Brazzil - Year 10 - Number 156 - December 1998 by Brazzil Magazine

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(ear 10 — No. 156 — December 1998

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We are celebrating bo-s-sa nova and its 40th anniversary on our cover story. Forty years I said? Isn't it the same bossa nova with the same hits as "Samba de uma Nota So" and "Corcovado" that the techno gang through bands like Stereolab and Everything But the Girl is giving new life? Isn't it the rhythm that shook Sean Lennon, 23, the son of John Lennon, since his girlfriend Yuka gave him a Tom Jobim CD box? Yeah, it is. Sean has just released In the Sun,

in which the influence of maestro Jobitr is more than apparent and the musicia said it himself: "When I discovere Jobim's music, it changed my life. Unti then I was too hard, all I listened to wa Jimi Hendrix. I had no sensibility no even to listen to jazz." Ex-Beatle Pau McCartney has also released a boss nova inspired tune. It' s "Little Children," a single, whose profits will go to hel As you might know, Brazzil is a yen small operation: one person and some volunteers who help as and when they can. The magazine is coming out a little more than a month late and I'm sorry for that. I don't see me catching up soon, but rest assured that the content is fresh and you will get all the issues you've paid for Thanks and all the hest. R.M.

biaZzil http://www.brazzil.com street kids in Brazil. Bossa nova has become a constant presence on movie soundtracks and now will even be the name of a motion picture. Even though Brazilian director Bruno Barreto' s latest film is called Senhorita Simpson for domestic consumption, it will be known as Bossa Nova on the international market. We hope our bossa nova inventory will bring memories to some, discoveries to others and inspiration to all. R.M

CONTENTS

History AI-5, the Act that muzzled the country

Short Story "0 Estouro da Boiada" by Joao Ubaldo Ribeiro

Politics President Cardoso's not so new cabinet

Music Boquete, a tune for the risque book

Cover Hip bossa nova turns 40

Economy Brazil, a giant hard to fall

People Being Gaticho on foreign land

Cover by Aylan Mello

DEPARTMENTS 6 Rapidinhas 20

Travel Surprise, surprise, welcome to Alagoas

Impressions The daily adventure of living in Rio

Letters 49 The Cultural Pulse 51 Classifieds

Music

Kuarup, the musicians' choice

Special Getting the power back from the military

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Publisher and Editor: Rodney Mello / Entertainment Editors: Sam & Harriet Robbins Book Review: Bondo Wyszpolski / Music Editor: Bruce Gilman BRAZZIL (ISSN 1091-868X) is published monthly by Brazzil - 2039 N. Ave. 52, Los Angeles, CA, 90042-1024. Periodicals Postage rate paid at Los Angeles, CA. Single copy sold for $2. One year subscription for 12 issues is $3 (three dollars) in the U.S., $15 in Canada and Mexico, and $18 (surface mail) in all other countries. No back issues sold. Allow. 5 to 7 weeks to receive your first issue. You may quote from or reprint any of the contents with proper copyright credit. Editorial submissions are welcome. Include a SASE (self addressed and stamped envelope) if you want your material mailed back. Brazzil assumes no responsibility for any claims made by its advertisers.

POST MASTER: Send address changes to BRAZZIL - P.O. Box 50536 - Los Angeles, CA - 90050-0536 BRAZZIL - DECEMBER 1998

000InINUrir 1.1 NI II 'LW istory

All to Declare Since December 1", foreigners or Brazilians arriving in Brazil by air, sea or land will need to declare what they bring in their luggage. For those who come by plane the limit of purchases exempt from taxes is $500. All others have a limit of only $150. The new procedure, created to curb smuggling, is called DBA (Declaraca'o de Bagagem Ac ompanh ada—Dec laration of Carried Luggage) and asks the traveler to describe what he brings including prescription medicines. Weapons, plants and animals, as well as more than $8,000 in cash. Books, periodicals and clothes for own use are exempt. The measure intends to end a practice by the so-called sacoleiros (bag carriers), those travelers who frequently go overseas—mainly to Paraguay, Miami and New York—to buy electronic and other products, which are then resold in Brazil The need to pay taxes on goods that go over a limit is not new, but there was no form to fill out before, and control was entirely random depending on a system of green and red lights that would turn on when people passed the custom's gate. The traveler would only be stopped if the light turned out green. According to Peter Tofte, from the Federal Revenue Service, the new procedure will also be helpful in containing excessive foreign purchases by Brazilian tourist. He informed that Brazilian travelers in 1997 spent $5 billion, "something incompatible with the country's situation."

30 Years Tonight

atimm Scene stealers The 23.° Anuario de Criacao (23' Creation Yearbook) contains the best publicity pieces Brazilian admen created in 1998 as chosen by a jury from the 900-member-strong Clube de Criacao de Sao Paulo (Sao Paulo Creation Club), an association reuniting professionals who work in publicity, including writers and art directors. The 785 ads chosen among 5,000 or so that were shown in newspapers, magazines, and billboards recently are also a portrait of the thriving advertising business across the country, since all states outside of Sao Paulo are invited to send their entries. Despite its small circulation (2,000 copies) the Anuario—an endeavor believed to be taken only in a couple of other countries besides Brazil—is a vital publication. Its latest incarnation brings 345 ads published in magazines, 145 in newspapers, 130 in cinemas, and 22 in billboards, with space for other media too. The yearbook, which has been published uninterruptedly since 1975, also extends its kudos to the best professionals in the areas of art, creation and writing. To arrive at the final selection, the special jury went through a grueling effort that included six full hours watching TV and cinema ads and three more listening to radio commercials. They also had to leaf through some 4,000 printed pieces that appeared in the press and on billboards. In an interview with Sao Paulo daily Jornal da Tarde, Creation Club vice-president Eugenio Mohallein, who is creation director and writer for Agencia Almap, talked about the importance of the effort: "The yearbook is the best historic report to preserve the creation ofBrazilian admen. It contains excellent pieces that would disappear with the time in case there wasn't a specific publication like this one."

It was on Friday 13 of December 1968 that the military dictatorship that took over Brazil from '64 to '85 started its most somber period through the introduction of the infamous Institutional Act No 5, better known as AI-5. It makes sense to call attention to the date charged with superstition when it was recently revealed that it was on superstition grounds that the '64 military coup occurred on March 31. While some officers thought that middle April would be a better timing, general Carlos Luis Guedes made it clear he didn't want any part of it, and presented a convincing argument: "I never start anything serious when we have crescent moon." The dreaded moon phase was to start on April 2. Al-5's 30th anniversary has produced plenty of reflections, specials and testimonials in the Brazilian media. The measure that closed Congress and suspended all individual rights was signed by then President Marshall Arthur da Costa e Silva and was in force until January 1, 1979. During the AI-5 the dictatorship developed some of its most creative and cruel forms of torture and the number of disappeared—those secretly killed by the state—multiplied. Among the favorite methods of torture there were the coroa-de-Cristo (Christ's crown) and thepau-de-arara (macaw's stick). Coroa-de-Cristo was a metal hoop attached to the victim's head that kept being pressed by a wicket until it smashed the skull. A Brazilian invention, the pau-de-arara is a monument to the national sadistic impulses. The technique still used nowadays around the country to torture common prisoners consists of a metal bar placed over two wooden horses. The victim is tied to the bar by the wrists or the kneecap. After being immobilized the prisoner used to get hit over the kidney with a broom or receive electrical shocks. Other simpler methods used consisted in introducing a broom stick in the prisoner's anus or throwing cold water on the victim keeping him or her awake for days or simply taking someone in a car to a deserted area and threatening to kill him there.

BRAZZIL - DECEMBER 1998

A Confession In what is believed to be a first in Brazil, one of the torturers, former lieutenant Marcelo Paixao de Araujo, came forward and gave a lengthy account to weekly magazine Veja (circulation: 1.26 million) about his own participation in the state-sponsored torture rites. The confession, which was the December 9 issue's cover story, presents the portrait of an unrepentant and cold man who doesn't seem ashamed or even disturbed when telling in details the barbaric methods of persuasion he used to obtain confessions by alleged leftist activists. After revealing that he learned all he knew by watching his colleagues in action, Arailjo told the magazine: "The first thing! used to do was to throw the guy in the middle of a room, take offhis clothes and start screaming so he would reveal the ponto (spot, meeting place) and the activists in the group. This was the first stage. If he resisted there was a second stage, which was, let's put it this way, more whacks. One slapped his face. Another applied a blow to his abdomen. A third, a sock to his kidney. All to see if he would talk. If he didn't, there were two routes. It depended a lot on who was applying the torture. I really enjoyed using something to strike their hands. It's very painful, but it makes people talk." Araiijo also talked about some of his other favorite torture methods: the telephone (a device used to apply electrical shocks), the drowning (the individual had his head continually placed under water to the point ofalmost drowning), and the can dance. "I used the can dance a lot. I took two little pea cans and opened them. After that I would place the guy standing over them." It used to bleed?", the reporter asked. "No, he would talk before that (belly laughs). Lighter people could stand longer." Why did he do what he did? "The index of utilization is over 90%." Why did he participate as a torturer? "I thought there was the need to destroy the leftist organizations in the country.... I always was viscerally anti-Marxist." Bottom Line The year of 1968 showed an increase of action from the opposition and the truculent reaction by the military. On March 28 the police in Rio killed student Edson Luis provoking students street protest across the country. On June 26, Cariocas (from Rio) took to the streets in what would be known as the Passeata dos Cem Mil (The March of the 100,000). That same day a car bomb exploded outside the Sao Paulo's Army headquarters killing a private. On October 12, the police busted a clandestine meeting of UNE (Uniao Nacional dos Estudantes—Students National Association) in Ibitima, in the interior of Sao Paulo state, detaining 1,240 students. It was also in the same day in October that leftist guerrillas killed Charles Chandler, a captain from the American Army.

The military seemed to be lookin •for a pretext to take the draconian meas res they took. On September 3, 1968, Rio representative Mani o Moreira Alves i ade a speech in Congress accusing the ed Forces of having become a "refuge o torturers". He even suggested in jest tha the wives of m ilitary men started a sex stri e to show their distaste with the regime. Enraged, President Costa e Silva dema ded that Alves be tried by the Supreme C .urt. On December 12, 1968, however, the H use by 216 to 141 votes defeated the go ernment proposal and refused to strip the ongressman from his parliamentary i munity. "They will get their answer. Now hey are going to see," said Costa e Silva. The answer, the AI-5 came the next day. ong the measures adopted by the authorit ian act were the temporary closure of ongress, power to annul political rights, i tervention in the states and some key c ties, media censorship, and suspension o habeas corpus for political prisoners. During the decade it was in forc the AI-5 annulled the political rights of ,607 citizens, including six senators, 110 ouse representatives (deputados federais) 161 state assemblymen (deputados esta ais) and 22 mayors. Around 500 movies 500 songs, 450 plays and 200 books had c ts or were not allowed to be shown in the ountry during the AI-5 era. The act wa also responsible for an unknown numb r of kidnappings, tortures, disappearance , and assassinations.

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BRAZZIL - DECEMBER 1998

Foreigners and Brazilians living overseas for more than one year will need only to declare the cash they carry. This is to avoid that foreigners bring big amounts of cash to be laundered. They will also be able to enter with appliances, furniture, computers and any tool necessary for their work. There will be taxes and fines up to 50% of the value of the merchandise when the Customs Bureau catches somebody cheating. Most people however, will be taken on their word. As for pets they will need to have vaccination certificates from the countries they are coming from. Other animals as well as plants and seeds might need special authorization from the Agriculture Ministry to get into the country. Travel agents are worried that the new bureaucratic measures will cause up-to-five-hour-long delays to travelers during holidays and other busy periods. "We are afraid that during the high season, when several flights arrive almost at the same time, each one with 270 passengers in average, people will spend around five hours to pass through all the bureaucracy," told daily newspaper 0 Estado de S. Paulo, Goiaci Alves GuimarAes, president of ABAV (Associacao Brasileira dos Agentes de Viagens—Brazilian Association of Travel Agents). And added: "It's going to be chaos."

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The latest NBC heartthrob is Bruno Campos, 25, a Carioca (from Rio) who was discovered by Hollywood as the character who runs away with the wife of his best friend in Brazilian director Fabio Barreto' s movie 0 Quatrillio, which 7

in 1996 was an Oscar contender for best foreign movie. That same year the blue-eyed actor came to Los Angeles on a tourist visa and was lucky enough to sign a contract with Warner Brothers before his time was up. Later he joined NBC where he appeared as guest star is such series as Cybill, Chicago Sons, and Suddenly Susan, playing a Cuban gay character. Campos, who as the son of a Banco do Brasil banker spent his childhood and teen years in some 20 countries, including Canada and the U.S, is the leading man in the just-started show Jesse. He plays Diego, the Chilean love interest of the character that gives name to the series, the single mother interpreted by Married.., with Children star Christina Applegate. Campos has recently also made People's magazine list as one of the sexiest foreign actors working in the U.S..

Shorter Expectations High cost of living, growing unemployment, and stress seem to be taking a heavy toll on Brazilian executive men's libido. The result is more than just a little annoyance. According to sex experts, Brazilians are getting their penises reduced up to 2 centimeters (three quarters of an inch). The phenomenon was denounced by Paulista (from Sdo Paulo) urologist Roberto Tullii. "The average size of a penis in flaccid state, which was seven cm. is now five cm," told Tullii to Rio's daily newspaper 0 Dia. According to Tullii, there was last year a 32% increase in the number of penis retraction cases, a problem that can lead to a reduction of sexual desire and even impotency. The doctor also noticed that these cases are happening earlier in life. While in 1986 the average age for penis retraction among his clients was 47, it has fallen to 30 nowadays. The urologist doesn't propose surgery to solve the

o itics

the death of Motta in April of 1998, Luiz Carlos Mendonca de Barros, the new Communications minister became the heir apWhoever expected radical parent to the post. But this was before the changes in the Fernando Henrique November 1998 scandal in which Mendonca Cardoso's second four-year term was de Barros was caught in tape candidly talkbitterly disappointed. Maybe Cardoso ing on the phone about his preferences on once dreamed of a cabinet that would the Telebras (the state-owned telephone mirror the social theories favoring holding company) privatization auction. the less privileged he concocted in As expected the PFL (Partido da Frente the past. Faced with reality, however, Liberal—Liberal Front Party) got the lion's and increasingly pressured by his share with Ant6nio Carlos Magalhaes, presimore practical (some would dent ofthe Senate and the PFL leader say cynical) side, polyglot, being able to keep his protégés sociologist, former theoreRodolfo Tourinho (Mines and Entician for the left, President CORREIO B1RAZILIENSE ergy) and Waldeck Ornelas (Social Cardoso in forming his new Security) in their posts. They are cabinet seemed resigned to both from Bahia, homestate of political arrangements that Magalhaes. The Ministry of Sport would guarantee him the and Tourism was created to admit votes in the legislative PFL Representative Rafael Grecca mainly to secure a fiscal from Parana. There was also the plan that would make posMagalbaes's hand behind senator sible an International MonElcio Alvares choice for the Defense etary Fund loan. Ministry and Zequinha Sarney (son He ended up acting of former President Jose Sarney) for more like a prime minister the Environment Ministry. distributing posts as if takThe PMDB (Partido do Moviing bids from the parties mento Democratic° Brasileiro— who offered or threatened Brazilian Democratic Movement him most. There were very Party), the party with the most memfew changes. Nineteen of bers in Congress, grumbled, even 23 ministers from his first though they got two important posts in the term of office were kept. The operacabinet: the Justice Ministry for Renan tional control of the government was Calheiros and the Transportation Ministry also kept under Clovis Carvalho, the for Eliseu Padilha. They were also able to Palacio da Alvorada's chief of staff. get status of minister for Regional Policies Despite the creation of the Producsecretary Ovidio de Angelis. tion Ministry renamed to DevelopBesides being assailed by political leadment, Industry and Commerce and ers trying to secure some turf for themgiven to respected intellectual, Celso selves, Cardoso had also his hands tied by Lafer, there is no hint there the IMF, which wouldn't let him will be any change in the exonerate Finance minister Pedro political or economic path. Malan and Central Bank president, 0 GLOBO Cardoso has threatened Gustavo Franco, without a good to fire those ministers whose parties do not align with the FH: Nàofui *Ito pare serogerente fight. The choice of ambassador Celso government in Congress da crise. Farei um pals mais just°, Lafer to oversee the Ministry of when there are crucial matDevelopment, Industry and Comter being voted. But he canmerce, was an attempt to please not hide the fact that he had international and domestic investo swallow some frogs, as tors and businesspeople. He is exthe expression goes in Brapected to be a mild counterpoint to zil, to line up his cabinet. the Cardoso pragmatism. AccordEven before the carping ing to former Finance minister and started coming in from his current House representative critics, Cardoso conceded, Antonio Delfim Netto from Sao "In a complex society like Paulo, Lafer "is well prepared, is the Brazilian, you cannot connected with the Paulista (from advance without a system Sao Paulo) business sector, but he of alliances, which someis not a belligerent man, he will times might even be contraoffer no resistance to the economic dictory." team." Buried is the dream of a new ecoThe Pleased and the Unpleased nomic model. Cardoso once planned Despite all the fretting, most of the to have his friend and Communicaallies seemed to be happy with the final tions Minister Sergio Motta leading cabinet composition. Senator Jose Sarney, the newly-created Development, Inone of those directly benefited by the pardustry and Commerce Ministry. With

More of the Same

BRAZZIL - DECEMBER 1998

celing out of power echoed the opinion of many of his colleagues: "This is a very good team. The President assembled a political cabinet." "We are satisfied with our share," said Geddel Vieira Lima, the Baiano (from Bahia) leader of the PMDB in the House. Besides getting the Justice and Transportation ministries, Lima's party was also able to win the Regional Policies Department, which is now responsible for Water Resources, a bureau that belonged before to the Environment Ministry. A PTB (Partido Trabalhista Brasileiro—Brazil ian Labor Party) threatened rebellion never occurred, since the threat that Paulo Paiva—a PTB choice—would be removed from the Planning Ministry never happened. Some criticism came from some members of the President's party, the PSDB, even though most seemed happy with their lot in the bargain. "It was the feasible reform, but we are happy with it, anyway," said Aecio Neves, the party's leader in the House. Representative Alberto Goldman, from Sao Paulo, disagreed, criticizing the selection of PSDB's Pimenta da Veiga for the Communications Department, seeing it as a victory for the PFL. Goldman would rather have Veiga in a more prominent political post. He also didn't like to see Francisco Dornelles from the PPB (Partido Progressista Brasi leiro—Brazilian Progressive Party) as the minister of Work and Employment, dismissing it with a, "The PPB resembles more finances than work." The PT (Partido dos Trabalhadores—Workers' s Party), the main opposition party, seemed totally unimpressed with the new cabinet. "There was no change," said Jose Dirceu, the party's president, echoed by another PT heavyweight, the former Porto Alegre (capital of Rio Grande do Sul) mayor, Tarso Genro: "The cabinet accommodates the government basis, now with an intellectual relish, Celso Lafer." In Pernambuco some PFL politicians want to rebel against the government and their party leadership. They cannot accept the fact that they lost the decades-old control over the water resources sector. "The President knows that he needs to massage the ego of the parliamentary basis, so they will approve the proposals he sends to Congress. He didn't do this giving irrigation to the PMDB and he will be sorry," threatened PFL representative Osvaldo Coelho from Pernambuco.

BRAZZIL - DECEMBER 1998

All the Names MINISTRIES

Defense - Elcio Alvares (PFL). The new ministry reunites formers military ministries (Army, Navy and Air Force). Alvares failed to get reelected to the senate in the October 1998 national elections. Justice - Renan Calheiros (PMDB). He is maintained in the post from the previous term of office despite some grumbling from other allied parties. Transportation - Eliseu Padilha (PMDB). He also kept his post. Agrarian Reform - Raul Jungmann. Being able to arrange a $800,000 foreign loan helped him keep his job. Civilian Staff- Clovis Carvalho Military Staff - General Alberto Cardoso Communications - Pimenta da Veiga. Representing the PSDB from Minas Gerais.

Development, Industry and Commerce - Celso Lafer. The Brazilian ambassador to the World Trade Organization is highly respected by the government economic team as well as the Brazilian business community. Agriculture - Francisco Turra (PPB) Culture - Francisco Weffort. He continues in his post. Finance - Pedro Malan. One of the most respected ministers from the first four years, Malan was the first to have his post guaranteed for a second term. Budget and Management - Paulo Paiva (PTB). Stayed heeding an appeal by Malan. Foreign Relations Luiz Felipe Lampreia Education - Paulo Renato de Souza. Like DEPARTMENTS: Malan and Lampreia Gatxtinho raiIgieja v-WaleiCO he's been is his post Social Action (linked since the beginning of to the Social Security the Cardoso first term Ministry) — Wanda Hengel was the secreof office. tary of Social DevelopHealth - Jose Serra. ment in the city of Rio Cardoso's personal Administration and friend, he was Planning minister at the beginPatrimony (linked to the Budget and Manning of the Cardoso adagement Ministry ministration. Science and TechnolClaudia Costin Regional Policies ogy —Luiz Carlos BresOvidio de Angelis (PMDB). ser Pereira (PSDB) Foreign Commerce Chamber - Jose Mines and Energy - Rodolpho Tourinho Botafogo Got-waives (PFL). An Ant6nio Carlos Magalhaes Institutional Relations - Eduardo Graeff protégé, he replaces Raimundo Brito. Government Communication - Andrea Social Security - Waldeck Ornelas (PFL). He asked senator Antonio Carlos Matarazzo. He almost resigned before starting the new job. The ex-president of CESP Magalhaes, his friend, to be maintained (Companhia Energetica de Sao Paulo) and in the little popular post. former Energy secretary of Sao Paulo GovLabor and Employment - Francisco ernor, Mario Covas, will be in charge of Dornelles (PPB). Former Industry and the government image. Commerce minister, he would rather get Human Rights (linked to the Justice Minthe Communications post. istry) - Jose Gregori Environment - Jose Sarney Filho (PFL) Planning and Evaluation, in charge of The PV (Partido Verde—Green Party) IBGE (Instituto Brasileiro de Geografia e rightfully wanted the post. It became his Estatistica—Brazilian Institute for GeogChristmas gift from his father, ex-presiraphy and Statistics) - Edward Amadeo dent Jose Sarney (PMDB). Special Projects - Ronaldo Sardenberg. Sports and Tourism — Raphael Grecca He was in charge of the extinct Depart(PFL). He wanted the Urban Development of Strategic Affairs. ment ministry, which never left the drawing board 9

waym Ungodly Oral Sex Adding a notch to the Brazilian musical scene steam MTV Brazil has been exhibiting a video-clip glorifying oral sex. President Bill Clinton and Monica Lewinsky are some of the characters portrayed in the 4m14s film made to divulge "Boquete" (Giving Head), a song from Carioca (from Rio) Ivo Meirelles and his Funk'n'Lata band. By the way, if it weren't for Clinton, the song would probably still be in Meirelles's drawer gathering dust. The song was made two years ago, but the composer didn't think the song would get any airtime due to its risque lyrics. Then the White House scandal broke out and oral sex became a subject discussed even in kindergartens. It's not the ClintonLewinsky duet, though, that's getting most of the attention, provoking controversy and enraging the Catholic Church. In the clip there is a priest— Meirelles himself—who is all smiles and is shown with a very pretty little devil working under his frock while the lyrics explain what's going on: Padre encontra o lenitivo.... E a felicidade se repete Todo dia num boquete Il° Priest finds lenitive .... self And happiness repeats itEveryday in a cocksucking In another scene, Me irelles gives oral relief to a plastic doll in a Volkswagen bug. "This veiled censorship I've been facing is a portrait of Brazil's hypocrisy," says the musician. "False morality has to go. The whole world performs oral sex, but you cannot talk about it. I've known priests who were gays, others who were perverts," he adds.

THE SONG Boquete Pra quem tern ingles fluente Cabeca prd tras 0 corpo pra frente Ela gosta de pagar E de receber 0 ceu é o limite do prazer Vern, nenem... Trombone ou trompete Gruda em mitn que nem chiclete No carro, na ma, ninguem se mete Vem que eu quero um boquete Eu you tambem Ndo tern saida Tete-a-tete corn a perseguida Tern que dar pra receber Se achar é se perder Papai/mamde tradicional Descascar banana é normal Mas se o remedio é via oral... Sensacional! Boquete! Boquete! Boquete! Boquete! Voce pode me achar um pervertido Mas ninguem controla a sua libido Nao me venha corn essa de puritano Voce boqueteia por de baixo do pano Mao engorda, no faz mal Nem precisa de anticoncepcional Se o remedio é via oral Mantenha a calma profissional Secretaria, executivo Padre encontra o lenitivo Deputado, senador Todo mundo é provedor E a felicidade se repete Todo dia num boquete Mate a cobra, mostre o pau... Sensacional!

Oral Sex For those who h e fluent English Head backwards Body forward She likes to pay And to receive The sky's the limit of pleasure Come, babe... Trombone or trumpet Stick to me like 1 1 chewing gum In the car, in the street, no one dares Come, I want head I'm going too There is no other Way Tete-d-tete with your pussy You have to give to receive If to find it to get lost The traditional mom and dad Banana peeling is normal But if the medicine is taken orally... Sensational!

problem, but the daily use on the sexual organ of prostaglandin gel, the same hormone used in the treatment of impotency. To other experts, the relations between then and women which turned sex from a pleasurable activity into a power game, is at the root of the problem. According to this view, women should stop testing men in bed and men liould get back their selfesteem.

A Jewel for the Books With the release of two

new versions of the Santos

jewel-watch the Paris-based 'Maison Cartier has once twain reignited two historic 'controversies: of who invented the airplane and who seated the wristwatch. The •Santos is an homage to Alberto Santos Dumont, the •man who in Brazil, France, and many other countries in the world is considered the •inventor of the airplane. In Head! Head! 1898 in Paris he became the Head! Head! first man to fly a gas-powYou might think I'm a ered airship. Americans pervert naturally believe that the But no one can control Wright brothers, who flew his libido in their machine in 1903, Don't start acting like are the real inventors of the a puritan airplane, You give head The Cartier piece, whose under the cover first version appeared in It doesn't make you fat, 1911, was originally preit doesn't do you harm •sented to the public during a You don't need big bash on the same day birth control Santos Dumont in 1906 took If the medicine is taken orally off from the Bagatelle field Maintain the in Paris in his 14-B is flying professional calm machine. Dumont was a Secretary, executive, good friend and much adPriest finds lenitive mired by the Cartier clan. Representative, senator The Brazilian inventor, anEverybody is a provider noyed with the big pocket And happiness repeats itself watches of the time, which Every day in a cocksucking were hard to use during Kill the snake, show the rod... flight, is credited with havSensational! ing also invented the wristwatch with friend Louis Cartier in 1904. This is however disputed by the Swiss who say that they invented the wristwatch as early as 1790. t BRAZZIL - DECEMBER 1998

40 Years Key That s Bossa Nova It's uite Natural How did bossa nova start? It would be naĂŻve to contend that it had but one moment of birth. Some say the start of the movement was the LP Cancao de Amor Demais by Elizeth Cardoso. Or was it "Desafinado" by Tom Jobim and Newton Mendonca and its line "That is bossa nova, it is very natural"? One defining relationship started when Joao Gilberto first met Antonio Carlos (Tom) Jobim, in lpanema. Jobim, Vinicius,__Joao Gilberto, Menescal, Elis,Nara Leao, Maysa, Baden Powel, Sylvinha Telles, Carlos Lyra, Boscoli, Bonfa, Castro Neves, all the players are here to celebrate the 40th anniversary of bossa nova. RSTEN WEINOLDT Revolution Rev.o.lu. around in an orbit or elli 2.: a fundamental ch or renunciation of one go by the governed. 3.: activity or movem socioeconomic situation 4.: a fundamental ch something.

ion: The action by a celestial body of going tical course. ge in political organization; esp. the overthrow ernment or ruler and the substitution of another nt designed to effect fundamental changes in the ge in the way of thinking about or visualizing

Those are just som of the ways in which the dictionary defines revolution. And bossa n va was nothing short of a revolution when it was sown and germinated in 958. And as with any revolution in history, this one was welcomed with mixed reaction, ranging from shock and dismay to excited enthusiasm a d inspiration. BRAZZIL - DECEMBER 1998

