sexta-feira, 20 de janeiro de 2012
Agora vale tudo...
President Obama
Obama Sings 'Let's Stay Together'
January 20, 2012
President Obama aired out his best Al Green impersonation at a fundraiser in New York Thursday, after following the veteran soul star on stage. Singing the opening line of the singer's classic "Let's Stay Together" – "I-I'm, so-oo in love with you. . ." – the president grinned broadly while supporters whooped and clapped. "I told you I was gonna do it!" he said. Then he looked for Green in the audience: "Don't worry, Rev, I cannot sing like you."
He may not be Al Green, but Obama's singing skills are impressive. We put together a playlist of ten more songs we'd like to hear the Commander in Chief croon.1. 'Ooh, Child' by Lenny Williams
2. 'What's Goin' On' by Marvin Gaye
3. 'If I Ruled the World' by Kurtis Blow
4. 'I Hope' by Dixie Chicks
5. '(I've Had) The Time of My Life' by Bill Medley and Jennifer Warnes
6. 'Super Bad' by James Brown
7. 'Fight the Power' by Public Enemy
8. 'Mama Said Knock You Out' by LL Cool J
9. 'Bring It On Home to Me' by Sam Cooke
10. 'Signed, Sealed, Delivered (I'm Yours)' by Stevie Wonder
Read more: http://www.rollingstone.com/videos/single/obama-does-al-green-president-sings-lets-stay-together-20120120#ixzz1k2jIZCTe
Etta James, la fiera nunca domada
Activa desde 1954, la cantante mantuvo su dignidad hasta el final, en una carrera que incluyó blues, jazz y soul. La artista murió en el hospital Riverside Community de California víctima de una leucemia
La cantante Etta James posando. en 1962. / GETTY
Etta James, que falleció hoy en el hospital Riverside Community de California, por culpa de complicaciones en la leucemia que padecía, por era la proverbial dama de armas tomar. En 2009,arremetía contra Barack Obama, que prefirió llamar a Beyoncé Knowles para las celebraciones de su toma de posesión en Washington. El presidente y su esposa bailaron acaramelados con At last, uno de los grandes éxitos de Etta,pero cantado por Beyoncé.
Otra suplantación más, que dolía por venir de quién se suponía lo bastante sensible para evitar esos deslices. Llovía sobre mojado, dado que Etta James había sido encarnada por Beyoncé en la película Cadillac Records, un retrato de la discográfica Chess que se tomaba muchas libertades con la historia real deEtta. Su indignación resultaba comprensible: Beyoncé, el modelo fashion de feminidad negra, se llevaba toda la atención mientras ella, la original,solo podía actuar en locales modestos.
Y es que EttaJames siguió trabajando hasta que su cuerpo dijo basta, debilitado por la leucemia y el alzheimer. En noviembre, Verve/Universal publicó The dreamer,un disco de soul sorprendentemente robusto, y no digamos para tratarse de una cantante de 73 años. La jubilación nunca fue una opción para artistas como Etta James, que no componían y que no recibieron suficiente compensación de muchas de las discográficas que contaron con sus servicios.
Paradigma delas glorias y miserias de la música negra, Jamesetta Hawkins nació en LosÁngeles en 1938. Nunca conoció a su padre, posiblemente blanco (ellasospechaba que pudo ser Minnesota Fats, un maestro del billar inmortalizado enla película El buscavidas). Educada musicalmente en la iglesia baptista,era menor de edad cuando llamó la atención de Johnny Otis, otro extraordinariobuscavidas, que la lanzó con una canción lujuriosa, Roll with me Henry,púdicamente rebautizada en la galleta del disco como The wallflower.
Tuvo más éxitos considerables durante la segunda mitad de los años cincuenta pero su visibilidad aumentó en 1960, cuando fichó para el sello Chess, en Chicago.Leonard Chess la vio como vocalista de amplio espectro y la hizo grabar desde baladas empapadas de violines (Trust in me o la citada At last)hasta sesiones de jazz, aparte de un incendiario directo, Etta James rocksthe house. Con la eclosión del soul a mediados de los sesenta, Ettapudo sacar al aire todos sus recursos de mujer brava y lenguaraz. Fascinó al gran público con Tell mama y la dolorida I’d rather go blind,ambas grabadas en 1967 con los músicos blancos de Muscle Shoals, en Alabama.
