidades futbolísticas de los equipos, jugador por jugador, son bastante distintas. Hay un abismo entre las dos selecciones. Pero vale la pena notar que este abismo del que hablo es totalmente subjetivo. Puede haber un abismo entre una selección y otra técnicamente, una montaña entera, y ningún Mahoma que la montaña pueda ir a buscar, pero, en resumidas cuentas, estas montañas de diferencia técnica, a lo hora del pito inicial, y en el transcurso de los 90 minutos se convierten en pequeñas diferencias. Un toque más rápido, un poquito más de velocidad, una parada de balón, un pase más preciso, una manera de moverse en el campo de juego. Y el fútbol actual es más que la técnica. Porque el fútbol no se gana jugador por jugador. Esto no es un “rompe y tape” , esto es un juego de once contra once, y la táctica es bastante importante.<br />
Ya marcada esta diferencia, sigamos con los detalles del partido. España llegó como favorita. Favorita en la Eurocopa, primera en el ranking de la FIFA, favorita para el mundial, dos de los mejores goleadores del mundo, el mediocampo más hábil de cualquier equipo actualmente, el tercer arquero es estrella (imagínense el primero), y dos centrales que se acaban de coronar campeones de todo (Champions, Liga y Copa del Rey). ¿Qué más se quisiera tener? EEUU era papita pal loro. Pero este loro llego vestido de águila, y llegó sin presumir, a marcar territorio. Literalmente. EEUU jugó un partido muy organizado. Todas sus líneas prendidas de motores, marcando fuertemente a los jugadores españoles. Presionaron en todas las instancias del juego, asfixiaron a los mediocampistas, y los dejaron faltos de posibilidades para que depositaran balones buenos a los niños. El Niño Torres, y el Guaje Villa. Estos niños realmente lo fueron durante todo el partido. Parecían correr de un lado a otro como en un parque, perdidos. Tuvieron pocas ocasiones en el primer tiempo, y aunque su rendimiento mejoro en el segundo, no pudieron definir el partido. Si un jugador de España tenía el balón, ya tenía alguien encima, y si Xavi tenía el balón, tenía dos encima. En varias ocasiones, se quitaban las marcas, pero no pudieron abrir espacios, y Estados Unidos jugó a lo que sabe. Un juego físico, fuerte, sus jugadores con habilidades modestas, tienen gran despliegue físico y lo demuestran en el campo de juego. Dejaron a España sin su tiqui-taca. Ese tiqui-taca que Xavi llamaba en el diario deportivo español “AS” el ADN de la selección Española. No soy fan de Bradley, así como no lo era de su predecesor, pero tengo que admitir, planteó el partido divinamente. Si España se hace fuerte con la tenencia del balón, que es exactamente lo que ha venido haciendo desde antes de la Eurocopa 2008 donde se proclamó campeona del continente, Bradley, el director técnico de EEUU, le dijo a sus jugadores que le quitaran el balón a los Españoles. Y lo hicieron bien. El fútbol de la selección de España, como se sabe, es muy parecido al fútbol del Barça, que consiste fundamentalmente en la muy alta estadística de tenencia del balón y de pases finalizados. Pero no se pudo contra Estados Unidos. Y en las ocasiones que se asomaba España, y no definía, EEUU salía con todos sus motores al contra golpe. La velocidad de Donovan, y su técnica, siendo probablemente el único jugador con buena técnica en el equipo, y Dempsey su compañero de salida y contragolpe, acostumbrado a la velocidad del fútbol Inglés, no tan fuerte técnicamente como Donovan, pero si con mucha garra, salían a buscar espacios. En uno de esos espacios apareció Jozy Altidore, el diamante en bruto de la selección estadounidense. Este joven que empezó su carrera deportiva en los NY Redbulls, tiene un gran despliegue físico, muy buena pegada, y con sus 19 años, un gran futuro por delante, y bastante que aprender. En su paso por el Villareal en este último año ha tenido la posibilidad de aprender mucho, y tiene buen manejo de balón en los pies. En un momento Altidore, doblego a su compañero de equipo, Capdevila, y quedó solo frente a Casillas, y no definió bien, pero le pegó fuerte al balón, que alcanzó a rozar los guantes de Iker, y se metió en la red. Y empezó a desesperarse la furia. Pero la furia se apagó rapidito y no pudo hacer nada en el partido. Ya en la segunda parte, un error cualquiera de Sergio Ramos, que es un excelente defensa, con mucha salida, y al cual (aunque es merengue), creo que le exigen demasiado, y lo critican demasiado, sentenció el partido en contra de los españoles. El es un excelente jugador. De la talla de los dos actuales grandes laterales derechos brasileños que son sin duda los dos mejores del mundo (Dani Alves y Maicón). </div>
