É genuinamente alemão. As bandas do gênero não incorporavam elementos da cultura Americana em sua música, era algo totalmente inovador e altamente experimental. Psicodelia, dissonâncias, ruídos, colagens sonoras, improvisos e ritmo, tudo isso priorizando o timbre, que tinha mais importância do que melodia.
Algumas bandas que marcaram época na Alemanha pós-guerra com o até então novo Krautrock…

CAN – talvez a mais importante banda da onda krautrock, juntamente com o vocalista japonês Damo Suzuki, marcou época e é citada até hoje como uma lenda do rock.

Faust – uma das bandas pioneiras no esquema de colagens sonoras, chegando a lançar um disco inteiro nesse formato, o “The Faust Tapes”.

Kraftwerk – um das bandas pré-krautrock, que graças ao uso de sintetizadores e de novas tecnologias, ajudaram na criação da dance music eletrônica. As letras das músicas descreviam a vida urbana e a tecnologia europeia pós-guerra. Geralmente mínimas, ainda assim revelam celebração e alertas sobre o mundo moderno.

Neu! – banda pioneira na técnica de remixes. seu primeiro disco é referência de bandas como Joy Division e PIL.

Ash Ra Tempel – uma das bandas pioneiras no chamado “space rock”. chamavam a atenção também pela parafernália que carregavam, afim de estruturar o som, altamente viajante.

Tangerine Dream – banda que apostava em “sinfonias eletrônicas espaciais”, com teclados requintados, sintetizadores e efeitos sonoros, aliados a momentos pops que em nada deixavam a desejar.

pra se aprofundar mais no tema, ouça esse podcast, totalmente voltado pro gênero: Shuffle 09 – Krautrock

———

Die Form – Little Boy

Please tell me this doesn’t scare the freaking shit out of you. David Lynch just got thrown into a psychotic BDSM universe where people laugh like maniacs and devour your body parts while playing yoga synthesizers. Fuck.

Will you be ready little boy?

Get ready for exposure, because this post will be massive. French Die Form formed in the late 70’s as a duo, playing cold, dark and dekadent electro-industrial music, sometimes called “darkwave”. Simply mesmerizing. The name of the project plays on the german “die Form” (the form), the english deform, and the french “difforme” (without form). Especially their early stuff sounds so insane and good, so I will keep it at that. Two more tracks from 1987 album Poupée Mécanique (of which the theme seems to be murder):

Die Form – Metaphase

Die Form – Bypass

So how does Die Form usually sound like? The music constantly surprises. They throw all kinds of sounds into the jam: the usual industrial fascination with metal and tools, or even a groovy slap-bass (dwarfing contemporary french electro acts like Justice), or the weird intermezzo of a girl laughing with insanity, or instrumental re-runs of previous tracks (like the main leitmotif of a musical coming back to haunt you). Ever wondered how the soundtrack to a BDSM sex scene would sound like? I guess something like this:

Die Form – Strange[r]

How about Kraftwerk with a hip hop beat:

Die Form – Re-search

The project seems like a labyrinth of strangeness and obscurity when first entering, and you listen through their huge discography with a feeling that every song or album contain so many hidden things, that you cannot (better not?) understand it all. For example, a reviewer said this about their album ExHuman: “Die Form send back out hybrid corpse mechanism era respiration-byte with the abolition world code-maniacs brain universe of a drug fetus”. What the fuck does he mean??? Even their fans seems to have some secret society where everybody speaks in impenetrable code.

Adding to the complexity of this project, they decided to record a whole album of …Bach. Yes, Johann Sebastian Bach, the 18th century German baroque composer. And of course in a cold, industrialized and synthetic interpretation of Bach’s classic works. Like this one.

Die Form – BWV 244-39

Die Form practice “multimedia intervention” by the way, combining sounds with performances, clubbing atmosphere, photography, visual art and cinema/video. I guess you by now realize the erotic theme going through the music. So here’s Die Form when they perform.