Todo setorció poco después. La muerte de Leonard Chess provocó la decadencia de su compañía, incapaz de proporcionar el impulso que necesitaba Etta. Aún peor:ella, que había flirteado con muchas drogas, se convirtió en heroinómana. Los años, las décadas, se fundieron en un vertiginoso carrusel de malas compañías,detenciones, condenas, intentos de desintoxicación. Aunque también hubo discos con admiradores como el productor Jerry Wexler, responsable del potente Deepin the night.
Pudo equivocarse a la hora de escoger amantes pero Etta nunca desperdició sus poderes: durante su época dura, el redactor de estas líneas acudió a verla a un pequeño restaurante del downtown de Los Ángeles. En un escenario mínimo,con una banda elemental, dio cumplida cuenta de sus clásicos…y desapareció nada más cobrar, a pesar de que había accedido a una entrevista.
Con la ayuda del experto David Ritz, explicó sus altibajos vitales en una descarnada autobiografía, Rage to survive: the Etta James story (1995) . Se podía permitir la sinceridad ya que su carrera se volvió a enderezar a finales de los ochenta. No pudo tomar el puesto de Janis Joplin, como fantaseaban algunos productores, pero facturó discos espléndidos en Island y Private Music.Solucionó elegantemente caprichos -o encargos- como Mistery lady,colección de piezas identificadas con Billie Holiday, y Christmas,canciones navideñas.
La reedición de su material clásico, en antologías del calibre de R & B dynamite oThe Chess box, ayudó a situarla históricamente. Había en ella un descaro natural, que explica tanto sus andanadas contra Obama y Beyoncé, como las audacias en su repertorio. Para consternación de sus doctores, su reciente disco contenía odas al alcohol y al tabaco, aparte de una insospechada versión de Welcome to the jungle, de Guns ‘N’ Roses.
http://cultura.elpais.com/cultura/2012/01/20/actualidad/1327078925_479708.html
Remembering Etta Jones
There always seemed to be something indestructible about Etta Jones. You could hear it best on up-tempo tunes when she would swing with a joyful abandon and an almost godlike authority. But even when she sang the most tragic and heart wrenching of ballads—and she sang more than her share of tragic, heart wrenching ballads—Jones conveyed a resilient inner core. You knew that when the crying and heartache were over, she would pick up the pieces and move on. She was a survivor. So when the news filtered out that Etta Jones had passed away on October 16, 2001, due to complications from cancer, it seemed like it had to be a mistake. But, as we have come to learn in recent days, the saddest, most unbelievable news often turns out to be all too true.The death of Etta Jones is first and foremost a terribly painful loss for her family and the many people who personally knew and loved her. But it is also a loss for her fans and for people who care about the art of jazz singing.
The jazz community has become all too used to saying goodbye to our heroes. And when we lose an artist, we often find ourselves returning to our CD collection with ears sharpened by sadness. After re-listening to Jones's prodigious output, two things became clear: first, Etta Jones was a great artist, and, second, we didn't say that out loud nearly often enough when we had the chance.
But then Jones was never the kind of person who craved publicity or praise. Although she was one of the few real jazz singers who could boast of a million-selling record, 1960's "Don't Go to Strangers," Jones had an almost willful disregard for careerism. In a business filled with narcissism and fragile egos, she was the very opposite of the self-obsessed diva. On stage, she was a warm, considerate performer who genuinely tried to please her audiences and generously shared time with the instrumentalists. Off stage, she may very well have been one of the nicest people in jazz. She always had time to speak to fans after a performance or to support up and coming musicians. Although she endured her share of personal difficulties—including an earlier battle with cancer and the death of her daughter—she never wallowed in her troubles or exploited them for the sake of publicity. "All I want to do is work, make a decent salary and have friends," she once told a reporter. Fortunately for us, she was able to accomplish a good deal more than that.
Etta Jones was one of the most consistent singers in jazz. While she began her career in the 1940s, it was the success of Don't Go to Strangers in 1960 that firmly entrenched her in the jazz community. In the four decades that followed, she was a constant presence on the road and a frequent visitor to the recording studio. Her recorded output is generally thought of in terms of the three labels with which she enjoyed extended associations: Prestige in the early 1960s, Muse from the mid '70s through the mid '90s, and finally HighNote from 1996 onward. Although distinctions can be drawn between these eras, in terms of the strength of the material and the quality of her performances, they are all parts of a greater whole. Unlike some other singers, Jones's gifts largely survived the ravages of time. Although perhaps slightly less limber, her voice in the '90s sounded pretty much like it did in the '60s.
