#acen 2016

[portalfunk]

Tropa de Ludmilla surpreende o Coachella

A tropa de Ludmilla surpreende o Coachella, dando um choque de realidade àqueles que ainda ignoram o impacto do funk e da artista.

Ludmilla no palco do Coachella — Foto: Reprodução/Instagram/@rachlpolack @poonehghana

Celebrada por Beyoncé, a cantora se consagra dentro e fora do Brasil com um eletrizante show de música e dança no importante festival norte-americano.

♪ OPINIÃO – Ludmilla fez jus à moral dada por Beyoncé no áudio ouvido na abertura do show apresentado pela artista fluminense no palco principal do festival Coachella, na Califórnia (EUA), no início da noite de domingo, 14 de abril.

“Do Rio, Brasil, para a Califórnia, direto para o Coachella. Senhoras e senhores, Ludmilla!”, anunciou uma orgulhosa Beyoncé, em inglês, fazendo as honras da casa para a colega brasileira. E Ludmilla honrou o acolhimento da antecessora norte-americana.

Aperitivo para a turnê Ludmilla in the house, que percorrerá o Brasil a partir de maio, o show de Ludmilla no Coachella 2024 foi eletrizante, consagrador. Poderia até ser dito que a apresentação de música e dança teve “padrão internacional” se a expressão não fosse injusta com os profissionais brasileiros, já que a própria Ludmilla fez shows pautados pela excelência técnica em festivais nacionais como o Rock in Rio 2022 e o The Town 2023.

Só que, sim, Ludmilla estava no palco internacional do Coachella, festival de visibilidade planetária, ao menos no mundo pop ocidental. E, uma vez em cena, a preta venceu, inclusive por ter cantado em português na maior parte do show.

A girl from Duque de Caxias até acenou para o mercado pop latino hispânico, cantando o recém-lançado merengue Piña colada (2024) com Ryan Castro. O roteiro também incluiu No se ve (2023), música gravada por Ludmilla com a cantora argentina Emilia Mernes, estrela do pop portenho.

Contudo, em essência, o show da primeira cantora negra, latino-americana e LGBTQIA+ a se apresentar no palco principal do Coachella foi calcado no funk made in Rio de Janeiro.

Com tropa formada por dançarinos negros, brasileiros e norte-americanos, presenças fundamentais para o brilho da cena, como atestado no medley de funk que antecedeu a troca de figurino da cantora, Lud expôs o funk da favela em roteiro que alinhou sucessos como Rainha da favela (2020), Verdinha (2019), Onda diferente (2019), Cheguei (2016) e Favela chegou (2018).

O sensual jogo de cena da cantora com a bailarina e esposa Brunna Gonçalves, em Maldivas (2022), legitimou na prática o discurso contra a intolerância ouvido na voz da deputada trans Erika Hilton após o áudio de Beyoncé.

Transmitido pelo canal do Coachella no Youtube (cinco horas após a apresentação), o show de Ludmilla no festival norte-americano foi espetacular do ponto de vista musical e técnico (tendo contado com a experiência cênica de profissionais de grandes turnês, como Henry Bordeuax e Zack Purciful), mas a importância da apresentação transcende a questão musical.

O alto valor do show também reside no fato de a artista ter marcado posição política naquele cobiçado palco, expondo imagens de comunidades no telão, beijando a mulher em cena e a reafirmando o poder dessa preta talentosa que obteve mais uma vitória na noite de 14 de abril de 2024.

A consagração de Ludmilla no Coachella 2024 foi tapa na cara de quem sempre tapou os ouvidos em tentativa vã de ignorar o funk e as vozes das comunidades. Ontem Ludmilla se consagrou como uma rainha do Coachella, fazendo história que jamais poderá ser apagada da música pop brasileira.

No palco principal do relevante festival dos EUA, a tropa da Lud deu choque de realidade em quem ainda insiste ignorar o alcance mundial do funk brasileiro e a ascensão da cantora dentro e além das fronteiras do Brasil.

