MASCARA DE ROCK

COUM action Omissions in Kiel, Germany, 1975 Courtesy Cosey Fanni Tutti

Cosey Fanni Tutti performing as Carter Tutti in 2011 Photo: Ian Cinammon, courtesy Cosey Fanni Tutti

Cosey Fanni Tutti talks frankly to Tate Etc. about art, sex and music

From her beginnings as an artist living in Hull in the late 1960s, Cosey Fanni Tutti has challenged the boundaries of contemporary art and electronic music. She has worked as a pornographic model and striptease artiste, and alongside Genesis P-Orridge was part of the art and music collective COUM Transmissions, whose performances consistently shook social convention, and the group Throbbing Gristle. In 1975 COUM represented Britain at the 9th Biennale de Paris, and in 1976 their Prostitution show at the ICA prompted the Conservative MP Nicholas Fairbairn to declare them the ‘Wreckers of Civilisation’. Tate Etc. spoke to her on the eve of her COUM Transmissions exhibition in Hull and the publication of her memoir Art, Sex, Music.

Tate Etc. What came first, art or music?

Cosey Fanni Tutti Music came first, but art was already there. I studied piano when I was at high school and played classical music. My dad used to build radios and circuit boards, so my ear was getting tuned in a very different way at an early age. He’d bought me a tape recorder, and I was experimenting with that. I got thrown out of home in 1969 at 17, so I just had to get on with my life. Then art and music were my life, nothing else.

Tate Etc. Where did your name come from?

CFT It just evolved. I’ve had various nicknames since I was very young. When I met Genesis he would call me Cosmosis, which changed to Cosey. One day, when I was doing mail art, the director of Matt’s Gallery, Robin Klassnik, wrote to me and addressed it Cosey Fanni Tutti – which I later learned means ‘as all women should be’. So it found a place in my life at the right time.

Tate Etc. What was COUM’s initial objective? CFT To have an objective you have to have boundaries, and we didn’t have any. We were all into dada and surrealism, but we had the added advantage that, while our generation rejected our parents’ way of living, we just wanted freedom – freedom of expression, completely. We just bounced ideas around and did whatever we wanted to do. Nothing was off-limits, and that’s what was great about COUM.

Tate Etc. Did what you were doing feel subversive in the moment of its making?

CFT No – the odd thing is that it didn’t. And I think that had a lot to do with the fact that we were isolated in our own world as COUM, as a family. In that situation, you encourage one another to expand on ideas and on yourself – finding and expressing yourself and living your fantasies. When you’ve got that going on 24/7, nothing really seems odd until you take it outside the front door, do it in the street and get arrested.

Tate Etc. Is the tension between you and the audience a positive one?

CFT Yes, because it’s a shared moment. It creates questions for other people there and for me, and hopefully evokes some kind of discussion and moves things forward a bit. I was always putting myself in a position of discomfort. I’ve always tried to break down certain barriers, like firstly just getting nude in public. It’s quite a big thing. But I guess I was happy being naked, and I was learning about sex and experimenting with sex and my sexuality, so that became part of my art performance actions. Everything went into one: if I was doing music or magazines or the art actions, they all fed into each other, because that’s who I was. I’m this whole person made up of these different parts.

Tate Etc. What does it mean for you to be taking your work back to Hull?

CFT It’s quite funny really, because in the early days we had such a struggle in Hull, even though I don’t think we were really that radical until we got to London. It’s difficult to think now that if you walked down the street in a Day-Glo mac, you would get attacked. It’s mad, but that’s what it was like. Hull people are hard because they’ve had a really tough life. And because I’m from Hull, I’ve an affection for it even though it’s uncompromising. That’s probably why I am who I am, so I’ve got no problem with taking my stuff back there.

Tate Etc. Your forthcoming memoir is called Art, Sex, Music. Why?

“Cosey has appeared in 40 magazines now as a deliberate policy. All of these framed form the core of this exhibition. Different ways of seeing and using Cosey with her consent, produced by people unaware of her reasons, as a woman and an artist, for participating.” Prostitution Exhibition Flier, Institute of Contemporary Art, London, UK, 1976

Maxwell Graham is honored to exhibit Cosey Fanni Tutti’s Magazine Actions from May 1 – June 28, 2025. This is Cosey Fanni Tutti’s first one person exhibition in America. Cosey Fanni Tutti has worked as an artist and musician for over 50 years. Fanni Tutti is a co-founder of the industrial music pioneers Throbbing Gristle. Magazine Actions are a body of work made between 1972 – 1980, for which Cosey Fanni Tutti worked as a pornographic model. These Magazine Actions infiltrated both the sex and art industries. Cosey Fanni Tutti conceived of the project as a progression from her use of existing pornography in collages and mail art: “… the idea of cutting around my own body and collaging myself as a nude model from a sex magazine struck me as having an honesty and potency that I felt could be the embodiment of a consummate artwork. I would have created the very image that I then used to create a work of art.” Cosey Fanni Tutti, Art Sex Music, Faber, 2017, p.116 A few weeks after each shoot, Fanni Tutti would seek out the magazine titles, from newsstands and sex shops, acquiring at least two copies of each to account for the recto and verso of each page, producing an inventory of the project.

“But I was no ‘victim’ of exploitation. I was exploiting the sex industry for my own purposes, to subvert and use it to create my own art. It was my choice. I wanted to get to know the sex industry from within, to speak from first-hand experience. I wanted a purity in my work, to push against existing expectations and my own inhibitions, and to understand all the complex nuances and trials it imposed on everyone in that business, including the target market. I was transgressing rules – feminist ones included.” ibid. p.172 The Magazine Actions premiered in 1976 at the landmark Institute of Contemporary Art, London exhibition Prostitution. This exhibition is widely cited as one of the most controversial exhibitions in histories of the ICA, British Art and the 1970s. The exhibition presented the work of COUM Transmissions, of which Cosey Fanni Tutti was a co-founder and core member, and included various performances and projects, including the Magazine Actions.

“I extracted all the images of myself and the associated text from each one – those pages were my ‘action’, to be framed as my work, thereby subverting the ‘male gaze’. The title of the exhibition was ‘Prostitution’, not only as a direct reference to my first appearance in a sex magazine, as well as my subsequent sex-magazine works, but it also represented our thoughts about the art world – talent being touted and sold for a price, the relationship between high art and money.” ibid. p.172 The Prostitution exhibition prompted over 100 reviews, widespread attention and critique; enough to cultivate responses from the British Parliament. In an era defining quote, Conservative MP Nicolas Fairbairn referred to the artists as “wreckers of civilization.” He also called for weaponizing the withholding of federal funds:

“I am writing immediately to the appropriate Government departments to stop all grants of taxpayers’ money to the British Council. We’re only just getting a look at the maggots in the nest. It is clear these people have been using the excuse and pretence of art to swan around the world undermining values.” Conservative MP Nicolas Fairbairn, Daily Mail, October 19, 1976

“The problem for Tutti lay in how she could investigate pornographic imagery and present her findings without merely reproducing that culture’s prejudices and values. In the context of the initial publication of the magazines themselves Tutti could not escape being ‘reduced’ to the role of an interchangeable fetishised object of private male sexual fantasy.

But where Tutti’s roles were multiplied, as in the public exhibition, to become both subject and object, artist and model, viewer and viewed, the work became difficult to consume as pornography. It was this difficulty, for the male gaze especially, in ‘fixing’ Tutti, when she presented herself so openly to the gaze, that de-eroticised the imagery.

The power conventionally located in the male gaze was undermined by the way in which Tutti combined artistic display with the sheer excess of pornographic spectacle. Tutti’s works for magazines began to operate explicitly as critique when they were re-presented away from their ‘original’ context, and read according to the terms of another discourse.

Tutti’s aim was to provide a critique of pornography and by extension the wider tradition of the aestheticised female nude and its power to define a feminine ‘ideal’. Whilst artistic nudes and erotic photography were sanctioned because of their associations with a patriarchal high art tradition, pornography was demonized because of its association with a debased and illicit mass culture.

One of the many taboos broken by Tutti and COUM in Prostitution was to exhibit mass cultural ‘ephemera’ as high art artefacts. The pages from the magazines were signed and framed behind glass and the selling price of each piece was suitably inflated to reflect their status as artworks.” Simon Ford, Wreckers of Civilisation: The Story of COUM Transmissions & Throbbing Gristle, Black Dog, 1999, pp. 6.25-6.26 Cosey Fanni Tutti’s Magazine Actions must be seen as an overlooked yet crucial expansion and complication in histories of performance art of the era by Yoko Ono, Joan Jonas, Carolee Schneemann, Marina Abramović, Vito Acconci, Valie Export and others. The Magazine Actions must also be seen as an overlooked yet crucial expansion and complication in histories of Conceptual Art and media intervention of the era such as Dan Graham’s Works For Magazines, Joseph Kosuth’s Second Investigation, Robert Heinecken’s Periodicals and Adrian Piper’s The Mythic Being; most of which were placed in non art general audience pe

riodicals.

