A Rio Carnival Party That Goes On and On

 

 

  The Boi Tolo, one of the city’s most iconic street parties, has come to represent the glittery, gritty grass-roots celebration far from the glamour of the official parades. 

"

"The square started filling well before dawn. Some revelers arrived clad in neon fishnets and doused in glitter. Others, who had been at parties elsewhere, napped on a grassy patch. The musicians came last, lugging drums and trumpets.

It was Sunday morning during carnival in Rio de Janeiro, and the square in the city’s historic center was the setting for the start of a kind of roving marathon block party known as the Boi Tolo.

The Boi Tolo has no set time, script or route, a swell of thousands of euphoric revelers marching through the city at a frantic pace.

Those who miss the start spend the day trying to catch up, firing off messages in group chats: “Where is Boi Tolo?”"

READ REPORT BY ANA IONOVA
AND SEE THE GALLERY BY DADO GALDIERI
 

 

 

 

Toffoli e o pião

 

MARIO BAGG : 

Robert Duvall Seared Himself Into Our Memories Even When He Wasn’t the Star

 

 

 " The first time you watch the opening of Francis Ford Coppola’s “The Godfather,” you may not notice the pale man with the hawklike stillness seated quietly in the room. There are so many other things to look at in this seismic opener, including James Caan’s Sonny as he waits restlessly in the background and Marlon Brando’s Don Corleone, who’s seated behind a desk in pooling shadow and holding a cat as he listens to a man ask him to murder someone. The Don declines to do so though promises to handle matters, and then both men stand.

As soon as the petitioner leaves, the pale man suddenly and silently takes his place before the Godfather, materializing from the inky black like an apparition. For the rest of this scene, these two men remain close to each other, the darkness enveloping them like a shroud. Don Corleone is facing the camera while the pale man’s face remains largely obscured. You can’t quite make him out, and he doesn’t say a word as the Godfather speaks, adding to his strange mystery. Yet by the time the scene ends, so much has already been expressed, including the men’s intimacy and the unwavering intensity of the pale man’s supplication. This is a man, you understand, who doesn’t just serve power but also helps make it happen.

In a sense, the same was true of Robert Duvall, who died on Sunday at 95."

read article by MANOHLA DARGIS  

 

 

Simon Brehm och Hans Orkester - Lady Be Good (George & Ira Gershwin)

 

Oh, please have some pity
I'm all alone in this big city

I tell you I'm just a lonesome babe in the wood

So lady be good to me

 

 

Fraga no Carnaval

FRAGA

 

Jason Isbell -Bury Me

 Well, I ain't no cowboy, but I can ride

And I ain't no outlaw, but I've been inside

And there were men of stone, boys, and there were men of sand

Long nights alone, boys, head in my hands

‘They All Tried to Break Me’: Gisèle Pelicot Shares Her Story

 

 

"Pelicot explains why she decided to forgo anonymity and make the 2024 trial public. That choice made her a feminist icon, inspiring women all over France to rally around her and to demand change to France’s consent laws.

Still, Pelicot has remained in many ways an enigma. Outside of the trial, she never sat down to tell her story. But over a nearly three-hour interview last month in Paris — her first to be published with an American media outlet — Pelicot gave a candid and emotional account of the early years of her marriage; the toll that the abuse, and then the trial, took on her; the fallout for her family; and how, despite everything she has been through and the many questions that linger, she has found love and some peace in her life again."

INTERVIEW WITH GISELE PELICOT
CONDUCTED BY LULU GARCIA-NAVARRO 

 

 

 

 

 

PALAVRAS

As pessoas com vantagens se recusam a crer que são simplesmente pessoas com vantagens. Estão prontos a se definirem como inerentemente merecedoras do que possuem; chegam a acreditar que são "naturalmente" a elite; e, de fato, a imaginar que suas posses e seus privilégios são extensões naturais do seus próprios seres que formam a elite. 

C. Wright Mills 

Robert Duvall, a Chameleon of an Actor Onscreen and Onstage, Dies at 95

 

An Oscar winner, he was known for disappearing into wide-ranging roles in movies like “Apocalypse Now” and “The Godfather” and in the television series “Lonesome Dove.” 