Via: Portal G1https://portalfunk.com.br/noticias/tropa-de-ludmilla-surpreende-o-coachella/

[citrus-cactus]

Screenname-related purchases from Anime Central 2016! Well, since I usually go by Citrus, I couldn’t resist either those orange slice hair ties or this brightly-colored and ridiculously adorable figure. Seriously, she’s perfect! I have NO idea what she’s from (something something Project? Volume 2?? I’m going to have to figure out what all the box says, because I’m super-curious!). Now, if only they were making a Mimi/Togemon figure! Don’t get me wrong, I love Lilymon, but… I need a Togemon figure in my life now. NEED.

[hanyuleum]

So the first time I wore my Cinder Fall cosplay I met a Roman Torchwick cosplayer who was super nice to me and I obviously took a photo. The next two years we took a photo together and I put them together. Now that Roman is dead he retired the cosplay but the yearly photo will keep on happening.

Links: Facebook - Twitter - Instagram - Youtube

[tei-berry]

This is a wonderful man and my sister caught him this year and last year. We need to find him. He was at ACEN 2016 and 2017 pictured above. All we know is that his first name is Luke. Please help my sister find him!!!

[berserk-fenrir]

A short story. In photos! Garruk, not happy with being pushed out of the green spot light challenges Nissa to a duel!

He loses.

So he summons Venser!

And gets him to help lower Nissa’s guard with a game of magic.

Then trips her. XD

Me as Garruk @firstvalkyrie as Nissa @orphanerdanscar as Venser ScoldingSpiritCosplay as Ral Zarek

Photos 2,3,8, and 10 by YGKphotos Photos 4,5,6,7, and 9 by ScoldingSpiritCosplay First photo by random person with our camera. (thank you stranger.) Also, first photo is how Planeswalkers really travel lol. (Also Ral Zarek was there.)

[twiztidskull]

Was trying to post this wonderful Dave Strider gif for 4/13 i took of @dirtydavestrider at ACEN 2016, but alas, i guess it glitched up on me 😋

[badbuild]

Damn.

I got two years of anime central photos that I need to pull off of two different sources and organize.

[rinplup]

[frank-n-furtersweettransves-blog]

Evolution of my Frank-N-Furter cosplay!

This next section is before I got my hair cut, so I was having wig issues. Excuse that, please.

And now, post haircut without as many wig issues. This is the last con I went to over the past weekend. I got to walk around and help my friends work their booth. More pictures will be posted/added as I find them or people find me to send them to me.

Also, I promised the admin of @velvetdarknessmadison picture from AMKE. Here you go!!!!

[thelaughingrat]

Judy Funnie is my Patronus, even though Doug was not my favorite Nicktoon. (That was The Angry Beavers.) We’re both sardonic Shakespeare-quoting Beatniks born into the wrong era, and the mellifluous tones of a jazz saxophone follow us wherever we go. I wore her at ACen 2016, and the best part was finding out who else in the crowd was also an early 90′s kid. There were a lot more of us than I expected; I even got a hug from one of the cops working con security.

Photos by Fluffy Fox Photography

[jaseminedenisephotography]

Candids of @muagdj and @trusimplcity as Celestia and Junko from DanganRonpa, Anime Central 2016

[hanyuleum]

“It's unfortunate you were promised a power that was never truly yours.”

@perfectly-pyrrha is my favorite Pyrrha cosplayer and this shot is one of my favorites.

Full ACEN 2016 album

Links: Facebook - Twitter - Instagram - Youtube

[pennysword]

An Ode to My Hero Academia

Okay, like every anime fan, I've fallen into the My Hero Academia hole and can't get up... and that's not a bad thing.