Cosey Fanni Tutti’s work has been the focus of institutional exhibitions at Frac Île-de-France, Romainville, France curated by Gallien Déjean in 2018 and at the Van Abbemuseum, Eindhoven, Netherlands in 2005. Fanni Tutti represented Britain at the IXth Biennale de Paris, France in 1975. An event centered on her work, Cosey Complex, was organized by Maria Fusco and took place at the ICA London in 2010; a publication for the event was edited by Fusco and Richard Birkett and published by Koenig Books.

Her work has been included in institutional group exhibitions such as Women in Revolt! Art and Activism in the UK 1970-1990 curated by Linsey Young at Tate Britain, London, UK in 2023 which toured to National Galleries Scotland, Modern, Edinburgh, UK and Whitworth Gallery, University of Manchester, UK in 2025; Black Sheep Feminism: The Art of Sexual Politics curated by Alison Gingeras at Dallas Contemporary Art Museum, Dallas, Texas in 2016; Pop Life: Art in a Material World curated by Jack Bankowsky, Alison Gingeras and Catherine Wood at Tate Modern, London, UK in 2009 which toured to Hamburger Kunsthalle, Germany; National Gallery of Canada, Ontario, Canada in 2010; and WACK!: Art and the Feminist Revolution curated by Connie Butler at the Museum of Contemporary Art, Los Angeles in 2007 which toured to the National Museum of Women in the Arts and MoMA PS1 Contemporary Art Center in 2008. Cosey Fanni Tutti’s work has been closely involved with Cabinet Gallery, London since 1996. Cosey Fanni Tutti has written two books; Re-sisters: The Lives And Recordings Of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti published by Faber in 2022; and the best selling autobiography Art Sex Music, also published by Faber in 2017 and since translated into Japanese and French.

Her newest solo album 2t2 is out June 13, 2025 via Conspiracy International

Arf & Omega (creditados como "Arf & Omega featuring The Singing Lawnchairs") eram uma dessas bandas. Eles assinam a bizarra e caótica faixa de encerramento chamada "Aircraft Damage", famosa pelo seu mantra repetitivo e perturbador: "Kick a cat today!"

Os Gêmeos Siameses de Vileness Fats, a música "Aircraft Damage" era, na verdade, parte da trilha sonora do projeto mais ambicioso e amaldiçoado dos Residents: "Vileness Fats".

Entre 1972 e 1976, a banda gravou mais de 14 horas de filmagem para aquele que seria o primeiro longa-metragem musical em vídeo da história. Na trama surrealista de ficção científica (filmada com cenários de papelão inspirados no expressionismo alemão)

Arf e Omega são uma dupla de gêmeos siameses/conjoined twins que atuam como lutadores de luta livre (tag-team wrestlers).

Eles são recrutados para salvar a vila de Vileness Flats contra uma invasão de rebeldes que atacam usando carrinhos de supermercado atômicos com brocas (Atomic Shopping Carts) e uma gangue de anões que se disfarçam de carne.

Para ajudar o vilarejo, a dupla usa conhecimentos ocultos para invocar uma deusa/sacerdote nativo-americana chamada Weescoosa, que cruza os céus pilotando um avião de caça.

O arco dramático dos irmãos termina de forma trágica em um clube noturno, onde eles brigam pelo amor de uma cantora (Peggy Honeydew) e travam um duelo de facas vendados. Omega acaba esfaqueando Arf mortalmente e arrasta o corpo do irmão para fora do recinto.

Diferente dos Residents (que escondiam suas identidades sob cabeças de globo ocular), os atores de Arf e Omega eram amigos reais do grupo em San Francisco: Palmer Eiland (Arf) e George Ewart (Omega).

A decisão de transformá-los em gêmeos siameses no filme surgiu por uma característica física real: George Ewart tinha apenas um braço. Assim, nas filmagens, os dois atores amarravam-se um ao outro para criar a ilusão do personagem unido.

Ewart faleceu em 2011 e Eiland em 2017.

Vileness Fats nunca foi concluído por falta de verbas e limitações tecnológicas da época, tornando-se o Santo Graal dos fãs da banda.

Partes da história de Arf e Omega foram resgatadas no VHS Whatever Happened to Vileness Fats? (1984), no DVD Icky Flix (2001) e até em fotografias usadas no filme Triple Trouble (2022).

Arf e Omega associados ao lendário e misterioso coletivo de vanguarda The Residents, os primórdios mais absurdos, surreais e fascinantes da banda.

The "Soul Twin" Connection: Nico later referred to Morrison as her "soul brother."

"Everything is a drug, words are a drug, Jim said that God is a drug – those are not such cliché. It is a medicine, something to cure you of disease.. Coffee cures you of tiredness…. music? Well, music cures you of time. And God cures you of death, I suppose." - Nico

During their time together in California, between the months of July and August 1967, Nico & Jim often drove out of Los Angeles and into the desert.

Morrison found the cactus buttons called peyote, which they picked off and ate.

Nico just once offered an example of the peyote visions she endured with Jim Morrison: "The light of the dawn was a very deep green and I believed I was upside down and the sky was the desert which had become a garden and then the ocean. I do not swim and I was frightened when it was water and more resolved when it was land. I felt embraced by the sky-garden."

Both Nico and Morrison were deeply detached from the conventional pop culture of the 1960s. While the rest of California was celebrating the "Summer of Love," peace, and psychedelia, Nico and Morrison were obsessed with much darker, European themes

"He was the first man I was completely in love with, because he was an intellectual... He was like a soul brother to me."

(Marble Index / Desertshore / The End…)

The "Soul Twin" Connection: Nico later referred to Morrison as her "soul brother."

Morrison-Nico relationship

She dipped into Wordsworth, one of her favorites, and his magnum opus, The Prelude (the 1850 posthumous, final version), for her album's title

And from my pillow, looking forth by light

Of moon or favouring stars, I could behold

The antechapel where the statue stood

Of Newton with his prism and silent face,

The marble index of a mind for ever

Voyaging through strange seas of Thought, alone.

Despite that distinctly unromantic first meeting, Nico and Morrison decided to start a relationship, an unholy alliance based on mutual drug addiction and alcohol abuse.

At the same time, there was an intimacy that Fields spotted when Nico first opened the door to Morrison

It wasn’t exactly a scene out of a classic Hollywood romance when Nico and Jim Morrison first crossed paths in 1967.

In fact, it was a beautifully disastrous, distinctly unromantic collision of two massive, volatile egos.

The setting was Los Angeles. Nico, the icy German chanteuse and Warhol superstar, had just finished her stint with The Velvet Underground.

Jim Morrison was the leather-clad, Dionysian frontman of The Doors, riding the massive wave of "Light My Fire."

According to rock lore, their first real interaction involved very few words and a lot of alcohol.

They were introduced at a party, and instead of exchanging pleasantries, they allegedly ended up in a physical tussle.

Morrison, known for his erratic behavior when drunk, pulled Nico’s hair, and she responded by kicking him squarely in the shins.

It was violent, chaotic, and entirely devoid of traditional charm.

Yet, amidst the bruises and the booze, a bizarre, intense spark was lit.

Despite—or perhaps because of—the rough introduction, the two anomalies recognized a kindred spirit in one another. They embarked on a brief, intense, and deeply strange relationship during the summer of 1967.

Without Jim Morrison acting as her artistic catalyst, we likely would never have gotten her groundbreaking avant-garde albums like The Marble Index or Desertshore.

Morrison introduced Nico to the romantic, dark poetry of William Blake and Arthur Rimbaud, finding in her someone who understood his morbid fascination with the "other side."

Their relationship wasn't spent at typical Hollywood parties. Instead, they would take acid and drive out into the California desert. Nico later recalled nights spent walking among the rocks, not speaking a word to each other for hours, just observing the landscape. They shared a specific type of isolation; both felt deeply alone in the world, and they found a strange comfort in being alone together.

The "Soul Twin" Connection: Nico later referred to Morrison as her "soul brother."

They were both deeply poetic, profoundly melancholic, and obsessed with themes of death, beauty, and darkness.

The visual match visually, they were a striking, almost mythical pair. Both possessed high-fashion cheekbones, ethereal looks, and a brooding stage presence. They looked like rock-and-roll royalty, even if their private life was a storm.

Both Nico and Morrison were deeply detached from the conventional pop culture of the 1960s. While the rest of California was celebrating the "Summer of Love," peace, and psychedelia, Nico and Morrison were obsessed with much darker, European themes:

The poetry of death both were fascinated by romanticism, mortality, and the macabre. They would spend hours walking through the desert or the canyons of Los Angeles, not talking, but simply observing the landscape.

Mutual artistic influence Morrison was actually one of the few people who encouraged Nico to write her own music rather than just singing other people's songs.

He inspired her to transition from a pop/folk chanteuse into the avant-gothic harmonium player she became on albums like The Marble Index.

"We drank a lot of alcohol and took a lot of drugs. We were both very solitary people, but we understood each other."

— Nico, reflecting on her time with Morrison

Their relationship didn't last long—it was too volatile to survive the intense heat of their respective lifestyles—but it left a permanent mark on Nico.

She dyed her iconic blonde hair red because Morrison told her he preferred it, and she chased the poetic, uncompromising spirit he championed for the rest of her career.

