manifestopaulo

[manifestopaulo]

A Techno Story Part. 3

Going back to my early days of clubland, true believers still existed, embodying a seemingly more innocent time where curiosity was encouraged. People were allowed to explore and openly embrace ideas of unity. Hip Hop, Brit Pop, and Rave were still making waves or lingering around during this time. It’s good to remember how eclectic our influences was back then. Many concepts connected to hip-hop and street culture created and fostered a sense of unity. Similar to the sense of togetherness that acid house once nurtured with messages like "We'll live as one family" and "Brothers, Sisters, we'll make it to the promised land," these sentiments, though they may seem quaint today, relics of a more innocent era, still lingered in people’s consciousness. Song lyrics, to some extent, influenced how people lived back then or, at the very least, shaped how a certain generation approached their nights out. However, more and more this post-modernist attitude eventually set in, shifting the cultural landscape. With it, Cynicism became en vogue, transforming once-cherished ideals into targets of bemusement. People I encountered in recent years seem to regard the once-earnest sentiments of unity and solidarity as patronisingly cute at best, evolving into perceptions of gaucheness, silliness, and quaintness. This was a coarsening of the landscape with our generation and a distinctive shift towards individualism. In this recent episode of the Not A Diving Podcast featuring guest Manpower, host Scuba posed an intriguing question towards the end: Is the right wing the new counterculture? I find myself disagreeing, as I don't believe that right-wing individuals embody the new counterculture. Our Western societies have drifted significantly to the right, often without awareness, becoming inundated with corporate influence and excessive conformity. Progressives must cease imitating the right. The belief that success can be achieved by having everyone conform to a select elite's standards is both hubristic and patronising in the extreme. It implies that the average person lacks the capacity to determine their own behaviour. Its a same old preoccupation with competition, the focus over who belongs in the party or fighting over dwindling creative industry jobs that only reinforces this division. This might allow you to remain in your own progressive bubble while ignoring broader societal issues, avoiding the challenges that most people face. It’s as if you believe this democratic, progressive utopia will magically come into existence, even as living standards continue to decline and the right becomes more unifies more effectively. I apologise if I sound like a middle-aged man longing for the past, but revisiting earlier ideals may help us address current oppression and reclaim our freedom. In my experience, the environment I come from was much more socialist and democratic. There was a stronger sense of social obligation among community members, fostering a democratic atmosphere centred on collective goals rather than individual success, promoting collaboration over competition. Like anyone else, I recognise that our daily lives ultimately come down to practicalities. We're all just trying to navigate our days and move forward, but it seems that challenges are increasing. With work and financial pressures making life more precarious, communities aren’t being built as they once were. Social connections are fraying, and people are becoming more unkind to one another. This is particularly important when a person goes to vote, reflecting on who they stand with and support. As old-school folks, we’re still here, but we see the social fabric unraveling, and it worries us. We can’t help but wonder what will replace us when we're gone.. I apologise for framing this in leftist terms; I'm not trying to convert anyone back to old-school Marxism. Ideally, people should feel free to be themselves and not compelled to conform to any ideology. Yet, I often find that the language and tools available to discuss these issues stem from those older frameworks.

[manifestopaulo]

A Techno Story Part. 2

When style is reduced to a commodity driven by wealth, it often sacrifices its genuine essence, becoming a tool for appeasing the elite. A striking contrast can be observed in the 1960s, movements like the mods and the Beat Generation, who revolutionised social norms purely through their unique styles and expressions. Even without wealth, they were able to appear more stylish and elevate their status within society, effectively flipping the hierarchy. Thats how real meaningful art movements happen. However, when style becomes solely linked to money, it loses its authenticity and turns into a means of pandering to those above on the social ladder. Today, working-class kids struggle to create their own subcultures.  Another good example, can be seen in Northern Soul, where it was the seasoned dancers who set the standard or In heavy metal and rave culture, it was the hardcore enthusiasts who truly lived for it. These individuals were the ones to aspire to, fostering an inclusive environment—if you were cool, you were welcomed in, creating a sense of egalitarian elitism.  This was not about conforming to the social norms of a middle-class, white-dominated society. When a scene becomes about perfecting our social behaviour to gain acceptance from those higher up the social ladder it becomes pandering to the ruling class. When you went to a Northern Soul night you entered ‘their’ world, it wasn’t about your background dictating your rightful place; it was about immersing yourself in the culture. Again the recent of episode of the "Not a Diving Podcast," guest DJ Manpower was discussing this very concept—when you enter a club, “others “show you the way” and teach you the codes of the environment. They guide you on how to behave, what is valued, and what is not, all on a cultural level” Just being in that space and observing others reveals the unspoken rules and expectations. Techno and its proponents of early British conception was aware of this politics. Initially, it was an snobby scene, catering mainly to muso’s and geeks. However, it became more democratic, for me that was through things like ElectroClash in Shoreditch (bear with me though, I had seen Underground Resistance, Aphex Twin, Derrick May, and Carl Craig before that scene emerged) this was ultimately a good thing but shift had its drawbacks, as it attracted a wave of hipster pretenders—myself included back then, but the key difference lies in curiosity and open-mindedness. Rather than adopting an overly self-assured attitude and pretending to have all the answers, it's essential to engage with the music and culture with genuine enthusiasm. This approach should be free from the cynicism of self-appointed gatekeepers and from the cynicism that disguised as political awareness.  In his book 'The Psychopath Test,' Jon Ronson reflects on his early days as a TV interviewer, where he frequently highlighted and mocked the quirks and irrationalities of his subjects, including politicians. I often find myself contemplating a passage from his book that feels increasingly relevant. He discusses how this approach contributed to a cultural shift that values conformity, rationality, and a form of 'white middle-class normativity.' On the podcast, Manpower remarked that going to clubs should involve bumping into and conversing with 'some lunatic who knows about that obscure Japanese film you thought only you knew about.' I love this sentiment and can relate, as that lunatic was often me. Techno enthusiasts and the newer left share a similar tendency; they resent others knowing about the art, politics, and culture they cherish. They become overly competitive and insular, treating it as their exclusive little club. They never seem to move beyond this childish, competitive mindset, and then they wonder why they fail to have a broader influence and convert people to their cause.

