urn:lj:blogs.sapo.pt:atom1:lsoares luís soares Blog do escritor Luís Soares Luis Soares 2018-11-13T21:21:00Z urn:lj:blogs.sapo.pt:atom1:lsoares:2005605 2018-11-14T17:05:00 Where Did You Go 2018-11-12T17:07:12Z 2018-11-12T17:12:40Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/XDzv38EEcXk" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Music video by Amber Arcades performing "Where Did You Go" from the album "European Heartbreak".</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2006400 2018-11-14T09:09:00 Peanuts for September 22, 1963 2018-11-13T15:53:43Z 2018-11-13T15:54:03Z <p class="sapomedia images"><img style="padding: 0px 0px;" title="peanuts.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/peanuts.jpg?size=xl" alt="peanuts.jpg" width="900" height="623" /></p> <p>Charles M Schulz drew nearly 18,000 strips over 50 years of his career; while he claimed they were ‘about nothing’, and made up only of ‘little incidents’, “Peanuts’ influence on culture and society is nothing short of seismic,” says Claire Catterall, curator of a new exhibition dedicated to Schulz’s work at <a class="notranslate" href="https://www.instagram.com/somersethouse/">@somersethouse</a>. At its peak, Peanuts was syndicated in 75 countries, translated into 21 languages, and had a notional total readership of 355 million.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2006139 2018-11-13T21:21:00 The Stranger Song 2018-11-13T09:48:25Z 2018-11-13T09:48:25Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/RLq7Aqd_H7g" width="760" height="480" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p><em>It's true that all the men you knew were dealers</em><br /><em>Who said they were through with dealing</em><br /><em>Every time you gave them shelter</em><br /><em>I know that kind of man</em><br /><em>It's hard to hold the hand of anyone</em><br /><em>Who is reaching for the sky just to surrender</em><br /><em>Who is reaching for the sky just to surrender</em></p> <p> </p> <p><em>And then sweeping up the jokers that he left behind</em><br /><em>You find he did not leave you very much not even laughter</em><br /><em>Like any dealer he was watching for the card</em><br /><em>That is so high and wild</em><br /><em>He'll never need to deal another</em><br /><em>He was just some Joseph looking for a manger</em><br /><em>He was just some Joseph looking for a manger</em></p> <p> </p> <p><em>And then leaning on your window sill</em><br /><em>He'll say one day you caused his will</em><br /><em>To weaken with your love and warmth and shelter</em><br /><em>And then taking from his wallet</em><br /><em>An old schedule of trains, he'll say</em><br /><em>"I told you when I came I was a stranger</em><br /><em>I told you when I came I was a stranger"</em></p> <p> </p> <p><em>But now another stranger seems</em><br /><em>To want you to ignore his dreams</em><br /><em>As though they were the burden of some other</em><br /><em>O you've seen that man before</em><br /><em>His golden arm dispatching cards</em><br /><em>But now it's rusted from the elbow to the finger</em><br /><em>And he wants to trade the game he plays for shelter</em><br /><em>Yes he wants to trade the game he knows for shelter</em></p> <p> </p> <p><em>Ah you hate to watch another tired man</em><br /><em>Lay down his hand</em><br /><em>Like he was giving up the holy game of poker</em><br /><em>And while he talks his dreams to sleep</em><br /><em>You notice there's a highway</em><br /><em>That is curling up like smoke above his shoulder</em><br /><em>It's curling just like smoke above his shoulder</em></p> <p> </p> <p><em>You tell him to come in sit down</em><br /><em>But something makes you turn around</em><br /><em>The door is open, you can't close your shelter</em><br /><em>You try the handle of the road</em><br /><em>It opens do not be afraid</em><br /><em>It's you my love, you who are the stranger</em><br /><em>It is you my love, you who are the stranger</em></p> <p> </p> <p><em>"Well, I've been waitin', I was sure</em><br /><em>We'd meet between the trains we're waitin' for</em><br /><em>I think it's time to board another</em><br /><em>Please understand, I never had a secret chart</em><br /><em>To get me to the heart of this</em><br /><em>Or any other matter"</em><br /><em>When he talks like this you don't know what he's after</em><br /><em>When he speaks