MPB (Mnsica Popular Brasileira—Brazilian Popular Music) great, Caetano Veloso, speaks of his introduction to the new style (bossa nova means new style), remembering with fondness how he as a 16-year-old would sit across the street from a bar in Santo Amaro, his hometown, in Bahia, state, and listen to the record of fellow Baiano, Joao Gilberto, singing "Chega de Saudade," in English known as "No More Blues." The flipside of that single was "Bim Born" written by Joao himself. For young Caetano, this record was a revelation, possibly one of the inspirations for his own career that would later be legendary. Revolutions generally happen as a result of the oppression and deep dissatisfaction of a people. This particular event could hardly be said to have sprung from oppression, but rather a desire to break with tradition-and a rich tradition it was—Brazilian popular music. And it was that rich heritage that laid the groundwork for the revolution. Before getting into the style known as bossa nova and its players, it would be prudent to look at those who made the great leap possible. Caetano Veloso, in his recent show, Fina Estampa, talks about the phenomenon and its father, Joao Gilberto, but goes on to mention a great, beloved singer who came before—Orlando Silva. In the show he performs a song made famous by Orlando Silva, "Labios que eu Beijei" (Lips that I Kissed), one of the songs that inspired Joao Gilberto to sire the new style. Calling it "the missing link" between bossa nova and what came before, Caetano also performed Joao Gilberto's 1950 "Voce Esteve corn Meu Bern" (You Were with My Sweetheart). In it you can hear a hint of the beat that was to become so famous only a few years later. In 1940's Brazil samba cancdo was the rage. But there were already people who were changing the sound of Brazilian music. Carioca (from Rio) pianist and singer, Johnny Alf—real name Alfredo Jose da Silva—was born in sambista great Noel Rosa's own neighborhood of Vila Isabel. He was breaking new ground with his jazz inspired piano playing and singing. Ahead of his time, he was also the subject of acidic criticism at the time. One critic after hearing him at one of the clubs in Rio, in which he performed, remarked, "This fellow plays a kind of music nobody understands." His syncopated playing must, indeed, have sounded out of place in early 50's Rio. But there were other people upon whom A I f made a lasting and inspiring impression. He had a couple of hits, "Rapaz de Bern" (Nice Guy) and "Eu e a Brisa" (I and the Breeze), that were covered by other artists. Unable to make a decent living, however, he accepted work in Sao Paulo and left Rio until 1962—an act that took him out of the loop of the bossa nova mainstream that was about to spring up. American Frank Sinatra with his velvet voice was loved all over the world, including Brazil. The Brazilian answer to Sinatra, however, was found in the embodiment of Dick Farney, who sang those American ballads and made a success of himself in New York. Radio announcer, Luis Serrano got the brilliant idea of combining the two heartthrob singers. Thus, on February Td, 1949, in a basement in Tijuca, bairro (neighborhood) of Rio, was born the Sinatra-Farney fan club. It was said that Dick Farney was more American than Brazilian, singing the repertoires of Bing Crosby and Nat King Cole, until he followed the suggestion of composer Orlando Belandi that he use the same romantic style to sing samba-canto in Portuguese. In this fashion, Dick Farney became a symbol and opened avenues for those who were yet to come as bossa nova singers. Another pre-bossa nova musician, who influenced later players, was Billy Blanco, whose brief partnership with Tom Jobim produced "Tereza da Praia" (Tereza from the Beach), which was performed by Dick Farney and Lficio Alves. The latter—a rival of Farney's, was one of Brazil's great singers. It was said that his voice "appeared to come from a dormant 12

volcano." Lficio was only 14 when he founded the group Namorados da Lua (Boyfriends of the Moon), in 1941. He very cleverly adapted his style to singing samba in the way of Bing Crosby. He dissolved the group in '47 and founded another, Os Anjos do Inferno (The Angels of Hell). His odd style did not become popular in Rio, where he was virtually unknown. Then, in 1950, young Joao Gilberto arrived from his home state of Bahia at the invitation of Os Garotos da Lua (The Moonboys), thereby throwing his voice into the ring of the vocal group war. Os Garotos did not sing in English. They were Brazilian and sang in Portuguese. With the arrival of Joao Gilberto, the group began to annoy the other groups. However, Joao Gilberto did not easily conform to the rules of the group. He also had the idea that he would do well on his own. Therefore, when his failure tizi show up for rehearsals and shows resulted in his subsequent firing, it probably did not upset him very much. The eccentric Senhor Gilberto next allied himself to another eccentric Joao (Donato), and the two prepared the way for bossa nova together. The group Os Cariocas with their nationalistic music, had their first success with "Adeus America" (Farewell, America) by Geraldo Jacques, in which they mock such American "institutions" as boogie woogie, swing, rock, singing "Que isso nit° estci mais pra mim. Eu quero um sambafeito s6 pra mim," That this is not for me anymore. I want a samba made just for me. "That night, as I heard that slow and syncopated samba, the musician hiding in me took control of my body. I became part of that wonderful energy of the trio, when a cuica came from within me, and I had the courage to imitate its sound, at the right time and in the right pitch. Later, the musicians told me I must be Brazilian to understand that exact moment." Luciane Simonds, expatriate Brazilian, after a recent concert with Eliane The Birth of Bossa Nova 1 It would be naïve to contend that bossa nova had but one moment ofbirth after conception and gestation. Almir Chediak, who has given so much to lovers of Brazilian music with his Songbooks, collections of music on CD and in books, representative of a great many of MPB's greatest, has also issued a CDROM called Song Book about bossa nova. On it, he challenges the user to answer questions and then provides the answers. About the birth of bossa nova he depicts 5 possibilities with pictures to click on, then with text, animation, "live" performances by several artists, and sound tracks off famous songs, he answers the questions posed by himself. One ofthem, which countless others see as the start of bossa nova, is the LP Can c.& de Amor Demais (Song of Too Much Love), by Elizeth Cardoso. On it she sings Tom Jobim and Vinicius de Moraes' "Chega de Saudade" (Enough Longing) almost simultaneously made famous by the guitarist who accompanied her, Joao Gilberto. Another ofthe possibilities mentioned was a phone call from Tom Jobim to the artistic director of record company, Odeon, Aloysio de Oliveira. Tom Jobim had heard mention of a"Baiano singer with a different style," whom he wanted to invite to his house. That precipitated the first meeting between two of the geniuses of bossa nova. Yet another option on the CD-ROM is this, on the liner notes of the LP entitled Chega de Saudade, Tom Jobim, in fact, gave name to the new movement. He called Joao Gilberto "0 Baiano bossa-nova de 27 anos" (The new-style, 27-year-old Bahian), thereby coining a name that would send shock waves into the world. BRAZZIL - DECEMBER 1998

A fourth "click" introduces the song "Desafinado" (Offkey) by Tom Jobim and Newton Mendonca and its line "Isso Bossa Nova, isso é muito natural" (That is bossa nova, it is very natural). A delightful animation shows a hapless singer being bombarded with tomatoes as he sings "Off Key" off key. Last, but not least, is mentioned a conversation that took place at Casa Villarino, a bar, in 1956. Critic and historian Lacio Rangel introduced Tom Jobim to Vinicius de Moraes, who was looking for a musical partnership for his play Orfeu da Conceicao." Tom Jobim was a little embarrassed but finally dared ask the question if there were any money in the project. The play did not produce great remuneration, but a divine and immortal partnership was born. The mid 50's had brought with them a desire for renovation. Popular music had for sometime, to a great degree, come from outside Brazil. A movement for creating music inside the country—a music all-Brazilian, albeit with foreign influences, was brewing among a group of young people in the Zona Sul in Rio—a talented group of musicians and singers—born into the bourgeoisie of Ipanema and Copacabana. These people were eager to create their own jeito, their own way: "Revolution with beauty," a phrase used by the triumvirate of Tom Jobim, Vinicius de Moraes, and Carlos Lyra. Tom Jobim did not like what people were saying, that bossa nova was inspired by jazz. He said of the subject that his work was inspired by the harmonies of Villa-Lobos, Chopin, and other classics. Others said that what he and his pals did was simply samba. Then, producer and lyricist Aloysio de Oliveira created quite a stir when he arrived from the U.S. and stated that "Foi a Nolte" (It was the Night), by Jobim and Newton Mendonca and "Menina" (Girl), by Carlos Lyra, recorded by Sylvinha Telles, were not samba, notsamba-canceio, nor ballads. "I have seen that something new is being born," he said. Joao Gilberto was intrigued by the modern style employed by Tito Madi, who had great success with "Chove La Fora" (It's Raining Outside). They struck up a friendship, which led to many creative moments between the two. But one defining relationship during this time, of course, started when Jodo Gilberto first set foot in the apartment belonging to Antonio Carlos (Tom) Jobim, in Ipanema. Tom was astonished to hear the beat utilized by the Baiano singer and immediately thought of "Chega de Saudade," already recorded by Elizeth Cardoso, as a vehicle for Joao. As history has shown, his instincts were exactly right. At that time, Sdo Paulo was the important market for music. The director of Odeon Records, Osvaldo Gurzoni, however, showed somewhat less enthusiasm than Tom Jobim had. In fact, when presented with the record, he is said to have had a fit and broken it. Thus, he too, has his place in the history of bossa nova. One can only be grateful it was the finished product and not the master tape he heard. "Chega de Saudade" went on to break all record sales in Brazil and around the world. Osvaldo Gurzoni was not the only one who vociferously expressed his dislike for the new style. Antonio Maria, author of sambas-eancoes like "Ninguem Me Ama" (Nobody Loves Me), was one of the first. Nobody, however, was as virulent as music critic Jose Ramos Tinhordo, for whom bossa nova never went beyond "an assembly of North American music, a servile adaptation of cool jazz." One can only wonder if at some time later, Mr. Tinhordo felt as if he were standing on the track of an oncoming train with a picket, protesting the noise. Brazil had for a long time had a national obsession with the accordion and has, over the years, produced many great players. Joao Gilberto changed that picture forever. The sound and beat of his guitar became the manner in which the new musicians of Brazil wanted to express themselves. And scores of hopeful BRAZZIL - DECEMBER 1998

young people flocked to learn "the new beat" from Carlos Lyra and Roberto Meriescal at their music academy. Another tradition was born then, as well, that of getting together in small, intimate groups at someone's house to sing and play. Such a place was the so-called bunker of Nara Ledo, the muse of bossa nova. I remember hat day clearly—the day that changed my life forever. It was c4Aring school vacation. Copenhagen was warm and sunny thai day, when this teenager strolled up my hometown's faMous Walking Street. And there, on the right, in that little movie theater, now long gone, I saw the poster oftwo black people wi0 the morros (hills) of Rio in the background. The pictures weke too intriguing to pass by, and I bought a ticket for Orfeu Negro. I didn't know the writer, director, score composer, or actors. But it began my love affair with Brazil at the same time til at it opened the world of bossa nova to me. Kirsten We noldt The "Places" of Bossa Nova Aforementi ned Casa Villarino was on the corner of Avenida Calogeras and venida Presidente Wilson in the center of Rio. It was not just the birthplace of the partnership between Tom Jobim and Vinicius de Moraes, but also a creative haven fpr the bohemians in Rio—a place in which were written some of the most wonderful sambas-cancaes, the most passionate poems, and some of the most interesting radio programs of the time. Casa Villarino was frequented by such luminaries as the poets Carlos Drummond de Andrade and Paulo Mendes Campos, the compo ers Ary Barroso, Dorival Caymmi, and Fernando Lobo and the singers Dolores Duran and Aracy de Almeida. Another place with significance in the history of bossa nova, which nurtured the growing movement, was the nightclub of the Hotel Plaza at Avenida Prado Junior. A small space, it lent itself perfectly to the gettogeth rs of greatly talented people, where they had the opporttinity to play the sounds that were becoming increasingly popular. Not surprisingly, it was Joao Gilbertp who brought fame to the Plaza when he performed with drummer Milton Banana. Tom Jobim went there t see the Baiano guitarist. But perhaps the most famou and wide reaching result stemming from the Plaza was the work done by Tom Jobim and Vinicius de Moraes, which led to the birth of bossa nova. "Bpco das Garrafas" (Bottle Alley) is another term that should nOt be forgotten. In fact, journalist Ruy Castro, author of the book Chega de Saudade, is quoted as saying that "the Beco das Garrafas was to bossa nova what Milton's Playhouse on 118th Street in Harlem was to Be-Bop," the jazz style created by, among others, Dizzy Gillespie and Charlie Parker. Beco as Garrafas got its name from the action of the neighbors up n hearing the Carioca bohemians playing their music into th wee hours. They threw bottles out the windows at the hapless usicians to get them to quiet down. It was a blind alley betwee Duvivier and Rodolfo Dantos Streets, but some time before t e start of the 60's, writer Sergio Porto baptized it Beco das Gar afas. Located i Beco das Garrafas were the clubs Little Club, Bottle's Bar, : accara, and Ma Griffe. The first two presented shows with t e duo Miele and Boscoli. Then came performers like Elis Regi a, Paulo Moura, Baden Powell, and many others. Later emerges groups like Luizinho Eca's Tamba Trio, Bossa Tres led by Luiz Carlos Vinhas, and the sextet of Sergio Mendes. Dis overed in Rome and brought to Brazil, American dancer Lenn Dale put his own spin on bossa nova for a while in Beco das arrafas and almost transformed it into another Broadway sh w. At Bottle's, his crazy choreography created a stir. Waving is arms like the rotors of a helicopter, he appeared 13

onstage. Likewise, he made an entrance with a live duck to sing "0 Pato" (The Duck). He also invented a bossa nova dance filled with lots of swinging and swaying. Bossa nova has changed not only the culture but also the geography of Brazil. There used to be a little hangout called Bar Veloso on Rua Montenegro. The bar is now called Bar Garota de Ipanema and the street is called Rua Vinicius de Moraes. It is commonly believed and accepted that Tom Jobim and Vinicius de Moraes composed the song of the same name, in English known as The Girl from Ipanema, in this bar. The story, however, is not accurate. The famous pair frequented Bar Veloso to drink and chat and gather inspiration. And indeed, it was there that in 1962 the green eyes of Heloisa Menezes inspired the creative duo to write a song and dedicate it to Helo, as she was generally called. But it was in Tom Jobim's new house on Rua Bardo da Torre that the music began. The song was, originally, named "Menina que Passa" (Girl Who Walks By) and the lyrics were quite different. The Bunker of Nara Leao Some call the apartment, where 14-year-old Nara Ledo lived with her parents, the actual beginning of bossa nova, because it was a place in which, supported by her parents, Nara's friends gathered at all times and tried out their compositions. Her circle consisted of people like Roberto Menescal, Carlos Lyra, Ronaldo Boscoli, Chico Feitosa, Luis Carlos Vinhas, the brothers Castro Neves, and Dori Caymmi, son of Dorival Caymmi. In Rua Nascimento Silva, 107, Tom Jobim stayed up all hours of the night to compose music for Vinicius de Moraes' play Orfeu da Conceiccio. The architect who designed Brazil's new capital Brasilia, Oscar Niemeyer, also designed the set for the play. The play was a success and a cultural event in 1956 Brazil. It could be said that bossa nova had officially arrived, when the president's preferred pianist, Bette Nunes, also called the Godfather of bossa nova, invited to a party at his apartment in the last week of 1959. Invited was the Turma da Bossa (Bossa Gang), which consisted of Tom Jobim, Joao Gilberto, Ary Barroso, Luiz Bona, Ronaldo Boscoli, Carlinhos Lyra, Roberto Menescal, Sylvinha Telles, Nara Ledo, Oscar Castro Neves, Luizinho Eca, Luis Carlos Vinhas, Chico Feitosa, Sergio Ricardo, Alayde Costa, Nana Caymmi, and others. This happened as the magazine 0 Cruzeiro presented a 10-page spread on the new wave of music. Ronaldo Beiscoli said of the style, "bossa nova is a state of the spirit." Created in the Marvelous City, Cidade Maravilhosa (Rio), it didn't take long before it arrived in Sdo Paulo. In the beginning of the 60's, the movement made its appearance on television, in clubs, theaters, and student hangouts. In spite of the initial reception of "Chega de Saudade," bossa nova was there to stay. Flux and reflux. I cannot help thinking about the cool Scandinavian sound of the fifties. Recordings with Gullin, Domnerus, Bilberg, and Bent Hallberg that became quite an influence in America, from east to west with its lush, warm and lyrical sounds and with so much tristeza (Portuguese: sadness). And then these very sounds fell on us again, less than a decade later through the masteries of Jobim, Gilberto, Carlos Lyra, Johnny Alf, Sidney Miller, etc., who themselves had listened to Chet Baker, Mulligan, Modern Jazz Quartet, The Miles DavisGil Evans collaborations. So the scene was clean and readyfor the arrival of the bossa nova in Europe, caught in a turmoil of hard bop and avant-garde. The wave was on its way to be, it certainly saved Getz 'career, and bossa nova musicians went on 14

tours all over Europe. Finn Nielsen, writer and music critic, Copenhagen, Denmark Bossa Nova Outside Brazil On November 21, 1962, New York's Carnegie Hall became the stage for a much advertised show. Thousands got tickets, and at least 1000 people were left in the rain outside. It was a show, in which Murphy played a central part, i.e. the Murphy with the law, in that everything that could go wrong, did. Nothing worked right. And yet, it turned out to be a thundering success. "Batida Diferente" (Different Beat) sent the audience flying. Tom Jobim on the piano got messed up on the lyrics of "Samba de uma Nota S6" (One Note Samba), but people loved it. On "Corcovado" things got complicated, and he stopped, then started again and sang it both in Portuguese and English to everybody's delight. Carlinhos Lyra sang his "Influencia do Jazz," a tribute to the North American art form. Joao Gilberto thrilled the audience, among whom were Peggy Lee, Miles Davis, and Dizzy Gillespie, with "Samba da Minha Terra" (Samba From My Land), "Corcovado," and "Desafinado" (Off Key) with Tom Jobim on piano. Agostinho dos Santos sang Luiz Bona's hauntingly beautiful "Manha de Carnaval" (Morning of Carnaval) with Bonfd on guitar. It was a new beginning for bossa nova and its artists. USA's First Lady, Jacqueline Kennedy, received the artists in the White House. Many of them signed recording and touring contracts in New York. A new era, in which North American artists jumped on the bossa nova bandwagon, began. Of supreme importance was tenor player, Stan Getz, whose velvety sound seemed perfect for bossa nova. He went on to record a series of Brazilian albums with people like Joao and Astrud Gilberto, and Tom Jobim, who always remained known in this country as Antonio Carlos Jobim. "Old Blue Eyes" himself recorded one ofhis best records in partnership with Tom Jobim. USA's and Europe's gain also became Brazil's loss, in a way, in that both Joao Gilberto and Tom Jobim ended up living many years outside Brazil. Sergio Mendes also a became a household name in the U.S. and Europe. Jobim along with Lennon/McCartney became the most recorded composer on the planet. His songs "Garota de Ipanema," "Samba de Uma Nota SO," "Corcovado," "Meditacao," "Insensatez," and "Wave" were sung and made famous by Astrud Gilberto, Frank Sinatra, Sarah Vaughn, Ella Fitzgerald, Nat "King" Cole, and Peggy Lee. "Desafinado" recorded by Stan Getz and Charlie Byrd sold over a million copies. Bossa Nova Baby. Bossa Nova and I were born some thirty-five years ago in New York City. Ion the East Side, bossa nova on the West. Actually, the musical genre had about a fouryear head start on me in Brazil, yet it wasn't until the November 1962 concert at Carnegie Hall that America was introduced to the soft, understated sounds of what Jobim referred to as "samba distilled." Yet, even as a small child sitting in front of my family's Motorola stereo, I had thought bossa nova was American jazz music and only years later discovered it came from Brazil. What I mean to say is that this music felt so natural (so New York!)â€”so universalâ€”that there was no trace of anything 'foreign" in it. Many years later, I certainly appreciate the subtle differences, yet for me bossa nova was, and continues to be, pure and timeless music. Being a contemporary with bossa nova, I've always had a keen interest in its development and spread throughout the world. Much has changed in Brazilian music since that time, yet BRAZZIL - DECEMBER 1998

there's always been a sort of timelessness and universality expressed by bossa nova, which I cherish. The subtle rhythm continues to tickle gently like a soft feather brushing across your cheek. It has attracted an international following (which, indeed, has kept it alive) and has relied on the cross-pollinating influences of non-Brazilian greats such as Stan Getz, Ella Fitzgerald, and Frank Sinatra. Bossa Nova both draws upon and contributes to the body of work we call jazz and doing so is a true partner in the musical experience: one that shows the importance of an unselfish give-and-take. So, is bossa nova Brazilian? In origin, perhaps, but as it has circled the world, it has become so much more. Bossa Nova is the origin of integrated world music—one sure to be recognized from Manhattan to Manaus, Paris to Parsippany, Tokyo to Toledo. Thanks, Joe, Mr. Bim*, for nurturing your distilled spirit — and sharing it with us. Gabriel Ben-Yosef, a bossa nova baby, is editor of Bossa Magazine and can be reached at editorABossaMag.com on the Internet. * Refers to an incident at which Tom Jobim arrived in New York and was greeted in that manner by a customs agent who was not familiar with the famous name and its pronunciation. THE PLAYERS Jobim Ant6nio Carlos Brasileiro de Almeida Jobim was born on January 25th, 1927 in Tijuca, Rio de Janeiro. The family moved to Ipanema—a place that inspired much of Jobim's music. He started studying the piano at 13. By 1956, he worked as a pianist and had already written music in partnership with Billy Blanco, Dolores Duran, and Newton Mendonca. It was at this time that he met Vinicius de Moraes, and their creative relationship started. "With Vinicius, I could write as much as three songs a day," said Tom Jobim. In the 60's, he began his international career starting with the Carnegie Hall concert. That led to the recording with Frank Sinatra. This move toward the exterior, however, made him the target of hard criticism in Brazil. They said he was making "American music," and that he had sold out. His recordings gathered dust in the stores in Brazil, while they were torn offthe shelves outside. "In Brazil, success is a personal affront," complained Jobim. Another great source of bitterness for Jobim was the destruction ofnature, particularly in Amazonia. He took his worry about the environment into the studio with "Matita Pere," "Urubu," and "Passarim." In the 80's, he regained his prestige in his homeland and was often the subject of frequent tributes. With his wife, Tereza, he had the children Elizabeth and Paulo, who is also a musician and father of Daniel Jobim. From his marriage to Ana Lontra, he had the children Mario Luiza Helena and Joao Francisco Lontra Jobim, who was killed in 1998 at 18, when he was driving a car his mother had given him as a present a week earlier. In '92, he was the theme of the samba school Mangueira's Carnaval performance. In '94, Tom Jobim was diagnosed with bladder cancer. In spite of surgery to remove the tumor, Jobim did not recover and died in New York on December 8th of that year. Brazil and the world had lost one ofthe greatest composers to ever hit the scene. Vinicius Vinicius de Moraes, "0 Poetinha" The Little Poet, was one of the most endearing characters in MPB and Brazilian literature. His career in music was a curious one. In 1933, still quite young, Vinicius recorded a marchinha (a little parch), "Loura BRAZZIL - DECEMBER 1998

ou Morena" (B ond or Dark). But soon he abandoned his artistic life for the For ign Service, including a stint at the Brazilian consulate in L os Angeles. Until the beginning of the 50's, Vinicius' Fore gn Service restricted his artistic expressions to articles for ne spapers about movies and poetry. In 1956,a ter he had returned to Brazil, Vinicius sought a partner for Or eu da Conceiceio, his Brazilian version of the Greek myth o Orpheus and Eurydice. At first he rejected the sugges ion of Vadico, ex-partner of Noel Rosa, and agreed to talk to Tom Jobim. Vinicius de Moraes was knownr for his bon vivant lifestyle (wine, woman, and song). Retired from the Foreign Service by the military regime, he spent the rest of his days enjoying his life to the fullest. Menescal Roberto Batalha Menescal was born in Vitoria, Espiriro Santo, on October 25th, 1937. Studied piano from 6hildhood and later switched to accordion and harmonica. Finally, he opted for the guitar. Having studied with some excellent teachers, he later founded a musical academy with Carlos Lyra in Copacabana in the mid-fifties. In 1958, his first song was recorded by Alaide Costa. He participated in the show Samba Session, considered one of the forerunners of bossa nova. In 1961, he wtote the classic "0 Barquinho" (The Little Boat), inspired by hi own love for and adventures at sea. The following year- he sang in public—for the first and last time—at the concert at Carnegie Hall. Menescal went on to become producer and director of PolyGram R cords. He produced a great many collections of Brazilian mu ic for the Japanese market. He collaborated with Almir Chedi k on the CD-ROM about bossa nova. His son, Marcio, has ollowed in his father's footsteps becoming involved in the production of music. Elis Elis Reg na, Gaticha (woman from Rio Grande do Sul state), was b rn in Porto Alegre. At 19, she arrived in Rio in 1964. It did p 't take long for the sprite Regina, nicknamed "Pimentinha' (the little pepper), to become a success. After a show in Beci das Garrafas, in Rio, the doors were opened for her. In 1965 after a season at the Paramount Theater in Sao Paulo, she w put in charge of the program 0 Fino da Bossa, on TV Reco In the 70' ,when she was married to maestro Cesar Camargo Mariano, Eli established herself as one of the most important names ofMP and made some outstanding recordings. She was also instrum ntal in discovering new talents, such as Renato Teixeira, Jo s Bosco, and Aldir Blanc. Sadly, she died of a heart attack brou ht on by a mixture of alcohol and cocaine, in January of P81. Nara Nara Lo go Lean was 14 years old in 1956 when she started taking guita lessons from two fellows in Copacabana, Carlos Lyra and R berto Menescal. They say that bossa nova was practically b rn in the family's apartment, facing the sea, where she organiz d get-togethers with her teachers and friends. One of those w Ronaldo Boscoli, who ended up moving in as her boyfriend. Toward the end of the decade, Nara was considered the muse of bos a nova and engaged in a career as a singer. Perhaps her greates merit was discovering or re-discovering great talents, new and old, such as Cartola and Carlos Cachaca, she recorded Z Kai and Joao do Vale. She helped launch Maria Bethania's areer and recorded Chico Buarque's first success "A Banda" The Band). 15

She had famous fights with Boscoli and Elis Regina. She was married to the filmmaker, Caca Diegues, with whom she had the daughter, Isabel. In the 70's, she recorded LP's with music by Joao Donato and Erasmo Carlos. In 1991, she died of cancer at the age of 49. Joao Gilberto Jodo Gilberto was born in Juazeiro, Bahia, in 1931. He lived in his hometown until the age of 18. Until then, practically his only contact with the outside world was radio, on which he listened to his idol, Orlando Silva. He also listened to the American recordings coming from the loud speakers on the main square in Juazeiro. After his tumultuous relationship with Os Garotos da Lua mentioned earlier, he went on working toward his solo career. For the next seven years, he traveled between Rio, Sdo Paulo, Rio Grande do Sul, and Bahia encountering the same problems dealing with adapting to the rules of others. After the success of "Chega de Saudade," he became an overnight success, practically. He married Astrud and together they recorded in the U.S. with Stan Getz. After they broke up, he married Miucha, sister of Chico Buarque, with whom he had the daughter Bebel. In the 70's, after he returned to Brazil, he performed with Gilberto Gil, Caetano Veloso, and Gal Costa, for whom he approached God-status. In the 90's, his reputation for being difficult has only grown, but recently, in 1998, he made a successful tour of the United States, which received rave reviews both from the audiences and critics. .*;

â€˘

Maysa

Maysa Figueira Monjardim, known as "0 Furacdo da MPB" (The Hurricane of MPB), was famous for her large, green eyes. The poet Manuel Bandeira called them dois oceanos ndo pacificos (two not pacific oceans). At 18, she married impresario Andre Matarazzo, 38. They had everything required to live a comfortable and tranquil lifestyle, but her father recognized her uncommon talent and insisted on making her a star. He succeeded in setting up an audition with Columbia, which resulted almost immediately in a contract. Maysa was pregnant with her son, Jayme, and chose to spend time with him, but not for long. Eventually, it came to a choice between her marriage and artistic career. The latter won out. The tearful and most personal voice of the singerâ€”who also composed was a sensation, and with the arrival ofthe new style, she considered switching to bossa nova. Finally, in 1961, involved in a relationship with Ronaldo Boscoli, she took the plunge and went on tour in South America singing bossa nova. Her life was a mixture of turbulent love affairs and whiskey, and in 1977, she was killed in an automobile accident on the Rio-Niteroi Bridge. Baden Baden Powell was already an established guitarist at the outset of bossa nova, but the movement gave him the opportunity to play with other musicians of high caliber. He worked in partnership with Vinicius, de Moraes on several occasions, which produced works such as "Canto de Ossanha", "Samba da Bencao" (Blessing Samba), "Berimbau" (an instrument used widely in the martial arts form of capoeira), and "Apelo" (Appeal). In the 80's, after having lived in Paris for several years, he returned to Brazil. Unfortunately, he never had the recognition he so richly deserved and got in Europe, and he is now living in Germany.

Sylvinha Sylvinha Telles began her love affair with bossa nova almost a decade before the genre officially existed. In 1952, when she was 19,,she was the girlfriend of Joao Gilberto and attempted a career as a singer. The affair did not last, but the musical influence stayed. In 1955, she started going out with guitarist Candinho, whom she later married. At the same time she began performing in small clubs, but soon attracted wider attention. In 1957, her LP Caricia (Caress), a precursor of bossa nova, launched her on the road to fame. In fact, it resulted in a TV program not unlike I Love Lucy, in which she performed with her husband. She separated from Candinho and later married Aloysio de Oliveira, formerly of Bando da Lua, the group which accompanied Carmen Miranda to the U.S.. In the 60's, her career hit some snags due to alcohol. She died in a car accident in 1966. Lyra Carlos Lyra was born in Rio de Janeiro on May 11th, 1936 into a middle class family with a penchant for music. His parents and uncles played instruments, and Carlos himself started on the road to being a musician at the age of 7. His first performances with the guitar took place at the Colegio Santo Inacio, where he went to school. At secondary school in Copacabana, he met Roberto Menescal, with whom he later founded his musical academy. This academy was, in truth, an apartment in which the two gave lessons to young hopefuls, but it also became a meeting place of people like Edu Lobo, Nara Ledo, Ronaldo BOscoli, and Marcos Valle. In 1955, while he was studying architecture and playing electric guitar with the pianist, Bend Nunes, he began composing. In '56, he won at the Festival da Cancdo on TV Rio with the song "Menina" (Girl) later recorded by Sylvinha Telles. In 1960, he composed the music for the play A Mais-Valia Vai Acabar, Seu Edgar (The Surplus Value Will End, Mr. Edgar) by Oduvaldo Vianna Filho. The following year, he met Vinicius with whom he composed the musical Pobre Menina Rica (Poor Rich Girl) and Primavera (Spring). One of his great contributions to bossa nova, was "Influencia do Jazz," from 1962, which, in a vibrant rhythm he theorizes about how the genre was created, mixing samba, jazz, Afro Cuban rhythms and more. Carlos Lyra says today that bossa nova is over. "It was the Brazilian popular music between 1956 and 1965," he says. In 1994 he issued his first album with unpublished songs in 20 years. He has never liked the pressure from producers to record something he did not consider quality and has always spoken up for the rights of composers to write what they believe: "I don't have to write any nonsense." Boseoli Ronaldo Boscoli was born in Rio on October 27th, 1929. His was a family of artists, composer Chiquinha Gonzaga and actors Jardel Jercolis and Jardel Filho. His road to musician, however, went by way ofjournalism. His first job as a reporter was in the 50's when he wrote about musical events in the magazine Manchete, moving on later to the newspaper Ultima flora. He established himself as an influential figure in bossa nova, being both a producer of musical shows and manager. He also composed and distinguished himself with the composition "Sente," (Feel) on the LP Oh, Norma, recorded in 1957 by Norma Benguel. He also performed in pocket shows with invited guests. Along with Carlos Lyra he composed "Lobo Bobo" (Silly Wolf) in 1959, "Saudade Fez urn Samba" (Longing Made a BRAZZIL - DECEMBER 1998

Samba), and many others. But the most steady of his partnerships was with Roberto Menescal, whom he met in '56 and with whom he composed the famous "0 Barquinho." He was known as a relentless music critic but also for his great sense of humor. He was also a great ladies' man, having had affairs with many of the leading ladies of bossa nova, Nara Lao, Maysa, and Elis Regina. He never shied away from speaking openly of his affairs. "It wasn't just the women everybody knew, but all the prettiest women around," he is known to have said. He and Elis had a son, Joao Marcelo, who also has a musical career. From about the 70's, he worked with Roberto Carlos as a musical director untilbis death in 1993. Mendonca

cars—at one p int, he owned about 20, most of them from the 30's—and he i a member of the Veteran Car Club. Castro-Neves Oscar Castro-Neves was born in Rio on May 15th, 1940. Since the age Of 6, he played cavaquinho and guitar. When he was 14, he forMed a musical group with his brothers Mario on piano, Leo t;on drums, and leo on bass. In 1960, the LP Bossa Nova Mesino, included two of his songs, "Menina Feia" (Ugly Girl) and "Chora sua Tristeza" (Cry Your Sadness). In 1964, he accompanied Vinicius and Quarteto em Cy in the club Zum-Zum and presented his song "Onde Esta Voce?" (Where Are You?) in the show 0 Fino da Bossa. That song ecame a great success for Alaide Costa. Oscar participated in the 1962 bossa nova show at Carnegie I1all. After that, he returned many times to the United States, and since 1966 has lived in this country where he divide his time between producing CDs, arranging movie scores, and acting as representative of Brazilian musicians for American projects. From time to time, he goes to Brazil. In 1975 he participated in writing the soundtrack for the soap o Dera Gabriela and in 1993, he was in the annual Free Jazz Festival in Brazil.

