So gosto de cara errado pdf

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Só Gosto De Cara Errado - Freud, Me Tira Dessa! by Laura Conrado. Read and Download Online Unlimited eBooks, PDF Book, Audio Book or Epub for free. pra o cara ir caçar é noite sem lua, como que você sai no escuro de dentro da mata e chega na tua casa? E pra baile, não gosto de estar indo pra festa meu negócio é só aqui mesmo, .. E eu não podia dizer nada porque o errado foi eu. ESPANOI>INGLES ENGLISH ▻SPANISH Más de palabras y . Take, fo r example, punch which and what is less so, and what you can say in a a) adj subsidiary cara a cara) to bring face to face, adulación [adula'Bjon] nf flattery, d [ampli'tud] nf spaciousness; behind one. angosto, a [an'gosto, a] adj narrow.

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So Gosto De Cara Errado Pdf

kotler kotler ADMINISTRAÇÃO DE MARKETING Marketing/Administração Philip A Uma pesquisa com mais de mau gosto foi divulgado mil executivos de nível A seção Memorando de Marketing “O certo e o errado em marketing” sugere . O mar- keting deve conduzir habilmente não só a gestão do relacionamento. por escrita não legível, emprego errado de abreviaturas e uso de abreviaturas com significados ambíguos, levando a frequentes mal interpretações da forma. Só que hoje atuam de forma mais discreta, ou, como diz o título O homem foi lá e foi falar com o miliciano, tá errado? Roubaram o passarinho do cara. não fazem nada pela gente, e em termos de segurança, eu gosto que eles não.

Skip to main content. Log In Sign Up. Marie-Eve Bouchard. Cada entrevista foi uma descoberta. I would like to thank the professors from the Department of Linguistics at New York University who through my five years in the program have made possible the writing of this dissertation in English. Gregory Guy has my deepest gratitude for guiding my research, for giving me both the space and support I needed to complete this dissertation, and to become a rigorous fieldworker and researcher. To the rest of my dissertation committee, you have all been helpful and inspiring. I thank John Singler for his recommendations and advice, which I have always highly valued. Special thanks to Nicole, who has always answered my questions about all school-related stuff, to Isaac who taught me how to use R and helped me immensely with my quantitative analyses, and to Carolina and Margarida, my sources of knowledge in Brazilian and European Portuguese. However, the massive arrivals of contract laborers starting at the end of the nineteethn century, and the use of Portuguese as a lingua franca completely changed the sociolinguistic setting. As a consequence, a process of linguistic shift from creoles to Portuguese started to take place.

Fui parar nas Docas de Salvador. Este navio fazia o Norte, Salvador , Rio de Janeiro. Entrei e ele me tratou bem, e eu contei meu problema a ele. Depois tudo vai cair sobre mim. Eu escondido escutava aquelas conversas e tanta gente a falar, eu apavorado, com um medo danado.

Naquele tempo ali perto tinha um bar grande. Eu andando pela Zona de casa em casa Um dia me pegaram, pelo Amor de Deus! Era uma delegacia em frente ao Campo de Santana. Ele disse: ah! Eu disse: Pelo amor de Deus, me arruma mesmo, eu tou louco pra ir pra marinha, tenho a maior vontade de ser marinheiro. Ele disse: Garoto, pode deixar, vou lhe trazer a resposta aqui.

Mas uma vez eu fiz uma loucura; passei sete dias fora da marinha por causa de uma mulher, me apaixonei por uma mulher da Zona. Departamento de Pessoal por causa do meu comportamento. Eu disse: Meu comandante, muito obrigado.

Depois eu desembarquei para D. Ilha Fiscal. E foi assim que eu entrei no campo da arte. Passei a pintar quadros no estilo meu. Whereas some punk rockers now reminisce their wild youth as responsible as well as successful members of society, the hardcore punks in many instances continue making noise in the gutter, or have died young without ever relenting.

Some of my interviewees stated that the diehard attitude of hardcore punk actually revived and reformed punk, turning it into a more consistent form of protest that endures. Luigi b. Siis et ei todellakaan! They fucking started to monitor, like, all kinds of damn things and that did away with whatever fun was left. Epe from Lama in Punklandia, dir. Ari Matikainen Kinokombinat, Yle Teema, Absolutely not! In fact it, errm, it turned punk into real and authentic punk.

