Reseñar discos que te gustan mola mucho. Reseñar discos que no te gustan mola mucho (más). Pero reseñar discos que te la refanfinflan, que ni fu ni fa… Pues también está bien, qué queréis que os digamos; criticar es fácil y divertido, son todo ventajas. Y si, además, lo hacemos en un videíto en compañía de un buen colega y profesional, pues no se nos ocurre una manera mejor de pasar un sábado noche. Bueno, a ver, que no somos tan pringados; a veces también grabamos los viernes por la noche.
La cuestión es que, Mané López e Icaro Lavia, normalmente, para las putas mierdas del C. Tangana no tenemos tiempo, parafraseando al propio anteriormente conocido como Pucho en su celebérrimo (y con derecho) “Antes de morirme”. Pero mira, las vueltas que da la vida, la hipocresía humana, hemos tenido que sacar unos minutejos para hablar del Avida Dollars este que se ha sacado hace poco de la manga y que nos da bastante igual. Es una “mixtape”, que en inglés significa “disco de mierdas que tenía por ahí y con las que voy a sacarme unos billetes sin tener que responder por su mediocridad”, porque Tangana ya es tan guay y tan importante y rico y guapo que hace mixtapes como los niños grandes negros de Estados Unidos. “España calla cuando hablo yo”, dice en “Still Rapping”. Menos mal que nosotros dos no callamos ni así nos maten, porque si no, esta videocrítica iba a ser un rollo de ver.
Y eso, que si queréis enteraros de cuánto nos la sudan C. Tangana y sus albumillos de pacotilla, dadle al play, que es más rápido que chuparse todo el Avida Dollars vosotros solitos.
La semana que acabamos de dejar atrás
no fue una caracterizada por su ajetreo sensacionalista, en lo que a artes
musicales se refiere. Y no hay nada malo en ello, pensamos Mané López e Icaro Lavia, por supuesto que
no. Simplemente, hay semanas en las que pasan más cosas que en otras, fin de la
cita, no hay más na, como dirían los amantes del reguetón (que, por
cierto, se cuentan por miles entre los lectores de Muzikalia, pero no lo
digáis, que es secreto).
No ha habido mucho que repasar en este segundo episodio
de nuestro humilde vlog, no… Bueno, sin contar lo de Goldfrapp marcándose
un dueto salvaje con Dave Gahan, claro. Y exceptuando también lo de los Arctic
Monkeys alzándose con el número uno en las listas
españolas con un disco tan polarizador como el Tranquility Base
Hotel & Casino, que es para mear
y no echar gota, la verdad. Con el AM no,
españoles, pero con esta cosa rara del hotel y el casino, sí, ¿verdad? No hay
quien entienda nada… Habría que quitar igualmente de la lista de cosas que no
han pasado en el panorama musical de la semana pasada lo de Public
Image Ltd celebrando su cuadragésimo aniversario con un
box set carísimo del copón y conmemorando en consecuencia la muerte oficial del
punk. Y casi se me olvida lo de los Rival Sons incorporándose
a última hora al Azkena Rock Festival y lo de The
xx en Bilbao… Oye, pues igual si que han pasado cosas esta
semana, al final, ¿no? Miraos el vídeo y así os enteráis mejor, que nosotros no
sabemos de los que escribimos, pero hacemos ver muy bien que sabemos de lo que
hablamos.
"Vivimos en una
sociedad muy cómoda, y eso nos ha convertido en seres que lo quieren todo y
ahora (no os estoy invocando, Arcade Fire; aún no se os perdona lo de vuestro
último disco), a poder ser para ayer y sin tener que esforzarnos mucho. Esto se
traduce en una generación de seres pasivos sometidos a los estímulos que llegan
desde maquinitas varias por doquier, sin proponérsenos la más mínima
oportunidad de autocrítica. “Todo está bien, no te desesperes”, que diría
Father John Misty.
No vamos a cambiar el
mundo en plan el humus o la Revolución Rusa (ya nos gustaría ser la mitad de
importantes que el humus en las vidas de la gente), pero sí que intentaremos
ofrecer una forma de pasar un rato del día un poco más amenamente. Porque,
seamos sinceros: nos da todo el palo sentarnos y tener que dedicar el 100% de
nuestra atención de mosquito deficiente en leer una noticia. Por eso preferimos
escuchar un programa de radio o los podcasts cutres de todos nuestros amigos
que se creen Orson Welles.