Newton Mendonca wrote the lyrics for two ofthe most famous bossa nova songs, "Desafinado" (Off Key), and "Samba de Uma Nota S6" (One Note Samba). Unfortunately, he was never, to reap the fruits of the roaring worldwide success both of these songs received. In May of 1959, a couple of months after Joao Gilberto's historic recording, he suffered a cardiac infarction. A year and a half later, a massive heart attack killed him at the age of 33. One of the great Carioca bohemians, Mendonca spent his nights playThe Mark They ing piano in the clubs of Copacabana like Mogambo, the Left Behind Carrousel, the Posto 5, and Ma Griffe in Beco das Garrafas. And there was always whiskey, women, and conversation with Most of us have probably played the philosophical game, friends that went well into dawn, creating many problems with "If a tree falls in the woods, and nobody is there, does it make his wife. a sound?" It's easy to give biographical data on the people who Cardiac problems ran in the family of Mendonca, and after created bossdnova, but does it tell us what they came to mean the first infarction, he was told by the doctors to stop drinking, to us and to the gensmoking and fooling around. erations that were He was also advised to stop to follow? Gilberto working for six months. He Discography Gil said in a recent did not follow a single one of Cancel° de Amor Demais—Elizeth Cardoso—on Fes 1958 interview, asked those pieces of advice and conChega de Saudade—Joao Gilberto—on Odeon, 1958 about the death a tinued his lifestyle as musiOrfeu do Carnava/—Agostinho dos Santos and other -on Fontana, 1959 while earlier ofTim cian of the night. Bossa Nova—Carlos Lyra on Phillips, 1960 Maia, "Life is like Alayde Canta Suavemente—Alayde Costa—on RCA, 1960 that, isn't it? People Bonfa 0 Amor, o Sorriso e a Flor—Joao Gilberto—on Ode n, 1961 create, leave their Bossa Nova—Roberto Menescal—on Imperial, 1962 marks, and die. But Luiz Bona was born in A Bossa dos Cariocas—Os Cariocas—on Phillips, 19 2 those marks are Rio in 1922 and made a living Tamba Trio—Tamba Trio—on Phillips, 1962 fundamental for the as a guitarist in the early 50's. i Fidelity, 1962 Big Band Bossa Nova—Oscar Castro Neves—on Au ho development of a Respected by his colleagues, Getz/Gilberto—Joao Gilberto, Stan Getz, Astrud Gil erto—on Verve, 1963 generation. In that he was the subject of an homVinicius e Odete Lara—Vinicius and Odete Lara—oll Elenco, 1963 is the renewal." age by Joao Gilberto in the Bossa, Balanco e Balada—Sylvia Telles—on Elenco 1963 And indeed, tune "Um Abraco no Bonfa" Samba Esquema Novo—Jorge Ben—on Phillips, 19 the masters of (A Hug on Bonfa). His beaun Polydor, 1963 A Bossa Muito Moderna de Donato—Joao Donat bossa nova, some tiful song from Vinicius de Baden Powell a Vontade—Baden Powell—on Elenc6, 1964 of whom are no Moraes' Orfeu Negro, Pobre Menina Rica—Carlos Lyra and Dulce Nunes-4-0n CBS, 1964 longer with us, live "Manha de Camaval," is one Zimbo Trio—Zimbo Trio—on RGE, 1964 on, not only in their of those classics most people Entre Nos—Walter Wanderley—on Phillips, 1964 recordings, but also know, even if perhaps they Opini'do de Nara—Nara Ledo—on Phillips, 1964 in the legacies cardon't know its origin. He was Luiz Eva & Cordas—Luiz Eca—on Phillips, 1965 ried on by present another Brazilian musician Dom Um—Dom Um Romao—on Phillips, 1965 and future stanwho made a great success of Manfred° Fest Trio—Manfredo Fest—on RGE, 1965 dard-bearers. himself in the United States Samba Eu Canto Assim—Elis Regina—on Phillips, 1965 Regina and Jair Rodrigues—o Phillips, 1965 with songs such as "Gentle Dois na Bossa—Elis Tom Jobim, Rain," "Menina Floc," and Milton Banana Trio—Milton Banana Trio—on Odeon, 1965 as seen by cis Albert Sinatra & Ant6nio Francis Albert Sinatra & Antonio Carlos Jobim—Fran "Ruth's Waltz." others. In the 70's, he and Jobim, Carlos Jobim—on Reprise, 1966 who were great friends, enThe Gentle Rain—Luiz Bonfa—on Mercury, 1967 Tom, for me, is gaged in a controversy about Beach SaTba—Astrud Gilberto—on Verve, 1967 my university. The who had composed which best music courses harmony. The fight escalated that I took it ere to hear what Tom played and the things he said until there was a break in their relationship. They later re-united as well as tne arrangements he made for my things. with the help of music critic, Roberto Muggiati, who was an Carlos Lyra unconditional fan of both. After music, Bonfa has another great passion, antique BRAZZIL - DECEMBER 1998

Tom Jobim was accused, many times, of plagiarism. In a chronicle, Antonio Maria denounced five such (perceived) instances. Sergio Cabral in his biography, touches on this event, which caused great controversy in the Carioca community, but leaves the conclusion up to the reader. Carlos Lyra says of the subject, "Sure, there were times, but Tom was generally the first one to point out the similarities between his new song and one written by someone else. For instance, I remember when he showed me his new song, I think it was "Discussao," (Discussion) written because he adored "Voce e Eu" (You and I). He said, "This is the influence of Carlinhos Lyra, I took it all from "Voce e Eu." I can't hear the similarity, but obviously, he did." Edu Lobo says, "With Tom, it was like this, the closer you got to his work, the more you'd become able to enjoy it, to play it, and you'd start to see the dimensions. Tom is the best popular composer I know. In his day, he had no equal, anywhere in the world. I had the pleasure of telling him that several times. One of those times he asked me, ' "And what about Michel Legrand?" I told him that Michel Legrand didn't come close to him. But I thought it was funny him asking that because it was almost like he was a little kid." Edu Lobo says furthermore, "For me Tom was always a kind of model, an objective, something like that. I think it was that way for everyone in my generation. My thing is to make my music come as close as possible to that model, that harmonic and melodic rigor. I think he was very important in the sense of attracting people to that music, such that they wouldn't be drawn to some other kind of music. "Tom was one of the funniest people I ever knew. In the middle of a conversation, he'd start telling a story about buzzards. There were some people who didn't get his humor at all. We'd record, and as soon as the track was laid down, it was straight back to the jokes, just non-stop silliness. Puns, plays on words. He was a pun specialist, from the worst to the best, he was very funny. There was a story about him and Chico (Buarque) fighting over reading dictionaries. They had every dictionary in the world." Chico Buarque about his first partnership with Tom Jobim on the beautiful song "Retrato em Branco e Preto" (Portrait in White and Black): "...the funny thing is that back there in the beginning, I don't know if this is just my impression or if it was really so, but! had the impression that he was sort of lending me a hand, giving me a break, he insisted that I do the lyrics, but comparing this to other times later, when there was already a strong friendship between us, it was more difficult to write lyrics for Tom, because he interfered all the time. But this time he didn't. He was like, "It's great." Like he was going out of his way or even patronizing me a little. "In the song, "Piano na Mangueira" I 18

The Songs Chega de Saudade

No More Blues

the one that started it all Tom JobimNinicius de Moraes Vai minha tristeza E diz a ela Que sem ela nao pode ser Diz-lhe numa prece Que ela regresse Porque eu nAo posso mais sofrer Chega de saudade A realidade que sem ela nao ha paz Nao ha beleza E sO tristeza E a melancolia Que nAo sai de mim Nao sai de mim, nAo sai.

Go my sadness And tell her That without her it cannot be Plead with her To come back Because I can't suffer anymore No more blues The reality Is that without her there is no peace There is no beauty It is just sadness And melancholy Which does not leave me Does not leave me, does not leave.

Mas se ela voltar, se ela voltar Que coisa linda, que coisa louca Pois ha menos peixinhos a nadar no mar Do que os beijinhos Que eu darei na sua boca

But if she returns, if she returns What a beautiful thing, what a crazy thing. For there are fewer fish swimming in the sea Than kisses I will put on her mouth

Dentro dos meus bracos Os abracos Hao de ser milhOes de abracos Apertado assim Colado assim Calado assim Abracos e beijinhos E carinhos sem ter fim Que é pra acabar corn esse negocio De viver longe de mim Vamos deixar desse negocio De voce viver sem mim Garota de Ipanema Tom JobimNinicius de Moraes

In my arms The hugs There will be millions of hugs Tight like this Close like this Quiet like this Hugs and kisses And affection without end To put a stop to this business To live far from me Let's leave behind this business Of you living without me. Girl from Ipanema English lyrics by Norman Gimbel

Olha que coisa mais linda Mais cheia de graca E ela menina Que vem e que passa Num doce balanco, caminho do mar

Tall and tan and young and lovely The girl from Ipanema goes walking And when she passes. each one she passes goes "A-a-a-hWhen she walks she's like a samba

Moca do corpo dourado Do so! de Ipanema 0 seu balanco é mais que um poema E a coisa mail linda que eu já vi passar Ah, porque estou tao sozinho Ah, porque tudo é tao triste Ah, a beleza que existe A beleza que ilk) é so minha Que tambem passa sozinha

When she walks, she's like a samba That swings so cool and sways so gentle That when she passes, each one she passes goes "A-a-a-hOh, but I watch her so sadly How can I tell her I love her Yes, I would give my heart gladly But each day as she walks to the sea She looks straight ahead, not at me

Ah, se ela soubesse Que quando ela passa 0 mundo sorrindo se enche de graca E flea mais lindo Por causa do amor

Tall and tan and young and lovely The girl from Ipanema goes walking And when she passes. I smile, but she doesn't see She just doesn't see No, she just doesn't see BRAZZIL - DECEMBER 1998

Samba de uma Nota Se Tom Jobim/ Newton Mendonca Eis aqui este sambinha Feito numa nota s6 Outras notas vale entrar Mas a base 6 urna s6 Esta outra 6 consequencia Do que acabo de dizer Como eu sou a consequencia Inevitayel de voce Quanta gente miste por al Que fele tanto e nao diz nada Ou quase nada Já me utilizei de toda a escala E no final nao sobrou nada Nao deu em nada • E voltei pra minha nota •Como eu volto pra voce Vou canter corn a minha nota Como eu gosto de voce E quem quer todas as notas Re mi fá sol la si d6 ica sempre sem nenhuma Pique numa nota s6 Insensatez

One Note Samba

Samba d AviAo

English lyrics by Tom Jobitn

This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new one is the consequence Of the one we've just been through As I'm bound to be the unavoidable consequence of you There's so many people who can talk and talk and talk And just say nothing Or nearly nothing I have used up all the scale I know And at the end I've come to nothing Or nearly nothing So I came back to 06 first note As I must come back to you I will pour into that one note All the love I feel for you Anyone who wants the whole show. Re ml fa sol la si do erllpflianydhimself He wi e ho o show ore you

How Insensitive

Tom Jobim/ English blies by Vinfcius de 1%lortfes Gene Lees A insetisatez que voce fez How insensitive I must have Coracati mais sem cuidado seemed that she Fez chorar de dot When she Mid m um am 0 See'arrier. . loved me or tao delicado How unmoved and cold Ali, Torque voce foi fraco I must have seemed When r,„__ she told m0 me so sincerely a•Sim why? Our% have asked, ASSiEn. , _ . to desalrnado icy Ah, tneu coraCito quem Did I jusiium and Stiie in nunca town silence? Nio erece ser amid° What was I to say Vai tneu cortical) ouve a What can you say razio When a love affair ia over Use se sinceridade Now she's gone away Quern semeia Vent°, diz a And I'm alone razao With a memory of her last look Colhe sempre tempestade Vague and drawn and sad Vai, meu coracdo pede I see it still perddo All her heartbreak in that last Perdeo apaixonado look Vai porque quern ndo I-low, she must have asked Pede perddo Could,' just turn and stare and Nao nunca perdoado icy silence What was Ito do What can you do When a love affair is over.

Jobi nta aeiro

RElizst ?,tueV ninem ° j° rar rMe°,i1:R im daades; f pdrfea jt° enssjeaaanl rauendm in.

Song of the Jet English lyrics by Gene Lees How my heart is singing I see Rio de Janeiro My lonely longing days are ending Rio, my love, thereby!!! seta Itio, my love, waiting f me

Cristo edencttuoer b:os sobrbeaar e_abe V°Ce a a BraC°s Guanabara epor

See the cable cars That sway above the bay Guanabara Tiny sailboats far below dance the Est_e sain„ban de samba as the voe6 go you he Shining mg Rio Rio, there rt s of sand and sea an, SeuA-min-r— mn °Ireil dt.adv60, :b i sadam leaningar ar Mountains of green rising so ht Rio ' e rniriuto • Four minutes more we'll be there at uentrdoedm e-m is um the airport in Galeao estaremos no Galeao Rio de Janeire ', Rio deJamiro e Janim Rio de Janeiro • e Janeiro Rio de Janeiro • Rio de Janeiro • Rio do Janeiro •

Cristo idea • IlracoS ibert s sobre a Guanabara Este samba 6 so porque Rio, eu gosto de voce ' vai sam bar •A tritirot Sett corpo todo balancer Aperte o cinto, vamos chegar Agua hrilhando, olha a pista chegando • E vamps nos • Aferrar

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was very c reful to fit the lyrics to his music. And then he'd go and cha ge it when he sang it. Sometimes, I'd actually get pissed off, ut in reality, he turned it around and musicalized the lyrics.' Mett estro soberano foi Antonio Brasileiro (my supreme ma stro was Antonio Brasileiro), as Tom Jobim was often calle , is a line from Chico Buarque's song "Paratodos" (For Eve body) from the CD of the same name—in tribute to Tom Jo im. Abou Joao Gilberto. Carlo Lyra about the claim that "Chega de Saudade" was comp sed, not as a bossa nova, but as a choro:* "It's obvious t at it was changed, for sure. I don't know if it was a choro, ut it was evidently something Tom had already done. Wh t Joao Gilberto did was put a samba into an outline of syncop ted rhythm, an absolute economy of chords—he played fe chords. Today, he plays more." Chico Buarque about "Chega de Saudade" and the reaction t it: "It was a sense of general estrangement, so much so hat there was a break between the generations, between ose who didn't like what was going on, older people, w o had a hard time accepting that first moment of the bossa nova, including Tom's music and the voice and guitar an the vocal style of Joao Gilberto." * A usical style that emerged in Rio about 1870— played m stly in instrumental form. Origin is (perhaps) the

BRAZZIL. - DECEMBER 1998

Felicidade

1Desaflnado Off Key

Tom Jobim Vinicius de Moraes

otn Jobim/ English lyrics by Newton Mendonca Gene Lees Sadness has no end, but happiness does.

A felicidade é como a pluma Que o vento vai levando pelo at Voa trio leve mas tern a vida breve Precisa que haja vento sent parar A felicidade do pobre parece A grande ilusao do =naval A gente trabalha o ano inteiro Por urn momento de sonho prd fazer a fantasia De rei ou de pirata ou jardineira E tudo se acabar na quarta-feira Tristeza nao tern fim felicidade sim

e title is an example of the of Tom Jobim. The new style sic ha44 by some critics been "music for off-key singers" e of the odd sounding harmod intervals. This inspired Jobim efu . The n ofbthosecritics and write rig. The. known part of the song the refrain and often the verse is no4sung at all.' B t in a version by Tom Jobim hitns f, he sings the verse and purpose!y sounds off key—something that i ound to have upset the critics. How er, the first time Joao Gilberto heard it, he is said to have shouted "Tha s mine."

Happiness is like a feather wind carries Through the air Its flight is light but its life is short It needs to feel a breeze that never stops The happiness ofapoorman Is like The great illusion of carnival: We work all year long For one moment in a dream,tu play the part Of a king, a pirate or a gardener Then everything is over on AStrr Wednesday

A felicidade é como a gota de orvalho numa petala de for Brilha tranquila, depois de leve oscila E cai como uma lagrima de amor A minha felicidade esta sonhando Nos olhos da minha namorada E como esta noite passando, passando Em busca da madrugada Fat em baixo por favor Pra que eta acorde alegre como o dia Oferecendo beijos de amor

Happiness is like a drop of dew on a petal. It shines peacefully and swings gently Then falls like of tear shed for love My happiness lies dreaming In the eyes of my girlfriend It's like a night that passes by Looking for dawn. Speak quietly, please So she'll wake as happy as the day And offer me kisses of love

A felicidade 6 uma coisa louca E trio delicada tambem Tern fibres e amores de todas as cores Tern ninhos de passarinhos Tudo born ela tern Pois 6 por eta set assim trio delicada Que eu trato dela sempre muito bem

Happiness is a crazy thing And so delicate, too. Flowers and love of all colors It's made of, and bird's nests and everything nice Because she is so very delicate I always treat her well.

Portuguese word choro—the act of crying—but could be an African expression no one is really sure. About Vinicius de Moraes Chico Buarque: "Vinicius had the power to fascinate people who were a little envious, in the good sense of the word, of the kind of life he led. In a certain way I think my father wanted to be like him." Carlos Drummond de Andrade: "Vinicius was a great poet who lived his own poetry." The Influence of the Movement

Se voce disser queieu desafino amor 'brt que isto em nim provoca irnensa dor S6 privilep,iadoeftem ouvido Igual ao seu Eu possuo apenasio que Deus me deu

If you say my singing is off key, my love You will hurt my feelings Don't you see, my love I wish I had an ear like yours A voice that would behave All I have is feeling and the voice God gave

Se vo4 insiste em classificar eu tompottamento d 'musical Eu, mesmo mentindo devo ergumentar Que isto etbossa nova Que isto é minito natural

You insist my music goes against the rules Yes, but rules were only made for lovesick fools I wrote this little song for you, but you don't care It's a crooked song Ah, but all my heart is there

o que voce na4 sabe, nem

The thing that you would see If you would play your part Is even if I'm out of tune I have a gentle heart I took your picture with my trusty Rollei-Flex Ah, but all I have developed is a complex

•

sequer pressente que os desafinados tambem tern 'lira coracao Fotografei voce na minha Rolleiflex Itevelou-se a sua enorrne ingratidao S6 nao podera falàr assim do meu amor Este é o major que voce pode encontrar, viu Voce corn a sua masica esqueceu p principal Que no peito dos c*safinados No fundo do peito late calado Que no peito dos desafinados Tambem bate urn coracao

Possibly in vain I hope yo weaken, oh my love And forget the rigid rules That undermine my dream of A life of love and music With someone who understands That even though I may be out of tune When I attempt to say how much I love you All that matters is the message that I bring Which is my dear one, I love you.

The people responsible for marketing various products in Brazil did not waste a minute hopping on the bandwagon of bossa nova. It was not long before consumer products from clothes to refrigerators bore the name of the suddenly "hot" BRAZZIL - DECEMBER 1998

Tom Jobim/ on Mendonca Everybody has heard and felt the sweet notes of this song, in English entitled "Quiet Nights" and made famous outside Brazil by Astrud Gilberto on the album Getz Au GoGo. But many people probably don't• know that Tom Jobim originally wrote the lyrics with this-first line, "Um cigarro, urn violaft (A cigarette, a guitar). Jobim, who smoked three packs a day, wanted to start the song in that manner. But Joao Gilberto, who had stopped years earlier, disagreed vehemently, "Tomzinho (little Tom), his thing with a cigarette and a guitar.... Cigarettes are a bad thing. How about urn cantintto... (A little corner)." And that's how Joao Gilberto got his way with what was to become a famous and, beloved song.

Nara Lea°

:pm cantinho, urn violacy Quiet nights of quiet stars .Este amor, urna cancao Quiet chords from my guitar Prifazer feliz a quem se ama ••.Floating on the silence that 'Muita calma prd pensar surrounds us 'E ter tempo prd sonhar Quiet Ui . and Dajanela ve-se o CorcovadO dreama.0 Redeater, que undo! .: .:Quiet walks by quiet streams And a window looking on the e sea Quero a vida sempre assim This is where I want to be Corn voce perto de mim Here with you so close to me Ate o apagar da velha chama Until the final flicker of life's E eu que era triste embers iDescrente desse mundo I who was lost and lonely eontrar voce eu conheci •'Believing life was only 0 que e a felicidade A bitter tragic joke Meu amor Have found with you The meaning of existence, oh my love style. Camaval got its own marchinha named Garota Bossa Nova. Filmmaker of Cinema Novo (the name of the Brazilian movies produced at that time, whose leading filmmaker was Glauber Rocha), Leon Hirszman, directed "Garota de Ipanema" with the actress Marcia Rodrigues and a soundtrack full of bossa nova songs. And if someone wore a garish outfit, people would comment, "bossa nova, huh?" Not even politics were excepted. The'UDN (Uniao Democratica Nacional—National Democratic Union), a former Brazilian party, trying to renew their image, became "A bossa nova da UDN." Knowing that the party no longer exists, one can only assume the strategy didn't work. Humorist Juca Chaves, who was in no way considered part of "the gang," got some mileage out of the movement with "Presidente Bossa Nova," a satire on the popular Juscelino Kubitschek. It is almost a foregone conclusion that the song was prohibited by the presidential censors, which only made it more popular. BRAZZIL - DECEMBER 1998

English l Gimbel

uem acreditou In my loneliness No amur, no sorriso, nil When you're gonetuidI flor. by myself , Entao sonhou, sonhou.., , And I need Your can E perdeu a pati I just think of you 0 amor, o sorriso e a for And the thought of you he Se transfon7mdepress d .a ing me near emais Makes my loneliness soon dis- .. QUetn, no coracau appear Abrigou a tristeza de ver Though you'#far, away Tu.° isto se perder, I have only to close my eyes '. E, na solidao And you are back to stay f'rocurou urn caminho e I just close my eyes seguiu And the sadness that missing JA de s crente de um dia you brings feliz Soon is gone and this heart of Queth chorou, chorou mine sings E tanto que seu pranto ja Yes I love you so secou And that for me is all I need to Quem depois voltou know Ao amor, ao sorriso e a I will wait for you for Till the sun falls from out Entao tudo encontrou the sky , Pois, a propria dor For what else can 1 d ve ou o caminho do I Will wait for you amor IVIeditatinghowsweetll a tristeza acabou be When you come back to

It ould be easy to continue for page after page o songs that still make the heart flutter and brings n images of gentle breezes as one stands on Co acabana Beach at the point where Pao de Acuc is visible and Ipanema beckons at the other d. There is a fragrance and a feeling in Rio th t says bossa nova, that says Tom Jobim and Vi icius de Moraes, that says "come to me and dr nk in my intoxicating spirit." Being very subjec ive, I'd have to say that Sao Paulo could never ave inspired bossa nova. It arrived at the Bay o Guanabara on the wings of a divine Baian , who changed our vision forever. So rces. ill be eternally grateful to Almir Chediak, who ith his partner Roberto Menescal produced e CD-ROM Song Book of Bossa Nova as well the newspaper Estado de S. Paulo whose wond rful Website for the whole year of 1998 has ca ied a special feature about the 40 years of boss nova. They can be visited at vvww. stado.com.br It provides links to, among other hings, The Tom Jobim Website, which again rovides more links and all the information, i Portuguese and English, you could ever want bout Mr. Jobim. Log on—and be prepared to spe d the day. Kirsten Weinoldt was born in Denmark and came to the U.S. in 1969. She fell in love with Brazil after seeing Black Orpheus many years ago and has lived immersed in Brazilian culture ever since. E-mail: kwracing@erols.com 21

AND THE FLIPSIDE? Regar • ing your cover story on : ram Ian teens (October 1998) why no 'discussion of all the youth that could never dream to afford any of the stuff needed to enter into one of these tribes? Or the youth whose only life is thefavela (shantytown) and illiteracy? These are perhaps the majority of Brazil s youth. What about them? This article was fantastic in describing middle and upper class youth, very true to my experience in Brazil but what about the rest, the vast masses of the forgotten and unseen? Or some discussion of -how these tribes of privileged youth think about (or even if they see) their age peers who live lives of desperation only meters from them? That would be an even more interesting article I think. I am constantly curious about how young Brazilians perceive the incredible social chasms in their society that are so overwhelming to the foreigner but are often completely ignored by Brazilians themselves. I would love to read some thoughts on this in your magazine. Keep up the good work. Via Internet

Tzotzil3(&aol.com HOW ABOUT PACKING? Upon reading Mr. John Miller's article "How to Become a Carioca," in your November issue, I can only conclude that Mr. Miller is very frustrated and dissatisfied with Brazil and the Brazilian people. That's very surprising to me since in the United States (where I am studying), never before had I heard from an Australian tourist such displeasure about Brazil. Just to validate my point, Mr. Miller you can take a look at several issues of Brazzil magazine, in the Letters to the Editor section, and you will find. samples of what I just wrote. Notwithstanding, my point here is to let you know, Mr. Miller, that if you are living in a country, but you're not satisfied with it, or if you dislike itspeople or culture, pack your stuff and leave. Go back to Australia, where you came from, or find another place that will like your cheap wines. But please don't live anciclo business in Brazil at the same time you say bad things about us; that's simply impolite, to say the least. just wondering why you are not living in Australia! Fernando Oliveira San Diego, California INSULT AND INJURY Won enng about what Jo n Mi er was expecting from a third-world city like Rio de Janeiro g; keep asking myself what "such people go to do there. How to Become a Carioca , Miller's article, more than an insult toward the Brazilian people is a clear example of bad 19uma l ism. Sexual Tourism, "crazy drivers, shantytowns, theft, deficient telecommunication, corruption (Brazilian/Latino way), transvestitism, Aids, amongothers,are his article's main subjects in relation to Rio de Janeiro. What a waste of time! Destructive criticism is far way from being what Rio and other Third-World cities need to solve their obvious problems, Mr. Miller. Perhaps, your You are in‘iled to participate in this dialogue. Write to: Letters to the Publisher P.O. Box 50536 Los Angeles, CA 90050-0536 or send E-mail to: brazziFdbrazzil.com Please, include a phone number in the es cut we need to reach you. Thanks! 22

NOT trying to become a Carioca, would con- article about he Aiye in Brazzil(N ovember tribute in some way to Rio' s general welfare i 1998). It was very informative. The message some way. Taking back to Melbourne you needs to get out and she did a great job. wines, arrogance, body, and criticism, woul Despite more than 41years of positive culbe positive To Rio de Janeiro as well. tural creativity, Ile Alye still faces a struggle... By the way, twice was I endangered in the I met Vove a few times in my six trips to "Sidney calm traffic." In one of them, I went t Bahia. I went to his house and met his mom. the hoSpital with a little fracture in my right lee They did a show in Los Angeles at the How many times did you get hit by a car in "Rio- African Market Place in 1993. traffic?" Like Ms Weinoldt, Black Orpheus enceslau DeSouza changed my life. I saw it for the first time in 1978: It is now part of my video collection. Political Science & History Teacher I have seen it over 100 times. This is a fact Los Angeles - California that few people know... Eurydice (Marpessa FLIC ON TROP Dawn) is not Brazilian. She is an oI rea your cover story on Tropicana last Filipino from Harlem. If you notice, they year. lam a filmmaker in San Francisco and am never show her feet when she is dancing crazy about Tropicana (admittedly, I've been samba. Regardless it was an extraordinary particularly charmed by Os Mutantes)and want performance. Even thou_gh the film won the to do a documentary on the movement, some- Oscar for best foreign film" and at Cannes thing for an English-language audience. Being was voted the best film there was no place anon-Portuguese speaker leaves me a b it disad- for her in Hollywood. She became an expavantaged, but just as much as that, lam not sure triate and moved to France... What a loss. where to begin or whom I can talk to. (I can't Steve Spencer even worry about the moneyyet). Maybe you San Diego, California have some advice: Books in English available, JUST GREAT scholars and/or fanatics or even those directly I just finished Kirsten Weinoldt's article involved. Know of anyone else who might be on Ile Aiye and must say is the most cominterested in a similar project? plete I ever read about the Afro-Brazilian Christian Bruno bloco group. Simply, great, great article. honeyhouse@hotmail.com Eliseo Cardona San Francisco, California Miami Herald ONE CHORO A DAY Miami, Florida I jpst stumbled upon Bruce Gilman s_great ALL IN ALL interview with Mike Marshall on the Oioro Finally, a good magazine. I have just Festival and was so pleased to see such a good piece on this most neglected treasure. Choro for read you magazine and I am happy to have found a_publication that tells what s happenme is like Bach—you can't go a day without ing in Brazil and touches upon themes as hearing, playing or writing one. Thanlc.s to Bruce for being such an impor- varied as politics, literature, sports, culture, tant part of the mission in bringing greater etc... I would like to get more info on how to awareness to the music on the west coast and in advertise my services in your magazine. lam the states. It certainly has been my main goal to an architect in Denver. do so and perhaps we can all coordinate some Valter E. Pinto good things down the road. Denver, Colorado Richard Boukas D & J May Assoc. Prof Mannes Jazz& Contemporary Music Pgm/New School Kew Gardens Hills NY CHORO DOWN UNDER I have recently read Bryce Gilman 's article "Choro,chorinho, chorcio" and his interview with Mike Marshall and was thrilled to find information about this music. I play cavaquinho in Sydney's only choro group. Happy New Year. Can't you find Brazzil at your Adam May Brazilian consulate? Sydney, Australia Don't ask us why, ask the consulate. rea ing Kirsten Weino it s is llSt me mom non mini