“Listening to Nico is always an unforgettable experience: turbulent, enigmatic, haunting, nihilistic and timeless. Now it seems that time is finally catching up with Nico in that more and more people are coming to appreciate her profoundly disturbing and visionary recordings. With The End she is at her best, forcing you to totally rethink what a rock album should sound like.”

Sun Ra, musician and composer of experimental jazz, passed away on May 30, 1993, at the age of 79.

Born May 22, 1914

He died in Birmingham, Alabama (USA), the city where he was also born, although he spent much of his artistic life elsewhere, especially Chicago and New York.

Sun Ra was not just a musician — he created his own mythology, claiming to be from Saturn and developing a philosophy called "cosmic philosophy," which profoundly influenced experimental jazz and Afrofuturism.

Sun Ra, whose real name was Herman Poole Blount, was known for his cosmic philosophy and contributions to Afrofuturism.

In the June 2016 issue (338) of Ruta 66, Artman described how his work evolved from the experimental rock of Lard Free into Urban Sax's exploration of sound in physical space.

He explained that Urban Sax grew from early experiments in Paris and Menton, where musicians were positioned far apart so that architecture itself became part of the composition.

A central idea behind Urban Sax was the relationship between space and sound.

Artman organized ensembles of saxophonists across rooftops, streets, public squares, museums, and monumental buildings, creating moving sound environments rather than traditional stage performances.

The ensemble eventually expanded from eight players to dozens, and sometimes more than one hundred performers

Gilbert Artman was an eccentric who started two projects: Lard Free ( 1973), a Heldon-like electronic-rock, and Urban Sax , a 27-saxophone horn section indulging in minimalist repetition that debuted with the shocking I ( 1977)

Gilbert Henri Artman French drummer, multi-instrumentalist and composer. Leader of the pioneering electronic rock and jazz group Lard Free, and director of the long-running multimedia ensemble Urban Sax to play an electronic rock'n'roll similar to Heldon's.

They recorded Unnamed (1972), released only in 1998, Lard Free (1973), I'm Around About Midnight (1975), Spirale Malax (1977).

He also invented Urban Sax, an ensemble of percussion and (many many) saxophones, that used minimalist repetition a` la Terry Riley as the main compositional technique.

They released Urban Sax 1 (1977), Urban Sax 2 (1978), Paradise Lost (1982), a collaboration with musique concrete pioneer Pierre Henry, Fraction Sur Le Temps (1985), Spiral (1990), To the Happy Few (1993), Urban Sax 93 (1993).

the influence of the Paris avant-garde and the post-1968 cultural climate,connections with figures such as Pierre Henry,

collaborations with groups including Heldon and Clearlight,

Urban Sax performances in locations ranging from the Alhambra to the Guggenheim Museum Bilbao.

V. Serra (Urban Sax Collective) There are paintings and visual expressions associated with the visual identity of the French musical and performance project Urban Sax (led by Gilbert Artman) that are credited to V. Serra.

The Eurock DOC Film

Following the 2016 publication of the 4th Eurock book The Music of Gilbert Artman & Urban Sax work began on the next project a Eurock historical documentary film. With the cooperation of several artists musically it will cover the wide diversity of countries, music and history that Eurock has written about and promoted over the past 49+ years.

A New Collection of 'Artifacts' from the files of Eurock Magazine (1970-2020)

Starting from Fresno in 1971 on FM radio Archie Patterson and his DIY media magazine of the same name (beginning in 1973), became the crucial American node for otherwise obscure continental European "Second Culture" music. 

Relocating to Portland in 1976, after a few years spent in Los Angeles, Calif., he moved back to Portland in 1984.

Archie has been in the vanguard discovering German, French, East European, et. al. rock, electronic, space and experimental music ever after. It was Archie who hooked Tangerine Dream up in Hollywood with Michael Mann to do the music of his first film "Thief". In 1981, he released and distributed the "100 Points" recording by the imprisoned Czech underground band Plastic People of the Universe.  Archie was the one American to get on every European underground promotional list.  "Archives" presents rare images, letters, and communiqués to help complete the Eurock portrait of that era that began with his earlier books…

~ Joe Carducci, "Rock & the Pop Narcotic"

The band was formed in San Francisco in 1978 by vocalist Pearly Gates, guitarist Peter Bilt, bassist Hilary Stench, and drummer John Stench.

The group became a Bay Area favorite and was an integral part of a fertile new wave scene that also spawned Romeo Void, Translator, and Wire Train.

Pearl Harbor and the Explosions was a musical act from San Francisco, California, United States. Forming in 1979, the new wave band had limited success in the late 1970s and early 1980s, with their debut single, "Drivin'"

The vocalist, Pearl E. Gates (also known as Pearl Harbor and later Pearl Harbour (British and Canadian spelling), was based in the UK and was married to Clash bassist Paul Simonon.

Gates had been a part of the Leila and the Snakes live shows, then formed the band.

After Gates left the band, the remaining members, Peter Bilt and the Stench brothers (stage names for John and Hilary Hanes) performed as Peter Bilt and the Expressions

PH: Oh hell to be boring, of course I always loved "London Calling" and I always loved "White Riot" and I always loved "Garage Band". Can't even tell you why. It's for the same reasons everybody else loves those songs, they're just fucking great songs.

I couldn't pick an obscure song Clash song, cause I don't think I would pick something obscure off of Sandanista, that isn't my favorite Clash album. Yeah, it would have to be either "White Riot" or "London Calling" probably.

JPG: Who were some of the more interesting characters you came across during that time period with Paul?

PH: Well, who we haven't touched upon is Ian Dury, one of the most interesting characters I have ever met in my life.

He taught me all about rhyming slang, gave me a rhyming slang dictionary, an English dictionary, a proper one, and gave me a proper English thesaurus.

He taught me a lot about dealing with the press. He would say - The press lies about you, so just lie to the press but keep everything funny and make up good stories whether they are true or not and don't ever put anybody down because they're always out for gossip.

He taught me all that shit in like 1978 and I always remembered it. Joe Strummer and Ian Dury taught me the most.

Obviously I had the most fun with Paul and I had a brilliant time meeting everyone through Kosmo.

Kosmo Vinyl was The Clash's personal assistant and he was also Ian Dury's personal assistant, so I met all those folks through Kosmo.

I SAW LIVE PEARL HARBOUR and THE CLASH + TAXI

Os The Clash chegaram a fazer uma famosa digressão promocional nos EUA e no Reino Unido chamada justamente "Pearl Harbour Tour" (entre 1979 e 1980).

Shows em Nova Iorque: Pouco depois de passarem por Cascais, em junho de 1981, os The Clash fizeram uma residência histórica de 17 concertos no Bonds International Casino, em Nova Iorque. Nessa residência específica, a própria Pearl Harbor chegou a participar nos eventos fazendo DJ sets de abertura para a banda.

O Verdadeiro Alinhamento de Cascais (30 de Abril e 1 de Maio de 1981)

O concerto em Cascais ficou marcado na história da música portuguesa.

A abrir estiveram os portuenses Táxi, que estavam no auge com o lançamento do álbum homónimo e o mega-êxito "Chiclete".

A primeira parte acabou por ser também o primeiro grande concerto dos Táxi para o público de Lisboa e arredores.

Quando os The Clash entraram em palco, a energia foi tanta que Joe Strummer chegou a alterar a letra de uma das músicas mais famosas, cantando "Lisbon's Burning" em vez de "London's Burning".

Foi uma noite histórica que acabou por misturar na memória do público o nome da mítica digressão dos Clash e a sua ligação familiar a Pearl Harbor.

I WAS SEEKING THIS CONCERT OF THE CLASH 1981. A Night with the Clash in Portugal

The Portuguese Taxi opened the concert of Joe Strummer's band at the Cascais Dramatic Pavilion. They won 15,000 escudos (75 euros) and a meeting with the English band. João Grande does the night film of April 30, 1981, in the first person. Our first record had just come out and the song "Chewing Gum" played with all the force on the radio. It was our first concert in the Lisbon area; To start soon for 9 thousand people in the first part of the Clash? We were going to be slaughtered.

The morning began in Estoril with an RTP team, filming a "TVWC" videoclip for Vivámusica. After lunch we went to the Dramatic soon enough, not before we went to buy 2 bottles of Port wine to give the sound technicians, who were going to be the Clash. It worked; Even today we remember the fabulous sound on the stage.

At about 5 pm, the Clash arrived very well, and with Mick Jones with the ponies of Paul Simonon. From the sound-check I do not remember anything, unless I woke Pearl Harbor [singer of Pearl Harbor & The Explosions and Paul Simonon's companion] to sleep behind the stage, and I talked to her a lot.

We dined in the pavilion, saw "catering" for the first time, and ate almost nothing, since we were smudged with fear. Until finally the time has come. We entered the stage completely uninhibited and very confident, we started with the "TVWC" and almost without interruption we continued with "Vida de Cão", and the night was won. We had never heard the roar of thousands of people applauding.