Por todo eso y mucho
más, a partir de hoy, Muzikalia amplía su rango de actuación: las noticias que
más nos han dado que hablar a lo largo de la semana se encontrarán recopiladas
en un vídeo de YouTube para el disfrute o disguste de todos.
Mané López e Icaro
Lavia se alían para sacarle punta a la actualidad
y criticar juntos la obra y gracia de los grupos tan admirados por las personas
que no se creen que saben tanto de música como nosotros. De entrada, no
prometemos mucho para decepcionar poco, pero podemos garantizar que somos
agradables a la vista y tenemos un encanto de esnobs de estar por casa que no
se puede aguantar. Así que nada; simplemente siéntate y disfruta mientras
comienza el despiece."
Twitter es testigo de que yo no obligué aMané López a escuchar lo nuevo de XXXTentacion, él lo hizo espontáneamente y de motu proprio y sin que nadie le coaccionase porque él es así de valiente, le gusta arriesgar. Y quien arriesga no siempre gana, por desgracia, pero aun así la vida sigue y hay discos de Kali DIOSUchis (este apodo no me lo he inventado yo aunque me parezca extremadamente apropiado).
Tanto para Mané López como para mí ha sido una experiencia demoledora, pero en sentidos completamente opuestos, que es la gracia de este formato de críticas cruzadas que nos hemos inventado, copyright infringement not found, thank you. Entre los Kero Kero Bonito estos del coño, que son más raros que un niño japonés verde haciendo un listening en una clase de British English, y el Niño de Elche y su magnum opus antológica... Madre mía, chavalada, nos hemos quedado muertas.
Pasen, vean, Y ATENCIÓN que se avecina algo incluso más guay que una crítica cruzada, DE MOMENTO NO PUEDO AVANZAR NADA MÁS, LO SIENTO.
Pues esta vez ni Mané López ni yo salimos tan disgustados de nuestras respectivas escuchas cruzadas, sorprendentemente. Supongo que eso es malo teniendo en cuenta que el objetivo era amargarnos la vida mútuamente y crear mal rollo y agresividad, que es lo que les pone a los telespectadores de hoy en día, pero güeno...
Burna Boy está diver, y MGMT, para quien le gusten los discos malillos, también merece la pena, así que os dejamos por aquí nuestro ejercicio de orientación en tiempos en los que la crítica musical es más necesaria que nunca.
HEMOS VUELTO Y TODO HA CAMBIADO, yo he sufrido un poco con el porno sónico para plantas de Rhye, pero el pobre Mané López sí que lo ha pasado fatal intentando tragarse a los Migos y a su interminable y atontao Culture II. Todo mucho más risas de lo habitual, y va bien para darse cuenta de toda la música que se pierde uno mientras está ocupando escuchando solo las cositas que le gustan. Sade gay contra el marco predecimonónico del trap, que comience el combate.
DEJEN PASO A LO MEJOR DE LA TIERRA, "la tierra" siendo Voldemort, digo, España, claro. Con Mané López de vuelta en casa por Navidad, la vergüenza que me ha dado no conocer a la mitad (o más) de las bandas de este ranking es inversamente proporcional a lo apasionante que fue el alegato de Mané contra Rosalía y su flamenquitorebajaíto con aigüeta del río Llobregat.
Pero, hey, que Niño de Elche sigue encabezando la lista (también de El Quinto Beatle, como la de internacionales), Joe Crepúsculo, Presumido, Bunbury, Los Planetas, hasta Los Punsetes aparecen por ahí, y el flamenco fusión vuelve a no ser un chiste de cocktail bar gracias a Quentin Gas & Los Zíngaros. Luego también está Mané disfrazado de Sabina, que es el último gran espectáculo natural del 2017. Pasad porsu canal de YouTube y brindad a la luz de la luna por el año en que nos conocimos y que ya se acaba.
Es curioso que nuestra primera conexión NACIONAL (MANÉ HA VUELTO A CASA POR NAVIDAD) haya tenido lugar para hablar de la lista de los mejores discos INTERNACIONALES de El Quinto Beatle, pero oye, así es la vida, toda random, ella.