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Bueno, lo siguiente que me dispongo a discutir es el ajedrez. Lo más interesante del partido. En el segundo tiempo, Del Bosque, pensando que lo que necesitaba era más salida por los costados, por la muy taponada zona de volantes, buscó sacando a Fábregas, la posibilidad de que ingresara Cazorla y diera más posibilidades en los costados. Admito que en primera instancia no me pareció mala idea, pero sobrevalué el uno contra uno de Cazorla, que en realidad, no es tan bueno. Eso le faltaba a la selección ayer, y pienso, que lo debió haber buscado con Mata primero, y no con Cazorla (o con Iniesta, si hubiera estado en la Copa). Cuando entró Mata por Riera, ya era un poco tarde, y había poco partido por jugar. Además creo que Riera, junto a Fábregas, probablemente eran los jugadores más desequilibrantes de España. Mi planteamiento hubiera sido el siguiente. Sacar a Capdevila por un contención. Capdevila tiene mucha salida, y regresa tarde a los contragolpes. Saco a Capdevila entonces por Sergio Busquets, que ha tenido una brillante temporada con el Barcelona. Y luego me arriesgo a jugar con tres centrales, puesto que Ramos puede jugar muy bien como central, volcó a Villa por la derecha para abrir espacios, y dejo a Xabi más abierto para que suba y acompañe a Fábregas y Xavi en el centro. En el caso de que no este dando resultados, sacas a Riera, no a Fábregas, por Mata, y lo tiras por el costado izquierdo. Ahora tienes opciones por los costados, dos volantes en el medio del campo adelantados, y tirando balones. Y Xabi en el medio del campo con Busquets taponando las salidas. En caso de que no resulte nada, te la juegas con Llorente, cambio de posición por posición con el Niño, la viga del Athletic, y lanzas balones por los costados. Este último recurso <em><strong>es</strong></em> último recurso. Pero Del Bosque lo utilizó muy pronto, y los centrales EEUU comandados por Onyewu que es un excelente central, supieron manejar los balonazos al centro del área grande.<br />
Bueno, nada que hacer. No soy seleccionador de La Furia Roja. Solo soy un simple navegante internáutico, y este blog, mi único desahogo. Se aprendieron muchas cosas, igualmente. La roja no pudo superar los treinta y cinco partidos invictos de la selección Brasileña, aunque si alcanzarlos, y ahora, jugarán más concentrados contra rivales “chicos”. Y ojala se reencuentren con el tiqui-taca, o si no, les van a dar es tuqui tuqui lulu.</div>
<img alt="" border="0" id="BLOGGER_PHOTO_ID_5351906358335915314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbjwD35iznhPB06iU-8_AvErFIUo2KhzpsGX4Eaitn5oNISO3PlxxF5LME9liGzkK4FH4Jta9tnDQuep7dvBE9HxRf_kKOG_nL90vFka2a8IKYWmPeCNfJWONuYT_tfBSz9q7OhtpbIw/s320/larojavsEEUUtorres.jpg" style="cursor: hand; display: block; height: 236px; margin: 0px auto 10px; text-align: center; width: 320px;" />Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-29114956827353581672009-06-16T01:39:00.003-04:002012-06-04T15:35:22.529-04:00A gig in Brooklyn - The Radio Dept.<div align="justify">
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Halfway through the show, with many, many Big House Red glasses of wine already drunk, I was screaming at the top of my lungs, “Pulling our weight, pulling our weight!” And the song came on. Or maybe it was a different one. I probably could not really tell at this point. But the energy was right, and the crowd was feeling The Radio Dept. Sometimes, a rock show can be fairly simple and just plain fun. This was one of those days.<br />