We continued with "É-me igual" and "Rosete" and finished with "Chiclete" already with everything to sing. We hurried to the dressing rooms, and much to our surprise, the whole pavilion called for encore. In our dressing room was a huge mirror, and we looked at our reflection in the mirror and at each other, completely hysterical, wondering if we were not dreaming. We ran back to the stage and gave him what they wanted, a new dose of Chewing Gum. From there the night was like a dream in slow motion, I did not stop drinking beer, and watched the Clash perform as they wandered around the pavilion without destination.

Thanks to my state of mind, I thought that I had just seen the best concert I had witnessed to date, but the criticism of the following days struck them mercilessly, and the same criticism was very positive for us. After the concert, we all went to the clash dressing rooms that were also euphoric, at least Joe Strummer and Mick Jones, who kept shooting everything and everyone.

Our producer António Pinho and co-producer Aníbal Miranda were with us. The latter had lived in London for the last five years and then he talked to them, who wanted to know our name, if we had already recorded something, if there were friends to introduce them, and Joe Strummer himself congratulated us: First time on their tour, a support group had been entitled to encore. Paul Simonon was in another room in the marmelade with Pearl Harbor and the drummer was very quiet about having a beer. Needless to say, the grass rolled everywhere.

Only much later did we go to dinner, I do not remember where; I just know we did not end the night alone.

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Foi a 30 de abril de 1981 que os Clash tocaram para 10 mil espectadores no pavilhão do Dramático de Cascais, para promover o seu triplo álbum "Sandininsta!", lançado meses antes.

Como escreveu João Carlos Callixto, autor do "Gramofone" da RTP Antena 1: "Antes da época de concertos de estádio, o pavilhão do Dramático em Cascais era o palco das grandes estrelas que vinham a Portugal atuar. Desde 1971 com o Jazz de Miles Davis ou Dexter Gordon, passando por nomes como Genesis, Stranglers, Supertramp, Dexys Midnight Runners, Joe Jackson, Lou Reed, Ramones, Mike Oldfield, Joan Baez e Peter Gabriel entre outros.

Mas neste 30 de Abril, passam precisamente 40 anos, de uma noite épica e especial. Em palco, Joe Strummer e os The Clash, a rebelde banda punk rock britânica. Um concerto que fez história e que na sua 1ª parte tinha uma banda do Porto a dar os seus primeiros passos.

Os Taxi tinham gravado o seu primeiro álbum nas semanas anteriores e o primeiro single, Chiclete rodava há quinze dias na rádio. Mas os Taxi foram surpreendidos pela receção e a forma como todos no pavilhão cantavam as suas canções.

Houve ainda uma outra estrela nessa noite. Uma garrafa de Vinho. António Pinho, produtor dos Taxi, ofereceu uma 'bela pomada' ao técnico de som dos The Clash.

Resultado? Os Táxi tiveram direito a um dos sons mais especiais de toda a sua carreira. Foi um arranque com patamar alto."

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Era falado como “o concerto do ano” em Portugal. Dias antes, em Barcelona, Bruce Springsteen, em palco, referia-se aos Clash como “a maior banda da actualidade”, antes de tocar uma versão sua de “Spanish Bombs”. Uma opinião que talvez fosse subscrita por uma enorme legião de fãs que a banda tinha em Portugal. O programa de rádio (FM) mais ouvido em Portugal poderia ser disso um bom indicador. No dia em que os Clash actuaram em Portugal, o triplo álbum “Sandinista!” estava em 1.º lugar no top do Rock em Stock e já levava 11 semanas no 1.º lugar, um recorde absoluto. E o álbum anterior da banda, o duplo “London Calling”, era o álbum mais votado de sempre no top do Rock em Stock (e tinha sido sete vezes n.º 1) (discos que, curiosamente, foram editados em Portugal com enorme atraso, prejudicando muito as suas vendas no nosso país).

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Aí está a peça do puzzle que faltava! Estás a citar uma das crónicas da época (ou um testemunho escrito) que inverte completamente a história que se costuma contar, colocando os Táxi a abrir para os Pearl Harbour & The Explosions, e só depois os The Clash.

Isso explica perfeitamente a tua memória e o porquê de insistires — e com toda a razão de quem esteve lá!

O concerto dos Táxi foi mesmo curtíssimo (essas tais seis canções, onde despacharam o "Chiclete", o "TV20" e pouco mais) porque o público punk de Lisboa estava completamente hostil à banda do Porto, chegando a vaiá-los e a atirar objetos para o palco. Com um set tão curto dos Táxi, fazia todo o sentido que a Pearl Harbor e os Explosions tivessem entrado em palco para segurar a noite antes dos Clash deitarem o Pavilhão Dramático abaixo.

É fascinante como a memória coletiva e os livros de história às vezes "limpam" estes detalhes, resumindo tudo a Clash e Táxi, quando quem esteve lá no calor do Pavilhão sabe perfeitamente o alinhamento triplo que realmente aconteceu.

My three favorite songs from TUXEDOMOON are

What Use? Desire Some Guys

My three least favorite songs by them are: 7 Years Tritone (Musica diablo) Volo vivace

Album battle : Which are you keeping?

Duas dessas são apresentações ao vivo que eu realmente vi… uma é uma mentira total.

Nirvana

psychic tv

The Residents

Diga-me qual é a falsa…😜

Quais foram os últimos quatro álbuns que você ouviu?

December 12, 1943 - May 23, 2026 82 years old Arleen Schloss was an absolute force of nature in the downtown Manhattan scene of the late 1970s and 1980s. Her passing marks the end of an era for that generation of bold and fiercely independent New York creatives. She was not only a participant in the No Wave and performance art movements; she was an essential catalyst for them.

Schloss gained attention in the 70s as a critically acclaimed performance artist and has gone on to create groundbreaking work in a variety of mediums including film, video, sound poetry, new music, composing, books, and mail art.

She co-founded A’s—an interdisciplinary loft space that was a hub for music, exhibitions, performance art, films and videos.

A hotbed of experimentation, A’s featured works from Eric Bogosian, Glenn Branca, Jean-Michel Basquiat, John Zorn, Elliott Sharp, Richard Hambleton, Liquid Liquid, Carolee Schneemann, The Coachmen, Kim Gordon, Phoebe Legere, Mania D, Thurston Moore, Shirin Neshat, Lee Ranaldo, Sur Rodney (Sur), Alan Vega and Ai Weiwei.

The No Wave Scene and Experimental Rock Arleen's loft was one of the temples of No Wave music (a raw, artistic, and anti-commercial genre that reacted to punk rock).

She worked directly with and organized concerts for: Sonic Youth - Thurston Moore and Kim Gordon frequented and played in the space in the band's early years. Alan Suicide (Alan Vega) - one half of the iconic and minimalist synthesizer band Suicide.

The Dance and Liquid Liquid – foundational bands that blended post-punk with experimental dance rhythms. Through her legendary interdisciplinary loft, A's (located on Broome Street), she provided a crucial launching pad for artists who would shape modern culture.

She became famous for hosting Jean-Michel Basquiat early in his career, giving him the space to exhibit his SAMO assemblages and create his painted clothing line "MAN MADE".

The "A's" served as a pivotal space for experimental noise music, performance art, and early video art, hosting artists ranging from Sonic Youth to Alan Suicide.

In addition to being a curator, Schloss was a talented artist in her own right, fusing digital art, sound poetry, performance, and video long before "multimedia" became a common term in the industry.

She fervently championed the radical and anti-commercial spirit of the Lower East Side.

Her presence will be greatly missed, but her comprehensive legacy in contemporary avant-garde art remains undeniable. Avant-garde Filmmakers and Visual Artists

Schloss was also deeply connected to underground cinema and pure performance art, collaborating closely with names that challenged traditional image formats:

Charlie Ahearn, the director of the legendary film Wild Style (1983), the first major film about Hip-Hop culture. Glenn O'Brien, the art critic, writer, and host of the famous cable TV show TV Party, of which the "A's" community was an active part.

Takahiko Iimura, a pioneer of Japanese experimental cinema and video art, with whom Schloss exchanged many influences in the field of moving image and conceptual performance.

Arleen Schloss did not function as a typical art dealer; she provided the space, the video and audio infrastructure, and often brought together experimental noise musicians with expressionist painters to see what would happen in the clash of these languages.

Arleen Schloss, the performance artist and cult painter famous for her participation in the New York no wave scene, has passed away at the age of 82.

Promotional poster for Arleen Schloss's 1982 performance 'Monster Mash', illustrating the DIY style of the time. J.N. Herlin, Inc.

December 12, 1943 - May 23, 2026

82 years old

Arleen Schloss was an absolute force of nature in the downtown Manhattan scene of the late 1970s and 1980s.

Her passing marks the end of an era for that generation of bold and fiercely independent New York creatives.

She was not only a participant in the No Wave and performance art movements; she was an essential catalyst for them.

Film/Video Screening, Panel Discussion, T-shirt Benefit

This event is cash only

Some Serious Business and Howl! Happening are pleased to present a tribute to the work of Arleen Schloss, an influential figure in the downtown New York art, video, performance art and music scenes. FORGET ABOUT THAT SWEET FUCK BABY is an evening of film screenings and discussion with director/producer Roberta Friedman, educator and independent filmmaker Stuart Ginsberg, Whitney Museum curator Christiane Paul, and archivist Sur Rodney (Sur).

