album essentials

Jin doesn’t need his camera anymore.

Jin didn’t have a camera in “Spring Day.” This is a big deal–big enough that bighit chose this image as the official thumbnail of the “Spring Day” music video. So it’s clearly important–but why?

Since I NEED U, the prologue, and RUN, Jin has been taking photos and videos of himself and his friends. 

He was recording it all–their times together, their recklessness and carelessness–because he knew it would end. Eventually, they would grow up. He would grow up. And then, he would lose everything–his innocence, his freedom, and his friends. He needed to capture it all before it was too late. 

Finally, in “Spring Day,” he raises his hands to take a picture, but he doesn’t have a camera. He still feels the urge to record, but…something is different. He has grown up, that much is clear (Jin was the first to become an adult, both literally and figuratively. He’s the eldest in the group, and in his short film “AWAKE” from the WINGS era, he is the only one who is “Awake,” who accepts his fate. You can read more about that short film’s meaning here.) But what of his friends? What has changed?

The reality is that Jin doesn’t need to take pictures anymore. His friends aren’t leaving him, as previously thought–on the contrary, they are joining him on this life journey, even into adulthood. Before, BTS ran the risk of destroying themselves. Just a look at the WINGS short films reveals this. They were angry, destructive, distraught–torn between childhood and adulthood. They didn’t want to grow up. They wanted to be “Young Forever,” as the song suggested– to “RUN” from their responsibilities, their fates, like the Lost Boys of Neverland. (The original Peter Pan story had 7 lost boys (like the 7 members of BTS), which BTS adopted as the theme for their HYYH albums. Bighit essentially confirmed this on their Instagram, dressing the boys up like the lost boys and tagging “NEVERLAND” in their promotional photos for “RUN.”) The previous MVs mark a time of carelessness for the boys, and until now, it seemed like this denial of their responsibilities would be their doom. 

But at the end of “Spring Day,” you see all 7 boys on the train. As a mentioned in my first analysis of “Spring Day (read here), trains are a vessel for travel–for moving from one place to another. Before, in RUN, BTS hangs out around trains, but they are never moving. And those that are moving only pass them by. The train is calling to them, but none of the boys have the courage to get on–to leave their old lives behind for a new one: adulthood.

But in “Spring Day,” the boys finally hop on board. By boarding the train, BTS officially left behind their youth by accepting their responsibilities as adults. And by going to a new place (a place seemingly on the verge of spring, a time of new beginnings) BTS are saying that they are ready for whatever lies ahead. In other words, they are leaving one station, one location, for another. Starting a new chapter in their lives, so to speak.

The rest of BTS finally chose to leave Neverland, just as Jin had–they have chosen to leave their childhood behind. And so, Jin doesn’t need a camera anymore. He doesn’t need to record their memories, because their time together will never end. They’re in this life journey together. From now on, Jin will never walk alone.

This is pt. 2 of my “Spring Day” analysis. Find pt. 1 here :)

Why didn’t B.A.P win any shows for Wake Me Up?

my thoughts on a question nobody asked me but have them anyway lmao


  • not enough people streaming on melon. literally this is the main one
  • maybe could stream a bit more on youtube?
  • needed more people voting live and for pre-votes
  • I can’t think of any more hmm did I mention melon streaming??


  • very rushed promotions to squeeze it in before the tour: only 2-3 weeks instead of the usual 4 (and usually groups don’t/can’t win in the first week of promotions anyway, so that only left around one week of being on shows in which we had a chance of winning)
  • I wouldn’t necessarily say it’s TS’s fault, but generally, fewer people tend to buy physical single albums than full or mini albums because they’re essentially paying the same price for less (eg rose was the first time I bought a B.A.P single album), but actually rose is so far their second highest-selling single album, which is pretty impressive 

things out of our control:

  • tough competition: comeback at the same time as other groups with better melon streaming / larger korean fanbases
  • music bank and music core being cancelled during the first week of promotions. mucore doesn’t have a winner anymore, but mubank was arguably our best chance at winning after the show, and because the first ep was cancelled, that was shown during the second week (whereas if that ep was a new one from the 2nd week then we could have possibly had a chance of winning), and then that was it, promotions over…
  • changes to how winners are chosen on the show: no more tudou streaming and I think no more laifeng votes? still not exactly sure what they are, but before we could collect our strength and buy them points on the show (as dumb as it sounds) and spend ages doing extra streaming on a website that kept crashing and deleting views, but now the show cares more about melon streaming too (like the other music shows) (do u see how important digital streaming is)

but don’t let that make you sad! from what I’ve personally seen, the general reaction (both fans and not) to wake me up / rose has been more hyped and impressed than it has probably since matrix. B.A.P have said they have more comebacks scheduled for this year, so hopefully we’ll be able to get them what they deserve next time.

PS: people sometimes compare B.A.P’s youtube views to other groups, where we usually don’t do as well. then there’s the usual topic of some fans leaving and moving to other groups during the hiatus etc etc etc……. well actually, our youtube views aren’t really that different from pre-hiatus? I remember when 1004 (their main breakthrough and at the height of their career back then) was released on the 3rd of february, jongup’s wish was for the mv to reach 1 million views by his birthday on the 6th - 3 days later and it still didn’t reach 1 million. on the other hand, wake me up reached 2.25 million views in around 5 and a half days. with the explosion of kpop in the last couple of years, some groups enjoy immense success on a whole new scale. our achievements only seem inferior if we compare them to others - let’s focus on ourselves and see how far both B.A.P and we as fans have come, and think about how we can continue to go forward!

