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‘I admire his madness above all at Maradona’, says Zé Celso Martinez Corrêa

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São Paulo – “If I were Maradona / I would live like him (…) If I were Maradona / I would never be wrong.” The excerpts of the song “La Vida Tómbola”, by the Spanish musician Manu Chao, make us think that the life of El Pibe can be compared to various genres of art. Drama, tragedy, opera. He also embodies the spirit of an emotionally intense, dramatic, politicized nation that cannot live without myths: Carlos Gardel, Juan Domingo Perón, Evita.

But Diego, Dieguito, who died this Wednesday (25), for the Argentines the greatest ace that ever existed, also moved through politics: he met with Fidel Castro and Hugo Chavez, defended Dilma Rousseff, and showed solidarity with Luiz Inácio Lula da Silva.

On Twitter, former Argentine president and current vice president, Cristina Kirchner, wrote: “Mucha tristeza… Mucha. If it was a big one. You have always Diego, we love you so much. Huge hug to your family and loved ones ”. For political scientist Vitor Marchetti, “Maradona is giant because he always knew what it was like to represent a nation and a people”, as he said on Facebook. The star’s death had an impact worldwide.

There are those who believe that there are no coincidences. In any case, Diego Maradona died on the same November 25 as Cuban leader Fidel Castro four years ago.

Comparing football with art, a great player to the artist and a great goal with a painting is one of the biggest clichés involving football. Maradona had “art in football and in life”, in the opinion of playwright José Celso Martinez Corrêa. But for him, the ace was more than that. “I admire above all at Maradona his madness, and his courage, the courage of that madness, in a grimace like football,” he says, in an interview with RBA.

Because of his behavior, El Diez – which elevated the then modest Napoli to the rank of one of the greatest teams in the world (from 1987 to 1990) and led, virtually alone, Argentina to the glorious 1986 world title, with the brother of Dios – it was a full plate for the moralism of the press and society. That is certainly why he did not restrain his explosive temper and reacted to journalists who harassed him with compressed air gunshots on the eve of the 1994 World Cup.

“Anyone who gets out of the rule is heavily attacked. I know what it is
because I’m also a scapegoat. He was a goat of many things, right? But
the goat is his greatness ”, says Zé Celso.

Read the interview.

What do you have to say about Maradona?

Maradona is a genius. He was a football player, but not only
that. He was a guy who enjoyed life. Who enjoyed enough, who lived
who drank, had access to everything possible and gives pleasure in
life. It is the death of a very happy, very strong, very crazy person. I admire
above all in Maradona his madness, and his courage, the courage of this
madness, in a funny face like football. He was too bold in life.
He lived life with great intensity. He died at the age of 60. I think it’s even good
this, I don’t know.

Why good?

Because it is what it is! (laughs). I’m 83 years old. And more
difficult, live old age. Much more difficult.

Society and the media spoke of Maradona very morally, but now that he has died …

Of course! Ever. Anyone who leaves the rule is very
attacked. I know what that is because I am also a scapegoat. He was
a goat of many things, right? But the goat is his greatness. In fact, I don’t know
no player… Neymar does things, he’s a little crazy, falls to the ground, there’s a lot
girlfriend. But he is a subject equal to everyone. There’s nothing weird. Already
Maradona is crazy, a much more creative guy.

Brazilian Pelé said he did not vote for Bolsonaro because he was outside Brazil. Already Maradona, an Argentine, supported Dilma Rousseff, posed with Fidel Castro

He’s a libertarian. Few are as libertarian as he is. In Argentina it is a phenomenon. He lived life very well. Suffered, of course. But he lived madly.

Could he be identified as an artist, in the metaphorical sense?

I think. He had art in football and in life. He’s an artist. It goes in the inversion of the values. I am writing (on this topic in) a play. A king of Syria who becomes king in Rome, but he is completely anarchist. I like Maradona’s position.

Is Maradona an anarchist?

He’s more than that, he’s anarchic. I hate “this”. Communist, anarchist, socialist, capitalist. I like capital, in common. “Ista” business has nothing.