[manifestopaulo]

A Techno Story. Part 1

I recently listened to an episode of the "Not a Diving Podcast," created and hosted by DJ Scuba, featuring North Shields DJ Manpower. During the show, Manpower made a remark that truly resonated with me about the evolution of dance music culture. He stated, “If you wanted to be popular, all you have to do is make Tech House; it's the most refined form of everything else. But in doing so, they chisel away the art.” He continued, “Once you start removing all the weirdness and oddness, it loses its cultural value and just becomes a swollen corporate mass.” I can’t help but draw parallels to the way conformity has crept into our lives. Today, however, it seems that this attitude has shifted dramatically. This transformation I attribute much of it to the economic pressures we face, which limit our options and resources. Rather than fostering solidarity, people seem trapped in a competitive mindset, where many are overly focused on their careers, appearances, and aligning with the status quo. Despite the progressive ideas from club culture that we once hoped would have a broader impact on society, these changes have, in a strangely paradoxical way, fostered an increasing intolerance for outsiders and eccentricity. There appears to be troubling new social structures emerging alongside each other: an elitism tied to the zeitgeist and another version that caters only to those familiar with this corporate version of club culture, which they accept as the norm simply because they know nothing else.  It also seems this creates a palpable cynicism in the air. This shift, for me, represents a fundamental break in the spirit of house music. Instead, we're caught in a constant competition to achieve something, often at the expense of genuine connections. For the life of me, I struggle to understand this cynicism. What has always mattered most to me is ‘going mental’ and losing ourselves in music alongside friends and other revellers. The progressive ideas from club culture, such as sexual freedoms and drug use, have become normalised. This means that engaging in these activities no longer holds the alternative or transgressive significance they once did. While drug use was once associated with disaffected, marginalised individuals in society, it now appears more mainstream 'alternative' crowd that resembles a new form of 'straight' culture. This shift has led to the acceptance and integration of these behaviours into corporate culture and the status quo—precisely what counterculture and disaffected individuals were meant to reject. I feel we are all dancing to their tune. In terms of embracing the ‘outsiderism’, the UK rock scene appears to be making strides beyond the futuristic beats of techno and dance music today. Bands are moving away from austere-ness and are increasingly attempting to revive the sense of eccentricity and chaos, while there is a growing underground gay scene that is seeking to reconnect with its subcultural roots. Ultimately, it reflects the times we live in. So while progressive ideas from club culture have made a significant impact on society, they have also been co-opted by corporate culture and the status quo. Some individuals feel that they thrive in this new paradigm, elevating themselves on the social ladder above ordinary people who are not part of the current zeitgeist. This raises the question: what’s wrong with that? The issue lies in why these changes haven’t fostered a better society with greater equality. The root problem is money. To uphold high democratic and progressive standards, those providing essential goods and services — must be compensated fairly to drive up the general standards for everyone. This includes better staffing, training, and increasing the workforce to meet these needs. You can’t do democratic progressive society on the cheap. However, people and jobs are being devalued and diminished at an extraordinary rate without remorse, and until the social order shifts, the established hierarchy will continue to dominate without real transformation.

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This piece could have been entitled or subtitled ‘Why London will lose its place as a cultural centre’

In light of a DJ magazine article citing a report on the UK's "worst year for venue closures," London's cultural climate has seen better days. With a staggering loss of 125 grassroots spaces in 2023 alone, as reported by the Music Venues Trust, the city's vibrant music scene is facing a critical threat—one that resonates deeply with my observations of London's cultural shift.

Recently, there has been considerable reflection on the past, with an eye turned nostalgically toward the early 2000s. Festival line-ups this year feature acts from LCD Soundsystem to Bloc Party, the documentary 'Meet Me in the Bathroom,' which focuses on The Strokes and the New York scene, 6 Music's Indie Forever show, and an article in The Guardian by Daniel Dylan Wray about that influential period. it's evident that those years hold significant personal resonance for many people including myself. Numerous cultural elements converged to forge a golden era, one marked by a blossoming of creativity that galvanized vast populations globally, prompting them to engage with the dynamic music and the vibrant scenes of that period. However, this peak, rich in innovation and unity, suggests a bittersweet tone—as for many aspects, it represented a final flourish. It may have indeed heralded the onset of a gradual decline that has persisted ever since.

Despite a pervasive nostalgia for London's cultural heyday, there emerges a deeper, more sobering realisation: the pivotal elements of our culture are steadily slipping into the shadows, compounded by corporate monopolisation of our urban spaces and a general decline into economic hardship. This has led to a tangible displacement, with authentic people and establishments being irrevocably uprooted, shuttered, and permanently erased from our cultural landscape.

Amidst this pervasive sense of loss, there emerges a great sadness for the younger generation—those now bereft of the expansive and transformative experiences that were once almost a rite of passage. This applies keenly to the budding musicians, aspiring artists, and passionate new music aficionados who may now never fully realise those ambitions, especially in London.

And I also find myself contemplating the trajectory of London's cultural evolution, particularly within the music and arts community. It is impossible to ignore the symbiotic relationship between the city’s music scene and its standing as a cultural nexus. The question lingers: As venues shutter and memories fade, can London maintain its reputation as a cultural touchstone?

The financial pressures facing young people and the increasing commodification of time have also contributed to the decline of social and cultural spaces. The transformation of London's landscape into a more risk-averse, corporate-focused environment has stifled the grassroots movements and alternative scenes that defined the city's cultural identity.

I had a revealing online exchange with a DJ from that era who is still active in the London scene, about the changing dynamics for young people and the club scene. He depicted their predicament with incisive clarity:

“The cultural and physical landscape has undoubtedly shifted. With an abundance of social activities available at home - from streaming services to video games - the expense of nightlife and beverages becomes more burdensome. Today's youth are increasingly health-conscious. Simultaneously, there's a social media-fueled desire to attend 'filmable' occasions. This situation is indicative of a broader trend: the decline of 'third spaces' such as pubs, cinemas, libraries, and social clubs. As time turns into a commodity, paradoxically, our lives seem more isolated, though we are part of a larger, interconnected world.

In the current UK scene, young people are less inclined to just go out to a good club on a weekend to see new/unknown acts, they are more interested in splashing out once every 6 months on a mega-event with a festival-style lineup of well known DJs and enthusiasm for new or underground acts wanes“

To further the dialogue and those sentiments I injected that for me, corporate influence has monopolised our music and DJ culture, pushing it toward mainstream rock and stadium-style performances. This has shifted the mindset to glorify only the most prominent names, perceived as the pinnacle of professionalism, contrary to what the scene was originally all about. This is a departure from the past focus on the underground scene. Previously, there was a strong post-punk ethos valuing innovation and the avant-garde. However, big labels and corporations, dominant in the costly city landscape, tend to just buy what seems solid and don't originate anything. Consequently, the new generation, unfamiliar with the earlier model, has accepted this as the norm. This is an evolution that does little to benefit the grassroots, the underground, or the marginalised. Moreover, with these entities wielding significant financial power in contrast to the widespread economic strain, the struggle for the smaller players becomes even more pronounced.