———

Die Form myspace

Gallery of Die Form visual art

Kraftwerk Live @ Hurricane Festival Eichenring Germany 19-06-2009

Industriekultur: in the German language there’s always the good word to describe something, and Industriekultur is one of them. Digital capital of Germany, Berlin has a strong industrial soul. Impressive spaces and infrastructures, built in the early 20th century by Peter Behrens or recent DDR temples, are architectural landmarks that you will be able to experience. Climb on the Schöneberg gazometer, visit the eWerk in Mitte or travel to Ferropolis MadMax….if you like things techno.

Photo: Ferropolis

—————

Para ouvir enquanto lê:

Kraftwerk – The Model

—————

Ultimamente, não havia mais riso. Exagero. Até tinha. Mas junto, um enguiço. Um novo aviso a cada pontada de dor. Era preciso tomar uma decisão. Não queria fazer por vaidade, tal qual um Narciso. Nada de friso. Não tinha mais jeito. De uma hora pra outra, o sentimento indeciso se transformou em resolução. O paraíso da calma inundou-se em um rebuliço. Quando finalmente acabou, lá estava eu, sem siso.

If HAL 9000 mated with R2-D2 and their electronic offspring was tutored by Kraftwerk it would probably end up something like the Bliptronic 5000 LED Synthesizer.

At once a minimalist musical plaything and a hardcore old-skool synthesizer, the Bliptronic defies categorization as it belts out 8-Bit style style tunes from its grid of glowing buttons.

You’ll notice sound similar to a retro Casiotone with an interface not unlike a simplified Yamaha TENORI-ON… if that makes any sense. Either way, once you start touching the keys of the Bliptronic you’ll be hooked by it’s simple pattern-based approach to music.

Product Features

• Unusual retro synthesizer is played with a grid of glowing buttons
• Create looping patterns and change them dynamically while playing
• Chain multiple units together and create more complex melodies
• One octave range. 8 notes can be played simultaneously
• 8 different old-skool synth sounding instruments to choose from
• Sounds created using FM waveform synthesis
• Set the BPM (beats per minute) from 60 to 180 in 20 BPM increments
• Built in speaker with headphone jack and line-out jack
• Front panel is constructed from brushed aluminum
• Includes, manual and 2 link cables for connecting additional Bliptronic units
• Requires 4 x AA batteries (not included)

I hadn’t heard of the German band Kraftwerk until I read this Pitchfork interview with Ralf Hütter from Kraftwerk.  Kraftwerk is considered by many to be pioneers of German electronic music.  According to Wikipedia, “The signature Kraftwerk sound combines driving, repetitive rhythms with catchy melodies, mainly following a Western classical style of harmony with a minimalistic and strictly electronic instrumentation.”  Today, electronic music is relatively popular and common.  However, it was not so common 30 years ago.

Additionally, Kraftwerk uses many visual elements in their live shows.  “This included back-projected slides and films, increasingly synchronised with the music as the technology developed, the use of hand-held miniaturised instruments during the set, and, perhaps most famously, the use of replica mannequins of themselves to perform onstage during the song ‘The Robots’.”

Kraftwerk’s live show with mannequins

From the Pitchfork interview:

Pitchfork: How did the 3-D aspect of the show come about?

RH: Our music is always, as you know, very spacey– computer graphics, music, images, lyrics, and visual art we make ourselves, or that we make with artists. And it’s all synchronized. The premiere was at the Volkswagen factory when we played there in April. It went so well that we decided to do it again in the summer when we played for the Manchester Velodrome, where we had the British Olympic cycling team riding on the track and then later during the show, after our robot performance, we continued about five or six compositions with 3-D graphics and the audience put on the glasses. It was fantastic.

Pitchfork: Was there, when you were a young person and you were first seeing live music and performing live music, perhaps in the late 60s, was there anyone you saw that was an inspiration for this kind of multimedia show?