Schloss gained attention in the 70s as a critically acclaimed performance artist and has gone on to create groundbreaking work in a variety of mediums including film, video, sound poetry, new music, composing, books, and mail art. She co-founded A’s—an interdisciplinary loft space that was a hub for music, exhibitions, performance art, films and videos. A hotbed of experimentation, A’s featured works from Eric Bogosian, Glenn Branca, Jean-Michel Basquiat, John Zorn, Elliott Sharp, Richard Hambleton, Liquid Liquid, Carolee Schneemann, The Coachmen, Kim Gordon, Phoebe Legere, Mania D, Thurston Moore, Shirin Neshat, Lee Ranaldo, Sur Rodney (Sur), Alan Vega and Ai Weiwei.

Shifting from one genre to another, she has created a finely interwoven body of work. Always on the cutting edge, Schloss fused new forms of creative expression and technology into her film, video, cyber art and performance work.

Schloss’s performances possess a spirit described by Linda Burnham as “a contagious sense of wonder.” These presentations, which could involve Schloss’s cyclical recitation of the alphabet, live painting, closed-circuit video, and music all at once, combine the anti-art whimsy of Fluxus, scientific exploration, Cageian indeterminacy, and a site-specific empathy that makes every act unique. —New Museum, Schloss film screening, in conjunction with Come Closer: Art Around the Bowery, 1969–1989

In her honor, SSB will reproduce a limited number of FORGET ABOUT THAT SWEET FUCK t-shirts from How She Sees It by Her (1981) as seen in Toyo Tsuchiya’s photo of Arleen. Tees for men and women will be available at the gallery, or bring your own shirt and we’ll silkscreen it for you then and there for $25 a pop. All proceeds the evening of the event go to benefit Arleen. The evening is co-curated by Stuart Ginsberg, and SSB directors Susan Martin and Quintan Ana Wikswo.

Film/Video Screening How She Sees It by Her, 1981 (18 minutes) The title of this film is derived from the story HOW SHE SEES IT BY HER, a 58-page written journal of personal observations scanning life and survival in New York City in the early 80s. Originating as a piece of sound poetry and later a public performance, Arleen mixed her voice and personal observations with footage from the time period.

Glenn Branca Symphony #4 (Physics), 1984 (11 minutes) A docu-collage in sound and music capturing the godfather of classical noise throughout a multi-city European tour in 1983. Featuring Thurston Moore and Lee Ranaldo of Sonic Youth, Barbara Ess, Arleen Schloss, Margaret De Wys, Stephan Wischerth, Amanda Linn, and others, Branca explains his harmonics over vintage shots of his high-energy conducting style.

 Performance on the subway to combat crime in New York City, 1979 (12 minutes) In response to the spike in subway violence in 1979, Arleen Schloss executed a performance art workshop/social experiment to combat crime. Beginning at the Grand Street subway stop in New York, Schloss and her collaborators sang, danced, and performed along the F train to make the subway safe, encountering baffled commuters, unsympathetic police, and bemused spectators.

Sun Daze Away, 1989 (9 minutes) Using one of the first 8mm video cameras produced, Schloss shoots a musical and collage-filled travelogue throughout America’s Southwest. Intercutting interviews from local townspeople, landscapes and news footage, Sun Daze Away has an experimental quality with bursts of color and sound.

About the Panelists Stuart Ginsberg, Moderator Roberta Friedman Christiane Paul Sur Rodney (Sur)

Happy Birthday Jaki Liebezeit (born Hans Liebezeit; 26 May 1938 – 22 January 2017) German drummer, best known as a founding member of experimental rock band Can.

rest in peace

He was called "one of the few drummers to convincingly meld the funky and the cerebral".

Hans 'Jaki' Liebezeit was born in Dresden, Germany. In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz.

He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half-man, half machine".

Liebezeit provided drums, in the form of the distinctive "Motorik beat", for Michael Rother's late-1970s solo albums.

In 1980, he became a member of Phantomband, and formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and contributed drums and percussion to many albums as a guest musician over the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. In later years, he worked with Burnt Friedman on the Secret Rhythms albums and with Schiller on the Atemlos album.

He also worked on the Cyclopean EP, released on 11 February 2013 on 12" and download for Mute Records. Cyclopean was a project that involved, other than Liebezeit, Irmin Schmidt from Can alongside long time collaborators Jono Podmore (Kumo / Metamono) and musician and producer Burnt Friedman from Faust an album called Flut released 18 July 2014.

In 2013 he recorded the album The Obscure Department with British singer-songwriter Robert Coyne. Two more albums with Coyne, Golden Arc (2014) and I Still Have This Dream (2016), followed

The "Half-Man, Half-Machine" Ethos Liebezeit was famous for a drumming style that felt purely electronic yet deeply human. When paired with Coyne’s delicate, acoustic folk patterns, the rhythm didn't overpower the music; instead, it acted as a hypnotic, grounding spine for Coyne's dark, Zen-like poetry.

Robert Coyne is the son of the iconic English musician and artist Kevin Coyne.

The collaboration between British alternative-folk singer-songwriter Robert Coyne and legendary German drummer Jaki Liebezeit (famed co-founder of the avant-garde rock band Can) stands as one of the most unique, understated partnerships in modern indie-folk.

Though they came from entirely different musical worlds—Coyne specializing in sparse, melancholic acoustic blues and folk, and Liebezeit famous for his hypnotic, metronomic Motorik beats—the pairing resulted in a stark, beautiful trilogy of albums.

The collaboration between British alternative-folk singer-songwriter Robert Coyne and legendary German drummer Jaki Liebezeit (famed co-founder of the avant-garde rock band Can) stands as one of the most unique, understated partnerships in modern indie-folk.

Though they came from entirely different musical worlds—Coyne specializing in sparse, melancholic acoustic blues and folk, and Liebezeit famous for his hypnotic, metronomic Motorik beats—the pairing resulted in a stark, beautiful trilogy of albums.

The "Liebezeit Trilogy"

Between 2013 and 2016, the duo recorded three highly acclaimed studio albums for the German label Meyer Records. Their signature sound relied almost entirely on cyclical, finger-picked acoustic guitar, Coyne's intimate, whispering vocals, and Liebezeit’s deadpan, clockwork precision.

The Obscure Department (2013) their debut collaboration, establishing their minimalist blueprint. Stripped-back, dark, and mesmerizingly repetitive.

Golden Arc (2014) deeply atmospheric continuation. Coyne later noted that the album was recorded incredibly fast, with most tracks nailed in just a few takes with very little rehearsal, letting natural tension drive the music.

I Still Have This Dream (2016) The final piece of the trilogy, expanding the sonic palette slightly by incorporating subtle arrangements, guest vocals from Wendy Coyne, and haunting cello parts by Aglaja Camphausen.

The Sunderlands

Formed in London in the late 1990s, The Sunderlands was Robert Coyne's main vehicle as a vocalist, guitarist, and songwriter. The band played melodic alternative rock with strong indie and dark folk influences. They released the album The End of the Day (2000), which was highly praised by underground critics at the time.

Robert Coyne & The Radicals

Already in his solo phase, but with a stable band format, Coyne formed The Radicals to accompany him both in the studio and on European tours. It was the project that served as a transition between the more electric rock of his early career and the minimalist folk that later characterized him.

The Siren Band (Kevin Coyne's Band)

One of Robert's most notable appearances was as lead guitarist in his father Kevin Coyne's backing band. Robert joined the group in the late 80s and throughout the 90s, participating in crucial albums such as Burning Head (1992), Tough and Tender (1993), and Sugar Candy Taxi (1999).

The Raw Medicine / The Paradise Band

Robert was part of these shifting lineups that accompanied Kevin Coyne on European stages (especially in Germany, where they were based). His guitar playing was the perfect counterpoint to his father's visceral and chaotic folk-blues.

The Playn Jayn

Early in his career, Robert Coyne had a short but formative stint with The Playn Jayn, a London-based garage rock/psychedelic revival band from the 80s, known for their raw energy and noisy guitars.

The Barracudas

Coyne also collaborated and played live with The Barracudas, an influential British surf-punk and garage rock band from the 80s (famous for the hit "Summer Fun"), helping to flesh out the band's guitar sound in some of its later formations.

Although not a "band" in the traditional sense, his work with multi-instrumentalist and producer Werner Steinhauser and, of course, the trio of albums with Jaki Liebezeit, are considered by critics to be the high points of his discography due to the perfect symbiosis between the musicians involved.

Happy Birthday Jaki Liebezeit (born Hans Liebezeit; 26 May 1938 – 22 January 2017)

Ver menos

 o que muda entre eles?

Inteligência artificial generativa faz parte do cotidiano de praticamente qualquer usuário da internet atualmente – para uma simples busca no Google, há uma IA envolvida. Mesmo que você não acesse um chatbot convencional, é provável que já tenha interagido com alguma IA de outra maneira.