Mané López es experto nivel EXPERTO en casi la totalidad de los 50 discos que conforman la lista que nos encargamos de racionalizar aquí, no sin ciertas dificultades mayoritáriamente por mi parte. Yo parezco tonta al lado suyo, pero igual eso como reclamo también está guay, igual a la gente le da morbo ver mi dominio del panorama musical alternativo entrando en coma al lado del de Mané.
CON UN POCO DE RETRASO PORQUE #puente #spain, TODAVÍA NO TENEMOS EL BOTÓN PERO YA LO APRETAMOS QUE DA GUSTO, E INAUGURAMOS SECCIÓN ANÁLISIS FRIKI DE LA SEMANA, PROBLEMAS TÉCNICOS COMO SIEMPRE Y A TOPE DE POWER CON LA COPE.
Mané López estrena camisa vintage y melena aleonada, 100% producto danés, y por si eso no fuera suficiente, también traemos muertos, requetemuertos, violadoras, Puff Daddy sigue siendo rico, Garth Brooks sigue siendo rico e irrelevante, Kendrick Lamar quiere ser tan rico como Puff Daddy y Garth Brooks, YouTube no quiere que seamos ricos, el leñador ese que le gusta a Mané, Huncho Jack, Jack Huncho, velaske, nosotros somos guapos y algunas cosas más pero tampoco tantas.
PRONTO TENDREMOS UN BOTÓN QUE HARÁ EXPLOTAR LOS VÍDEOS AL FINAL Y LOS ORDENADORES DE TODOS NUESTROS SEGUIDORES Y SEGUIDORAS DESPEDIRÁN UN EMBRIAGADOR Y FANTASMAGÓRICO HUMO ROSA, EN SERIO, YA LO ESTAMOS PREPARANDO TODO.
Pues vamos Mané López y yo inaugurando una SECCIÓN MUERTOSla semana pasada y, ¡BOOM!, van y se mueren Malcolm Young y Charles Manson. El segundo no es que nos dé pena, pero como muerto, no sé, ahí está, el chaval.
También están el gato de Noel Gallagher y Morrissey siendo gilipollas como cada día desde que se levanta hasta que se acuesta, afianzando sus puestos en la SECCIÓN BOCACHANCLADAS aka MORRISSEYADAS aka GALLAGHERADAS.
Y a parte de eso, lo típico: A$AP Rocky se cree guay, Wayne Coyne diseña un puto papel de regalo de mierda benéfico, Lorde es número uno de la lista de mejores del año de la NME aka la peor lista del planeta, Wiz Khalifa les da papel de liar a los de Pigeons & Planes, ¡¡¡y MANÉ NOS DELEITA CON UN MINI AVANCE DE SU CRÍTICA DEL UTOPIA DE BJÖRK!!! ¡En su canal de YouTube próximamente, NO SUS LO PERDÁIS!
HOY ES UN DÍA TRISTE E IMPORTANTE PARA EL PERIODISMO MUSICAL IBÉRICO: INAUGURAMOS SECCIÓN MUERTOS, pero con todo el respeto del mundo, que nos hace mucha risa el humor negro y el emo trap pero tampoco como para que nos detenga la policía virtual.
Mané López sigue superándose episodio tras episodio, y yo procuro seguirle el ritmo como puedo. La camisa que lleva puesta en el vídeo de esta semana estará pronto en todos los escaparates de las grandes casas de moda internacionales. Ya nos ha contactado Vetements, por ejemplo, quienes están interesados en patrocinar su canal de YouTube. En serio, yo si fuera vosotros estaría súper intrigada, pero en fin, cada loco con su tema.
ATENCIÓN, CLASE, QUE ESTAMOS DE PREINAUGURACIÓN: estrenamos piloto de secciones LIADA/GALLAGHERADA y NOTÍCIA RANDOM, todavía no tenemos cabecera ni ná pero QUIETOS PARAOS QUE ALLÁ VAMOS. Damos el pistoletazo de salida con Lindsay Lohan invocando a Kendrick Lamar, el padre de Hannah Montana haciendo paridas al estilo cowboy, Kanye resucitando y Drake buscando la piedra filosofal.