 

 " Robert Duvall, who drew from a seemingly bottomless reservoir of acting craftsmanship to transform himself into a business-focused Mafia lawyer, a faded country singer, a cynical police detective, a bullying Marine pilot, a surfing-obsessed Vietnam commander, a mysterious Southern recluse and scores of other film, stage and television characters, died on Sunday. He was 95."

READ OBIT BY CLYDE HABERMAN

 

Reforma trabalhista na argentina

QUINHO

 

Fintech de André Valadão sai do ar e entra na mira da CPI do INSS

 

 

"O casal Samuel* e Sara* trabalha há anos numa das várias unidades da Igreja Batista da Lagoinha espalhadas por Minas Gerais. Nos primeiros meses de 2025, um evento na igreja reuniu pastores, funcionários e membros do setor financeiro. Foi quando conheceram o Clava Forte Bank, que lhes foi apresentada como “uma ferramenta espiritual com tecnologia de ponta, criada para destravar o propósito financeiro do Reino”. Convencidos pela proposta, resolveram abrir uma conta no banco da igreja."


leia reportagem de LEANDRO AGUIAR  

Fintech de André Valadão sai do ar e entra na mira da CPI do INSS

 

Trofeu Carnaval 2026

AROEIRA

 

 

 

GILMAR

 

 

 

 

GEUVAR

 

 

 

Maria (Ary Barroso e Luiz Peixoto) e Linda flor (Henrique Vogeler, Luiz Peixoto e Marques Porto) – Maria Bethânia e João Gilberto

 

Chorei toda noite, pensei
Nos beijo de amor que te dei
Ioiô, meu benzinho do meu coração
Me leva pra casa, me deixa mais não

 

Um fantasma de carnavais passados

AROEIRA

 

Dear Pam Bondi, (A Letter From A Father)

"I sat incredulous, watching you appear to lie with great ease, even perverse joy, seeming, to my ears, to contradict both irrefutable evidence and your own words in the past. It was a tour de force in distraction, a true masterclass in gaslighting.

And while a thousand thoughts ran through my head, when it was all over, I was left with a single question:

How does someone become Pam Bondi?

I’m not speaking about your education, your professional experience, or your career path, which are easily retrieved with a few keystrokes. I’m talking about the meandering road to losing one’s soul."

read stack by JOHN PAVLOVITZ

Dear Pam Bondi, (A Letter From A Father)

Kate Bush - Wuthering Heights

 

Out on the wily, windy moors
We'd roll and fall in green
You had a temper like my jealousy
Too hot, too greedy

How could you leave me
When I needed to possess you?
I hated you, I loved you, too

Bad dreams in the night
They told me I was going to lose the fight
Leave behind my Wuthering, Wuthering
Wuthering Heights

Heathcliff, it's me, I'm Cathy
I've come home, I'm so cold
Let me in your window

 

Sleaford Mods & Gwendoline Christie

 

Ya got awards for joyless faces 'cause ya fans like joyless shit
You got poses while the tour photographer polishes the turd, ya prick
On ya head like a parrot, you wear crap clothes like Jasper Carrott
Ya not a large, you're a tedium, waist down, waist size feedin' 'em

paquetá....

 

The president’s condition is deeply alarming

 

 

 

 

"And then there was Bondi’s treatment of the survivors, beginning with the brutal fact that many of their identities were fully exposed in the DOJ’s unredacted Epstein files. These women had endured cruelty that many of us could never imagine, and Bondi’s DOJ released their names while protecting the men who were accused of these horrendous crimes. The redactions shielded the powerful and exposed the powerless. That decision was a betrayal.

And Bondi refused to apologize to the victims for what she and her office did. When Rep. Pramila Jayapal asked if she would turn to the survivors in the room and apologize for including many of their names in the unredacted Epstein files, Bondi refused. When Rep. Hank Johnson pressed her again, she deflected and remained hostile, accusing Democrats of theatrics and acting as if congressional oversight was some kind of personal attack. Then came the moment that will forever haunt this country. Lawmakers turned and asked the survivors directly: ‘Has the DOJ reached out to you? Have they asked for your statements?’ And one by one, each survivor shook her head. Every single one of them said they had not been contacted. Then they were asked how many had been completely ignored by the Department of Justice. And with silence so heavy it almost swallowed the room, every survivor raised her hand.

