This is the end

Uma prendinha para o Hosni, aqui.

Este artigo foi publicado em cinco dias and tagged . Bookmark the permalink.

5 Responses to This is the end

  1. Essa música é, por assim dizer, seminal>7i>

    Eu se fosse a si não me fiava muito no exército egípcio.
    Akilo são quase 500.000 homens, muito bem armados, (os USA financiam e abastecem) incompetentes até dizer chega, e corruptos até à medula.
    Desde que o Nasser nos idos de 1952 tirou um reizinho qualquer de lá, o exército (os oficiais superiores, claro…) tornou-se na ‘classe dominante’: toda akela é gente é dona disto, dakilo e dakeloutro.
    Tanto pode dar para um lado como p’ra outro.

    • Não, mesmo sabendo apenas o que toda a gente sabe sobre o Egipto e o regime, não tenho esperanças no exército.

      O sentido celebrativo do post é apenas um e não é nenhuma descoberta da pólvora: quando, num regime repressivo apoiado nas forças armadas, os militares vêm declarar à televisão que não reprimirão os protestos contra o presidente, é o fim dele, mesmo que consiga arranjar uns balões de oxigénio aqui ou ali.

      Claro que o que se seguirá, e o peso e controle que os militares irão tentar ou exigir ter, é outra conversa.
      Mas, quanto a isso, nem disponho de dados e conhecimento suficientes para me pôr a profetizar, nem tenho aqui à mão um bom “tinhlolo”, para fazer uma sessão de adivinhação.

      Limito-me a ir acompanhando. Interessado, e solidário com o povo que protesta e exige o fim deste consulado de 30 anos.

  2. Peter, the african diz:

    Your end?

    Is this your end?

    Why not the music, “For what is worth”. That will suit you better, Mr. Granjo.

    For someone, who defends the same views as Tony Blair, Gordon Brown, George Bush and all the other fascists who did their worst against Zimbabwe, why not another music: «Born to lose».

    • paulogranjo diz:

      Então você não está contra as manifestações?

      Afinal, elas são contra um patriota, apoiado numa oligarquia militar e que reprime todo o tipo de oposição há 30 anos, enchendo-se à conta do povo – como você gosta deles.
      O Mubarak não foi suficientemente sangrento, ao longo destes anos, para que você o apoie?
      Ou é porque você acha que os egípcios são suficientemente claros para saberem o que querem e se rebelarem, ao contrário daquilo que pensa dos mais escuros (ou “pretos”, como você diz) africanos do Zimbabwe?

      Para alguém que ataca aquilo que acerca do Zimbabwe dizem o PCAS, a COSATU, o ANC (pós-Mbeki), o Mandela, o Tutu, o Zuma e a maioria da população zimbabuéana, fica-me difícil sugerir uma canção para acompanhar este tipo de asinadas com que insiste a vir aqui chatear.
      Talvez “L’imbecile”. Ou, talvez mais acertadamente, o rap “Up yours”.

  3. E já agora paulogranjo abaixe ou não mas tire daqui esta minha bosta:

    The Doors – The Doors Are Open (1968)

    DVD-Rip -> DivX 5, 720×480 | MPEG Audio, 2ch, 48.0Khz, 256Kbps

    “In 1968, as the Vietnam war raged and the world responded with political turbulence, the Doors made a live appearance at the Roundhouse in London.
    Captured here are dramatic performances of songs that convey the band’s strong messages about the war, such as a powerfully effecting rendition of “Unknown Soldier.”
    While the music plays, the presentation cuts from the live onstage action to display rows of soldiers’ graves in a cemetery that looks like Arlington National.
    Back in the club, Jim Morrison writhes in his tight leather pants and white poet’s shirt, flinging his curls and dancing to extended versions of “When the Music’s Over,” “Five to One,” and “Spanish Caravan.”
    The cinematography, in black and white grainy stock, takes care to spotlight each of the band members, not the audience, making this live show seem especially intimate.
    In a section called “The Doors talk about their music” Morrison is drifty and unable to focus his eyes while sharing thoughts about songs he’d like to make, before the film cuts back into a spirited “Hello I Love You.”
    An intimate portrait of one of the Doors’ unique live shows in England, THE DOORS ARE OPEN also highlights the political relevance of Morrison’s opinionated lyrics.

    In the introduction to the film, a British commentator offers a mission statement: “This film is an attempt to illustrate [The Doors’] report on the state of the world.”
    Jim Morrison’s political comment in the film is, “I think, these days, especially in the States, you have to be a politician or an assassin… to be a superstar.”

    «The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLA film students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger. The group never added a bass player, and their sound was dominated by Manzarek’s electric organ work and Morrison’s deep, sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 and released its first album, The Doors, featuring the hit “Light My Fire,” in 1967.

    Like “Light My Fire,” the debut album was a massive hit, and endures as one of the most exciting, groundbreaking recordings of the psychedelic era. Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the band sounded like no other. With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkest and most thrilling aspects of the psychedelic experience. Their first effort was so stellar, in fact, that the Doors were hard-pressed to match it, and although their next few albums contained a wealth of first-rate material, the group also began running up against the limitations of their recklessly disturbing visions. By their third album, they had exhausted their initial reservoir of compositions, and some of the tracks they hurriedly devised to meet public demand were clearly inferior to, and imitative of, their best early work.

    On The Soft Parade, the group experimented with brass sections, with mixed results. Accused (without much merit) by much of the rock underground as pop sellouts, the group charged back hard with the final two albums they recorded with Morrison, on which they drew upon stone-cold blues for much of their inspiration, especially on 1971’s L.A. Woman.

    From the start, the Doors’ focus was the charismatic Morrison, who proved increasingly unstable over the group’s brief career.
    In 1969, Morrison was arrested for indecent exposure during a concert in Miami, an incident that nearly derailed the band. Nevertheless, the Doors managed to turn out a series of successful albums and singles through 1971, when, upon the completion of L.A. Woman, Morrison decamped for Paris.
    He died there, apparently of a drug overdose.
    The three surviving Doors tried to carry on without him, but ultimately disbanded. Yet the Doors’ music and Morrison’s legend continued to fascinate succeeding generations of rock fans: In the mid-’80s, Morrison was as big a star as he’d been in the mid-’60s, and Elektra has sold numerous quantities of the Doors’ original albums plus reissues and releases of live material over the years, while publishers have flooded bookstores with Doors and Morrison biographies.

    In 1991, director Oliver Stone made “The Doors”, a feature film about the group starring Val Kilmer as Morrison.»
    ~ William Ruhlmann & Richie Unterberger, All Music Guide

    Jim Morrison (vocals)
    Ray Manzarek (keyboards)
    Robby Krieger (guitar)
    John Densmore (drums)

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