Ha sido una semana particularmente graciosa de revisar junto al guapo de Mané López, que hasta se ha puesto una camisilla para parecer más doctor honoris causa sexy de lo normal. Deberíais suscribiros a sucanal de YouTube en la mayor brevedad posible porque mientras más suscriptores tenga, más "cosas" pasarán... Subscribe, like, retweet, comment, todo será bienvenido. ¡Nos vemos en siete días!
Pues nada, personas, que aquí estamos otra semana con más y mejor porque es posible, repasando la actualidad de la mano de Mané López, una bellísima persona además de excelso musicólogo del arreglao pero informal. Tiene uncanal de YouTube que ya se lo desean muchos, y si no os suscribís no tenéis infancia y además resucita un oso panda y Dumbledore por cada like que depositéis en cualquiera de sus vídeos.
En este nuevo episodio hablamos de cosas muy rosas y amarillistas y hasta desagradables, tipo Maria Teresa Campos: viciosos, ciegos, acosadores, clítoris, alienígenas, carreras ilegales, dentaduras, gente vieja, U2... Dadle al puto play y ya está, ostias.
La vida son los discos que se publican mientras todo el mundo está ultrahipermega ocupado quemando DNIs, cambiando a Jesucristo por La Patria y haciéndose capas de Superman con banderas de mierda fabricadas en Bangladesh. Mané López y yo somos más de beats and rhymes que de faith and country, y de ahí que ésta semana en su superpodcast nos hayamos dedicado a repasar los asuntos verdaderamente importantes de la actualidad como por ejemplo Liam Gallagher no siendo otra putita de Paul Weller.
A Mané se la sopla Black Sabbath y a mí me da sueño Weezer, pero como somos gente valiente, damos la cara por fin por si alguien tiene algo en contra de alguna de las dos cosas anteriores y nos quiere acosar en caso de vernos por la calle.
Lee aquí la entrevista en español con Noga Erez para El Quinto Beatle. One would never
expect a young, thoughtful and politically-aware woman from Israel who brings forefront, earthy mystical electronic
music to the international table to consider herself privileged, but Noga Erez
does, partly because she’s extremely humble and down-to-Earth, and partly because
very few conventionalisms apply to her.
During her second
year at Primavera Sound she made all heads turn, and for a very good reason
that has nothing to do with her presumed privilege. “Off The Radar” is the name of her debut album, and it probably wasn’t
titled like that just because it sounded pleasant to her ears (although that definitely
must have played a big part in the decision-making), but also as a subtle way
of telling those out there who aren’t amongst her hardcorest fans (yet) something
very crucial both about her latest project and about Noga herself; that her art,
while having been fuelled by every artist and every scenery she’s encountered,
is a spontaneous act of creativity and authenticity that comes solely from
within her, and can’t be traced to no specific geographic or chronological
point.
First of all: how exactly should I pronounce your
name?
It’s “Nouga”
“Erezzz”, just like that!
Oh, cool, I thought it’d be more difficult than
that! Anyway, Noga
Erez: your new album, “Off The Radar”, was released a month ago now, congratulations!
It’s truly an amazing piece of work! What are your expectations (if you have
any) for the album so far, in terms of public and critical reception? Do you
have any specific goals, as to what you’d like to achieve with it?
I don’t think I have any specific goals… Probably
reaching as many people as possible. I don’t have numbers or places in my mind,
but obviously, when you release something that you’ve worked on for so long,
you really want it to get as much attention as it can get.
And
what about maybe reaching a specific artist you’d like to collaborate with, or a
label?
I’m already signed to a label [the Berlin-based City Slang], which I’m quite happy with! [Laughs] So I’d say that I wish to be able
to expand beyond the audience that I currently have.
Also, when it comes to collaborating with other
artists… The problem is that the more I like an
artist, the more I listen to an artist, the less I’m going to want to
collaborate with them, because I like to keep my heroes as heroes.
On the other hand, it’s true that I’d like my next album to be more
collaborative, since this new one was a very intimate kind of process that I
had to do with my partner [Ori Rousso], just the two of us, and it felt very nice and secure.
But now I’m ready to get out of that comfort zone and start communicating more
with other musicians. So I’d like “Off The Radar” to help creating the ability
for me to approach many different musicians to make music with.
You
mentioned your creative partner, who’s more on the production side, or you both
do the writing and the production together?