However, her sound and style in the 1960s were quite different from what they had been in the 1940s. When she was 16 years old, Etta Jones made her first records for the Black & White label under the supervision of noted jazz writer Leonard Feather. Feather had produced Dinah Washington's first recording session, and he was clearly hoping to mimic that success. Feather scheduled the session for December 29, 1944, exactly one year to the day after Washington's first session. He also included two of the songs, "Evil Gal Blues" and "Salty Papa Blues," that Washington had recorded at that first session. But while Feather was trying to conjure another Dinah Washington, Jones was channeling an entirely different singer.
continue reading on : http://www.allaboutjazz.com/php/article.php?id=24821
She sang the blues because she lived it
Etta James, blues icon, dies aged 73
Etta James's approach to singing and to life was one of wild, desperate engagement.
Photograph: Sherry Rayn Barnett/Getty Images
Etta James, who has died aged 73 after suffering from leukaemia, was among the most critically acclaimed and influential female singers of the past 50 years, even if she never achieved huge popular success. From her first R&B hit, in 1955, the risqué Roll With Me Henry – cut when she was only 15 – through a series of classic 1960s soul sides (the lush ballad At Last, the raucous house rocker Tell Mama and the emotional agony of I'd Rather Go Blind), then a series of critically acclaimed 1970s and 1980s albums that won her a broad rock audience, to more recent albums of jazz vocals, James proved capable of developing and changing as an artist.
Her approach to both singing and life was throughout one of wild, often desperate engagement that included violence, drug addiction, armed robbery and highly capricious behaviour. James sang with unmatched emotional hunger and a pain that can chill the listener. The ferocity of her voice documents a neglected child, a woman constantly entering into bad relationships and an artist raging against an industry and a society that had routinely discriminated against her.
James's continuing appeal to new generations was proved when the R&B superstar Beyoncé played James in the 2008 film Cadillac Records. The British pop singer Adele said that it was buying an Etta James CD when she was 13 that made her want to sing.
She was born Jamesetta Hawkins to 14-year-old Dorothy Hawkins and an unknown white father, although James maintained he was the pool shark Rudolf "Minnesota Fats" Wanderone, and was raised at first in Los Angeles by adoptive parents. From the age of five, she sang gospel in the local church and later acknowledged the influence of the choirmaster, Professor James Earl Hines.
When Jamesetta's adoptive mother died, Dorothy reappeared and took her 12-year-old daughter to San Francisco. Dorothy was a hustler and showed no inclination to change her lifestyle. "She was never there when I got off from school," James recalled, "so I could pretty much do what I wanted to do … drinking, smoking weed." Violence and substance abuse were now constants in James's life and she would maintain a difficult, combative relationship with her mother across many decades.
James formed a vocal trio, the Creolettes, with two teenage friends. They auditioned for the maverick R&B band leader Johnny Otis. He was so impressed with James's voice and her composition of Roll With Me Henry that he offered to take her to Los Angeles the following day to record. She agreed, lied to him that she was 18 and, when he demanded her mother's signed consent, went home and forged it – Dorothy was then in prison.
Roll With Me Henry was retitled The Wallflower – Modern Records decided the original title was too explicit – and Otis renamed his protege Etta James. The song reached No 1 on the R&B charts (while Georgia Gibbs's bland cover went to No 1 in the pop charts). The follow-up, Good Rockin' Daddy, reached No 12 in the R&B charts in November 1955.
As a teenager on tours with Otis, Johnny "Guitar" Watson, Ike and Tina Turner and Little Richard, James encountered and quickly embraced much debauchery. Although there were no more 50s hits, she was a popular attraction in black America's working-class "chitlin' circuit" clubs.
In 1959 James signed with the Chicago blues label Chess, which began marketing her as the "Queen of Soul". She notched up such hits as All I Could Do Was Cry, If I Can't Have You and At Last. Here her powerhouse contralto voice was matched with the sumptuous, bluesy string arrangements of Riley Hampton, and James truly came into her own as a singer. Her 1963 album Etta James Rocks the House was recorded live at the New Era club in Nashville and documents a formidable performer.
In 1967 Leonard Chess, the founder of Chess Records, sent James to Alabama to record at Fame studios with the producer Rick Hall. The resulting sessions produced the roaring Tell Mama, which took her back to the R&B top 10. Tell Mama's B-side was I'd Rather Go Blind, a brooding, agonised ballad of loss and jealousy which now stands as James's most celebrated recording and one of the classic sides of soul music. James wrote or co-wrote several of her greatest songs.