PPS: nice things I’ve noticed recently (last few months since noir/skydive): 

  • more content creators in the fandom making things: more gifsets, graphics, fics etc
  • said content getting more recognition
  • a sense of humour! crack blogs, more people making funny videos and text posts and funny edits
  • honestly I keep finding new B.A.P blogs to follow - more people joining the fandom or existing fans choosing to take more part in the fandom on tumblr!
  • fans on tumblr interacting more with each other! through networks or just starting to talk to each other on here :D
  • B.A.P trended on tumblr for yongguk and himchan’s birthdays!
  • himchan and youngjae gaining more recognition in general these days
  • keep it up guys I love you all

anonymous asked:

I don't know if I was supposed to do something for my Harry album order shipment was tracked (you know it was silly o'clock when we ordered), but I am very much amused that when I click on the 'Click here to see the status of your shipment', it sends me to a google search of the word untracked. I thought it was quite cute even though I have no idea when it's coming.

lmao are you serious?? rip in rest 


The 11th studio album by Aretha Franklin was released on 10 March 1967.

In her label debut for Atlantic records, the 24-year-old Franklin delivered a blend of “rocking soul, dreamy pop and reflective testifying” (Robert Christgau wrote in the Village Voice a the time) that went to #2 on the Billboard charts but received bland critical reviews at the time. Rolling Stone was critical of the production and playing of seasoned studio musicians, including guitarists Chips Moman and Jimmy Johnson, keyboardist Spooner Oldham, and bassist Tommy Cogbill. In 2002, Rolling Stone placed the album at #1 on their "Women in Rock: 50 Essential Albums” list.

I Never Loved a Man the Way I Love You was the 2nd of 4 albums released by Franklin in 1967.

purple rain is still such a compelling album… like i listen to one song off it i have GOT to listen to the whole thing… it’s so good

Miles Davis - Sorcerer [1967] 

Miles Davis - trumpet 

Wayne Shorter - tenor saxophone 

Herbie Hancock - piano 

Ron Carter - double bass 

Tony Williams - drums

[The third of five albums that this quintet recorded]

The album’s cover is a photo of actress Cicely Tyson, who at the time was Davis’s girlfriend [and many years later his wife]

Listen, I’m just heartbroken. Beyonce released a culturally relevant, masterpiece of an album, a tribute to a subset of the population that NEVER gets a voice in the mainstream, a tribute to a subset of the population that’s always portrayed as a compilation of stereotypes and caricatures, a tribute to ME and my experience in this country. Finally, we get someone who gives voice to that and does it in a way that actually touches and affects and empowers people of all races, all walks of life, and all backgrounds. Especially considering the current social and political climate, what she did with her album was as groundbreaking as it was daring, and with every performance you could see and hear how much of herself she poured into this work, and how much of herself she gave so that she could tell a story that is so often overlooked and ignored. And then tonight, it was overlooked and ignored again in favor of honoring the artist that, while also extremely talented, is safe and socially acceptable and traditional. And I’m honestly not taking anything from Adele. Her album was beautiful. But this year, Beyonce’s album was critical, crucial, essential–a work of art about self-love and survival in dark times when so many people are struggling with identity and where they fit into the chaos of our world right now. So if I’m feeling a little like Beyonce and people all over the world who were touched by her music this year lost more than just a grammy tonight, you’ll have to forgive me.

I think most of you have noticed by now, but a lot of the work i’ve been doing has been classwork. Mostly, this is because it’s senior year for me and so I’m essentially swamped! (Next semester I’m hoping to post more personal stuff, also I have a ton of sketches that I haven’t had the change to put up here either)

And so here’s…..another class assignment. But also a tribute to one of my favorite bands, the Dear Hunter, in faux-poster form. This was really fun, and i’ve been listening to their latest album essentially non-stop this semester.

PINK is ROSE in French

“Why pink for example?”

“I don’t know, man!” Harry says showing off the massive ROSE on his arm. Translate PINK = ROSE in French.

Why is the album’s artwork essentially PINK?

Pink is ROSE in French.

What was the working title of Harry’s album?


Pink is ROSE on French.

And there is the Dagger that into Harry’s ROSE.

Harry just keeps adding to those Larry rumours.


Various ‎ “Tropicália Ou Panis Et Circensis” 1968 Brazil Latin Bossanova, Psychedelic Rock…highly recommended…!

one of Brazil`s essential albums. ..