RH: No, nothing special. I think it was more like an awakening in the late 60s of the whole living situation– the German word is einfach musik. Everyday music, like– it’s more like discovering the tape recorder for us. Like, the world of sound: Everyday life has a sound, and that’s also why our studio is called Kling Klang studio because “kling” is the verb and “klang” is the noun for “sound.” So it means “sounding sound.” That’s really what Kraftwerk is about. Sound sources are all around us, and we work with anything, from pocket calculators to computers, from voices, human voices, from machines, from body sounds to fantasy to synthetic sounds to speech from human voice to speech synthesis from anything, if possible. We don’t want to limit ourselves to any specific sound like that was before when we were brought up in classical music. Then it had be strings, it had to be piano, blah blah blah. We wanted to go beyond, to find a new silence and from
there to progress to continue walking into the world of sound.

Pitchfork: Kraftwerk exists as not just an art object, like in a museum, but there’s always an element of popular culture, where it’s received by large groups of people. This is opposed to some people, who experiment with sound and they might do a sound installation in a museum. But it seems like there’s always been a popular element to what Kraftwerk does.

RH: Yes. That developed for us, when we started in the late 60s in art galleries and student clubs, there might have been 50 people or whatever, and it just developed this way. Then in the early 70s and with Autobahn, suddenly the world was– it was possible for us to tour around the world. Well, in France, Italy, and America. And then from there on, it was for us like a vision of electronic music as a universal language. It became our reality.

Pitchfork: Something I’ve always found interesting about Kraftwerk is that even when your music is electronic music and it’s, as you say, immaterial. It sort of exists independent of physical formats. There’s always been a strong feeling for the body in your music, that there’s always a physical manifestation of it, whether it’s through dancing or inspiration in something like cycling. Is that, the interface between electronics and the human body, is that of particular interest to Kraftwerk?

RH: Yes, I think that’s best expressed in the words the “Man-Machine”. It’s this combination of human sounds and machine sounds, so as you probably know, electronic music has been very, very intellectualized in the 50s, 60s, or whatever, and I think we always felt strong elements ourselves of these machine rhythms, repetition and charm. Like the motor humming on Autobahn, radio waves playing in fantastic melodies in the air. All these ideas have been in our minds and we try to combine them into the different albums.

I really like this idea of “Man-Machine”: creating music by combining human and machine sounds.  This is the foundation of electronic music as we know it today.  Even though there was electronic music before Kraftwerk, they helped to popularize it and greatly influenced the genre.

And to top it off, the music video for “The Robots” by Kraftwer

Selbst in der übertechnisierten Informations-, Kommunikations- und Wissengesellschaft bleibt der Mensch was er war. Seine genetischen Verhaltensanlagen blockieren ihn im Handeln für ihn selbst, für eine langlebigere Zukunft auch der Menschen, die nicht direkt in seinem Umfeld leben und auch für die nächsten Generationen seiner Art. Es stimmt, die vorherrschende Form der verschleierten Kommunikation und das Unvermögen der Medienanstalten die Stimmen der Bürger einzufangen und den politisch Verantwortlichen zu präsentieren, lassen eine Evolution des menschlichen Sozialwesens derzeit nicht zu. Die Kommunikation mit den Bürger, also den gesetzlichen Auftraggebern der Politiker, die sich tatsächlich eine selbsterschaffene Berechtigung und Moral gegeben konnten, findet nur noch über Erhebungen von Fakten aus der Vergangenheit statt – Statistiken. Aus den zählbar und darstellbar gemachten Fakten, meinen die Institutionen der Politik, also damals die Ministerien und Behörden, heute die Thinktanks der Wirtschaft und Politik, Parameter erstellen zu können, die ihnen das Verhalten und die Akzeptanz der Bürger zu ihren Interessen anzeigen.

