Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

Murder Most Foul

Twas a dark day in Dallas, November '63
A day that will live on in infamy
President Kennedy was a-ridin’ high
Good day to be livin' and a good day to die
Being led to the slaughter like a sacrificial lamb
He said, "Wait a minute, boys, you know who I am?"
"Of course we do. We know who you are."
Then they blew off his head while he was still in the car
Shot down like a dog in broad daylight
Was a matter of timing and the timing was right
You got unpaid debts; we've come to collect
We're gonna kill you with hatred; without any respect
We'll mock you and shock you and we'll put it in your face
We've already got someone here to take your place

The day they blew out the brains of the king
Thousands were watching; no one saw a thing
It happened so quickly, so quick, by surprise
Right there in front of everyone's eyes
Greatest magic trick ever under the sun
Perfectly executed, skillfully done
Wolfman, oh wolfman, oh wolfman howl
Rub-a-dub-dub, it's a murder most foul

Hush, little children. You'll understand
The Beatles are comin'; they're gonna hold your hand
Slide down the banister, go get your coat
Ferry 'cross the Mersey and go for the throat
There's three bums comin' all dressed in rags
Pick up the pieces and lower the flags
I'm going to Woodstock; it's the Aquarian Age
Then I'll go to Altamont and sit near the stage
Put your head out the window; let the good times roll
There's a party going on behind the Grassy Knoll

Stack up the bricks, pour the cement
Don't say Dallas don't love you, Mr. President
Put your foot in the tank and step on the gas
Try to make it to the triple underpass
Blackface singer, whiteface clown
Better not show your faces after the sun goes down
Up in the red light district, they've got cop on the beat
Living in a nightmare on Elm Street

When you're down in Deep Ellum, put your money in your shoe
Don't ask what your country can do for you
Cash on the ballot, money to burn
Dealey Plaza, make left-hand turn
I'm going down to the crossroads; gonna flag a ride
The place where faith, hope, and charity died
Shoot him while he runs, boy. Shoot him while you can
See if you can shoot the invisible man
Goodbye, Charlie. Goodbye, Uncle Sam
Frankly, Miss Scarlett, I don't give a damn

What is the truth, and where did it go?
Ask Oswald and Ruby; they oughta know
"Shut your mouth," said the wise old owl
Business is business, and it's a murder most foul

Tommy, can you hear me? I'm the Acid Queen
I'm riding in a long, black limousine
Riding in the backseat next to my wife
Heading straight on in to the afterlife
I'm leaning to the left; got my head in her lap
Hold on, I've been led into some kind of a trap
Where we ask no quarter, and no quarter do we give
We're right down the street from the street where you live
They mutilated his body, and they took out his brain
What more could they do? They piled on the pain
But his soul's not there where it was supposed to be at
For the last fifty years they've been searchin' for that

Freedom, oh freedom. Freedom cover me
I hate to tell you, mister, but only dead men are free
Send me some lovin'; tell me no lies
Throw the gun in the gutter and walk on by
Wake up, little Susie; let's go for a drive
Cross the Trinity River; let's keep hope alive
Turn the radio on; don't touch the dials
Parkland hospital, only six more miles

You got me dizzy, Miss Lizzy. You filled me with lead
That magic bullet of yours has gone to my head
I'm just a patsy like Patsy Cline
Never shot anyone from in front or behind
I've blood in my eye, got blood in my ear
I'm never gonna make it to the new frontier
Zapruder's film I seen night before
Seen it 33 times, maybe more
It's vile and deceitful. It's cruel and it's mean
Ugliest thing that you ever have seen
They killed him once and they killed him twice
Killed him like a human sacrifice

The day that they killed him, someone said to me, "Son
The age of the Antichrist has only begun."
Air Force One coming in through the gate
Johnson sworn in at 2:38
Let me know when you decide to thrown in the towel
It is what it is, and it's murder most foul

What's new, pussycat? What'd I say?
I said the soul of a nation been torn away
And it's beginning to go into a slow decay
And that it's 36 hours past Judgment Day

Wolfman Jack, speaking in tongues
He's going on and on at the top of his lungs
Play me a song, Mr. Wolfman Jack
Play it for me in my long Cadillac
Play me that "Only the Good Die Young"
Take me to the place Tom Dooley was hung
St. James Infirmary and the Port of King James
If you want to remember, you better write down the names
Play Etta James, too. Play "I'd Rather Go Blind"
Play it for the man with the telepathic mind
Play John Lee Hooker. Play "Scratch My Back."
Play it for that strip club owner named Jack
Guitar Slim going down slow
Play it for me and for Marilyn Monroe