like this you don't know what he's after</em></p> <p> </p> <p><em>"Let's meet tomorrow if you choose</em><br /><em>Upon the shore, beneath the bridge</em><br /><em>That they are building on some endless river"</em><br /><em>Then he leaves the platform</em><br /><em>For the sleeping car that's warm</em><br /><em>You realize, he's only advertising one more shelter</em><br /><em>And it comes to you, he never was a stranger</em><br /><em>And you say, "Ok, the bridge or someplace later"</em></p> <p> </p> <p><em>And then sweeping up the jokers that he left behind</em><br /><em>You find he did not leave you very much not even laughter</em><br /><em>Like any dealer he was watching for the card</em><br /><em>That is so high and wild</em><br /><em>He'll never need to deal another</em><br /><em>He was just some Joseph looking for a manger</em><br /><em>He was just some Joseph looking for a manger</em></p> <p> </p> <p><em>And then leaning on your window sill</em><br /><em>He'll say one day you caused his will</em><br /><em>To weaken with your love and warmth and shelter</em><br /><em>And then taking from his wallet</em><br /><em>An old schedule of trains, he'll say</em><br /><em>"I told you when I came I was a stranger</em><br /><em>I told you when I came I was a stranger</em><br /><em>I told you when I came I was a stranger</em><br /><em>I told you when I came I was a stranger"</em></p> urn:lj:blogs.sapo.pt:atom1:lsoares:2003655 2018-11-13T17:17:00 Martín Espada - Who Burns for the Perfection of Paper 2018-11-09T10:55:08Z 2018-11-13T09:45:17Z <p>At sixteen, I worked after high school hours<br />at a printing plant<br />that manufactured legal pads:<br />Yellow paper<br />stacked seven feet high<br />and leaning<br />as I slipped cardboard<br />between the pages,<br />then brushed red glue<br />up and down the stack.<br />No gloves: fingertips required<br />for the perfection of paper,<br />smoothing the exact rectangle.<br />Sluggish by 9 PM, the hands<br />would slide along suddenly sharp paper,<br />and gather slits thinner than the crevices<br />of the skin, hidden.<br />Then the glue would sting,<br />hands oozing<br />till both palms burned<br />at the punchclock.</p> <p> </p> <p>Ten years later, in law school,<br />I knew that every legal pad<br />was glued with the sting of hidden cuts,<br />that every open lawbook<br />was a pair of hands<br />upturned and burning.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2005361 2018-11-13T09:09:00 The Saxophones - Picture (Live in Paris) 2018-11-12T17:02:16Z 2018-11-12T17:02:16Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/5Dg--dB-vnw" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Filmed and edited by Raphaël Vinchon with assistance from Auguste Bas.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2004475 2018-11-12T21:21:00 Silent Mode 2018-11-09T11:56:21Z 2018-11-12T17:00:51Z <p class="sapomedia images"><img style="padding: 10px 0px;" title="23-copy_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/23-copy_800.jpg?size=xl" alt="23-copy_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="35-copy_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/35-copy_800.jpg?size=xl" alt="35-copy_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="52_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/52_800.jpg?size=xl" alt="52_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="2-_2tif3_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/2-_2tif3_800.jpg?size=xl" alt="2-_2tif3_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="21_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/21_800.jpg?size=xl" alt="21_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="23_2_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/23_2_800.jpg?size=xl" alt="23_2_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="24-copy_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/24-copy_800.jpg?size=xl" alt="24-copy_800.jpg" /></p> <p>From <a href="http://www.adamwilkoszarski.com/">Adam Wilkoszarski's site</a>:</p> <blockquote> <p>To say that Asia is far away and different is to say the most shallow thing; but it doesn’t mean that it’s not true. In Silent Mode continent of billions is empty and uninhabited. The perspective is focused on the shape of the world itself, crafted by humans, on the mark left by Japanese, who orbit between almost non-existent private sphere and omnipresent public - all seen by an observer from the outside, who’s not claiming a right to understand all of this. What was supposed to happen here, happened long ago - or will not happen at all.