That moment should be burned into our collective memory. These were women who had been trafficked, abused, silenced, and erased, many as children, and when they bravely showed up to be heard, the Attorney General of the United States wouldn’t even look at them. That was a display of cowardice. And it gets worse. Many of these women had never publicly disclosed their identities. They were anonymous survivors for a reason: they didn’t want their trauma to become their entire identity, they feared for their safety, and the weight of being publicly linked to Epstein is not something anyone should carry without consent. And yet Bondi’s DOJ published their names. They redacted the names of wealthy men and powerful officials, accused co-conspirators, financiers, and friends of Epstein, but they left the victims exposed. They protected the powerful and betrayed those already bearing the ultimate cost."

more in the stack by Heather Delaney Reese 

The president’s condition is deeply alarming

NOFX - Minnsota Nazis

 

If those Minnesota Nazis
Are so sure they're part of the master race
Why do they cover their white faces when they're shooting
Friendly white unarmed lesbians in the face
Oh there's Nazis in my neighborhood
Old white bitter people can be so rude
When they deport all of their Mexicans
They'll have to cook their own Mexican food

Puerto Rico has an odd relationship with the United States government

 

HEATHER COX RICHARDSON

Last night’s thirteen-minute Super Bowl half-time show featuring Bad Bunny had more watchers than any other halftime show in history: an estimated 135 million watched live, while millions more have streamed it since. Rapper, singer, and record producer Bad Bunny, whose given name is ​​Benito Antonio Martínez Ocasio, is from Puerto Rico, and rocketed to prominence with the release of his first hit single on January 25, 2016. On February 1, 2026, just a week before the halftime show, Bad Bunny made history by being the first artist to win Album of the Year at the Grammys for an album recorded in Spanish. 

 

Right-wing critics complained about the NFL’s invitation for Bad Bunny to do the halftime show, saying he was “not an American artist.” 

 

In fact, people born in Puerto Rico are American citizens. But Puerto Rico has an odd relationship with the United States government, a relationship born of the combination of late-nineteenth-century economics and U.S. racism. 

 

In the 1880s, large companies in various industries gobbled up their competitors to create giant “trusts” that monopolized their sector of the economy. The most powerful trust in the United States was the Sugar Trust, officially known as the American Sugar Refining Company, which by 1895 controlled about 95% of the U.S. sugar market. Thanks to pressure from the Sugar Trust, in 1890, Congress passed the McKinley Tariff, which ended sugar tariffs and tried to increase domestic production by offering a bounty on domestic sugar.

 

This privileged domestic producers, and in 1893, sugar growers in Hawaii staged a coup to overthrow the Hawaiian queen and asked Congress to admit the islands as an American state. President Benjamin Harrison, a friend and confidant of tariff namesake William McKinley, cheerfully backed annexation, but before the treaty could be approved, an 1894 law reinstated the duties on sugar and ended the bounties. Voters elected President Grover Cleveland later that year, and with Hawaiians furiously protesting against the machinations of an American business ring, Cleveland insisted on an investigation, and Hawaiian statehood stalled.

 

When the Spanish-American War broke out in 1898, the Senate still did not have enough votes to admit Hawaii, so Congress annexed it by a joint resolution and McKinley, now president, signed the measure. As the popular magazine Harper’s Weekly put it in a cartoon with a little boy dressed in the symbols of the American flag eating candy, America was swallowing “sugar plums.”

 

The acquisition of the territory of Hawaii had begun the question of annexing islands. Then the 1899 Treaty of Paris that ended the war transferred from the control of Spain to the control of the United States the islands of Cuba, the Philippines, and Puerto Rico, as well as a number of smaller islands including Guam, all of which either were sugar producers or had the potential to become sugar producers. 

 

Since the Northwest Ordinance of 1787, adopted under the Articles of Confederation that made up the basis of the nation’s law before the Constitution, the U.S. had rejected colonies and had instead established a system for incorporating new territories into the country on terms of equality to older states. But in the era of Jim Crow, annexing the newly acquired islands under the terms established a century before presented a political problem for lawmakers. Although sugar growers wanted the islands to be domestic land for purposes of tariffs, most Americans did not want to include the Black and Brown inhabitants of those lands in the United States on terms of equality to white people. 

