Archives for the month of: Abril, 2012
Anúncios

“If you put a label on genetically engineered food you might as well put a skull and crossbones on it.” – Norman Braksick, president of Asgrow Seed Co., a subsidiary of Monsanto, quoted in the Kansas City Star, March 7, 1994

“Monsanto should not have to vouchsafe the safety of biotech food. Our interest is in selling as much of it as possible. Assuring its safety is the FDA’s job.” — Phil Angell, Monsanto’s director of corporate communications, quoted in the New York Times, October 25, 1998

(via foodfreedom.wordpress.com)

Nos E.U.A., a obesidade bate todos os recordes. Foto sacada de http://www.bellenews.com

Os norte-americanos são, de todos os povos, os que menor percentagem do seu dinheiro dedicam à alimentação. Porque nos E.U.A. a comida (presumo que aquilo seja ‘comida’) é, em termos relativos, mais barata do que em qualquer outra parte do planeta. Mas…

“Cheap food is an illusion. There is no such thing as cheap food. The real cost of the food is paid somewhere. And if it isn’t paid at the cash register, it’s charged to the environment or to the public purse in the form of subsidies. And it’s charged to your health.”          Michael Pollan

“If your meals consist of $1 burgers and super-size drinks, your diet may be cheap, but it is also excessively high in grains, sugars, and factory-farmed meats. This is a recipe for obesity, diabetes and heart disease, just to name a few calamitous conditions that befall those who consume the standard American diet!”           Dr Mercola

O país está a saque. Vende-se para o exterior tudo, tudo o que ainda resta de algum valor. Ficaremos nós; com o PSD e com as ratazanas. Foda-se!

Oliveiras milenares do Olival da Pêga arrancadas (para irem para onde? para o Japão? para Hong-Kong? para a Toscana?), Monsaraz, Alentejo, 2012, autor desconhecido

“A ADIM, Associação de Defesa dos Interesses de Monsaraz, usando do seu dever estatutário de estar atenta às questões patrimoniais da freguesia de Monsaraz, teve conhecimento de que estão a ser arrancadas “Oliveiras Centenárias da Zona do Olival da Pega”, uma zona sensível do ponto de vista patrimonial, alargado, que abarca o megalitismo e a paisagem que lhe serve de contexto. Eventualmente com o objectivo de as fazer sair do País, uma vez que, como se pode ver pela imagem anexa, se tratam de exemplares bastante invulgares pela sua dimensão e antiguidade.”

Jorge Cruz (Presidente da ADIM)

O artigo de Leigh Harrison, que poderá ser consultado aqui, é de 2010 e saiu no Journal of Social History.

Entretanto, deixo-vos com outras ideias sobre o mesmo tema:

“In 1970 Black Sabbath made what many consider to be the first true heavy metal album self titled Black Sabbath followed in the next few years by Paranoid and Master of Reality. Guitarist Tony Iommi, vocalist Ozzy Osbourne, drummer Bill Ward, and bassist Geezer Butler churned out gloomy heavy churning riffs and rhythms accompanied nicely by Ozzy’s eerie vocal style. This Birmingham act nearly single handedly defined the essence of the heavy metal genre combining a fascination with dark mythological and religious subject matter juxtaposed against the reality of a working class life in poverty ridden industrial Birmingham during the early 70’s.”

Silver Dragon Records (consultado aqui)

“The influence of life in England during the 20th century can be seen in British metal music. This genre of music, and all rock and roll music of the time, was generally associated with the working class. Most early rock bands came from the working class, from a generation that had been through World War II and through Britain’s economic depression. It was during this era that the band Black Sabbath formed, a group of young boys from the Birmingham region. (…) As Bill Ward, Black Sabbath’s drummer, states, “This was not a rich place at all. Most people were just regular factory workers and they got by and made do. I sensed they were a prideful people”. More specifically, Black Sabbath was a product of the village of Aston, England:

“[It was ] a place both tender and tough, a city buried beneath the explosives of German bombs, and a place steeped in a tradition dating back over 500 years…this suburb of Birmingham was a community factory-filled and populated by the people working in them. Home values were stressed, but if you didn’t belong to a gang, the chances were you were in store for a daily thrashing.”

Britain’s poor economic state at the time was a direct result of the destruction and costs of World War II. Things were worsened as the United States ended the Lend-Lease Act with Britain, canceling an essential source of loans. Although the great change in culture is noted in Britain from the years 1959 to 1973, its true cause was economic change. Even renowned Black Sabbath singer Ozzy Osbourne, who later had a prolific solo career, claimed, “I don’t profess to be a messiah of slum people, but I was a back-street kid, and that little demon is still in there, shoving the hot coal in”. This lifestyle even had a direct impact on the sounds of the music itself. Guitarist Tony Iommi lost two of his fingers in a factory accident, prompting him to change the way he wrote and performed music; this led to his signature guitar-playing sound. Black Sabbath was not the only band with a connection to the working class. By the late 1970s, a group of similar British metal bands emerged, causing the era to be known as the New Wave Of British Heavy Metal, or the NWOBHM. Bands like Raven, Judas Priest, and Saxon began their careers in workingmen’s clubs, houses of beer and entertainment for the working class. Diamond Head, one of the most influential leaders of the NWOBHM, also formed in a town in the Birmingham region, in 1976. Another NWOBHM band, Motorhead, exuded a gruff and crude image, with an abrasive sound to match. Unlike similar bands, Motorhead rejected themes of politics and history, but instead represented the unrefined culture they came from. Much of the attraction for metal to British fans was its “speed, roughness, and volume” (Jeffrey Arnett). David Szatmary simplifies the condition, claiming the situation involved “poor British youths with no apparent future… [who] formed bands to express their frustration by means of a violent, explosive sound”. The rough and unpolished life of the working class in Britain, with its lack of optimism, was a significant, contributing factor to the creation of many similar metal bands.

