Extraído de: O Amor Acaba – Crônicas Líricas e Existenciais – Editora Civilização Brasileira
Autor: Paulo Mendes Campos
O amor acaba. Numa esquina, por exemplo, num domingo de lua nova, depois de teatro e silêncio; acaba em cafés engordurados, diferentes dos parques de ouro onde começou a pulsar; de repente, ao meio do cigarro que ele atira de raiva contra um automóvel ou que ela esmaga no cinzeiro repleto, polvilhando de cinzas o escarlate das unhas; na acidez da aurora tropical, depois duma noite votada à alegria póstuma, que não veio; e acaba o amor no desenlace das mãos no cinema, como tentáculos saciados, e elas se movimentam no escuro como dois polvos de solidão; como se as mãos soubessem antes que o amor tinha acabado; na insônia dos braços luminosos do relógio; e acaba o amor nas sorveterias diante do colorido iceberg, entre frisos de alumínio e espelhos monótonos; e no olhar do cavaleiro errante que passou pela pensão; às vezes acaba o amor nos braços torturados de Jesus, filho crucificado de todas as mulheres; mecanicamente, no elevador, como se lhe faltasse energia; no andar diferente da irmã dentro de casa o amor pode acabar; na epifania da pretensão ridícula dos bigodes; nas ligas, nas cintas, nos brincos e nas silabadas femininas; quando a alma se habitua às províncias empoeiradas da Ásia, onde o amor pode ser outra coisa, o amor pode acabar; na compulsão da simplicidade simplesmente; no sábado, depois de três goles mornos de gim à beira da piscina; no filho tantas vezes semeado, às vezes vingado por alguns dias, mas que não floresceu, abrindo parágrafos de ódio inexplicável entre o pólen e o gineceu de duas flores; em apartamentos refrigerados, atapetados, aturdidos de delicadezas, onde há mais encanto que desejo; e o amor acaba na poeira que vertem os crepúsculos, caindo imperceptível no beijo de ir e vir; em salas esmaltadas com sangue, suor e desespero; nos roteiros do tédio para o tédio, na barca, no trem, no ônibus, ida e volta de nada para nada; em cavernas de sala e quarto conjugados o amor se eriça e acaba; no inferno o amor não começa; na usura o amor se dissolve; em Brasília o amor pode virar pó; no Rio, frivolidade; em Belo Horizonte, remorso; em São Paulo, dinheiro; uma carta que chegou depois, o amor acaba; uma carta que chegou antes, e o amor acaba; na descontrolada fantasia da libido; às vezes acaba na mesma música que começou, com o mesmo drinque, diante dos mesmos cisnes; e muitas vezes acaba em ouro e diamante, dispersado entre astros; e acaba nas encruzilhadas de Paris, Londres, Nova York; no coração que se dilata e quebra, e o médico sentencia imprestável para o amor; e acaba no longo périplo, tocando em todos os portos, até se desfazer em mares gelados; e acaba depois que se viu a bruma que veste o mundo; na janela que se abre, na janela que se fecha; às vezes não acaba e é simplesmente esquecido como um espelho de bolsa, que continua reverberando sem razão até que alguém, humilde, o carregue consigo; às vezes o amor acaba como se fora melhor nunca ter existido; mas pode acabar com doçura e esperança; uma palavra, muda ou articulada, e acaba o amor; na verdade; o álcool; de manhã, de tarde, de noite; na floração excessiva da primavera; no abuso do verão; na dissonância do outono; no conforto do inverno; em todos os lugares o amor acaba; a qualquer hora o amor acaba; por qualquer motivo o amor acaba; para recomeçar em todos os lugares e a qualquer minuto o amor acaba.
Sinceramente, pelo meu gosto demasiado sobre música, creio que demorou para aparecer um Rock Wallpaper que me chamasse atenção.
Clique na imagem para ver em maior resolução
Para ver outros Wallpaper, clique aqui
Mick Jagger backstage at the L.A. Forum, 1972
Pra muita gente, os Beatles foram a maior banda de róque de todos os tempos. Para mim, são os Stones. E a obra-prima deles é o décimo album de estúdio, Exile on Main Street, com o seu rock&roll e um punhado de blues e outro bocado de country no mesmo som, receita que deu certo e que vai completar 40 anos em maio do ano que vem!