I'll be the first to admit that I wasn't on the fanwagon when My Hero Academia landed on American shores in 2016. I was two years out of college and the only thing I cared about was finding a nine-to-five that paid my bills and kept my mom from telling me to do something with my life. I was also deep in the pit of post college depression, wherein I'd moved away from all my friends and thought myself too socially awkward and weird to be able to make new ones. That's something a lot of us deal with, I think, especially when we're forced out of our comfort zones.

I am a shojo romantic at heart. Most shonen don't really hook me emotionally the way shojos do. And if it does hook me, it's set in a world so fantastical and so bizarre that my interest wanes before long and I would forget the plot all together. When I did delve back into manga or anime (decreasingly so once I got my first adult job at twenty-three), I wanted to wrap myself in the blanket of the tropes that were comfortable to me: a wallflower female lead with surprising feistiness and sense of justice, a beautiful male lead like prince from a fairy tale, a second lead who would do anything for your affection. These stories were mostly set in the real world, even if they didn't make sense sometimes, I could make excuses because I loved the idea of shojo so much more than disliking the flaws.

While a lot of my friends watch anime religiously, I'm more of a casual fan (which is really a nightmare to otakus, who expect you to know every single canon, fanon, and side canon that has ever existed). I remember my first encounter with the show was equally as casual. My friend explained to me it's general concept while waiting in line for my badge at ACEN 2017. “It's about superheroes! There's this girl who is literally a frog! An ostentatious personification of America! When people cosplay this other character they wear a green zentai suit because she's supposed to be invisible and that's funny!”

Fresh off the tails of One Punch Man, which came out in 2015, I thought it was the same concept and I rolled my eyes. I knew that anime followed trends, like most things in the world: one year psychic-mecha anime was what everyone wanted to do and the next, post apocalyptic themes were all the rage. So I thought My Hero Academia was just another One Punch Man, a self-referential, satirical comedy about heroes who knew how ridiculous their own genre was. I'd seen it once and wasn't really interested in seeing it again.

My second encounter with My Hero was a bit more personal. It was 2019 and I was taking my eight-year-old cousin to her first anime convention ever. Her family has always been a little more conservative, being Jehovah's Witnesses and living in one of the most right wing cities in Mid Michigan... and I was thrilled when she confessed to me that she enjoyed shonen-ai, that her mom had bought her a complete set of Sailor Moon manga, and that she wanted to borrow my own personal manga collection for reading. There was only a four month turn around, but I made her a janky cosplay and drove her to Kalamazoo for one day of their local convention, Dokidokon, wherein she pointed out someone cosplaying her favorite character, Shoto Todoroki from My Hero Academia.

At this point I had the base knowledge that my friend had given me at ACEN two years prior, but I just couldn't follow what my cousin was saying. After she shyly asked for a picture with the cosplayer, she explained to me why she shipped this character with that character and why that other character was a jerk... I couldn't understand any of it. And I realized that I had missed something much more important than hopping on the fanwagon of one of the greatest anime of its time... I'd missed an opportunity to connect further with my little cousin, someone who was just beginning to sprout seeds of her own ideas and her own interests, separate from her religiously zealous mother and her perpetually aloof father. I had missed a chance to truly enjoy her happiness, to witness her excitement when she saw her favorite characters pop out of the television screen and manifest themselves before her, alive and in the flesh... and just as heroic as their two dimensional counterparts.

That fall, I watched the first episode of My Hero Academia on my morning elliptical workout and my life was changed.