</p> </blockquote> urn:lj:blogs.sapo.pt:atom1:lsoares:2005088 2018-11-12T16:57:00 Life During Wartime 2018-11-12T16:59:05Z 2018-11-12T16:59:05Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/jShMQw2H2cM" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Extrato de "Stop Making Sense" de Jonathan Demme (1984), a partir de imagens de concertos de Talking Heads no Hollywood's Pantages Theater, LA, em Dezembro de 1983.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2004812 2018-11-12T11:37:00 Jericho Brown - Duplex (I Begin With Love) 2018-11-12T11:39:18Z 2018-11-12T11:39:18Z <p>I begin with love, hoping to end there.</p> <p>I don’t want to leave a messy corpse.</p> <p> </p> <p>       I don’t want to leave a messy corpse</p> <p>       Full of medicines that turn in the sun.</p> <p> </p> <p>Some of my medicines turn in the sun.</p> <p>Some of us don’t need hell to be good.</p> <p> </p> <p>       Those who need least, need hell to be good.</p> <p>       What are the symptoms of <em>your</em> sickness?</p> <p> </p> <p>Here is one symptom of my sickness:</p> <p>Men who love me are men who miss me.</p> <p> </p> <p>       Men who leave me are men who miss me</p> <p>       In the dream where I am an island.</p> <p> </p> <p>In the dream where I am an island,</p> <p>I grow green with hope.  I’d like to end there.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2004601 2018-11-12T09:09:00 Lisboetas 2018-11-09T16:40:22Z 2018-11-09T16:40:22Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/61IbOoTzNrw" width="760" height="480" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Autores/Authors - Gaspar Varela/Sebastião Varela</p> <p>Guitarra Portuguesa/Portuguese Guitar - Gaspar Varela<br />Viola de Fado/Classic Guitar - André Ramos<br />Baixo/Bass - Francisco Gaspar</p> <p> </p> <p>Realização/Directed - Sebastião Varela<br />Direcção de Arte/Art -Nani Campos<br />Operador/Camera - Rafael Matos</p> <p>Uma Produção/A Production by EGEAC/ MUSEU DO FADO</p> <p>Produção Executiva/Executive Production – Hot Chilli Films</p> <p>Produtor Musical/Producer - Paulo Parreira</p> <p>Produtor Executivo/Executive Producer – Diogo Varela Silva</p> <p>Eng.º de Som/Sound Engenear – Rui Guerreiro</p> <p>Assistente/Assistent - Rita Campos</p> <p>Estúdio/Studio – Dynamis Studio</p> <p>Misturas e Masterização/Mixing – Rui Guerreiro/Studio Magellan</p> <p>Fotografias/Photo– Luís Carvalhal</p> <p>Agradecimentos/Thanks: Grupo Desportivo da Mouraria / Stella krämer Horta / Deb Struzyna / António e Emmanuelle Matos</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2003322 2018-11-09T17:17:00 Martín Espada - Rules for Captain Ahab’s Provincetown Poetry Workshop 2018-11-09T10:53:52Z 2018-11-09T10:53:52Z <p>1.   Ye shall be free to write a poem on any subject, as long as it’s the White Whale.<br /> 2.   A gold doubloon shall be granted to the first among ye who in a poem sights the White Whale.<br /> 3.   The Call Me Ishmael Award shall be given to the best poem about the White Whale, with publication in <em>The White Whale Review.</em><br /> 4.   The Herman Melville Memorial Picnic and Softball Game shall be open to whosoever of ye writes a poem about following thy Captain into the maw of hell to kill the White Whale.<br /> 5.   There shall be a free floating coffin for any workshop participant who falls overboard whilst writing a poem about the White Whale.<br /> 6.   There shall be a free leg, carved from the jawbone of a whale, for any workshop participant who is dismasted whilst writing a poem about the White Whale.<br /> 7.   There shall be a free funeral at sea, complete with a chorus of stout hearties singing sea chanteys about the White Whale, for any workshop participant who is decapitated whilst writing a poem about the White Whale.<br /> 8.   Ye who seek not the White Whale in thy poems shall be harpooned.