I discovered this band from Sweden from the automated e-mails that I get from Amie Street. The new album,” Lesser Matters” was released in the States pretty recently, and I checked out their music in Rhapsody. At first, I was not feeling the retro distortion, the simple chords, and the unintelligible Thom Yorke-ish vocals. But after listening to a few songs, I realized this band was worth the time. Their sound is not crisp. It is messy, distorted, with too much gain in the amps at times (or so it seems), and with plenty of reverb too. A lot of electronic sounds, reminiscent of 80’s bands, and of synthesizer pre-programmed sounds. It was pretty cool. All this mess seemed to condense in a very interesting, unique, mellow and nostalgic sound. The vocals, somewhat in the background, (the words hard to understand, dreamy, slightly dark, depressive in a 90’s British rock kind of way) have this very interesting quality to them. They seem to come from a back room, and not from the speakers in front of me. After listening to a few of their albums, I quickly searched online, they were playing one single show in NY, (and probably in the U.S.), at the Bel<img alt="" border="0" id="BLOGGER_PHOTO_ID_5347796444248504866" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYZYWus67WCgzSODuyfyoEUCcTFAdNNyQ-8Uh4qjcZ-p7yPSGSTT9_WaDUhfNlI5_gAKnG3nUV1j_KHLi5AwmaW6lk-sxT8qwJr-fLCfx_AWzb47fm_rejsdfu8O9aw4Bpjqcj-X84fdg/s320/Radio+Dept.+002.jpg" style="cursor: hand; float: left; height: 240px; margin: 0px 10px 10px 0px; width: 320px;" />l House in Brooklyn. The Bell House is a cool spot in Gowanus, in the middle of nowhere. It is an empty warehouse with a stage and a bar. But really, what else do you need but a stage and a bar?<br />
Of the bands that opened up the show, my kudos go to The Secret History. The two female vocalists really make their sound. The song “It’s not the end of the world, Jonah” was their highlight. Nice, simple and catchy rock. They played a good set. All the other bands were not as impressive, but not bad at all. I was actually surprised that their sound was noticeably different than the headliners.<br />
The Radio Dept. seems like a serious band, trying to make serious sound. Their songs seem deceptively simple, their lyrics are scarce, but have a certain poetic and fresh quality to them. Check out the lyrics to the dreamy, and distorted “Where damage isn’t already done”: </div>
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You are raining in<br />
I can't escape that feeling<br />
You're dripping into the buckets I have placed<br />
Where damage isn't already done<br />
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I saw you on bus 15<br />
Heading north to take the train<br />
Everyone looks the same<br />
Still we have different names </div>
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It is a song that does not seem to say much, but for whatever reason, the music makes this lyrical austerity very touching, and it combines very well. I think the music, fast-paced, but mellow really gives this song a good vibe. I also like their “Keen on Boys” (aaah, yeah, I know, but really, it’s a good song), and of course, “Pulling our weight” from my crazy yelling rant during the concert. Haha. I think what I most like about this band is this particular feeling of nostalgia that it bring upon me. Like in this song “1995”: </div>
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1995 is cutting classes<br />
It's sitting over coffees talking indie treats<br />
It's the mere sensation of being the first one that you see<br />
When morning opens up the skies<br />
You see me when daylight opens up your eyes </div>
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Alright, so yes, in 1995, I was not even thinking of cutting classes…but I did later on, and these songs make me remember some good times of coffees, and dead afternoons, rainy days in fall or spring, a happy loneliness, where, love appears as this mirage, and it seemed that it could be found, and: </div>
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And even in time<br />
We’ll give in to crime<br />
We’ll be on the line<br />
Pulling our weight.<br />
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The Radio Dept. really pulled their weight.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoma3iLNlzX6-Ap3GQLr9roft7o8ajRUOlXNRDddbsClKtWbZcRxkkZSUb-uD8V09q07JjypZpFp31I7p_mtY89TPneftWkqEAhSACilr4deA_l85cSH0ueA8z49QJqOda5Iz0_4ulcjE/s1600-h/DSCN0620.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5347796091423812082" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoma3iLNlzX6-Ap3GQLr9roft7o8ajRUOlXNRDddbsClKtWbZcRxkkZSUb-uD8V09q07JjypZpFp31I7p_mtY89TPneftWkqEAhSACilr4deA_l85cSH0ueA8z49QJqOda5Iz0_4ulcjE/s320/DSCN0620.jpg" style="cursor: hand; display: block; height: 219px; margin: 0px auto 10px; text-align: center; width: 321px;" /></a><br />