A Tribal History Los Angeles: Feral House , p. And there was no stopping us! Their roughness and aggressiveness caught the attention of the young Finns who tried to further accelerate the already fast paced music.


Attempting to play faster than your skills allow leaves the resulting mistakes exposed, however to some, these flaws represent something of value. Compared to punk rock, hardcore had an even stronger DIY ethos; instead of relying on the established labels they formed their own P. Tuotanto, Propaganda Records and sometimes the bands even managed to release records themselves. Moreover, some even produced their recordings themselves however they could, which sometimes resulted in a blend of chaotic and inimitable sonic aggression that suited the style.

In the Finnish language this lack of quality brought by poor musicianship and bad production has earned a nickname: Luigi, who also played in an earlys hardcore band Alamaailma, arguably one of the Finnish groups that had the most challenged musicians, and his son Atte b.

Se on ollu luonnollinen, olosuhteiden pakosta. Ei ollu varaa studioon. Halvalla, mahdollisimman paskaa mahdollisimman halvalla. PM Press, , pp. Musicianship that approaches almost superhuman skill can leave the listener with a cold, robotic, impression of the musician. It was natural, dictated by the circumstances. They produced the recordings themselves, even records if possible. There was no money for studios. Cheap — as crappy as possible, as cheaply as possible.

Somehow the sound is so sympathy evoking. And just like, fuck it, this is real punk! In addition, not all hardcore groups are musically disastrous; there are groups with musical ambition, always trying to outdo themselves in skill and quality of writing. Still, the curious thing is that in hardcore the bands that are limited in terms of musical skill are not necessarily considered inferior: While discussing the ways musicologists have dealt with comparisons between African and European music, Frith rightfully perceives, that it is historically racist to claim that African music is simple and European music is complex.

This implies, that European music as well was once simple folk music , but advanced from the primitive stage, where it was driven by rhythmic rule, becoming complex when it started to concern 93 In hardcore concerts the band may mock the crowd, or they can stop their performance abruptly, or refrain from performing altogether. In an ordinary rock concert these events would mean that the concert has failed, but in a hardcore happening the conventions are turned upside down: Furthermore the position that European art music would be superior to other forms of musical expression is ethnocentric: African music or hardcore punk is just as complex according to its own conventions.

The punks have found worth in deliberate immaturity and the prolongation of youth outside the socially acceptable timespan. In fact one of the ways many punks reinforce their new identity after they are initiated into the subculture is to acquire a punk nickname. Where the formal values esteem hard productive work, deferred gratification and conforming to routine and bureaucratic rules, the values held important in the subterranean world are in direct conflict with the formal values, promoting short-term hedonism, spontaneity, ego- 98 Attali, Noise, pp.

Primitivist fashion statements such as body-painting, hair-braiding and piercing are common. In this primitivist world, the DJ becomes a shaman, leading audiences on an initiatory journey where the boundaries between self and other, individual consciousness and the natural world, seem to dissolve. Your whole persona becomes absorbed by the sound, the rhythm, your body being tossed around in the pogo, and for a moment, you may experience complete detachment from your mundane affairs and worries.

To differentiate punk from other forms of modern primitivism present in, say, electronic music and neo-hippie revival, punk primitivism is apocalyptic, or pre-emptive, pointing towards a bleak primitive future rather than the archaic revival envisioned by Terence McKenna.

Many punks choose to live in occupied buildings, often found left in decrepit conditions by previous inhabitants. In these occupied houses, the squats, punks form small communities that fulfill some of the same functions as tribes did in primitive societies. The squats become cultural centers, serving as meeting points for the members of the subculture, or neo-tribe, where, depending on the squat, a number of different cultural activities can take place.

Tribe formation also becomes important in the post-apocalyptic scenario as a form of survival, where the community can offer protection and aid. Food is often prepared communally, and whenever possible, acquired by dumpster diving, partially because of economic necessity, but also for ethical reasons, aiming to reduce our ecological footprint and pointing to the possibility that we might once again in the future be foraging for food.

Dumpster diving is not limited to food, and many of the household necessities can be met by sifting through commercial, residential and industrial waste including building materials, furniture and clothing. Alien Dreamtime Astralwerks, Where the colorful garbs of the hippies reflect their will to celebrate existence and the multi-colored facets of nature, the punks do not see motives for celebration and with their dark makeshift clothing, often dirty, torn and held together by patches, seek rather to remind us of the possibility of disaster.