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2004079 2018-11-09T13:13:00 After Season 2018-11-09T11:53:00Z 2018-11-09T11:53:00Z <p class="sapomedia images"><img style="padding: 10px 0px;" title="img3_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/img3_800.jpg?size=xl" alt="img3_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="IMG_0002-copy_2_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/IMG_0002-copy_2_800.jpg?size=xl" alt="IMG_0002-copy_2_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="IMG_3656-copy_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/IMG_3656-copy_800.jpg?size=xl" alt="IMG_3656-copy_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="img39-Recovered-copy_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/img39-Recovered-copy_800.jpg?size=xl" alt="img39-Recovered-copy_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="img2.tiff-copy_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/img2.tiff-copy_800.jpg?size=xl" alt="img2.tiff-copy_800.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="img070-Recovered-FINAL_800.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/img070-Recovered-FINAL_800.jpg?size=xl" alt="img070-Recovered-FINAL_800.jpg" /></p> <p>From <a href="http://www.adamwilkoszarski.com/">Adam Wilkoszarski's site</a>:</p> <blockquote> <p>Leisure consists of both equally time and place, as well as some idea. Along with the late modernity space and time blurred, and the structure of organized labor forced to create an equally organized structure of free time and getaway.<br /><br />After season focuses on the backstage of this structure, which produces places suspended in a time. The structured free time industry stops at the end of vacations, emptying. The people had their holidays and for a while all those resorts become unnecessary, frozen and ready to receive the thousands of organized tourists that will come again. This cycle repeats endlessly, and in each of these places you can feel the gentle but still palpable trace of memories of leisure – the idea lacking accurate coordinate and time frames.<br /><br /><em>(In progress)</em></p> </blockquote> urn:lj:blogs.sapo.pt:atom1:lsoares:2003174 2018-11-09T09:36:00 Being Boring 2018-11-09T09:38:15Z 2018-11-09T09:38:15Z <p class="sapomedia videos"><em><iframe src="https://www.youtube.com/embed/DnvFOaBoieE" width="760" height="480" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></em></p> <p><em>I came across a cache of old photos</em><br /><em>and invitations to teenage parties</em><br /><em>'Dress in white' one said with quotations</em><br /><em>from someone's wife, a famous writer</em><br /><em>in the nineteen-twenties</em><br /><em>When you're young you find inspiration</em><br /><em>in anyone who's ever gone</em><br /><em>and opened up a closing door</em><br /><em>She said we were never feeling bored</em><br /><br /><em>'cause we were never being boring</em><br /><em>We had too much time to find for ourselves</em><br /><em>and we were never being boring</em><br /><em>We dressed up and fought then thought "make amends"</em><br /><em>And we were never holding back or worried that</em><br /><em>time would come to an end</em><br /><br /><em>When I went I left from the station</em><br /><em>with a haversack and some trepidation</em><br /><em>Someone said if you're not careful</em><br /><em>you'll have nothing left and nothing to care for</em><br /><em>in the nineteen-seventies</em><br /><em>But I sat back and looking forward</em><br /><em>my shoes were high and I had scored</em><br /><em>I'd bolted through a closing door</em><br /><em>and I would never find myself feeling bored</em><br /><br /><em>'cause we were never being boring</em><br /><em>We had too much time to find for ourselves</em><br /><em>and we were never being boring</em><br /><em>We dressed up and fought then thought "make amends"</em><br /><em>And we were never holding back or worried that</em><br /><em>time would come to an end</em><br /><em>We were always hoping that, looking back</em><br /><em>you could always rely on a friend</em><br /><br /><em>Now I sit with different faces</em><br /><em>in rented rooms and foreign places</em><br /><em>All the people I was kissing</em><br /><em>some are here and some are missing</em><br /><em>in the nineteen-nineties</em><br /><em>I never dreamt that I would get to be</em><br /><em>the creature that I always meant to be</em><br /><em>but I thought in spite of dreams</em><br /><em>you'd be sitting somewhere here with me</em><br /><br /><em>'cause we were never being boring</em><br /><em>We had too much time to find for ourselves</em><br /><em>and we were never being boring</em><br /><em>We dressed up and fought then thought "make amends"</em><br /><em>and we were never holding back or worried that</em><br /><em>time would come to an end</em><br /><em>We were always hoping that, looking back</em><br /><em>you could always rely on a friend</em><br /><br /><em>And we were never being boring</em><br /><em>We were never being bored</em><br /><em>'cause we were never being boring</em><br /><em>We were never being bored</em></p> urn:lj:blogs.sapo.pt:atom1:lsoares:2002768 2018-11-08T13:34:00 Daughters of the SoHo Riots 2018-11-08T13:41:47Z 2018-11-08T13:50:32Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/v3_YrOULNY0" width="760" height="480" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>A black/white video shot by Vincent Moon in 2005 in Paris, celebrating a wonderful song by his new-yorker friends THE NATIONAL, from their album 'Alligator' on Beggars Banquet Records.</p> <p> </p> <p><em>I have your good clothes in the car</em></p> <p><em>So cut your hair so no one knows</em></p> <p><em>I have your dreams and your teeth marks</em></p> <p><em>All my fingernails are painted</em></p> <p><em> </em></p> <p><em>I'm here to take you now</em></p> <p><em> </em></p> <p><em>You were right about the end</em></p> <p><em>It didn't make a difference</em></p> <p><em>Everything I can remember </em></p> <p><em>I remember wrong</em></p> <p><em> </em></p> <p><em>How can anybody know </em></p> <p><em>How they got to be this way</em></p> <p><em>You must have known I'd do this someday</em></p> <p><em> </em></p> <p><em>Break my arms around the one I love</em></p> <p><em>And be forgiven by the time my lover comes</em></p> <p><em>Break my arms around my love</em></p> <p><em>Break my arms around the one I love</em></p> <p><em>And be forgiven by the time my lover comes</em></p> <p><em>Break my arms around my love</em></p> <p><em> </em></p> <p><em>I don't have any questions</em></p> <p><em>I don't think it's gonna rain</em></p> <p><em>You were right about the end</em></p> <p><em>It didn't make a difference</em></p> <p><em> </em></p> <p><em>I'm here to take you now</em></p> <p><em> </em></p> <p><em>Out among the missing sons and daughters of the SoHo riots</em></p> <p><em>Out among the missing sons and daughters of the SoHo riots</em></p> <p><em> </em></p> <p><em>I'm here to take you now</em></p> <p><em> </em></p> <p><em>How can anybody know</em></p> <p><em>How they got to be this way</em></p> <p><em>You must have known I'd do this someday</em></p> <p><em> </em></p> <p><em>Break my arms around the one I love</em></p> <p><em>And be forgiven by the time my lover comes</em></p> <p><em>Break my arms around my love</em></p> <p><em>Break my arms around the one I love</em></p> <p><em>And be forgiven by the time my lover comes</em></p> <p><em>Break my arms around my love</em></p> <p><em> </em></p> <p><em>Break my arms around the one I love</em></p> <p> </p> <p>Songwriters: Bryce D. Dessner / Matthew D. Berninger / Scott D. Devendorf</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2002209 2018-11-07T19:19:00 No One Changes / The Rockaways 2018-11-07T13:06:41Z 2018-11-07T13:06:41Z <p><iframe src="https://bandcamp.com/EmbeddedPlayer/album=419261761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" width="300" height="150" style="border: 0; width: 100%; height: 120px;"><a href="http://conoroberst.bandcamp.com/album/no-one-changes-the-rockaways">No One Changes / The Rockaways by Conor Oberst</a></iframe></p> <p><strong></strong>"No One Changes" / Conor Oberst- piano and vocal</p> <p>"The Rockaways" / Conor Oberst- guitar and vocal / Nathaniel Walcott- keyboard</p> <p> </p> <p>Produced by Bryce Gonzales and Conor Oberst <br />Engineered by Bryce Gonzales <br />All songs by Conor Oberst (Bedrooms; Bedrooms and Spiders, BMI) <br />Mastered by Warren Sokol at United Recording Studio <br />Paintings by Jerry Kinney <br />Lay out by Autumn Seguin</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2002447 2018-11-07T15:15:00 Natasha Trethewey - After My Father 2018-11-07T13:08:33Z 2018-11-07T13:08:33Z <p>Right off I hear him singing, the strings<br />of his old guitar hemming the darkness<br />as before—late nights on the front porch—<br />the mountains across the valley blurred<br />to outline. We are at it again, father<br />and daughter, deep in our cups, rehearsing<br />the long years between us. In the distance<br />I hear the foghorn call of bullfrogs,<br />envoys from the river of lamentation<br />my father is determined to cross. Already<br />I know where this is headed: how many times<br />has the night turned toward regret? My father<br />saying, <em>If only I’d been a better husband</em><br /><em>she’d be alive today, </em>saying, <em>Gwen and I</em><br /><em>would get back together if she were alive.