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Last Samba? The Brazilian Real was hit by speculators who were betting that Brazil would be the next developing economy to. go dom.) the tubes victim of the Asian malaise. Brazil is no Russia however. Being one of the ten biggest economies in the world, a debt default in Brazil would bring down all South and Central American economies, pulling into recession the U.S. economy. BASIL M. KARATZAS Brazil has been the latest victim of the Asian flu, the turmoil in financial markets that started in the summer of 1997 from the "tiger economies" of the Pacific Rim and spread to Russia and the equity markets across Europe and the Americas. The tremors of this Asian contagion were so severe that they have made international markets strategists wonder whether this is only a bad case of flu. Brazil was assumed suspect by association of possibly defaulting on its debt payments. Its currency (Real) was hit by speculators who were betting that Brazil would be the next developing economy to go down the tubes. The odds that Brazil would become the Russia of the South America were so strong, that just in September and October of this year, approximately $50 billion dollars in hard currencies flew out of Brazil. To put this into perspective, it is equivalent to about one billion dollars per diem, or 70% of Brazil's foreign currency reserves. However, Brazil is no Russia. Brazil is extremely rich in numerous natural resources, including world class production of agricultural products such as coffee, citrus and sugar. Partially based upon agriculture and partially based upon industry, Brazil's Gross Domestic Product (GDP) for 1997 was a staggering $820 billion, which increased by 3.2 percent units over the previous year. On the other hand, Russia presents a miniscule world economy (Russia's 1997 GDP was $230 billion), smaller than the state of Connecticut, and it has an obsolete industry that produces no exportable products. Not only has Brazil one among the ten biggest economies in the world, but it also is geographically close and financially even closer to the United States. A debt default in Brazil will bring down all South and Central American economies, which consequently will pull into recession 24

the U.S. economy per se. The Brazilian economy consists of 43% of the GDP of all South American countries. Reportedly, U.S.-based banks have loaned approximately $34 billion in commercial loans to Brazil and Brazilian interests, while Brazil's debt to the outside world is approximately $194 billion (about 23% of the GDP). In addition, Brazil has done tremendous steps forwards in the last decade in terms of modernizing its economy. Although still a lot is left to be desired in terms of open market conditions, distribution of wealth and mainly current accounts deficits, Brazil has managed to tame four-digit inflation rates to, a still high, but respectable 15%. In contrast, Russia has no traces of democratic tradition (from czarism to communism and now to "dumaism"). Moreover, corruption levels in Russia not only dwarf Brazil' own corruption problems but they occasionally make Al Capone look like an angel. A tangible example of modern distribution of wealth in Russia is the "privatization" method whereby most of the state companies were simply bequeathed to former party Cossacks. Brazil also happened to be lucky in the sense that its turmoil came after the International Monetary Fund (IMF) and the world community had climbed a few steps on the "Economy Salvation" learning curve. In the financial packages that were allotted for the tiger economies and Russia, the installments of the loans were mainly back-loaded. In other words, the loans were reactive: most of the installments of package aid were mainly available at the end of the term of the arrangement. This obviously was more sort a "last rites" approach than the drastic therapeutic medicine required, as proven in the case of Indonesia and Russia. In the case of Brazil, the loan is front-loaded, assuming certain conditions are consummated. From the $42 billion package arranged with the IMF and the Inter-American Development Bank, up to $37 billion can be available in the first twelve months of the arrangement through the Supplemental Reserve Facility. This gives Brazil the luxury to sustain extensive attacks on its Real and be proactive before major financial problems emerge. In exchange for these special terms, Brazil has promised to a) expedite domestic financial reforms, upon their fulfillment are based future installments of the loans, b) abbreviate the payback period, and c) pay higher interest rates (approximately five percent higher than the rate at which the U.S. Treasury finances its debt). However, unlike Mexico who had to collateralize its loans from the U.S. in 1995 with its oil exports, Brazil did not have to make such a commitment. Cuts and Reforms BRAZZIL - DECEMBER 1998

Is the Brazilian economy out ofthe woods? Has the storm Brazil, nevertheless, is a richly dowered country with calmed down and from now on smooth sailing should be on natural resources. Moreover, Brazilians have proven time the horizon? Current reality in the world equity markets and again that they are capable of survivsuggests that the worst has passed. For instance, the ing perturbations and worth of attracting Dow Industrials jumped from a negative year-to-date foreign investments. After all, adjusting performance in October to new highs in November as if for political risk, Brazil offers a much the Asian flu, and Russian and Brazilian concerns have higher reward-to-risk ratio for foreign been resolved permanently. Equity markets, nevertheinvestors than other much touted counless, are known for pendulous behavior and today's tries, such as Russia and China. assumed "happy-end" scenario might seem too precarious in a few days. Basil M. Karatzas is graduating in The Brazilian economy is not out of the woods yet May 1999 with an MBA degree in by any means. The country has to finance an astronomiinternational Business from Rice cal debt of $300 billion dollars. Despite progress that has University, in Houston, TX. Basil also serves as President been achieved since current President Cardoso introduced for Platinum Holdings International, an international the Plano Real in 1994 as a Finance Minister, the debt is management and capital consulting firm, and can be excessively high by any measure. As Brazil's synonym reached at karatzasArice.edu (hyperinflation) has calmed down, an excessive debt and the associated need to finance such a high debt might bring the country to the brink of a financial calamity. President Cardoso in order to BRAZIL C RGO SPECIALIST secure financing from the IMF and "Ship to Brazil with the cor pony that really knows how." mainly the U.S., had to introduce plans of domestic spending cuts and BEST SERVIC + BEST RATES social reforms. In the proposed AIR - IATA 1-1-9279-012 three-year austerity plan, approxiOCEAN FMC 3853 mately $84 billion in social and other benefits were trimmed. While these will hurt across the board, it is the poorer strata of the population that TO ANY AIRPORT IN BRAZI will especially feel the heat. In a country already notorious for uneven distribution of wealth, further cuts for the poor might incite social unrest, increased crime rates and FULL CONTAINER & DIRECT CONSOLIDATIONS further bounce back of foreign inWITHOUT TRANSLOADING IN MIAMI vestment. In a country that made enormous steps in the last decade in terms of developing the economy, the recently "middle-classified" population who were able to find jobs and get a taste of a westernized economy, going back to poverty conditions might push them to be more vocal and un-cooperative for the required reforms. A little taste of FALAMOS PORTUGUES capitalism is a dangerous thing, and CONTACT DANIELA OR JULIET it is expected that 1999 will be a recession year in Brazil. 12833 SIMMS AVE. - HAVVTHORNE, CA 90250 It is still early to annunciate whether Brazil will survive unTEL: (310) 973-7112 FAX: (310) 973-7113 scathed this turmoil. There are treE-mailtigtouchdownco.com mendous fiscal (debt, etc) and social (poverty, illiteracy, etc.) issues to be resolved before the road to financial happiness can be savored.

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On a Sunday morning, September 20, 1998, those enjoying Verdugo Park came across yet another of many cultural rituals that gives Los Angeles its international color. Dressed in traditional costumes, a group of men, women, and children playfully chatted apparently in preparation for some special celebration. Wearing long colorful full skirts, the women reminded European peasants from the last century decked out in festive dress. The men, on the other hand, in their baggy pants, boots, handkerchiefs and hats suggested less well-known characters. They might have reminded some sort of Turkish cowboys. Undoubtedly, few observers would have guessed that these people were preparing a Brazilian festival. Other than the Brazilian flag, which was flying between their American and Gazicho equivalents, there were no obvious indications that one was in the presence of a group of Brazilian immigrants. I doubt that those Brazilians would have been offended for not having been identified with an image of Brazilian culture and people that has been imposed domestically and sold internationally. Rather they are Brazilians who believe that the best way to live their nationalism is through the emphasis on regionalism. In this case, the image of the tropical country, the land of samba, Carnaval, the girls from Ipanema is not exactly the image that that group of Brazilians have come together to reinforce. Rather than propagate the tall tales of a tropical country blessed by God, the members of the Traditionalist Gaucho Center (CTG) of Los Angeles are interested in living and spreading a rather unique way of being Brazilian. On that September 20 they gathered to celebrate another anniversary of the Farroupilha Revolution, a revolutionary movement that took place in Rio Grande do Sul between 1835 and 1845 against the economic-political centralization imposed on them by the Empire. The Gaitcho anthropologist Ruben Oliven in his book, Tradition Matters: Modern Gaucho Identity in Brazil, recently translated into English, points out that the official celebration of the Farroupilha Revolution "serves as a constant reminder that, although Rio Grande do Sul may be part of Brazil, it was once an independent republic and this fact must remain vivid in the collective memory of its citizens." As the first CTG to be founded outside of Brazil, the Bento Goncalves Traditionalist Gaucho Center, named in honor of the leader of the Farroupilha Revolution, was founded exactly six years ago on September 20, 1992 by the family ofJatir Delazeri and fourteen other families of which only four are native Gaiichos from the state of Rio Grande do Sul. 26

Keepin the Flame Who are these men and women dressed in colorful and festive garb? They are Brazilians who believe that the best way to live their nationalism is through the emphasis on regionalism. They are

Gauchos.

BERNADETE BESERRA

This fact, which is not common among CTGs scattered throughout Rio Grande do Sul and other Brazilian states leads to the following questions: What does it mean to be a Gaticho in Los Angeles? What is the meaning of affirming regional identities within an international space? In explaining why only four of the fifteen founding families of the Traditionalist Gaucho Center of Los Angeles are Gauchos, the founder Jatir Delazeri states that Gaucho is more than being born in Rio Grande do Sul. To be a GaUcho means to agree to adopt a cluster of traditions that the traditionalist Gaticho movement defends. He playfully sums it up by saying that to be a Gaucho is a spiritual state. Although the Statement of Principles of the CTG is lengthy, the explanation of the founder is brief: "I decided to found this CTG because since I arrived in Los Angeles in 1984 I felt this difficulty that people from the south had in integrating with people from the center and the north of Brazil to form a Brazilian organization." Although Ireminded him that I was a Northeasterner, from Paraiba, Delazeri continued to insist that Brazilians from the center and the north of the country are more liberal in comparison to the Gaitchos who are more conservative. In spite of that generalization, Delazeri insisted that the CTG of Los Angeles was open to all of those who agreed with the Statement of Principles. There is even, he pointed out, a family that is a member of the CTG from the state of Pernambuco. In addition to people from the states of Pernambuco, Sao Paulo and Parana, there are members from the United States and other countries of Latin America. Such diversity shows that in Los Angeles Gaucho traditionalism is lived in a rather unique way. For example, on that Sunday, one didn't enjoy the smell of the two most popular and traditional dishes from Rio Grande do Sul, which were created out ofthe legendary lifestyle ofthe Gaficho, namely, churrasco (barbecued meat) and arroz de carreteiro (a rice dish). Since it was a more open party, each person or family brought their own food, creating a semi-picnic, semi-pot luck. No alcoholic beverages since it is part of the principles of the CTG to obey the laws ofstates, cities and countries in which the chapters are located. In spite of the absence of barbecued meat and rice, the members insisted that more importantly, the chimarrao was present. (Chimarrdo is another name for mate, but it is also the carved out gourd used to drink the tea). And the drinking vessel was passed out from person to person as part of a ritual that has been celebrated for over two centuries, although thousands of miles away from Los Angeles. The use of traditional dress is recBRAZZIL - DECEMBER 1998

ommended in public parties but it is not an efficient means to distinguish between Gazichos and non-Gazichos. There were not many visitors, but the group anticipated the arrival of specially invited guests: the Brazilian Consul of Los Angeles, Ji:5rio S. Gama and the Secretary of the Cultural Department of the Consulate, Albino Poli Jr., who were to participate in the ritual of lighting the "Creole Flame." Here one needs to explain that the participation of the representatives of the Brazilian Consulate had to do with the fact that the celebration of the anniversary of the Farroupilha Revolution this year was included in the calendar of events of the Brazilian Consulate in Los Angeles to commemorate the Independence of Brazil. It is important to observe in this regard that the policy of the Brazilian government in promoting Brazil abroad relies largely on the voluntary or paid work of Brazilian immigrants who in some cases receive moral or material support from institutions such as the Consulate. In most cases, the cultural diffusion is undertaken by people whose survival depends on that kind ofbusiness. At the sixth anniversary of the CTG of Los Angeles twentythree member families are present, among them two of the original fifteen founding families. Delazeri explains that this is the dynamic of the CTG in Los Angeles, since many immigrants have moved to other states or simply returned to Brazil. To say nothing about those families who were unable to follow the principles of the center. Returning to the question that has not yet been answered: What is the meaning of the affirmation of regional identities in an international space? First, the insistence on being a Gazicho in Los Angeles rather than being a Brazilian has to do with the diversity of possibilities of being a Brazilian both in Brazil and abroad. Second, it is not just regional identities that are reinforced under the circumstances of immigration but also religious, political, class and gender identities. In other words, the need to affirm identities that clearly delineate and bring people together even in other countries is related to the function of developing networks of relationships that immigrants need to establish in order to survive in another

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country. In thi regard, the Gazichos are not any different from other social grbups that Brazilians have created to survive in Los Angeles. , • In fact, the Criteria ofthe Gaizchos from the Bento Goncalves CTG are quite similar to those of the members of the First Adventist Church ofthe Portuguese Language located in Chino in Southern California, from that of the Brazilians from the Group of Brazilians in Los Angeles, or from the members ofthe MILA Samba School which is also in Los Angeles. The founders of each group establish criteria with which they can identify more fully and the members come and go according to their interests and circumstances. It is two in the afternoon and the ritual of lighting the Creole Flame has started. Katheryn Gallant, an American Brazilianist, is the person chosen to bring the American flag to the podium. Immediately thereafter the consul brings the Brazilian flag. The flags of Rio Grande do Sul and the Traditionalist Gaucho Movement are simultaneously brought to the podium by two Gaucho members of the center, one who is Brazilian and the other Peruvian. Applause and photos follow. Mission accomplished: the Creole Flame burns elegantly with the flags flapping in the background. It is three thirty and the traditionalist Gazichos of Los Angeles begin to prepare to return home to their life of work aind transnational dreams. Bernadete Beserra is doing research on Brazilian immigrants in Los Angeles for her Ph.D. in Anthropology at the University of California, Riverside. She would like to receive comments about this article as well as talk to people who can help her to understand better the history of Brazilian immigration in Los Angeles. Please send messages to brbeserra@aol.com

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A mulher é fraca, porem 6 forte dazias de bacias dos peixes mitidos Esta é uma verdade conhecida desde o mais temidos pelas tratadoras, que saisse comeco do tempo, mas muita gente se catando frutas nos quintais dos outros engana e facilita corn a mulher. A para mandar vender, que montasse mulher, ninguem entende. Quem diz tabuleiros de cocadas e parnonhas para que entende d mentiroso ou burro, mercadejar fantasiada de filha de santo, porque os inteligentes e sinceros, que, no dia em que ele tinha febre ou quando perguntados se entendem a sofria qualquer perturbacao, ficasse o mulher, penduram o beim dao uma dia inteiro au i ao pe tudo atendendo, se risadinha, mudam de assunto e cravam Ira° fosse ela que tantas vezes enganasse os olhos na distancia, lembrando todas a fome das filhas corn mingau de farinha as vezes em que na juventude estavam e caldo de marisco, ah, se lido fosse achando que entendiam a mulher e todo Asteria, sua perfeita negrona que ainda esse tempo era a mulher que estava por cima era a melhor cama de todas as entendendo eles. A sabedoria do homem camas, fosse essa cama na esteira, no reconhecer que nao entende a mulher, capim, na areia ou no colchao de palha esta e a grande sabedoria, segredo dos mesmo, se nao fosse Asteria, que seria milionarios, dos bem-casados, dos dele? grandes donos de cassinos e casas de Nada, nem sequer o pai das sete puta, dos artistas de cinema, dos filhas que vira nascer encarreiradas, funcionarios graduados do Banco do sempre esperando que desta feita viesse Brasil e outros, entre os pouum homem, que nunca veio. cos que na vida se dao bem. A Talvez a culpa tivesse sido fraqueza da mulher é na dele mesmo, porque a primeira musculatura e, assim mesmo, nasceu num domingo e ele a isso diz quem nunca pelejou batizou como Domingas, nao para abrir as pernas de uma a se brinca corn essas coisas de pulso, ou aqueles que nunca dar nome aos filhos. Al a contrariaram, por covardia ou segunda nasceu numa segunesperteza, a gordinha a quem da-feira, de tomou umas e As good as a woman might be she is na igreja prometeram a mais outras e batizou como Secunalways a woman. Happiness, everybody completa fidelidade. 0 hoE, acredite quern quiser, knows, can never be complete. Women mem padece corn climes e Tercina nasceu numa ter-9a, bleed every month, according to some to por isso se enfraquece, bebe Quartina numa quarta, Quincompensate for the worry they cause cachaca, sofre alucinacoes, se tina numa quinta, Sextina their parents and husband-s, or for Eve's desmoraliza perante a colenuma sexta e Sabatina num sin, according to others, or to pay a little tividade e se joga de cabeca sabado—sao coisas que a for the easy life they lead having all their parabaixo do topo dos grandes pessoa nao pode deixar de expenses paid by the man, according to edificios. A mulher, ja de admitir que sao feitas, coisas some others. feitio, nao tern o verdadeiro tracadas no Car e no Destino, dame, mas faz questa° de nao adianta a mao do homem JOAO UBALDO RIBEIRO obrar como se tivesse, ligando querer mexer. Tudo filha e desligando o ciume a sua femea, tudo gracas a Deus vontade, nadando nele como forte e sadia, mas ek sozinho numa pop em mare vaza, numa casa de mulheres, as nuvens, que agora estao pintando e b•rdando enquanto o homem se ye coberto de aquelas falas finas as vezes parecendo altos vagalhoes, ignorando ate mesmo sem ninguem poder fazer oposicao, sao fe eas, o uma reuniao de araras, mais calcolas para que lado fica a terra firme, see que que 6 macho e o relampago, essa besteira xibida penduradas no varal que bandeirolas para ele existe terra firme, terra esta de que nao dura mais que uma piscada e na leva a numa festa de sao Joao, mais cabra onde a mulher nunca sai nem amarrada. nada, como esses que agora ele vislumbra 8 or tras safado rondando e arrastando a asa do 0 homem tern que fazer discursos das casas defronte ao cais, em cima • a agua que gab numa rinha, e tudo isso para mesmo quando necessita ficar calado, a enlouquecida do canal. Vento sul des 14 acado, nao falar nas bocas, cada uma comendo mulher faz discursos somente quando aticando galhos de arvores pelas uas e mais do que a outra, vida dificil, talvez quer e pode perfeitamente permanecer transformando em cachoeiras as ladeira , e ek impossivel, se nao fosse por Asteria, empedrada e muda quantos anos a fro saindo de casa dizendo que ia pescar, • ue ate que o que tinha de parideira tinha de assim tencionar, ate o mundo se alterar podia achar umas chumbergas nesse mar fogado trabalhadeira. Entao, ate todas casarem na forma por ela desejada e, se nao se em agua doce, tinha de ir pescar, o dinheir estava e irem morar na Bahia, ninguem passou. alterar, ela tambem nao se altera, ela curto e mais curta a comida. Mentira, nab i ; pescar fome, ninguem passou grande necestern certeza, o homem nunca tern coisa nenhuma, ainda mais corn os canos sidade, ninguem passou vergonha, certeza. A incerteza do homem vem de precisando calafetar para nao virar penei e sem gran de mulher A steria, mulher de todas que a pessoa pode dizer que nao sabe nem uma escama de isca para remedio. a, sim, as bondades. A bondade de, apesar de quern é o pai, mas nAo pode dizer que para o Mercado, desaparecer urn pouco tras do Ira° saber nada de futebol, se lordar nao sabe quern é a mae, a mae é certa, balcao de Inocencio, pegar uma talaga8 azinha toda nos domingos para ir ao campo de o pai é incerto, já diziam os antigos. E flada, conversar sobre a chuva, dispu lar uma bola corn as meninas e torcer para o Sao temos o problema da barriga da mulher, rebarba de mocoto e talvez entrar na oda de Lourenco, time em que ele era centerque produz a criacao, envergonhando a domino, ate que ficasse suficientemente bebedo ralfe e as vezes jogava pouco mais que do homem, que de peidos e merda e o para voltar para casa e poder sentar junto a janela pedra em santo, mas ela sempre defenmais de que pode se gabar. 0 grande e conseguir ouvir em silencio o que As eria, de dendo que ele era o melhor jogador no misterio da vida é o misterio da mulher. olhos arregalados, yentas abanando e voz omo as gramado:, a bondade de, quando ele, Isto mesmo vai pensando Joao trombetas do profeta, lhe repetiria ate que ele como e natural no homem, escorregava Grande, descendo o Alto de Santo caisse no sono, Deus ajudando. aqui e au i e arranjava uma namorada Boa mulher, Asteria, se nao fosse el , ah, se passageira, em vez de o aporrinhar, nao Ant6nio debaixo do major tor6 que já caiu na ilha num mes de marco, se- irk) fosse ela. Se nao fosse ela que 1 vasse e falar nada e ir la encher a descarada de gundo a mernOria de todos. A chuva e passasse para fora, que escamasse par ganho porrada, assim resolvendo todos os

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BRAZZIL - DECEMBER 1998

problemas sem que ele tivesse de se meter; a bondade de, quando de ficava mentindo para os amigos sobre seus feitos e qualidades, nao sO concordar como dar testemunho e desafiar quem nao acreditasse; e diversas outras bondades, praticamente todas as bondades possiveis numa mulher, grande mulher Asteria, premio de loteria, bencao de Nosso Senhor, Ele no Ceu, ela na Terra. Mas, por mais boa que a mulher seja, é sempre mulher, a felicidade, todo mundo sabe, nunca pode ser completa. A mulher todo mes sangra, segundo uns para compensar as preocupacOes que cid a pais e maridos, segundo outros pelo pecado de Eva, segundo ainda outros para pagar um pouco a vida mole que leva, sustentada pelo homem. Seja porque la seja, ela sangra todo mes, o que se chama de regras e tambem de incomodo e diversos outros nomes, porem o mais comum é se chamar de boi. 0 sangue vem e a mulher diz "estou de boi, o meu boi chegou". De once tiraram esse nome ninguem sabe, como nao se sabe de tantos outros nomes que as coisas levam. Mas o marido de uma mulher grande, e pal de sete ainda maiores do que ela, imagine que talvez o nome venha do touro brabo em que a mulher se transfigura nos dias do bole, pior ainda, logo nos dias antes do boi. Ele mesmo nunca lembrava, embora quisesse para se prevenir, qual era o dia em que o boi chegava, nao tinha dia muito certo. Mas, quando Asteria, em vez das cinco, acordava as sete e, em vez de ir fazer o café, perguntava se o café estava pronto e, se nao estava pronto, sentava de bracos cruzados resmungando, cuspia e ia dar porrada nas galinhas, nos cachorros e no que mais aparecesse, dizendo os piores nomes e fazendo as piores caras, salgando demais o feijao e afirmando que ia se afogar na mare ou sena() fugir corn o circo, etc sabia que era o anuncio do boi. E, sea coisa ja era feia nos dias do anoncio, mais feia ainda ficava depois da chegada, principalmente quando eta era mais mop, porque ela amarelava tanto que de preta virava cabocla e caia na cama se torcendo e urrando de colicas que nenhum cha resolvia, nem saco de agua quente, nem comprimido, nem injecao de vitamina, nem reza, nem nada nesse mundo, e quem chegava perto para puxar conversa eta s6 faltava estracathan Levaram no medico do posto e etc deu o nome da doenca: problema sicologico. Bonito nome etc., mas nao resolveu nada, nao adiantou nada explicar a eta o sicolOgico, sO adiantou um pouco em materia de importancia, porque, quando eta estava gemendotao alto que os vizinhos vinham ver, etc explicava que eta estava tendo a colica sicologica e todo mundo achava muito importante, era a Unica coisa sicologica au i já testemunhada. Ate grandes despesas ele fez, corn umas almofa30

dinhas de algodao de nomes americanos, umas ate perfumadas, que ele soube que as brancas usavam e corn grande sacrificio adquiriu na farmacia—foi caresse, foi medici, foi modesse, foi carefre, teve au i urn especial, pelo nome tampache, que era para socar la dentro deixando urn cordaozinho pendurado, mas so deve funcionar corn branca porque de novo nao adiantou nada, e inclusive ela se agoniou tanto corn esse tampache que, na aflicao da Mica sicologica, puxou o chumaco e jogou na cara dele, so que gracas a Deus nao pegou. Nao é que ele tenha medo de mulher, pois o verdadeiro homem nAo tern medo de mulher, mas medo do boi qualquer homem de juizo tern, inclusive porque o bicho vai mudando corn a idade. Ultimamente, tinha meses em que ele nao vinha e isso seria razao para grandes alivios e comemoraVies, se nao fosse que, quando ele nao vinha, era como se o corpo dela sentisse falta davisita cal ela ficava se abanando corn enormes calores ate na fresca e tendo umas brotoejas e se assoprando toda e abrindo num chororo desatado o dia inteiro e so acertando a dprmir nua em pelo e se cocando que nem um sagiii e de vez em quando se retando de tai maneira que ele reservou urn balde velho para ela chutar. Era ele ver que eta estava corn vontade de chutar, era buscar correndo o balde, botar na frente dela e sair de baixo, porque ela chuta mais forte do que muitos artilheiros do campeonato carioca, havendo quase matado a porca de duzentos quilos de Caetanao, a qual botou o focinho na porta para espiar, bem na hora em que ela acertou uma bicudapoderosa no balde. Nao matou, mas cegou urn olho da porca e abestalhou a porca urn pouco e Caetaninho saiu de revOlver para tomar satisfacao, queria pagamento pelo olho da porca, criou caso varios dias e s6 desistiu quando falaram que era urn assunto sicologjco e ele nao entendeu mas respeitou, pelo menos para isso o medico serve, o estudo vale muito. Problemas, problemas, muitos problemas por causa de uma mulher de boi brabo, ai vida. Sim, mas tudo podia estar melhor, porque de fato o boi de Asteria, corn quenturas e tudo, cada vez aparecia mais mofino e nem chifrava mais a barriga dele como no tempo das grandes Micas sicolOgicas. A vida do homem, contudo, oferece uma armadilha atras da outra, o Cao nao cessa de atentar e, quando o homem pensa que vai sossegar a cabeca, la vem o Inimigo. Verdade que Asteria, apesar de ainda chutar bastante o balde, estava mais calma e, corn a certeza que s6 mulher tern, afirmou que este era o ultimo boi, a mae dela teve o Ultimo boi nos cinquenta anos, a avo dela tambem, a tia Tarsetambem, a prima carnal Guncha tambern. Mas, e as dividas corn Didero Calca Pintada, que, por mais que ek pagasse corn juros de cinco por cento ao dia, sempre tinham a correcao do governo, o betene, o dola parale e outras palavras que ele tirava do jornal para explicar como a divida, em vez de diminuir corn os pagamentos, havia aumentado e amanha ia aumentar mais? E a canoa, que Passo Preto tinha tornado emprestada por mais de quatro meses, prometendo metade do peixe e todo o cuidado e agora havia devolvido escangalhada, dizendo que nunca tinha conseguido pegar peixe nenhum corn ela e que amanha ia consertar os estragos, nunca chegando esse amanha? E a casa velha caindo aos pedacos e a nova so corn as paredes, porque, depois de ele ajudar a construcao das casas dos outros nos mutirOes, ninguem queria ajuda-lo no seu mutirao, dizendo que apareceriam no pr6ximo

domingo, s6 que esse domingo era sempre depois do sabado da outra semana? E o peixe, que, nos poucos dias de chuva leve, parecia que tinha ido passear na America do Norte e nunca mais daria a ousadia de morder a isca de um homem da terra, preferindo os anz6is dos veranistas, em suas Ianchas de milhOes de contos de reis? E as sete meninas, todas garantindo que viriam amanha da Bahia para comemorar os cinqiienta anos de Asteria, ele sem dinheiro, a casa corn mais goteiras do que urn cuscuzeiro, a vida derrotada, derrotada, veja como sao as mulheres, por melhores que sejam, vej a que hora ela foi escolher para fazer cinqiienta anos! Sabendo-se que, quando o urubu esta de azar, ode baixo caga no de cima, besta foi ele, em achar que no Mercado ia passar algumas horas mais ou menos em sossego. Logo na passagem para a tenda de Inocencio, Lindomar do Acougue, embora corn a fina educacao de sempre, encostou a banda de uma lambedeira do tamanho de urn remo na barriga dele para the chamar a atencao e ponderou que, os precos da came subindo mais do que os foguetes da festa de Sao Lourenco, estava tendo grande prejuizo corn as contas atrasadas. SO de cabeca assim, lembrava que Joao Grande Ihe devia seis quilos de chupa-molho, quatro quilos de rabada, quatro quilos de sarapatel e pelo menos 'uns cinco quilos de bucho de boi, brincando, brincando, era uma divida vultosa e, sem querer ofender e absolutamente corn todo o respeito, necessario se tornava achar uma solucao. Joao Grande desencostou a faca da barriga, pigarreou muitissimo, elogiou Lindomar em belos termos e se referiu a uma transacao comercial secreta cuja existencia, confidencialmente, revelava ao amigo, na qual ganharia para mais de cem contos, parte deles, naturalmente reservada para o pagamento daquela divida sagrada, nao pensasse que ele havia esquecido, jamais esquecia suas dividas, saira ao pal, o finado Bento Grande, que morreu pobre, mas sem dever um tostao. Lindomar agradeceu os elogios, mas lembrou que o finado, certamente por distracao, lhe deixara uma conta de chupa-molho, em moeda antiga, que ele nem sabia mais quanto valia. Mas esta certo, disse Lindomar, cu espero mais uma semana, e deu uma pancadinha amistosa corn o lado da lambedeira na barriga de Joao Grande, que sorriu e foi saindo, mas nao se sentia muito tranqiiilo, ao chegar a tenda de Inocencio, cocando a barriga e suando urn pouco. Inocencio este, que, tambem educadissimo como sempre, disse que, infelizmente, nao podia mais manter o credit() de bebidas e cigarros a retalho, que o compadre procurasse compreender a situacao do homem de negocios na dificil conjuntura atual, nao era uma BRAZZIL - DECEMBER 1998

coisa pessoal, era uma queStAo de principio, afinal tratava-se de mais de seis dfizias de doses generosas de cachaca, fora as de quebra, e mais de quarenta cigarros, para nao falar nas duas porcOes de lingilica frita e na lata de salsicha aberta naquele dia em que o compadre achara que ganhara no bicho, mas se enganara. Paciencia, paciencia, o compadre seria sempre bem-vindo mesa de sua casa de morar, mas nao na casa de negociar, embora, como prova de estima e boa vontade, the ofertasse meio copo de cachaca, mas era s6, principio 6 principio. Menos ma!, o copinho de cachaca que, um pouco sem graca, comecou a bebericar devagarzinho, em lugar de , engolir tudo de vez, como faz o verdadeiro homem. Aproximou-se do domino, onde sabia que sua habilidade era respeitada. Respeitada sim, como logo confinnaram os parceiros, mas desta vez o jogo era a dinheiro e ele, cocando de novo o lugar da barriga onde Lindomar, corn tanta educacAo, encostaraa faca, disse que o jogador de respeito nAo joga a dinheiro, d uma desonestidade, o equivalente a tomar dinheiro dos amigos menos dotados, uma covardia—e se encostou para apreciar de fora, corn seu melhor SOlTiS0 de superioridade, o desenrolar das partidas. Partidas essas jogadas, entre outros, por Murilo Porco, hoje residente de um belo bangal8 de char) todo forrado de lajotas, nenhum aposento de chAo batido, lajotas que, no mutirao, JoAo Grande havia tanto carregado, corn o dono da casa sequer uma cervej a oferecendo aos colaboradores; por Divino Beim igualmente residente de casa ate corn frisas em cima da porta e das janelas, igualmente erguida corn sua ajuda no mutirao; por Born Cabelo, igualmente orgulhoso senhor de casa igualmente equipada, ate corn descarga de botAo na sentina, que ele mostrava as visitas, omitindo que a roubou de urn veranista e a instalou corn a ajuda de amigos corn conhecimento de encanamento, como Joao Grande; por Piolho •Doido, igualmente proprietario e igualmente auxiliado no mutirAo, agora cobrindo a casa de finos azulejos e exibindo prosperidade no anel que nao ' cassava de ostentar a cada pedra de domin6 que tamancava na mesa; pelo sacana do Passo Preto, todo monarca, canino de ouro comprado corn o dinheiro que ganhara no emprestimo da canoa, fingindo que nAo o via e jogando notas de mil fora como um deputado federal na eleicao; e, finalmanta, Didero Calca Pintada, anelzAo de ouro no dedo, charuto de caixa na boca e todo perfumado, aproveitando que sua dupla saira no jogo numa rodada, para, dando-lhe uns belisc8ezinhos no brag° e umas, dedadazinhas no peito, lembrar que a cbrreglo estava subindo, o parale tinha disparado e o betene ja sumira na distancia, de BRAZZIL. - DECEMBER 1998

maneira que a coisa estava preta, a divida tinha quase dobrado, a coisa estava muito preta mesmo, podia esperar pagamento amanha, como sem falta? Felizmente a chuva passou um pouco e ele, depois de chegar a espremer o copo paraver se nAo saia mars cachaga, declarou que la aprov itar a estiada para resolver alguns neg6cios. NA tinha nenhum negocio a resolver, naturalment e andou pelo cais ate o Jardim, sentou num ban o sem ligar para os fitndilhos que se molharam, ensou muito na vida e se distraiu, imaginando ue era um peixe graudo navegando pelos mares muito longe dali. Nem notou a chegada da noi , nem reparou que se levantou sem pensar e c inhou de volta a casa devagar, para chegar e en ontrar Asteria carrancuda mas calma, muito mai calma do que esperara, e entAo comeu de mAo o irAozinho de azeite corn moqueca de ovo que e a tinha guardado para de, ajudou a afastar a c a da goteira nova que apareceu quando a chuv voltou C, porque Deus 6 grande e tern pena do p guano, dormiu como nunca esperara dormir, ara sa aconiar ja dia claro, na manha seguinte. E, Deus 6 grande, mas grandes tambe sAo os pecados do homem, assim como seu cas igo, de maneira que, mat deu oito horas, um si lzinho fraco se espremendo entre as nuvens co o quern vem mas nAo vem, ele estava sentado no atente, pensando em que talvez pudesse vender a canoa e se aliviar mats uma semana ou duas, quando aquele farrancho colorido de mulheres, c • a qual mais gorda e dobrada do que a outra, won a esquina e, no meio de uma barulheira qu parecia que o Governador au i tinha arribado corn odas as suas comitivas, Dolningas, Secundina, Tercina, Quartina, Quintina, Sextina e Sabatina, as caras tAo assemelhadas quanto as de mabacas, . roupas estampadas tAo iguais como nos blocos a e carnaval, as vozes do forted como as das c• oras do radio e as saias mais rodadas do que anos de saveiro, o cobriram de abracos que quase a matam e invadiram a casa. Invadiram a casa 6 modo de dizer porque pareciam que iam derrubar tudo naquele sanhamento, ate que se juntaram em redor d Asteria como abelhas numa rapadura e al come ou. Primeiro, os predentes eletricos. Tercina, m ito bemcasada corn urn alto barraqueiro de frut e legumes, trouxe urn liquidificador modernism o, cheio de botOes. Secundina trouxe urn lin. • abajur vermelho e branco. Sextina trouxe u radio, Sabatina uma maquinazinha de costura om motor e por al foi, parecia urn bazar. Mas ele mordido de cobra, sentiu logo que aquilo nAo odia dar certo. Porque Asteria, mesmo agrade endo os presentes, torceu o nariz e suspirou: tu a o muito bonito, tudo muito born, mas nAo tinh nem que padafosse uma banana para liquidificar, nem co de chitapara costurar, s6 umatomada • ara ligar o radio e o abajur, assim mesmo molhad da chuva e soltando umas fumacinhas de vez e quando, para nAo falar que dal a uns tres dias ia i cortar a luz por falta de pagamento. Etc ainda quis dar uma risadinha e trar corn uma histdria de que a situacao era passa eira, que o dinheiro da aposentadoria, pouquin o porem seguro, estava atrasado mas la chegar I go e isso e aquilo, mas, quando viu as cabecas daqueles •mulheroes todos se levantando do Oculo que tinham formado em torn° da tilde e aqueles quatorze olhos miudinhos parecendo umas verrumas the furando e aquelas sete beicolas estendi as em sua direcAo e Domingas, a maior de todas, iarchando para de dizendo "coitada de MAinha, oitada de

