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luís soares

Blog do escritor Luís Soares


Empire is a 1964 black-and-white silent art film by Andy Warhol. When projected according to Warhol's specifications, it consists of eight hours and five minutes of slow motion footage of an unchanging view of the Empire State Building. The film does not have conventional narrative or characters, and largely reduces the experience of cinema to the passing of time. In 2004, Empire was included in the annual selection of 25 motion pictures added to the National Film Registry of the Library of Congress being deemed "culturally, historically, or aesthetically significant" and recommended for preservation. This video of Empire 1964 is 5 minutes and 15 seconds shorter than the original. As far as I know it is a slightly abbreviated version of the 1964 film.

Selima Hill - Please Can I Have a Man

Please can I have a man who wears corduroy.
Please can I have a man
who knows the names of 100 different roses;
who doesn’t mind my absent-minded rabbits
wandering in and out
as if they own the place,
who makes me creamy curries from fresh lemon-grass,
who walks like Belmondo in A Bout de Souffle;
who sticks all my carefully-selected postcards –
sent from exotic cities
he doesn’t expect to come with me to,
but would if I asked, which I will do –
with nobody else’s, up on his bedroom wall,
starting with Ivy, the Famous Diving Pig,
whose picture, in action, I bought ten copies of;
who talks like Belmondo too, with lips as smooth
and tightly-packed as chocolate-coated
(melting chocolate) peony buds;
who knows that piling himself stubbornly on top of me
like a duvet stuffed with library books and shopping-bags
is all too easy: please can I have a man
who is not prepared to do that.
Who is not prepared to say I’m ‘pretty’ either.
Who, when I come trotting in from the bathroom
like a squealing freshly-scrubbed piglet
that likes nothing better than a binge
of being affectionate and undisciplined and uncomplicated,
opens his arms like a trough for me to dive into.

Losing My Head

Hot Chip are very pleased to release a brand new single ‘Losing My Head’ (Superpitcher Dub).

All profits from the track – on sale via Bandcamp only – will be donated to climate emergency action group EarthPercent.

‘Despite the challenges that our industry faces in modifying its working methods in order to limit damage to the climate we feel that it’s incredibly important to face up to those changes. The scientific consensus on the impending climate emergency is irrefutable and we all need to recognise our responsibilities in attempting to avert it. In all honesty it should be our number one priority at this moment. Our government continually fails in making it so but we need to come together to set a better example.’
– Hot Chip

released October 13, 2021
2021, Domino Recording Co Ltd

Written and performed by Hot Chip
Additional vocals and lyrics by Fimber Bravo
Produced by superpitcher
Arrangement & additional instrumentation by superpitcher
Mixed by superpitcher

Hanif Abdurraqib - It's Just That I'm Not Really Into Politics

violence begets more / violence / or so I’ve been told / but all of this country’s skyscrapers / are still standing / despite the blood / that builds a boat underneath the tongue / after speaking its name / violence begets / more photo opportunities / at the feet of a burning / temple / I show up to the resistance / and someone hands me a rose / the color of surrender / violence begets thirst / a new thing in need / of clean water / once / towards the black / and spotted sky / I raised a fist / inside of a glove / sewn in a country / torn apart by our bombs / I purchased the gloves in a store / after midnight / from a cashier who wore a picture / of her daughter on her chest / and looked as though she might have been crying / before I arrived / violence begets a hunger for warmth / at all costs / I sit in a running car / and count all of the things / yet to be swallowed / by the horned ghosts of empire / If you make your own prison / you can find your own map / to freedom / the smoke from all our engines / is beckoning the sun / close / the oceans are rising / to the height of a child / sitting on a mother’s shoulders / pointing to the horizon with a single / trembling / finger

Il pianto d'Arianna

Pietro Locatelli: Concerto a 4 in E flat major, Op. 7 No. 6 for two violins, viola, violoncello, strings and basso continuo »Il pianto d'Arianna«

I. Andante - Allegro - Adagio - Andante - Allegro - Largo
II. Largo andante
III. Grave
IV. Allegro - Largo

Frankfurt Radio Symphony ∙ Ton Koopman, conductor

Hanif Abdurraqib - And What Good Will Your Vanity Be When The Rapture Comes

says the man with a cart of empty bottles at the corner of church
and lincoln while I stare into my phone and I say
I know oh I know while trying to find the specific
filter that will make the sun’s near-flawless descent look

the way I might describe it in a poem and the man
says the moment is already right in front of you and I
say I know but everyone I love is not here and I mean
here like on this street corner with me while I turn

the sky a darker shade of red on my phone and I mean
here like everyone I love who I can still touch and not
pass my fingers through like the wind in a dream
but I look up at the man and he is a kaleidoscope

of shadows I mean his shadows have shadows
and they are small and trailing behind him and I know
then that everyone he loves is also not here and the man doesn’t ask
but I still say hey man I’ve got nothing I’ve got nothing even though I have plenty

to go home to and the sun is still hot even in its
endless flirt with submission and the man’s palm has a small
river inside I mean he has taken my hand now and here we are
tethered and unmoving and the man says what color are you making

the sky and I say what I might say in a poem I say all surrender
ends in blood and he says what color are you making the sky and
I say something bright enough to make people wish they were here
and he squints towards the dancing shrapnel of dying

light along a rooftop and he says I love things only as they are
and I’m sure I did once too but I can’t prove it to anyone these days
and he says the end isn’t always about what dies and I know I know
or I knew once and now I write about beautiful things

like I will never touch a beautiful thing again and the man
looks me in the eyes and he points to the blue-orange vault
over heaven’s gates and he says the face of everyone you miss
is up there and I know I know I can’t see them but I know

and he turns my face to the horizon and he says
we don’t have much time left and I get that he means the time
before the sun is finally through with its daily work or I
think I get that but I still can’t stop trembling and I close

my eyes and I am sobbing on the corner of church and
lincoln and when I open my eyes the sun is plucking everyone
who has chosen to love me from the clouds and carrying them
into the light-drunk horizon and I am seeing this and I know
I am seeing this the girl who kissed me as a boy in the dairy aisle

of meijer while our parents shopped and the older boy on the
basketball team who taught me how to make a good fist and swing
it into the jaw of a bully and the friends who crawled to my porch

in the summer of any year I have been alive they were all there
I saw their faces and it was like I was given the eyes of a newborn
again and once you know what it is to be lonely it is hard to
unsee that which serves as a reminder that you were not always

empty and I am gasping into the now-dark air and I pull my shirt
up to wipe whatever tears are left and I see the man walking in the
other direction and I chase him down and tap his arm and I say did
you see it did you see it like I did and he turns and leans into the

glow of a streetlamp and he is anchored by a single shadow now
and he sneers and he says have we met and he scoffs and pushes
his cart off into the night and I can hear the glass rattling even
as I watch him become small and vanish and I look down at my

phone and the sky on the screen is still blood red.