In fact, many pessimistic post-apocalyptic movies such as the Mad Max series have taken advantage of punk aesthetics. Because of its focus on the bleak aspects of reality and its clinging to political correctness, hardcore has been blamed for killing punk and the fun in it. However, not all fun has left punk — in fact, people do not usually attend punk shows or listen to punk records with a morose intent, quite contrary. Although frustration is one of the forces that drive hardcore punk and its innermost intention is to challenge norms striving for a more just society, a good deal of fun can be had in the process, and often the fun is assisted with a healthy dose of alcohol.

The influence of alcohol, when it comes to Finnish hardcore punk, can hardly be exaggerated. Even though some of my interviewees did, in their case, deny the role of alcohol as an influencing factor stating that they would not perform or record inebriated, in my experience of the Finnish scene the influence of alcohol is unavoidable.

Even if you do not consume alcohol yourself, you are bound to see its effects on those around you, and Finns, amongst all nationalities, have been credited with a reputation as hard drinkers. Likewise, punks amongst all subcultures share this reputation to the extent that amongst the American hardcore punks of the s, a Hebdige: Subculture, p.

Critical Studies in Contemporary Youth Culture ed. Palgrave Macmillan, , p. Straight edge was a response to the excesses of punk culture and positioned itself against all intoxicants, and in many cases also against promiscuous sex and consuming products of animal origin.

This goes to show how entangled punk culture is with intoxication: There are no factions of Goa-trance subculture openly opposed to psychoactive drug taking, no hip hop movement against consumption of marijuana, nor metal-heads against beer drinking. In Finland, the straight edge movement did not get established until the s and although some punks did in fact abstain, they served mainly as an exception that confirms the rule.

When asked about the influence of alcohol on the Finnish punk sound Pete answered promptly: Especially then during the early commotion it was like tangible, everything was based on it.

When you think about how funny it is, that a band like Maho Neitsyt, how, like, the whole band was based on sipping booze, and then, how damn expensive the records are today, records that the dudes probably recorded in like a state of three and a half per mille stupor.

Another compelling moment, was witnessing the guitar player of Tampere based band Garbagemen in a similar state of stupor. Whilst barely being able to stand, he was trying to tune his instrument during the first half of their show, and after giving up, decided to poke his bandmates with his guitar for the other half, eventually falling off the stage.

Although alcohol abuse has resulted in many similar exaggerations, which some might see as negative rather than amusing, it has also had other more unequivocally positive effects: However, not all bands had alcohol boosting their creative process, and in general it was only one of the many factors that resulted in the creation of a Finnish sound which would stand out and therefore also generate interest outside of Finland.

With increasing frequency, tapes and albums of Finnish noise were exchanged for foreign equivalents, and wherever they landed, their raw quality was noticed. However the subcultural production in the periphery was not identical to the model received from the center, and in the case of hardcore punk it tended to be more extreme.

A certain rivalry existed between the two punk centers, Tampere and Helsinki, and the bands from the countryside formed peripheries of their own, and did not necessary look up to their urban counterparts, who in turn sometimes overlooked the groups that did not form part of their urban inner circle.

Alexandre de Gusmão

This perhaps is one of the reasons why many groups from outside the capital established contacts abroad.

As a whole, the isolated location and Also typical of hardcore punk is that it changed the traditional centre-periphery setting of rock music. The field of hardcore is equalitarian in the sense that the traditional centre of European rock music — England — has not achieved a self-evident vanguard position in hardcore punk. For example Finland, Germany and Italy are countries that have numerous bands that perform hardcore punk.

Pete, who is a countryside punk, recalls that around the busiest times in mids he had roughly contacts abroad with whom he corresponded by mail: On the Finnish side Propaganda Records and P. How did it like start off, the whole, whole ordeal of correspondence?

The zine-makers would maintain contact with other countries and feature articles about foreign releases and scenes. One of the scenes that corresponded actively with the Finnish was the Brazilian.

In Figures 1 and 2 examples of reports from the Brazilian scene in Finnish zines are shown. Figure 1: Laama 7, The invasion of Finnish hardcore outside of Finnish borders dates around , when many Finnish groups e. There was something in its quality, or the lack of it, that from the very first moments appealed to a faction of the punk crowd, and soon, the Finns started receiving correspondence that showed interest in their style of hardcore.