Tropicalia: Revolution in Sound  BBC


Tropicalismo exploded in the second half of the 60’s (more precisely 1967) in the III Festival of Popular Music of TV Record, with the controversial presentations of Caetano and Gil playing, respectively, “Joy, Joy” and “Sunday in the Park.” The insertion of electric guitars into MPB made a huge impact. Caetano played his music accompanied by the Argentine band Beat Boys and Gil accompanied by the Mutants, who were very well warned by the Bahia: “prepare for the boos”. Tropicália, in my opinion, was the most revolutionary Brazilian musical movement of all time, more so than Bossa. Recorded in May of 1968 and released by Philips, the manifesto of the Tropicalista movement, besides having the majority of the compositions made by the main musical “exponents” of the movement, counted on the participation of the composers - also active participants of the movement -, José Carlos Capinan, who composed with Gil the song “Miserere Nobis” and with Torquato Neto, who composed the songs “Geléia Geral” (with Gil) and “Mãe, Coragem” (with Caetano). The album also features the songs “Coração Materno”, by Vicente Celestino - who would later die in that year -, the “Hymn to the Lord of Bonfim” by João Antonio Wanderley and the translation of the song “Las Tres Carabelas” by Algueiro Jr and Moreau. The cover of the album brings the tropicalistas in the best style Sgt.Peppers Lonely Hearts Club Band (disc that obviously will be treated here in the future and that was of great influence for the movement), with Gil sitting on the floor holding a photo of Capinan and dress With a “robe” (if we can call it that), Rogério Duprat taking something in a potty next to Caetano, who is holding a photo of Nara Leão, Gal and Torquato and behind them are the Mutantes - Arnaldo, Rita and Sérgio -, and Tom Zé. The album was placed in the 2nd place of the Best Albums of Brazilian Music according to the Rolling Stone magazine, losing only for the album Acabou Chorare, of the New Baianos. The importance and influence of the album goes through decades, having influenced artists of international character. The genius of the composers and the incredible arrangements of Duprat give this record the indispensable position on the shelves of Brazilians, although unfortunately it is not very easy to acquire a copy of it. As Caetano would say: “this album is SUPERBACANA!”………………….. 

  The album that stood at the heart of the all-too-brief Brazilian artistic movement known, surprisingly, as tropicalia, is arguably the most influential record to come out of the country, one of the world’s cultural hotbeds. The collective that created the album comprised of the songwriters and performers Gilberto Gil, Caetano Veloso, Tom Z� and Nara Le�o, the band Os Mutantes and singer Gal Costa, with contributions from the lyricists Torquato Neto and Jos� Carlos Capinam, and orchestral arrangements by Rogerio Duprat. As such, this is a true collaboration piece, in which the artists wrote for each other, played and sung together, and all sat lovingly alongside one another on the album sleeve. The latter appears to be somewhere between a family portrait and a tongue-in-cheek version of the cover of one of the most significant influences on the record’s overall artistry, Sgt. Pepper’s Lonely Hearts Club Band, with the collective all fighting for space in the twelve-inch square. As well as drawing inspiration from the psychedelia emerging at the time from both sides of the Atlantic, Ou Panis et Circensis owes a creative debt to the more traditionally Brazilian genres of samba and bossa nova, as well as the avant-garde poetry of European Dada and poesia concreta (concrete poetry), a Brazilian movement in music and poetry from the 1950s.
Oh and, for the record, it’s ‘Panis’ with an 'a’ - as in Portuguese for 'bread’ - along with 'Circensis’, or 'circuses’, deriving from a Roman phrase pertaining to simple pleasures. The album contains evidence of such simplicity in the penultimate song, the contagious Bat Macumba (Black Magic), the Gilberto Gil and Cataeno Veloso-penned number performed by Os Mutantes with Gil. The only words uttered throughout are, you guessed it, “bat macumba”, but I challenge you not to be singing along by the end as you find yourself drawn in by the bouncing twang of guitar on one side and the upbeat Latin percussion on the other. Whilst this entrancing minimalism stands out as being particularly ear-catching, it is the complexity of the majority of the tracks that is wonderfully compelling. The cracking opener, Miserere N�bis (written by Gilberto Gil and Jos� Carlos Capinam, performed by Gil), is a song that develops from an organ and a bicycle’s bell, through what must surely be the most mischievous oboe this side of Sixty-Four in the song’s bridge, into a beautiful orchestral ending full of strings, woodwind, horns, and the odd explosive sound effect (but more on that later). In this same vein are Tr�s Caravelas, Gel�ia Geral and Parque Industrial, each a superbly crafted slice of well-sung fun with a side of bright and bouncy brass.

Beyond the record’s more whimsical tracks, Ou Panis et Circensis is far from being short of sweetness or sincerity - especially when the luxuriously smooth vocals of Nara Le�o and Gal Costa are involved. For instance there is the orchestral beauty of Lindon�ia, a traditional Caribbean song adapted by Veloso and performed with poise by Le�o. Whilst I failed to find a translation of the lyrics, I could barely care less; Le�o’s voice is soft and welcoming no matter what she’s saying, especially when she’s accompanied perfectly by sumptuous strings and cheeky percussion. Similarly, Baby, written and performed by Veloso and Costa, is splendid and soft, a real downy duvet of a song. Rogerio Duprat’s orchestral arrangements hold you close as the lyrics pour honey in your ear: “Voc� precisa/ tomar um sorvete/ na lanchonete/ andar com gente/ me ver de perto” (“You have/ to buy an ice cream/ at the cafeteria/ to come along with us,/ to see me closer”). It’s luscious, it’s charming, it’s perfectly pretty - I’m not sure if a person can lust after a song, but if it’s possible, I fancy the pants off of this one.