Yeah, we do everything together! It’s just that… Let’s
say he’s not the crowd-loving kind of person. He’s still on stage with me and
all, but he’s definitely given up on the show business side of the profession.
And luckily for him, this creates a situation where he’s more able to do his
work and keep things going while I go around and talk with the press and
everything. It really makes a very good division of tasks between us, but
basically, creative-wise, we’re as equal as it can get.
That’s
very interesting and useful to know… Let’s talk about your style now, because
you’ve been called “the Israeli answer to Björk” and all that, and been
compared with the likes of MIA, FKA twigs, St. Vincent… How comfortable do you
feel with that depiction of yourself? To which extent do you feel it’s
accurate?
I think that I am, in a way, a combination of all
the artists that I have been influenced by, it’s just a natural thing that
happens to everyone. All the names that you brought up are influences on me,
some of them to major extents than others, and I see them in parts of myself, although
at first, when people started to mention such musicians as compared to me, I
felt it was exaggerated…
Very
humble of you to say that.
Yeah, well, I mean that I get the idea, because when
you have to put music into words, you’re obliged to do that, you have to give
definitions, genres… “She’s an electronic pop artist”,
they say about me, and with statements like that, I can say that I agree with
them and I can say that I don’t! And it’s necessary to compare one artist with
others so the listener can get a picture of what he or she is going to listen
to, it really serves a purpose. Eventually, it’s in my best interest
for people to understand what I do, so yeah, I’d say I’m comfortable with it.
Apart
from these amazing musicians we just mentioned, what would you say are your main
references, specially while recording this album? Any unlikely ones, or any
artist that inspires you or you’re a huge fan of but you’re sure nobody would
ever associate you with?
I would say there’s one big example of someone I
admire that people would go like “Hum, okay, that’s interesting”, and that is
PJ Harvey. We obviously do very different styles of music but, in a way, I think
we’re very close, because we’re both artist who approach subjects in our music
that have to do with social and political issues, and we come to it from a very
personal point of view of taking this whole general treatment that is usually
being given and documented through the media, and upgrading it to a far more human
and emotional level.
She’s my hero and she’s a huge inspiration to me,
and I went through periods when my music sounded like hers, but recently I’ve
been growing further and further away from that.
And
talking specifically about the fact that PJ Harvey and all these amazing artists
you’ve been compared to are mostly female; how necessary do you think that
calling attention on women in the electronic genre is? In which way do you
think that giving the spotlight to female musicians is important? Just because
they’re not given enough recognition or because there really is something
unique about the way women write and play music?
We’re in a very crucial point in history when it
comes to the place of women in the world, and it’s been an on-going struggle
that we, this generation, have not started, at all! There have been many brave women
before us who ignited this fight we’re trying to be a part of now, and just
very recently we have come to the point when it is, in many ways, more possible
than ever to accomplish this sadly futuristic goal of creating equality between
men and women. As a woman who operates in the area
of music and art, I do believe that it is important to talk about it and to
find our place, because I don’t think male artists go through the same issues
that female artists have to go through.
That
is such a brave point to make, and maybe it could apply as well not only to
your condition as a female artist, but also to that of you being an Israeli artist,
especially now that there seems to be a sudden and very exciting cultural
awakening in Israel for the last years. For those of us out here who might be
sadly and shamefully unaware of what’s going on in Tel-Aviv and its scene and
artistic bubble, how would you describe it?
It’s like a boiling pot, it’s very crazy! [Laughs]
It’s so diverse and hectic, because there are so many artists… But at the same
time, it’s very small; when you look at Tel-Aviv, geographically, it’s a very
small territory and, in spite of it, it has so much to offer! Another thing is that Israel
is such a new and young country, it has only existed for 69 years! It has
people from all over the world who came and built their lives from scratch, so
one has such diversity of cultures blended into this mix of things. That
creates very particular and interesting art and culture, and one can really
sense the feel of what’s coming from Tel-Aviv.
Continuing
with the topic of the special circumstances of your home country, and going
back to the underlying political and social awareness of you work: how do you cope
with the ambivalence of you being ethically compromised with the way you make
art and write lyrics while, at the same time, not wanting to be portrayed as a
full-time protest singer?