If you reflect on the genesis of House music, Its very name originates from a niche haunt and sonic haven for a gay and at the time very marginalised community. They spurned the glossy anthems that big record labels hawked, instead championing sounds conjured by local talents wielding modest gear like Drum machines, Synths & 303’s. This maverick choice became the unique auditory landscape of the city, Chicago.

Even more intriguingly, this community had the courage to venerate music largely dismissed by the American mainstream; they found a resonance in the misaligned music genre’s such as Italo Disco. Despite its naive simplicity and jaunty vibrancy, or perhaps because of them, this European take on disco—with its unabashedly campy and tremulous vocals—boasted a youthful sincerity and an n overall feeling of spirited soulfulness that far surpassed the refined, overproduced soul and pop hits of its time. Again, it’s hard to believe now, but this marginalised community with its misaligned music became the sound the city would become famed for and grew into the global phenomenon that it is today.

Throughout my life, London has been synonymous with youth movements, alternative scenes, and underground music. Its landscape is dotted with cheap, accessible venues that sustain an underground circuit—a haven for niche and grassroots music. These places are crucial for marginalized and fringe groups, providing spaces for them to dance, enjoy their music, and celebrate their unique identities. Whether it's the vibe of the local community or a broader regional identity, there's a palpable oscillation between the traditions of the longtime residents and the transformative influx of modern influences. This dynamic interplay captures the essence of our city, crafting what eventually becomes the modern soundtrack of London. These cultural pockets are the ones stand in defiance of the prevailing mainstream norms and the corporate entities that seem perpetually 'out of touch' with the city's workings. They are too removed from the authentic cultural heartbeat of the city to truly grasp it.

Visitors to London might observe the gleaming new developments and buildings, fashionable eateries, and a working-class aesthetic with a trend towards 'thrift store chic' fashion, and mistakenly interpret these as signs of progress. They obscure and divert attention from a more accurate portrayal of the city's direction.

But London, much like other bustling cities, is unfortunately losing something due to skyrocketing prices. Although there is an incredible progressive community in this city that celebrates uniqueness and individuality, it’s becoming more and more challenging for small independent businesses to thrive, especially those with an artsy and rock and roll vibe. It’s disheartening to see corporate monopolies dominating the scene, as it’s normalizing mediocrity and pushing away a more adventurous and inquisitive crowd. As a result,it’s becoming very risks adverse in London has become quite corporate-focused, which is a real shame. it’s totally destroying what London used to represent.

To ensure my point is clear, I will spell it out explicitly. Gentrification in cities often heralds a shift towards conservatism, as the quirky, eclectic character that once defined neighbourhoods is replaced with uniformity and exclusivity. The influx of wealth that drives up property values tends to displace long-standing communities and local cultures, favoring more commercial and mainstream tastes. This process can stifle the creative and diverse spirit, traditionally associated with dynamic urban centres, by prioritizing stability and order over the vibrant chaos that often fuels cultural innovation. As a result, gentrification can unintentionally transform cities into more conservative, less culturally diverse environments.

The transformation underway is fundamentally altering what London once signified. While I embrace nostalgia for days gone by, the current trend is a charade: affluent individuals masquerading as torchbearers of a bygone cultural epoch. Theirs is merely a performance, lacking any authentic progressive ideology or convictions.

A pervasive myth suggests that affluence equates to cultural enlightenment and progressivism, while ordinary folks are branded as conservative by default. Believe me, a city exclusively inhabited by the wealthy will not become more vibrant or culturally rich—perhaps only more sterile. Contrary to what some misinformed individuals may think.

Perhaps London risks evolving into a more ‘austere’ metropolis, and regrettably, there are those who mistakenly view this as progress. Perhaps they mistakenly link techno music with austerity and view it positively—a kind of misguided notion that seems all too common these days, sadly. Take, for instance, the 'happy to settle for less' mentality associated with the trend of minimalist living. It's a concept that might sound appealing, unless you have actually endured the hardships of being compelled to live with next to nothing.

Paul Morley, a legendary music journalist with proud Mancunian roots and an advocate for the cultures of the North, once delivered a scathing critique of London's corporate mindset towards creativity. He wrote, "the absolute contempt for London! London is a metaphor. It embodies all that is conservative in the business approach to culture, art, and entertainment. It's a reflection of laziness."

His words ring truer with each passing day.

We find ourselves sliding toward this dismal state because too many have been content to fall in line with this conformist thinking or have aspired to do so, only now to be rejected by the very system they embraced.

Morley's acerbic yet increasingly relevant commentary extends: “The joining the status quo, equals success, equals superiority, toughness - it's the easy option for the middle class though - it's the sell outs & dickheads. Handed to them on a plate & they end up taking it because they are lazy”

Reflecting on this reminds me of other historical eras we’ve witnessed, each with their unique parallels. Two particular comparisons strike a chord: the era of Progressive Rock and the artistic rebellion of the Futurists in the early 20th century.

Reflecting on the current cultural trajectory of London recalls striking parallels with transformative epochs from the past. Take, for example, the decline of Progressive Rock, with its intricate musicianship and grandiose aspirations of elevated artistry, which stood unassailable until the raw vigor of punk shattered its cultural ascendancy.

Today, London's youth stand in need of a similar insurgence—a punk-like revolution to reclaim and reshape their cultural landscape. Yet the looming crisis for London is the exodus of these very revolutionaries. The prohibitive cost of living is driving out the young creatives who are the lifeblood of such cultural metamorphoses, leaving the city at risk of a cultural sterility unseen in prior times of change.

But what it really looks like is what the Futurists art movement recognised in the early 20th century was they needed to pull down the Traditional arts of the rich, with it’s claim of superiority and cultural dominance, there rudimentary, often childlike art was also that challenge the status quo back then they recognised it for what it was, the culture of ‘out of touch’ stuffy old men with deep pockets, but paradoxically stifled the very vibrancy and dynamism that art and culture necessitate. This old guard, mired in conservative values and wielding financial power, effectively suppresses innovation and diversity, imposing a stranglehold on the city's cultural heartbeat.