That year, James's influence was everywhere, with a variety of black female singers (including Turner, Gladys Knight and Candi Staton) employing her defiant, abrasive vocal style. Janis Joplin modelled her singing closely on James and covered Tell Mama. James was a star, yet one seemingly set on self-destruction. Addicted to heroin and bad men, she lived a criminal lifestyle and was jailed several times. After leaving jail in Anchorage, Alaska, in 1969, she met and married Artis Mills. When, in 1971, the couple were arrested in San Antonio, Texas, on narcotics charges, Mills took the fall. On his release in 1981, the couple reunited.
James never again enjoyed a major US hit, although she continued to record strong material. Perhaps her voice, so raw and emotionally expressive, was too fierce for the general public. Indeed, hurt, anger and self-destructive behaviour boiled beneath the surface of her vocals. Once asked to describe her style, she responded that singing allowed her to vent "all this bitch shit inside of me".
James became a natural replacement for Joplin after the latter's death in 1970. Teamed with Joplin's collaborator Gabriel Meckler in 1973, James began to record rock songs: mauling the Eagles, slugging Randy Newman.
The 1974 album Come a Little Closer, recorded while she was in rehab at a psychiatric hospital, features James at her best. A shift to Warner Brothers in 1978 did not return her to a wide audience and, although she often worked with major producers, James remained beloved more by critics and blues-soul aficionados than a mass audience.
When paired with the right producer and material, she delivered superb albums: Seven Year Itch (1989), Matriarch of the Blues (2000) and even her swansong The Dreamer (2011) find her interpreting lyrics with grace and venom. An elite fanclub ensured James sang at the Los Angeles Olympics opening ceremony in 1984, appeared in Taylor Hackford's celebrated Chuck Berry feature Hail! Hail! Rock'n'Roll (1987), opened stadium dates for the Rolling Stones and was inducted into the Rock'n'Roll Hall of Fame in 1993. She scored a surprising (and sole) UK top 10 hit in 1996 when her threatening reading of I Just Want to Make Love to You became the soundtrack to a Diet Coke advertisement. In 1995 James recorded Mystery Lady, the first in a series of jazz vocal albums where she channelled the influence of Billie Holiday. This brought her to yet another audience.
James won six Grammy awards and a star on the Hollywood Walk of Fame. Having finally conquered her drug addiction in 1988, she began to struggle with her weight – in 2002, weighing more than 400lb, she had gastric bypass surgery and lost 200lb, which allowed her to return to active singing and performing. The film Cadillac Records, a heavily fictionalised biopic about Chess Records, attracted wide attention due to Beyoncé's appearance as James. The young superstar made a decent job of portraying her as a foul-mouthed, two-fisted singer, yet lacked the raging bull quality that made James so unforgettable.
Beyoncé was invited to sing At Last at Barack Obama's presidential inauguration in January 2009. James publicly criticised her, then later offered an apology, suggesting that she was upset not to have been invited to sing herself. She added that she would have sung the song better. Rage to Survive, James's autobiography, was published in 1995 and proved as blistering as her singing.
She is survived by her husband and her sons, Donto and Sametto.
• Etta James (Jamesetta Mills), singer, born 25 January 1938; died 20 January 2012
http://www.guardian.co.uk/music/2012/jan/20/etta-james?newsfeed=true
Her approach to both singing and life was throughout one of wild, often desperate engagement that included violence, drug addiction, armed robbery and highly capricious behaviour. James sang with unmatched emotional hunger and a pain that can chill the listener. The ferocity of her voice documents a neglected child, a woman constantly entering into bad relationships and an artist raging against an industry and a society that had routinely discriminated against her.
James's continuing appeal to new generations was proved when the R&B superstar Beyoncé played James in the 2008 film Cadillac Records. The British pop singer Adele said that it was buying an Etta James CD when she was 13 that made her want to sing.
She was born Jamesetta Hawkins to 14-year-old Dorothy Hawkins and an unknown white father, although James maintained he was the pool shark Rudolf "Minnesota Fats" Wanderone, and was raised at first in Los Angeles by adoptive parents. From the age of five, she sang gospel in the local church and later acknowledged the influence of the choirmaster, Professor James Earl Hines.