Das Bauchgefühl, das selbstwahrnehmende und deutende Unterbewusstsein (die Deutung der Informationen u. Neuentwicklung von Erkenntnissen durch Verknüpfung mit vergangen Eindrücken vollzieht sich während des Schlafes), dass mit dem Nervensystem und dem genetischen System enger verflochten ist, als unser vergleichbar beschränktes Bewusstsein, das übertönt wird durch die lauteren und grelleren Realeindrücke. Ein organisiertes bewusstes Handeln aufgrund der Erkenntnisse aus dem Unterbewusstsein, wird nicht möglich gemacht. Der “Bewusstseinsspeicherplatz” ist von Werbeeindrücken um Aufmerksamkeit in unserer Gesellschaft voll belegt (Musik, Geräusch-Logos der werbenden Firmen, Sexanreize die sich den Trieb zu Nutze machen, Konsum-Werbebotschaften…) – die totale Beschäftigung des Gehirns durch Sinneseindrücken (es bedarf nur zweier Eindrücke audio- und visuell). Im Zwiespalt zwischen den Bewusstseinströmungen werden wir orientierungslos, verhaltensgestört und handlungsunfähig – zurückgelassen?

[3quarks]

Prepare to take a journey through sound. We have many (well, five) destinations picked out for you today. This musical tour will take you to places unexpected. There is no unifying theme and your proxy-DJ grabbed these at random, or so it would appear.

So grab your bags and your Adderall and climb aboard. Your bags go in the overhead compartments or wedged under the jackass in front of you. Go ahead and toss that Adderall all over the tarmac. Where we’re going you won’t need an attention span.

Previous versions available here:
Heavy Rotation Archives

Mighty Dub Katz – Keep On Truckin’ (Streetlife DJs Remix)
Yet another face of the prolific Fatboy Slim. This single was originally released in 1995, but was plucked from the back catalog and given a huge rerub by the Streetlife DJs. Retaining the silky smooth DJ chatter (“Your funky DJ… in touch with your needs…“) and all of the original funk, Streelife adds some chopped up samples, punched up bass and some noisy retro videogame sounds. Included in both the original and remixed forms below.

This…is…soul. Keep on truckin’.

Remix:

Original version:

Beyond the Wizard’s Sleeve – Bubble Burst
Interesting stuff, this. Erol Alkan, a well-known DJ and remixer, joins forces with Richard Norris (former label owner and NME writer) to make some vintage-sounding psychedelia. Unexpected to say the least, but also very, very good.

This track runs some 60’s garage-rock guitars over a rolling Balearic beat, which is topped off with vocals that wouldn’t sound out of place two sections over in the “R&B” section, right next to Ray Charles and James Brown. All the stuff that shouldn’t work together sounds so good you’re left wondering why nobody threw all this shit in the blender before.

Imperial Teen – Pig Latin
The best pop band to never sell a million albums. Imperial Teen was founded by Roddy Bottum, who formerly keyboarded with Faith No More. No one makes a better 3 minute song. Catchy as fuck, layered with attitude and never afraid to let their psychosexual tensions take the reins, Imperial Teen are what we in the musical matchmaking business call a “keeper.”

This is one of their more downtempo tracks, dealing with the whole “relationship” thing.

I don’t mind looking at you
Your hair sticks straight up well
This spray can is my favorite
Vonnegut to William Hell
I don’t want to be happy
I want to mess around
But these drugs have made me sappy
I do love feeling down…

Kraftwerk – Heavy Metal Kids
Does what it says on the tin, to the confusion of nearly everybody. Recorded live in 1971 for Radio Bremen, this audio anomaly features the icy keyboard automatons taking a noisy stab at making metal for the masses.

Using only their Teutonic attitudes and a shitload of electronics, the Werkers kraft (see what I did there?) a metal dirge worthy of Black Sabbath’s formative years. It takes about 1:30 before the groove kicks in, so stick around. The whole experience contains high levels of WTFness, so consider yourself warned. Oh, and also look out for the tempo shift around 4:30, which takes it all to another level. Headbanging for the pocket calculator set.

