Quebrando Tudo
2024-
God is brazilian. Or so goes the saying told by countless graffitied walls of courty-sized cities planted on a continent-sized country. Whether deities are bound to national borders remains unknown to humankind, but regardless of irresolvable mysteries, this expression still preserves a particular truth: the debased essence of Brazil lies in its hybridity; if anywhere, the impossible synthesis of the divine is bound to dwell under the tropical sun.
In the twentieth century, a colonized and colorized peoples suddenly found themselves in the position of exporters of entertainment commodities to the first world (such as Football stars and Bossa-Nova hits). This unprecedented inversion in the flux of cultural influence captivated the imagination of philosopher Vilém Flusser, who would attempt to describe the antropófagos that inhabit southern lands in the book “Brasilien oder die Suche nach dem neuen Menschen: Für eine Phänomenologie der Unterentwicklung.”
In the realm of music, the apex of an aesthetics in motion has been captured by the hermetic expression (i.e coming from Hermeto Pascoal) “Quebrando Tudo,” or “Breaking Everything,” which describes the vigorous physical - and perhaps metaphysical - gestures of a soloing instrumentalist amid the cathartic climax of harmonious sound.
In “Quebrando Tudo”, we experiment the cosmogonic legacy of affluent cultures that became grounded among palm trees by unveiling some quintessential and obscure Brazilian music. Between an heterogeneously autogenous imaginary, we listen our way towards the universal language for the new men, the new women and beyond. Thematic playlists are curated each month by Antônio Frederico Lasalvia, sometimes joined by guests.