“[W]e need all of us, whatever our background, to constantly examine the stories inside which, and with which, we live. We all live in stories, so-called “grand narratives”: nation is a story, family is a story, religion is a story, community is a story. We all live inside and within, and with, these narratives, and it seems to me a definition of any living, vibrant society that you constantly question those stories, constantly argue about them. If fact, the argument never stops. The argument itself is freedom. It’s not that you come to a conclusion about it, but that you live in a world in which you argue constantly about that world. And through that argument you change your mind sometimes, you decide that things that you used to accept in a society you no longer wish to accept; things that you did not accept in a society you begin to wish to accept. And that’s how societies grow. When you can’t retell for yourself the stories of your life then you live in a prison, then those stories don’t become the source of liberty, they become the source of captivity, because somebody else controls the story, and somebody else tells to you: ‘This is what it means, this is how you think about it, this is the only way in which the story can be told. And if you disagree with that we will come and do something terrible to you.’”
Salman Rushdie, hablando sobre "Secular values, human rights and Islamism" (a partir del instante 49 min 12 s).
24 de septiembre de 2012
19 de septiembre de 2012
4 de septiembre de 2012
Estoy buscando...
...y, aunque a estas alturas cabría pensar que lo que busco debería ser relativamente sencillo de encontrar, lo cierto es que no lo encuentro.
Busco la música que a Lucinda le gustaría hacer y escuchar, porque esa es la música que a mí me gusta. Pero tengo la sensación de que todo suena igual, salvo los tíos y tías que ya me gustan.
«I think in the world of rock music or whatever it’s called—anything outside of Nashville—there’s a lot more freedom within that industry to do whatever you want to do. Nashville tends to fall into this cookie-cutter syndrome. All the records are trying to sound the same. All the people coming to Nashville, who didn’t know anything about country music, they’re all coming to town, saying, “Hey! I’m going to write a country song! I’m going to jump on the bandwagon. There’s money to be made here in this country-songwriting business.” And the artists who were a little different and a little edgier—the industry didn’t support them. They have a tendency not to support the music that sounds like the older country stuff. I don’t know why that is.»
«I think in the world of rock music or whatever it’s called—anything outside of Nashville—there’s a lot more freedom within that industry to do whatever you want to do. Nashville tends to fall into this cookie-cutter syndrome. All the records are trying to sound the same. All the people coming to Nashville, who didn’t know anything about country music, they’re all coming to town, saying, “Hey! I’m going to write a country song! I’m going to jump on the bandwagon. There’s money to be made here in this country-songwriting business.” And the artists who were a little different and a little edgier—the industry didn’t support them. They have a tendency not to support the music that sounds like the older country stuff. I don’t know why that is.»
Lucinda Williams, entrevistada en The Believer
Busco y rebusco (Spotify, Facebooks varios, Allmusic, you name it), pero nada.
Sí, tantísimo tiempo desaparecido, sin escribir, y lo que vengo a soltar es mi mismo rollo de siempre.
Ea.
Ah, por cierto, escribir no escribo, pero lo que no dejo de hacer es abrirme más blogs.
Je.
Busco la música que a Lucinda le gustaría hacer y escuchar, porque esa es la música que a mí me gusta. Pero tengo la sensación de que todo suena igual, salvo los tíos y tías que ya me gustan.
«I think in the world of rock music or whatever it’s called—anything outside of Nashville—there’s a lot more freedom within that industry to do whatever you want to do. Nashville tends to fall into this cookie-cutter syndrome. All the records are trying to sound the same. All the people coming to Nashville, who didn’t know anything about country music, they’re all coming to town, saying, “Hey! I’m going to write a country song! I’m going to jump on the bandwagon. There’s money to be made here in this country-songwriting business.” And the artists who were a little different and a little edgier—the industry didn’t support them. They have a tendency not to support the music that sounds like the older country stuff. I don’t know why that is.»
«I think in the world of rock music or whatever it’s called—anything outside of Nashville—there’s a lot more freedom within that industry to do whatever you want to do. Nashville tends to fall into this cookie-cutter syndrome. All the records are trying to sound the same. All the people coming to Nashville, who didn’t know anything about country music, they’re all coming to town, saying, “Hey! I’m going to write a country song! I’m going to jump on the bandwagon. There’s money to be made here in this country-songwriting business.” And the artists who were a little different and a little edgier—the industry didn’t support them. They have a tendency not to support the music that sounds like the older country stuff. I don’t know why that is.»
Lucinda Williams, entrevistada en The Believer
Busco y rebusco (Spotify, Facebooks varios, Allmusic, you name it), pero nada.
Sí, tantísimo tiempo desaparecido, sin escribir, y lo que vengo a soltar es mi mismo rollo de siempre.
Ea.
Ah, por cierto, escribir no escribo, pero lo que no dejo de hacer es abrirme más blogs.
Je.
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