 

Congress’s 1898 resolution of war against Spain in Cuba had contained the Teller Amendment, which required the U.S. government to support Cuban political independence once the war was over and Spanish troops gone, providing a quick answer to American political annexation of Cuba (although it left room for economic domination). But there was no such amendment for the rest of the islands the U.S. acquired in 1899. 

 

A fiercely pro-business Supreme Court provided a solution for Puerto Rico in what became known as the Insular Cases. In May 1901, in Downes v. Bidwell, the court concluded of the newly acquired island that although “in an international sense [Puerto Rico] was not a foreign country, since it was subject to the sovereignty of and was owned by the United States, it was foreign to the United States in a domestic sense, because the island had not been incorporated into the United States.” This new concept of “unincorporated territories” that were “foreign…in a domestic sense” allowed the U.S. government to legislate over the new lands without having to treat them like other parts of the Union, while also preventing the inclusion of their people in the U.S. body politic.

 

Two months after the court’s decision, on July 25, McKinley issued a proclamation removing tariff duties for products from Puerto Rico, and the sugar industry boomed. 

 

But what did this system mean for the people in Puerto Rico? In 1902, a pregnant twenty- year-old Puerto Rican woman named Isabel González arrived in New York City to join her fiancé, but the immigration commissioner turned her away on the grounds that she was an “alien” who would require public support. González sued. 

 

When her case reached the Supreme Court, it concluded in the 1904 Gonzalez v. Williams case that González was not an alien, and indeed that she should not have been denied entry to the United States. The justices went on to create a new category of personhood for the island’s inhabitants. They were not aliens, but they were not citizens either. Instead, they were “noncitizen nationals.” As such, they had some constitutional protections but not all. They could travel to the American mainland without being considered immigrants, but they had no voting rights in the U.S. 

 

U.S. citizenship for Puerto Ricans was established in the 1917 Puerto Rico Federal Relations Act, also known as the Jones-Shafroth Act. 

 

Today, Puerto Rico is a self-governing commonwealth of about 3.2 million people. Puerto Ricans do not pay federal taxes or vote in presidential elections, although a resident commissioner serves in Congress and can sit on committees and debate, but not vote on legislation. Puerto Ricans do pay U.S. Social Security taxes and receive certain federal benefits. 

 

Last night, Bad Bunny highlighted Puerto Rican history, beginning with the workers at the heart of colonial sugar production and moving through to those same cane workers hanging from electric poles in an evocation of the recent blackouts in the country’s inadequate electric grid, poorly addressed by the U.S. government after Hurricane Maria wiped out the system in 2017. He carried the flag of the island from before the U.S. takeover—an independence flag banned from 1948 to 1957— its light blue triangle picked up in various fabrics throughout the performance.

 

He ended by shouting “God Bless America” in English, echoing the United States mantra in an answer to right-wing critics. And then he rejected the idea animating the current U.S. administration’s deportation of Black and Brown people with the claim they are not Americans and their culture will undermine American culture. 

 

After saying “God Bless America, Bad Bunny listed in Spanish: “Chile, Argentina, Uruguay, Paraguay, Bolivia, Peru, Ecuador, Brazil, Colombia, Venezuela, Guyana, Panama, Costa Rica, Nicaragua, Honduras, El Salvador, Guatemala, Mexico, Cuba, Dominican Republic, Jamaica, Haiti, Antilles, United States—not Estados Unidos—Canada, and Puerto Rico.” 

 

“Together,” the football he carried said, “we are America.”

 

LETTERS FROM AN AMERICAN  

 

 

 

Hey, think of me as a racist

ZEZ VAZ

 

The Super Bowl Safe Space for Fragile Stupids

 

"Because I do know this… Bad Bunny doesn’t scare you because he’s successful—he scares you because he didn’t crawl, didn’t beg, didn’t audition for your approval, and didn’t flatten himself into something small, obedient, and flavorless enough for your brittle, toothless worldview to gum without choking. He’s out here selling out stadiums so large they look like military installations from space, bending global culture around his voice while you’re still arguing with strangers online about whether deodorant is a government plot.