</em><br />It’s the same old song. He is Orpheus<br />trying to bring her back with the music<br />of his words, lines of a poem drifting now<br />into my dream. Picking the first chords,<br />my father leans into the neck of the guitar,<br />rolls his shoulders until he’s lost in it—<br />the song carrying him across the porch<br />and down into the damp grass. Even asleep,<br />I know where he is going. I cannot call<br />him back. Through the valley the blacktop<br />winds like a river, and he is stepping into it,<br />walking now toward the other side where<br />she waits, my mother, just out of reach.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2002148 2018-11-07T10:30:00 Only You 2018-11-07T10:31:06Z 2018-11-07T10:31:06Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/DTR47fI0IKw" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>THEOPHILUS LONDON "ONLY YOU" feat TAME IMPALA</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2001630 2018-11-07T01:05:00 Fukk Sleep 2018-11-06T11:06:27Z 2018-11-06T11:06:27Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/pM5XogpX1JA" width="760" height="400" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>A$AP ROCKY - FUKK SLEEP FT. FKA TWIGS (OFFICIAL MUSIC VIDEO)</p> <p>PRODUCED BY OBJECT ANIMAL &amp; O CREATIVE STUDIO<br />DIRECTED BY DIANA KUNST</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2001835 2018-11-06T16:03:00 Chase Twichell - The New Dark Ages 2018-11-06T16:04:41Z 2018-11-06T16:04:41Z <p>Thunderstorms stir me up—<br />the stillness right before</p> <p> </p> <p>the first close tremor,<br />the pond shivering</p> <p> </p> <p>at the height of summer,<br />the field full-blown, going to seed.</p> <p> </p> <p>But this storm scares me.<br />A foreign climate occupies the land.</p> <p> </p> <p>When nature was God, in my childhood,<br />I wasn't afraid. Snow buried the town,</p> <p> </p> <p>the river flooded it,<br />lightning set the woods on fire.</p> <p> </p> <p>In months the damage bandaged itself<br />with mosses and ferns.</p> <p> </p> <p>This storm comes from another<br />world, here by mistake,</p> <p> </p> <p>its rain blistering the birch leaves.<br />Has it been weaponized?</p> <p> </p> <p>No one knows what to expect<br />of a storm with human parents.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2001160 2018-11-06T09:09:00 Joel Meyerowitz - Cape Light 2018-11-05T14:46:39Z 2018-11-05T14:46:39Z <p class="sapomedia images"><img style="padding: 10px 0px;" title="Neg_3249_Repro.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/Neg_3249_Repro.jpg?size=xl" alt="Neg_3249_Repro.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="07_Neg_0433_FinalForAperture.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/07_Neg_0433_FinalForAperture.jpg?size=xl" alt="07_Neg_0433_FinalForAperture.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="Neg_2411.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/Neg_2411.jpg?size=xl" alt="Neg_2411.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="P4654-0321_cc2.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/P4654-0321_cc2.jpg?size=xl" alt="P4654-0321_cc2.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="P4654-0296copy.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/P4654-0296copy.jpg?size=xl" alt="P4654-0296copy.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="Neg_0485.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/Neg_0485.jpg?size=xl" alt="Neg_0485.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="Neg_0140.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/Neg_0140.jpg?size=xl" alt="Neg_0140.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="009.+Neg_0593.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/009.+Neg_0593.jpg?size=xl" alt="009.