Eles nem esperaram pelo aniversário e já relançaram o album com uma versão digna que merece: remasterizado e um segundo disco com 10 faixas novas – algumas inéditas Plundered My Soul, Pass the Wine, Dancing in the Light e Following the River, como também algumas versões alternativas de Loving Cup e Soul Survivor.
Das músicas inéditas, coloco aqui o clipe oficial da Plundered My Soul. O vídeo me chamou bastante atenção por usar o grafismo do encarte do disco de maneira dinâmica, ficou uma releitura bem massa. A música foi gravada em 72, letra bacana, instrumental bem trabalhado, mas ficou de fora do disco sabe-se-lá-por-quê…
Confira! OU Faça download aqui!!
Can you believe it,
I’ve won no medals
In this love game.
I’ve been resting on my laurels,
I’m a bad loser,
I’m a yard off my pace.
I smell rubber
And I soon discover
That you’re gone for good.
My indiscretions
Made a bad impression,
Guess I was misunderstood.
I thought you needed my lovin’,
But it’s my heart that you stole.
I thought you wanted my money,
But you plundered my soul.
(Plundered my soul)
I started askin’ around,
But your friends’
Pretty lips were sealed.
I wrote a letter
Full of trite confessions
About wounds that heal.
I heard some gossip,
You’d become an alcoholic,
You were dryin’ out.
So I phoned every clinic
In the Yellow Pages,
Not a trace I found.
I thought you needed my lovin’,
But it’s my heart that you stole.
I thought you wanted my money,
But you plundered my soul.
(Plundered my soul)
I hate quittin’,
But I’m close to admittin’
I’m a sorry case.
But on quiet reflection,
My sad rejection’s
Not a total disgrace.
But I do miss your quick repartee
And the smile
That lights up your face.
You’ll be a hard act to follow,
A bitter pill to swallow,
You’ll be tough, you’ll be tough to replace.
I thought you wanted my lovin’,
But it’s my heart that you stole.
You were a trick up my sleeve,
My ace in the hole.
I thought you wanted my money,
But you plundered my soul.
Oh, plundered my soul
Oh yeah (plundered my soul)
You plundered my soul
Yeah, yeah (plundered my soul)
Oh, yes, yes, yes you, baby
(Plundered my soul)
Pela primeira vez eu via uma mulher vestida de lingirie branca em um formato de tomara que caia. Minhas mãos de ferro buscaram o peito dela feito imã – e cariciava, cariciava, cariciava, e cariciava. Ela suavemente pegou pelos meus punhos como duas algemas com suas mãos, mas continuava a deixar minha mão acariciar e fazer um movimento de massagem.
- Macios, não? ela disse com a voz mais doce que eu já tinha ouvido desde então. Delicadamente, ela soltou e foi escorregando suavimente a mão direita pelo meu peito, barriga, até chegar a minha região equatorial e como a Rainha da Inglaterra coloca as mãos em seus súditos, me disse:
- E aqui duro.
Naquele papo de limpar o desktop e trocar de wallpaper ser o feng shui do séc XXI. Eu tinha uma área de trabalho cheia de coisa e, ali no meio, uma pasta chamada “deksto]” e dentro dela tinha outra chamado “deskt”, ou seja, eram três desktops em um desktop.
Depois que eu organizei esse caos digital, eu vi que costumava guardar uma tirinha ou outra. É algo que pretendo fazer com mais frequência e disponibilizar para vocês. Por enquanto, fiquem com as tirinhas perdidas…
Obs: as que estão um pouco difícil de ler, é só clicar nela para ver em tamanho maior.
A última vez que troquei de wallpaper faz tempo. O novo agora é de Madagascar, onde não tem somente animais interessantes. Esse tipo de árvore é único por lá também, chama-se Baobab ou se preferir Adansonia grandidieri.
clica na imagem para ver em maior resolução
Até semana passada tinha um site – FindMakarov.com – com contagem regressiva para lançamento do que seria alguma novidade na série de jogos Modern Warfare. Mas a Activision, produtora do game, veio a público falar que não tinha idéia do que era o site e não estava envolvida em nada, deixando todo mundo desapontado e frustrado.