Fortunately there is good news. You don’t need to live in London anymore. With Globalisation, the internet, you can find alternative people everywhere, progressive communities, truly artistic creative communities, with good music, good culture in nearly every big to middle size city in many other countries in the world, where people will care more if someone tries to be a new band putting on a gig, where it’s probably cheaper, less cynical, supportive of grassroots, probably with even all year round better weather, it’s already happening, I’ve seen friends move to places like this, and with the displacement of many people to these cities they are becoming better. And this is where London and other big capital cities will lose. You might say you’ve let the status quo win but Let them have the stifled, over priced shit weather city, they’re welcome to it I say.

[manifestopaulo]

The quote by Raoul Vaneigem, "For those who live in the environment of the day and make that environment as free as possible, to as many people as possible," echoes the sentiment of creating a society and urban environment that fosters freedom and liberation for all. This concept of freedom in the urban environment is further explored in the work of urban designers Allan B. Jacobs and Donald Appleyard in their publication "Towards a Urban Design Manifesto."

Jacobs and Appleyard's manifesto challenges the prevailing notion of urban design, advocating for spaces that allow for creativity, imagination, and escape from the mundane. They argue that cities should have "magical" places where imagination and humor thrive, emphasizing the need for vibrant and diverse urban environments that are not overly planned or sanitized. This vision of the city as a place for fantasy and escape aligns with the idea of creating an environment that is as free as possible for as many people as possible.

In the context of my artistic endeavor, the utilization of the dadaist doctrine and the live performance within the city aimed to provoke introspection and challenge societal norms that inhibit freedom and creativity. The intention was to create an atmosphere of ambiguity that fosters critical thinking and encourages individuals to question prevailing power structures and regulations that restrict their ability to live fully liberated lives.

Furthermore, the notion of a conservative society and the impact of narrow ideas on societal behaviors and acceptance is a pressing concern. As society becomes more dominated by conservative mentalities, the project aims to question the implications of this on freedom, creativity, and the overall urban environment. How does this conservative shift affect the vibrancy and diversity of urban spaces, and what are the wider societal implications of these changes?

In the present-day urban landscape, the ideas put forth by Jacobs and Appleyard are especially relevant as cities continue to undergo significant changes. The rise of technology, rapid urbanization, and mass production has led to a shift in the character of urban spaces, with a growing emphasis on efficiency, functionality, and uniformity. However, the manifesto's call for vibrant, diverse, and unpredictable urban environments serves as a reminder of the importance of preserving the unique character and identity of urban spaces.

In conclusion, the quote by Vaneigem and the ideas of Jacobs and Appleyard align with the concept of creating urban environments that are as free as possible for as many people as possible. The artistic endeavor described aims to challenge the prevailing societal norms and power structures to create an environment that fosters freedom, creativity, and imagination. By incorporating the perspectives of urban designers and scholars, the essay highlights the significance of preserving the unique character and identity of urban spaces in the face of rapid urbanization and conservative mentalities.

[manifestopaulo]

Theme for Great Cities Pt.1

In 1987, urban designers Allan B. Jacobs and Donald Appleyard made a significant impact in the field of urban design with their publication "Towards a Urban Design Manifesto." This paper presented a unique perspective on how cities should be laid out, emphasizing the importance of creating spaces that allow for fantasy and escape from the mundaneness of everyday life. The authors argued that cities should have "magical" places where imagination and humor thrive, and that overly serious and planned urban environments result in dull and alienating spaces.

This ideal of the city envisioned by Jacobs and Appleyard resonates with the concept of the "flaneur" popularized by nineteenth-century urban explorers like Charles Baudelaire. The flaneur, a keen observer of urban life, would take leisurely strolls through the streets of Paris, finding inspiration in the chaotic yet vibrant cityscape. Baudelaire's poetry often reflected the dynamic and evolving nature of the urban environment during the Industrial revolution.

Jacobs and Appleyard appreciated the messy and disordered urban environments, where buildings from different periods, styles, and usages coexist. They believed that such diversity and unpredictability added depth and interest to the city. However, the authors acknowledged that this type of environment often arises through chance and is increasingly rare in the face of modernization and urban development.

There are many fears and concerns about the impact of modernisation on urban environments, the loss of accidental, magical places where people can escape and find inspiration. The careful planning and development of cities often result in sterile and predictable spaces, devoid of the richness and complexity that Jacobs and Appleyard advocated for.

In the context of the present-day urban landscape, it is evident that the urban environment has undergone significant changes since the time of Baudelaire. The rise of technology, rapid urbanization, and mass production have transformed the way cities are designed and constructed. As a result, the character of urban spaces has shifted, with a growing emphasis on efficiency, functionality, and uniformity.

The ideas put forth by Jacobs and Appleyard in "Towards a Urban Design Manifesto" continue to resonate with contemporary urban planners, architects, and scholars. Their call for the creation of vibrant, diverse, and unpredictable urban environments challenges the prevailing trend toward overly planned and sanitized cities. Their vision of the city as a place where fantasy and escape are possible serves as a reminder of the importance of preserving the unique character and identity of urban spaces.

In conclusion, the work of Allan B. Jacobs and Donald Appleyard in "Towards a Urban Design Manifesto" has left a lasting impact on the field of urban design. Their advocacy for the creation of magical and unpredictable urban environments offers a compelling vision for the future of cities. As urban environments continue to evolve and change, the ideas presented by Jacobs and Appleyard serve as a valuable reminder of the importance of embracing diversity, complexity, and imagination in the design and planning of cities.

[manifestopaulo]

The 2000’s Pt. 1 - London’s live music scene

In the heady days of the early 2000s, I was lucky enough to stumble upon a local band called WRY. Little did I know then, but this band was destined to become the soundtrack of my life and a symbol of hope and optimism in an ever-changing world.

At that time, London's music scene was thriving, brimming with new bands and exhilarating live performances in neighborhoods like Hoxton, Dalston, Holloway, and Camden. It felt as though we were at the epicenter of the musical world, with an abundance of talent right at our doorstep. It was a time of camaraderie, pints of lager, and the intoxicating feeling that we were part of a movement pushing the boundaries musically, culturally, and socially.

Amidst this golden era for live music, WRY's path crossed mine through a series of fortuitous events. Eventually, I became friends with this band, who, to me, shone brightest among the many talented artists of the time.