+Neg_0593.jpg" /></p> <p class="sapomedia images"><img style="padding: 10px 0px;" title="Neg_1125.jpg" src="https://c026204.cdn.sapo.io/1/c026204/cld-thumb/1426522730/6d77c9965e17b15/71bb68e096be30583a721674ea967fca/lsoares/2018/Neg_1125.jpg?size=xl" alt="Neg_1125.jpg" /></p> <p><a href="https://www.joelmeyerowitz.com/">Joel Meyerowitz</a> (born March 6, 1938) is a <a title="Street photography" href="https://en.wikipedia.org/wiki/Street_photography">street photographer</a> and portrait and <a title="Landscape photography" href="https://en.wikipedia.org/wiki/Landscape_photography">landscape photographer</a>. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught photography at the <a title="Cooper Union" href="https://en.wikipedia.org/wiki/Cooper_Union">Cooper Union</a> in New York City.</p> <p>His work is in the collections of the <a title="International Center of Photography" href="https://en.wikipedia.org/wiki/International_Center_of_Photography">International Center of Photography</a>, <a title="Museum of Modern Art" href="https://en.wikipedia.org/wiki/Museum_of_Modern_Art">Museum of Modern Art</a>, and <a title="New York Public Library" href="https://en.wikipedia.org/wiki/New_York_Public_Library">New York Public Library</a>, all in New York, and the <a title="Museum of Contemporary Photography" href="https://en.wikipedia.org/wiki/Museum_of_Contemporary_Photography">Museum of Contemporary Photography</a> in Chicago.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2001052 2018-11-05T17:17:00 Rosalía 2018-11-05T14:05:15Z 2018-11-05T14:06:29Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/rZTaZRLv3GE" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Rosalía performs "De Aqui No Sales" and "Malamente" at the MTV 2018 European Music Awards in Bilbao.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2000874 2018-11-05T14:14:00 Liniker e os Caramelows: NPR Music Tiny Desk Concert 2018-11-05T11:10:21Z 2018-11-05T11:10:21Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/tCrLnfwX088" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Oct. 29, 2018 | Felix Contreras -- Watching this performance is to witness a spell being cast, note-by-note. Liniker e os Caramelows (Liniker and the Caramelows) are from Brazil but steeped in the tradition of soul from here in the U.S. They started their turn behind the desk with the ballad "Calmô," a testament to the power of slow songs dripping with soulful emotion. It was a bold statement of just who they are as a band and what they stand for.</p> <p>You have to go back to the co-mingling of jazz and Brazilian music in the late 1950s to appreciate the affinity our two countries have had for each other musically. Lead vocalist Liniker Barros has obviously done her share of listening to soul singers and she effortlessly slides from lower registers to an emotional falsetto, though the Tiny Desk space did restrict the kind of vigorous floor show of dancing and moving from all the band members that I've seen at the bigger live performances they've done.</p> <p>Liniker and the band shook things up to high-gear, Brazilian funk on the second part of "Tua," complete with a mid-song, church-revival breakdown, featuring tenor sax. "Remonta" displayed the band's flexibility as they moved from ballad to a reggae bridge, eventually exploding into a majestic African-based Candomblé rhythmic finish.</p> <p>This performance catches Liniker e os Caramelows as they spiral upwards toward wider acclaim and recognition. Seeing them this close helps to understand just how they cast their musical magic on their audiences.</p> <p> </p> <p><strong>Set List</strong><br />"Calmô"<br />"Tua"<br />"Remonta"</p> <p> </p> <p><strong>Credits</strong><br />Producers: Felix Contreras, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Bronson Arcuri, CJ Riculan; Editor: Kaylee Domzalski; Production Assistant: Mary Mathis; Photo: Claire Harbage/NPR</p> urn:lj:blogs.sapo.pt:atom1:lsoares:1996917 2018-11-05T09:45:00 Charles Simic - "I am the last..." 2018-10-29T09:45:45Z 2018-10-29T09:45:45Z <p>I am the last Napoleonic soldier. It’s almost two hundred years later and I am still retreating from Moscow. The road is lined with white birch trees and the mud comes up to my knees. The one-eyed woman wants to sell me a chicken, and I don’t even have any clothes on.      <br />       The Germans are going one way; I am going the other. The Russians are going still another way and waving good-by. I have a ceremonial saber. I use it to cut my hair, which is four feet long.