Yo La Tengo – Here to Fall
Yo La Tengo’s back and they brought their heartbreaking sagas, incredible songcrafting skills and some strings with them. First of all, this is no weeper. It’s actually a pretty straightforward rocker, utilizing a large amount of fuzzed-up, wah’ed-up guitar. It’s the string stabs that really bring the noise, accenting the guitar and playing off the piano’s contribution. It all sounds so amazing and yet so familiar, thanks to the strings which are just begging to be attributed to some novelty single from the late ’70s.

Don’t ask me why this all works so well. It’s just Yo La Fucking Tengo. It’s what they do.

All files zipped into one cacophonous folder:
Heavy Rotation Vol. 24
(link opens in new window)

-CLT

[All music posted on Fancy Plans... is kick ass and too awesome to be contained. All music is also posted temporarily and, due to its high level of ass-kicking, should not be distributed without a prescription and care should be taken while operating heavy equipment or dancing around the living room (clothing optional, but do remember that the blinds are open/kids are still awake).
Should you wish to have your brilliant artistic statement forced back into confinement, please email me at 2timegrime@gmail.com. Feel free to leave a comment, as that will probably be noticed sooner.
By all means, if you like what you hear (and you will), please support the totally rocking artist(s) by purchasing some music or heading out to see them live.]

Eccoci di nuovo qui!

Questa volta abbiamo voluto sperimentare un modo nuovo di fare podcasting. Per meglio venire incontro alle esigenze di internet, dei social network, per rendire più fruibile gli episodi senza farli troppo lunghi e per renderli ancora più “on demand”, abbiamo spearato l’episodio 2 in tanti mini-episodi che usciranno regolarmente durante le prossime settimane.

In questo primo mini-episdio abbiamo parlato di una band tedesca, davvero forte! Fanno musica con una chitarra, un Commodore 64 e la scheda audio di un Game-Boy; brani semplici, orecchiabili, molto ben prodotti… Ricordano il krautrock di gruppi più famosi come i Kraftwerk… Il gusto delle loro melodie è molto “vintage”, che riporta la mente a quelle bellissime musichette tipiche dei videogiochi degli anni ‘80 e ‘90.

Trovate maggiori informazioni sulla band in questi siti:

PORNOPHONIQUE – Sito Ufficiale

Melodicamente.com – Recensione da un blog italiano

Jamendo – Pagina della Band

Oggi abbiamo ascoltiamo:

Sad Robot

Lemmings in Love

Rock’n'roll hall of fame

>>SCARICA L’EPISODIO 2-1<<

Pizza, Apfelsaft und Family Guy

NOM NOM NOM

kleinerblogsan

In my first article in the series, I argued that ‘Electro House’ did not originate in the early noughties (like some Internet reference sites seem to suggest, wink), but has been around for just a little bit longer than that. Sure, the kicks are now thicker than Oprah’s thighs, and there is a lot of sucking going on (sidechain compression you pervs, what were you thinkin’ of?), but the elements are the same.

Now Kraftwerk is widely considered one of the most influential acts in electronic music, so there were a couple of great tunes to choose from. I was initially going to pick ‘The Robots’ (brilliant!), but this mechanical monster (taken off the 1982 ‘Computer World’ record) is a particular favorite of mine, and one of the group’s lesser known classics. Every element screams pure Electro and should be considered a masterclass, not just for the electronic apprentice, but for every self respecting devotee of dance!

This is where it comes from children…

Spellbinding stuff.

je veux un synthé pour noël

via le blog d’iso 50

I don’t want any connections to this place

few natives I have met and managed to respect

you are not one of them

vanity and selectism aren’t my game

there is no room here for people like me

and even though you say you don’t

YOU DEFINITELY BELONG HERE

(even a person that doesn’t read fiction can see that)

]]> http://buchinsky.wordpress.com/2009/11/17/o-calcado-da-geracao-jeans/ Tue, 17 Nov 2009 15:52:34 +0000 buchinsky http://buchinsky.wordpress.com/2009/11/17/o-calcado-da-geracao-jeans/

In dem Forum von  Plattentests.de findet momentan eine Wahl der “100 besten Elektroniktracks der Ewigkeit” statt.