[Laughs] From an outside point of view, it may seem
like an ambivalence, but for me it’s the realest thing because I am not an
activist, I’m not a protest artist, and I create music from a more selfish
place and because it has always been my way of tackling issues that bother me,
of processing the world. The fact that you can relate what I talk about to
where I come from and the stuff going on around me doesn’t make me a political
artist! That’s something I’m 100% convinced of and that I perceive as very
authentic; it doesn’t create any ambivalence, being very politically aware and
an artist who discusses these matters from an individual point of view, both
things at a time.
I’m
sorry if it came across as if I was bringing that up as a negative trait, because
it isn’t, in any way; it’s just that it can be interpreted like that.
No no, not at all! I even
consider ambivalence to be a positive trait in art, generally. It’s always a
complexity, and if I was so easy to understand, if I was just one straight
message, I would feel that it’s not enough or it doesn’t have enough depth or
layers. Me representing things that almost seem opposite to one another is actually
a good thing.
I
understand that you have a very special way of writing your lyrics in English,
taking into account more the sound and the aesthetics of the words rather than
the grammatical content, which concludes in a very idiosyncratic style of
lyric-writing.
That is something you can do when you don’t create in
the same language that you talk or think in, because I like to believe that I
have a good English, particularly taking into account that it’s not my mother
tongue, but I’m not a native English-speaker. So when I have ideas in my mind,
they are in Hebrew, and that is why I can look at words in English from a sonic
perspective. When you think about writing songs, at
the beginning it’s more like drawing than writing, in the sense that you don’t
understand the meaning of what you’re putting down, you’re just imitating the
vision of the words. It’s the same,
in a more abstract way, to when you talk or pronounce something musically; you
focus on the sound of it and how it sits rhythmically.
But on the other hand, I always try to put a meaning
underneath that. It’s definitely not just crafting words as sounds.
That
must be difficult to make happen, crashing meaningfulness with the aesthetics
and sounds of the words, or making catchy hooks.
Yeah, the lyrics-part of the work is certainly a big
challenge, although it comes a bit more naturally to me than the music.
Did
you ever consider writing lyrics to this album in Hebrew?
I started writing songs in Hebrew at the beginning,
yes, but Hebrew gives a completely different set of rules, because words have a
minimum of two syllables, whereas in English you have just one most of the
time, which makes it so easy to put on rhythm! That is one reason. The other is
that Hebrew is the language that I think in, and
English isn’t, so it allowed me to be way freer during the writing process. I
consider it a great privilege, not having English as my first language, and
being able to say whatever I want to say while, at the same time, preventing it
from totally invading my thoughts or exposing my internal world.
So
the aim of you writing songs in English was never consciously reaching more
people than you could ever possibly reach by singing in Hebrew?
That’s always there as well, to some extent, always.
But I still think the primal motivation is more artistic than practical. The main
intention is always writing a song that you can feel fully comfortable with,
and then, fortunately, the byproduct of that is that more people will be able
to understand it.
And
to follow with such a well-thought answer, here comes corny question time, so
tell me: do you have any favourite songs on “Off The Radar” so far?
It changes every day! On the day of its release, I
listened to the whole thing, which is something that didn’t happen for the last
three months or so…
You
don’t usually listen to your own music then?
I play other people’s music all the time, I don’t
just sit at home listening to my own music! [Laughs] There’s so much stuff out
there that I need to listen to, and I rarely get in the situation of actually
sitting down and listening to my entire album. But I did that that day, and I
felt that the song that I loved the most was “Global
Fear”, which is the song that breaks the album right in the middle. It’s very
different to the rest of the tracks, in a way, but it took something out of me
that is very genuine and authentic, that really spoke from my guts.
That
was so cool and moving, I’m sad to have to finish this now… Well, last but not
least, and as Nardwuar the Human Serviette (great contemporary Canadian music
journalist) always asks at the end of his interviews: why should people care
about Noga Erez?
Wow…
You
can take your time!
[After a very long silence]
What do you mean when you say “care about”?
It’s
left for open interpretation, usually, but I guess you can simply take it as “why
should people pay you attention” or consider it in a deeper, higher level, like
“why should listeners take you into their lives as something that gives them
some kind of fuel or food for thought”.