</p> urn:lj:blogs.sapo.pt:atom1:lsoares:1999411 2018-11-04T14:28:00 Death in Midsummer 2018-10-30T14:29:38Z 2018-10-30T14:29:38Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/zG2TgCuMcjM" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>Deerhunter - Death in Midsummer (Official Video) // From the new album 'Why Hasn’t Everything Already Disappeared' out Jan 18, 2019 // Edited by Marisa Gesualdi</p> urn:lj:blogs.sapo.pt:atom1:lsoares:2000416 2018-11-03T16:16:00 Sword of Damocles 2018-11-02T10:33:53Z 2018-11-02T10:33:53Z <p class="sapomedia videos"><iframe src="https://www.youtube.com/embed/wmUVy43tqw4" width="760" height="428" frameborder="0" style="padding: 10px 0px;" allowfullscreen="allowfullscreen"></iframe></p> <p>SWORD OF DAMOCLES<br />by Rufus Wainwright<br />Featuring Darren Criss<br />Directed by Andrew Ondrejcak<br />Wardrobe by Vivienne Westwood<br />Executive Producer Dana Guerin</p> <p> </p> <p>At a lavish banquet, King Dionysius is confronted by his servant Damocles - a brat who is jealous of the king’s splendor and power. Through supernatural forces, the two roles are switched. The smug, inexperienced commoner becomes the king. But his joy is short-lived. <br />He quickly realizes that being king isn’t all crowns and cheeseburgers. With great power comes great responsibility.</p> <p>“Sword of Damocles” is my artistic response to what I see currently transpiring within the American government and how its collapse is affecting every aspect of existence for us all. With the Midterm Elections around the corner, it’s important for everyone to take a stand and contribute in some way – whether it’s bringing awareness to issues in your community, protesting/demonstrating, watching the news to formulate your own opinions, creating, yelling – it’s all hands on deck.</p> <p>The famed, ancient expression “Sword of Damocles” is a parable of impending doom of and to those in positions of power. This timeless tale points out the hard fact that with great power, comes great responsibility, and for all concerned, great danger. VOTE.</p> <p> </p> <p>A portion of proceeds will benefit Swing Left organization</p> <p>Listen on your favorite streaming platform <a href="http://smarturl.it/RufusSwordOfDamocles">http://smarturl.it/RufusSwordOfDamocles</a></p> urn:lj:blogs.sapo.pt:atom1:lsoares:1998862 2018-11-03T10:10:00 Javier Zamora - Exiliados 2018-10-30T13:32:34Z 2018-11-02T10:32:22Z <p style="text-align: right;"><em>for Monika Sok</em></p> <p style="text-align: right;"> </p> <p>We didn’t hold typhoons or tropics in our hands.</p> <p style="padding-left: 55px;">I didn’t reach across the table on our first date</p> <p style="padding-left: 110px;">at Cornelia Street Café. In my humid pockets,</p> <p style="padding-left: 110px;"> </p> <p>my fists were old tennis balls thrown to the stray dog</p> <p style="padding-left: 55px;">of love bouncing toward the Hudson down</p> <p style="padding-left: 110px;">to South Ferry. We didn’t hold hands in that cold</p> <p style="padding-left: 110px;"> </p> <p>October wind, but the waves witnessed our promise</p> <p style="padding-left: 55px;">to return to my cratered-deforested homeland,</p> <p style="padding-left: 110px;">and you to your parents’, sometime in the future.</p> <p style="padding-left: 110px;"> </p> <p>No citizenship or some other violence in our countries</p> <p style="padding-left: 55px;">(separated by the Pacific, tied by the latitude</p> <p style="padding-left: 110px;">of dragon fruits, tamarinds, mangosteens) was why</p> <p style="padding-left: 110px;"> </p> <p>we couldn’t, and can’t, return for now. Then, us</p> <p style="padding-left: 55px;">in the subway at 2 am, oh the things I dreamt: a kiss</p> <p style="padding-left: 110px;">to the back of your neck, collarbone, belly-button, there—</p> <p style="padding-left: 110px;"> </p> <p>to kneel and bow my head, then return to the mole</p> <p style="padding-left: 55px;">next to your lips and taste your latitude together.</p> <p style="padding-left: 110px;">Instead, I went home, you touched my cheek,</p> <p style="padding-left: 110px;"> </p> <p>it was enough. I stood, remembering what it’s like</p> <p style="padding-left: 55px;">to stand on desert dirt wishing stars would fall</p> <p style="padding-left: 110px;">as rain, on that huge dark country ahead of me.</p>