WRY was definitely a part of this local band movement during that era, and was the band I came to follow and support. During this movement, WRY were definitely shining stars in my eyes. Hailing from Brazil, they had become a massive success in the indie and rock scene of their country.While rock may not be as dominant there as it is in America, given the size of Brazil, it still holds a significant place as a subculture and draws a dedicated following. For me, it was a privilege to have gotten to know these guys and closely follow their journey whilst here. Their music emitted a miraculous sense of optimism that encapsulated the spirit of the time. Each live performance was an unforgettable experience, brimming with the same sense of hope and excitement, a real great live band.

This era was a treasure trove of remarkable bands waiting to be discovered, and WRY stood out among the rest. Despite London's music scene failing to live up to its promise, WRY never let me down. Even today, they still continue to exude that magical aura and creativity, defying the odds and outlasting many of their contemporaries.

These days, when I listen to WRY's music, it brings about a different feeling for me. It reminds me of a mix of emotions - both bitter and sweet, as it takes me back to a time when I felt on the verge of a revolution that never fully materialized. However, it also stirs up a longing inside, a desire to experience that sense of change again. There's something extraordinary about the idea of a grand revolution that can completely transform the world. This music and the times it represents instilled in me a belief in something greater, something beyond myself. While I had my own personal revolution of self-discovery, it led me to forge my own unique journey and follow my own path. But a genuine revolution isn't just about navigating your own independent path; it's about a collective transformation that includes everyone, inviting each person's active participation and changing every aspect of our reality for the better. WRY's music and their sound capture the very essence of keeping the dream alive. It serves as a powerful reminder that despite the challenges we face, we must constantly dream and strive for a brighter future.

I hope that the younger generation can experience this feeling through their own musical journey. It's a feeling that cannot be bought or fabricated. It's about finding music and bands that make you believe that anything is possible. Music has the power to inspire and ignite that spark within us all, and bands like WRY are a perfect example of the magic that can be created.

[manifestopaulo]

Slaves to the Rhythm Pt.2

In Ridley Scott's acclaimed film 'Blade Runner', a deeper exploration divulges a hidden narrative layer: the 'replicants' - androids that bear a striking resemblance to their human counterparts - effectively serve as allegories for the oppressed proletariat, symbolizing their struggle within a socio-economic framework that exploitative in nature. This profound parallel forms the launching pad for a more nuanced discourse on established class hierarchies and their inherent injustices in the following ways.

1. Expendable Labor: Like the proletariats who are often used as expendable labor with no regard for their well-being, the replicants are designed for off-world colonies to perform dangerous, menial, or leisure tasks — they are tools to be used and disposed of. 

2. Lack of Rights: The replicants lack basic rights much like proletariats who are dictated by the whims of their capitalist overlords. Replicants are denied the right to experience a longer life, even though they develop emotions and a consciousness similar to that of humans. Similarly, the working-class may lack access to quality healthcare, education, and other social amenities, which are largely accessible to the upper classes.

3. Quest for Better Life: The film focuses on the replicants' quest for 'more life,' reflecting the proletariat's continuous struggle for better living conditions. Both groups are intelligent and conscious of their exploitation, and therefore, they continuously strive for betterment.

4. Uprising: The violent rebellion of replicants against their human creators is reminiscent of revolutions by the working classes demanding equality and justice.

5. Dehumanization: Just as the replicants are dehumanized due to their synthetic origin, the working class is often dehumanized and treated as less valuable in society due to their economic status.

Through this film, Ridley Scott paints a dystopian society, illustrating a critique on the dehumanizing aspects of capitalism, where entities (whether human or synthetic) are seen as nothing more than commodities. While the movie uses replicants to tell its story, its themes are highly resonant with the struggles experienced within class systems.

[manifestopaulo]

Lost in Technology

Caught in frames or lost in codes? Our new track is a shot of adrenaline straight to the heart of the paradox! The lyrics explore the existential crises faced in the digital age.

"The illusion of movement - a million single frames - a sequence of pictures - lost in your illusion games" 

This song sparks a dialogue on our complex relationship with technology - Does it connect us more deeply or does it cloak us within myriad illusion games?

With our ceaseless quest for connection in an increasingly virtual world. The song compels us to confront the hollowness we often feel, despite the storm of digital interactions flooding our daily lives.

Are we moving or still in a world caught between a million frames? Are we truly alive in this realm, or do we exist in a paradoxical state, both animated by the technology and perpetually ‘plugged in’ to its life support.

As we ride through a landscape of illusions and technology and the strange spaces we inhabit in these digital realms where life, death, and tech nightmares collide.  My new track explores this enigma. Check it out and let it play games with your perception. 🌀🎵 

[manifestopaulo]

Together: A Study of Conservative Communities.

Introduction:

This essay delves into the potential pitfalls of life within the strictly regulated boundaries of a conservative environment. It illuminates the often-overlooked fact that excessive control in such settings can spiral into a breeding ground for dysfunctional relationships and behaviors, spawning a lifestyle far removed from the ideals of health and well-being. Throughout this piece, we investigate these intricacies, revealing the profound impacts that these highly structured environments can carry, often overshadowing the security and order they promise with an unexpected undercurrent of dysfunction and strife.

Within this frame, conservative individuals tend to seek comfort and familiarity in smaller, insular communities composed of family and close friends. This preference can be largely driven by a desire for psychological safety, shared values, and predictability, however, such constraints can inadvertently lead to several potential issues.

Firstly, limiting experiences to a homogenous group fosters rational and cognitive biases, stunting personal growth and diverse thought processes. This confinement restricts exposure to new ideas, cultures, and methodologies, cultivating an insular worldview.

Secondly, within such close-knit circles, there's an amplified pressure to conform, leading, over time, to uniformity that restricts individuality and autonomous thought. This could foster frustration, false harmony, and pent-up discontentment, as differences and constructive conflict are suppressed for the sake of maintaining superficial peace.

Lastly, in an environment with constrained stimuli, behavior can grow increasingly strange or even become destructive. This could be due to the lack of novelty, leading to boredom, or the strain of maintaining a certain appearance or expectation. Underlying tensions or suppressed individuality may manifest in dysfunctional relationships and behavior.

In essence, while the notion of being enveloped within familiar cocoon-like environments may seem comforting, it threatens cognitive growth, individuality, and social dynamics in the long run.

[manifestopaulo]

SPELLBOUND

The state of being 'spellbound' or under a spell relates aptly to the hypnotic effect of consumerism and capitalism. Both processes manipulate attention, focus, and consistency of thoughts. Just as a hypnotist uses subtle cues to guide one's consciousness in a certain direction, consumerism and capitalism harness the power of advertising, societal norms, and cultural expectations to direct our actions towards consumption and competition.