I think people should care
about the idea of being able to live in this world we live in today, which isn’t
easy; it has so many new complexities to it, so many things we’re still
struggling to adjust to... It also has privileges that were inexistent not so
long ago, at the same time. And what I’m trying to do as an artist is to find a way to
combine the fact that we are very privileged with the fact that we’re also very
unlucky, and putting those two things into one context, because both of them
are realities. They are two sides of the same thing, which is the place we
currently inhabit in the world. We
are people, in the Western world, with all the means and opportunities close at
hand, who live quiet and comfortable lives, but who also have to deal with brand
new complexities that no other generation has ever had to confront before.
I think that, through my work,
I try to show how we can work that out together, and how both dimensions are a
part of the same thing and how it’s our responsibility, as individuals, to
build the bridge between them. We must accept that we are lucky to be alive
during the times we live in, even though there’s still so much to do to make
the world a fair place to inhabit.
Damn gurl, brilliant answer, probably up there with
one of the best I’ve ever been given, thank you so much for that!
Really? Thank you, it was a
bit hard to formulate, though! [Laughs]
Conclusiones extraídas de la pasada velada el 31 de mayo en la cena inaugural del Primavera Pro 2017:
1. Como estrategia de marketing está bien, aunque podrían haber traído a Frank Ocean.
2. Lo de la fideuá igual sobraba.
3. El inglés del ilustrísimo Conseller de Cultura de la Generalitat de Catalunya da un poco de miedo, como todo él en general.
4. Había mucha gente demasiado mayor para ir del escenario Mango al Heineken sin que les diera la ciática. Sospechoso.
5. Demasiadas escaleras sólo para subir al servicio. Sospechoso parte 2.
6. A Chris Kaskie, presidente de Pitchfork Media, se le otorgaba un premio por dejar de ser presidente de Pitchfork Media dentro de dos meses. #legend #goals
7. Le dieron un trofeo en forma de flor de loto mutilada, inspirado en la flor de loto de Yoko Ono en Chicago. Chris Kaskie, presidente de Pitchfork Media durante los dos próximos meses, quiso besarlo, pero le daba miedo que se le apareciera el espíritu de Yoko Ono y se lo comiera.
8. Chris Kaskie, presidente de Pitchfork Media durante los dos próximos meses, quiere ser becario en el Primavera Sound. Que mande su CV y a ver qué le dicen.
BONUS TRACKS:
9. Podrían haber dado más comida.
10. Dios no son los Beatles sino Drake, que está en todas partes, hasta en los sitios donde está Chris Kaskie, presidente de Pitchfork Media durante los dos próximos meses.
11. A la gente del mundo de la música le encantan las patatas fritas de bolsa metidas en mini-paperinas.
12. Hacer networking debería estar mejor remunerado. Conclusions drawn from the evening of 31st May at Primavera Pro 2017 Welcome Dinner: 1. As a marketing strategy it was okay, although they could have brought Frank Ocean.
2. Maybe that fideuá wasn't necessary at all.
3. The English of the most-high Culture Minister of the Generalitat de Catalunya was a bit scary, just as everything about him, in general.
4. There were too many people too old to walk from Mango stage to Heineken stage without starting to suffer from sciatic pain. Suspecious.
5. Too many stairs just to get to the toilet. Suspecious part 2.
6. Chris Kaskie, president of Pitchfork Media, was awarded an award for leaving Pitchfork Media in two months. #legend #goals
7. He was given a mutilated lotus flower-shaped trophy, inspired by Yoko Ono's lotus flower sculpture in Chicago. Chris Kaskie, president of Pitchfork Media for the two upcoming months, wanted to kiss it but was afraid that Yoko Ono's spirit might appear and eat him up.
8. Chris Kaskie, president of Pitchfork Media for the two upcoming months, would like an internship at Primavera Sound. Let him submit his CV and see what happens.
BONUS TRACKS:
9. More food could have been offered.
10. God isn't the Beatles but Drake, who's everywhere, even at places where Chris Kaskie, president of Pitchfork Media for the two upcoming months, is.
11. People in the music industry love regular crisps put inside cone-shaped paper bags.
12. Networking should be better paid.
All pictures taken on 31st May 2017 at CCCB, Barcelona, Spain. Special thanks to El Quinto Beatle, Kerry and Roberto.
Primavera Sound 2017 main programme kicks off 1st of June and will run until the 3rd.