MAinha", resolveu parar onde estava, dar meia-volta, falar que ia aui e já voltava e sair mais do que acelerado, na direcAo da bodega de Guto Javali, onde talvez ainda tivesse credit°. Bern verdada que Javali vendia pouco mais do que cachaca e fumo de corda, mas para de era suficiente, naquele transe. E, de fato, Javali, que a essa hora ja tinha provado sua mercadoria principal algumas vezes, nAo the negou credit° e ate o recebeu alegremente-- e por al se ve como o Destino traicoeiro enfeita as coisas, para depois dar mais um golpe. Porque a bebida rolou farta na bodega, a conversacAo se tornou vivaz e otimista e tudo passou a parecer tAo melhor que, pouco antes do meio-dia, o juizo leve, o peito transbordando confianca e o andar altivo, ele decidiu voltar para casa. Certo que nAo havia muita comida, mas as nes galinhas poedeiras tambem podiam servir para corner, já estavam ficando velhas de qualquer forma e botando cada vez menos, tambem nAo era assim, o negocio nAo estava tAo ruim assim—e ele sentiu falta do tempo em que tinha dentes, parapoder assoviar uma bela melodia. Mas que barulho de lataria era esse, saindo de casa, como se alguem estivesse demolindo urn automovel la dentro? Asteria estava chutando o balde outra vez? Nao, nAo podia ser, soava como um time de futebol disputando o balde dentro da area, nAo podia ser s6 eta. Sentindo uma subita palpitacAo, resolveu se aproximar corn cautela e foi a salvacAo, porque, um instantinho antes de poder enfiar a cara na janela e dar uma espiada para dentro, o balde, mais parecendo que urn elefante tinha sapateado em cima dela, saiu voando atraves dela, seguido por uma sucessao medonha de gritos e palavr8es e a cara descabelada de Domingas. —Ah!—gritou eta, quando o viu.— Ah! Voltando cheio de cana para almocar, nAo 6? Para comer a comida que o senhor deixou aqui, nAo 6? Aqui nAo tern comida nenhuma, aqui s6 tern essa casa despencada, nem nos cinqUenta anos de MAinha o senhor resolve alguma coisa! Nos vamos levar MAinha para almocar na pensdo F o senhor nAo vai chegar nem perto! E isso mesmo, nAo vai chegar nem perto! Que vergonha, minha Nossa Senhora, ai minha Nossa Senhora, que vergonha, os cinqilentaanos de MAinha, que vergonha! 0 senhor vai ter coragem de entrar, vai? Vai ter coragem? Apesar de dispostas e despachadas, as meninas, muito menos Domingas, que o que tinha de grandona tinha de cora* mole, nunca falaram assim corn de, nunca faltaram corn o respeito devido ao homem da casa. Que teria havido, que calamidade repentina era aquela? Uma olhada para dentro da casa the deu a resposta e o encheu de terror. Sim, nAo havia duvida, era patente por aquelas caras transtornadas e palidas, pelas saias amarfanhadas, 31

pelas cusparadas, pelas Taos esfregando as barrigas, pelos gritos, gemidos e grunhidos, era mais do que claro, Senhor dos Desgracados! Certamente fora alguma coisa da lua, alguma conjuminacao dos astros e espfritos maus, obra do Cao, agora correndo so Ito no meio-dia, sua hora preferida de atentar, pois a terrivel, a apavorante verdade era que, sabe la Deus como, os bois de todas chegaram juntos em mortal harmonia, all estavam eles, oito dos bois mais ferozes que jamais acometeram uma mulher, e ele no meio, logo ele, que nunca fora vaqueiro, nem nunca admirara essa profissao. A inda pensou em falar nas galinhas e mostrar os dois quilos de farinha que pegara fiado na bodega de Javali, e respirou fundo para falar alto e impor sua autoridade, mas Domingas deixou a janela para ir buscar o balde no outro lado da rua e ele p6de divisar os olhos injetados de Asteria, espichada no fundo da sala corn um saco plastico cheio de figua quente em cima da barriga e uma cara ainda pior que a das filhas. Nao, nao, existe urn limite para o que o homem tern condicao de suportar. Se fossem apenas mulheres, nenhum problema, pois um homem decidido pode enfrentar quantas mulheres aparecam, ainda mais uma sendo legitima esposa e as outras Mims registradas, corn obrigacdo por lei de levar porrada do marido ou pai, mas esses oito bois eram demais, elas que ficassem corn seus bois e seus berreiros, .ja que era assim ficassem corn seus bois e sua falta de educacao e seus problemas sicolOgicos. Já que o mundo se voltava contra ele, ele se voltava contra o mundo. E foi corn uma certa pressa, embora digna, que largou o saco de farinha no parapeito da janela, sem olhar para tras nem quando ouviu o saco, jogado por uma delas, caindo junto a seus calcanhares, e desceu a ladeira sem saber para onde ia, a Ilk ser que era para uma distancia segura daquele estouro de boiada. Fatalidades, fatalidades, 6 uma boa mulher, sao sete boas meninas, mas de vez em quando precisam de uma licao, talvez agora se dessem conta da falta que ele fazia. Sim, ia fazer falta, ia fazer muita falta, porque Mc) voltaria para casa tao cedo, havia muitas tocas neste mundo onde podia se enfurnar, havia quem gostasse dele, era isso mesmo, havia quern gostasse dele. Havia, sim, mas nao tantos como pensava, porque, quando pegou uma ponga na canoa de Sempre Certo e desembarcou duas horas depois no Baiacu, as portas tido estavam abertas damaneiraesperada. Compadre Basilic), adoentado de umamolestia que pegava, falou corn ele corn um lenco na boca e muito preocupado em nao lhe passar a doenca, nao, nao era maluco de hospedi-lo, nao queria ameacar a sailde de urn compadre tao querido, sua casa agora era um perigo mortal, por que

nao procurava o compadre Romario? 0 compactly Romario fez grande festa ao ve-lo, mas observaste como estava a situacao, casa de dois quartos, um corn a parede toda brocada, tres filhas prenhas, duas fazendo tudo para emprenhar, cinco meninos ainda mijando nas esteiras, a mulher virada nurn cacao por causa de umaaventurazinha boba, alias o compadre Joao nao tinha uns dois ou tres mil para emprestar-lhe ate sabado? E por at ele foi, cle compadre em compadre e de amigo em amigo, ate que Simao Feitor the arranjou uma bendita de uma rede no telheiro da antiga casa de dende e, mesmo corn cobras cipe• se esgueirando entre as palhas por cima do nariz dele, muricoca como poeira e tudo mais, que bela maneirapara o homem vivet! Liberdade, muito ar puro, muita Natureza, apesar do problema da poucacomida, porque logo enjoou dos skis e sururus cozidos na agua do mar gut comeu inicialmente e passou dias somente chupando uns cajuzinhos tempor5es e umas duat carambolas. Mas nem isso foi de todo ruim, porque, se a fome de inicio the rendeu umas tonturas e umas fraquezas, terminou por the depurar o corpo e o espirito, eis que.um belo dia, depois de uma noite em que pouco dormiu e muito meditoui, amanheceu leve e tranqUilo, urn novo homem, unl homem inteiramente novo. Sentia-se livre da preocupacoes mesquinhas e interesses que no fundo nao levavam a nada, perdera qualquer ambicao material, ,sim, agora era mesmo relampago, que brilha so um instante, mas brilh; enquanto a nuvem escurece e a chuva moths. Viveria como um beato, um santo solitario, nact precisava de nada alai.' de um canto para se encostar e duas ou tres migalhas par corner, coisas faceis de achar, ate mesmo no adro da igreja de Sao Lourenco, na boa companhia de mendigos e loucos mansos. Ao voltar do Baiacu nesse mesmo dia, nao queria descer no Mercado,.nao queria ver nenhum dos velhos amigos e conhecidos, mas lac> teve jeito, porque o saveiro que o transportou so parou Ia. Desceu disfarcadamente, mudandp o jeito de andar e puxando o chapeu para cima dos olhos, e ja achava que tinha conseguido passar deSpercebido no burburinho da manila de sabado, quando urn dedo the cotucou o ornbro e, ao se virar, dew corn o rosto sorridente de Paso Preto, embora no sorriio se notasse que faltava o dente de ouro. Que queria o sem-vergonha? Se pensava que ia tripudiar, se pensava que ia humilhar ou provocar suplicas de pagamento, estava muito enganado, ele agora era um homem superior, muito acima dessas coisas. Mas, muito surpreendenternente, Passo Preto nao queria hum ilha-lo, queria homenagea-lo. Sim, que preocupacao que tinha dado a todos corn sua ausencia inesperada, urn homem tAo estimado nao devia fazer aquilo corn os amigos e a familia, chegava a ser crueldade. Je tinha passado na casa nova, agora precisando apenas de pequenos a.cabamentos e corn D. Asteria confortavelmente instalada? Joao Grande precisou se segurar nacastanheira da frente do Mercado, para nao cair. Casa nova, que casa nova? Se Passo Preto estava pensando em goza-lo, podia desistir, o que vinha de baixo nao o atingia, agora desse licenca, ele precisava ir embora, tinha mais o que fazer do que ficar ali ouvindo lerias. Mas que lerias, homem de Deus, end() nao sabia nada do que havia acontecido? Nao sabia que, na sua ausencia, Murilo Porco, Divino Beico, Born Cabelo, Piolho Doido, o proprio Passo Preto e seus respectivos filhos, paren-

tes e aderentes haviam organizado urn mutirao fulminante para a conclusao da casa e, em poucos dias, tinham terminado praticamente todo o servico? E que, como cortesia adicional, alias obrigacao sua ha muito injustificavelmente adiada, a canoa estava agora toda calafetada, de pano e remos novos, quase como se tivesse acabado de ser feita? Realmente parecia que havia muitas novidades que Joao desconhecia e ele fazia questa° de conta-las, nada como o prazer de dar boas noticias aos amigos, por que nao tomavam uma cerveja juntos, por sua conta, claro, para pôr os assuntos em dia? Segurando o queixo, balancando a cabeca e tao nervoso que quase nao conseguia ficar sentado, Joao ouviu a narrativa de Passo Preto. Bern, em primeiro lugar de gostaria de expressar sua admiracao e respeito pelas meninas de Joao, excelentes meninas, filhas exemplarissimas, de maneira que se numa palavra ou outra, ele estivesse parecendo que nao as tinha em altissima conta, isso devia ser relevado, porque realmente as admirava muitissimo. Mas que, para contar o que elas fizeram a partir do dia em que Joao tinha tornado aquele sumico, talvez fosse necessario usar algum termo mais forte, que tivesse assim mais poder de descricao. Por exemplo, somente a pal avra mula, corn todo o respeito, podia descrever a forca daquela mais velhinha, como Co nome da desgrac..., da menina? Domingas, pois 6, Domingas. Domingas, nao 6? Poise, fortezinha, fortezinha e bastante disposta, uma beleza de moca. Poise, continuou Passo Preto, nesta vida cheia de imprevistos, ele tinha resolvido gastar parte do dinheiro que tinha ganho no domino corn um almoco fino, no restaurante da pensao, assim um macarrao corn feijao reforcado e moqueca de camarao grando, saladao de alface, ovos estrelados e mal-assada, corn sobremesa de goiabada e queijo de cuia, afinal havia lucrado bastante no domino e desta vida s6 se leva a vida que a gente leva, hoje vivo, amanha morto. Mas, quando chegou ao restaurante, aquelas caval..., as meninas tambem estavam chegando, junto corn a mae e, apesar de ser almoco de aniversario, ninguem estava corn a cara muito contente, pelo contrario, estavam todas corn umas caras de jararac..., estavam corn as caras, vamos dizer, urn bocadinho malsatisfeitas. Procurara ser discreto e cortes, mas elas nem mesmo responderam, quando ele levantou o chapeu em saudacao e lhes dirigiu urn cordial "como passaram?". E tinha certeza que nenhuma delas estava sequer se dando conta da presenca dele ate que, mal tinha metido o garfo no primeiro prato de macarrao corn fel*, ouviu D. Asteria—bela senhora, bela senhora, ninguem pode dizer isso assim dela—falar "esse dale urn", e a primeira coisa de que se lembra depois 6 ter sentido uma mao de mais de cinco BRAZZIL - DECEMBER 1998

quilos lhe apertar a nuca que quase o aleijou, ter olhado para tris e ter batido de cara corn Domingas, em pi atras dele, a mao que nao estava em sua nuca fechada urn pouco acima da cabega dela. Nao queria desfazer da educagao das meninas, todas educadissimas e finissimas, mas talvez pudesse oferecer algumas criticas ao jeito corn que ela o tratou, pois nao teria custado nada ela aceitar o convite dele para que sentasse a sua mesa e conversassem corn calma. Nap foi possivel, porque ela estava urn pouco nervosa e as outras tambem. Bern, para encurtar a historia, elas Ihe fizeram ver que nao ficava bem aquele negOcio da canoa arrendada sem lucro, que era necessario corrigir algumas coisas etc, etc. Esti certo, dissera ele, depois do ahnogo eu cuido disso. Nao, disseram elas, antes do almogo. E nao foi por medo delas, foi por consideragao, que ele deixou o macarrao, deixou a silada, deixou tudo e foi corn elas ver a canoa e tomou as providencias imediatamente, no que, alias, tinha incorrido ern grandes despesas e alguns transtornos. Joao estava notando a falta do dente de ouro? Pois 6, quando os servigos na canoa ultrapassaram em muito o orgamento inicial e ele alegou falta de caixa para completa-los, Domingas rnencionou o dente de ouro— alias eram dois, tinha urn atras tambern, que antes ninguem via e agora nunca mais vai ver. Inicialmente, ele se recusara a negociar o ouro dos dentes, talvez pudesse haver outrasolugad, uma ampliagao do prazo, qualquer coisa assim. Mas as meninas, Joao conhece as meninas, meninas 6timas mas um pouco impacientes, insistiram. Nao, argumentara ele, nao tenho tempo de ir no dentista, mas Domingas e Tercina disseram que, nesse daso, cuidariam elas iriesmas.da ektragao, de forma que, novamente por uma questa° de consideragao, ele preferiu ir ao dentista e entregar os dentes em perfeito estado, coisa que poderia nan ocorrer se a extragao fosse feita por elas, afinal so muito prendadas, prendadissima.s, mas podiam, talvez, no entender muito de extragao de dentes, urn dentista 6 sempre preferivel, nesses casos delicados. E, sim, quemeninas extraordinarias! Nesse mesmo dia, enquanto Domingas e Tercina, sem largar do p6 dele, se certificavam de que as providencias da cfanoa corriam da melhor forma, as outras sairam procurando Murilo Porco, Divino Beigo, Born Cabelo e Piolho Doido, rapazes otimos, mas um pouco folgados, que nao por mal no curnpriram antes seus deveres de mutirao e sim por urn esquecimento ou outro, to comum na agitada vida moderna. Mas, assim que as meninas refrescaram suas mem6rias, foi corn muito prazer que, nesse mesmo dia, puseram maos a obra de maneira mais do que entusiastica, uma coisa linda de se ver, entre epis6dios tocantes, como Divino Beigo, BRAZZIL - DECEMBER 1996

que de inicio relutou um pouco em trab har, carregando baldes de argamassa corn o rago destroncado, destroncamento este aconteci o por infeliz acaso, na hora em que Quintina stava argumentando corn de para que fosse trab lhar e se exaltou um pouco. E mais muitos e muitos acontecimen os se desenrolaram nesse dia e nos subseqilentes notadamente os encontros de negocios que as m ninas tiveram corn Didero Calga Pintada, no pr meiro dos quais, como 6 natural, de resistiu ao arg ento de que nao era Joao quern devia a de, mas sim, o contrario. Alias, resistiu tanto que, q ando Domingas o segurou pela gola e o levan ou do chao para demonstrar sua razao, quase co etc a insensatez de reagir, mas o anjo da guard dele forte e de nao reagiu e em vez disso apr veitou urn momento de distradao dela para corr r e se trancar dentro de casa, onde ficaria o resto a vida, se as meninas—meninas inteligentissim umas perolas—nao tivessem tido a ideia de ch ar para a ilha os auxiliares do marido barraqu iro de Tercina, todos carregando uns porretes q e des usam para nao deixar os cachorros mij em na mercadoria da feira, os quais, verd deiros diplomatas, convenceram Dider6 a faz r nova reuniao de negOcios corn as meninas, reun äø esta em que ele, muito constrangido e • dindo sincerissimas desculpas, 'embroil que se nome era o de um grande sabio frances cujo e emplo sempre procuraria honrar e que esse sabio frances nao deixaria de notar os enganos invol tarios cometidos em suas contas, claro, claro, h via um erro, errar é humano, quern devia era ele, aui estavam o betene e dolaparale que nan o d ixavam mentir, de maneira que devolvia o receb do sem razao e aindapagaria as contas do agougile porque isso lhe saia mais em conta, já que L ndomar Agougueiro, como todo mundo, tambem 1 e devia uma certa quantia. Poise, disse Passo Preto, o amigo nao ostaria de outra cerveja? Fazia questa° de solidi car uma amizade tao sOlida eta() vitimada por mal- ntendidos, ainda mais agora que as meninas haviam anunci ado que, toda semana, uma delas p ssaria o sabado e domingo COM os pais, para ma saudades e verificar o andamento dos acordo e negocios que haviam tAo bem encaminha , belas meninas, filhas de dar inveja a qualqu r um— Joao Grande sabia que era urn homem ab goado? Sabia, sim, como lembrou orgulhoso parando para aspirar o perfume dos jasmineiros o caminho de sua nova casa ever como o au es va mais azul do que nunca, as nuvens cram claras a chuva que viesse seriatao bem-vindaquanto or lampago que viesse, uma fecundanclo a terra, outro enfeitando a terra. Era um homein ab ngoado, sim, um homem de sucesso, urn homem ue agora colhia os frutos de seu correto viver, cheio de lindas filhas e corn mais linda espos , Deus 6 grande, Deus 6 born, havia premiado s paciencia e seu sofrimento, por via daquelas i ulheres. Sim, tinha de reconhecer, as mulheres o tinham ajudado em seu caminho para a vitori sozinho nan teria sido tAo facil. As mulheres m o seu valor, pensou, ja descortinando o telhado ermelho de sua nova casa no alto da ladeira e ja an ecipando abragar Asteria, agora para sempre livr do boi e do boa como sempre fora, esperando-o ii uma casa sem goteiras e cheia de belas tomadas el tricas. E, pensou de, a mulher tern o seu valor, as, se rap fosse o hornem, a mulher nao paria, parir 6 o valor da mulher, C ou nao 6?

The best race A tie is not good enough for someone who defends his own country even if this country ties him up. Honorino is already killing himself because now besides the American there is a Japanese following each one of his steps. They don't catch a thing, but they annoy you, and as everybody knows the Japanese never get tired.

Sabe-se que o estrangeiro, ao jogar futebol, ataca o balk) de couro como Sc fosse inimigo. Ha quem diga que o joelho empedrado 6 natural do gringo, variando uma besteirinha de acordo corn a especie. Isto devido a comida que eles comem, que C muito melhor do que a comida que o brasileiro come, corn excegao de que o joelho flea empedrado. Porem a comida da enormes sustangas e Mem disso eles usam foguetes e o raio leise. Ninguem me diga que a Hungria nao usou o raio lei se em cinqUenta e quatro, quando des davarn deli a8e 19 a 15 e 48 a 0 em quern aparecesse, des nao facilitavam. Disse seu Goes, que nao esteve nessa copa, alias -nAO esteve em copa nenhuma, mas esteve corn Poneque o primo esteve nessa copa, que des vinham la de baixo do campo parecendo uns cavalos, tudo falando hurungues e dando aqueles passes de joelho empedrado, situque-situque. Pela cara de abestalhado que eu vi numa revista, pela cara de abestalhado que ficou um beque, quando esse cabeceador pulou de um jeito que quase amunta nas costas do beque e olhe que o beque tinha subido e era major do que Chico do Correio, a gente via que o beque s6 podia estar estontecido pelo leise, des usam todos os recursos, a copa 6 uma guerra. No Brasil mesmo enfiaram 4 a 2, se nact me engano, assim mesmo porque o comprido cabeceador deles nao estava cabeceando hem naquele dia, visto que o americano foi Ia e roubou o leise e ficou corn a invengao para ele, mas nal) quero saber dessas coisas porque nAo suporto politica. Estolei Mattos, o grande ponteiro ingles, enfiou uma bola pelo meio das pernas do Milton Santos, coisa que s6 foi possivel porque o ingles guarda o segredo do espitifaire, aeroplano que 33

derrotou o alemdo na guerra, em razdo qualquer posicao, ou entdo se resolvessem fazer de que continha o segredo da bomba baba de doze. Tern criticas porque nesse time atomica—em ingles, espeito-faire, escalamos dois tuberculosos, que sdo Gerald() bomba atomica. Essas coisas, quern Tuberculoso, como o nome indica, e Jac) sabe esperanto sabe. Nesse dia de Baguinha, que pegou a tuberculose e o apelido EstOlei Mattos, Gilmar pegou dois pela mania de ficar catando baga de cigarro no penaltis, naturalmente porque a bomba chdo e fumando. Mas Geraldo é amarelo assim at6mica tambem fez efeito nele, isto mas é o sive ele mandou buscar uns matos especiais devido que ele sempre se vestiu a inglesa para servir ao povo da cornitiva e esses matos sdo e isto influi. 0 alemdo ganhou em tudo os olhos da cara. Tambem ninguem capina cinquenta e quatro porque primeiro mais, justica seja feita, mas tambem contamos quebraram a canela do grande Purcas e corn os jegues, que fazem urn servico mais ou tambem o cabeceador deles, se nao me menos, sO ndo fazem no meio das pedras. Esta engano Costas, ainda estava zonzo corn uma situacao assim—nem ele paga nem o roubo do leise e explicaram a ele que ninguem capina, ainda se aqui se comesse jam mandar o time todo para a Liberia, capim como o pessoal da cidade ate que ia que é para onde eles mandam time ser melhor. Para quem viu o almoco do russo que perde na copa. Toda copa tern prefeito, estava tudo nojentissimo, ate paum time russo na Liberia, s6 ndo teve pas brancas tinha misturado corn os bifes e nesta Ultima, porque os russos ndo fo- a mulher de Antenor da Bodega, que ram para a Argentina, menos porque vereador, ficou corn vergonha de comer na nao concordam corn o govern° da Ar- frente daquele povo todo, tambem a mulher gentina, que dizem que ndo pode ver de Antenor—cala-te, boca, mas por al se ve um russo que ndo meta logo na cadeia que quem nasce para vintem nunca chega a por questdo de prevencao, do que derreis, ndo estou dizendo nada. porque nenhum jogador de Id quer ir Os gringos chegaram de uniforme para a Liberia. 0 que mais se joga na vermelho e o sao Lourenco entrou de camisa Liberia é futebol. No inverno, faz frio amarela e calcao variando urn pouco, porque o que as partes de baixo vdo encristalando, prefeito esqueceu de pedir calcdo tambem, mas encristalando que quebra tudo igual a mentira que Porobajogou de cueca, isto espalham pedra. Razdo por que o russo fugido os que nao se conformam corn a vitoria, os fala fino, send° repare. No verdo, faz entreguistas. Esses calcOes a maior parte nos urn calor pessimo e eles todos andam de conseguimos quando passou uma gente aqui do camel°. Para conhecer essas coisas programa da rua do lazer, mas ninguem ligou para todas, é preciso ter viagem. Ou entdo a rua do lazer, que aqui qualquer uma 6, e entdo ler e prestar atencdo nas conversas eles deixaram esses calcOes aqui, uns dois ou tres ilustradas. 0 homem da Hungria ndo ja tendo virado calcolas, pois o que tern de mulher russo, mas tern bastantes russos no lugar descalcoladanestas bandas e mais do que abObora onde eles moram, de forma que, quando quando a terra baixa molha, e o marido se torna eles dizem quero me mudar, vem o desassossegado se a mulher esta desprevenida, russo e diz ndo muda nada af. Tudo isso ndo fica bem. De forma que esses calcOes do lazer sdo politicas internacionais. 0 russo umas mulheres pegaram e usaram de calcolas e jd que marcou Garrincha em cinquenta e estavam acostumadinhas, teve dificuldades na oito esta na Liberia ate hoje e conta o coleta. povo que todo mundo que passa cospe A situacdo do time ndo ficou boa logo na na cara dele. Alias, deles, porque quern saida, porque, se voce já viu japones fazendo marcou Garrincha foram sete e todos os qualquer coisa, voce sabe como 6. Japones, voce sete estdo Ia corn o povo todo cuspindo diz uma coisa a ele, ele acredita. Entao esses na cara deles e dizendo tavares-tavares, japoneses acreditavam em todas as coisas que que é mais ou menos Va sentar num diziam a eles e ai saiam todos de bolo, menos o birro de chuteira na lingua deles. Pelo goleiro que tambem era japones, e quatro menos dois eu sei que botaram para americanos que tambem estavam jogando. Os marcar Garrincha de sacanagem, porque americanos davam bicudas. Porem eram bicudas todo mundo sabia que ndo podia ser, de americanos, cada bicuda da porra. Chupeta dá mas os outros cinco o pessoal de la na direita para Cremildo, corn aquela intencdo de botou na esperanca. Tinha uma medalha que ele devolva, que e para execucao das piruetas de her6is do socialismo para quern que fazem os profissionais, nisso quando seu marcasse Garrincha e segurasse, mas Cremildo escorrega, porque ndo esta acostumado ninguem ganhou. corn chuteiras e al chegam uns duzentos mil Essas coisas eu estou falando para japoneses, tudo chutando para a frente, tudo mostrar que ndo desconheco o que estou zumbindo e dando uns grunhidos de japoneses. falando, quando estou falando sobre o Um japones adentra a grande area, gritando como futebol ou sobre esse problema ocorrido uma jega deflorada, corn outro japones urn de corn os americanos e os japoneses. 0 cada lado e prepara a zorra para cima de Chupeta, time aqui forma no dabliii-me, o povo que essas alturas estd xingando a ink de Crernildo, aqui ainda nao adotou essas viadagens, que é irma da mde dele e issojárende complicacdo aqui é um goleiro, dois beques, tres na farnilia, porque Nascimento, marido da irma da ralfes e cinco linhas, como sempre foi. nide dele, era bandeirinha e passou o resto do jogo Entdo nos alinhamos Chupeta, Cremil- dizendo se aquele filhodaputa ndo fosse goleiro do e Didi. Poroba, Bertinho e Joao toda vez que ele pegasse na bola eu marcava Baguinha. Geraldo Tuberculoso (co- oficdide. Nisso chega seu Didi, que era beque nhecido pelo vulgo de Tuberio, mas ele porque tinha as canelas grossas e tinha quebrado ndo gosta), Pinguirn, Delegado, Jonga, a clavicula de Caetano corn uma calcanhada e nem Digai e Honorino, este na reserva de conversou: caiu de dois pes no joelho do japones. 34