In a developed capitalist society, we're often presented with an aspirational image of success: typically, white, middle-class norms that prioritize material wealth, brand recognition, and conventional lifestyle choices. These norms, constantly reinforced through media, advertising, and societal pressures, can hold sway over our consciousness much like a hypnotic spell. We're encouraged to pursue these 'ideals' and we often do so without questioning their roots or implications.

However, just as it is possible to resist or break from a hypnotic state, it's also possible to critically examine and challenge the norms set out by consumerism and capitalism. This requires acknowledging the 'spell', understanding the mechanisms through which it operates and striving for individual thought and action against the societal grain.

[manifestopaulo]

OUR MINDS LOCKED TOGETHER

Exploring an interesting conceptual parallel between the concept of telepathy and the 'hive mind' phenomenon induced by the internet.

Telepathy, the supposed communication of thoughts or ideas by means other than the known senses, can be likened to the immediacy and omnipresence of interconnected minds in the digital age. Both convey the image of a shared mental space where ideas, ideals, and viewpoints can be transferred and absorbed without traditional physical or temporal boundaries.

Similar to a 'hive mind', telepathic communication implies a deep synchronization of thoughts, which can give rise to conformity and homogeneity. Just as telepathy involves an intimate, non-verbal exchange of thought, the internet provides a platform for the rapid proliferation of ideas, opinions, and cultural values that can foster a strong sense of shared consciousness among its users. Like a telepathic connection, this shared digital consciousness can encourage alignment, often seeming to narrow the diversity of views.

However, where these concepts diverge is in the degree of agency and filtering involved. In most depictions of telepathy, the thought transfer is direct and unfiltered, with thoughts being known as they are, while in the case of the internet, expressed thoughts undergo interpretation, modification, or censoring, whether externally imposed or self-imposed. This can potentially exacerbate the 'hive mind' effect, as certain voices or perspectives can be amplified while others are suppressed based on various factors such as popularity, social norms or automated algorithms.

In summary, while telepathy and internet-aided 'hive mind' systems appear dissimilar on the surface, their conceptual underpinnings echo each other - the sharing and absorption of ideas across minds. However, the mechanisms and results, namely conformity and the narrowing of views, while similar, play out in different ways due to the nuanced complexities of digital communication and the inherent biases in how we consume online content.

[manifestopaulo]

❤️ Dot to Dot

There are some parallels between the acts of completing a dot-to-dot drawing, following a pre-defined diagram, and living a conventional life outlined by societal or cultural expectations. 

In a dot-to-dot drawing or when following a diagram, there's a set trajectory. The outcome is pre-determined; all you need to do is follow the given steps to connect the dots or match the diagram. It is a form of structure and guidance which can sometimes lead to a predictable or even an exquisite creation.

Living a conventional life often bears similar hallmarks. Society sets some 'dots' or conventional milestones for us, such as going to school, getting a job, getting married, having children, and then retiring. It provides a safety net of guidelines and societal understandings, fostering a sense of belonging and normalcy.

However, the notion of creativity, individuality, and autonomy can face restrictions in both scenarios. Just as a dot-to-dot drawing leaves little room for one to exercise creativity beyond those dots, living a conventional life may limit a person's ability to explore unique paths or express individuality, particularly when these expressions conflict with societal norms.

Yet, it's essential to remember that life, unlike a dot-to-dot drawing, isn't rigid. One has the freedom to create their own 'dots', to define their unique path, and live their authentically unconventional life. It leverages the unpredictability and chaos of life to create something truly unique and personal.  

Ultimately, the choice of whether to follow the dots or create our path reflects the tension between security and autonomy, conformity and creativity, predictability and uncertainty.

[manifestopaulo]

"White Noise," directed by Noah Baumbach, film review and Ballardian Interpretation.

Noah Baumbach's latest film, "White Noise," truly shines in its ability to portray the absurdity of the 70s with great skill. While it may have faced some challenges in gaining the attention it deserved, being released exclusively on Netflix, I strongly believe that it is a must-see for anyone interested in immersing themselves in the cultural atmosphere and quirky charm of that era. Furthermore, if you have a passion for the history of cinema and cult films, then this film will undoubtedly captivate your cinematic senses.

In many ways it reminded me strikingly of Paul Thomas Anderson's "Liquorice Pizza" in numerous ways. Both masterfully transport viewers to the 70s, capturing the zaniness that defined the era. But both offer contrasting perspectives on life during those times. While “Liquorice Pizza" chose to show more lightheartedness and adventure, encapsulating the unpredictable spirit of the time. In stark contrast, "White Noise" presents a more pessimistic view, dipping into darker tones. It portrays characters trapped in the suburban consumer malaise that greatly signified the era.

The film initially introduces us to the characters and their mundane conflicts in everyday life, particularly focusing on the main character, Professor Jack Gladney, played by Adam Driver. Jack tries to break free from the monotony by recounting stories about cult-like leaders such as Hitler and Elvis, shared by his friend Murray, played by Don Cheadle.

"White Noise" almost feels like a parody of a Spielberg disaster movie, complete with a disaster scenario that darkens the tone, reminiscent of Spielberg's work. The film explores the concept of collective events, whether real or imagined, as a means for individuals to feel connected and significant. The characters' obsession with disasters mirrors society's fascination with apocalyptic scenarios depicted in Spielberg's films. By immersing themselves in these narratives, people find purpose and briefly escape the mundane realities of their lives.

This episode leads you to become completely mistaken about the type of film you are watching as an even darker twist in the movie reveals itself, a twist portrayed through Jack's wife, Babette., played brilliantly by Greta Gerwig. Her character spirals out of control, having a more personal disaster which sends her down a path of addiction and self-destruction, fueled by prescription drugs. This situation echoes the extremities of consumerism with compulsive behaviour, addiction and a person lost on consumer products of a stronger verity.

The film concludes with what appears to be a celebratory 'musical' number in a supermarket, once again genre-shifting to bear a resemblance to the Musical genre. Yet beneath the shiny surface of the supermarket and happy singing, it harbors a darker implication. This ending suggests that the characters are completely ingrained and trapped into this suburban consumerism nightmare. They are forever doomed to be stuck in this cycle, oblivious to their predicament, making it nearly impossible to break free. The only relief they discover lies in the next major national, global, or personal catastrophe. Or with the rise of another cult leader, someone akin to Hitler or Elvis, or perhaps a hybrid of both, mirroring figures like Reagan or Trump, who guide them down yet another barmy disaster path.