When Jamesetta's adoptive mother died, Dorothy reappeared and took her 12-year-old daughter to San Francisco. Dorothy was a hustler and showed no inclination to change her lifestyle. "She was never there when I got off from school," James recalled, "so I could pretty much do what I wanted to do … drinking, smoking weed." Violence and substance abuse were now constants in James's life and she would maintain a difficult, combative relationship with her mother across many decades.
James formed a vocal trio, the Creolettes, with two teenage friends. They auditioned for the maverick R&B band leader Johnny Otis. He was so impressed with James's voice and her composition of Roll With Me Henry that he offered to take her to Los Angeles the following day to record. She agreed, lied to him that she was 18 and, when he demanded her mother's signed consent, went home and forged it – Dorothy was then in prison.
Roll With Me Henry was retitled The Wallflower – Modern Records decided the original title was too explicit – and Otis renamed his protege Etta James. The song reached No 1 on the R&B charts (while Georgia Gibbs's bland cover went to No 1 in the pop charts). The follow-up, Good Rockin' Daddy, reached No 12 in the R&B charts in November 1955.
As a teenager on tours with Otis, Johnny "Guitar" Watson, Ike and Tina Turner and Little Richard, James encountered and quickly embraced much debauchery. Although there were no more 50s hits, she was a popular attraction in black America's working-class "chitlin' circuit" clubs.
In 1959 James signed with the Chicago blues label Chess, which began marketing her as the "Queen of Soul". She notched up such hits as All I Could Do Was Cry, If I Can't Have You and At Last. Here her powerhouse contralto voice was matched with the sumptuous, bluesy string arrangements of Riley Hampton, and James truly came into her own as a singer. Her 1963 album Etta James Rocks the House was recorded live at the New Era club in Nashville and documents a formidable performer.
In 1967 Leonard Chess, the founder of Chess Records, sent James to Alabama to record at Fame studios with the producer Rick Hall. The resulting sessions produced the roaring Tell Mama, which took her back to the R&B top 10. Tell Mama's B-side was I'd Rather Go Blind, a brooding, agonised ballad of loss and jealousy which now stands as James's most celebrated recording and one of the classic sides of soul music. James wrote or co-wrote several of her greatest songs.
That year, James's influence was everywhere, with a variety of black female singers (including Turner, Gladys Knight and Candi Staton) employing her defiant, abrasive vocal style. Janis Joplin modelled her singing closely on James and covered Tell Mama. James was a star, yet one seemingly set on self-destruction. Addicted to heroin and bad men, she lived a criminal lifestyle and was jailed several times. After leaving jail in Anchorage, Alaska, in 1969, she met and married Artis Mills. When, in 1971, the couple were arrested in San Antonio, Texas, on narcotics charges, Mills took the fall. On his release in 1981, the couple reunited.
James never again enjoyed a major US hit, although she continued to record strong material. Perhaps her voice, so raw and emotionally expressive, was too fierce for the general public. Indeed, hurt, anger and self-destructive behaviour boiled beneath the surface of her vocals. Once asked to describe her style, she responded that singing allowed her to vent "all this bitch shit inside of me".
James became a natural replacement for Joplin after the latter's death in 1970. Teamed with Joplin's collaborator Gabriel Meckler in 1973, James began to record rock songs: mauling the Eagles, slugging Randy Newman.
The 1974 album Come a Little Closer, recorded while she was in rehab at a psychiatric hospital, features James at her best. A shift to Warner Brothers in 1978 did not return her to a wide audience and, although she often worked with major producers, James remained beloved more by critics and blues-soul aficionados than a mass audience.
When paired with the right producer and material, she delivered superb albums: Seven Year Itch (1989), Matriarch of the Blues (2000) and even her swansong The Dreamer (2011) find her interpreting lyrics with grace and venom. An elite fanclub ensured James sang at the Los Angeles Olympics opening ceremony in 1984, appeared in Taylor Hackford's celebrated Chuck Berry feature Hail! Hail! Rock'n'Roll (1987), opened stadium dates for the Rolling Stones and was inducted into the Rock'n'Roll Hall of Fame in 1993. She scored a surprising (and sole) UK top 10 hit in 1996 when her threatening reading of I Just Want to Make Love to You became the soundtrack to a Diet Coke advertisement. In 1995 James recorded Mystery Lady, the first in a series of jazz vocal albums where she channelled the influence of Billie Holiday. This brought her to yet another audience.