Wer mitmachen möchte, schicke bitte seine von 01 bis 50 geordnete Liste bis 26.11.2009  an Quadratvogel@web.de, optimalerweise in folgender Form:

01 Artist – Song
02 Artist – Song
03 Artist – Song

(…)

Man darf gespannt sein, ob es nun am Ende Kraftwerk mit dem bahnbrechenden “Wir sind die Roboter” oder doch New Order mit “Blue Monday”  auf Platz 1 sein werden.

I think there’s no one who cannot see Kraftwerk’s genius. These guys were just so much ahead of their era. They made their own synthesizers, and invented techno in its full meaning. The signature Kraftwerk sound combines driving, repetitive rhythms with catchy melodies, mainly following a Western classical style of harmony, with a minimalistic and strictly electronic instrumentation. The group’s simplified lyrics are at times sung through a vocoder or generated by computer-speech software. In the early to late 1970s and the early 1980s, Kraftwerk’s distinctive sound was revolutionary for its time, and it has had a lasting impact across many genres of modern popular music.

I remember listening to this song when I was a kid, and I was astonished. So minimalistic and atmospheric! Kraftwerk were formed in 1970 by Florian Schneider (flutes, synthesisers, electro-violin) and Ralf Hütter (electronic organ, synthesisers). The two had met as students at the Düsseldorf Conservatory in the late 1960s, participating in the German experimental music scene of the time, which the British music press dubbed “Krautrock”.

Despite the new innovations in touring, the band took a break from live performances after the Radioactivity tour of 1976. The band did, however, appear on television shows to promote the albums Trans Europe Express and The Man-Machine.

The band returned to the live scene with the Computer World tour of 1981, where the band effectively packed up its entire Kling Klang studio and took it on the road with them. Around this time, Wolfgang Flür was heavily involved in designing customised modular housing and packaging for the group’s touring equipment. The band also developed an increasing use of visual elements in the live shows during this period. This included back-projected slides and films, increasingly synchronised with the music as the technology developed, the use of hand-held miniaturised instruments during the set, and, perhaps most famously, the use of replica mannequins of themselves to perform onstage during the song “The Robots“.

‘Minimum-Maximum’ é o primeiro disco gravado en directo dos xenios alemáns da electrónica Kraftwerk. Tanto os temas do disco coma deste DVD están gravados durante o seu tour de 2004 en cidades tan dispares como Tallín, Riga, San Francisco ou Tokyo, entre outras.

Parte 1
01. Meine Damen Und Herren
02. The Man-Machine
03. Planet of Visions
04. Tour De France 03
05. Vitamin
06. Tour De France
07. Autobahn
08. The Model
09. Neon Lights
10. Radioactivity
11. Trans Europe Express

Parte 2
01. Numbers
02. Computer World
03. Home Computer
04. Pocket Calculator / Dentaku
05. The Robots
06. Elektro Kardiogramm
07. Aero Dynamik
08. Music Non Stop
09. Aero Dynamik / MTV

1. Sono stato malato. Il che vuol dire che sono sopravvissuto, nonostante tutto, e che questo ha comportato un po’ di febbre alta, un po’ di raffreddore, ma anche pomeriggi sul divano, coperto a rintronarmi di tv e XBox. Tutto sommato poteva andare peggio.