Every record he breaks, every show he headlines, feels like a breach of contract because you were sold a lie—that your whiteness was a passport, a guarantee, a permanent starring role. He doesn’t look like you. He doesn’t talk like you. And you won’t see “yourself” on that stage, which offends you deeply, because it exposes the bullshit promise you keep being sold every single day.

And oh the goddamn irony of all of this. Oh, the soul-satisfying schadenfreude—of watching you finally choke on the very fragility you spent years mocking in everyone else.

All that time you laughed, sneered, and spat about “safe spaces,” ridiculed anyone who flinched at cruelty, treated empathy like a contagious rash you could shame people out of. And now here you are, whining for emotional daycare because a man singing on television rattled your delicate little sense of entitlement."

read more by JOJOFROM JERZ 

The Super Bowl Safe Space for Fragile Stupids

BAD BUNNY - NUEVAYoL

 

Tú tienes piquete, mami, yo también
Tú estás buena, yo estoy bueno también
Huelo rico y ando con los de cien
Si tú los quieres, lo tienes que mover

paqueta.....

 

Donald Trump is a Racist

 

 

"By now everyone knows that Piggy Trump posted a racist video to his stupid ass Truth Social. I know everyone knows because it punched straight through the background noise and landed in the one place that only ever lights up when something is seriously fucked — my girlfriends’ group chat. The sacred space normally reserved for Instagram reels, town gossip, drink plans, and the ongoing existential crisis of what the fuck am I making for dinner because for the love of all things holy I cannot make pasta again. When that chat suddenly turns political, something has gone so wrong it kicked the door in and made itself everyone’s problem.

Because when a group of women who are trying to decompress, drink wine, and watch people spin across ice in sequins are suddenly rage-typing about racism and Republican creeps instead, it means the bullshit didn’t stay where it was supposed to. It forced itself into the room, wiped barbecue sauce on the do-not-ever-touch decorative bathroom towels, drank the milk straight out of the carton, knocked shit over, sprawled out on the couch, and sat there long enough for the smell to register before your brain caught up."

read more from Are you f'ng kidding me?
 

Donald Trump is a Racist - by JoJoFromJerz

Narrar sem entender

  

(ilustração: Romero Cavalcanti)

"Eneida de Moraes foi uma escritora nascida no Pará e depois radicada no Rio de Janeiro, com longa atuação na imprensa carioca. No seu livro de crônicas Aruanda (1957) ela conta, entre outras histórias saborosas, a história da amizade de seu pai com um vizinho. O pai dela era um ex-comandante de navio, e toda noite, depois do jantar, recebia a visita desse amigo, Seu Lima, que morava ali perto.

O outro velho vinha para conversar, mas na verdade os dois ficavam sentados em duas cadeiras de balanço, no terraço, balançando-se, fumando e olhando a rua. Depois de meia hora de silêncio, o Comandante dava um suspiro fundo e dizia:

-- Pois é isso, Seu Lima.

E o outro respondia:

-- É verdade, Comandante.

Este é provavelmente o mais cinematográfico dos diálogos, e no entanto não aparece em nenhum manual-de-roteiro de Syd Field ou de Robert McKee. Não por culpa deles, é claro. Eu vejo esse diálogo, com sua tonelada de significados implícitos, como algo extraído de um filme de Andrei Tarkovsky ou do recentemente falecido Béla Tarr."

continue lendo no stack de Braulio Tavares 

035) Narrar sem entender - Braulio Tavares

Crystal Palace Park

 

 

 

IN MEMORIAM SLY DUNBAR Pass the kouchie pon the lef' hand side It a go bun, it a go dung, Jah know

Crystal Palace Park

 

Mama Told Me (Not To Come)

The radio is blastin', someone's knockin' at the door
I'm lookin' at my girlfriend, she's passed out on the floor
I seen so many things I ain't never seen before
Don't know what it is, I don't wanna see no more

IN MEMORIAM CHUCK NEGRON

Meu album de 2025 (35)

 