E o que foi relevado quando acabou a contagem?
Esse incrível live-action de fã com base a todo tipo de mito contido no jogo Modern Warfare. É muito bem feito, a aparência é perfeita como nos memoráveis momentos em que havia aquele real sangue fresco nos vídeos em CGI. A iniciativa foi muito massa e creio que deverá ter mais edições assim daqui pra frente. Espero que a Activision abra os olhos e ajude na produção.
Faça um favor a si mesmo e confira o vídeo ali em cima!
Tame Impala – Solitude is Bliss
Cracks in the pavement underneath my shoe
I care less and less about and less about you
No one else around to look at me
So I can look at my shadow as much as I please
All the kicks that I can’t compare to
Making friends like they’re all supposed to
And you will never come close to how I feel
And you will never come close to how I feel
Space around me where my soul can breathe
I’ve got body that my mind can leave
Nothing else matters, I don’t care what I miss
Company’s okay
Solitude is bliss
There’s a party in my head and no one is invited
And you will never come close to how I feel
And you will never come close to how I feel
Movement doesn’t flow
Quite like it does when I’m alone
I’ll be the one who’s free
You and all your friends
Can watch me, today
Don’t ask me how you’re supposed to feel
You will never come close to how I feel
You will never come close to how I feel
You will never come close to how I feel
You will never come close to how I feel
Política, WikiLeaks e facetas do capitalismo em artigo gringo “Good Manners in the age of WikiLeaks”
Talvez, nem todo mundo seja TÃO nerd quanto eu. Mas o fenômeno WikiLeaks me chamou atenção desde o começo. Recentemente, eu encontrei um artigo gringo muito bom sobre o que realmente está acontecendo.
Julian Assenge é o Coringa, do filme “BATMAN: O Cavaleiro Negro”, da nossa sociedade contemporânea por usufruir do terror sociológico de revelar uma grande verdade (que outrora era uma mentira)? Somos soterrados por livros, artigos de jornalismo investigativo expondo empresas que poluem nosso meio ambiente, banqueiros corruptos que continuam ganhar verdadeiras fortunas em cima dos juros oriundo da classe média, fábricas de carvão com uso de mão-de-obra escrava infantil, etc. O problema desse discurso crítico é não trazer o interesse para os democráticos-liberais que governam.
O objetivo explícito ou implícito do capitalismo é ampliar o controle da economia por meio da pressão da mídia, inquéritos parlamentares, leis mais severas, investigações policias. Mas a instituição instalada no estado democrático burguês nunca é questionado. Por quê?
Que fique claro: Não tenho orientação partidária ou de ideologia política.
Com o título de “Good Manners in the age of WikiLeaks” (Tradução livre: “Boas Maneiras em época de Wikileaks”) artigo do respeitado acadêmico europeu, o eslavo Slavoj Žižek, filtra as várias camadas da política contemporânea de maneira que só um filósofo e crítico conseguira fazer.
O artigo saiu na revista inglesa “London Review of Books”, conceituada no meio literário e intelectual britânico. Não me atrevi a transcrever uma tradução por ser um artigo grande e, também, por não conseguir descrever com tanta maestria que o tema pede. Portanto, aconselho ler em inglês.
Slavoj pagando de fanfarrão
“Good Manners in the age of WikiLeaks”
Slavoj Žižek
In one of the diplomatic cables released by WikiLeaks Putin and Medvedev are compared to Batman and Robin. It’s a useful analogy: isn’t Julian Assange, WikiLeaks’s organiser, a real-life counterpart to the Joker in Christopher Nolan’s The Dark Knight? In the film, the district attorney, Harvey Dent, an obsessive vigilante who is corrupted and himself commits murders, is killed by Batman. Batman and his friend police commissioner Gordon realise that the city’s morale would suffer if Dent’s murders were made public, so plot to preserve his image by holding Batman responsible for the killings. The film’s take-home message is that lying is necessary to sustain public morale: only a lie can redeem us. No wonder the only figure of truth in the film is the Joker, its supreme villain. He makes it clear that his attacks on Gotham City will stop when Batman takes off his mask and reveals his true identity; to prevent this disclosure and protect Batman, Dent tells the press that he is Batman – another lie. In order to entrap the Joker, Gordon fakes his own death – yet another lie.