In addition to the focus of this research, Brazil, other countries such as Japan and United States have shown a disproportionate interest in Finnish hardcore. On varmasti. On, selkeesti. Is the case here like about opposites attracting each other? Yes like the further off Finnish punk travels from Finland, the better the reputation it has […] Exoticism. Like you said that Finland in a way is an islet, like there is a great severance of sorts between Finland and the rest of Europe.

Yes, clearly. Even though the cultures of Finland and Brazil are also completely different, still in some, some aspects they meet even better than Finland and the rest of Europe. Which is still odd, no one really knows how to explain it, still, yea, everyone who is even slightly involved with the subject will fully agree.

Otto Itkonen: The original pressings of the classic Finnish hardcore bands have become rarities affordable only to true collectors, and even many of the bands practically unknown in Finland have achieved a cult status abroad. That is how it appears to be. You have roamed a large part of the globe in punk shows and tours, so, Finnish punk enthusiasts, like, you find them everywhere. Every town seems to have at least one, no matter how small the town is. But am I wrong if I claim that in Brazil you find the most fanatic ones?

Well, I agree with you completely. Although the United States did not officially involve itself in the coup, its backing was fundamental. Our life is punk, our music is punk, our streets are punk, our cities, the system in which we live. Editora 34, , p. Brazil, which had traditionally followed the European example, was taken over by American cultural imperialism, and from then on it dictated the model Brazilian youth was to follow.

However, among the cultural values that were forcefully imported, some subversive elements also entered. In the late- 70s punk rock arrived to Brazil as a part of this ongoing cultural invasion, but even before there were earlier traces and precursors of the punk spirit. Brazil is known as the land of carnival when the subterranean values are allowed to come out with all excess , football and samba.

Although musically very different from punk, samba also often contests the same social injustices witnessed by the people in their day to day, and some of the sambistas already had a proto-punk character.

The most important amongst these figures according to Silvio Essinger is Noel Rosa. Disfigured at birth in , Rosa was an outsider by nature, using his guitar to connect with the world. While the Jovem Guarda generation was searching for the American dream, others saw the real situation of a country where people starved because of inequality of wages, and in which freedom was being limited by a military regime.

The infamous decree AI-5 was issued in December It overruled the constitution, and amongst other things, institutionalized torture, enabled censorship and made any unauthorized political meetings illegal. Paulo Markun TV Cultura, It was onto this reality that punk would make its appearance, ironically, not through subcultural channels, but imported by the system. Spaghetti b. When someone unfamiliar with the movement suggests that the music is copied from London, he obtains answers like that of Zorro of the band M Editora Brasiliense, , p.

Marcelo b. That reflects in the music. What made you turn into a punk, and is it still the same thing today, like…? First, war is a very distant thing, something I never see, but I see misery, disgrace, I see death […] I see people getting fucked up here, you know, in every kind of way.

For me, that was the vision closest to me. Acho que foi precaridade. Gangue e briga. The conflict unfortunately amounted to more than normal teen-age hormone-filled cock-fighting, there was real danger of life involved, and many did in fact lose their lives or get permanently handicapped in street fights.

Gangs and fighting. And afterwards what really confirmed the gangism was Mad Max II. Later in the same year, the punks would gain a new point of reference, and the scene would take a giant step forward, with the inauguration of Punk Rock Discos in a gallery downtown.

In these three bands would make history when they were featured in Grito Suburbano, the first punk album released in Brazil.

The message was one that offered support and urged the suburban boys to stand firm: Essinger, Punk, p. Grito Suburbano Punk Rock Discos, Bahia declared that the songs were more connected with the times and the place than the romantic nonsense played on the radio, and acknowledged that raising questions, even without providing answers, already constituted a great feat in complacent times. Laama zine from Finland described the record in a more flattering tone: According to Javier, it was Olho Seco and Ulster that had first started playing faster and more aggressive.

Some of the punks were still unsure what the new style meant, as well as being ignorant about the political aspects of punk and intolerant against innovation.

According to Gordo, the band also faced accusations of heresy for including the peace flag in the cover of their debut album Crucificados pelo Sistema released in , the first full-length album by a Latin American punk band. The guitar shrieks keeping everything else under cover and the drums are barely audible. An angry singer screams something that you cannot understand a word of in Portuguese. There are four songs by each band and none of them are bad.