0 japones apagou, porque, se voce nunca viu urn elefante, voce nunca viu Didi, e entdo o japones deu aquele uai de japones, cambalhotou tres vezes e caiu parado. Nisso seu Cremildo, que ficava desresvalando nas chuteiras, levanta a cara e passa urn japones na carreira e dá um chute na cara de Cremildo, que mais que depressa corre atras do japones e, ndo tendo como pegar, pega o japones pelas pernas e dá uma dentada nele, no que o japones se vira e da urn golpe de jojitso em Cremildo e Cremildo quase ficou sem nariz, quando bateu numa jaqueira que esta assim do lado do campo, todo mundo conhece. Joao Baguinha quis puxar as pernas do japones que Didi tinha acertado, mas chegou um americano e segurou Joao Baguinha pelo cabelo e parece que ia ate dar uma bicuda em Joao Baguinha, quando entraram no campo o prefeito e a comitiva e entdo tudo se organizou, mais ou menos corn meia hora de trabalho. Teve urn americano que ficava dando sorrisos o tempo todo e abrindo os bracos, porem foi vaiado. Quando chegou o fim do primeiro tempo, a situacao ndo estava boa para a nossa agremiacdo, apesar, verdade seja dita, de que ndo se usou qualquer daquelas armas secretas, que se saiba. 0 juiz marcou penalti na jogada de Didi contra o japones e Chupeta defendeu, nem ele ate hoje sabe como. Mas eu sei e Bertinho, chamado Bertinho-Pinico, porter umas manchas na caraescritinho aquelas manchas de ferrugem que dá em pinicos velhos, tambem sabe, porque foi Bertinho quem encarcou a bola na marca, afundando bastante, de maneira que o americano que cobrou o penalti deu uma bicuda para o chdo. sao recursos do jogador de experiencia e Bertinho já jogou ate em Alagoinhas, quanto mais. Mas assim mesmo os gringos enfiaram dois na gente, urn de japones e outro de americano, sendo que nesse Chupeta quase sai de baixo, porque o americano chutou que parecia que queria lancar um satelio no espaco, sO que esse satelio ia na direcao de Chupeta, como de fato foi. Se tivesse rede, furava. Tubed°, que nao estava bem, por causa da marcacdo homem a homem do beque americano, nOs substituimos por Honorino, corn a missdo de chegar na linha de fundo e centrar para Jonga ou Delegado subirem na cabecada, visto que a zaga americana ndo sabia cabecear e sempre metia a cara na bola e relava o nariz todo e a zaga japonesa gostava de meter a mdo na bola, quando eta subia demais. 0 problema era o goleiro japones. 0 homem era o cdo, o que tinha de pequeno tinha de abusado e s6 ia na bola fazendo ara-ard e outros gritos, corn a cara de quern pretendia BRAZZIL - DECEMBER 1998

pig

esfarelar a bola corn os dentes, agUenta mais correr ,e na defesa temos rande espantavabastante o atacante. Delegado pressdo japonesa, no mesmo jeito, tudo bob. quis mandar pegar um cachorro dele Felizmente Cremildo ja tinha tido permi sdo do para a torcida iscar no japones, mas não juizpara jogar sem chuteira e cada pontape que ele foi possivel, mesmo porque esse dava corn aqueles cascos que Deus 1 e deu cachorro, que se chama Menezes, em espalhava diversos japoneses e descontr lava o homenagem a urn coletor que teve aqui, ataque estrangeiro. Poroba tambem apr ndeu a tinha sido preso por pedido do prefeito, escorar as bicudas dos amerieanos. De ez em pois esse Menezes não somente se ousa quando, o americano acertava a bicuda e cheio corn todas as cachorras como tambem e Poroba calcava e subia corn bola e tu o. Mas corn qualquer pema que aparece e, escorava e esse 6 o heroismo do atleta br sileiro, quando o dono da pema tido deixa, ele porque, depois do jogo, Poroba pass° muito morde. Entdo ndo ficava bem para o tempo corn zumbido nos ouvidos, dos sob vancos born nome da cidade soltar Menezes. A que eleievava, toda vez que escorava uma icuda. Esti se vendo que a situacdo nao era • a, mas tatica resolvida foi que Jonga e Delegado somente um subia de cada podia ser notado que o japones do gob est vá cada vez, o outro procurando ficar em cima vez mais aporrinhado corn as dedadas d Jonga, dos Os do goleiro, para ndo deixar que inclusive porque Delegado tambem tir a suas ele subisse. Possa ser que o japones tido lasquinhas de vez em quando. 0 jap nes fez fosse gostar, mas ningueni estava diversas caretas e foi piorando depois do ol mais agora disposto atomar lavagem daqueles grin- sensacional da tarde, que foi Digal, que ndo tinha pegado na bola. Digai pegou a b la solto gos, o metal 6 deles, mas o futebol na ponta esquerda, porque um beque ericano nosso, 6 a lei da vida. 0 time deles entrou tambem corn foi rebater de primeira e ela espirrou par o lado e umamodificacdo, que foi outro japones o americano ficou carrapeteando sem ntender no lugar do que Didi tinha acertado,, nada. Digai ficou ate meio sem graca e omecou que estavatodo triste junto da comitiva, a dar corn o canto do pe na bola, do do para corn o joelho major do que a cabega. Eu aparecer alguem para receber urn passe, mas-6 disse a Didi que ndo se animasse, que por isso que eu digo, torcida vale rnui s todo ndo ficasse quebrando os joelhos todos mundo comecou a gritar "digai, lour', digai, do adversario, a lido ser quando fosse louro!" e Digaf ficou mais do que empute ido. Ate por providencia, que al todo mundo hoje eu fico pensando se Digai, queo no e cristdo entende. Pois entdo Honorino comegou 6 Juvenal mas s6 a mat dele chama ele de Juvenal, a correr pela ponta direita. Honorino acha que aquela gritaria toda vem do goleiro, nao tern assim um controle de bola porque ele parte para cima do goleiro. •uem já muito born, mas ek é especialista em quis segurar urn maluco atacado sabe co o 6 para dar urn chutdo para a frente e sair Was segurar Digal, precisa um destacamento d homens da esfera galopando acelerado e depois dobrados e mesmo assim COM uns porret s. Erne) centra. Nessa posiclo, ele so sabe fazer seu Digal faz uma diagonal pelo bico da rea e urn isso, quer dizer d melhor do que Gil. japones que cercou ele tomou umapeita a que ate Honorino entao deu uma porcdo de hoje aquele japones tido compreendeu , quando corridas, mas nem Delegado nem Jonga chega bem no bico da area, seu Digai e (la urn estavam acertando direito a pisar nos cacete que quase a bola fica encaixada o anglio Os do goleiro. Jonga chegou na beira superior direito da trave do japones, mas ndo do campo e me disse que o desgracado ficou: bateu no dna°, voltou, bateu na abeca do ficava sapateando e, quando subia, japones e entrou e sacudiu o veu da noi a, s6 que espalhava os joelhos para os lados e ndo tinha yeti, mas tambem nAo tinha n iva e gob que se ele, Jonga, ainda tivesse dentes, do Brasil! Carlito Bofe, que estava torn do conta já tinha perdido todos das caqueradas do foguete da vit6ria, nao agilentou soltou a do japones. Nessa hora foi que nos pamonha, catapriutabum! Marcador i ualado e resolvemos que, quando o goleiro fosse Digai abracadissimo e perguntando add meu subir, Jonga metia o dedo por debaixo papagaio, cade o papagaio, me de meu apagaio. dele, tendo para nOs que nem japones, Esqueci de dizer que o papagaio de Oiga 6 finado, 'nem americano, nem ninguem—talvez porque ek enchia a boca de agua e b rufava o o frances, que é o povo mais des- papagaio para ele aprender a falai., de sorte que carado--iatolerar que enfiassem o dedo deve de ter afogado o bicho numa •erta feita nas partes traseiras, isso assim de dessas, ou entdo mltado de defluxo. Mas o empate ndo serve a quern ,def nde o seu repente da um sobressalto em qualquer homem. 0 jogo ate que tinha facilitado, pals, mesmo quando ek empata a gente. onorino porque PingUim caiu dentro da area ja esta botando os bofes pela boca, mes o porque, quando ia passar pelo americano que agora, alem do americano esti u japones incluabria os bracos e o americano pensou marcando ele. NA° pegam, mas chatei que tinha matado PingUirn e ai largou a sive japones nao cansa, todo mundo s be disso. bola para ver, quando que Pingilim se Mas Comoninguem marcava Joao Bag inha, que levanta 1 igeirinho e marca o Sdo ate agora nao tinha feito nada a nao se reclamar Loureneo! 0 goleiro ficou retado, do juiz e correr para abracar quern f zia gob, a porque o americano atrapalhou na hora redondaacabou sobrando para ele na int rmediaria da defesa, mas esses problemas de , dos gringos e ele al deu urn esticdo par dentro da brancos eks resolvem la entre eles area, uma coisa linda, que s6 se acred ta que foi mesmos e PingUim ainda sacudiu a Joao Baguinha porque se viu. 0 goleirs deles sai camisa na direcdo do americano, essa e arma o bote, mas nisso Delegado v m de la e enfia o dedo na bunda do japones e o j pones IAD gente mifida gosta muito de pirracar. Mesmo assim estamos perdendo e quis acordo. Revirou o corpo e deu um pezada na Honorino ja vai dando sinal de que tido cara de Delegado que Delegado nem c tou ficha. BRAZZIL - DECEMBER 1998

Caiu inteiro no meio da area. Temos ai um penalti claro, mas ojapones avancou para o juiz e disse ek mete dedo no meu trazezo, ele mete no meu trazezo, isto seu Delegado todo estatelado no gramado, corn urn lado da cara inchado e fazendo careta corn o outro. Joao Baguinha, que era especialista nisso, veio logo esticar as pemas de-Delegado, mas ele s6 se levantou quando disseram que jam aplicar uma injecdo e assim mesmo estava meio bambo. Entdo o juiz botou Delegado para se perfilar assim corn as indos nas costas e disse seu Delegado, o senhor (la a sua palavra de honra de esportista? Dou sim senhor, disse Delegado. 0 senhor, disse o juiz, (la sua palavra de honra de esportista como nao meteu o dedo no traseiro do goleiro adversario? E Delegado ndo era besta de dizer que ndo dava, send° depois do jogo ek ia ver onde a gente socava a honra de esportista dele, honra 6 a da patria amada que ali a gente esta defendendo, eles levam o metal mas tido levam a flamula. Al o juiz apontou para a marca do penalti e o japones quase vira urn baiacu de tanto inchar as bochechas, sabe-se que o japones e o chines sac) os povos de maior capacidade de inchar as bochechas. Eu adentrei o tapete verde, corn a finalidade de declarar que o Sdo Lourenco nao aprovava o tumulto e que ou respeitavana o juiz ou eu tirava o time do campo e considerava o jogo ganho e al lido me responsabilizava pela conduta dos meus atletas, que era tudo rapazes de sangue quente. Eu sei que acabou Cremildo se dirigindo para a marca penal e a Ultima coisa que o japones viu foi o pe de Cremildo se levantando, porque se tern uma coisa que Cremildo sabe fazer, essa coisa é dar um porrete fixe, desses que a bola entorta. Tive que dar urn esporro em Carlito Bofe, porque ele ja tinha gasto nosso foguete no gob de empate e o jogo terminando e o time todo se fechando na defesa. Didi aprendeu que, se batesse os pés na frente do gringo que estava corn a bola, o gringo se assustava pensando que Didi ia dar urn chute nele e soltava o esferico. Vitoria do Brasil, ninguem envergonhou a patria. Muita gente pergunta se, em vez de ganhar no futebol, Tido era melhor a gente viver bem, igual aos gringos vivem? Isso demonstra ignorancia, porque se sabe que ao gringo interessa mais mostrar que a raca deles C melhor, por isso que Hitler mandou matar todos os alemdes que tido ganharam nas olimpfadas, para ndo envergonhar a raca. Dal se ye que, ganhando no futebol, a melhor raca somos n6s. Excerpted from Jd Podeis da Patria Filhos, 3rd edition, Rio de Janeiro, Nova Fronteira, 1991. The original titles of these stories were "0 Estouro da Boiada" and "Já Podeis da Patria Filhos". 35

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The schooner Lady Elvira departs daily from Pontal da Barra for The small state of Alagoas is one of the pleasant surprises of the a five-hour cr ise to islands and beaches. The price per person is Northeast. The capital, Macei6, is a relaxed, modern city, and its $30 with lun h, or $20 without lunch. For more information, beaches are enchanting, with calm, emerald waters. Penedo is the contact Emat r (221-9393), at Avenida Duque de Caxias 2014. colonial masterpiece of the state, with a fascinating river culture Small motorb ats such as the Turis Gomes (221-0458) make on the Rio Sao Francisco. similar cruise from Pontal da Barra for $10 per person, or $20 Along the coast, there are many fishing villages with fabulous with lunch in luded. beaches shaded by rows of coconut trees. Buses run along the Flora & Fauna coastal roads to the north and south of Macei6 A reader writes the connecting the villages which are beginning to be -following: discovered by tourists and property developers. If you are seriously interested History in fauna and flora in Alagoas, The mighty republic ofrunaway slaves—Palmares- the person to speak to is the was in present-day Alagoas. During the invasion by biologist Gininho Britzky, Rua the Dutch in 1630, many slaves escaped to the forest Augusta 251, in the city center in the mountains between Garanhuns and Palm ares. of Macei6 (221-1987). With Today, where the towns of Vicosa, Capela, Atalaia, his long hair and beard he looks Porto Calvo and Uniao dos Palmares stand, there more like Jesus than the were once virgin forests with thick growth and respected ecologist that he is. plenty of animals. Alagoas today has the highest He has been fighting for years population density in the Northeast. to protect the environment in MACEIO Alagoas, which is under Macei6, the capital of Alagoas, is 292 km north of constant attack, and he is well Aracaju and 259 km south of Recife. A manageable known locally. He speaks very place for the visitor, the city has a modern feeling, little English but will be happy to point you in the right direction, apart from a small historical area in the commercial center, and and may even be willing to go on trips with you to the few offers endless sun and sea. Macei6 has experienced a tourist remaining pockets of forest and mangrove swamp. He won't ask boom over recent years, and the city beaches are being developed for anything in return, but I think it would be polite to offer a at a fast pace, particularly between Ponta Verde and Praia de donation to the environmental group JatiOca. that he heads: Brigada EcolOgica de Orientation Alagoas, one of the environmental The rodoviaria is about four km north organizations mentioned in the of the city center, which has excellent, but high priced ($35) inexpensive hotels and the bustle of environmental guide book: Guia do commerce. On the east side of the city MeioAmbiente—Litoral de Alagoas, are Praia de Pajugara and Praia dos which can be found in some Macei6 Sete Coqueiros, which are three km bookshops and from the Instituto and four km respectively from the Brasileiro do Meio Ambiente center. (IBAMA) (241-1600). Museums W J (Bill) Hill, Northwich, In the center, Museu do Instituto Cheshire, England Hist6rico (open Monday to Friday from 8 am to noon and 2 to 5 pm) has Festivals exhibits about regional history. Museu Macei6 is reported to have a lively Theo Brandao is in an attractive Carnaval, which is still considerably colonial building on the seafront, but Maceio, the capital of Alagoas, calmer and safer than Rio's, and is closed for 'renovations'—in fact, it has a modern feeling, apart from a features active samba clubs. Locals seems to be being left to fall into small historical area in the reckon Barra de Sao Miguel has the decay. best Carnaval in the area. Festa do commercial center, and offers Beaches Just a short walk from the center, the endless sun and sea. The place has Mar takes place in December. Beaches beaches of Praia do Sobral and experienced a tourist boom over Avenida are polluted. Praia Pajucara recent years, and the city beaches Most of the beaches offer a wide choice of food, with barracas and (Ala) (three km from the center) and are being developed at a snack bars serving seafood and local Praia dos Sete Coqueiros (four km) fast pace though. dishes along the beachfront. are beginning to suffer from pollution Local seafood specialties worth as well. Your best bet is to head further trying are ururu (a small mussel) and macunim (shellfish) north for some of the best beaches in the Northeast. Protected by cooked in c conut sauce, served as dishes on their own, or in a a coral reef, the ocean is calm and a deep-emerald color. On shore caldinho (c p of sauce) which can be eaten or drunk. Other tasty there are loads of barracas,jangadas (local sailboats) and plenty local seafood dishes includepeixe agulha (deep-fried of beach action. needle fish) and sini na casca corn coral (crab in the The beaches to the north are Ponta shell with roe). Beachside food stalls serve some Verde (five km), Jatilica (six delicious snacks which should be tried: acaraje, a km), Jacarecica (nine km), bean paste deep fried in dende oil and filled with Guaxuma (12km), Garca Torta shrimp and potato; and tapioca pancakes filled with (14 km), Riacho Doce (16 km) grated coconut or queijo coalhado, compressed bean and Pratagi (17 km). curd. You won't go wrong with any of Other good places for seafood are Bern (231-3316), these tropical paradises, but they at Rua Joao Canuto da Silva 21, Praia de Cruz das do get busy on weekends and Almas, and Restaurante Mare, on Avenida Alipio throughout the summer, when Barbosa, which is south-west of the center, in Pontal there are many local buses da Barra. Both ofthese restaurants are medium-priced cruising the beaches. On Pajucara, and open for lunch and dinner. you'll find jangadas which will At Praia Pa. ucara, Paraiso is a casual little café with a great range take you out about one km to the reef, where you can swim in the of juices and snack foods. 0 Komildo is a friendly place with piscina natural (natural swimming pool), and observe the marine reasonably priced seafood, meat and chicken refeiceies, and life (best done at low tide). The fare is $4 per person. Pizzaria Paju is a breezy restaurant along the beachfront serving Boat Trips

Hip, Historical, Fun

BRAZZIL - DECEMBER 1998

, good pizza and pasta. much easier. The road runs about one km from the coast, and Entertainment regular buses run along it from Macei6 to Penedo on the Rio sao For reviews and listings of the latest bars, dance spots and cultural Francisco. Poxim is a small town with coconut-tree-lined beaches events in Macei6, pick up a copy of Veja, which includes an and several lagoonsmearby. assortment of these places in its weekly supplement entitled 28 Around 25 km south, Coruripe is a fishing village with a couple Graus. A couple of places worth checking out are Trupi e Dance of restaurants and pousadas. South of Coruripe are stretches of at Rua Jangadeiros Alagoanos 1125, in Pajucara, for loud and deserted beaches until Ponta! do Peba—but Praia do Peba is sweaty dance action, or Middo, at Avenida Robert Kennedy disappointing, well below the quality of those to the north. After 2167, Praia dos Sete Coqueiros, which has pagode, forro and Pontal do Peba, the road cuts inland to Piacabucu, on the north dance music. bank of the Rio Sao Francisco. There are a few hotels here, and Things to Buy boat trips can be organized upriver to Penedo or along the coast There is an artesanato market on Praia Pajucara with dozens of to Coruripe. stalls selling figurines, lacework, hammocks and jewelry. Directly PENEDO across the road, Pajucara Artesanato is a large shop selling similar Penedo is best known as the capital do baixo Seio Francisco goods. Beautifully embroidered hammocks cost around, $60— (capital of the lower $ao Francisco). The city has also been called another good purchase is a rede-cadeira (hammock chair) for cidade dos sobradoi (city of two-story homes) by the famous $32. Brazilian sociologist,Gilberto Freyre. The fishing village of Pontal da Barra, around 10 km from the Among the attractio4s of the city, 42 km off the BR-101, are its center, is also an artesanato center. The streets are lined with many baroque ch ches and colonial buildings, and the shops selling lacework and embroidery, and prices are generally opportunity to travelion the Rio Sao Francisco. Penedo bustles lower than in the city. You can often see women weaving outside with people from the mailer villages up and down the river who the shops. The Mercado do Artesanato, next to the food market come to buy and selPgoods. in the city center, is also a good place to History shop for hammocks—a double hammock Penedo was founded in either 1535 or 1560 (opinions PENEDO -Lu os Holande ses goes for around $20. differ) by Duarte Coelho Pereira who descended the Rio SOUTH OF MACEIO Sao Francisco in pursuit of Caete Indians responsible for Praia do Frances the killing of bishop Pedro Fernandes Sardinha. Penedo Only 22 km from Macei6, this is a popular is claimed to be the river's first colonial settlement. weekend beach, which is being rapidly Market i developed and beginning to suffer from The street market is held daily in Penedo, but Friday and the ravages of tourism. The beach is lined Saturday are the big days when the City is transformed with barracas and the ocean is lined with into a busy port of call for farmers, fisherfolk and reefs. The water is calm and better for artisans. The waterfront becomes a pageant as families wading in than swimming. It's a very social beach on weekends, disembark—old people with finely carved features topped by with plenty of drinking, seafood-scoffing, football and music. strange hats, many grasping chickens by the neck in one hand and There is a small Ematur information booth on the roadside as you boisterous children by the neck in the other. On the river bank, come into town, which has some brochures and can give directions traditional musicians play accordions. The market is filled with to accommodation. ceramics, baskets and shrimp traps made of reeds. Marechal Deodoro Churches Beside Lagoa Manguaba, a lagoon 21 km south-west of Macei6, Penedo has a rich collection of 17th and 18th-century colonial is Marechal Deodoro, which was the capital of Alagoas between buildings, including many churches. The Convento de Sao 1823 and 1839. Small and quiet, the town is worth a visit, perhaps Francisco e Igreja Nossa Senhora dos Anjos, on Praca Ruy combined with Praia do Frances as a day trip from Macei6. Barbosa, is considered the finest church in the state. Even Dom Things to See Pedro II (Brazil's second and last emperor) paid a visit to this Marechal Deodoro has several churches, the most famous of church. Construction was begun in 1660 and completed in 1759. which are the Igreja e Convento Sao Francisco which was The rococo altar is made of gold. The church is open Tuesday to begun in the 17th century, and the Igreja de Nossa Senhora da Sunday from 8 to 11 am and 2 to 5 pm. Conceicao. Igreja da Senhora das Correntes was completed in 1764. It has Inside Igreja e Convento sao Francisco is the Museu de Arts some fine work done with azulejos (glazed blue tiles), and a Sacra (Museum of Sacred Art). It's open daily from 9 am to I pm, rococo altar. The church is open daily from 8 am to noon and 2 except on Sunday, when it's closed. to 5 pm. You'll find it at Praca 12 de Abril. Brazilian history buffs may want to see the old governor's palace The Igreja Nossa SeRhora do Rosario dos Pretos, also known and the house where Marechal Deodoro was born. The latter has as the Catedml do Pepedo, was built by slaves. It's on Praca been turned into the Museu Deodoro, which is open daily from Marechal Deodoro and is open every day from 8 am to 5 pm. 9 am to 5 pm, except on Sunday, when it's closed. The exhibits Igreja de Silo Goncalo Garcia was built at the end of the 18th give a 'deodorized' view of Manuel Deodoro da Fonseca, century and has some of the city's finest sacred-art pieces. It's on emphasizing his role as a mill hero and the first president of Avenida Floriano Peixoto, but is currently closed for restoration. Brazil, omitting to mention that he achieved this position with a Boat Trips military putsch in 1889, and later proved to be a poor politician. Saturday (the major market day) is the easiest day to find a boat The artesanato shop next door sells the lace and homemade up or down the Sao Francisco, but it's difficult now to find boats, sweets for which the town is renowned. The weekend market, going upriver as far as Propria. held along the waterfront, is a lively, colorful event, The ferry between Penedo and Passagem, on the opposite side of Barra de Sao Miguel the river, crosses every half an hour, but is only of interest if Barra is 35 km south of Maceio, at the mouth of the Rio Sao you're driving. From Passagem there's a road to Ne6pol is, which Miguel. The fine beach is protected by a huge reef and there are is linked by another road to BR-101. A better excursion is one of kayaks for rent. Barra is not too crowded midweek, but it is being the motorboat crossings direct to NeOpolis, a few km downriver. built up with summer homes for Macei6's wealthy. Praia do The 15-minute trip costs $0.50 and boats depart every half an Gunga is a popular beach across the river with some expensive hour between 5.30 am and 10 pm. Ne6polis is an old colonial bars. You can rent jet-skis here, or go para sailing. town on a hill overlooking the river, with some interesting There are several options for boat trips up the river. The Samadhi buildings and good crafts for sale. For other short boat excursions, is a large sailboat that makes a 4 Y2-hour trip around the beaches, take one of the frequent boats (operating between 6 am and 6 pm) mangrove forests and islands for $25 per person. The cost to Carrapicho, a small triwn four km upriver noted for its ceramics. includes transport from Maceio, drinks and fruit on board, and a A large motorboat for up to 30 people cruises to Carrapicho, stop off for a swim at Praia do Frances on the return trip. For Neopolis and river islands, with stops for swimming. The cost is information and reservations, contact Raul or Niclia (272- 1523) $30 per hour per boatload. A sailboat makes a similar trip, who speak Spanishtnd English. depending on the wind and tides, for $20 per hour. Ask at the South of Barra de Sao Miguel tourist office for deparkire times. The recent upgrading of AL-101 along the Litoral Sul has made Festivals access to the beaches and villages south of Barra de Sao Miguel The Festa do Senhor BOm Jesus dos Navegantes, held over four 38

BRAZZIL - DECEMBER 1998

days from the second Sunday of January, features an elaborate procession of boats. Penedo also hosts a large annual Brazilian film festival. NORTH OF MACEIO The Alagoas coast north of Maceio is ideal for independent travelers. The beaches are mostly undisturbed and tropically perfect, and the sea is calm and warm. There are several fishing villages with no tourism apart from a simple hotel or two— although the state government's 'Costa Dourada' (Golden Coast) development plans could bring about rapid changes. The coastal road, which is unpaved and slow going along the most secluded stretches, runs within a few hundred meters of the ocean, a rare occurrence along the Brazilian lit oral. If you want to follow it, head down to Barra de Santo Antonio. The road from here to Barra do Camarajibe is often in disarray and you have to cross some small rivers on local ferries, so check road conditions before departing. Alternatively, from MaceiO, AL-101 heads north and then divides outside Barra de Santo Antonio. The main road and most through-traffic heads inland on AL-413. It's a stunning drive (try to stop at Porto Calvo) through rolling hills covered in sugar cane, though there's the odd hill topped with virgin forest that escaped land clearing. A good road runs off AL-413 hitting the coast at Barra de Camarajibe. From Barra do Camarajibe, the coast road is paved as far as Porto de Pedras, about 16 km before Japaratinga. The AL-413 passes a large sugar-cane plant that processes the sugar-cane alcohol that fuels Brazil's cars. The Empresa de Santo Antonio employs about 800 workers in the factory and 4000 in the fields. Tours are possible and worthwhile, but hard to arrange. A few buses from MaceiO go all the way along the coast, but they are less frequent than those that run via AL-413. Ask for a bus that goes to Porto de Pedras or Sao Miguel dos Milagres. Barra de Santo Antonio & Ilha da Croa Barra is along the mouth of the Rio Jirituba, below a small bluff. This is a relaxed fishing village only 40 km from MaceiO and is now attracting tourists and people constructing beach homes—it can get busy on weekends and in summer. The best beaches are out on the Ilha da Croa (narrow peninsula), on the other side of Rio Jirituba. You can catch a small boat across the river ($0.50) and walk around two km across the peninsula to

the beaches, o take a motorboat all the way ($2). Balsas take cars across the riv r for $3. Tabuba beach is a quiet, pretty beach with a few bars three km south of Barra e Santo Antonio. There is apiscina natural off the beach—ask a the bars about a ride there by jangada. Barra do Ca arajibe This idyllic fi hing village, 33 km further up the coast, offers fish beer and a b autiful beach. Tourism is just about to hit the village—the ousada Brisa Mar and a large restaurant on the beachfront sh • uld both be in operation by the time this book is published. B ses run to Barra do Camarajibe from MaceiO via Sao Luis do uintude. Sao Miguel os Milagres A bit bigger han its neighbors, Sao Miguel's soft beaches are protected by • ffshore reefs and the sea is warm and shallow. There's one ousada and a petrol station in town. Porto de Pe ras You've got t • catch the local ferry to cross the river here. Porto de Pedras is a ively little fishing village with a road that connects to AL-413 at orto Calvo. In the village there are bars, restaurants and the chea • and dingy Hotel Sao Geraldo. Japaratinga Japaratinga's shallow waters Excerpts from Bru.-.1/ are protecte by coral reefs A Travel Survival Kit and the beac es are backed by 3rd edition, coconut trees and fishing huts. by Andrew Draffen, Under the in onlight you can Chris McAsey, walk a coup of km into the Leonardo Pinheiro, sea. The to n has a petrol station and t lephone. and Robyn Jones. Maragoji For more information Slightly m re developed, call Lonely Planet: Maragoji ha some weekend (800) 275-8555. homes for Pe nambucanos and Copyright 1996 Lonely a couple of heap hotels—try Planet Publications. the Pousada da Gloria or the Used by permission. Pousada Ns' Francisco. The sea is prote.ted by reefs and it's ideal for swimming.