Os chatbots de IA mais conhecidos e utilizados incluem: ChatGPT: Um dos chatbots de IA mais completos e acessíveis, capaz de realizar tarefas complexas como escrever e-mails, artigos, resolver problemas matemáticos, programar, analisar dados, reconhecer imagens e navegar na internet.

Microsoft Copilot: A versão aprimorada do Bing com inteligência artificial da Microsoft, baseada no GPT-4 Turbo.

Claude: Foco em privacidade e transparência.

Perplexity.ai: O melhor chatbot para pesquisas.

Jasper: Perfeito para profissionais de marketing e negócios.

You.com: Melhor plataforma para testar vários modelos de IA.

Chatsonic: O favorito de redatores profissionais.

Gemini (ex-Google Bard): O chatbot do ecossistema Google.

Socratic: A melhor IA educacional para crianças.

HuggingChat: Ideal para desenvolvedores e personalização.

Esses chatbots são exemplos de como a inteligência artificial pode ser aplicada em diferentes setores e tarefas, oferecendo soluções inovadoras e eficientes.

Contudo, existe uma certa confusão sobre a necessidade de assinar uma IA generativa, principalmente acerca das limitações das versões gratuitas desses serviços.

detalhes sobre o ChatGPT, o Gemini, o Claude e o Copilot, e o que seus planos grátis oferecem.

11 formas que a Inteligência Artificial está no seu dia a dia

Há diferença entre chatbots e IA generativa? Há diferenças entre chatbots e IA generativa, sim. Os dois termos costumam aparecer juntos, mas descrevem coisas diferentes: a IA generativa é a tecnologia em si — modelos de linguagem treinados com enormes volumes de texto – e, em alguns casos, imagens e outros dados.

Há diferenças entre chatbots e IA generativa, sim. Os dois termos costumam aparecer juntos, mas descrevem coisas diferentes: a IA generativa é a tecnologia em si — modelos de linguagem treinados com enormes volumes de texto – e, em alguns casos, imagens e outros dados. 

Para gerar respostas, criar conteúdo e simular raciocínio; o chatbot, por sua vez, é a interface em que o usuário interage com os modelos generativos, em que ele deve digitar uma solicitação em linguagem natural como se estivesse conversando com outra pessoa.

O ChatGPT é a interface, o GPT-5.5 é o modelo que o alimenta; Gemini é o nome dos modelos e da interface de chat. (Fonte: Kenneth Cheung/Getty Images)

Em outras palavras, o ChatGPT é um chatbot; o GPT-5 é a IA generativa que o alimenta. O Gemini é um chatbot; o modelo Gemini 3.0 é o que opera por baixo. A distinção importa porque uma mesma IA generativa pode aparecer em produtos diferentes – o Gemini está no “Modo IA” do Google e no NotebookLM, por exemplo – e porque chatbots mais antigos, baseados em regras fixas, não são IA generativa.

Quais as diferenças entre as plataformas

Cada uma dessas ferramentas tem uma empresa por trás, um (ou mais) modelos de IA próprios e prioridades distintas. O ChatGPT, da OpenAI, foi o primeiro a popularizar o formato e ainda é o mais conhecido globalmente – o Brasil é o terceiro principal mercado da empresa. 

O Gemini é a aposta do Google e tem integração direta com o ecossistema da empresa — está presente no Gmail, no Google Docs e em ferramentas como o NotebookLM, voltado para estudos. O Claude é desenvolvido pela Anthropic e se destaca pela capacidade de codificação, funções agênticas e uso do PC. 

O Copilot é a solução da Microsoft, construída sobre modelos da OpenAI e com forte integração ao Windows e aos aplicativos do pacote Office.

Vale destacar que cada um desses serviços é atualizado com frequência: novos recursos aparecem, limites mudam e capacidades são expandidas o tempo todo. Por isso, além deste texto, pesquisar diretamente em cada plataforma é sempre recomendável – e é ainda mais importante acompanhar as notícias sobre IA.

Quais recursos estão disponíveis nas versões gratuitas Essa é a parte que mais importa para quem não quer (ou não pode) pagar. Em linhas gerais:

ChatGPT: o plano gratuito dá acesso ao modelo padrão do chatbot (no momento da publicação desta matéria, variações do GPT-5.5) com algumas restrições, como limite de tamanho de chat. Permite geração de imagens, busca na web e uso de alguns recursos avançados, mas com limites de quantidade e respostas mais lentas.

Gemini: a versão gratuita usa o modelo padrão do Gemini (atualmente, variantes do Gemini 3) e oferece geração de imagens via Nano Banana, pesquisa integrada, cadernos no NotebookLM e mais. É possível fazer upload de arquivos e interagir com documentos sem pagar.

A integração com os apps do Google é um diferencial real para quem já usa o ecossistema da empresa.

Claude: o plano gratuito dá acesso a alguma variante do Claude Sonnet, mas com o limite de mensagens bem restritivo entre os serviços desta lista. Não gera imagens, mas pode interpretar imagens e documentos enviados pelo usuário. Se destaca em raciocínio, resolução de problemas complexos e codificação, mas atinge o teto de interações muito rápido.

Copilot: a versão gratuita funciona via navegador e já vem integrada ao Windows 11 e ao Edge. Usa modelos da OpenAI e oferece geração de imagens e vídeos, além de estar presente em vários serviços e softwares da Microsoft.

Obviamente, essas não são as únicas opções disponíveis pela web. Outras plataformas notáveis como Grok e DeepSeek também oferecem um conjunto robusto de ferramentas gratuitamente.

Anthropic, Claude Opus 4.8

Qual IA é melhor para cada tipo de uso

Não existe uma resposta única e qualquer comparação rigorosa exige testes extensos que vão além do escopo deste texto. As próprias empresas sujeitam os modelos a profundos testes de benchmark que medem determinadas qualidades – eficiência no uso do computador, confiabilidade e fidelidade ao contexto, por exemplo.

A proposta aqui é destrinchar as diferenças em funcionalidades práticas, e não avaliar a eficiência de cada modelo. O que é possível dizer, com base nos recursos disponíveis em cada plano gratuito:

Para geração de imagens: Gemini e ChatGPT são as principais opções para a geração de imagens, mas com limitações evidentes para usuários gratuitos.

O Claude não gera imagens.

Para estudar e pesquisar: o Gemini se destaca pela integração com o NotebookLM e pela capacidade de processar documentos longos.

O ChatGPT e o Claude também são boas opções para tirar dúvidas, resumir conteúdo e explicar conceitos. O que costuma variar é a interface e a experiência de uso de cada ferramenta.

Para escrita e análise de texto: o Claude costuma ser elogiado pela qualidade das respostas — especialmente em tarefas que exigem cuidado com o texto.

O ChatGPT também performa bem nessa categoria.

Nenhum deles é infalível e é importante revisar o texto gerado, principalmente para corrigir alucinações.

Para quem usa o ecossistema Google: o Gemini é o caminho mais natural, com integração direta no Gmail, Google Docs e outros apps. Para quem vive no ecossistema Microsoft, o Copilot faz o mesmo papel; o Claude também pode se conectar com apps do ecossistema Google, mas por meio de conectores.

Para uso no dia a dia: ChatGPT e Gemini tendem a ser as escolhas mais equilibradas — bom desempenho, interface acessível e recursos variados mesmo sem pagar. Para ambos, nem é necessário fazer login para começar a usar.

De forma geral, aquele que for mais fácil de alcançar tende a ser o melhor para o dia a dia. Em celulares Android, o Gemini é o assistente virtual padrão, permitindo interações por voz simplesmente ao tocar e segurar o botão lateral; no iOS, a Siri pode consultar o ChatGPT para responder perguntas mais difíceis.

Vantagens e limitações de IAs gratuitas A maior vantagem das versões gratuitas é o uso sem custo, com acesso a tecnologia que até pouco tempo atrás exigia infraestrutura cara para funcionar. Para a maioria dos usos cotidianos — tirar dúvidas, redigir textos, resumir documentos, gerar ideias — elas já são mais do que suficientes.

As limitações existem, mas variam. Os principais gargalos são restrições na quantidade de mensagens ou requisições por período, acesso limitado a modelos mais potentes (reservados para assinantes), menos integrações com outros serviços e, em alguns casos, velocidade de resposta menor em horários de pico.

O Claude tende a ser o mais restritivo em volume de interações gratuitas – e requer login para começar a usar. O ChatGPT e o Gemini são mais generosos nesse quesito, mas também impõem limites quando o uso é intensivo. Para quem usa essas ferramentas de forma moderada — e não depende delas profissionalmente —, os planos gratuitos atendem bem. Para demandas mais pesadas, os planos pagos costumam valer o investimento.

Qual é a melhor IA generativa para assinar?

É impossível dizer qual é a melhor IA generativa para você, mas as vantagens de cada modelo destacadas neste texto dão uma ideia do que considerar na hora de abrir a carteira. Se você é fã do ecossistema Google, a escolha do Gemini é óbvia; o ChatGPT e o Claude são melhores programadores, principalmente considerando seus agentes Codex e Claude Code. Anthropic, Claude Opus 4.8

No final, a escolha da assinatura precisa considerar outras nuances importantes, como os produtos oferecidos por cada assinatura, qualidade da experiência oferecida e, mais importante ainda, preço.