James won six Grammy awards and a star on the Hollywood Walk of Fame. Having finally conquered her drug addiction in 1988, she began to struggle with her weight – in 2002, weighing more than 400lb, she had gastric bypass surgery and lost 200lb, which allowed her to return to active singing and performing. The film Cadillac Records, a heavily fictionalised biopic about Chess Records, attracted wide attention due to Beyoncé's appearance as James. The young superstar made a decent job of portraying her as a foul-mouthed, two-fisted singer, yet lacked the raging bull quality that made James so unforgettable.
Beyoncé was invited to sing At Last at Barack Obama's presidential inauguration in January 2009. James publicly criticised her, then later offered an apology, suggesting that she was upset not to have been invited to sing herself. She added that she would have sung the song better. Rage to Survive, James's autobiography, was published in 1995 and proved as blistering as her singing.
She is survived by her husband and her sons, Donto and Sametto.
• Etta James (Jamesetta Mills), singer, born 25 January 1938; died 20 January 2012
http://www.guardian.co.uk/music/2012/jan/20/etta-james?newsfeed=true
Diagnóstico e Destino
RETARDADO AOS OITO ANOS
Mãe é exagerada. Sempre romantiza a infância do filho. A minha, Maria Carpi, dizia que eu fui um milagre, que enfrentei sérias rejeições, que não conseguia ler e escrever, que a professora recomendou que desistisse de me alfabetizar e que me colocasse numa escola especial.
Eu permitia que contasse essa triste novela, dava os devidos descontos melodramáticos, entendia como licença poética.
Até que mexi na estante do escritório materno em busca do meu histórico escolar.
E achei um laudo, de 10 de julho de 1980, assinado por famoso neurologista e endereçado para a fonoaudióloga Zulmira.
“O Fabrício tem tido progressos sensíveis, embora seja com retardo psicomotor, conforme o exame em anexo. A fala, melhorando, não atingiu ainda a maturidade de cinco anos. Existe ainda hipotonia importante. Os reflexos são simétricos. Todo o quadro neurológico deriva de disfunção cerebral.”
Caí para trás. O médico informou que eu era retardado, deficiente, não fazia jus à mentalidade de oito anos. Recomendou tratamento, remédios e isolamento, já que não acompanharia colegas da faixa etária.
Fico reconstituindo a dor dela ao abrir a carta e tentar decifrar aquela letra ilegível, espinhosa, fria do diagnóstico. Aquela sentença de que seu menino loiro, de cabeça grande, olhos baixos e orelhas viradas não teria futuro, talvez nem presente.
Deve ter amassado o texto no bolso, relido sem parar num cantinho do quintal, longe da curiosidade dos irmãos.
Mas não sentiu pena de mim, ou de si, foi tomada de coragem que é a confiança, da rapidez que é o aperto do coração. Rejeitou qualquer medicamento que consumasse a deficiência, qualquer internação que confirmasse o veredito.
Poderia ter sido considerada negligente na época, mas preferiu minha caligrafia imperfeita aos riscos definitivos do eletroencefalograma. Enfrentou a opinião de especialistas, não vendeu a alma a prazo.
Ela me manteve no convívio escolar, criou jogos para me divertir com as palavras e dedicou suas tardes a aperfeiçoar minha dicção (lembro que me fazia ler Dom Quixote, e minha boca andava apoiada no corrimão dos desenhos).
Em vez de culpar o destino, me amou mais.
Na vida, a gente somente depende de alguém que confie na gente, que não desista da gente. Uma âncora, um apoio, um ferrolho, um colo. Se hoje sou escritor e escrevo aqui, existe uma única responsável: Maria Carpi, a Mariazinha de Guaporé, que transformou sua teimosia em esperança. E juro que não estou exagerando.
"Liberdade"
Sinais de que sua vida está prestes a mudar
Você sabe bem quando sua realidade está prestes a mudar. Um sorriso pode mudar o mundo e uma frase, uma vida. Não nos resta apenas memórias muito boas ou muito ruins, mas histórias. Construídas por momentos que precedem cada mudança. Você lembra ou imagina a sensação pouco antes de tudo isso acontecer?Emplacar uma conversa surpreendentemente agradável com alguém totalmente novo e, dali, saber que algo fora do comum está para acontecer. O primeiro beijo apaixonado após anos de transtornos e desilusões. O sabor, diferente. Acordar abraçado por uma pele que te eletrifica em cada movimento e manter-se imóvel, acordado, para aproveitar cada segundo...