The Joker wants to disclose the truth beneath the mask, convinced that this will destroy the social order. What shall we call him? A terrorist? The Dark Knight is effectively a new version of those classic westerns Fort Apache and The Man Who Shot Liberty Valance, which show that, in order to civilise the Wild West, the lie has to be elevated into truth: civilisation, in other words, must be grounded on a lie. The film has been extraordinarily popular. The question is why, at this precise moment, is there this renewed need for a lie to maintain the social system?
Consider too the renewed popularity of Leo Strauss: the aspect of his political thought that is so relevant today is his elitist notion of democracy, the idea of the ‘necessary lie’. Elites should rule, aware of the actual state of things (the materialist logic of power), and feed the people fables to keep them happy in their blessed ignorance. For Strauss, Socrates was guilty as charged: philosophy is a threat to society. Questioning the gods and the ethos of the city undermines the citizens’ loyalty, and thus the basis of normal social life. Yet philosophy is also the highest, the worthiest, of human endeavours. The solution proposed was that philosophers keep their teachings secret, as in fact they did, passing them on by writing ‘between the lines’. The true, hidden message contained in the ‘great tradition’ of philosophy from Plato to Hobbes and Locke is that there are no gods, that morality is merely prejudice, and that society is not grounded in nature.
So far, the WikiLeaks story has been represented as a struggle between WikiLeaks and the US empire: is the publishing of confidential US state documents an act in support of the freedom of information, of the people’s right to know, or is it a terrorist act that poses a threat to stable international relations? But what if this isn’t the real issue? What if the crucial ideological and political battle is going on within WikiLeaks itself: between the radical act of publishing secret state documents and the way this act has been reinscribed into the hegemonic ideologico-political field by, among others, WikiLeaks itself?
This reinscription does not primarily concern ‘corporate collusion’, i.e. the deal WikiLeaks made with five big newspapers, giving them the exclusive right selectively to publish the documents. Much more important is the conspiratorial mode of WikiLeaks: a ‘good’ secret group attacking a ‘bad’ one in the form of the US State Department. According to this way of seeing things, the enemy is those US diplomats who conceal the truth, manipulate the public and humiliate their allies in the ruthless pursuit of their own interests. ‘Power’ is held by the bad guys at the top, and is not conceived as something that permeates the entire social body, determining how we work, think and consume. WikiLeaks itself got the taste of this dispersion of power when Mastercard, Visa, PayPal and Bank of America joined forces with the state to sabotage it. The price one pays for engaging in the conspiratorial mode is to be treated according to its logic. (No wonder theories abound about who is ‘really’ behind WikiLeaks – the CIA?)
The conspiratorial mode is supplemented by its apparent opposite, the liberal appropriation of WikiLeaks as another chapter in the glorious history of the struggle for the ‘free flow of information’ and the ‘citizens’ right to know’. This view reduces WikiLeaks to a radical case of ‘investigative journalism’. Here, we are only a small step away from the ideology of such Hollywood blockbusters as All the President’s Men and The Pelican Brief, in which a couple of ordinary guys discover a scandal which reaches up to the president, forcing him to step down. Corruption is shown to reach the very top, yet the ideology of such works resides in their upbeat final message: what a great country ours must be, when a couple of ordinary guys like you and me can bring down the president, the mightiest man on Earth!
The ultimate show of power on the part of the ruling ideology is to allow what appears to be powerful criticism. There is no lack of anti-capitalism today. We are overloaded with critiques of the horrors of capitalism: books, in-depth investigative journalism and TV documentaries expose the companies that are ruthlessly polluting our environment, the corrupt bankers who continue to receive fat bonuses while their banks are rescued by public money, the sweatshops in which children work as slaves etc. However, there is a catch: what isn’t questioned in these critiques is the democratic-liberal framing of the fight against these excesses. The (explicit or implied) goal is to democratise capitalism, to extend democratic control to the economy by means of media pressure, parliamentary inquiries, harsher laws, honest police investigations and so on. But the institutional set-up of the (bourgeois) democratic state is never questioned. This remains sacrosanct even to the most radical forms of ‘ethical anti-capitalism’ (the Porto Allegre forum, the Seattle movement etc).