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</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-64681240684590552612009-06-14T02:20:00.006-04:002012-06-04T15:35:32.694-04:00Anales de Fútbol<img alt="" border="0" id="BLOGGER_PHOTO_ID_5347065085408488082" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2h4Bw22HxNZp_4tSPVTUAw76O1PDm7cjUJR9NLlPuuMyfaQ2tU4E95Dz6dOFspvpux8ryn2tpv7kcWSsh-uFYM4vaqcByjFYjBKlci6PR0hkpMTVPOdgao6GP6xYvEFQ-aWsvqSzc80o/s320/Selecci%C3%B3nColombiavsper%C3%BAfalcao6-2009.jpg" style="cursor: hand; float: right; height: 320px; margin: 0px 0px 10px 10px; width: 254px;" /><strong><span style="color: red; font-size: 130%;">La selección Colombia, y su sequía goleadora. Análisis del partido Colombia vs. Perú.</span></strong><br />
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De los once jugadores inicialistas en el partido que disputó Colombia a mitad de semana, solo cuatro juegan en este continente. Los demás están en Europa, jugando en las mejores ligas del viejo continente. Guarín salió campeón con el Oporto, Ospina hizo una excelente campaña con el Nice de Francia, Rentería retornaría al Oporto en la siguiente temporada después de estar a préstamo en una campaña modesta pero buena en el Sporting Braga de Portugal, y los defensas Yepes y Zapata juegan en equipos italianos, mientras que Perea es titular en el Atlético de Madrid. Zuñiga que juega de alero en la selección, y lo ha hecho de tal manera en los últimos tres partidos, juega para el Siena de Italia como marcador derecho. De los cuatro que juegan fútbol en nuestro continente, Vargas y Falcao García aunque sus equipos no han tenido campañas buenas, son referentes del Boca Juniors y River Plate de Argentina respectivamente, nada más y nada menos que los dos equipos mas conocidos de Argentina. Sin contar el Independiente de Avellaneda que también tuvo su época de gloria y es “rey de copas” en la Libertadores. Marín, uno más de los titulares que juega en el continente, es referente en su equipo Libertad, de Paraguay, y fue campeón este semestre. Macnelly Torres, a su vez, juega en el Colo Colo de Chile, que aunque no ha tenido buena campaña este semestre, es uno de los grandes de ese país.<br />
Pues con estos once jugadores, y medidos ante un Perú, (y que me perdonen mis compañeros Incas) bastante modesto, y muy mal apaleado en estas eliminatorias, uno pensaría que el equipo saldría a demostrar que se sabe jugar al fútbol, y como decimos en Colombia, a “hacer respetar la casa.” Yo ya, con los amigos que hablo de fútbol, había advertido “Colombia tiene que salir con línea de tres, y volcado en ataque, a Perú hay que golearlo, y punto.” Me ratificó Eduardo Lara con su formación, 3-5-2. Me ha gustado Lara en el pizarrón. Aún cuando perdimos contra Venezuela, me pareció que después de la roja que vio Aguilar, supo modificar ampliamente la formación del equipo, poniendo también línea de tres, para salir a buscar el partido. Desafortunadamente no le funciono en ese entonces, pero mostro lo que Pinto nunca hizo. Que en el fútbol, a veces, hay que ponerse los pantalones, y arriesgar, para poder buscar el resultado. Y cuando vi esta formación con cinco volantes, y línea de tres atrás, pensé que todo iba a salir bien ante Perú. Se ganó, es cierto, pero las cosas no salieron bien. Ni se la crean.<br />
El partido, como dije, estaba bien planteado. Falcao y Rentería arriba, intercambiando puestos, muy movidos, aunque Falcao más por la izquierda. Marín tuvo por lo menos tres centros perfectos en el primer tiempo, los desbordes de Zuñiga excelentes, los defensas centrales estuvieron muy bien plantados (Yepes fácilmente podría tener la mejor barrida del mundo, sin exagerar), e hicieron que se perdieran los delanteros de Perú, especialmente Guerrero, que es muy hablador, y mete mucho las piernas y los brazos, pero con la amarilla que vio a las cinco minutos, ya no le quedaron muchos ánimos de seguir peleando. Guarín jugó un partido excelente. Para mi este es el diez de la selección. Es un jugador joven, que en cada partido se ve mucho mejor. Pasa el balón para