A conquista do primeiro bom emprego. Daqueles que você não consegue passar o primeiro dia sem sorrir e achar todos os afazeres, prazeres. Receber uma condecoração, à vista de seus amigos mais queridos, que te aplaudem com um sincero entusiasmo. Ver seu nome naquela lista em que tantos queriam estar. Mas é o seu. Foi você.
Bater o próprio recorde. Depois de desafiar o próprio corpo e ser desafiado pela concorrência que o próprio mundo constitui. Andar com as próprias pernas, depois de não conseguir senti-las. Abrir os olhos e ver. Depois de tanto tempo na escuridão. Vencer o medo do palco e cantar na frente de inúmeros olhares estranhos. Não precisava ser bom, era sua música favorita.
Esperar uma ligação e, ao olhar o celular, vê-lo tocar e saber que é ela. Confirmar como positivo o teste de gravidez depois de anos tentando. Confirmar como negativo a biópsia do tecido que ameaçava se espalhar por seu corpo contra sua vontade. Esbarrar em um amigo realmente querido, no meio da rua, por acaso, depois de longos períodos sem vê-lo.
Ser pedido em casamento quando se menos espera, no meio do nada ou do tudo. Gritar o gol definitivo de seu time na final do campeonato mais importante dos últimos tempos. Ouvir ao telefone que alguém está te cedendo o órgão de um ente que se foi. Receber um abraço de quem não se esperava e ouvir atentamente enquanto ela diz: “eu perdoo você”.
Observar seus filhos dormirem tranquilamente, graças ao trabalho de seu braço e aconchego de suas mãos. Voltar para casa depois de uma temporada fora a trabalho. Comer a receita especial de sua mãe depois de anos de estudos no exterior. Alguém te dá, sem pedir nada em troca, uma nota mais gorda, quando o estômago já começa a consumir a ele próprio e as ruas nada mais oferecem além do frio.
Ouvir “você me inspira”, quando está se sentindo a pior das pessoas da Terra e também um “parabéns”, quando parece que ninguém mais dá a mínima. Ver alguém te esperando após a notícia de sua derrota, com um abraço displicente. Receber o abraço de um estranho que comemora sua aprovação no vestibular. Ser o responsável por entregar a notícia à família: “ela vai viver”. Ouvir o choro de seu bebê pela primeira vez e até ignorar quando dizem “é perfeito”. Ele já o seria.
Correr com o cachorro na praia até cansar, deitar na areia e sentir as ondas molharem apenas a ponta de seus pés. Assistir, de perto, a melhor banda que você já ouviu na vida. Ouvir na rua, a música que um dia foi sua predileta e você nem lembrava mais. Receber uma carta, que não é cobrança. Poder dizer a seus pais “tudo vai ficar bem” e poder ouvir “tenho orgulho de você”. Ganhar na loteria. Em meio ao desespero, receber a mensagem “estamos todos bem”.
Por fim, seguir o próprio caminho. Não sabendo se é o certo, o melhor, claro. Isto, nunca sabemos. Sabemos, no entanto, que estamos indo. Certos e na melhor esperança que tudo mude mais uma vez.
Os 10 Mandamentos da Gula
Eu gosto de misturar de tudo na cozinha porque sou gordo. Adoro salgados, mas sou fissurado em doces. Troco uma refeição inteira pelas calorias equivalentes de uma colherzinha de sorvete light ou de biscoito recheado.
Não sou do tipo que come muito e onera os donos de restaurantes-rodízio. Sou do tipo formiga desesperada, que segue pelo cheiro quanto deve-se poupar do almoço para sobrar espaço para a sobremesa.
Glutão, morta-fome, boca larga. Que seja. Sempre fui do tipo 'lixeira dos Flinstones', que tudo processa, tudo leva e até pedra engole. Minha dieta caminha para o sexto mês e já quase enlouqueço ao lembrar dos mandamentos. Ah! Os mandamentos...
Não tem gordo que não os tenha. Aqueles 'magros de ruim' também, dos que sabem apreciar coisas boas da vida. Se pra essas pessoas só fossem dadas duas opções para passar o resto da vida, escolheriam sexo e comida. Morreriam de sede, mas morreriam felizes e bem cuidados!
Os mandamentos são frases de efeito que você pode não seguir (por falta de opção). O pecado está em discordar delas! Só os 'iluminados' atingem tal sabedoria e só os 'abastados' podem utilizá-las em todos os momentos da vida.