Play "Please Don't Let Me Be Misunderstood"
Play it for the First Lady, she ain't feeling any good
Play Don Henley, play Glenn Frey
Take it to the limit and let it go by
Play it for Karl Wirsum, too
Looking far, far away at Down Gallow Avenue
Play tragedy, play "Twilight Time"
Take me back to Tulsa to the scene of the crime
Play another one and "Another One Bites the Dust"
Play "The Old Rugged Cross" and "In God We Trust"
Ride the pink horse down the long, lonesome road
Stand there and wait for his head to explode
Play "Mystery Train" for Mr. Mystery
The man who fell down dead like a rootless tree
Play it for the Reverend; play it for the Pastor
Play it for the dog that got no master
Play Oscar Peterson. Play Stan Getz
Play "Blue Sky"; play Dickey Betts
Play Art Pepper, Thelonious Monk
Charlie Parker and all that junk
All that junk and "All That Jazz"
Play something for the Birdman of Alcatraz
Play Buster Keaton, play Harold Lloyd
Play Bugsy Siegel, play Pretty Boy Floyd
Play the numbers, play the odds
Play "Cry Me A River" for the Lord of the gods
Play Number 9, play Number 6
Play it for Lindsey and Stevie Nicks
Play Nat King Cole, play "Nature Boy"
Play "Down In The Boondocks" for Terry Malloy
Play "It Happened One Night" and "One Night of Sin"
There's 12 Million souls that are listening in
Play "Merchant of Venice", play "Merchants of Death"
Play "Stella by Starlight" for Lady Macbeth

Don't worry, Mr. President. Help's on the way
Your brothers are coming; there'll be hell to pay
Brothers? What brothers? What's this about hell?
Tell them, "We're waiting. Keep coming." We'll get them as well

The field is where his plane touched down
But it never did get back up off the ground
Was a hard act to follow, second to none
They killed him on the altar of the rising sun
Play "Misty" for me and "That Old Devil Moon"
Play "Anything Goes" and "Memphis in June"
Play "Lonely At the Top" and "Lonely Are the Brave"
Play it for Houdini spinning around his grave
Play Jelly Roll Morton, play "Lucille"
Play "Deep In a Dream", and play "Driving Wheel"
Play "Moonlight Sonata" in F-sharp
And "A Key to the Highway" for the king on the harp
Play "Marching Through Georgia" and "Dumbaroton's Drums"
Play darkness and death will come when it comes
Play "Love Me Or Leave Me" by the great Bud Powell
Play "The Blood-stained Banner", play "Murder Most Foul"

Madrepérola

"Madrepérola" dá nome ao terceiro disco de Capicua e a uma das novas canções. A rapper do Porto estreou-se nas edições em 2012 e dedicou-se, nos últimos anos, aos projetos Mão Verde, direcionado a um público mais juvenil a meias com Pedro Geraldes, e em Língua Franca, que partilhou com Valete, Emicida e Rael. Camané, Catarina Salinas, Pedro Lamares, Karol Conka, Mallu Magalhães, Ricardo Ribeiro, Lena d’Água, Emicida, Rael e Rincon Sapiência são os convidados especiais de Capicua em "Madrepérola".

Kirill Gerstein: NPR Music Tiny Desk Concert

March 11, 2020 | Tom Huizenga -- The last time pianist Kirill Gerstein was at NPR we gave him a full-size, grand piano to play in a big recording studio. But for this Tiny Desk performance, we scaled him down to our trusty upright. "What will you ask me to play the next time," he quipped, "a toy piano?"

Even if we had handed him a pint-sized instrument, I'm sure Gerstein could make it sing. Just listen to how Chopin's lyrical melodies, built from rippling notes and flamboyant runs, flow like a song without words in Gerstein's agile hands.

The Chopin Waltz, Op. 42 is one of the composer's hits, but the next two pieces Gerstein offers are rarities. The Berceuse for solo piano was written for Gerstein by Thomas Adès, adapted from his 2016 opera The Exterminating Angel. The work, both brooding and beautiful, receives its premiere recording at the Tiny Desk. Gerstein follows by dusting off a truly neglected – and quirky – Hungarian March by Franz Liszt. To my knowledge it's been recorded only once.

The 40-year-old pianist, born in Voronezh, Russia, taught himself to play jazz by listening to his parents' record collection. A chance meeting with vibraphonist Gary Burton landed him a scholarship to study jazz at Boston's Berklee College of Music. At age 14, Gerstein was the youngest to enroll at the institution.

Although he is among the elite pianists of the classical world (he won the coveted Gilmore Award in 2010), Gerstein's jazz background is still close to his heart. Which brings us to his lovely-rendered closer: Gershwin's "Embraceable You," arranged by the American pianist Earl Wild.

Like all master performers, Gerstein gives you the illusion that he's making it all up as he goes along, even though the virtuosic transcription is intricately mapped out. And somehow, he makes that upright piano sound nine feet long.