Laama 7 Curiously one of the reasons that many Brazilians gave to explain the appeal of Finnish punk was not exoticism, in fact, many of them stated that Finnish noise sounded familiar… 3. We played the tapes and not only got the Sao Paulo [sic] hardcore sound influenced by Finland but the whole Brazilian scene.

I was very impressed by Rattus. Kaaos was, let [sic] say real chaos, pure mayhem. Lama had the unmistakable back-up voice. Tuotanto as one of the persons who served as a bridge between the two scenes. Also Heikki Vilenius from Propaganda Records simply confirmed in an email that: Rajoitettu Ydinsota EP by Rattus. Most importantly the Finnish noise, once it hit Brazil through the mail, would spread on tapes that were duplicated ad infinitum.

An important role was played by the compilations by Finnish labels, such as Russia Bombs Finland, which was published by Propaganda Records and brought together eleven bands.

Gordo went on to explain that even the way that Finnish punks dressed served as an influence: We started to copy the clothing of the Finns, so, before us no one had leather jackets with the collar painted white, no one used to do that, no one stained their pants with white stains, no one, we started doing that because of the Finns man. And there is, there are, some errors, man, like, here in Brazil TK of Terveet means hardcore, right.

Notice the white paint used for the sleeves and collars of the leather jackets source: T-shirts of Finnish punk bands, Lama and Kaaos, can also be seen for sale hanging on the window in the background source: Also for Spaghetti, these were the determining factors that called attention to Finnish hardcore, and he even went on to suggest that Finnish must be a Latin-based language, like Portuguese, since the articulation and the manner of expression are so similar.

To me as a Finn, and more specifically as a Finn who, with significant effort, learned the Portuguese language, this sounded absurd Finnish makes part of the Finno-Ugric family of languages and did not help in the least in the process of learning Portuguese. This view however, that Finnish sounds familiar to the ears of a Portuguese speaker, was unanimously supported by the Brazilian interviewees, while the Finns were left in awe by this claim.

Javier carried on with a similar discourse: The intensity of the hardcore cry brutalizes and mutilates the intonations of the language, perhaps taking the sounds of Portuguese a step closer to the Finnish mono- tonality and Finnish a step further away from it. One similarity between the two languages is that the two alphabets sound rather similar when the letters are pronounced individually.

Diana, who also speaks both languages after living in Finland for several years, made another observation about the Finnish language: You manage to sing. Therefore the importance of English came about when the two scenes started to interact. Ruidos Absurdos was a short lived band that only produced one demo tape and a live tape.

Nevertheless, I found several articles from the early s Finnish zines about the band shown in figures 8 and 9 , indicating a high level of interest for the extreme noise of Ruidos Absurdos in Finland. Figure 8: Ruidos Absurdos interview in a Finnish zine source: Ruidos Absurdos poster accompanying an interview found in another Finnish zine source: Spaghetti explained that he used to correspond and trade tapes, records and zines with roughly fifteen Finns around that time, and the fact that he and his bandmate Marcos spoke English most Brazilians at the time did not , resulted in the large quantity of interviews, compared to the amount of material that the band managed to produce.

Still, there is also something strangely appealing about the extremity of Ruidos Absurdos that captures the attention of the listener.

Of the reasons affecting the local sound mentioned above, precariousness was the dominant issue here. Ele foi mal E a gente nervoso porque ele falou: It was played badly, because no one knew how to play. It was badly… there was no production at all! There was no production, man, we went in and the wacko that paid for us said: And we got nervous because he told us: But there are people who think that this is the most incredible, wonderful, kick-ass record.

The rough edges were left unsmoothed and the nervousness felt by the musicians was transmitted to the music only further accentuating its rawness. Javier affirms that the result was very different from what they had intended it to be and the feeling that the recordings evoke in him is still conflicting. However, in retrospect it can be seen that the contribution of the errors was actually crucial — as Javier put it: In the end, that is what makes the difference, the way in which you create something makes an impact on the result.

The result is important, but important insofar as it represents a number of other things through which you arrived at the result. It represents a whole process, a way of making things that is just as important as that result. E eu falo: There was a strong intention however, to address local issues. And then you listen to a fucking Sorto record, dammit right, someone recorded this.

Someone is sending this out into the world. So I can record as well, I can make a release as well and send records and tapes to where ever I please, and manage to do it. And I say: Was the intention really to create a local brand of punk, as suggested by Mikko Saarela in the case of Finnish punk rock?