Watch a video with Manu Chao playing La Vida Tómbola in the presence of Maradona:

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Economy

Book addresses transformations in rap through changes in society

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São Paulo – Society undergoes several changes, year after year, be it culturally, in its forms of organization, and even in new working methods. These transformations influence other segments, including Hip-Hop, rap and their MC battles. In view of this, social scientist Felipe Oliveira Campos, known as Felipe Choco, launched the book Rap, Culture and Politics: Battle of the Matrix and the Aesthetics of Entrepreneurial Overcoming, which addresses the digital and marketing influence within this culture.

A member of the Center for Studies and Research of Afro-America (Nepafro), Choco analyzes contemporary society using the Battle of the Matrix held in São Bernardo do Campo as a pillar since 2013, and considered a reference in the duel between MCs. The resistance of the event, the target of police repression and municipal administration, was the starting point for the author.

“When I face the Battle of the Matrix, it poses a number of questions that can be deepened, being able to understand it beyond the context of battles, as public spaces in cities”, he explains. “When the Battle of the Matrix emerged, I was part of the Hip-Hop Forum of São Bernardo do Campo, and mediated conflicts with the Government. Therefore, I realized that the conflicts that the battle created when occupying the public space, raised questions of general interest. So I used the Battle of the Matrix as a way to understand contemporary Brazil, ”added Choco.

In 2018, RBA reported the repression suffered by the battle of ABC Paulista. At the time, the management of the mayor of São Bernardo do Campo, Orlando Morando (PSDB), tried to “boycott” the traditional rap event in the city, by charging a fee for using the Praça da Matrix, in the city center. At various times, rapper Emicida went to the site to support young people.

Social transformations

While society sees new forms of organization, rap also adapts to these changes. The writer compares the professionalization of artists and battles to the industrialization of the city of São Bernardo do Campo and Posse Hausa, a black organization founded in the 1990s, focused on the Hip-Hop movement, whose majority of the members were workers in the ABC industry Paulista.

With the 2017 labor reform, by then President Michel Temer (MDB-SP), Felipe Choco explains that the social dynamics have also changed within the Hip-Hop culture. “Today, the organizers of the Battle of the Matrix are part of the service sector, without stability and without social protection. Therefore, the financial solution, among the organizers, was the professionalization of the event. This applies to the whole culture. ”

The main example used by the author of these social and economic transformations in rap is Emicida’s career. Coming from the Battle of Santa Cruz, disputed south of São Paulo, the rapper emerged using the main method of rhyming duels: the punchlines – in Portuguese, punch lines, used to impress the listener.

After the success, the rapper created his own musical label: Laboratório Fantasma. “Emicida created a horizon to organize its own career, without having to go through the distributors’ screen. In other words, it is the democratization of music production, distribution and consumption ”, said Choco, who recalls that the book’s presentation is signed by the MC.

Aesthetics of entrepreneurial overcoming

Based on the phenomenon achieved by Emicida, the social scientist points to the creation of a new aesthetic within rap: that of entrepreneurial overcoming. According to him, this aspect allows creative freedom and financial autonomy, creating a style of business organization.

“This overcoming does not mean denying the culture’s past, but advancing in the market sense, creating a mark around the artist”, he explained. The author quotes a statement by Mano Brown, a member of Racionais, where the rapper points out that the phonographic market is no longer just the commercialization of music, but also the image and positioning of MCs.

This aesthetic creates a new notion of work and organization, according to the author. “If we make a parallel with the industrial market, in the 1990s, work was in opposition to capital, where the organization of the workforce sought its valorization. Now, in the face of informality and the imposition that ‘each one is an entrepreneur of their own’, artists become their own business capital ”, he reiterates.

However, this entrepreneurial resilience does not only involve rappers and new independent labels, but also affects the battles of MCs, including the Matrix. With the rise of streaming platforms such as YouTube, duels have become more digital, have reached new audiences and created a new market.

“The Battle of the Matrix is ​​a product of that condition that battles have become. Before the pandemic, every Tuesday, she mobilized 1,000 people in the square. Battles play a fundamental role in mutations and reinventions of culture, as was the case with punchline, taking a new breath in how to make and organize rap. These changes that occur in rap did not come out of nowhere, they are the result of social transformations ”, concludes Felipe.

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