WikiLeaks cannot be seen in the same way. There has been, from the outset, something about its activities that goes way beyond liberal conceptions of the free flow of information. We shouldn’t look for this excess at the level of content. The only surprising thing about the WikiLeaks revelations is that they contain no surprises. Didn’t we learn exactly what we expected to learn? The real disturbance was at the level of appearances: we can no longer pretend we don’t know what everyone knows we know. This is the paradox of public space: even if everyone knows an unpleasant fact, saying it in public changes everything. One of the first measures taken by the new Bolshevik government in 1918 was to make public the entire corpus of tsarist secret diplomacy, all the secret agreements, the secret clauses of public agreements etc. There too the target was the entire functioning of the state apparatuses of power.
What WikiLeaks threatens is the formal functioning of power. The true targets here weren’t the dirty details and the individuals responsible for them; not those in power, in other words, so much as power itself, its structure. We shouldn’t forget that power comprises not only institutions and their rules, but also legitimate (‘normal’) ways of challenging it (an independent press, NGOs etc) – as the Indian academic Saroj Giri put it, WikiLeaks ‘challenged power by challenging the normal channels of challenging power and revealing the truth’.[*] The aim of the WikiLeaks revelations was not just to embarrass those in power but to lead us to mobilise ourselves to bring about a different functioning of power that might reach beyond the limits of representative democracy.
However, it is a mistake to assume that revealing the entirety of what has been secret will liberate us. The premise is wrong. Truth liberates, yes, but not this truth. Of course one cannot trust the façade, the official documents, but neither do we find truth in the gossip shared behind that façade. Appearance, the public face, is never a simple hypocrisy. E.L. Doctorow once remarked that appearances are all we have, so we should treat them with great care. We are often told that privacy is disappearing, that the most intimate secrets are open to public probing. But the reality is the opposite: what is effectively disappearing is public space, with its attendant dignity. Cases abound in our daily lives in which not telling all is the proper thing to do. In Baisers volés, Delphine Seyrig explains to her young lover the difference between politeness and tact: ‘Imagine you inadvertently enter a bathroom where a woman is standing naked under the shower. Politeness requires that you quickly close the door and say, “Pardon, Madame!”, whereas tact would be to quickly close the door and say: “Pardon, Monsieur!”’ It is only in the second case, by pretending not to have seen enough even to make out the sex of the person under the shower, that one displays true tact.
A supreme case of tact in politics is the secret meeting between Alvaro Cunhal, the leader of the Portuguese Communist Party, and Ernesto Melo Antunes, a pro-democracy member of the army grouping responsible for the coup that overthrew the Salazar regime in 1974. The situation was extremely tense: on one side, the Communist Party was ready to start the real socialist revolution, taking over factories and land (arms had already been distributed to the people); on the other, conservatives and liberals were ready to stop the revolution by any means, including the intervention of the army. Antunes and Cunhal made a deal without stating it: there was no agreement between them – on the face of things, they did nothing but disagree – but they left the meeting with an understanding that the Communists would not start a revolution, thereby allowing a ‘normal’ democratic state to come about, and that the anti-socialist military would not outlaw the Communist Party, but accept it as a key element in the democratic process. One could claim that this discreet meeting saved Portugal from civil war. And the participants maintained their discretion even in retrospect. When asked about the meeting (by a journalist friend of mine), Cunhal said that he would confirm it took place only if Antunes didn’t deny it – if Antunes did deny it, then it never took place. Antunes for his part listened silently as my friend told him what Cunhal had said. Thus, by not denying it, he met Cunhal’s condition and implicitly confirmed it. This is how gentlemen of the left act in politics.