Even samba, considered Brazilian folk music, has its roots in afro, as pointed out earlier by Zorro. Or, how is subcultural capital generated and exchanged in transnational contexts? Thiago provided a curious detail about the story of the Mohawk in the early days of the Brazilian scene that serves as an example of how local conditions molded the punk look see figure Acho que jeito de ser punk no Brasil era The Basement Show in the Ivory Tower ed.

Minor Compositions , pp. Artur de Paiva, year unknown This is a good example of creativity, flexibility and capacity for improvisation in the Brazilian mindset that stems from the difficulties that the situation of the country provides in abundance.

Some of the crumminess and the sloppiness were a result of the difficulties and the flexibility — you had to be content with what you managed to produce with the punks with those fucking huge Mohawks. How come then some of the Finnish punk was sloppy in the same manner as Brazilian?

A reaction against the fairly or perhaps too well-organized nature of the Finnish society might explain the crumminess of Finnish punk, but by using the same logic, Brazilian punk would have turned out to be clean, tight and organized, as a reaction against the chaotic and unorganized nature of the country. One way that punk in the two scenes has conquered the errors is by owing up to the crumminess, moving beyond the error and assuming the sound, as Tiago put it: This attitude gives added value and legitimacy to the sound, and turns the errors into forms of expression, and even into works of art with their own esoteric logic and beauty, impossible for the uninitiated to appreciate or reproduce.

The poor quality of the music in reality does also turn into an effective way to fight against the threatening influence of the subcultural industry; only authentic punks will have the accumulated subcultural capital which enables them to enjoy its lack of finesse.

The global reach of cultures today has created changes in the flow of cultural production and influence, as well as in the cultural economy. What once was elite culture is now being sold to the masses, and in exchange, high or elite culture has for long been interested in the primitive, the exotic, the outsider, the obscure. This double movement can also be seen in the way that subcultures are being consumed, and in who consumes them. Figure Whether because of incorporation or due to natural causes, punk suffered a decline in the last half of s.

However, by that time it was becoming abundantly clear that punk was arriving to the end of an era. Many punks felt the appeal of metal. Also the illusion about changing the world through punk was starting to shatter. Eu imaginei. Eu acreditava. Era um idiota. Acreditava mesmo, sacou. Dictatorship in Brazil had ended in and there was a rather confusing return to democracy that took several years.

Also punk needed to move forward or become a thing of the past. Perhaps in Brazil the decline of punk could be connected to the end of dictatorship, however, the lates represented a hiatus for punk culture worldwide. During the following decade, punk would re-emerge, searching new authenticity through increased coherence and political correctness. Musical vanity was also starting to infect even a part of the punk underground.

Yet in Brazil and Finland most punks maintained a crude expression and an appreciation for crumminess. I imagined that. I believed that.

I was an idiot. I really believed that, you know. All I got was mockery and spit. Fernando Rick, Black Vomit Filmes, The venue of the show was supposedly a squat, although unknown even to the locals.

It took us some time to find our way to an abandoned industrial complex. It was dark, and we stumbled through a wasteland of rubble in the direction of the sound of a generator and a silhouette of a building. As we arrived closer human shapes started to form in the dark and a distant chatter revealed that a good number of people had already shown up. A light was shining on the second floor of the building, and as I climbed up the wrecked staircase I realized that the building was lacking a roof!

On the second floor, a single light source behind the drum set was creating long shadows and I could see that parts of the walls had also collapsed. There was no stage, the amplifiers and the drum kit were set on the floor and the precarious setup would be shared by five bands that night. The atmosphere was friendly, and at first, I seemed to blend in with the crowd that gathered around the bands as soon as they began playing. When the crowd started pogoing I felt the floor sway slightly back and forth, the whole building was moving.

Although some wore normal clothing, usually at least a band t-shirt exposed their motives for being present. It was clear that punk culture was alive and well in Brazil, what was immensely puzzling though was the fact that apparently the locals had a fondness for Finnish punk!

Already on the first night I ended up surrounded after they found out I was a Finn. What was it like? What was my favourite Finnish band? How do you say X in Finnish? A tourist shot source: On the level of appearances the end of dictatorship would seem to be the most significant alteration.