In addition to the economic forces of the time, heavy metal formed as a reaction to the political and cultural pressures of the time. As psychologist Jeffrey Arnett notes, a significant portion of heavy metal songs portray feelings of alienation or other grim emotions. Indeed, early British musicians reflected the “militant mood” of their times (Szatmary). The names of many heavy metal bands of the NWOBHM indicated a type of “dark militancy” (Szatmary). Eponyms such as Angel Witch, Judas Priest, Iron Maiden, and Venom illustrate Szatmary’s assertion. Dissatisfaction with the government and society was a prime source of alienation. The despair of the Vietnam War and the constant threat of a nuclear disaster were sources of inspiration for early Black Sabbath songs such as “War Pigs” (“Paranoid” 1) and “Electric Funeral” (“Paranoid” 5). British students voiced their opposition to U.S. involvement in Vietnam on March 17, 1968: In Grosvenor Square, the Vietnam Solidarity Campaign launched a protest which had violent results (Arthur Marwick). The Black Sabbath song “Into The Void” expresses the rebellious sentiments of the generation.

(…) A study of 115 typical metal songs shows that 91% of the songs make use of a minor scale in the melody, as opposed to 9% that use a major scale exclusively. As Arnett puts it, “the heavy metal concert is the sensory equivalent of war“. Like the hippie culture of the 1960s, metal bands expressed dissent from the culture from whence they came and developed a musical style to express it (Szatmary).”

Shane Skowron (consultado aqui).

Um post para os cépticos dos poderes da paisagem. (A propósito dos posts anteriores.)

(Para ver o vídeo basta clicar sobre o título abaixo.)

Napalm Death – Live Corruption 1990

A segunda metrópole inglesa não tem o dom de atrair muitos visitantes, é certo.

Algures em Birmingham, 2005, foto escandalosamente roubada em http://www.urban75.org/photos/birmingham/birmingham-canals.html

Nunca ouvi a ninguém dizer que esteve em Birmingham de passeio, para deixar-se inspirar pela poesia subtil das suas paisagens ou pela beleza surpreendente da sua arquitectura. Tal como nunca o ouvi acerca de Detroit. O que é pena.

Woodward Ave, Detroit, 1942, Arthur Siegel

Ora, no entanto, há algo nestas cidades supostamente desinteressantes que leva alguns (não poucos) dos seus habitantes a serem particularmente criativos; e a serem capazes de criar a novidade, goste-se dela ou não.

Detroit pariu o techno, é sabido. Birmingham o heavy metal, esse género maximamente desprezado pelas classes médias instruídas, por causa do seu culto (ainda por cima ruidoso) ao grotesco. E também, claro, por não partilhar de nenhum dos códigos estéticos que o bom gosto burguês considera adequados. Nada do que a burguesia ocidental, habituada à boa roupa e gastronomia italianas, considera belo faz parte de um álbum de heavy metal. Da capa do disco, à sonoridade, passando pela aparência dos intérpretes ou pelas letras das canções. A elegância, a harmonia e a sobriedade, que o renascimento legou às classes cultas de hoje, não seduzem a malta da pesada.

E assim nos aproximamos da solução do dilema que mói a minha cabeça: porquê Birmingham e não Milão, Viena, Amesterdão, Munique ou Bordéus a parir uma expressão artística tão profana e marginal como esta? Porque a Birmingham de há de 3 ou 4 décadas atrás que gerou o fermento do heavy metal era uma cidade cinzenta e brutal, odiada pelas elites cultas e prósperas, amantes das belas artes, por estar profundamente marcada pelas suas paisagens industriais e suburbanas, duras, monótonas, emissoras de sonoridades desagradáveis, pouco ou nada melodiosas.

Como dizia, num congresso acerca de heavy metal, um músico de Napalm Death, sobre a música da banda, “it reflected the culture we lived in, which was one of grey, concrete, brutalist architecture and ugly, vicious sounds. A lot of us came from the fringes of the city, from zones of boredom and alienation. That must feed back into the music somehow.”

O terror, o vazio, o exagero, o mórbido, a negação da vida, encontra-se tudo isto, no heavy metal. Nas paisagens de Birmingham que pariram o género musical mais brutal e primitivo, também.