Harvard University Press – Jane Austen – Pride and Prejudice
So far as one can reconstruct the events today, it appears that the happy outcome of the Cuban Missile Crisis, too, was managed through tact, the polite rituals of pretended ignorance. Kennedy’s stroke of genius was to pretend that a letter had not arrived, a stratagem that worked only because the sender (Khrushchev) went along with it. On 26 October 1962, Khrushchev sent a letter to Kennedy confirming an offer previously made through intermediaries: the Soviet Union would remove its missiles from Cuba if the US issued a pledge not to invade the island. The next day, however, before the US had answered, another, harsher letter arrived from Khrushchev, adding more conditions. At 8.05 p.m. that day, Kennedy’s response to Khrushchev was delivered. He accepted Khrushchev’s 26 October proposal, acting as if the 27 October letter didn’t exist. On 28 October, Kennedy received a third letter from Khrushchev agreeing to the deal. In such moments, when everything is at stake, appearances, politeness, the awareness that one is ‘playing a game’, matter more than ever.
However, this is only one – misleading – side of the story. There are moments – moments of crisis for the hegemonic discourse – when one should take the risk of provoking the disintegration of appearances. Such a moment was described by the young Marx in 1843. In ‘Contribution to the Critique of Hegel’s Philosophy of Law’, he diagnosed the decay of the German ancien regime in the 1830s and 1840s as a farcical repetition of the tragic fall of the French ancien regime. The French regime was tragic ‘as long as it believed and had to believe in its own justification’. The German regime ‘only imagines that it believes in itself and demands that the world imagine the same thing. If it believed in its own essence, would it … seek refuge in hypocrisy and sophism? The modern ancien regime is rather only the comedian of a world order whose true heroes are dead.’ In such a situation, shame is a weapon: ‘The actual pressure must be made more pressing by adding to it consciousness of pressure, the shame must be made more shameful by publicising it.’
This is precisely our situation today: we face the shameless cynicism of a global order whose agents only imagine that they believe in their ideas of democracy, human rights and so on. Through actions like the WikiLeaks disclosures, the shame – our shame for tolerating such power over us – is made more shameful by being publicised. When the US intervenes in Iraq to bring secular democracy, and the result is the strengthening of religious fundamentalism and a much stronger Iran, this is not the tragic mistake of a sincere agent, but the case of a cynical trickster being beaten at his own game.
[*] ‘WikiLeaks beyond WikiLeaks?’, www.metamute.org/en/articles/WikiLeaks_beyond_WikiLeaks.
Aproveitando o embalo que segunda-feira (14) foi Happy Valentines Day e não escrevi nada… Aqui vai esse vídeo sensacional de pedido de casamento.
PROPOSAL from Vanden on Vimeo.
São suas atitudes que determinam o nível de seu relacionamento. Não conheço o criador do vídeo, mas considero ele uma pessoa com grande amor pela noiva. Criou toda uma atmosfera com essa “galeria de street art” contando situação da vida deles para, no final, acrescentar mais um capítulo “Pedido de Casamento”.
Relacionamentos são construídos por todo aquele papo de companheirismo, segurança, realização e satisfação (a sexual, também). Porém, tem um fator dentro desta equação que, para mim, é a mais interessante e pouca abordada como um todo que é de reinventar o amor.
Tudo se desgasta, a gente perde o tesão, a rotina sufoca e sempre tem o diabinho no ombro direito falando merda. Para dar gás novo, é sua criatividade que conta. Para sair algo original, você vai perder um tempão para pensar em algo bacana e que tenha sentindo para o casal. Confidencia à parte, é a hora em que você não tá com a pessoa fisicamente, mas está junto em pensamento e alma, tipo um elo de ligação invisível.
Vídeos, textos, poemas, poesias, objetos de uso pessoal, objetos de enfeite… não importa o tipo, importa que seja confeccionado e/ou idealizado por você. Com certeza, para o lado de quem recebe é de intenso reconhecimento sobre a honestidade do sentimento.
Afinal, uma caixa de chocolate gringo, um anel de diamente ou flores estará sempre em um patamar menor – não por serem inferiores, apenas por estar ao alcance de qualquer um e desprovido de sentido.
BÔNUS: A música é sim dos Strokes e chama “I’ll Try Anything Once” (You Only Live Once Demo).
BAIXE AQUI A MP3