Whilst this is an album of eccentric tunes and orchestral-pop masterpieces, there is also a political undercurrent that runs from end to end which is hard even for a foreign-language listener to miss. The album’s title is most likely a comment on the military coup of 1964, which left Brazilians under the undemocratic martial rule of leaders wishing to pacify their unhappy compatriots. Of course, there is evidence of civil angst in the music too; in the album’s last track, Hino Do Senhor Do Bonfim (Hymn of the Lord of Bonfim), a traditional religious chant is adapted into an ironically joyous number with more than a hint of a military band about it. The album’s final verse is undoubtedly a plea to reason: “Desta sagrada colina/ mans�o da miseric�rdia/ dai-nos a gra�a divina/ da justi�a e da conc�rdia” (“This sacred hill/ mansion of mercy/ Give us the grace/ justice and harmony”), before the singers turn their voices into sirens, heard over what sounds like bombs dropping (the foreboding noise is repeated from Miserere N�bis). Throughout the album, the collective’s lyrics vocally oppose the military rule over their beloved Brazil; indeed, Caetano Veloso and Gilberto Gil, arguably the two key figures of tropicalia, were imprisoned soon after the record’s release due to their provocative stage shows and the political content of their songs. As a non-Portuguese-speaking listener some of the politics will be missed, but the imaginative and thoroughly beautiful pop on offer in Ou Panis et Circensis is perfectly clear for anyone to understand……………….

Tropicalia was a musical revolution in Brazil. Singer and journalist Monica Vasconcelos meets the key artists and contemporary champions of Tropicalia - from Caetano Veloso and Gilberto Gil to Marcos Valle and Talking Heads’ David Byrne - and explores its enduring musical and political force.

Burning brightly for only few years in the late 1960s, and politically inspired by the uprisings in Paris in May 68, the Tropicalia movement electrified Brazilian music, combining the sophistication of bossa nova, samba and baiao with psychedelia, new Beatles-inspired electric sounds and orchestral experimentation. It was a deliberately subversive mix that provoked the country’s military regime and led to the exile and imprisonment of some of Brazil’s star musicians.

Tropicalia brought a new wave of liberation and energy into Brazilian music. Earlier in the decade, bossa nova had captured a mood of national optimism but, as the 1960s wore on, the political situation darkened. The military junta, in power since 1964, was drifting into open repression - the arts would be censored, musicians targeted, imprisoned and exiled. A new, more combative approach was called for.

Based around a core group of musicians - Caetano Veloso, Gilberto Gil, the group Os Mutantes, singer Gal Costa and Tom Ze - Tropicalia was a mash up of styles which drew on the country’s deep roots but pushed the sound elsewhere, radically. Harvesting influences from inside and outside Brazil, drawing especially on Western rock, classical orchestration and electronic effects, Tropicalia parodied, mixed and sampled global styles…………………..

In the late 1960s, a troubled period in the history of Brazil, art played an important role in fighting the dictatorial regime installed in the country. Several artistic movements that emerged at that time transcended the personal-creative territory and gained political-social status. In music, great example of this was Tropicalism.

The album Tropicália or Panis et Circensis, released in 1968, marked the beginning of this movement, which adopted an anthropophagic aesthetic. Against the traditionalist tendencies that exalted samba and bossa nova to the detriment of foreign influences such as English and North American rock, Tropicalism mixed all these rhythms, creating something that was called by Gilberto Gil as “Brazilian general jelly” . The use of keyboards and electric guitars in the composition of Tropicália’s songs caused a real stir among the musicians and the more conservative public.

The disc reunited the conductor Rogério Duprat (responsible for the orchestration and the arrangements of Tropicália), Nara Leão, Gal Costa, Caetano, Gil, the poet Torquato Neto, Capinam, Tom Zé and the Mutantes. The group ended in December 1968, when Caetano Veloso and Gilberto Gil were arrested and exiled from the country.

The photograph that printed the cover of the album Tropicália or Panis et Circensis was held at the home of Oliver Perroy, a photographer from Editora Abril, in São Paulo. Each one took his paraphernalia, to a potty, comically used by Rogério Duprat as if it were a cup. The image became so famous that it became a kind of postcard of the tropicalist movement. The idea was to make a parody of the family photos that the middle class used to order before, at the same time ending up with the cover of the Beatles’ classic Sgt. Pepper’s Lonely Hearts Club Band…………………

A collaboration between a bunch of wise-ass rebels from Brazil who sat around and listened to Sgt. Pepper’s and read avant-garde poetry. Packed to the brim with inter-textual juxtapositions, oblique disses, masked intent, and poetic fragmentation, Tropicalia Ou Panis Et Circencis was born out of an artistic movement tempered by an oppressive military regime in a constant shadowplay between meaning and implication. But even without an understanding of its social/political/historical context, the album is a veritable circus of kaleidoscopic sounds and sensations - mixing bolero, samba, bossa nova, jazz, psychedelic rock, and more into a carnival-esque parade broadcasting the new global sound of Brazil………hungryghost ………..

This was Tropicália’s manifesto, a sample of their syncretic crystallization of a fusion between bossa nova and the avant garde, between readily accessible, immensely entertaining pop music and eye opening ostrananie. Everybody involved in this has dazzling releases under their own names but it’s always enthralling to see such an exciting sinergy of creativity at work …….Tezcatlipoca ………….

Tropicália was my favourite Brazilian genre long before I heard my first tropicália song (which was like a week ago). Say goodbye to the overwhelming influence of American jazz music in bossa nova. Say hello to psychedelia and fun.