2. Checché se ne dica, Lucca cresce. Ci sono state diverse polemiche e diciamo che è segno di vitalità, quanto meno, e del fatto che alla mostra ci si tiene.
Sono il primo a sostenere che Lucca è diventata, prima di ogni cosa, una mostra mercato, più che un salone. Questo è necessario perché Lucca sia ANCHE un salone, perché i Comics – cosa che non tutti sanno – non sono finanziati dal comune o dalla regione, ma vivono dei propri introiti. L’ente che lo gestisce da anni non ottiene più finanziamenti e il costante e crescente successo ha permesso di varare altre iniziative (come il Japan Palace o Lucca Animation). A me, giocatore di ruolo di vecchia data, piange il cuore a vedere metà Games in mano ai videogiochi. Sul serio. Però è anche vero che a Lucca ho avuto modo di fare dei seminari di scrittura con autori americani e di incontrarmi con case editrici per proporre materiale. E’ raro, magari non è utile al 100% (Troy Dennings è una persona deliziosa, ma non è che il suo seminario di scrittura fosse la fine del mondo), ma da sicuramente chance e possibilità che altrove è più difficile riscontrare.
Poi è chiaro che ci sono un sacco di cose che non mi piacciono, della mostra. I cosplayer che ingombrano le strade e, di conseguenza, le strade che si bloccano perché ci sono gruppi di gente costumata ferma per farsi le foto. I bagni chimici, che però richiedono meno file di un tempo.
Posso dire che Lucca cresce e che Lucca è cambiata tanto, da quando era un palazzetto dello Sport e poche tenostrutture tutto intorno, però è anche migliorata parecchio. E’ migliorabile, certamente, ma rimpiangere il vecchio Salone del fumetto mi pare troppo.
(tra l’altro, Medda si lamenta che le premiazioni di Comics e Games avvengono alla chetichella il giovedi, primo giorno, invece di prendere il sabato, come grande evento. Quello che mi chiedo è, essendo un evento dedicato agli addetti al lavoro e a cui il pubblico non ha accesso, come mai ci si aspettino tutti gli onori e le luci delle ribalta).

3. Comprare casa non è facile. A questo si aggiunge attivare le utenze e fare tutti quei lavori che permettano di andare a viverci dignitosamente. Diciamo che sono abbastanza spossato e stressato e che ancora non si vede la fine. Purtroppo.

4. Siccome c’è un trasloco in arrivo, ho fatto quello che si fa a ogni trasloco: ho cominciato a inscatolare. In realtà ieri ho aperto alcune scatole risalenti ancora al mio trasloco del 2006, che erano belle che impacchettate in un magazzino. Ho trovato cose che tengo (libri, manga, un paio di GdR) e cose che non tengo (vecchie bollette, videocassette, tra cui dei film notevoli, purtroppo) e ho anche trovato i pezzi di anni passati: foto, lettere e due faldoni, tra cui uno con la fanzine sui giochi di ruolo e tridimensionali che, con mio fratello e pochi altri pazzi, abbiamo gestito per sei anni. A darci una sbirciata furtiva mi sono commosso: c’era tanto lavoro e tanta passione, dietro quelle fotocopie, e tanta voglia di lasciare una traccia del proprio passaggio. In qualche modo, ne sono sicuro, l’abbiamo fatto.

5. Odio l’Ikea. Non i mobili. Non tutti, almeno. Ma le infinite passeggiate per l’Ikea, con la bolgia, il percorso transennato, la gente che spintona, i bambini che piangono. Poi ci sono dei mobili e degli oggetti che mi piacciono (altri proprio no), ma in generale la malattia per andare all’Ikea è qualcosa che sfugge alla mia comprensione.

6. Appena mi sono girato, pare che Morgan, a X Factor, abbia mostrato il dito medio al pubblico e abbia insultato chiunque passasse. Non sto tanto a discutere sulla cosa, che – sarò sincero – mi interessa poco. Quello che mi preme fare presente è che si stupiscono tutti che un uomo di tale levatura possa abbassarsi a fare dei commenti del genere.
Poi però qualcuno mi spiega la levatura di uno che ha scritto per anni musica brutta, una versione mediocre dei lavori che i Kraftwerk facevano anni e anni prima di lui, e che un giorno è arrivato in televisione dimostrando di avere una cultura musicale. Che non è da tutti e ti da più rispettabilità di una Simona Ventura, in quell’ambito specifico, ma che non proibisce che tu, in fondo in fondo, sia uno stronzo come tanti e che possa mostrare il dito medio, quando ti arrabbi.

7. Mi tocca andare a vedere 2012, porca miseria. Ma io voglio andare a vedere Nemico Pubblico. Mpf.