I mentioned before that one of the reasons I have a difficult time connecting with the shonen genre is the fantastical worlds that I cannot relate to. For instance, I can apply logic to the world of Naruto in my head, but it never seems real like it could be real to me. I always find myself questioning social structure, in-world history, and the story's depiction of the human condition. There's always a nagging voice in my head that refutes all of these pretend worlds in shonen... but My Hero is set in a world not unlike our own. In fact, aside from his green hair, the main character seemed like someone I might have known in middle school: a small, meek nerd type who is always scribbling something in his journal, always knew more than he was letting on... someone you wanted as a friend, whether you realized it or not. Izuku Midoriya as a character is as close to the shojo trope of a wallflower main lead as you could get. When we meet him, he's quirkless and is often bullied for by his childhood frienemy, Katsuki Bakugou. He's kinda squirrely, kinda spazzy, but feels like a grounded character because his golden heart is his most defining attribute. Midoriya has no illusions about what he is. He knows he's weak. He knows that people look down on him. But he is just… good. His goodness is infallible and his goodness rings true in everything he does, including when he risks his life to save said bully in episode two.

Conversely, while Midoriya is full of impressionistic verve, Bakugou turns the tables on the typical second lead shonen stereotype because he's not some edgelord that wants revenge for his slaughtered family. He actually has both parents at home and lives in a nice house and neighborhood. He doesn't have some kind of revenge fantasy playing in his head on his journey to become the best hero... he's just a fucking dick. A dick with a chip on his shoulder because his whole life people have told him that he's the better than his peers... and when Midoriya proves to Bakugou that natural talent isn't everything, he must grapple with the idea that world wasn't everything he thought it was.

Midoriya doesn't automatically become a cool kid after attaining his quirk from his idol, All Might, either. He doesn't stop being socially awkward. Midoriya still nerds out when it comes to All Might and he still takes copious notes on every hero he encounters, his classmates or otherwise. Midoriya has a goal but he doesn't have a grand plan. There's no shortcut to the end, only day after day of hard work and determination and figuring shit out on his own. Since he is the protagonist, we see the reasoning behind everything he does and this fact grounds the world of My Hero Academia for me. We see Midoriya fail and win and fail again, but we never stop rooting for him because we know he is smarter and more capable than his awkwardness allows him to show the world.

We follow Midoriya during some of the darkest times of his life, including when he learns that he would never develop a quirk. What hurt him more than the doctor delivering this news was his mother's fervent apologies rather than words of encouragement. Because even without a quirk, Midoriya could have done anything he wanted to, had he had the support of his family. In shonen anime the parents are usually convenient plot devices or they are dead. In My Hero, though, Midoriya has a close and communicative relationship with his mother. One of the more powerful scenes involving Inko Midoriya is when she refuses to let Midoriya go back to his dream school despite his protests. She explains that, first and foremost, she is his mother and her duty is to keep him safe. When I see this scene I always choke up because this is how humans act and I don't think I've seen it in another shonen before. I hear the common argument, “Well, he's training to become a hero. He's gonna get hurt.” as a justification of why Inko should be fine with Midoriya's broken bones. And while logistically that may be true, we know that most parents wouldn't feel that way. It makes sense as a narrative, given what we know about Midoriya and Inko's relationship.

Something I also love about this series is that every character has a fail stop, a logical reason why they aren't as OP as possible: if Todoroki uses his right side too much he gets frostbite and if he abuses his left he gets burned. If Ururaka overexerts her Zero Gravity, she gets motion sickness. Even All Might, Midoriya's mentor and the strongest hero in the world™, cannot be in his hero form for more than three hours a day. Every character must learn to recognize and live with their shortcomings, because even heroes need to find their place in the universe... and rely on those who fill the empty spaces around them. Because this show, despite it's taglines and ultimate moves, thrives on the logic of balance, of give and take accepting that no one can go at it completely alone, I realized that it was nothing like the aforementioned anime. It was so much more.

Like my friend told me three years ago, on a surface My Hero Academia is about superheroes. It's about capes and costumes and training montages and redemption arcs and all the things that we nerds love... But beneath the surface, My Hero Academia is about recognizing your own power. Izuku Midoriya isn't a hero because he inherited All Might's quirk. He's a hero because, to the very marrow in his bones, he does what is right. Izuku strives to be better than his own self doubt and the world telling him he's not good enough, even though most times he ends up crying his eyes out. He embodies the will to succeed that we all have within us when we find our passions, whether it be beginning your fitness journey with some anime on the elliptical, bagging that nine-to-five job, or something more substantial, like training, despite the odds, to become a hero who saves people with a smile on his face.