With quite a few performers on the album the quality is of course varied. The best songs are those performed by Gilberto Gil and Os Mutantes, who take a more extreme approach than Caetano Veloso, Gal Costa and Nara Leão. I’m giving this a 3.5 rating because I’d weed out some of the songs, but it’s one of the best albums I’ve ever given that rating to……….by……….Miklak ………

Considered the icon of the tropicalist movement of the 60s, LP Tropicália, launched by Philips in 1968, broke several paradigms at that time, introducing a new musical language that blended our rhythms, such as bossa nova, samba, baião, among many, With the influences that came from Europe and the United States, radically changing the way of listening and thinking about music in Brazil;
With Caetano Veloso, Gilberto Gil, Os Mutantes, Nara Leão, Gal Costa, among other beasts that participated in the production. The CD was remixed in 2002 by Charles Gavin for the Caetano Veloso collection, which gave us an extremely high sound quality. Edition with all the letters and original graphic art……………

It is not very difficult to understand why the album Tropicália or Panis Et Circensis was chosen by UFRGS to be among their “compulsory readings” for the college entrance examination. It is an album that presents a vision of what Brazil was in 1968 in terms of art, daily life and perspectives. Caetano Veloso, Gilberto Gil, Os Mutantes, Nara Leão, Gal Costa and Tom Zé, allied to the arrangements of Rogério Duprat, perform songs that remained in the popular songbook not only for its quality, but for the break with what was musically in Brazil at that moment . It is a basic item - and deserves to be studied because its aesthetic language never ages.

Caetano and Gil already felt the need to dialogue with the pop world a year before the release of Tropicália, when they defended, respectively, Joy, Joy and Sunday in the Park at the Record Festival. Both realized that the Jovem Guarda, considered “minor” in front of “authentic Brazilian music”, was much more communicative than the songs of protest. With the pretension of fusing form and content within a perspective that combined the Brazilian and international characteristics, they conceived the movement that gave name to the disc.
The arrangements of Duprat, joining the erudite tradition with the young rock of the time, give support to the urban scenes portrayed in the disc. The Murder in Panis Et Circenses; The industrialization and falsity of the consumer market in Industrial Park; The Brazilian wonders and contradictions of General Jelly; All this still remains. The trump of Caetano and Gil was to document them at a time when Brazil solidified the urbanization of the cities and its consequence in an underdeveloped country.

There is also the rescue of Maternal Heart, music released in 1950 by Vicente Celestino. In the year 1968, it was considered as old as a New Kids On The Block song is today. With Bossa Nova, everything that had drama in the Brazilian song was forgotten. The lyrics speak of a peasant who plucks the heart of his own mother. In 1968, the year of release of daring films like 2001 - A Space Odyssey and The Bandit of Red Light, Mother Heart returned to make sense.

Tropicália had everything to stay dated. But there is no admirer or musician of MPB who does not mention it as one of the main references of the song in the country. It is good to know that he will be studied, analyzed, dissected by a part of a new generation that may not have had contact with him. And see the discs a new way of learning……………………

“Baby” was one of the 12 tracks included in Tropicália or Panis et Circensis, the collective record that tropicalistas recorded in São Paulo, during the month of May, 1968. Caetano coordinated the project and selected the repertoire, which also featured previously unpublished songs Of Gil, Torquato Neto, Capinan and Tom Zé. The arrangements were by Rogério Duprat, with the production once again led by Manoel Barenbein.

For those who want to understand a little about what was the movement led by Caetano and Gil, the book Tropicália - The history of a musical revolution is mandatory. In the work, journalist and writer Carlos Calado traces the timeline of the cultural, musical and social phenomenon that exploded in Brazil between 1967 and 1969. Not without mentioning Caetano and Gil’s childhood, and also the consequences of Tropicália, until Today felt in the production of Brazilian culture.

In the passage that opens this post, Calado reports how was the recording of the historical Tropicália or Panis et Circensis. The album arrived in stores in Brazil at the end of July 1968, but was released with a party / happening at Dancing Avenue nightclub in Rio de Janeiro, on August 7. Five days later, the celebration was repeated in São Paulo, at Avenida Danças.

The album brings the songs most representative of the movement, despite the absence of “Tropicália”, present in Alegria, Alegria, debut album by Caetano. The mixture and anthropophagy cauldron is in the collective work of the tropicalist: pieces of poem by the concretist Décio Pignatari, phrases from Oswald de Andrade’s own Anthropophagic Manifesto, Frank Sinatra, Carlos Gomes and even National Anthem.

The highlights, in this blogger’s modest opinion, go to two songs: the (another) title track, “Panis et Circensis”, Gil’s song, Caetano lyrics and immortal interpretation of the Mutantes, and the sensitive and beautiful “Baby” In the sweet voice of young Gal.

After Tropicália or Panis et Circensis, the members of the movement followed different directions and everything cooled down with the arrest and exile of Caetano and Gil in London in July 1969.

But this story goes to another day … Because every day is historical…………….

In the Roman Empire, the bloody gladiatorial fights, generally held in the presence of the Emperor, served to display Roman power and especially to divert the attention of the population. The politics of bread and circus, or? Panis et circenses? In Latin, was used by the state to keep peasants well away from political and social issues. The Caesars were in charge of feeding the people and at the same time distracting them, for by the logic of this policy, giving bread and circuses, that is, food and laughter, everything would be well. But there was a clear contrast between government and people, truth and lies, ends and means, joy and sadness.

Evidencing and enhancing the contrast was one of the proposals of the tropicalists, contrasting the erudite with the popular, pop with folklore, national with global, old with new, tacky with cool, traditional with modern, with rural with urban. Thus, that maxim created in Ancient Rome, “panis et circenses”, served as inspiration to the intellectual mentor of Tropicália, Caetano Veloso, to give a subtitle to the movement’s manifesto: “Tropicália or Panis et Circensis”. The correct Latin noun is “circus”, but it was mistakenly spelled on the disc as “circensis” By an unprofessional distraction of Caetano, who coordinated the project of this collective disc and selected the repertoire.