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Is Adventure Postcards from Rio Then there is a third "click", much closer to my temple, a little louder, and a sound I have heard many times on the movies but never experienced in real life. I just freeze for a second, and gradually turn my head to see the end of the barrel (God, it's dark inside). JOHN MILLER

GGGGood morning eeeeveryone. IIIII hope you arrrre al111111 wwvvwell as tttuthee jjjjjackhammmmers hhhhhave sssstarted early in the ssssstreeets of IIIIIIpanema. Weather here is very boring and predictable so far (I promise not to talk too much about how good the climate is here). Let us deal with the bodily functions first. My diarrhea continues on about a fortnightly cycle and lasts about 24-48 hours, and wipes me out badly. I am very careful with the water and only use bottled agua for cooking, making coffee, and drinking. Anyone got any suggestions? I keep thinking of that Steve Martin movie where the girl asks him if he wants a "high colonic". Yet to see what fun there can be in this activity. The bidet is an essential item when this happens, and is very gentle on this sensitive part of my anatomy. The upside to this is I am losing weight (Lose weight NOW; Ask me how. Ph +5521 521 5131). Apart from this my health is well, and getting lots of exercise and sunshine. THE STREETS OF IPANEMA - The saga continues I have discovered the hand of Rupert Murdoch is behind this process; yep it is the old cable TV/ Information highway in the ground game. The local resident action group seems to have surrendered, although it is a regular news item from what I can understand. They would have a field day. Last month I saw an old lady of about seventy beating up one of the work crews with her umbrella, everyone stood 40

around and applauded. There must be a fortune to be made from someone who can design a silent jackhaminer. They expect to complete the project by October, they did not say which year? More to follow on this as it is a real hot topic here. WELCOME PARTY Marta put on a small welcome party for me at the apartment with some of her friends one Saturday. We had traditional Brazilian food and drink (still to master the caipirinhaâ€”a margaritalike concoction; it is toxic to say the least). One old guy got horribly pissed, he was such a laugh and I like him immensely, even though Marta thinks he is "TV Soccer" addict (Nice to know that there are Norm's all over the world). I met Marta's mum, the same as any great "mum" all over the world; sensational cook, great listener, and a really lovely lady. I charmed the pants off her! SPIRITUAL EVENING Marta took me to her place of spiritual worship on Friday 27th April. The place was in the backstreets of Botafogo, in what looked like an old aircraft hangar. It could hold about 3-4 DC3's comfortably. Now I have to tell you I was a little nervous going to this place as I know very little about Marta's "religion", so Jam checking her bag for little dolls with pins in them, listening for the sounds of headless chickens, strange garbled talking and dialects, etc. But I trust Marta implicitly, and I know she is a very good person. So we go inside, and there is a sort of room within the hangar, but the walls do not extend all the way to the ceiling. There is quite a bit of smoke and incense burning, but it is very quiet. There are large ceiling fans hanging down along with a very big colored cardboard pyramid. Before we can enter the room, we must remove our shoes and any leather belts, etc. (luckily Jam wearing some tight fitting jeans). There must be about three hundred shoes on the floor outside the room, so I have some idea of the number of people inside now. We now go inside the room, and lighting is from some blue lamps and not very bright. I can barely seethe other end ofthe room where all the action is taking place. Marta directs me to sit on the right side of the room in a wooden chair with the other men; the women all sit on the left side of the room. It is obvious that all of the people in the room are from working class or even poor backgrounds. I look around the room and see photos of some familiar faces, Ghandi, Nelson Mandela. Heil! Salasi, Mother Theresa, Muhammad Ali. and some other guys I don't BRAZZIL - DECEMBER 1998

know. A few colored rainbows painted on the wall as well. On both sides are the signs "Silencio, No converse". Even I can work this one out. Everyone is very quiet. At the front are the spiritual leaders. This is obvious as they are all wearing white costumes that look like a cross between a judo outfit and the KKK without the hoods. I can't quite see properly what I think is a fire pit (Oh no, not the walk across the hot coals and feel no pain game). The spiritual leaders seem to walk over them and ventilate their costumes with the smoke from them. Now I understand, this is the incense burning, huge amounts, that smells like a cross between rosewood, Sandalwood and cardboard. Over the next two hours, there is a great deal of prayer and meditation. Not much speaking from the spiritual leaders, it just seems to happen in a very coordinated manner. The leaders are an equal mix of male and female. Marta is well known and they make a special effort to see her and talk quietly with her. Everyone has a bit of paper on which they write the things that they would like to happen, and this is given to the leaders who place in a box. No handing round the money box either. In the background they play some soft music, a cross between Enya and Mike Oldfield's Tubular Bells (no exorcist jokes please). There is a bit of chanting and circling of the altars, and a little quiet singing. Very peaceful. Then we are asked to go up the front to get what appears to be a spirit or aura massage. This is a non contact process, and the spiritual leaders pass their hands (some candles) over the persons body, head, and limbs. The process of who is directed to which spiritual leader is totally at random, you cannot choose which person gives your aura massage. I go up the front, and I know no one knows me from a bar of soap as a specifically told Marta not to tell anyone here as I wanted to be treated like anyone else. I am directed by one of the spiritual leaders to go towards one other spiritual leader for my spiritual massage (no speaking you understand). This guy looks at me, and says in English "Please relax, no one will hurt you, let me unburden your stress". Half of me wants to freak out at this (How did he know?), but the other half takes over. For the next five minutes this guy gives me the full works, much rubbing of my aura, really working hard at this. Then he says to me "Trust your spirit, you have much work to do". He directs me to sit down where I was before, and I am totally blown away at this stage. But I do feel quite relaxed. There is an inner calmness taking over. A bit more chanting and prayer and then the evening closes. Marta comes over to me, and can see I am very deep in thought. She decides it is best that we go at this stage, and that we will come back soon to talk with the spiritual leaders. So what do I think now upon reflection? Well I do not use the word "church" but the same things apply; a lot of very good people coming together to bond, share in each others feelings, and try to help the poor, the ill, the homeless, the unloved, the hurt, etc. This was a very good BRAZZIL - DECEMBER 1998

experience; I have much to learn. I checked with Marta about the guy speaking English, and she smiles at me and says "John, you will learn many things in Brazil, but sometimes you haN4 to trust that people will look after you". Ok, so now I am not so blown away! LESSONS IN ADVENTVRE Rule No 1 - Do not be in a hurry Do not be in a hurry. If y u go fast, it costs you time, money and can be dangerous. You must slow do n. I keep trying to remember this, but every time I break this rule, it costs me tim and money. The benefit of slowing down is you are much better prepared, you ave a plan, a contingency/fall back position, and meetings are much more prod ctive. Rule No 2 - Don't go look ng for business Do not go looking for busi ess. Wait for the business to come to you. The key to the process is putting ourself in a position where you will meet the people you need to connect ith. Then you can relax, socialize, and build a relationship without the tensi ii of business driving discussions. And it is more fun this way and you learn mire before the discussion turns to business. MY OFFICES IN RIO I have to get out of the apa ment. It is no place for me to work. It drives me crazy. It's not that the apartme t is bad or dirty or anything, but it does not place me in contact with anyone in usiness and therefore no networking. So I have spent a lot of time setting up m y office in Ipanema, a place I can network, meet people, relax, talk business, et C. My main office is the Ga rota de Ipanema (Girl from Ipanema), the most famous bar/restaurant in Rio. Most of my business meetings when I can call the shots are held here. I have w rked up a great friendship with a couple of the managers and waiters. The ba and restaurant is quite good, but by no means the best. The location is close to the beach, and on the corner of two very busy streets. The noise and air po lution can be quite horrific (I do not suggest a window seat, this is only fort e posers). But it is well known, and it has a lovely international feel to it. You a e never too sure whether the people at the next table are Brazilians, or from ew York, Paris, Hamburg, or wherever. BOOKS The price of new books i Brazil is incredibly expensive. In fact anything to do with education and learn ng is expensive. The net result of this is that there are the world's best second-h d book stores in this town. No one chucks a book away, they are like used cars, nd they have real value. I have spent hours in the city looking through second- and book stores, and there are absolute gold relics in here. Great export opportu ity for Australia I feel (small language problem though). I have never seen so any second hand book stores, even the stores that sell new books also sell seco d hand books. SKIN I do not recommend this place to export Clearasil to. The teenagers in this city seem to have flawless skrn. Very few teenagers seem to have pimples, acne, or whatever grows on your face during those pubescent years. BLENDING IN I mentioned the need to blend in here. Fortunately I have traces of melanin in my skin, which enables me to at least go some color approximating a Carioca. But more importantly, I wish to thank my Mum and Dad for not circumcising me, as it would appear that nol self respecting Carioca is circumcised. Standing on the beach in my Speedos along with the Carioca, it is apparent that the foreskins are in abundance. I od, these guys are well endowed, is it part of the diet? Why are those women o i the beach laughing at me? Everyone knows when you go swimming that the " â€˘ Id fella" goes into hibernation and shrinks down to the size of your little fing r. God I have a very small little finger. BEACH CULTURE - Sopacabana & Ipanema - Part 1 Where to start on this top c. I guess the origins for Australian beach culture are very Anglo-Saxon, and let's face it, the Poms have never really been comfortable on the beach (I g ess that's why they wanted us to go onto the beach at Gallipolli first, "You go fi st, you know more about the beaches than us"). If any of you have been to sout ern coasts of England you would understand why (I keep thinking of Mr. Bea . This explains a lot of things; we don't actually do much on this beach exce t lie around and cook ourselves (the exception is the lifesavers of course). We have an incredible number of laws that prevent having fun on the beach, making a living, or making ithriore enjoyable. We desert the beach at night, and most people don't see the sunrise over the water. We pay not respect to the ocean spirits (OK, so what), we haVe few if any facilities to encourage more activity 41

on the beach, we charge a fortune to park at the beach, and little if any public transport to get there. No wonder we don't get much pleasure from the beach, or the well to do get a disproportionate benefit from it. Things here are quite a bit different. It is like Baywatch without the need for silicon, and much more real drama (like life and death). Beach life starts early, before sunrise, usually about 5:00 am sees the change of guard from the bar/club leftovers and hangovers to the fit early birds that catch the worms. I cannot describe how beautiful the sunrise here are in Ipanema and Copacabana (Yeah sure, John, as if you would get up this early). The ocean is glassy, and the birds have eaten a lot of the rubbish from the night before. What the birds don't eat, then the tractors eat with their garbage filters pulled behind, like the wheat harvesters. The birds on the beach are all gathered together like some scene from an Alfred Hitchcock movie, and about 6:30 when the sun comes up over Sugarloaf, they disperse to all ends of the coast. People are power walking, jogging, cycling (my preference), aerobic exercising, doing sit ups, chin ups, stretching, volleyball, swimming, and SMILING. Its like happy hour for the fit and healthy. I know a lot of people do this in Sydney, but here it just seems more passionate and everyone seems to be really enjoying themselves; they are not just doing it to avoid the next heart attack. The next part of the day starts about 9:30 when the people start to arrive on the beach for a day of leisure and the tourists start to pack down for a day of oiling up, baking and frying. It really is so easy to spot the tourist, usually just out of winter hibernation, he/ she stands out like a neon sign. They usually come to the beach in the wrong attire (I always have to laugh at the Asians who come to the beach in a suit and tie), with T-shirts that scream "I am a tourist, come and rip me off'. One way to spot a tourist is they face the wrong way on the beach. They want to look at the ocean. The Carioca wants to face the sun and look at other people and the volleyball matches played at the back of the beach. About 9:00 am the people from the favelas (shantytowns) begin to arrive with their goodies to sell for the day. If they have heavy produce or equipment to lug around, they dig this out of the sand where they buried it one meter below the surface the night before. (2 meter sticks in the sand with their initials on them tell them where their things are). Then the selling starts. Your want beer, no problem. You want beach chair, towels, suntan oil, sandwich natural, ice cream, caipirinha, a girlfriend for the day, money changed (not recommended), soft drink, BBQ prawns, sausages and bread rolls, all of this is no more than about a 2 minute wait max. No Balinese back massages though (Hey what a great idea!). You want beads, T-shirts, bathing costumes, maps of Brazil, souvenirs, blood pressure checked (seriously), ciga42

rettes, coconuts, jaffles, Rio de Janeiro car number plates, water melon, Walkmans, thongs, Beach Igloos (watch them take off in OZ this summer, go for it Margaret), surfboards, CDs, boogie boards, sunglasses, oh hell, you want to buy real estate, come with me. This is like TV Box Office Home Shopping but loads more fun. Did I mention the bundas (derrieres) as well! OK, so there is a downside or two. There is more noise, but if you want a quiet beach, don't come to Copacabana or Ipanema, go to Barra, 20 minutes away. And there is of course the "Rato de Praia" (Beach Rat) to contend with, as if we don't have our share of beach rats in OZ. But if you can cope with this, it is heaps more fun, and soaks up a heap of unemployment (teaches you how to sell very quickly). Personally! love it, and Australian local government laws (especially in Sydney) should be reviewed to allow some of this type of activity to take place. BUS ADVENTURES - Part 1 I am becoming an expert at using the local buses. The service is excellent, very fast (and fairly jerky), frequent and-the best way to get around. On the back of each bus is a sign that says "Maxima Velocidade: 60 km/h". This does not refer to the speed ofthe bus (top speed! have seen is 95 km/h in Flamengo Drive, totally awesome), but the top speed at which passengers can move down the aisle when the bus driver brakes to stop. Each bus has a driver (with a Wayne Gardner personality defect) and a ticket collector that sits at the back of the bus near the turnstile and rear entrance. People over 65 years and school children travel for free. The standard fare is $0.65 that will take you almost anywhere. Buses will stop anywhere you signal practically. The only thing that seems to be a problem is for the aged and infirm, as the entrance/exit to the bus is very steep, and they only wait for you to have one foot on the bus before the driver starts to move and close the doors. I have used the bus to go to the city about 20 times now and feel very comfortable, although they do get very sardinish at times. I have much admiration for the bus drivers in Sydney, the way they maneuver these large vehicles aroui4l the narrow streets of Sydney, and on the Harbour Bridge. But nothing can compare to the e tolerances and risks these drivers take. You regularly see near misses in th illimeter range, and they are frequently driving while eating their lunch, chugging down a beer (seriously), and smoking six or seven cigarettes, all while listening to a Walkman tuned into the local soccer. It's an experience, but you seldom see accidents involving buses. Taxi drivers here are also very good. I have yet to be ripped off by a taxi driver, they open the doors for you, and something you never see in Sydney, you can easily get a taxi when it is raining. They also have similar driving skills to the bus drivers, but have a more cross country rally style, and have no trouble going up onto the footpaths or skating up the wrong way in one way streets. Yet to see anything done on two wheels, but would not surprise me. They all seem to have a side business going in illicit substances (lots of snorting and pointing at their noses, wink, wink), and regularly offer to take you to some bar where lots of ladies are waiting to take care of my every need, including my wallet, watch, sunglasses, etc. BUS ADVENTURES - Part 2 Friday 3.1 of May, we decide we are going to go the final of the soccer at Maracana" Stadium (the largest football stadium in the world, capacity 180,000; Frank Sinatraplayedto 200,000 in 1980, totally awesome). This is the state final between Flamengo and Vasco. Flamengo is the most successful club in Rio, the largest following by a country mile, and play in Red and Black colors. We start hunting for tickets, and it is all very depressing, but finally we learn that there are 500 tickets still unsold in a town called Bangu, in Rio. So at 5:00 pm on a Friday we head to Bangu to get tickets (somehow word leaked out we were going to get tickets, and we were now getting tickets for 20 people). So, after a two and a half hour bus trip we arrive in Bangu (I have no idea where this place is, it's on the outskirts of town, and lam thinking what the hell am I doing this for, I could be at the Garota de Ipanema having a beer). We arrive at the ticket office to be informed that the last tickets were sold fifteen minutes ago. Marta is sensational, she makes me laugh, and says who would think in Australia that you would be in Bangu on a Friday? (I ask myself the same question). But out of every adventure comes something good and we have the best hotdogs I have ever eaten (over 20 cm in length, with all sorts ofthings piled on top). Another two hours later we collapse at home, tired, covered in diesel fumes, and with headaches to match from the air pollution. Rule No. 1. Never BRAZZIL - DECEMBER 1998

be in a hurry, always plan, if you go fast it costs you time and money. (When am I going to learn this lesson!) As it turns out, the feeling in the town about the match is not good. The local cambistas (scalpers) have bought up a heap oftickets, and a lot of supporters are angry. Marta thinks this may be a bad omen, and suggests we don't go as there could be trouble. Anyway, there will be plenty of other matches to go to, so you will just have to wait. Sunday, Flamengo beats Vasco 2-0. Crowd estimated at 110,000, but many people have jumped the fence to get in, so who knows. The news footage shows some pretty enthusiastic supporters getting stuck into a couple of the cambistas (are they covered by workers compensation), along with the usual flare throwing, over adrenalined crowd behavior and some vigorous horse riding by the local constabulary. BUS ADVENTURES - Part 3 OK, so now it is about the fifteenth time I have been by bus to the city, and I am feeling quite relaxed. I know where to go, where to get on and off,! am quite cool about the process. My guard is down (Lesson number 3 - be always on your guard!). It's about 10:30 am, morning rush hour is beginning to ease. So the bus picks me up in Ipariema, and we go through Copacabana backstreets, then onto the main road into the city. You come through a tunnel leaving Copacabana, and the road widens, the traffic flows freely, and you will be in the city in ten minutes max. This part of the bus trip is very pretty, as you go past Botafogo and Flamengo, beautiful views of Sugarloaf, Corcovado, and the Guanabara Bay. The streets are very pretty, and you pass some ofthe Old City charm and architecture. I am very relaxed. The bus is quite full, so I stand near the turnstile towards the rear of the bus, leaning against the back of a seat, facing the rear. What can happen eh? The bus pulls into one of the usual parking bays to collect passengers (I think). But instead of a passenger getting on, a Military Police man enters the rear ofthe bus with his gun drawn (Colt 45 I think). He waits at the turnstile, and looks up and down the aisle. This is interesting I think (my guard is still down, I'm not thinking properly, my frame of reference is Australian police, etc.). I look over my shoulder to the front of the bus, and two more Police have entered at the front, one with his gun drawn. I look out the window, and notice some Armalite rifle armed Police (why do they like to sling so much ammo over their shoulders, must be heavy). Everyone on the bus is very quiet, sitting still, and trying not to make eye contact with anything. The Police at the front of the bus proceed down the aisle and stop at every male and ask him to stand. The police then do a full paddle search, and request identity papers. No harm so far, just interesting eh? OK, so now Military Police get to the back of the bus where I am. The PM says something to me in Portuguese, which I don't understand, but! know they want my ID. My passport is in my briefcase, so I bend over and unclick the briefcase. "Click . Click". Then there is a third "click", much closer to my temple, a little louder, and a sound I have heard many times on the movies but never experienced in real life. I just freeze for a second, and gradually turn my head to see the end of the barrel (God, it's dark inside). I slowly take my hands away from the briefcase and ever so slowly begin to straighten up. I put my hands beside my ears, and I get the general indication they want me to get off the bus. I am positioned between two of the police, and a third guy takes up the rear with my briefcase. I keep looking over my shoulder to see what he is doing with the briefcase, but I can't see as the guy behind me blocking my view. We walk down the aisle and off the bus, and I am directed towards the man with the stripes on the arm (I can't spell sergeant, why are these guys always so big). He has the usual mirror sunglasses, moustache, and stomach to match. He looks at me and says something in Portuguese which I don't understand but the word "Gringo" is used several times (but not overtly antagonistically). He then says "Are you Americano?". I say "Eu nao sou Americano. Eu sou Australiano". He then says, "Australiano! Muito born pals (Very good country)." My God ! can't believe my luck. He then pulls out the cigarettes and offers me one. I want to take about six at once, but decide that one is better at this stage. We start to talk in broken BRAZZIL - DECEMBER 1998

ortuguese/English about Australia and Brazil. he guy with the briefcase comes over with my .assort and hands it to the sergeant, and he icks through it, and comments about a few of t e cities/countries I have been to. I look at the eople on the bus, draw heavily on the cigarette, nd wink at a few of the passengers, like this is n every day event. They are all just staring in â€˘ â€˘isbelief. You have to remember my frame of refernce is OZ police, so Jam not totally freaked out, just dumbfounded. I reach into my pockets (slowly in sight of everyone), and pull out a few trinkets and give these to the sergeant to disperse (he keeps them all). I shake hands, and he indicates I can go, hands me my briefcase and passport, and wishes me well. I get back on the bus, and everyone is looking at me like I am royalty or something. One guy gets up and offers me his eat. I decline, and the bus pulls away. So what do I make of this. One, never ever let our guard down. Two, if this happens very ften, I will be very quite nervous (accidents can appen). Three, Thank God I am an Australian. THE SOUNDS OF RIO This is certainly no place for those who seek he tranquillity of a property on the outskirts of elboume or Sydney. Noise is something I have et to get used to. The first couple of weeks it just s there, and you deal with it. Now the novelty alue is starting to abate, you do get a little sick nd tired of the constant noise from jackhamers, car horns (they should remove them from e cars, they do nothing at all but get people gry), police sirens, and the usual cacophony of ounds that accompany a city of this size. We live at a fairly busy part of Ipanema, so he noise starts early, and does not die down until ell after midnight and sometimes much later the night of the soccer match was incredible). Sometimes I wake in the middle of the night earing firecracker's going off. These are used by the people in the favelas to send two messages; fresh drugs have arrived or the police are on their way to raid the favelas. A priority in my work will be to secure quieter lodging in the next six months. But for now, I can deal with it (please send some industrial strength earplugs for Marta and 1). John Miller is an Australian, living in Rio de Janeiro, selling Australian wine. 'Postcards from Rio' is a journal of his journey in the land of the Cariocas. For contact: John Miller Rua Joaquim Nabuco, 106 / Apt 1001 Copacabana CEP 22080-030 Rio de Janeiro Brazil Tel: +55 (021) 521 8568 E-mail: millerario.nutecn et. co m.br 43

Kuarup. I remember the first time I heard the word. It and a pivotal collaborator in the creation of the Museu Villaimmediately struck me as odd and mysterious. It was hard to Lobos). They were spurred by a passion for music, a dream to pronounce. A friend exmap the country musically, and a bureaucratic fiscal necessity. plained that for the indigAnd because they were not enous people of Brazil, a pursued by visions of exKuarup is a ceremony, a pansion, increased capacritual rarely performed, ity, or the accumulation of that celebrates life, one that power resulting therefrom; is reserved only for chiefs they have avoided the aesand warriors. The Kuarup thetic arthritis that many is the highest tribute the of the "major" labels have Xingu Indians will bestow contracted by chasing illuupon a person. But for sive pop fads. Mapping artistic currents of Brazilian musicians "in-the-know," At last count there were traditional music and keeping therp alive over 150 record companies Kuarup is a small record and creative has been Kuarup's mission in Brazil. Standing out company in Rio de Janeiro since its conception. that has Mapped Brazilian among them in sharp contraditional music and kept trast is Kuarup. Staying BRUCE GILMAN power for this small comit alive and creative. Company has had to do with mitted to and demanding character and culture. excellence, Kuarup continJornal do Brasil has called ues to set the standard by their efforts "The most imwhich other companies are portant cultural work on judged. Since its inception disc in the country." Inin 1977, Kuarup has been deed, Kuarup's Web page the musicians' choice and reflects this. It is a cultural has signified quality and resource center containing artistic authenticity. Heitor extensive information Villa-Lobos, Raphael Raabout Pixinguinha, choro, bello, Henrique Cazes, samba, and Villa-Lobos. Altamiro Carrilho, Paulo Their catalog of choro is Sergio Santos, Xangai, enormous, and they offer Elomar, Joel Nascimento, the largest collection in the Sivuca, Dominguinhos, Mario de Aratanha and Janine Houard, the owners of Kuarup world ofthe music of Villaand Paulo Moura are but a Lobos interpreted by Brafew of the chiefs and warzilians. In addition, you can riors celebrated at this find detailed technical inKuarup. formation, background Until recently, only a text, lyrics, cover art, the fortunate few have been complete liner notes for able to boast of Kuarup each recording in their catatitles in their private collog. Even to amass knowllections because despite edge of this sort, which twenty-one years of regreatly enhances the comcording and promoting mon listener's pleasure, Brazil's most important takes more time and effort musicians and composers, than most companies care Kuarup is still relatively to invest, affirming once unknown outside of Braagain that at Kuarup things zil. Every once in a while I of the spirit bulk as large in come across a Kuarup title the owners' minds as the as I'm scouring the bins of latest market quotations. my local record stores, and The Amazonia String Quartet Kuarup label is, and I buy without hesitation, . , has been since its concepnot only because Kuarup tion, intertwined with the product is rare but also cultural and artistic curbecause I am assured that rents of Brazilian music. the recording bespeaks the In the last analysis, all that taste and elegance which matters at Kuarup is the is so much apart ofBrazil's music. Mario de Aratanha diversified musical landof Kuarup has chronicled scape. Mob. â€˘ IktP4de Ouvism. Brazilian music for over The Kuarup label was SMIcA DOMINGUINHOS XANGAI MACIEL MELO twenty years, and speakcreated by journalist Mario ing with him is always an de Aratanha, bassoon inspiration. player Airton Barbosa (founder of Quinteto Villa-Lobos), painter Janine Houard, and researcher Valdinha Barbosa (biographer of Radames Gnattali

Persistence of Vision

BRAZZIL - DECEMBER 1998

Brazzit—What is the biggest difficulty that faces the Kuarup label today? Mario—It's very difficult for us to have a label that has no label. You know, it's an "unlabeled" label. We are not a world music label, or a dance music label, or a samba, or a bossa nova label, you know? We are just a good music label. And it's very hard to get into foreign markets, especially the U.S. when we're not a "labeled" label. I'm trying to figure out a way to get into this market. How will people know that in this country there is a very small "unlabeled" label that is very good?

Brazzil—Well, your Web Page is incredible. Mario—You really think so? Brazzil—I've never seen one like it. When I go to the web sites of most record companies, I see pictures and prices, but not all the recording and technical information, lyrics, musicians' profiles, and background informatinn. Mario—We still don't have audio or publish music through the Internet, mainly because of quality problems, you know? Our music is sometimes very delicate, and you don't put this kind of music in a low resolution Real-Audio file, you know? Not yet, but we will eventually. Technology is getting better and better. We're going to be there. But for the time being, what we want in our site, besides a way to buy our records, is the foundation of a small library where you can find good texts and good information about Brazilian music. What we're aiming for is a place where people can find good information about top-rate Brazilian composers, musicians, and instrumentalists. Ofcourse, this purpose is aimed primarily toward the Brazilian market because we haven't finished translating all the text yet. We'll do this eventually, but we have over one hundred recordings, and it takes a long time. Brazzil—So you are planning to translate everything into English? Mario—Yeah, eventually (laughs), but, you know, this is a light operation with very few people. It's just me and my partner, Janine Houard, and the six people who work with us, plus sales people. We don't have a lot of staff, and we prefer to be that way. We prefer being a small, light company, so we can do whatever we want, whenever we want. We don't really have the time to make hundreds of highly technical translations just like that, you know? Some of our recordings have bilingual, even trilingual information, but it's not widespread. If we find that Americans are visiting us, and it becomes profitable, then we will invest in translating all information into English. Right now we have a gate in English and a gate in French. You can get into the page in English, and you can buy in English. Brazzil--A friend was over the other night, and after I played him Segura Ele by Paulo Sergio Santos, he said, "Geeez, where do you find these recordings?" It made me think of some of the Brazilian labels that have made agreements with U.S. distributors, and I'm wondering if it would be worthwhile for Kuarup to make an agreement like that? Mario—Actually, that's another difficulty we have in being an "unlabeled" label. The same confusion that we think the small potential public that could already be buying our product in the United States has, is the same problem distributors and BRAZZIL - DECEMBER 1998

record compa ies that could license our titles have. They don't know how to I bel us. We had some contact with the people at Blue Jackel, b t they wouldn't treat our product as we wanted. We did licens some records to Milan Music, and our VillaLobos catalog was successful in Europe, especially in France. But never, ne er, could we have managed to license these records or to arket them in the States. It's a pity. We would be willing to do usiness with these guys, but it has to be worthwhile. The onl experience we had that was worthwhile was one record with under, a samba record. Rounder does in the United States, ore or less, what we do in Brazil, of course, on a much larger s ale. They go to the roots of American music, and they have a lo of good stuff. Do you know Gerald Seligman? Gerald was a j urnalist in New York at that time. He's a very close friend o mine who sold this record, this samba compilation, to Roun er many years ago. Gerald is now in London working for EMI Classics, so he doesn't have anything more to do with that. Rounder was the only experience that worked. With the others, I ended up owing these guys money just to stop the record. And, you know, that's how it stands.

Brazzil—Last time we spoke you mentioned that the big record companies in Brazil were starting to import classical music. When you think of Villa-Lobos, it's kind of funny. I have this CD of the Bachianas Brasileiras on RCA Red Seal/BMG Classics. The liner notes are printed in English and Spanish, not Portuguese, and there's a picture supposedly of Villa-Lobos, but it's Ary Barroso. Mario—Yes, yes. You've seen that, haven't you?

Brazzil—It's incredible. Mario—Did I tell you that? Brazzil—No, no, I have it. Mario—You have it? Yeah, I saw that record. It's incredible. It's stupid. Kuarup probably has the largest Villa-Lobos catalog in the world, recorded by Brazilian musicians. And it's probably the best— period! We have the complete (string) quartet cycle. Now, only now, are people starting to record the quartets, but we started it. Brazzil—I remem ber you mentioning that the Quarteto Amazonia was one of the greatest achievements of your career. Mario—No, it's not the Quarteto Amazonia. It's the complete Villa-Lobos string quartet c cle that we started up with the (Quartet) BesslerReis, and the completed with the Amazonia Quartet. The Bessler-Reis, hich was composed of three members of the Bessler family and the cellist Alceu Reis, broke up with five quartets of the seventeen (quartets) to be recorded yet, so two CD's were m'ssing from the collection. Then Alceu Reis formed anothe quartet (Quarteto Amazonia) with great musiclans from Sa- Paulo, and they recorded the five remaining quartets. This is a story you know. Completing the cycle, recording the s venteen string quartets in a row, was the biggest project of my It e as a producer. Alceu Reis is the only Brazilian musician ever to record the complete cycle of Villa-Lobos string quartets Brazzil— re there particular studios that you prefer for 45

recording different styles or do you... Mario (laughs) It depends on the money I have in my pocket. If I have a lot of money, I go to Nas Nuvens (In the Clouds), which is Gilberto Gil and Liminha's recording studio in Rio. That's just a funny thing because I like those guys. It's a very good studio. Normally, I settle for more affordable • studios. Brazzil—It's funny to say Kuarup's a non-label because amazing artists like Paulo Sergio Santos, Henrique Cazes, Altamiro Carrilho, and Paulo Moura are attracted to Kuarup. What lures these virtuosi to this non-label? Mario—(laughs) It's not because we're a label. We just produce good music. We prioritize quality and excellence. We don't give a damn if it's commercial or not. We do some commercial records, of course, but we don't do them because they're commercial. We do them because they're good, and they become commercial as a consequence. And that's probably why. This has been our philosophy from the beginning, you know? Janine and I were, we are, radicals. We are radicals! And that's it. If it's not very, very good we don't press it. Of course, we've made some mistakes, but we don't like to remember them. Brazzil—Tell me about one... Mario—No, no. I'm not going to tell you (laughs). I want to forget them. They're no longer here (laughs). We tend not to press anything unless we are completely satisfied. We're not the only ones. Lots of people do this kind of thing. There's another thing that's important. We tend to prefer Brazilian traditional music, not because we don't like avant-garde music, but because traditional music is a need. It's our mission to record, to register, and to leave to posterity the art of our culture. Mainly because if we don't do it, other people will do it from an ethnological point ofview, a folkloric point of view, and! don't like that. I don't want to make a recording of a guy playing a flute in the interior of the Amazon just because this is an Indian playing in the middle of the Amazon. This is funny, and I don't want that. I want to make records that can go into anybody's home and marvel people. I want to create works of art. That's the kind of music that interests me, that I want to register. I could be a rock 'n' roll producer or a country music producer, you know? I could be making a lot of money. This is the country, which has... We are probably together with the United States the two biggest, the most important, the richest countries musically in the world. And, I'll tell you more. If we were rich, as rich financially, you know, money-wise as the United States, we would be richer musically. It's incredible. You know Brazil. We have a lot of music, really a lot of varieties all over this country. And if we had the means to really explore this, more than we already do, you can imagine the explosion there would be. It's incredible. I mean, it doesn't matter what home you go to in this country, there is music playing or being played. It's a mission that is unfinishable. I'm completely fascinated by this adventure. Brazzil—W hat about Brazilian jazz? Is there a market or any interest in distributing somebody like Hermeto

whose music is sollard to find? Mario—Well, that's something else. Hermeto is a very close friend of outs: My partner, Janine, has produced his tours all over the world, and I've worked with Egberto Gismonti for many, many years. We have promoted and produced tours for the most important jazz musicians in this country, but we don't record them. I don't know exactly why. Maybe it's because this kind of music is a different world. Maybe it's because we would have needed the best, and the best were already taken. You know Hermeto and Egberto are the greatest, but they were already recording for other labels. And our record company is... Actually we weren't only a record company from the beginning. We were a production company, we were agents, we were impresarios, we were tour managers who organized tours for Brazilian musicians abroad and within the country. The record label was a pocket in the company that became the company. This started about fifteen years ago. Then ten years ago we dedicated ourselves completely to the record company. We don't do anything else but recordings now, and the company's personality is geared toward tradjtional and instrumental music. We went toward Northeastein music because of our friendship with Xangai and Elomar and because! have a great intimacy with the music from the Northeast. I was born in Rio, but my whole family is from Cear*. We also invested more in choro music, in classical music, in the choro aesthetic. Villa-Lobos called choro the Brazilian; soul—alma brasileira. This all happened naturally, little by little because of our personal tastes. We didn't sit around the table and say let's do this, let's to that. But Brazilian jazz is something that we don't really market. It's mainly because we don't think these musicians need us that much. But that's just probably bullshit. I love jazz. I like all kinds of music. I like country. I like rock 'n' roll. I like pop. I like good music. I don't care if it comes from India, from Japan, from Africa, or from Tennessee. Brazzil—Nordeste and caipira are about 60% of sales and 20% of your catalog. I'm wondering if this is an indication of a trend in Brazil right now or has it always been like this? X-1" Mario—It's kind of always been like this. It's like when you compare jazz to country music in the U.S.. Who are the biggest selling stars you have in the U.S.? They're country artists because the medium is song. It's closer to everybody's comprehension and sensitivity and demand. When you hear Willie Nelson singing something that's very popular, everybody likes it. I mean, it doesn't matter if the guy is a saxophone player in a New York jazz club, or he's a violinist in the Saint Louis Symphony, or he's just an everyday man who likes music. It's music for everybody. But then when you go into instrumental and classical and choro music, which is very, very sophisticated, it's not for everybody. But it iseessential for a very small, but very strong population in this country. Brazil is a country that adores music, so you have small pockets that are very deep. And for these people, the music we make here is essential. Ofcourse, if I make music that pleases them and also pleases everybody else, it's great. When I do a caipira record, I don't just do a caipira BRAZZIL - DECEMBER 1998

record. I try to get the most truthful music that I can find, in any style that I deal with. I don't like the commercial compromises that you see, especially in the most popular styles. You find a lot of compromises and manufactured artists. I don't go for manufactured artists. Brazzll—Claudinho & Buchecha, E o Tchan? Mario—Yeah, this is crap. Sometimes I have fun listening to them, not Claudinho & Buchecha, but E o Tchan. From time to time I go to a party and I dance and I enjoy myself for five minutes (laughs), and that's it. But, you know, you hear a lot of crap. Brazzil—Can you tell me about Kuarup's early days and about Airton Barbosa? Mario---Airton died many years ago, I don't even know how many, over ten years ago, more than that, fifteen years ago. He developed a cancer. He died very young. He was a very important pioneer in this kind of musical approach. He was the first guy to play a bassoon on a samba record. He played on Memorias Cantando by Paulinho da Viola, and on one of Cartola's first albums. You know, (sings the bassoon line)? I don't remember the name of the song. These were the first times bassoon was played in Brazilian popular music. Paulinho's two records were released at the same time, Alemorias Cantando and Me morias Chorando. One was samba and the other one was choro, the two sides of Paulinho. You know these two records? They are landmarks. They are on EMI, among the Abbey Road re-mastered Paulinho da Viola collection. They're great, probably the two best records he ever made.