SET LIST
Chopin: "Waltz in A-flat, Op. 42"
Adès: "Berceuse from The Exterminating Angel"
Liszt: "Ungarischer Geschwindsmarsch"
Gershwin-Earl Wild: "Embraceable You"

MUSICIANS
Kirill Gerstein: piano

CREDITS
Producers: Tom Huizenga, Morgan Noelle Smith, Kara Frame; Creative director: Bob Boilen; Audio engineer: Josh Rogosin; Editor: Melany Rochester; Videographers: Kara Frame, Melany Rochester, Shanti Hands; Associate Producer: Bobby Carter; Executive producer: Lauren Onkey; VP, programming: Anya Grundmann; Photo: Max Posner/NPR

Audacious

AUDACIOUS - from new album 属 Belonging, out April 24 on @City Slang Records https://ianchang.lnk.to/belonging

Written and performed by KAZU and Ian Chang
Produced by Ian Chang
Mixed by @Ryan Lott
Mastered by Heba Kadry
Directed and animated by Qieer Wang (www.qieerwang.com)

everyone keeping secrets in their minds
everyone except you and i
explaining unspeakable truths
with our eyes with our minds with our bodies
on this day on this stage on this life, is there one anymore audacious

why are you telling me the line starts back there?
if you are not caught in telling lies, not the same as you telling the truth
with our eyes, with our minds with our bodies
on this day, on this stage, on this life
is there one any more audacious
everyone

everyone keeping secrets
everyone except you and i
with our eyes with our minds with our bodies
on this day on this stage on this life
aaaah

Persona Non Grata

Produced by: Bright Eyes
Engineered by: Mike Mogis
Assistant Engineer: Adam Roberts
Mixed by: Mike Mogis
Mastered by: Bob Ludwig
Lyrics: Conor Oberst
Writers / Composers: Conor Oberst

Getting dressed for a date
Put on blue aftershave
Wore a kilt like a Celt
Hid the way that I felt
Combat boots fallen leaves
West Village Halloween
To a Bollywood song
Taking shots ‘til we’re gone
Unwelcome in the autumn
Persona Non Grata
I’m the last of the best
I’m your thoughts in the swamp
There’s a playground of children
In the shadows of buildings
There’s a line out the church
Where your homelessness works
Where the stain glass of crimson
Meets Ezekiel’s Visions
Saw a valley of bones
Where no man shall be saved

And now you, you come to me, asking that
And now you, you come to me, and you’re asking that
Oh how can we reconcile?

Left your innocence there
In Tiananmen Square
You were filled with despair
Underfed and depressed
Vacant lot where a prison stood
God knows you never would
Lie to yourself
But you do every time
Made a life of deception
And passive aggression
Going to scream when I sing
Going to die in the ring
Turn me on
You’re a knockout
Climb up on to my cloud
Do your worst to me now
Before I change my mind

And now you, you want to be true, to me once again
And you want me to be true, to you once again
Oh yeah you, you want to be true, to me once again
And you want me to be true, to you once again

Steady

Directed & Shot by Lauren Josephine and Zoe Prinds-Flash
Edited by Lauren Josephine

"Steady" by POLIÇA
Music produced by Ryan Olson
Lyrics/Singing - Channy Leaneagh
Bass & Vocals - Chris Bierden
Drums - Drew Christopherson and Ben Ivascu
Carmen Carmerei - brass
Alistar Sung - cello
Alejandro Peltonemi - Sub Contractor
Aaron Baum - keys & synth

Now I know I’m grown cuz I’m all alone
Don’t got no one to call to drive me home,
Cuz I’m home
Babes are in bed, honey gonna sleep it off
when he’s dead
I do it for them, I do it all cuz I can
We sit on the stoop and we look ahead “hey boy”
Maybe you’ll follow-- maybe you could lead us like the best
Now we’re blowing bubbles and chasing birds
Sing so sweet and laughing into the world
Make me better before I break you under my...

Back in the day mama held me steady,
Steady
Back in the day Momma held me steady
I don’t feel that steady
Back in the day momma held me steady

It’s hard to see how living could be easy
That the higher you fly the farther you fall
You won’t always feel this way
One day we’re dead what more can I say
Hard to see how living is easy.
Gonna take a moment to see myself
Wasn’t even a mirror but some quote left high
Up on a shelf, reminding me I’m cruel and weak
As hell, can’t control you or myself
Sorry’s getting old, it’s getting stale
Don’t do me well

Back in the day mama held me steady,
Steady
Back in the day Momma held me steady
I don’t feel that steady
It’s hard to see how living is easy

On The Floor

From Perfume Genius' new album 'Set My Heart On Fire Immediately" released on May 15, 2020 on Matador Records.

Director: Mike Hadreas
Movement Direction and Performance: Tate Justas
Cinematographer / Editor: Christian Sorensen Hansen
1st AC: June Zandona
2nd AC: Sharon Shu
Makeup: Jenna Howell

i’m trying
but still i close my eyes
the dreaming
brining his face to mine

lock the door

the constant buzzing
all through the night
the fight it
rips me all up inside

on the floor

i pace, i run my mouth
i pray and wait
i cross out his name on the page

how long ’til this washes away?
how long ’til my body is safe?
how long ’til I walk in the light?
how long ’til this heart isn’t mine?

the rise and fall
of his chest on me
i’m trying
but still it’s all i see

the violent
current of energy
i hide it
away and underneath

lock the door

i shake, i promise everyday
to change
i cross out his name on the page

how long ’til this washes away?
how long ’til my body is safe?
how long ’til I walk in the light?
how long ’til this heart isn’t mine?

take this wildness away
i just want him in my arms