adelante muy bien, tiene mucha seguridad, quita el balón con finura, y parece ser polivalente. En varias ocasiones se le vio corriendo por los costados, en una especialmente, en los primeros minutos, cuando Falcao quería sacarse a toda la defensa Peruana, y corría Guarín muy solo por el costado izquierdo, pero Falcao, ese tigre que tiene uñas pero solo para intentar de atacar a los periodistas, y poco para luchar los partidos de la selección, no pudo encontrar manera de soltar el balón. Y para todo lo que lo tuvo en los pies, metió solo un gol, un golesito. Un gol tontín. De chiripa, como decimos, de suerte. Se encontró con el balón, y si no estuviera al frente del arco y sin arquero, créanme, no estoy seguro de que la hubiera metido. Completamente distinto a Guarín, un jugador que poco me convence es Macnelly. Se le ven destellos, un excelente pase a Falcao en el segundo tiempo, dejándolo solo frente el arquero, pero Falcao prefirió pegarle al aire, que pegarle al balón y malgastó descaradamente esa oportunidad. Y con todo y eso, Falcao es capaz de salir en Caracol noticias diciendo “nosotros sabíamos que el gol iba a venir, nosotros los delanteros, no como ustedes los periodistas que hacen de todo esto un circo”. ¿Un circo? ¡¡¡¿Un circo?!!! Bueno, tigre, más bien vete a limarte las uñas, que pareces gatico mimado y llorón. Igual no tuvo muchas más aparte de este pase a Falcao, y alguna otra combinación con Zuñiga. Macnelly se mueve por todo el medio campo. Hacia los costados, por el medio, desde la bomba central, hasta el área grande del rival. Pero para él, parece que todo ese espacio fuera como un gran océano, y desafortunadamente, todavía anda buscando tierra.<br />
Pero la gran estrella del partido y del equipo es definitivamente Fabián Vargas. El eje central de Colombia, como siempre, jugándose cada partido como si fuera una final, luchando cada balón como si fuera el último. Y es que ese tipo de fútbol se aprende en Boca. Como me dijo una vez un amigo Argentino, “en Boca, en Boca te aceptan que seas mal jugador, pero lo que no te aceptan es que no juegues con cojones.” Discúlpenme la palabra, pero hacía falta. Haría falta, también, que Rentería y Falcao se fueran a jugar a Boca, para que aprendieran un poquito de lo mismo también. Corren mucho y se desgastan, pero, no parece que sufrieran la camiseta. Se contentaron con un gol y ganaron, pero les falta hambre. Mucha hambre.<br />
Los cambios no fueron muy interesantes. Aguilar por Vargas, por una lesión leve, y se desempeño bien. Es grande, corpulento, y roba bien el balón. Pero no tiene tan bien el balón en los pies como Vargas, y Colombia perdió en el mediocampo. Hizo merito Perú para empatar el partido, pero no tuvo buena suerte. Y Ospina tapó una que otra. Pero tampoco podemos decir que tuvo oportunidad para brillar. Rodallega por Rentería. Este tampoco hizo mucho. Se movió por el campo sin sentido también, como Rentería, y demostró, como los otros delanteros Colombianos, que tiene la pólvora mojada. Finalmente, Juan Pablo Pino, jugador del Mónaco de Francia entro por Macnelly. Me gustaría ver más de este jugador. Me parece que tiene mucho futuro. Aunque, tengo que decirlo, no demostró mucho tampoco. Se llevó a algunos jugadores por delante, pero al momento de definir, fue impreciso. Impreciso es en eufemismo. Le pegó como un burro. Pero, bueno. Que más se podía esperar. La escasez goleadora de estos delanteros parece una pandemia.<br />
Después de ver los dos partidos de las últimas dos jornadas de las eliminatorias me quedan dos cosas claras en relación con la selección Colombia. La primera es que los delanteros están teniendo muchísimos problemas. No meten goles. Alguien comentaba, para que el lujo de un equipo con goleadores, que no meten goles. Bueno, esa frase parece cierta. Pero esta basado en un hecho fantástico. ¿Quién dijo que nuestros delanteros eran goleadores? Déjenme les digo, para que no nos equivoquemos. En este semestre Falcao ha marcado siete goles en quince partidos. Carlos Darwin h<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU2f7HSr7OBgY5VjB5kqr819vEWZp1L-Ko0SdCAmV4Awkrd_AF9Wn-a7yFAU6ncdrd1vF2P42G5VRLTFJTc5j0rlA36CQKS1_R8hHGKLJdfHju4GQJGy0P5fcTdJD3t5SuLfFHMCN7I3M/s1600-h/Selecci%C3%B3nColombiavsPer%C3%BARenter%C3%ADa6-2009.