SO WHAT

---------- Assista ao discurso de Kamala Harris na Convenção Democrata Poder360 23 de ago. de 2024 A vice-presidente dos Estados Unidos e candidata do Partido Democrata à Casa Branca, Kamala Harris, fez nesta 5ª feira (22.ago.2024) o seu discurso de aceitação de nomeação da sigla para a disputa. Segundo a democrata, ela “será a presidente que unirá” o país. “Para manter os princípios fundamentais sagrados dos Estados Unidos, do estado de direito às eleições livres e justas, à transferência pacífica de poder. Serei uma presidente que nos une em torno de nossas mais altas aspirações. Uma presidente que lidera e escuta, que é realista, prática e tem bom senso. E sempre luta pelo povo norte-americano. Este tem sido o trabalho da minha vida”, declarou a milhares de apoiadores no United Center, em Chicago. Leia a reportagem no Poder360: https://www.poder360.com.br/poder-int... _________________________________________________________________________________________________________ ----------- ------------ E daí? (Proibição Inútil e Ilegal) Maria Bethânia - Tema ---------- E daí? (Proibição Inútil e Ilegal) · Maria Bethânia · Zeca Pagodinho · Miguel Gustavo De Santo Amaro a Xerém (ao Vivo) ________________________________________________________________________________________________________ ---------- ------------- No Matter What Aretha Franklin ------------ Letra It's funny how We've wasted our time On so-called friends Who are really not on our side We've always got something to say About us and how we are Spending our days They're trying to confuse us With their lies and deceit And they don't care if we Live or die on these streets But you and I We both know the truth That we will prevail As long as God sees us through No matter what they do You need to love me I ain't out there cheatin' All on you, you need to trust me Wanna see you happy, never blue You need to love me And just love me And just love me No matter what your friends Are telling you, you need to love me 'Cause from me You'll always hear the truth You need to trust me I ain't mad at you for being you You need to love me 'Cause I love you So just love me I wish they would Leave us alone And let us be together Boy, you can't fall victim To those fools Telling you whatever You hear about me on the streets And it'll only make you weak And put a damper on our situation They're trying to tear down our Foundation sick and tired of Hateration but we gone make it As long as we stay patient No matter what they do You need to love me I ain't out there cheatin' On you, you need to trust me Wanna see you happy, never blue You need to love me And just love me And just love me No matter what your friends Are telling you, you need to love me 'Cause from me You'll always hear the truth You need to trust me I ain't mad at you for being you You need to love me 'Cause I love you So just love me Why do we waste away our lives Playing simple games Telling silly lies How far will they go Till they realize What goes around comes around We got a love you can't Break down No matter what they do You need to love me I ain't out there cheatin' On you, you need to trust me Wanna see you happy, never blue You need to love me And just love me And just love me No matter what your friends Are telling you, you need to love me 'Cause from me You'll always hear the truth You need to trust me I ain't mad at you for being you You need to love me 'Cause I love you So just love me (Repeat) Composição: Bruce Miller / Mary J. Blige / Troy Taylor. _________________________________________________________________________________________________________ ------------ -------------- Miles Davis and John Coltrane - So What _________________________________________________________________________________________________________ ------------- "So What" é uma composição de Miles Davis e é a faixa de abertura do seu álbum de 1959, Kind of Blue. A peça é um dos exemplos mais famosos do jazz modal, um estilo que Miles Davis ajudou a popularizar. Significado Musical: Jazz Modal: "So What" é estruturada em torno de apenas dois modos: D Dórico para as seções A e E♭ Dórico para a seção B. O jazz modal foca na improvisação sobre esses modos (escalas), em vez de seguir uma sequência complexa de mudanças de acordes, que era típica dos estilos de jazz anteriores, como o bebop. Essa abordagem permite que os músicos tenham mais liberdade para explorar ideias melódicas dentro de uma estrutura harmônica mais simples. Chamada e Resposta: A linha de baixo icônica que abre "So What", tocada por Paul Chambers, é seguida por uma resposta em acordes de piano por Bill Evans. Isso cria uma estrutura de chamada e resposta que reflete a troca de frases, comum nas tradições musicais afro-americanas. Significado Interpretativo: Interpretação do Título: O título "So What" é muitas vezes visto como um reflexo da atitude fria e desapegada de Miles Davis. Sugere uma perspectiva nãochalante, quase indiferente, o que pode ser um comentário sobre a simplicidade da estrutura modal em comparação com as progressões de acordes complexas de outros estilos de jazz. A expressão "e daí" pode implicar um senso de desafio casual ou um foco na música em si, em vez das tecnicalidades ou complexidades. Impacto Cultural: "So What" personifica a essência do cool jazz, onde a simplicidade e o minimalismo transmitem um impacto emocional profundo. O título, o estilo e a performance contribuem para uma atmosfera de confiança relaxada e sofisticação. Legado: "So What" tornou-se um standard do jazz, não