Dizem as boas línguas que elas foram passadas à humanidade pelo deus Baco, que era gordo e sabia do bom da vida. Na Itália, claro, junto a uma receita de molho à parmegiana e uma garrafa de vinho Chateau. As sábias palavras foram escritas, no dorso liso de uma italiana virgem, com fios de macarronada, e descobertas por um retirante faminto que a comeu. E diziam assim:
I- Tudo que é salgado, vai bem com queijo ralado.
II - Nada doce é tão bom, que leite condensado não consiga melhorar.
III - Nada é tão bom cru ou assado que não possa ficar melhor frito.
IV - Chocolate só é ruim quando em pouca quantidade.
V - Quanto mais amarelo, melhor o queijo.
VI - Coisa boa doce #1 + coisa boa doce #2 = Coisa ótima
VII - Coisa boa doce + coisa boa salgada = coisa que pode ser boa (com exceção de sorvete com feijoada).
VIII - Catchup + Mostarda + Maionese não é igual a molho rosé.
IX - O que não mata desce bem com coca-cola (o que mata, também).
X – Nenhuma comida é tão ruim que se compare à sensação de ficar com fome.
E fez-se a obesidade. Amém!
http://papodeguerra.blogspot.com/2012/01/os-10-mandamentos-da-gula.html#more
Tulipa Ruiz canta com Marcelo Jeneci
Tulipa Ruiz e Marcelo Jeneci: show conjunto
Em 2010, a cantora Tulipa Ruiz lançou seu primeiro álbum, "Efêmera". A mistura de pop com toques do Tropicalismo sessentista e da Vanguarda Paulista oitentista lhe valeu elogios da crítica e interesse do público.Agora, depois de fazer uma série de shows fora do país no ano passado, ela se prepara para gravar seu novo trabalho, ao mesmo tempo em que continua a turnê do CD de estreia.
A previsão é que o segundo disco saia no meio do ano. "Já tenho algumas músicas definidas. Mas ainda estou fazendo a curadoria do que entra ou não. Em março entro em estúdio", adianta a cantora.
A diferença em relação ao primeiro álbum é que, dessa vez, Tulipa não pretende exercitar o repertório em shows antes da gravação. "Será um processo diferente. Vou gravar em paralelo aos shows do 'Efêmera'."
Por isso, não espere ouvir uma amostra do novo disco no show que a cantora faz a partir das 22h desta sexta (20) no Cine Joia, em São Paulo, ao lado do cantor Marcelo Jeneci.
"Cada um vai fazer o show do seu disco. Eu do 'Efêmera', ele do 'Feito pra Acabar'. E vamos cantar juntos 'Dia a Dia, Lado a Lado', que é uma composição minha, dele e do Gustavo Ruiz, meu irmão", conta.
"Fizemos essa música no final de 2009 ou início de 2010, mas nunca gravamos. Ela só acontece em shows", explica. "Temos vontade de gravá-la, mas não sabemos ainda onde ela pode entrar."
Esta será apenas a segunda vez que Tulipa e Jeneci dividem uma noite – a primeira foi no Rio de Janeiro, no final de semana passado. Antes, eles só haviam feito participações em shows um do outro.
Jeneci também já está pensando em seu segundo álbum. Sua estreia em disco, assim como a de Tulipa, foi em 2010, com "Feito Pra Acabar". No ano passado, uma das faixas, "Felicidade", entrou na trilha da novela "Aquele Beijo".
"Já estou compondo muitas músicas para o novo disco. É provável que ele saia em 2013", conta o cantor e compositor. "Devo passar 2012 fazendo o show do 'Feito pra Acabar' e elaborando o próximo álbum."
Foto: Augusto Gomes
Marcelo Jeneci, na sanfona, durante show no ano passado no Rock in Rio
A apresentação de hoje, no entanto, não deve ter nenhuma inédita. "Já tenho uma música que certamente estará no novo disco e eu quero colocar no show. Mas acho que não dará tempo de ensaiar com a banda."
Segundo Jeneci, ele e Tulipa vão cantar outras músicas juntos além da composição conjunta "Dia a Dia, Lado a Lado". "No camarim a gente decide quais serão", explica.
"Ela deve fazer alguma entrada no meu show, de surpresa, para cantar o que quiser. E eu no show dela também. A gente tem tanta afinidade que não precisa determinar que vai ser essa ou aquela música. Vamos deixar rolar."
http://ultimosegundo.ig.com.br/cultura/musica/tulipa-ruiz-canta-com-marcelo-jeneci-e-prepara-novo-disco-para-m/n1597588050385.html
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