Não, não, não…
Que pérola!
Behold…
O revival das piadas de cunhado rolou no Jornal Hoje desta segunda e já virou Tumblr… Neguinho não perde tempo, veja abaixo:
E por falar no Raul, tá pra sair um documentário sobre ele…
O que eu não entendi nessa porra toda foi esse Bial… WTF
Taí um jeito de encarar o disco do Metallica com o Lou Reed:
It might be a successful simulation of how it feels to develop schizophrenia while suffering from a migraine, although slightly less melodic.
Yet there’s still something vital about Lulu that needs to be remembered, even as you rip it off MediaFire and immediately forget the name of every single track: This was the dream. If considered in a vacuum, this absurd collaboration that no one wants to take seriously (or even play more than once) is the ultimate manifestation of what was once viewed as the idealized, unattainable goal of mainstream art. Just by existing, Lulu represents at least four things:
- Two historically significant artists merging unrelated genres for no defined reason.
- Adult, self-aware musicians following their own creative vision, devoid of commercial pressure or responsibility.
- An attempt to produce something authentically different from anything we’ve ever heard before, motivated only by a desire to see what would happen.
- A confident, unvarnished attempt at taking arcane high art (Lulu is based on theatrical German expressionism from the early 20th century) and repackaging it for denim-clad teenagers huffing gas in Arizona parking lots.
If you think about Lulu within those specific parameters, it seems admirable. It almost feels important. But those thoughts are annihilated by the inevitable experience of actually hearing it. If these cagey tunesmiths had consciously tried to make a record this simultaneously dull and comedic, they’d never have succeeded; the closest artistic equivalent would be what might have happened if Vincent Gallo had been a script consultant for The Room. To be fair, the end of the album does have one song that’s mildly OK — a dreamy, unaggressive, 20-minute exploration titled “Junior Dad” that will probably resonate with Damien Echols. There’s also a track called “The View” that’s pretty mind-expanding if you pretend the lyrics are literally about watching The View. But the rest of Lulu is as appalling as logic demands. If the Red Hot Chili Peppers acoustically covered the 12 worst Primus songs for Starbucks, it would still be (slightly) better than this. “Loutallica” makes SuperHeavy seem like Big Star. But this is what happens in a free society. Enjoy your freedom, slaves.
Chuck Klosterman manda muito bem…
Dá pra perder uma boa meia hora só olhando as estampas no site da Ript… Aí embaixo tem mais.
O Guardian escreveu sobre como a estética dos vídeos e fotos feitos com celular entrou em nosso dia-a-dia de vez, ao ser abraçada pelo jornalismo em 2011:
“That’s largely because of the Arab spring”, said Michele McNally, assistant managing editor for photography at the New York Times. “Most of the reporters are carrying smartphones because of the image quality of the cameras. They like the style of cellphone filtered imagery and they’re less intrusive [to use] in conflict situations.”
She said citizen media was an “instant document” of an event rather than a replacement for skilled photojournalism. She said: “Most amateur footage does lack the real smart interpretation of what it’s like to be there.”
Al-Jazeera’s citizen media service Sharek received about 1,000 cameraphone videos during the Egyptian uprising against Hosni Mubarak.
Riyaad Minty, its head of social media, said: “Post Egypt, in places like Libya, Yemen and Syria, citizens posting online have been the primary lens through which people have been able to see what is happening on the ground.
“Now our main stories are driven by images captured by citizens on the street, it’s no longer just a supporting image. In most cases citizens capture the breaking news moments first. The Arab spring was really the tipping point when it all came together.”
Turi Munthe, founder of citizen journalism service Demotix, said there has been a cultural shift in the mainstream media.
“The main broadcasters are going out of their way to use cameraphones because the images look more authentic. In almost every image of Tahrir Square, there were people waving cameraphones.
Continue lendo lá no Guardian. Se alguém quiser traduzir, republico aqui.