“Through a complex combination of whitewashing, guilt, and an intentional recasting of history that absolves them of their hatred, our historical translators have painted a sanitized, impressionist portrait of a struggle for Black liberation that was eventually fulfilled by American’s unwavering commitment to justice and equality. Out of whole cloth, they managed to fabricate a fantastic ahistorical myth that somehow became truth. They remember a socially conservative, respectable campaign of racial reconciliation, not a movement of anti-establishment revolutionaries. And for their sake, the doctrine of nonviolent resistance was eventually reduced to simple ‘nonviolence.’ They never speak of the ‘resisting.”
Source: Black AF History: The Un-Whitewashed Story of America
“People, he reflected, must live at these different levels. Some must work with the hands, some with the mind. The peasants should not be lifted from their places as workers with the hands, or the higher ones would starve. ... Such persons should not be taught falsely that they could or should do other work.”
Source: Kinfolk
“O jazz moderno e a música clássica moderna, por vezes, fazem questão em usar cinco, sete, onze, etc. pulsações por compasso (muitas vezes apenas para terem um ar inteligente e invulgar) mas são poucos os êxitos realmente populares.”
Source: How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond
“Em música há imensas questões técnicas. Se estivermos a escrever para instrumentos que nós próprios não tocamos, precisamos de aprender imenso acerca deles se queremos que a música seja interpretável.”
Source: How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond
“A capacidade de improvisar bem é um talento altamente respeitado e pode conduzir a uma interação de facto interessante entre os músicos intervenientes. Até pode tornar-se competitiva, à medida que os músicos se estimulam reciprocamente a chegar a novos patamares.”
Source: How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond
“A métrica, o ritmo e o andamento todos têm o seu papel no nosso prazer. Ainda que os nossos batimentos cardíacos não estejam ligados ao andamento, certamente que consideramos andamentos mais lentos como sendo mais relaxantes e mais empolgantes os que são mais rápidos. Esta tensão estará provavelmente ligada ao facto de não gostarmos da incerteza e, especialmente, ao nosso receio de não conseguirmos lidar com uma situação.”
Source: How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond
“O trabalho de um compositor talentoso é criar expectativas e depois ou satisfazê-las ou frustrá-las. Mas o compositor não pode nem deve tentar um empolgamento constante. Como em qualquer história que se conte, ou mesmo num espetáculo de fogo de artifício, acrescentam-se algumas passagens mais calmas, deliberadamente, para que os momentos importantes causem mais efeito.”
Source: How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond
“Sejam quais forem os seus gostos atuais, há provavelmente muitos tipos de música que lhe dariam imenso prazer se tentasse conhecê-los um pouco melhor. O meu conselho é este: tente ser um pouco mais aleatório nas coisas que ouve e seja justo na avaliação dos novos tipos de música que ouvir. (…) Os géneros musicais não são exclusivos e uma maneira fácil de ter uma vida mais divertida é aumentando o espectro das coisas que ouve.”
Source: How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond
“The chances of satisfying my renewed appetite for literary exchanges increased once I began to visit the library more frequently and make my way from the hotel to City Lights Bookstore at 261 Columbus Avenue. For all I was learning about the role its founder, Lawrence Ferlinghetti, had played in helping to nurture, promote, and sustain the talented souls who made the Beat Movement possible, City Lights became a kind of sacred space for me.”
Source: Greeting Flannery O'Connor at the Back Door of My Mind
“MANIFESTO OF THE HUNGRY GENERATION
Poetry is no more a civilizing maneuver, a replanting of the bamboozled gardens; it is a holocaust, a violent and somnambulistic jazzing of the hymning five, a sowing of the tempestual Hunger.
Poetry is an activity of the narcissistic spirit. Naturally, we have discarded the blankety-blank school of modern poetry, the darling of the press, where poetry does not resurrect itself in an orgasmic flow, but words come out bubbling in an artificial muddle. In the prosed- rhyme of those born-old half-literates, you must fail to find that scream of desperation of a thing wanting to be man, the man wanting to be spirit.
Poetry of the younger generation too has died in the dressing room, as most of the younger prosed -rhyme writers, afraid of the Satanism, the vomitous horror, the self-elected crucifixion of the artist that makes a man a poet, fled away to hide in the hairs.
Poetry from Achintya to Ananda and from Alokeranjan to Indraneel, has been cryptic, short-hand, cautiously glamorous, flattered by own sensitivity like a public school prodigy. Saturated with self-consciousness, poems have begun to appear from the tomb of logic or the bier of unsexed rhetoric.
Published by Haradhon Dhara from 269 Netaji Subhas Road, Howrah, West Beng”