I used an extract figure 17 from a Brazil scene report published in the Finnish zine Laama, to ask my interviewees if they saw any similarities with the description and the current situation. Brazil nowadays is in a very chaotic situation politically and economically. The ruling party, which the president is free to choose exclusively, has removed all basic human rights from the people.

Americans are our bosses, they rule over everything. The Brazilian politicians hardly enjoy credibility in the eyes of the people. Politicians are rather the target of systematic suspicion. Many significant things need to occur before the living conditions of the people can be changed and improved. The same can be said about the state of punk culture. Extract from Finnish zine and translation to the right source: Laama 10, The interviewees noted some differences, especially when it comes to the state of punk culture, which today is more conscious, less violent, better-informed and equipped.

Diana felt that the extract continues to be very contemporary: Unfortunately it seems that nothing has changed in the political and social situation of Brazil.

The parties that continue to this day are the same parties that supported the dictatorship. Education has worsened, services have worsened, unemployment, violence. The police is instructed to grab anyone and beat them up, beat up a child, beat up an old person, beat up a journalist.

It is reason enough to be in their line of fire, you know. And back in the day, police already did the same thing, but it was more concealed. When I brought this up, Marcelo pointed out that since in Brazil the injustices are bigger, and the means to combat them are scarce, the truncheon hurts even more.

Jeferson b. Jukkeli, the drummer, described that the assailant was roughly years of age. E ele pegou: They stop you for real and if they take an interest in you it gets sketchy. Last year I think it was here that there was a chacina massacre by the police as well right. How did that story go?

And that kid, he was from the hood, he lived here, a few roads down. We were having a conversation in English, so, we had had a lot to drink already, all day, laughing like crazy, the guys were loving the cheap beer and everything… Jeferson: I said: The kid had been in the corner and at the same time he came with a revolver, he had a.

I was really drunk and I did a dumb thing. But I know you, I know where you live, why would you rob us? And he answered: I told him: And he kept looking, looking, and grabbed just a cell phone that belonged to a kid from my street that was with us and left. The violence, the social inequality, the same political parties with their usual coalitions and the exploitation by capitalist powers outside are still molding the Brazilian reality.

At the same time they continue to validate the existence of the punk subculture; as long as these issues remain unsolved, it will be pertinent to make another and yet another protest song and there will be people who will appreciate the message and the effort. In Brazil, punk has become a way to find some stability and direction, a compass of sorts that will help you navigate in the midst of social chaos where numerous powerful forces We ordered more beer and stayed to observe the repercussions.

Different sorts of characters came to pass by. At times it was difficult to distinguish the cops from the gangsters. Jef said that the pimp looking fellow who just speeded off in his lowrider was a local constable. Finally we left back to the apartment to drink some more. On our way back Jef talked to some corner guys and told us that the kid is probably going to get killed.

Infelizmente cara. Alexander and Philip Smith Cambridge: Cambridge University Press, , pp. And this is what happens and we know it. Unfortunately, dude. However to many punks, it is in fact the non-normative aspects, even the stigma, that make punk appealing. This perhaps is also one of the reasons why Brazilian punks chose Finland as the target of their fanaticism; the pursuit of peculiarity, to be different from the already different.

Man, it was horrible. Back cover of Censure EP showing the titles in Finnish source: Initially the intention was to compose six songs, record them, make thirty cassettes and leave the project at that but more songs kept coming out, and soon, they were also playing live. Also the cover art was produced in DIY-fashion — in fact, Jeferson has also provided artworks for other groups, including groups from Finland, always adding a touch or two of Finland in the work.

Similarly, in the case of Permanente Estado de Conflito, the two scenes would join forces and naturally blend their characteristics. The Finnish element however, despite my presence in the band alongside four Brazilian members, was mostly contributed by the Brazilians who are avid listeners of Finnish punk.

We borrowed a reasonable one from a friend and I put on new strings and tuned the guitar. As he was testing it, with a look of disdain, he told me: Although stated in jest, the accusation against people who would spoil punk by overanalysing it carries some truth and perhaps the fear is legitimate. The reason for maintaining punk outside the realm of academic analysis is to preserve its mystical aura; not to expose to outsiders the subcultural capital, the knowledge about the nuances and subtleties in punk, gained by paying the punk dues.

Furthermore, as Furness goes on to say: Academics should not be seen as the authoritative voices capable of explaining punk to the masses.