Meu album de 2025 (34)

 

The Epstein files are a who’s who of Trump’s inner circle

 

 

"With puffy eyes and a bruised right hand hidden under his left, Donald Trump sat hunched over on his leather chair behind the Resolute Desk in the Oval Office. Behind him stood Pam Bondi, Dr. Oz, RFK Jr., and a few others from his inner circle of elite enablers, all poised to give a false sense of power, control, and normalcy. Instead, it just showed how dazed and detached he was. At one point, he turned and locked eyes with Dr. Oz, with a gaze that looked like the lights had just gone out, as if something inside him had snapped and he was experiencing a cognitive or physical medical crisis. The woman next to Oz leaned in and smiled at him, not kindly but patronizingly, the way you smile at a child who was lost and didn’t know where they were, as they desperately scanned for a safe person to help them.

At that moment, something had shifted. Trump gave what looked like a subtle cue, maybe it was a motion or just the lost look in his eyes, but his team took it seriously and jumped into action. Trump mumbled something incoherent, followed by, “Thank you, please,” in a strange, flat tone. And suddenly, the press was being ushered out of the room at a speed we haven’t seen before. He didn’t take a single question, which is rare for him. Everyone moved fast, ushering out the press. As they grabbed their equipment in a scramble, Trump just sat there staring into space. His eyes sank back; he was mouth-breathing and nothing else. The others stood behind him, silent and stiff, awkward and unsure of what to do."

more in the stack by Heather Delaney Reese 

The Epstein files are a who’s who of Trump’s inner circle

Eleições 2026

 

 

AMORIM 

 

Why a T-shirt in a hit movie is trending with Brazilian progressives:

 

 

"For Pitombeira, the “gift”, which they only discovered by watching the film, could not have come at a better moment.

It costs about £12,600 to take the group’s 150 members to the two parades it stages during carnival, and Pitombeira has traditionally relied mainly on support from local government, which often arrives late, and to a lesser extent on souvenirs such as caps and T-shirts.

With record T-shirt sales, the group has already covered the cost of this year’s parades and expects soon to set aside the funds for next year’s as well."

read report by Tiago Rogero 

Why a T-shirt in a hit movie is trending with Brazilian progressives: ‘Almost every day they sell out’ | Brazil | The Guardian

San Salvador - La Fin de la Guerra

A l avant a l arreir òh pecaire
Aquò d aquí chambia pas gaire
Coma ieu l aviá remarcat
Lo Pialut ambe l embuscat
Dempuei matin juscanta au ser
Parlan de la fin de la guèrra

Meu album de 2025 (33)

 

War Wheel

 

ICE’s performance is intimidating and deadly, but also farcical

 Seeing large men dressed in goggles and trenchcoats echoes the camp fascism of musical comedies

 

Emma Brockes 

 

An aspect of ICE’s deadly performance in Minneapolis that goes hand-in-hand with its mission to intimidate is the absolutely farcical tone of the ICE aesthetic. Broadway numbers like Springtime for Hitler in The Producers and, more recently, Das Übermensch in Operation Mincemeat, a showstopper performed with a German techno beat and Nazi boyband – “Third Reich on the mic” – vocals, present fascism as an essentially camp enterprise and we’re reminded this week that ICE fits the mould entirely.

It’s always about the costumes, isn’t it? Here’s border patrol chief, Greg Bovino, swishing around Minnesota in his long, green trenchcoat – as Gavin Newsom, the governor of California put it, “as if he literally went on eBay and purchased SS garb” – while rank and file ICE agents were described by Keith Ellison, Minnesota’s attorney general, as prancing about in “full battle rattle”. The vests, the fatigues, the goggles; I swear most of these goons are only in it for the accessories and an opportunity to admire themselves and each other under cover of rugged co-combatant team spirit. Meanwhile, as Lydia Polgreen pointed out in the New York Times, their sheer incompetence adds a darkly slapstick layer to events via videos of, for example, large men dressed for war slipping on ice and going “ass over teakettle”.