apenas pelo uso inovador da improvisação modal, mas também por encarnar a filosofia artística de Miles Davis na época: reduzir-se ao essencial e focar na melodia pura e expressiva. A faixa é um exemplo perfeito de como a simplicidade, quando executada por músicos mestres, pode ter uma profundidade e influência profundas. _________________________________________________________________________________________________________ ------------- So What (Davis) - 1959 TV appearance: Miles Davis, trumpet; John Coltrane, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass and Jimmy Cobb, drums. _________________________________________________________________________________________________________ ------------ "So What" is one of the most iconic jazz compositions, featuring a collaboration between Miles Davis and John Coltrane. It's the opening track on the album Kind of Blue, released in 1959, and is often considered one of the greatest jazz albums of all time. Overview of "So What": Artist: Miles Davis Featuring: John Coltrane (tenor saxophone) Album: Kind of Blue (1959) Genre: Modal Jazz Key Elements: Modal Jazz: "So What" is a classic example of modal jazz, where the focus is on improvisation over a few simple scales or modes, rather than complex chord progressions. Form: The song follows a 32-bar AABA structure, with the A sections in D Dorian mode and the B section in E♭ Dorian mode. Instrumentation: The track features Miles Davis on trumpet, John Coltrane on tenor saxophone, Cannonball Adderley on alto saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. The Performance: Miles Davis: Known for his subtle and smooth trumpet lines, Davis's playing on "So What" is laid-back and melodically minimalist, yet deeply expressive. John Coltrane: Coltrane's solo is more intense and complex, showcasing his mastery of improvisation and his ability to explore the modal landscape of the tune. Interaction: The interplay between Davis and Coltrane is a highlight, with Coltrane's more aggressive style providing a dynamic contrast to Davis's more relaxed approach. Legacy: "So What" is a quintessential piece in the jazz repertoire, embodying the essence of modal jazz and the genius of the musicians involved. It remains a popular standard, studied and performed by jazz musicians around the world. The recording on Kind of Blue is often cited as a perfect example of the collaboration between two of jazz's greatest artists, Miles Davis and John Coltrane. _________________________________________________________________________________________________________ --------- ---------- Miles Davis with John Coltrane- March 21, 1960 Olympia Theatre, Paris ------------ The performance of Miles Davis with John Coltrane on March 21, 1960, at the Olympia Theatre in Paris is one of the most celebrated live recordings in jazz history. This concert was part of the Miles Davis Quintet's European tour, a significant moment as it marked one of the last times Coltrane played with Davis before leaving to focus on his own career. Context and Significance: Miles Davis Quintet: At this time, the quintet included Miles Davis (trumpet), John Coltrane (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass), and Jimmy Cobb (drums). This lineup was famous for its work on the "Kind of Blue" album and other recordings, making this live performance even more significant. John Coltrane's Departure: By 1960, Coltrane was moving towards his own musical path, exploring more avant-garde and free jazz styles. His playing during this tour was intense and sometimes challenging for both the audience and his fellow musicians, reflecting his evolving artistic vision. The Paris Concert: The March 21, 1960, concert at the Olympia Theatre is particularly renowned for the powerful and sometimes controversial performances by Coltrane. His solos were more abstract and exploratory, which contrasted sharply with the more melodic and structured approach of Miles Davis. This contrast highlighted the musical tension between the two jazz giants. Key Performances: "So What": This track from "Kind of Blue" was performed during the concert. Coltrane's solo on this live version is a striking example of his intense and searching style, pushing the boundaries of the modal framework established by Davis. "All of You": Another highlight from the concert, showcasing the interplay between Davis's cool, lyrical trumpet and Coltrane's more fiery and expansive approach. Legacy: Historical Importance: This concert is often seen as a pivotal moment in jazz history, representing the end of an era for the Davis-Coltrane partnership and the beginning of Coltrane's journey into the more experimental phases of his career. Recordings: The performance has been preserved in various recordings and continues to be a subject of study and admiration among jazz enthusiasts. The live recordings from this tour are essential listening for understanding the transition in Coltrane's playing and the dynamics within the Miles Davis Quintet. Reception: Audience Reaction: Coltrane's playing during this tour, especially in Paris, received mixed reactions. Some listeners were captivated by his bold explorations, while others found it challenging compared to the more accessible style of Davis. Overall, the March 21, 1960, concert at the Olympia Theatre is a crucial chapter in the story of modern jazz, capturing a moment of transformation for both Miles Davis and John Coltrane. _________________________________________________________________________________________________________