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5347065535930053378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU2f7HSr7OBgY5VjB5kqr819vEWZp1L-Ko0SdCAmV4Awkrd_AF9Wn-a7yFAU6ncdrd1vF2P42G5VRLTFJTc5j0rlA36CQKS1_R8hHGKLJdfHju4GQJGy0P5fcTdJD3t5SuLfFHMCN7I3M/s320/Selecci%C3%B3nColombiavsPer%C3%BARenter%C3%ADa6-2009.jpg" style="cursor: hand; float: left; height: 320px; margin: 0px 10px 10px 0px; width: 274px;" /></a>a marcado cuatro en dieciséis partidos. Wason Rentería marcó seis goles en veintiocho partidos. Rodallega marcó tres goles en nueve partidos. Quintero es el que menos ha jugado, y los otros tres delanteros solo han marcado un gol cada uno en las eliminatorias en un total de catorce partidos. Las estadísticas de Falcao son las mejores, pero lejos de ser los treinta goles de Eto’o, o los treinta y dos de Forlán. No por hacer comparaciones ridículas, pero, es que hay que ser sinceros, la verdad, nuestros delanteros no son goleadores. Bueno, no actualmente. Creo que tienen el nivel técnico para serlo, pero no han demostrado todavía. La segunda cosa que me queda clara es que Colombia tiene equipo para ir al mundial. En el papel. Pero no han podido demostrar eso en el campo. Aún mas allá de los desacuerdos que pueda tener yo con Lara con algunos de los convocados y no convocados, en Colombia hay equipo, pero siempre se quedan cortos. Entonces, si alguna vez Maturana dijo que “Perder es ganar un poco”, después de este partido me queda claro que también ganar es perder un poco.</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0tag:blogger.com,1999:blog-7466659643523645946.post-88562753132932659402009-06-11T23:44:00.002-04:002009-06-11T23:53:02.135-04:00¡Bienvenidos!<div align="justify">La idea de un cafetín de ideas salió de algunas conversaciones con mi hermano, y de la inherente necesidad que encontramos en expresar nuestras ideas y nuestras opiniones acerca de diversos tópicos. Los dos, aunque somos distintos, encontramos valor en la palabra escrita, y en el poder que pueden tener esas palabras. Pero tampoco queríamos restringir estas palabras a tópicos muy específicos, puesto que lo encontramos muy problemático. Encontramos valor en las conversaciones que parten de la cotidianidad, y aquellas que parten desde lugares intelectuales, por decirlo de alguna manera, de más alto relieve. Por eso se me ocurrió la idea de un cafetín. Un cafetín como esos que frecuentaba mi abuelo en otros momentos, y en los cuales, hombres viejos llenos de conocimiento y experiencia y achaques, se sentaban a tomar café o algún otro aperitivo (tal vez con más espíritu) y a disfrutar de los lugares donde los podían llevar sus conversaciones. Entonces, el cafetín es el lugar adecuado para un magazine informal de este tipo. Un lugar donde podemos jugar billar, tomarnos un trago, hablar igualmente de fútbol, de política o de literatura, o contar historias o cuentos de algún amigo, o sentarnos a expresar reminiscencias de momentos pasados. De ahí sale este blog, de esas ganas de querer contar cuentos, y hablar de cosas, las que sean.<br /><br />Obviamente, este cafetín será algo más moderno. No se excluirán a mujeres, y se intentara, poco a poco, con el pasar del tiempo, de tener un número de colaboradores que pueden hablar de diversos temas, para que todos los lectores se puedan divertir con la variedad que esperamos exponer. Las primeras columnas pensadas serían "Anales de Fútbol", para discutir temas de este bello deporte; "Rincón de letras", para discutir libros e ideas literarias; "Y me pido la palabra..." para crítica cultural y política. Otros temas empezaran a nacer, y otras columnas que se establecerán con el tiempo. También, escribiremos columnas en Inglés, puesto que el bilingüismo o multilingüismo es parte de la ideología cultural del blog, y con el tiempo, también habrá columnas establecidas en este idioma anglosajón, y si tenemos suerte, también en otros idiomas.<br /><br />Un humilde comienzo, pero con muchas ganas de botar palabras a todos los rincones de este nuestro nuevo globo terráqueo, hecho pequeño por las maravillas de los semiconductores, y las ondas electromagnéticas. Disfruten de nuestras columnas, y nuestros 'posts', y vengan, al cafetín, que estamos abiertos, siempre.</div>Xfilósofohttp://www.blogger.com/profile/05893357701622717041noreply@blogger.com0