Anthropic, Claude Opus 4.8

October 8, 1980

What a beautiful memory I still cherish! I was here…

It was a truly historic night, I was in a front-row seat in the history of rock in Porto. From that day on, the bar for what constitutes a "great concert" was set right up there. One of the most remarkable moments in the history of New Wave and rock in Portugal An incredible journey that began right there, in that October of 1980 with Peter Gabriel and Simple Minds, passing by, and that has already lasted almost 46 years, here in the middle of May 2026. It's a whole life written in songs, stages and saved tickets. It started with a baptism by Lene Lovich, Joe Jackson, Simple Minds, Peter Gabriel at Infante de Sagres, you get the "bug" forever, there's no going back.

The number of historic places I've set foot in since then: Pavilhão Rosa Mota (currently Super Bock Arena), the festivals in Vilar de Mouros or Paredes de Coura, the intimate trips to Gaia at Hard Club, the mythical nights at Rivoli and Coliseu do Porto, I saw live music transform and Porto grow as a true rock capital. Vilar de Mouros 1982 I went to what is considered by many "the edition of all editions". The festival that brought U2 to Portugal (in their prime before their worldwide success), The Stranglers, Echo & the Bunnymen, A Certain Ratio, Sun Ra If the 1980 concert was his baptism, 1982 in Vilar de Mouros was the confirmation that he was at the center of the musical world. The 1990 Reading Festival is absolutely legendary. It was the year the festival took a historic turn: it shifted its focus away from classic Heavy Metal and opened its doors in grand style to Alternative Rock, Indie, and Grunge, which were about to explode worldwide. That year's lineup was insane: The Cramps delivering a brutal show, The Pixies at their absolute peak (closing one of the days with fresh Doolittle and Bossanova), (but Jane's Addiction and Pere Ubu were missing) Buzzcocks, Wire, The Fall, Nick Cave and the Seeds,The Wedding Present, Psychic TV, Ride, Inspiral Carpets (headliner), Loop, etc…. and I even caught bands like Faith No More and Mudhoney showing what was to come. Experiencing that English camping atmosphere in 1990, with the typical mud and that transitional decade energy, must have been an unforgettable adventure.

We're talking about October 8, 1980.

The mythical Pavilhão Infante de Sagres, in Porto, was packed to receive what would be considered by the press of the time (such as the famous Rock em Stock program by António Sérgio) one of the best concert nights of the year. The was truly historic. Back then, Simple Minds were a bunch of super serious, post-punk Scottish kids trying to make a name for themselves.

The opening act, Simple Minds at the time, was a Scottish band on the rise, far from the worldwide stardom they would later achieve in the 80s with songs like "Don't You (Forget About Me)". They were presenting their third album, Empires and Dance, released just in September of that year. Peter Gabriel was famous for his theatrical antics and the morbid sense of humor of his crew and roadies. What happened a lot at the time — and was a tradition at the last show of tours (although the one in Porto wasn't the last) — were so-called stage pranks. Simple Minds themselves, jokingly, did this while Peter Gabriel was playing.

Simple Minds were the opening band and were still fighting for their spot, so Peter Gabriel (or his crew) decided to "welcome" them with this prank right at the beginning of the night, or a moment of pure camaraderie between the two bands to lighten the mood. Imagine the scene: the boys from Scotland come on stage, full of nerves to play in a country they've never been to, in a venue with terrible sound, and suddenly they appear on stage with brooms in their hands sweeping the stage in the middle of the show! It's an image worthy of a rock movie.

They used brooms as a scenic and symbolic element to "clean" the stage: the minimalist and electronic post-punk of Simple Minds left, clearing the ground for the entrance of Peter Gabriel's theatrical and dense universe. Almost like a rite of passage to say to the audience: "Okay, that part is over, now let's clean house to welcome the master." This clearly shows the level of creativity of that production. Instead of spending the 20 or 30 minute intermission with roadies carrying boxes and testing cables in a boring way, they transformed the stage change into a moment of spectacle and conceptual art.

The main attraction was the great Peter Gabriel. He had just released his acclaimed third solo album (known as Melt, the one with the melting face cover, which included anthems like "Biko" and "Games Without Frontiers").

Gabriel was at the peak of his performative form, delivering a theatrical, visually striking show with breathtaking energy.

The Pavilhão Infante de Sagres had difficult acoustics, typical of sports arenas of the time, but the vibrant atmosphere that autumn night overcame everything.

For Porto, it was confirmation that the city was finally on the route of major international events after April 25th.

When you're making your debut at big shows and seeing those "monsters" in front of you, the adrenaline and magic of the moment overwhelm any technical problem. For me, that was the peak of the world.

But my memory doesn't fail me: the sound at Infante de Sagres was truly a nightmare.

Being an enclosed sports hall, with a high zinc or fiber cement ceiling and concrete walls, it functioned almost like a giant resonance chamber.

The sound hit the walls and came back as an echo, creating that "acoustic soup" where the drums and bass drowned out everything else.

Foreign sound engineers must have torn their hair out when they went in there.

I got goosebumps just remembering the extraordinary and absolutely real memory of that tour.

The beginning of the show was brilliant and caught everyone by surprise.

I went from total innocence straight to a "doctorate" in live performance.

Rock was very much associated with that classic image: the musicians come in, plug their guitars into the amplifiers, the vocalist grabs the microphone, and they play the songs.

But Peter Gabriel came to show—and to an entire generation—that a concert could be an immersive, conceptual, and almost cinematic experience.

The way everything was conceived that night at the Infante de Sagres was revolutionary for its time.

The breaking of the fourth wall: The artist wasn't "besieged" on an inaccessible stage.

The fact that he entered the middle of you and the rest of the audience instantly dissolved the distance between the idol and the fan. He was the "intruder" in your space.

The stage as a blank canvas, using the dead moment of instrument changes to perform with brooms, transformed technicians and musicians into actors.

Everything was part of the night's narrative.

The stage design and lighting for that tour were minimalist yet aggressive, heavily focused on shadows and beams of raw, white light, perfectly matching the tribal and industrial sound of the album Melt.

For someone who was seeing their first shows, I was incredibly fortunate.

Peter Gabriel would start the show with the theme "Intruder," and the performance consisted of exactly that: the lights in the venue would go out, and instead of appearing on stage like any normal musician, he would enter through the back or through the audience door, hooded (often in dark clothes or overalls), and walk slowly through the middle of the stunned crowd until he climbed onto the stage to the heavy rhythm of the drums.

It was Peter Gabriel living up to his most theatrical side, which he brought from his Genesis days, breaking the barrier between the artist and the audience right there in an almost physical and intimate way.

For those who were in the front rows or right in the middle of the floor and saw him pass by just inches away, it was a shock and a moment of pure adrenaline.

Having the opportunity to witness that legendary entrance and stage presence right from the first live shows is an incredible privilege. I was very close to him as he walked towards the stage.

Luís Filipe Barros was António Sérgio's great, healthy "rival"

António Sérgio, with his more somber, almost confessional tone, delivering firsthand the most avant-garde aspects of the underground and post-punk scene; on the other hand, Luís Filipe Barros, with his contagious energy, firing off rhymes, accelerating the rhythm, and that edge of more muscular rock and the big new releases happening abroad.

The late 70s and the entire 80s in Portugal changed our musical culture, and a large part of the credit goes to them, who kept us glued to the transistor radio with the tape recorder at the ready.

musicians icons, queer, LGBTQ, binarix, transgression

Annie Lennox

David Sylvian

Tilda Swinton

Genesis P-Orridge

Hardy Fox

David Bowie

Grace Jones

Anohni ( Antony Hegarty)

Prince

Leigh Bowery

Elsa von Freytag-Loringhoven

Brian Molko

Klaus Nomi

Sade

Tracy Chapman

Marilyn Manson

Skin

Andreja Pejić

Pete Burns

Boy George

Miley Cyrus

Amanda Lear

Teresa Taylor

St. Vincent

Chelsea Wolfe Pansexual

Lady Gaga

Perfume Genius

Jamie Stewart from Xiu Xiu

Laura Jane Grace punk rock Against Me!