In comparison, "Liquorice Pizza" offers a more optimistic perspective, showcasing an exotic country filled with random occurrences and never a dull moment. The main character becomes a hot tub salesman, a role that symbolizes the provision of a slice of paradise and purifying baptism until the ultimate gig in the sky. It's a whirlwind of adventures and experiences that keep boredom at bay.

White Noise delves into the darker side of human existence, drawing inspiration from J.G. Ballard's bleak outlook on society. The characters in the film appear to be trapped in a cycle of emptiness and discontent, leading them to seek out intense, dramatic experiences to feel alive. From surviving disasters to fabricating their own crises, the characters are driven by a desire to be part of a larger myth, seeking purpose in a world that seems devoid of meaning. Baumbach skillfully portrays this Ballardian perspective, highlighting the disillusionment that pervades society and the desperation to find something meaningful amidst the chaos. In conclusion, 

"White Noise" is a film that, on the surface, appears wacky and surreal, more so than something that treats itself with any seriousness. On initial viewing, one might easily dismiss it as merely a goofy spectacle. However, when observed in a certain light, its depth becomes apparent: it thoroughly explores with cynicism the void that underpins suburban consumerism. This piece presents a bleaker perspective of the 70s. Despite not receiving the widespread attention it arguably deserved, it is a great viewing experience for cult cinema aficionados.

[manifestopaulo]

I had a fight with Johnny Rotten Pt. 1  - The Full Story

So, it wasn't exactly a fight, but rather a nonsensical angry exchange over football teams that was just as absurd as it seems. This utterly baffling incident originated from my innocuous request for a photo with the renowned punk artist. The situation abruptly took a sour turn when, unprovoked and out of nowhere, I found myself on the receiving end of a cascade of insults seemingly tied to my supposed football allegiance. It escalated quickly and I narrowly managed to avoid a nasty scene. This puzzling encounter left me completely baffled for a while, but considering the recent developments surrounding Lydon, it likely served as an early indication of what was to come with the with the punk rock legend.

It all started on a chilly evening in Hoxton, where a small, exclusive boiler room gig featuring PIL was taking place. As a die-hard music enthusiast, I had always admired the iconic figure that is John Lydon. Known as Johnny Rotten, he had carved his name in punk rock history as the frontman of the Sex Pistols, and later, with his band Public Image Ltd (PiL). But little did I know that the night I attended one of his gigs would forever change my perception of him.

Before delving into the night's events, it's worth noting the recent developments surrounding Lydon. In the years following our encounter, his actions had taken a peculiar turn, causing confusion amongst fans. His controversial remarks, including support for Donald Trump and dismissive comments about the #MeToo movement, had divided opinion about the once-rebellious figure. These events have led to a shift in how some sections of the music media and the public view Lydon. However, it's essential to note that he remains a significant figure in punk rock history, and still maintains a dedicated fan base..

Going back to the night, after seeing PIL play, I coincidentally found myself at the pub where his press talk was being held.  As the last of the press departed, I mustered up the courage to fulfil a dream and asked my friend to help me take a photo with John. Surprisingly, he readily agreed.

I experienced a brief moment of exhilaration, momentarily interrupted by a couple of awkward minutes during which my friend encountered difficulty operating the camera on my blackberry phone. I tried to smooth things over and apologised for the inconvenience. Just as the picture was finally taken, a member of Lydon's entourage seemed to take an instant disliking to me for no apparent reason. He passed by me, hurling insults and mentioning something about football.

To this day, I wonder if this individual possessed some sort of supernatural foresight, because without me uttering a word about football or displaying any inclination towards it, this guy started accusing me of being a fan of the North London football club Tottenham. It was either an astonishing coincidence or this individual did actually possess some sort of psychic abilities, because his claim that turned out to be 100% correct. I was in fact a Tottenham fan but I struggled to comprehend why he brought up football in that particular moment and how it related to the situation. But then he went beyond that then also accused me of being "Lemon dash," which is Cockney rhyming slang for "flash." when all I was attempting to do was maintain a sense of normalcy and lightheartedness to ease the awkwardness and peculiarity of the situation, which certainly didn’t qualify as being “flashy.”

My brain went into that weird fight or flight mode and time was acting strange. I couldn't help but feel perplexed as my mind raced to make sense of the situation. Giving the guy a moment’s credit and benefit of the doubt, I ask myself did I do something wrong? Did I violate some code, Was it a bit jumped up of me, thinking I could easily approach a living punk legend and strike up a conversation. All this went through my head in an instant.

What struck me as particularly odd was the assumption this guy had made about me. Despite not looking like a football supporter at all, he had weirdly pigeonholed me. Undeniably, he was some sort of fervent football enthusiast, and perhaps sensing that I was a fellow Londoner, he considered me suitable for such engagement. Nevertheless, it was rather presumptuous, bordering on narcissism, to assume that I would share his profound passion for the sport. Without any prior introduction to the subject of football, or even the slightest interaction with the man, I was unexpectedly bombarded with all this football talk of which I still had no idea why he was talking about this or why he suddenly had this bee in his bonnet.

To be honest, I kinda had a feeling about what this all was about. It reminded me of childhood when some kids would try to instigate a fight by questioning your favorite football team. Then there were those truly insane football fans who were deeply entrenched in the culture of football hooliganism who still wanted to act like kids or teenagers. I enjoyed watching the occasional football match and had friends who loved the game but not on that level.

Football, over the years, has managed to broaden its appeal and following, which is great. Most people now enjoy or have experienced the excitement of watching a game and getting caught up in the madness. It has been compared to a punk gig or a rave by many writers on the subject. It probably is the biggest sub-culture we still have left. However, there is a point where it can become a bit silly.

For some individuals, this goes beyond simply enjoying the game. It becomes a way of proving their loyalty to their club, showing that they are more involved than the average person. Unfortunately, this is where some of the most ridiculous behavior is still permitted to exist. Football has a dark past that was partly built on the these loyal paying supporters. Some people still want to act as if we are still stuck in that era, with the most ugly and unacceptable behavior being tolerated.

This toxic environment not only revels in the unacceptable behavior but also embraces violence and even has links to the far right. Racism still rears its ugly head in football, which is deeply unfortunate. For those who are into this kind of extreme behavior, they try to convince themselves that it is something that us "normies" don't understand. However, for the average person or casual fan like me, it just looks like sheer stupidity and something I have always wanted to steered clear of. But as I say, I enjoyed watching the occasional match.