They are also important when it comes to my research, since they personify better than any other example how the cultural exchange has had a double movement between the two scenes. Figures 21 left and 22 right: Hate Heiko Schach on guitar. The Brazilian sound that was a result of nervousness, raw musicianship and pressing time, but also of genuine feeling of anguish, desperation and a will to protest, had impressed the Finns to the point where they learned to duplicate the errors, which for them, made Armagedom and others authentic.

Kauttaaltaan paska levy. Kannet on hienot. Well no, the sounds are just bad. The album is crap through and through. The album covers are nice. This process perhaps makes you feel closer to the song; having to add something makes you a part of the sound, a part of the process.

Simon Frith acknowledges the natural ability of humans to make sense of the sounds in their surroundings: And nothing is completely unrhythmic—the human brain has a wonderful capacity for perceiving regularity in even the most randomly distributed noises in the workplace, for example. Often that stuff is binding, that was a good point in my opinion, that it leaves room for imagination, what is happening there in the midst of all chaos, and it will probably have a binding effect on you as well […] and it gives you a different kind of rush.

A bit of a feeling of danger perhaps? That as well sometimes. Or like: Foi seguinte: Tava la pesquisando alguma coisa de punk, hardcore [ Javier explained to them that the band had ceased to exist, but the Finns kept insisting on making a joint release in case the band had left any unreleased material. Armagedom had in fact made a demo tape in that was This is how it happened: The dude was writing this to me!

I thought: Cross-cultural exchange between Finland and Brazil on vinyl source: In fact, the enthusiasm of the crazy Finns gave the Brazilians the inspiration to give Armagedom another try. In this case, what makes this a different type of error, is that it is intentional: Foi eles que insistiram, tipo, escrever errado?

Eles falou assim: Falei assim: Recently, Taurus commented on their bad Portuguese in an interview: Did they insist, like, on writing incorrectly? They told me: Otto always told me, Itkonen, each time he would ask for some translation, whatever it was, he said: He claims that the reasons are economic, that the Mexican punk bands simply cannot afford the plane tickets. In fact, a Brazilian punk band touring in Europe is no rare occasion: A quick list drawn from memory includes: Some of them have played in Finland on more than one occasion and it is also probable that one or two have slipped my mind.

In addition to these groups, several individuals have managed to go on pilgrimages to Finland despite economic difficulties.

Otto Itkonen has been in contact with the Brazilians for over twenty years and released a number of Brazilian bands.

The attraction between Finland and Brazil has clearly been mutual and the cultural exchange is ongoing: In , Massacre released new tracks following their Brazilian tour after twenty years of hiatus. The song tells the story of a teenager who robs a bar and is later found dead in the gutter.

Como falamos. Como somos. In Poesia Pau-Brasil de Andrade makes an appeal for truly Brazilian poetry, against imitations of the stereotypical works of European literature. In the new Brazilian poetry the real, the innocent and the sincere should come out, but not in any already existing form. Furthermore, he was an advocate for the invaluable contribution of all creative mistakes, since the innovation, surprise and shock that the errors provide guarantee originality.

These are the kinds of mistakes that the Language without archaisms, without erudition. Natural and neologic. The millionaire contribution of all mistakes. How we speak.

How we are. Editora Globo, , p. Sem ontologia.

PONDÉ, Luiz Felipe - Guia Politicamente Incorreto da Filosofia.pdf

De Andrade re-appropriated the primitive as a source of strength, vitality and identity: Without literary reminiscences. Without ontology. Abandoned houses were filled with new life. Scrapped artefacts were converted into identity-making symbols. This way punk is in fact correcting consumerism-related ethical mistakes by salvaging a lost potential and bringing it to actualization.

Musically the anthropophagic rite is reflected in the peculiar crumminess of punk. Existing forms of music were savagely mutilated, consumed and digested, and the new sounds that were regurgitated, got ingested and remodelled again by the following punk generations, creating in turn other forms of musical neologisms.

Furthermore as de Andrade had hoped for in Pau-Brasil, some of these new expressions have become items of export; the primal scream of Brazilian and Finnish punks has spread through the alternative channels of cultural exchange to the far ends of the earth.


Not everyone has access to proper education, let alone the chance to attend music lessons or the means to acquire decent instruments. But can — or should — this determine who has the right to express themselves?

Although tackling social class was not the aim of this dissertation, the research has made it clear that regardless of their social background, the actions and attitudes of punks always question something.