photos, videos and stuff by people like renata sancho, catarina botelho, susana moura or fred ns
music and stuff by people like bruno duarte, mariana ricardo, joão matos, joão nicolau, paulo amorim, nuno morão, joão lobo, manuel lobo, andré ferreira, nuno pessoa, norberto lobo, fernando ascensão, joão nuno, pedro magalhães
Sounds Like
DISCO DE ESTREIA ------- "FALA MONGUE" ------- TO BUY SEND AN E-MAIL TO munchen@dr.com
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É o som de uma nova urbanidade acústica. Servem os palavrões para dizer que esta música tresanda a mecanismos de precisão enferrujados e, por isso, doces. São cordas em desuso e percussões em multiusos. Não há meninos. Todos os elementos dos München já tocaram noutras bandas. Quase todas mais ruidosas. Em 1999, Bruno Duarte decide sentar-se e desde então os München deram mais de vinte concertos, todos sentados. Em palco nunca são menos de quatro e nunca foram mais de nove. O dinheiro para as batatas nunca veio da música. Esta situação permitiu e permite uma liberdade criativa que enquanto confundir próprios e alheios é a razão da existência dos München. Confundir próprios é ouvir folclore turco ou electroacústica experimental e, para raiva ou deleite do parceiro, não tocar nem uma coisa nem outra. Confundir alheios é mais perigoso. A vida não é fácil. É claro que há quem, com gavetas e rótulos, a tente simplificar. München é uma banda de toy music: existem de facto brinquedos sonoros. München é uma pequena orquestra de câmara: tocam guitarra clássica e viola de arco. München é uma banda rock: a bateria e guitarra eléctrica estão lá. Em que é que ficamos? Ficamos, como no princípio, sentados a tocar.
This is the sound of a new acoustic urban existence. München is a toy music band: there are really sound toys. München is a small chamber music orchestra: they play classic guitar and viola. München is a rock band: the drums and the electric guitar are there. So where does that leave us? As in the beginning, we are left sitting and playing.
Sábado dia 10 de Outubro é um dia como nós gostamos. Cheio de movimento.
À
tarde inaugura a exposição "papel sobre uma mesa" de Nuno Sousa Vieira
na SEDE (18.00h.) e à noite é a estreia mundial da produção do a9))))
"Música dos Osso para paisagens de Moçambique" (Teatro Miguel Franco,
Leiria, 21.30h.).
"Ticklin' The Strings" by Sweet Hollywaiians
Amazing Japanese hot string band playing 1920's, 30's, 40's style hawaiian, swing, calypso, blues, italian music and originals,featuring vintage instruments.3 songs with Robert Armstrong and Tony Marcus(from Robert Crumb and His Cheap Suit Serenaders)
"The Sweet Hollywaiians have probably the best feel for this 20's music of any string band working today. They manage the rare feat of sounding relaxed even when their playing is hot, are top notch musicians with tasteful arrangements and a full, rich, warm sound.Plus, they have a nice gamut of tunes, from King Nawahi to Giovanni Vicari to Bobby Leecan. See them live, if you can, for an unforgettable experience. If you can't, buy their Cds!" ~ Terry Zwigoff
Thanks for all your support! The show went really well at the Laugh Factory, and the turnout was great!
If you couldn't make it, I have uploaded to my profile seven ten-minute segments from this outstanding variety show featuring Old Time Music, magic, dance, comedy and fun!
4 Junho - Girona @ Coast to Coast 23h 6 Junho - Zaragoza @ Arrebato 22h 7 Junho - San Sebastian @ Mogambo 16h 11 Junho - Porto @ Casa Viva 18h30 12 Junho - Benavente @ Side B Bar 22h 13 Junho - Lisboa @ O Seculo 21h
Schopenhauer believed that while all people were in thrall to the Will, the quality and intensity of their subjection differed: Only through the pure contemplation . . . which becomes absorbed entirely in the object, are the Ideas comprehended; and the nature of genius consists precisely in the preëminent ability for such contemplation. . . . (T)his demands a complete forgetting of our own person.[2] The aesthetic experience temporarily emancipates the subject from the Will's domination and raises them to a level of pure perception. "On the occurrence of an aesthetic appreciation, the will thereby vanishes entirely from consciousness."[3] The personality of the artist was also supposed to be less subject to Will than most: such a person was a Schopenhauerian genius, a person whose exceptional predominance of intellect over Will made them relatively aloof from earthly cares and concerns. The poet living in a garret, the absent-minded professor, Vincent van Gogh in the madhouse, are all (at least in the popular mind) examples of Schopenhauer's geniuses: so fixed on their art that they neglect the "business of life" that in Schopenhauer's mind meant only the domination of the evil and painful Will. For Schopenhauer, the relative lack of competence of the artist and the thinker for practical pursuits was no mere stereotype: it was cause and effect. Schopenhauer believed that what gives arts such as literature and sculpture their value was the extent to which they incorporated pure perceptions. But, being concerned with human forms (at least in Schopenhauer's day) and human emotions, these art forms were inferior to music, which being purely abstract, was to Schopenhauer's mind the highest and best form of human artistry. Schopenhauer's philosophy of music was influential in the works of Richard Wagner. Wagner was an enthusiastic reader of Schopenhauer, and recommended the reading of Schopenhauer to his friends. His publishe
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www.kenningtonrecordings.com