Caetano’s idea was to give a contrasting effect to a classic Latin citation on a disc of predominantly pop songs. In addition to being present in the name of the disc, “Panis et circensis? Is also the title of one of the songs contained in it. The lyrics of this song had already been composed by Caetano and was musicada by Gilberto Gil. So it fell to the trio? Os Mutantes? (Rita Lee, Arnaldo Baptista and Sérgio Dias) to play it on the album, contributing their rock sound in this song that challenges established values, against people worried about "being born and dying”?
Music contrasts the desire for liberation with the ritual of the dining room. In the end, there is an abrupt interruption of the music, as if someone in the dining room was bothered by the sound and took the turntable off. After the break, he continues the simulation of a live family dinner, with noises of cutlery, glasses, plates and usual speeches at a meal. All this with a Viennese waltz in the background, referring to the old values and habits that Caetano wanted to contrast in “Panis et Circensis”.
The manifesto, recorded in May and released in July 1968, was a work of the so-called “Bahian group” At the time, composed besides the lead singer-songwriters Caetano Veloso and Gilberto Gil, by the São Paulo trio “Os Mutantes”, by the singers Gal Costa and Nara Leão, by the poet-lyricists Torquato Neto, Capinam and Tom Zé and by the maestro-arranger Rogério Duprat. The disk cover was a parody of the? Sgt cover. Pepper’s Lonely Hearts Club Band (Beatles), where everyone is posing as if it were for a traditional family portrait, were it not for the pot used as a cup by Rogério Duprat. The final result of the album is a sound experience that turned the dining room of Brazilian music………………………

It is this unreserved opening for the new that is also responsible for an unprecedented fact in our popular music: the intimate collaboration with avant-garde erudite musicians, such as Rogério Duprat, in an unusual association even at the world level. And that makes the most advanced lines of avant-garde music - electronic music and anti-music - meet with popular music in an informational implosion from which everything can result, including a new song, a song at the same time of “production and consumption” , Or of “produssumo” as would say Décio Pignatari.

Instead of making the musical revolution in the thematic epidermis, Gil, Caetano, and his companions, are making a deeper revolution, which reaches the very language of popular music. That is why they bother, more than many ostensible protesters, soon assimilated by the System……………..

It’s all in “Tropicália or Panis et circensis”. The beautiful arrangements of Rogério Duprat, who was very much guided by me. It’s a movie of mine, this record. Gil, who did divine things in this work, was not so excited. He thought they had some things out of tune in the orchestra. (…) “Tropicália” brings another milestone: this record is the first recording of the great group Os Mutantes, with the song that stands out from the rest of the album, “Panis et circenses”, recorded before Os Mutantes make the album their. They have always been wonderful, one of the biggest rock groups in the world, I always found it and I say it in my book “Tropical Truth”. (…)
This album also premiered the great artist Tom Zé, whom I went to in Salvador. He did not want to come to Sao Paulo at all, he was afraid of the cold and dread of leaving Bahia. I insisted a lot, brought him with me by plane with me. We recorded his songs on this record, began his career there and Tom Zé is there until today, acting, composing and recording……………

This record always enters the best list of Brazilian music. I do not agree, it’s not among the best, but among the most important. Excellent compositions, some enigmatic because of the dictatorship, what is missing is a little more excitement in the interpretations, I think by the influence of Bossa Nova still well present. There was still more daring.
How much music “While Your Wolf Does not Come” I never understood much the letter, what it really means or if it is just that. But the Pixote I know who died murdered by the police under the bed died in 87, 20 years after this LP, was it a prediction then? Heheheheh !!
Thank you very much for the remixed version, it is curious also to hear this new version……………. 