[twiztidskull]

Hisoka from Hunter x Hunter cosplayed at Anime Central 2016 for this weeks Hunter x Hunter toonami pic, and in honor of ACEN 2016 going on right now. This time around with a prisma edit to it. Cosplayer: @bitchii-usa

[buellerismyfriend]

“Hindenburg nos céus pacientes”

Na tarde do dia 4 de abril de 1936, o dirigível Hindenburg sobrevoou o bairro de Paciência, a caminho do seu campo de pouso, em Santa Cruz, próximo à Baía de Sepetiba. Um enorme laranjal, de propriedade da família Pareto, dominava todo o território paciente, entre a Serra da Paciência e a de Santa Eugênia. Dezenas de lavradores, já cientes da passagem da aeronave de quase 130 metros de comprimento, por 58 metros de largura, observaram boquiabertos a chegada do zepelim, que passou sobre o bairro a menos de trezentos metros de altura de suas cabeças. Toda a cidade se mobilizava para assistir à passagem do dirigível, do Centro, Zona Sul, Zona Norte, até a Zona Oeste. Foram nove vôos até Santa Cruz, cinco efetuados pelo zepelim LZ 127 Von Graf, quatro pelo LZ 129 Hindenburg.

Sobrevoando a periferia carioca, um avião comercial, de verdade, da Viação Aérea São Paulo (VASP), só começaria a funcionar regularmente a partir do fim de 1936, fazendo a rota Rio-São Paulo, mas passava a muitos pés de altura, sobre os laranjais pacientes, sem levantar, assim, interesse algum. Com o dirigível de alumínio, tudo era diferente! Voava a menos de mil metros de altura, chegando, em alguns trechos, a aproximar-se trezentos metros do solo. Sua velocidade máxima atingia 128 quilômetros por hora, mas, ao sobrevoar Paciência, vinha a menos de cinquenta por hora!

Em 1933, após estudos profundos, técnicos alemães indicaram o bairro de Santa Cruz como ideal para a construção de uma área de pouso e abrigo das moderníssimas aeronaves germânicas. Estudaram o clima, a direção e velocidade dos ventos na região. As obras começaram em 1935, envolvendo mil e quinhentos trabalhadores, e ficaram prontas no dia 26 de dezembro de 1936, com a presença do Presidente Getúlio Vargas.

Duzentos homens eram necessários para atracar a aeronave ao solo. Chamados de “aranhas”, vinham de vários bairros da cidade, de trem, com seus braços poderosos para segurarem os cabos do dirigível na delicada hora do pouso e manterem a aeronave presa ao chão santacruzense.

Um desses “aranhas” era cidadão paciente, nascido e criado no bairro de Paciência. Morador da estrada dos Vieiras, Carlos Félix era funcionário da pujante indústria de colheita de laranjas da família Pareto. Era encarregado do armazém central: controlava a chegada das carroças abarrotadas de laranjas, agrupava a produção no enorme galpão, ao lado da estação ferroviária, e comandava o carregamento de toneladas da fruta nos vagões que partiam semanalmente de Paciência para o cais do porto, no centro da cidade. De lá, as laranjas seguiam para a Europa e Estados Unidos, “in natura”, ou como suco, em menor proporção.

Sua filha, Carlinda Félix, de quatorze anos de idade, quando soube da passagem do dirigível Hindenburg pelos céus pacientes, pediu efusiva ao pai que ela fosse com ele até Santa Cruz, naquele 4 de abril de 1936. Pegaram o trem em Paciência, que já vinha trazendo todos os “aranhas” que trabalhariam no atracamento do Hindenburg, e a pulsação da alegria dentro dos vagões era enorme. Havia um modesto terminal ferroviário no campo de pouso, o que facilitava a ida dos “aranhas” até o local do grande desembarque.