If you laugh in their faces you run the risk of being shot, but there’s nothing to stop it going on behind their backs. If I were an editor in New York I would send someone to Broadway to report on how recent events are affecting audiences at Operation Mincemeat – specifically, how they react to a line that passed unremarked in the London West End production, but has been stopping the show in the US: “If people like us just blindly follow orders, the fascists won’t need to bash the door down. They’ll have already won.” Friends who saw the show two weeks ago reported that the performance ground to a halt at this line as the entire theatre rose to its feet, screaming and clapping. One can only imagine how long the interruption is now.

GUARDIAN 

Grace Jones - My Jamaican Guy

Take my life for a drive
Never need to change his tools
Him drive like a stubborn mule
Dat way him naw go plop plop
No way gas gwan bun out pan him

IN MEMORIAM SLY DUNBAR

Meu album de 2025 (32)

 

O expansionismo de Trump

FRAGA

 

 

 

 

 

NANDO MOTTA

 

CAU GOMEZ

 

 

 

Icarus - The Paul Winter Consort (Ralph Towner)

IN MEMORIAM RALPH TOWNER

Meu album de 2025 (31)

 

Meu album de 2025 (30)

 

The taking of Liam Ramos reveals the sheer sadism of ICE

 

 

"Liam was bundled up for school against the frigid Minnesota winter. Someone – was it his father, who was captured along with him, or his mother, who must now be wondering when she will see her child again – pulled him into his plaid jacket, and packed a lunch into the Spider-Man backpack that is nearly as big as he is. In a school picture released by his school district, Liam has the fat cheeks of a baby, and a smile that reveals a row of square milk teeth. It is unclear whether, at the detention camp in Texas he was quickly spirited away to, he has been allowed to stay with his father, or whether the boy is imprisoned alone."

read article by MOIRA DONEGAN 

The taking of Liam Ramos reveals the sheer sadism of ICE | Moira Donegan | The Guardian

‘I wish I had the power to ease his suffering’: Gaza’s cancer patients trapped by war and blockade

 

 

"Doctors say cancer-related deaths have tripled since Israel’s war on Gaza began, as Israel blocks patients from leaving and restricts the entry of chemotherapy drugs." 

‘I wish I had the power to ease his suffering’: Gaza’s cancer patients trapped by war and blockade | Gaza | The Guardian

In the Trump era, we need satire more than ever. Just don’t expect it to save democracy

 

 

"“Trump gave us so much fodder that you could only approach it at a superficial level, and a lot of viewers, I think, went: you’re just recounting the day,” millennial American standup star Gianmarco Soresi told me. Comedy at its best, he continued, “is trying to blow things up. Comedy should question power, and the second that comedy becomes power, it’s lost its efficacy, and that’s why it was so offensive when comedians kind of saddled up to Trump.”

However, Soresi was also quick to say that comedy cannot replace politics: there are limits to its powers. “Do I think we can create a space for relief? Yes. Do I think it can create a space for reflection? Yes. Do I think – as an American Jew – it can poke holes in Israel’s geopolitical agenda? Yes,” says Soresi. “Do I think it can build a political movement that takes down Netanyahu? No.”"

read analysis by alexander hurst 

In the Trump era, we need satire more than ever. Just don’t expect it to save democracy | Alexander Hurst | The Guardian

Bruce Springsteen - Streets Of Minneapolis

Oh, our Minneapolis, I hear your voice
Singing through the bloody mist
Here in our home, they killed and roamed
In the winter of '26
We'll take our stand for this land
And the stranger in our midst
We'll remember the names of those who died
On the streets of Minneapolis

Marianne Faithfull: sem melodrama -

 

 

 

 

 

 

"É possível que não tenha existido mulher mais linda na história do rock que a inglesa Marianne Faithfull (1946-2025) nos anos 1960.

É possível também que ninguém do rock – homem ou mulher – tenha mergulhado tão fundo no abismo quanto ela.

É possível que ninguém tenha se reconstruído como pessoa forte mais que ela.

E é possível que ninguém da cultura pop tenha uma autobiografia mais sincera e poderosa que Faithfull: An Autobiography, escrita com a ajuda do jornalista inglês David Dalton e publicada originalmente em novembro de 1994."

leia resenha de MARCELO OROZCO  

Marianne Faithfull: sem melodrama - by Marcelo Orozco