The psychedelic generation was all up in the late 1960s , in addition to the equal rights movements , be it in the rights of blacks and even the freedom of expression movements were shaking the politico-social scene worldwide. The year 1968 could not be otherwise , with the expansion of the counterculture movements and also gaining a strong role another type of music making , Brazil would end up winning a more than special representative in this scenario and this representative was the Tropicalismo . But, after all, how did Tropicalism really come about ? Ah yes, the tropicalist movement , In addition to the Cinema Novo movement, represented by director Glauber Rocha, as well as the influence of the Arena Theater and the Oficina Theater and the pieces by Zé Celso Martinez Corêa, the plastic arts of Hélio Oiticica and Rogério Duarte, and bringing back to the forefront Astral of the bossa nova , of which the main reference is João Gilberto, idolized by all that were part of the movement and continue to reverence the bossa nova god until today. How did this movement expand ? Another question, and an answer in the manga: São Paulo, October 21, 1967, Record Theater, Consolação Street: a great moment would happen on that stage, at the end of the III Festival of Brazilian Popular Music . Having as winners Edu Lobo, Marília Medalha and the Conjunto Momento Quatro and his song Ponteio , on the other hand ended up unleashing the career of two Bahians and a group that came to electrify Brazilian Popular Music : these two Bahians were Gilberto Gil and Caetano Veloso and the group was a young trio called The Mutants . The song Domingo No Parque , composed and performed by Gil with the presence of the Mutantes on stage, with a very realistic story , ares cinematographic and with a brief influence of Pet Sounds , Beach Boys and Sgt. Pepper’s Beatles in the arrangements, showed A different direction that MPB would have in those days . Already in Alegria, Alegria , by Caetano, it was more rock and roll , a poetry based on the modern language of poetry, in Cinema Novo and also based on the sound of the Beatles and that even sounded a little with the Young Guard , musical phenomenon of the time . Gil took 2nd place and Caetano got a 4th place, until deserved by the way, although Chico Buarque got the 3rd place in Roda-Viva, and so goes the list. The festival was the initial shot to present novelties for the musical scene , which already tried to avoid the foreignness in music, the interference of gringa (read electric guitar) sound in Brazilian songs, and also showing that Brazil needed to change in the Same moment that the world was undergoing its changes, and in that same 1967, With Zé Celso debuting the play O Rei da Vela , by Oswald de Andrade, the classic of the national cinema Terra em Transe - by Glauber Rocha - was premiered, the artist Hélio Oiticica presented his installation of name Tropicália and by these facts plus 3ª Edition of the Festival of Brazilian Popular Music, linking these to the origin of the tropicalist movement, which lasted little but still left important traces for Brazilian culture to this day.
As every movement has a record that represents it, Tropicalism needed a record that represented and was worthy of the name, so happened in 1968 with tropicalismo and its manifesto, titled Tropicália Ou Panis Et Circensis , With the recordings held in May of that year at Scatena studios owned by RGE Discos and with Manoel Barenbein in production , with the arrangements of Júlio Medaglia and the tropicalista maestro Rogério Duprat . In addition to Gil and Caetano, those who marked the album were Os Mutantes, Gal Costa, Nara Leão and a friend of the Bahians, Tom Zé , who appear on the cover clicked by Oliver Perroy having only the absence of Nara (which appears in an insured portrait By Caetano Veloso) and José Carlos Capinam (who can be seen in a portrait held by Gil), a Bahian composer and also part of this movement alongside another poet, Torquato Neto (alongside Gal Costa) in a similar language To the cover of Sgt. Pepper’s,. The art was by Rubens Gerchmann, the author of the layout of the cover under the photo of Perroy, having on the back cover the photo in black and white plus a text of Caetano Veloso simulating the script of a film . The album ended up generating an immense repercussion in the media , and also showing that from that disc, the Brazilian popular music would end up being another definitively , generating a brief influence in the musical scene of face, and being a disc worshiped even outside Brazil , receiving Praise and international criticism even of musicians such as David Byrne himself , the former Talking Heads who flirted with the Brazilian sound and the artists here, especially Caetano himself,
The disc begins with a church organ , already giving us a definitive guide by Miserere Nobis , sung by Gilberto Gil, a song that ended up showing the true position against the brute strength of the military dictatorship , with blows to the style of march at certain moments and With a closing bringing cannon shots , already giving way to what comes later; The next track is called Madre Materno , by Vicente Celestino and rediscovered by Caetano Veloso and with an arrangement similar to the original , returning one more side almost forgotten until then and with a levada that refers to the golden years , in the part of the arrangements of Duprat during the song; The song that takes a half of the title of the album sung by the Mutants still shows us a more impressive story, a kind of anthem of awakening the rights of freedom , dreams and youthful utopias: this was Panis Et Circensis , the theme that even put The group at the head of a new era in Brazilian music; The next theme is a bolero with the airs of an old song , here comes the sweet voice of Nara Leão to give a touch more in Lindonéia , the story of a woman who disappeared and who was dreaming about what was read in the photonovelas, What was heard on radios and watched on television, And the title came from a Gerchmann painting made at the time; The next theme involves the two main gurus , plus Gal Costa, the Mutantes themselves and Tom Zé - the author of the lyrics - who give voice to the Industrial Park , an insight into urban and cultural innovations, and an irony With the expression “made in Brazil,” and the title was taken from a book written by Patrícia Galvão, a Pagu (1910-1962) in the 1930s, and a joke with Wilson Simonal “let’s go back to Pilantrage” in a sarcastic way; The next issue is definitely a shot in our ears, composed and played by Gil, Jaleia Geral is a song of allegorical tone , a sort of spokesman for the manifesto and in a levada de rancho during a recitation of Gil in which he quotes Sinatra, Portela among other things and then “Tropicália, bananas in the wind,” Still having a pamphlet in the verses and a quote to Geraldo Vandré’s Shot , the disaffection of the Bahians and showing a kind of conciliation with the protest song format that would expand in Brazil briefly; The B-side of the album already begins with the song that became an anthem in Gal Costa’s career , titled Baby , a Caetano theme that would have been made for the author’s sister, The great Maria Bethânia who was not part of the album for having a contract with another label at the time and was one of the themes that played a lot in the charts during that year, joining the romanticism to Roberto Carlos with the footprint of samba plus bossa nova with right To Caetano chanting Diana , of Paul Anka at the end of the song, a kind of; The next song has a thing of chácháchá and latinidade , is is Three Caravels , a version of Las Tres Carabelas , a song on the colonization where Caetano sings the original version in Spanish and Gil the Portuguese version fair by Braguinha , or also João de Barro , Author of the classic marchinhas and also of the famous Disquinho that everybody already had quandro child; In the sequence we have While His Wolf Does not Come , a more urbanized and modern version of the famous story of the red hooded girl in a kind of a dialogue about an uprising against the military dictatorship , a sort of social-political critique and pamphlet moved to a female choir Of Gal Costa and Rita Lee “the clarins of the military band”, as a kind of resounding of the oppressive government; The track Mama Coragem begins with a lead to the guitar followed by a siren sound portraying the desire of young people to make their own discoveries and decide to take a life without direction , sung in an intimate tone and also velvety in this song of Caetano And Torquato that also came to be one of the best songs that the own Gal already recorded throughout its race; In the sequence we have Bat-Macumba , with a clear reference to the umbanda and also to the superhero Batman, making a connection jus to the title , and if you read the letter better, it carries a thing of the concrete poetry , Forming a letter K , sounding more like a kind of poetry than just a song, in this one here are Gil, Gal, Caetano and Os Mutantes in a levada of terreiro , the cultural syncretism present in this band; And in the album, the closing of time is Hymn of Senhor do Bonfim , made for the saint of the Bahian loaded with metals and very serious tones , that ended up not appealing to conservative Christians who repudiated the tropicalistas, but that serves as main element to complement the true Tropicalist musical salad that is part of this record.
The album ended up giving a new face to the Brazilian music scene, In addition, everyone who knows the story knows and would not have been Tropicalismo, the heirs of that generation might not have existed and did not influence much , but it was with this record that the hole once existed, was stopped so that MPB could follow To undergo its various cultural and sonorous transformations . In the midst of this peak, there were also moments more festivals like Boo Caetano in the qualifiers of the FIC (International Song Festival) with Is Forbidden to Forbid and which was deleted face, the legendary performance of the mutants that even with the walker music Nocturnal As well as Gal in a totally daring visual when playing Divino Maravilhoso at the IV Festival of Brazilian Popular Music on TV Record, and the movement gained a spot on television with a program called Divino Maravilhoso on TV Tupi, making the audience more impressed yet, but it did not last long Because Gil and Caetano were to be exiled in December 1968 after Christmas and forced to leave the country the following year, returning only in April 1972 . He eventually stood out so much out of the world that he is currently on Robert Dimery’s famous list of 1001 Discs to Listen Before He Dies, alongside Caetano and Mutantes’ debut solo album. Tropicália is also featured on the Brazilian Rolling Stone’s list of the 100 greatest Brazilian music records in the 2nd position, proving that yes, it was one of the biggest records made in the history of our Brazilian popular music and still continues to echo as modern for our Over the years that have passed. …………….