Fortunately, or unfortunately, this was typically confined to the football terrace or particular bars that die-hard fans frequent. But this happening here in this cool pub at this niche music event was also an odd place to start bothering people with that kind of nonsense, The unbelivible opportunity to get a picture with punk rock legend Johnny Rotten was surreal enough as it was. But now, going sour as the situation had spiraled into something completely and utterly fucking mental.

I’ve always tended to not discriminate against anyone and I’ve always given older people respect, but In that moment, it became clear to me that here was a full grown, middle-aged man acting and talking like a kid. An absolute nutter who, for some unknown reason, had taken a disliking to me and decided to stir up trouble by springing this nonsense and his assumptions on me.

Again with my mind racing it clicked again, I recalled this obscure fact about Lydon’s history and realised he was affiliated with an old Arsenal-supporting crowd from his Finsbury Park days and having been a loyal member of this crowd before his time with the Sex Pistols. Over recent years, there has been a noticeable resurgence in football culture, overshadowing other cultural institutions. Even men of middle age, seeming to relive their glory days, have gravitated not just towards football but also to the turbulent hooligan culture that comes with it. It was clear that Lydon found himself back in this trend. He had reoriented himself, diving back into the fray, even going to the extent of attending games at Highbury.. NowI found myself face to face with these Arsenal fanatics and hooligans that comprised his entourage and security. It really did seem there was nothing more to it than if anyone they decided they disliked they would suspect of them of supporting Tottenham and try to start some shit with them. The entire spectacle bordered on the absurd. More than anything, it was surreal, with a group of older men men who might've been my father's age, some even your granddads age acting like they was in one of these football hooligan films like ‘Green Street’ or ‘Football Factory.’

But I myself got so fuelled by the perceived rudeness directed towards me, I then decided to join in the childishness and I retaliated by insulting their beloved football team. A decision I instantly regretted as the situation escalated, and It nearly kicked-off like “Football Factory Pt. 2 The Elderly Years.’ I narrowly avoided a potentially ugly incident and my head kicked in by reasoning that it was all a bit unnecessary and I hadn’t really gone out for that,. I’d only gone out to watch a band. It was supposedly a night PIL was celebrating a new release and us celebrating their music but indicative of the time we was in football had come back to take centre stage instead.

Well, I suppose everything has its rightful place. If you feel inclined to meet and have a confrontation with a bunch of other guys who like fighting over their preferred sports teams, then go ahead, However, but don’t bring that to a music event, particularly for those who are completely not interested in this type of stuff. It's really troubling and this kind of toxic behaviour shouldn't be brought anywhere near people who haven't shown the slightest scintilla of indication that they want any part of it..

In punk history, there are accounts of when John Lydon, was assaulted by thugs incited by right-wing tabloids whilst in the Sex Pistols. Lydon had absolutely hated this kind of aggression and made sure to keep his distance from it for a long time. It's pretty surprising then that someone like him, who has gone through attacks himself, wouldn't understand what it feels like to be in a situation that revolves around being targeted by bullies for something like your music preferences, again especially having gone through that himself and having this supposedly strong opposition to it. However, I now find myself entangled in a similar situation, subjected to the identical mistreatment, with it unfolding right in front of him. I suppose we've come full circle, the abused turning into abuser themselves.

But during the fracas, I caught sight of Lydon's face, he was actually looking quite gleeful and seemed to be enjoying it. Meanwhile, I was trying my best to defend myself against a bunch of big burly blokes who were about to knock the fuck out of me.

The lyrics "they made you a moron" from the Sex Pistols' song "Anarchy in the U.K." seem quite fitting in this era of tribalism. It appears that even someone like Lydon, who had experienced being attacked for his music choices, can now be influenced and turned to follow the herd towards right-wing ideologies and thuggish behaviour. Unfortunately, it seems like not even the once professed anarchist punk legend could be totally exempt from being made into a product of this right-wing media and their prevailing tendency towards embracing ignorance.

I recently read Bobby Gillespie's amazing book 'Tenement Kid' and came across a fascinating passage where Gillespie describes Punk and the Pistols. He mentions how under Malcolm McLarens guidance, Punk was expanding the cultural and political political frame of reference of curious teenagers. But hey, who needs to concern themselves about that when you can just worry about whether someone supports Tottenham or Arsenal, right?

This night I encountered Mr. Lydon it definitely confirmed the old saying of 'never meet your heroes. However, looking back about that night, it not only hints at the insular, tribal, and paranoid mindset that Lydon had adopted, but also foreshadows a similar state that the rest of the world was on the brink of entering. 

In the next part of this article to follow, I will take a closer look at some of the cultural factors that my have contributed to this unfortunate event and what has occurred around Lydon in the years following.

[manifestopaulo]

Satire - What it can achieve Pt.3

Visual design and humor share some interesting parallels, especially when it comes to the concepts of tension and recognition. Great visual design often works by creating a balance between familiarity and novelty. An effective design needs to resonate with the audience's prior knowledge and expectations ('familiarity') but also needs to provide something new or unexpected ('novelty') - equivalent to the punchline in a joke. This tension and subsequent release engages the viewer and makes the design memorable.

For example, a designer might use a familiar visual language or iconography in an unconventional way, surprising the viewer and making them see the familiar in a new light. This tension and recognition make for an engaging viewer experience, draw attention, and enhance recall, similar to how a good joke works.

Click below and explore my creative universe on Instagram!

https://instagram.com/electropaulodj?igshid=OGQ5ZDc2ODk2ZA==

[manifestopaulo]

Satire - What it can achieve Pt. 2

Caught in the crossfire, the 'Culture War' continues. Journey through the electrifying battlefield and warring ideologies of red and blue, where every idea holds the power to shape our world.

Satire serves as a powerful tool in critiquing national public figures and politicians partly because of its versatility across various media and its ability to enable quick and universal recognition among audiences. For instance, the critiques and comedy surrounding Boris Johnson are a reflection of the public's growing frustration and distrust that I have experienced in British society. Having this shared perspective enhances the sense of communal experience. The blunt and unapologetic satire of my designs are to generate discussions within the community. To create room for dialogue on hard-hitting topics that otherwise might be difficult to approach, hence contributing to a united societal experience.

Click below and explore my creative universe on Instagram!

https://instagram.com/electropaulodj?igshid=OGQ5ZDc2ODk2ZA==