O que “Carlindinha” não sabia é que Seu Omyr, filho do maior capitalista das laranjas pacientes (Oscar Pareto), sabendo que ela faria quinze anos de idade no preciso dia da chegada do zepelim a Santa Cruz, conseguiu uma verdadeira façanha: ela iria com ele (e toda a família Pareto) até o interior da aeronave. Visitariam toda a sua estrutura interna, a cozinha, as cabinas, o restaurante e cumprimentariam parte de sua enorme tripulação.

No gramado do campo de pouso, a duzentos metros do hangar ainda em construção, Carlinda, toda de vermelho (do delicado calçado até o belo chapéu) e a família Pareto aguardavam ansiosos a atracação da aeronave, procedimento que foi por demais simplificado naquele 4 de abril, visto que os ventos resolveram esconder-se timidamente por trás das ondas da Baía de Sepetiba. Ou será que estavam fascinados, também, pela imponência do aeróstato alemão?...

Ao fim do embate, entre os duzentos homens parrudos e o bólido de alumínio, a tripulação acenou para os milhares de olhos curiosos que cercavam a área de desembarque. O comandante Lehmann, sorridente, fez sinal para que a família Pareto adentrasse o dirigível, e um jovem da tripulação, falando espanhol com um marcante sotaque carregado de alemão, encantou-se, naturalmente, pela beleza de Carlinda, dirigindo-lhe então:

- Por favor, señorita! Venga conmigo! No pequeno (porém confortável) restaurante, todos tomaram chá preto, com biscoitos, ao som da música de Brahms. Em seguida, desceram todos, e uma banda marcial iniciou uma apresentação festiva que durou meia hora.

Como lembrança física do grande dia, Carlinda ganhou do gentil tripulante uma xícara de porcelana, com pires e tudo, contendo a sigla LZ (Luftschiffbau-Zeppelin), na cor branca, com pormenores e letras em azul. Por décadas esse souvenir circulou pela família Félix, com o maior zelo do mundo.

Quatro anos depois, o jovem tripulante e Carlinda casaram-se, num vilarejo bucólico, chamado Rastede, no interior da Alemanha, e Paciência perdeu para sempre a beleza e o encanto da filha do cuidador de laranjas, Carlos Félix.

Durante a Segunda Guerra Mundial, com a queda da exportação da laranja paciente (por conta da crise mundial provocada pelo direcionamento da economia internacional em prol do chamado “esforço de guerra”), Carlos Félix passou a investir na produção de gado leiteiro, em Venda de Varandas, onde comprou enorme extensão de terras.

A família Pareto passou a atuar em outros setores da economia. Abriu-se um importante escritório imobiliário na Tijuca. Um outro, bem maior, foi aberto no centro do Rio. Um enorme loteamento foi deslanchado nas antigas terras do laranjal paciente, da Serra da Paciência até a de Santa Eugênia, numa área total de quatro quilômetros de comprimento por dois de largura: surgiram o Bairro Farias, a Vila Geni, o Jardim Sete de Abril, o Parque Estoril, a Júlia Miguel, entre outros loteamentos.

Carlinda Félix, que então passou a assinar-se Carlinda Brötje, nunca mais visitou Paciência. Seu pai a visitou duas vezes em Rastede, mas nenhum vínculo mais se manteve com a periferia ocidental carioca. Uma bisneta sua, Gerlinde, interessou-se muito pelo passado brasileiro de sua bisavó e chegou a visitar o bairro, na segunda metade dos anos de 1980, mas nada mais de especial houve de contato entre os dois mundos.

Isra Toledo Tov (in "Contos pacientes", 2016)

Isra Toledo Tov é Pesquisador & Memorialista- . Foto ilustrativa - Revista O Cruzeiro- Maio de 1930