Lp Album
A1 –Gilberto Gil Miserere Nóbis 3:42
A2 –Caetano Veloso Coração Materno 4:15
A3 –Os Mutantes Panis Et Circenses 3:33
A4 –Nara Leão Lindonéia 2:13
A5 –Gilberto Gil, Caetano Veloso, Gal Costa, Os Mutantes Parque Industrial 3:16
A6 –Gilberto Gil Gelélia Geral 3:42
B1 –Gal Costa, Gilberto Gil Baby 3:31
B2 –Caetano Veloso, Gilberto Gil Três Caravelas (Las Três Carabelas) 3:06
B3 –Caetano Veloso Enquanto Seu Lobo Não Vem 2:31
B4 –Gal Costa Mamãe, Coragem 2:29
B5 –Gilberto Gil Bat Macumba 2:33
B6 –Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes Hino Do Senhor Do Bofim 3:38
CD Album
1 –Gilberto Gil Miserere Nóbis 3:42
2 –Caetano Veloso Coração Materno 4:15
3 –Os Mutantes Panis Et Circenses 3:33
4 –Nara Leão Lindonéia 2:13
5 –Gilberto Gil, Caetano Veloso, Gal Costa, Os Mutantes Parque Industrial 3:16
6 –Gilberto Gil Gelélia Geral 3:42
7 –Gal Costa, Gilberto Gil Baby 3:31
8 –Caetano Veloso, Gilberto Gil Três Caravelas (Las Três Carabelas) 3:06
9 –Caetano Veloso Enquanto Seu Lobo Não Vem 2:31
10 –Gal Costa Mamãe, Coragem 2:29
11 –Gilberto Gil Bat Macumba 2:33
12 –Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes Hin

anonymous asked:

If I may ask, is there a certain story behind your "Demon Days" things?

Demon Days is a Gorillaz album

Essentially Demon Days is supposed to represent a darker time of struggle and personal growth


1988. Master Control

is the third album by band Liege Lord.

Liege Lord’s music is fast, energetic, heavy, and catchy as hell - all the qualities of a top-notch power metal band. Their previous two albums are both very good 80s USPM, but they lacked the sheer perfection found in Master Control. If you’ve heard the first two albums, the first thing that you will immediately notice from the opening chord of Fear Itself is the production, The previous two albums suffered from very lacking production, which always detracted from the enjoyment of the music, but fortunately this is not the case on Master Control. The guitars are crunchy and heavy, the drums are hard-hitting, and the vocals are clearly audible but not overpowering. The bass perhaps could have been slightly louder, but that’s nitpicking - the production is damn near flawless.

this album is a shining example of the best the genre has to offer. From start to finish, Master Control never once disappoints. This is an absolutely essential album for any fan of ( “‘speed/power metal”“). In fact, even if you’re not a power metal fan, give this a listen - if you enjoy good music, you won’t be disappointed.

Joseph Comeau   Frank Cortese   Matt Vinci   Tony Truglio   Paul Nelson