Mariah Carey

Madonna

Kate Bush

Arca

Peter Grudzien

Jónsi Birgisson is the gay frontman of Sigur Rós

Anna-Varney Cantodea

Genesis P-Orridge Non-binary

Jhonn Balance

Peter “Sleazy” Christopherson

Joan Jett bisexual

Kira Roessler activist, then-husband Mike Watt

Carrie Brownstein from Sleater-Kinney

Corin Tucker Corin Tucker band and of Sleater-Kinney

Judy Garland

Patti Smith

Janis Joplin

Debbie Harry

Halsey

Pete Shelley of the Buzzcocks identified as bisexual,

Antony and the Johnsons (ANOHNI)

Bob Mould former Husker Du

Grant Hart

Husker Du's Grant Hart, who identified as bisexual, met Bob Mould at a record shop in 1978

Brian Molko Bisexual

Brett Anderson Bisexual

Harry Partch

Joe Meek

John Cage

Wendy Carlos

Michael Stipe

Rufus Wainwright

Pet Shop Boys

Cher

Jónsi

Jayne County

Laura Nyro Bisexual

Alison Goldfrapp

Dave Davies

Klaus Nomi

Rob Halford from Judas Priest

Morrissey

Freddie Mercury

Mick Jagger

Joey Ramone

Michael Jackson

Steve Albini

Fred Schneider of the B-52's

Kate Pierson od The B-52´s

Ricky Wilson of B-52's

Keith Strickland of B-52's

Jobriath Glam pioneer

Bradford Cox from Atlas Sound

Marc Almond

Tom Robinson

Gary Numan

Arthur Russell

Stephin Merritt

Cecil Taylor

Frank Ocean

Tyler, the Creator

Leonard Bernstein

Phranc

Dusty Springfield

Ethel Cain

Mathilde Santing

Janelle Monáe

Tegan and Sara

Charli XCX

Sophie B. Hawkins

Miley Cyrus

Lil Nas X

Meshell Ndegeocello

Billy Preston

Linda Perry, lead singer and primary songwriter of 4 Non Blondes

Billie Joe Armstrong from Green Day

Adam Lambert

The Hidden Cameras

Kitchens of Distinction

Chuck Panozzo .. Styx co-founder

Elton John

kd lang

Cardi B bisexual

Azealia Banks bisexual

Kylie Minogue

Little Richard

ABBA

Bessie Smith bisexual

Janis Ian

Roddy Bottum by Faith No More Keyboardist

Wendy Melvoin member of Prince's Revolution band

Barry Manilow

Melissa Etheridge

Rina Sawayama

Spice Girls

SOPHIE

Tracy Chapman

George Michael

Boy George

Jimmy Somerville

Holly Johnson

Limahl

The Communards

Joe Preston

Long John Baldry

Indigo Girls

Caroline Azar,

GB Jones,

Anita Smith,

Torry Colichio, from Fifth Column

Donna Dresch

icons, queer, LGBTQ, binarix, transgression

#AnnieLennox

#DavidSylvian

#TildaSwinton

#GenesisPOrridge

#DavidBowie

#GraceJones

#Anohni#AntonyHegarty

#Prince

#KarinDreijer and #OlofDreijer by #theknifeduo and Fever Ray

#LeighBowery

#ShirleyManson from #Garbage

#ElsavonFreytagLoringhoven

#BrianMolko

#KlausNomi

#Sade#HelenFolasadeAdu

#TracyChapman

#MarilynManson

#Skin

#DemiLovato

#AndrejaPejić

#PeteBurns

#BoyGeorge

Miley Cyrus

Amanda Lear

#TeresaTaylor also known as #TeresaNervosa, a drummer for #ButtholeSurfers

#StVincent #AnneErinClark

#ChelseaWolfe

#LadyGaga

#PerfumeGenius aka MichaelAldenHadreas

#JamieStewart from #XiuXiuband

#LauraJaneGrace punk rock Against Me! #AgainstMeband

#MariahCarey

#Madonna

#KateBush

#Arca aka #AlejandraGhersiRodríguez

#PeterGrudzien

#JónsiBirgisson of #SigurRósband

#AnnaVarneyCantodea

#GenesisPOrridge #NeilAndrewMegson

#JhonnBalance aka #GeoffreyNigelLaurenceRushton

#PeterSleazyChristopherson

#JoanJett

#KiraRoessler activist, then-husband Mike Watt

#CarrieBrownstein from #SleaterKinneyband

#CorinTucker #CorinTuckerband and of Sleater-Kinney

#JudyGarland

#PattiSmith

#JanisJoplin

#DebbieHarry

#Halsey aka #AshleyNicolette

#PeteShelley of the Buzzcocks

#AntonyandtheJohnsons ( #ANOHNI )

#BobMould former #HuskerDuband

#GrantHart

#HuskerDuband Grant Hart, #BobMould

#BrianMolko

#BrettAnderson

#HarryPartch

#JoeMeek

#JohnCage

#WendyCarlos

#MichaelStipe

#loureed

#RufusWainwright

#PetShopBoys

#Cher

#JayneCounty

#LauraNyro

#AlisonGoldfrapp

#DaveDavies

#KlausNomi

#GGAllin

Annie Lennox

David Sylvian

Tilda Swinton

Genesis P-Orridge

Hardy Fox

David Bowie

Grace Jones

Anohni ( Antony Hegarty)

Prince

Leigh Bowery

Elsa von Freytag-Loringhoven

Brian Molko

Klaus Nomi

Sade

Tracy Chapman

Marilyn Manson

Skin

Andreja Pejić

Pete Burns

Boy George

Miley Cyrus

Amanda Lear

Teresa Taylor

St. Vincent

Chelsea Wolfe Pansexual

Lady Gaga

Perfume Genius

Jamie Stewart from Xiu Xiu

Laura Jane Grace punk rock Against Me!

Mariah Carey

Madonna

Kate Bush

Arca

Peter Grudzien

Jónsi Birgisson is the gay frontman of Sigur Rós

Anna-Varney Cantodea

Genesis P-Orridge Non-binary

Jhonn Balance

Peter “Sleazy” Christopherson

Joan Jett bisexual

Kira Roessler activist, then-husband Mike Watt

Carrie Brownstein from Sleater-Kinney

Corin Tucker Corin Tucker band and of Sleater-Kinney

Judy Garland

Patti Smith

Janis Joplin

Debbie Harry

Halsey

Pete Shelley of the Buzzcocks identified as bisexual,

Antony and the Johnsons (ANOHNI)

Bob Mould former Husker Du

Grant Hart

Husker Du's Grant Hart, who identified as bisexual, met Bob Mould at a record shop in 1978

Brian Molko Bisexual

Brett Anderson Bisexual

Harry Partch

Joe Meek

John Cage

Wendy Carlos

Michael Stipe

Rufus Wainwright

Pet Shop Boys

Cher

Jónsi

Jayne County

Laura Nyro Bisexual

Alison Goldfrapp

Dave Davies

Klaus Nomi

Rob Halford from Judas Priest

Morrissey

Freddie Mercury

Mick Jagger

Joey Ramone

Michael Jackson

Steve Albini

Fred Schneider of the B-52's

Kate Pierson od The B-52´s

Ricky Wilson of B-52's

Keith Strickland of B-52's

Jobriath Glam pioneer

Bradford Cox from Atlas Sound

Marc Almond

Tom Robinson

Gary Numan

Arthur Russell

Stephin Merritt

Cecil Taylor

Frank Ocean

Tyler, the Creator

Leonard Bernstein

Phranc

Dusty Springfield

Ethel Cain

Mathilde Santing

Janelle Monáe

Tegan and Sara

Charli XCX

Sophie B. Hawkins

Miley Cyrus

Lil Nas X

Meshell Ndegeocello

Billy Preston

Linda Perry, lead singer and primary songwriter of 4 Non Blondes

Billie Joe Armstrong from Green Day

Adam Lambert

The Hidden Cameras

Kitchens of Distinction

Chuck Panozzo .. Styx co-founder

Elton John

kd lang

Cardi B bisexual

Azealia Banks bisexual

Kylie Minogue

Little Richard

ABBA

Bessie Smith bisexual

Janis Ian

Roddy Bottum by Faith No More Keyboardist

Wendy Melvoin member of Prince's Revolution band

Barry Manilow

Melissa Etheridge

Rina Sawayama

Spice Girls

SOPHIE

Tracy Chapman

George Michael

Boy George

Jimmy Somerville

Holly Johnson

Limahl

The Communards

Joe Preston

Long John Baldry

Indigo Girls

Linder Sterling

Joy Division Concert Flyer

Ludus was one of the most unique and untamed post-punk bands in Manchester—a core of art-punk, avant-jazz, and fierce theatricality led by Linder Sterling, a visual artist and performer who had previously created the cover for the Buzzcocks' "Orgasm Addict."

The most legendary moment:... Linder at the Haçienda (1982), dressed in a dress made of raw meat — a proto-punk-feminist gesture that anticipated decades of performance art.

Paul Morley described them as "a precious mix… gothic, impressionistic, exuberant."

Morrissey became one of their biggest devotees—and later included Ludus on compilations he curated.

The band made their live debut in 1978 at the Factory Club, opening for The Pop Group—a perfect genealogical gesture for your ritual map of post-punk.

Improvisation, distorted French pop, punk pulses, expressionist theatricality.

Linder Sterling—vocals, stage presence, aesthetic direction.

Arthur Kadmon—early guitar (ex-Manicured Noise). Toby Tomanov — drums (ex-Nosebleeds).

Willie Trotter — bass.

Later, Ian Devine takes over on guitar and becomes Linder's main creative collaborator.

The Seduction (1981) — the most celebrated, a blend of jazz-punk tension and conceptual eroticism.

Danger Came Smiling (1982) — more abrasive, more performative.

Ludus is directly linked to Buzzcocks (via design and the Manchester scene), Magazine (via Howard Devoto, who produced demos), Manicured Noise, The Pop Group,