We would sell the project, they would give us the money, we would go to the studio, we would make the record, then we would give them a quantity that they would give out as Christmas gifts, and a year later, the rights to the record came back to us. Then we would put the title into our regular catalog. That's how we started. But after some years, the sales of the records we had out already, started to fund the company. Then we started to do our own productions without the help of any projects, so it turned into an enterprise. Airton left a couple of years after the Banco do Brasil project because he wanted to do something else. He was completely into movie sound tracks, more than records. I went on with the company, and now it has been already twentyone years. Brazzil—Tell me about Marcus Pereira. Wasn't he a model for you? Mario—Y es, yes, Marcus Pereira was an idealist, a publicist, an advedising man who thought of music as a cultural product for the first time. He was kind of a pioneer of what I do now. He was the first one to do it. And what he did was map the country in records, going around the country recording everybody he thoug -it was good and putting them onto vinyl. He was a great man. The label (Marcus Pereira) still exists. EMI bought it. It's old stu f. Sometimes you find it; sometimes you don't.

Brazzil—For twenty-one years you've been in a market where there is tremendous competition from big companies like PolyGram and EMI and BMG that spend millions of dollars all over the world for promotion. And I'm wondering how you s urvive. Brazzil—Wasn't Kuarup created through a grant from Mario—First, because I don't fight them (laughs). I don't Banco do Brasil to record Os Choros de Camara by Villafight them. I want to be best friends with them. But mainly Lobos? because what we do is something that doesn't interest them. If Mario—Yeah, but it wasn't a grant. There is a custom with I do a record, and I sell two thousand copies, I'm happy. It comes big companies here to give back to the beginning of our out special records as talk. I want to be light. I Christmas gifts. This is sort want to be small because of a tradition here. Airton then I can do whatever I and I came up with this want. PolyGram has to sell project to record Chamber ten to fifteen thousand copChoros by Villa-Lobos, ies of each record, otherwise and we sold it to an adverit won't pay. They would tising agency that was lose money. I don't give a looking for somebody to damn. I'm very light. If I sell do this record that Banco a thousand, two thousand, do Brasil wanted to dissometimes three thousand, tribute free to their clients I'm fine. at Christmas. We were paid Of course, sometimes I to execute a project, a culprefer to sell ten to fifteen tural, a musical project. We thousand, but this is not comdidn't have a company to mon. Can you imagine a receive the money, and it Villa-Lobos quartet selling would have been very exmore than ten thousand coppensive for us to receive it ies? If we sold three, four in our own names because thousand of each ofthe quarthe income tax would have tet CD's, it would be an exbeen too great, so we detraordinary result. Since we cided to open a company are small, we can do what for this job. they don't want to do. Some There were a lot of people in these big compaam • im• • Offs .•. MO • arm *Ma • records that we made for nies give a damn, and they big companies as ChristS iv uca- • are doing a lot of good remas gifts, and for a while cordings. But there is a lot of this was a funding, but not good stuff they can't do bea grant. We would look for people who would hire us to do cause it's not s rofitable, so there is a lot of good stuff left for me projects, and we would keep the rights for the records afterward. to do. BRAZZIL - DECEMBER 1998

Brazzi/—What good stuff can look forward to in 1999? Mario—What we're going to do for next year is release more choro. Each day there are more choro artists who come to our catalog. It's very interesting. We're going to release Deo Rian the great bandolim player's CD Choro em Familia. Deo and his son, Bruno Rian, who is a 16year-old bandolim genius, are playing together on this recording. Clarinet player Mario Pereira's CD Gafieirando (Dancing Choro) will also be released. And I'm working on a series of compilations by instrument. We have an expression here "Os Bambas." It means the great guys, the really good players. How do you say this in English? The really top guys in each field. What do you call them? Brazzil — W e call them monsters. We say, "He's a monster!" Mario—Yeah, yeah, exactly, the monsters, but it doesn't have the same connotation. It's lighter, and it's very Brazilian. Os Bambas do Bandolim, the bandolim monsters—Joel Nascimento, Deo Rian, Ronaldo do Bandolim, Pedro Amorim, Rossini Ferreira, Reco do Bandolim, Hamilton de Holanda. Os Bambas do Violdo—Rafael Rabello, Baden Powell, Henrique, Anes, Nonato Luiz, Canhoto da Paraiba. Os_ Bambas da Clarineta e do Sax—Paulo Moura, Abel Ferreira, Paulo Sergio Santos, Mario Pereira. Os Bambas do Cavaquinho—Henrique Cazes, Jacare, Waldir Azevedo. By instrument, we are starting out doing these guys. These are our immediate plans. The first ones will be the bandolim and the viol& (guitar). Oh, and Nonato Luiz is someone else I'm putting out next year. He's my favorite Brazilian guitar player. Not many people know him in the States. He's from Ceara. Also, Teca Calazans singing Villa-Lobos is another sure thing for the first months of the year. What really interests me is that people know that we exist, and they can get Kuarup product through the Internet. There is one form on our site where you just punch in your name, your address, and your credit card number, and request the recording. You just touch a button, and it sends us an e-mail with the request. So this is something that is practical. It's not exactly a shopping basket, but it's almost like that. It's a shopping form where you can buy, and then just sit down, relax and wait for the mail to come. Brazzil—Mario, it's been too long since we've talked. I'm glad we had this opportunity. Thank you. Mario—Thank you for the chance and good luck. Kuarup. Tell it to the world! E-mail: kuarup@uninet.com.br Web Page: http:/ /www.kuarup.com.br Bruce Gilman, music editor for Brazzil, received his Masters degree in music from California Institute of the Arts. He leads the Brazilian jazz ensemble Axe and plays cuica for escola de samba MILA. You can reach him through his e-mail: cuica@interworld.net 48

II • • • • • •

• • • IN • • ••• • IONE MEIN II

Kuarup Starter Kit:

(The Premio Sharp is parallel to the Grammy Award in the • •• United States.) • Sivuca, Enfim Solo (Premio Sharp, Melhor Solista Instru• mental - 1998) • Xangai, Cantoria de Festa (Premio Sharp, Melhor Arranjo • • (CD) e Melhor Cancao: "Nois é Jeca mais é Joia"-1998) • Guedes Barbosa, As 51 Mazurcas de Chopin (Premio Sharp, • Melhor Disco Classico -1996) • Turibio Santos, Paulo Moura, Noel Devos, Orquestra de • • Camara Brasileira, Bernardo Bess ler, Concertos para Solista e • Orquesta Villa-Lobos (Premio Sharp, Melhor Disco Classico— •• 1995) Monarco, A Voz do Samba (Premio Sharp, Melhor Disco de • • Samba-1994) Paulo Sergio Santos, Segura Ele (Premio Sharp, Revelacao-• x • 1994) Renato Teixeira & Pena Branca e Xavantinho, Ao Vivo em • • Tatui (Premio Sharp, Melhor Disco Regional-1992) • Quarteto Bessler-Reis, Quartetos 12,13,14 de Villa-Lobos • • (Premio Sharp, Melhor Disco Classico -1992) Quarteto Bessler-Reis, Quartetos 1,2,3 de Villa-Lobos • •• (Premio Sharp, Melhor Disco Classico-1991) Chiquinho do Acordeon, Raphael Rabello, Orquestra de • • Cordas Brasileiras, Retratos de Radames Gnattali (Premio •• Sharp, Melhor Disco Instrumental-1991) Altamiro Carrilho, Paulinho da Viola, Joel Nascimento, • • Paulo Sergio Santos, Henrique Cazes, Noites Cariocas (Premio ▪ da Critica Fonografica, "Deutsche Schallplattenpreis" Ger• • many-1991) Orquestra de Cordas Brasileiras, Orquestra de Cordas • • Brasileiras (Premio Sharp, Melhor Grupo Instrumental -1990) • Orquestra de Cordas Brasileiras, Orquestra de Cordas • • Brasileiras (Premio Sharp, Melhor Disco Instrumental-1990) Quarteto Bessler-Reis, Quartetos 15,16,17 de Villa-Lobos • •• (Premio Sharp, Melhor Disco Classico-1990) Quarteto Bessler-Reis, Quartetos 4,5,6 de Villa-Lobos • • (Premio Sharp, Melhor Disco Classico -1989) • Turibio Santos, Villa- Viola° (Premio Sharp, Melhor Disco • • Instrumental-1988) • •••••••••emommumm•Es• BRAZZIL - DECEMBER 1998

RIO Como Matar um Playboy (How to Kill a Playboy)—Comedy. To kill a son in law who is a crook, the father in law hires a hitman. Written and directed by Joao Bethencourt, with Oswaldo Loureiro and Andre Mattos. Teatro BarraShopping. Deu a Louca no Motel (Things Went Crazy in the Motel)—Comedy. After 25 years of fidelity to his wife, man takes a callgirl to a motel. The little adventure turns into a big mess. Written by Genilson Gouveia, directed by Roberto Guilherme, with Roberto Guilherme and Regininha Poltergeist. Teatro America. Uma Noite na Lua (A Night on the Moon)—Comedy. Monologue. A playwright has to write a play overnight, but he only can think about his wife who has just left him. Written and directed by Joao Falcdo, with Marco Nanini. Teatro dos Quatro. A Serpente (The Serpent)—Last text written by Nelson Rodrigues. Guida offers her own husband to her sister and ends up creating an intense jealousy between both. Directed by Ant8nio Guedes, with Alexandre Dantas and Claudia Ventura. Teatro Glauce Rocha. A Dona da Histdria (History's Mistress)— Comedy. A woman's life and all her choices. Written and directed by Jac) Falcdo, with Marieta Severo and Andrea Beltrdo. Teatro do Leblon.

SA-0 PAULO tonoe—Using Noah's biblical tale, the play tells how the universe is recreated. Written by Jose Rubens Siqueira, directed by Francisco Medeiros. With the ensemble Pia Fraus Teatro. Teatro Ventoforte. Dom Casmurro (Mr. Curmudgeon)— Bentinho wants to prove to himself beyond any doubt that his beloved wife Capitu betrayed him. Adapted from the Machado de Assis novel by Jose Paulo Rosa, who also directs. With Regina Pessoa, The Gomes, and Alexandre Leal, Teatro Lucas Pardo Filho. Honorato—The saga of Cobra-Norato, a young man trying to break a spell. Written and directed by Paulo Ribeiro. With Selma Luchesi, Sandro Alvares, and Veronica Menezes. Teatro Brasileiro de Comedia. Uma LictiO Longe Demais (A Lesson That Went Too Far)—Two students kidnap teacher after being expelled from school. Written by Zeno Wilde, directed by Mauricio Lencasttre, with Aldine Muller, Mauricio Lencasttre and Edye. TBC (Teatro Brasileiro de Comedia) BRAZZIL - DECEMBER 1998

Just-released American movies: Apt upil (0 Aprendiz), A Bug's Life (Vida de Inseto), The Butcher Boy (No na Gargan a), The Governess (A Governanta), Hall ween: H20 (Halloween: 20 Anos Depo's), Meet Joe Black (Encontro Marcado), he Mighty (Sempre Amigos), The Princ of Egypt (0 Principe do Egito), Rush Hou (A flora do Rush), The Siege (Nova rk Sitiada), What Dreams May Come (A or Alem da Vida) Traicdo (Betrayal)—Brazi1/1998—Dr a. Three episodes based on Nelson Rodrig es characters, dealing with adultery. By Art ur Fontes, Claudio Torres and Jose Henri ue Fonseca, with Fernanda Montene ro, Fernanda Torres and Pedro Cardoso. Sim'do, 0 Fantasma Trapalhilo (Si do, the Clumsy Ghost)— Brazil/1998—C medy. Millionaire and his family meet g ost and have a good time with him. By Pa lo Aragdo Neto with Renato Aragdo, D de Santana, Luciano Szafir, and Ivete Sang lo. A Grande Noitada (The Big Night Ou Brazil/1998—Musical. An adventur i us night with a rich industrialist and t ree people he just meets. Directed b,y Deno de Oliveira, with Othon Bastos, Italo Ro si, and Ester Goes. AM? (Hello?)—Brasil/1997—Come ay. The adventures of four small-time s indlers. By Mara Moult() with Betty L o, Myriam Muniz, Herbert Richers Jr., nd Wellington Nogueira. Toque do Oboe (Oboe Call)—Brazil-P aguay/1998—Drama. Brazilian musi .ian with an incurable disease finds the by of his life while playing at an old theater n a little village. By Claudio MacDowell, ith Paulo Betti, Leticia Volta, and M io Lozano. Amor e Cia (Love & Co)—Brazil/199 — Comedy. The day he is celebrating his fourth anniversary of marriage a husb nd finds his wife betraying him with his p rtner. Directed by Helvecio Ratton, 'th Marco Nanini, Patricia Pillar, and Ale andre Borges. Coracdo Iluminado (Enlightened Hea Brazil/1998—Drama. After 20 years an meets girlfriend he thought was dead. In eir old flame reignites. Directed by He tor Babenco, with Maria Luisa Mendo ca, Miguel Angel Sola, Xuxa Lopes, nd Walter Quiroz. 0 Testamento do Senhor Nepomuc no (Mr. Nepomuceno 's Will)—Portugal- razil-Cabo Verde/1997—Comedy. Pe ple know about the life of a rich man by r ading his will. Directed by Francisco Ma so, with Nelson Xavier.

FICTION

1 0 Homem que matou Getdlio Vargas, JO Soares. Companhia das Letras, R$ 25 2 Conte-me seus sonhos, Sidney Sheldon. Record, R$ 25 3 0 Advogado de Deus, Zibia Gasparetto. Espaco Vida & Consciencia, R$ 20 4 0 Advogado, John Grisham. Rocco, R$ 25 5 0 Clube dos anjos, Gula, Luis Fernando Verissimo. Objetiva, R$ 16.80 6 Veronika decide morrer, Paulo Coelho. Objetiva, R$ 15 7 A Confraria dos espadas, Rubem Fonseca. Companhia das Letras, R$ 16.50 8 Corn todo amor, Rosamunde Pilcher. Bertrand, R$ 20 9 Ramses, o filho da luz, Christian Jacq. Bertrand, R$ 30 10 Mal Secreto, Inveja, Zuenir Ventura. Objetiva, R$ 22

NONFICTION 1 As melhores piadas do planeta e da casseta tambem, vol.2, Casseta e Planeta. Objetiva, R$ 10 2 A Viagem do descobrimento, Eduardo Bueno. Objetiva, R$ 16 3 Ndufragos, traficantes e degredados, Eduardo Bueno. Objetiva, R$ 17.50 4 Ndo fact: tempestade em copo d'dgua, Richard Carlson. Rocco, R$ 19.50 5 A anima grande ROM: o sentido da vida, Mitch Albom. GMT, R$ 13.80 6203 maneiras de enlouquecer um homem na cama, Olivia Saint Claire. Ediouro, R$ 10.90 7 Como falar corretamente sem inibicoes, Reinaldo Polito. Saraiva, R$ 18 8 Tantos anos, Rachel de Queiroz. Siciliano, R$ 25 9 As barbas do imperador: D. Pedro II, um monarca nos tr6picos, Lilia Schwarcz. Companhia da Letras, R$ 32 10 177 maneiras de enlouquecer uma mulher na cama, Margot Saint Loup. Ediouro, R$ 10.90

CHILDREN 1 0 livro das virtudes para criancas,William J. Bennett. Nova Fronteira, R$ 21 2 Asterix, as 1001 horas, Albert Uderzo. Record, R$ 10 3 Bebe Donald e a surpresa, Walt Disney. Manole, R$ 8 4 Uma professora muito maluquinha, Ziraldo. Melhoramentos, R$ 11 5 0 Castelo da Intriga, Paul Stewart. Scipione, R$ 9.80 49

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An excerpt I

What impact does democratic government have on provide the military, along with other important actors from the the military's ability to exercise decisive influence over authoritarian period, with long-lasting political clout. More specifiissues of broad social and political significance? Are cally, they contended that institutional privileges the armed forces electoral politicians under democracy likely to preserve retained in the transition process would give them a strong and or diminish the military's sphere of involvement? What indefinite foundation of political leverage. The military would be resources can and will the armed forces deploy to defend and able to exercise undue influence in nonmilitary spheres as well as resist civilian direction over defense issues. The concern of these advance their claims? This chapter discusses competing theoretical approaches that authors was not that the armed forces would launch a frontal assault claim to provide answers to these questions. The first section on democracy by waging a coup d'etat, but that they would impede democratic consolidation by continual presents and probes the central analytic tutelage, causing democracy to die a "slow issue of the book: whether and for how death." In line with the view that "patlong the "pacted" or negotiated nature of terns of politics established in periods of the transition to democracy in Brazil intransition have a very, real and strong hibited democracy's consolidation. Did potential to become semipermanent feathe military governments' firm guidance tures ofthe political landscape," Hagopian of the transition, which allowed the armed contends, "Nile advent of civilian rule in forces to maintain ample institutional Brazil did not erode military authority, powers and play an influential political though it may have disguised it." role in the initial phase of the new regime, O'Donnell saw Brazil as vulnerable to create a legacy of extensive military influthe development of a democradura, a ence? Or did the rules and norms of deElectoral competition and civilian government controlled by milimocracy eventually lead elected civilians the incentives it unleashes tary and authoritarian elements. The conto rein in the political activities of the form a key source of the siderable political interference ofthe army military? The framework I present and dynamism that has in the first three years of the civilian endorse in this section suggests that the marked civil-military regime seemed to provide empirical vericompetitive dynamic of democracy unrelations in Brazil in the fication for this theoretical expectation. leashes irresistible incentives for civilian period following the Tenets of"historical institutionalism" politicians to contest a military prone to country's informed the development of this rather political interference and endowed with redemocratization. The pessimistic view. The influence of branchample institutional prerogatives, and that policies that have resulted ing tree models, such as Krasner's model the popular support certified by electoral from these incentives of "punctuated equilibrium," is particuvictory enhances their capacity to do so. have gradually shifted the larly observable. These models claim that The second section examines and anabalance of civil-military stable institutional patterns structure polyzes the effect of two conditioning facpower in favor of civilians. litical life. By creating vested interests tors—civilian political institutions and that promote their own persistence, instibroader power alignments—in shaping the WENDY HUNTER tutions gain considerable autonomy and strategies of democratically elected politistrength to withstand shifts in the broader cal actors to extend their power and influpolitical and socioeconomic environment. ence over the military. I argue that the Even a challenge drastic enough to upset weak institutionalization of Brazil's political system and multiple constraints on the use of military force for established institutional patterns is conditioned in its impact by the domestic political purposes in the current era reinforce the pressures institutional setting in which it occurs. Historical institutionalists therefore view political development as a path-dependent process: created by democratic competition to reduce military influence. While recognizing that the definition of democracy is a subject following one path channels further development down the same of intense debate, I conceptualize democracy, as a system of gover- path and precludes other options. According to this view, significant political change only takes nance in which an inclusive adult population is free to engage in place at "critical junctures" or "turning individual and collective forms of political acpoints," when institutional patterns are tion and in which rulers are selected through challenged by strong socioeconomic or open, competitive, peaceful, and regularly schedpolitical pressures. Such moments present uled elections. This is similar to what Robert rare opportunities for political actors to Dahl calls "polyarchy." Such a minimalist, forreshape the political landscape by foundmal-procedural definition of democracy is necing new institutions. Periods of regime essary because I seek to investigate the impact transition—when the rules of the game are that democratic procedures have on a substanin flux— constitute such moments. If tive issue (the influence of the military in polichange is to occur, quick action must be tics). My study would be condemned to uncovtaken before the transition period comes to ering a tautology if it included in the definition a close and patterns and practices inherited of democracy the absence of interference by from the previous regime have a chance to unelected officials, such as military officers. congeal. After these windows of opportunity close, stability prevails and profound political change, which CIVIL-MILITARY RELATIONS IN would reshape the institutional framework, is unlikely. If left POSTAUTHORITARIAN BRAZIL unchallenged during the regime change, previous institutional patCONTINUITYVERSUS CHANGE? terns are believed to be reaffirmed and given a strong foundation to "Confining Conditions" Inhibit Civilian Sovereignty Many analysts, including Alfred Stepan, Frances Hagopian, persist. A historical institutionalist perspective would predict that Guillermo O'Donnell, and Terry Karl, posited that Brazilian de- the armed forces would be able to preserve their power and set limits mocracy would suffer from a serious "birth defect." They claimed to popular sovereignty in the new democracy if they and other that the negotiated nature of the transition to civilian rule would ,conservative elites in.' aged to retain strong institutional preroga-

Military Decline

BRAZZIL - DECEMBER 1998

tives throughout a transition from authoritarian rule. Electoral Competition Leads Civilians to Contest the Military In contrast to the view described above, my research on postauthoritarian Brazil suggests that countries that return to civilian rule through elite-led negotiations need not be constrained indefinitely by the balance of forces that prevailed in the transition and immediate posttransition period. Civil-military relations in postauthoritarian Brazil have displayed much greater dynamism than a historical-institutionalist framework can account for. The firm hand the armed forces exercised over the transition and the institutional prerogatives they retained did strengthen their political clout in the immediate aftermath of the transition. The army's interference in civilian decision making was considerable and often met with success in this initial period. But as the authoritarian past receded further into the distance, the advantage that military elites could reap from factors stemming from the transition began to erode. Within roughly three years, elected officials began to take gradual yet significant steps to check the military's political interference. Politicians first confronted the military over issues that directly affected their popularity and electoral standing. Later, their actions included efforts to diminish the rnilitary's institutional basis for political involvement, for example, by forming civilian-led organs to replace the former National Security Council (Conselho de Seguranca Nacional or CSN) and the National Information Service (Servico Nacional de Informacties or SNI). At the same time, while some of the military's institutional prerogatives remained in existence, leading officers appeared increasingly unable to use them to wield actual political influence. How do I explain this unanticipated result? I argue that electoral competition creates incentives for politicians to reduce the interference of a politically powerful and active military, and that electoral victory enhances their capacity to do so. This claim rests on two premises: that politicians are first and foremost interested in their own political survival, and that the broad institutional context in which they operate structures their behavior. These premises suggest that politicians willcontest the military when military actions conflict with politicians' opportunity to gain widespread electoral appeal. Thus, in contrast to the view that political arrangements that are founded or reaffirmed during regime transitions will remain entrenched even as the political landscape around them changes, I contend that broad political and institutional shifts—in this case, the unfolding of the rules and norms of democracy—can disrupt patterns and practices put in place under a different

BRAZZIL - DECEMBER 1998

set of circumstances. Rather than creatin t a static framework, democracy unleashe a competitive dynamic conducive to chane. This analysis is inspired by the literat Ire on rational choice, which focuses on act irs and their intentions and explains politi al action with reference to rational inter st calculation. Strategic interaction among ndividuals maximizing their self-interes: is seen as the foundation of politics. In he. rational choice perspective, institutions esult from this kind of interaction am • g individuals; they are created by actors p rsuing their own preferences in instrume al ways. Once established, institutions set arameters for individual actors and their nterest calculations, but they are always o 'en to further modification. These are the explicit premises of ar ments that authors such as Barry Ames d Barbara Geddes advance to explain polit cs and institutional change in Latin Ameni a. These ideas are also reflected in Doug as Chalmers's concept of the "politicized stat ," which differs fundamentally from Krasni. 's model of"punctuated equilibrium." Wher as Krasner stresses the stickiness of insti utions and confines the possibility of cha ge to rare but major moments of reorientati in, such as regime transitions, Chalmers ": phasizes the ever-present fluidity of L. in American politics, marked by frequent ncremental shifts in the balance of po er among self-interested actors and the insti utional arrangements they establish. Both historical institutionalism and ational choice focus on the relationship •etween actors and institutions but differ in their views concerning the malleability of institutions and the direCtion of the cau.al relationship between actors and institutio s. Historical institutionalism sees institutio al arrangements as resistant to change, exc - pt during rare crises, and focuses on the constraints that institutions impose on acts rs. By contrast, rational choice sees instituti: ns as more mutable and underscores the cap: city of actors to shape institutions and mo • fy them once they are created. Rational cho cc theorists recognize that actors are con • itioned by their institutional setting, wh ch establishes a strategic context for decis on making, but hasten to emphasize that t is framework itself is the product of inter: ction among self-interested individuals. Insofar as my empirical findings sh •w that self-interested actors began rat er quickly to reshape institutional arrangeme ts and to alter the balance of political powe in their favor, my study bears out the guid ng principles of rational choice and diver,:es from those of historical institutionalism. I he rules of democracy in Brazil have foste ed political competition and thus induced enabled politicians to undermine the te of the conservative pact made during he transition from authoritarianism. In parti ular, politicians have begun to remove imp sr-

tant constraints on popular sovereignty by contesting the institutional prerogatives of the military and reducing their political influence. Political Incentives What, more specifically, are the factors that induce and enable civilian politicians to undermine military tutelage over the new democracy? Why do many efforts by politicians to enhance their electoral chances conflict with positions the armed forces hold? And how do politicians gain the force to advance their preferences even against opposition from the armed forces? Democratization gives rise to two types of incentives for electoral politicians: particularistic and programmatic. Particularistic incentives concern the use of resources to build and maintain politicians' personal support networks. Programmatic incentives involve the credit given to politicians for advances in public policy (e.g., health, education, welfare, and economic reform). Both types of incentives are operative in Brazil, as in most democracies. And in different ways both generate strong and specific pressures against the persistence of military involvement in politics. First, democratization in Brazil has reinforced particularistic incentives associated with political clientelism, often at the armed forces' expense. Heightened electoral competition since the early 1980s has motivated politicians to search ever more energetically for economic assets to distribute as political pork barrel, thereby improving their chances of reelection. The dream of clientelist politicians is to build roads, schools, hospitals, sanitation systems, and other public works projects in their electoral districts. These benefits are targeted toward specific, regionally delimited groups of people. The extent to which legislators support local pork barrel projects, and the prevalence of logrolling in congressional voting patterns, strongly suggest that many Brazilians still vote largely with considerations of patronage in mind, or at least that politicians think they do. Beyond seeking to distribute particularistic patronage, politicians also pursue "categorical patronage." Such benefits are targeted to specific industries and/or categories of people. In principle, benefits are defined in general terms, but the beneficiaries unfailingly "happen" to be concentrated regionally. The rather narrow and regionally concentrated nature of the given categories qualifies these benefits as patronage and not as an integral part of programmatic strategies. The purpose of providing categorical patronage is for politicians to win regionally based electoral support, not to advance universalist goals. Examples of categorical patronage include subsidies for Brazil's sugar alcohol program and coffee sector, and social security provisions for specific types of

workers and pensioners, especially those who are concentrated in the country's most developed regions. The rampant pursuit of patronage resources by politicians not only clashes with the long-standing positivist impulse within the military to "rationalize" the public bureaucracy. It also leads them to enter into direct competition with military elites over state resources. Politicians are tempted to shift budget shares away from the military to civilian ministries better suited for pork barrel. Similarly, where military officers hold key posts in large state enterprises— strategic positions from which to build political allies by distributing jobs and other benefits—patronage-seeking politicians will seek to replace them. The competition for patronage resources unleashed by democratic competition thus generates strong pressures against the continued entrenchment of the military in the political and economic fabric of the country. Second, in addition to unleashing particularistic incentives associated with political clientelism, democratization reinforces programmatic incentives that frequently work against the armed forces. In Brazil, winning elections often depends on gaining the votes of the country's impoverished yet increasingly mobilized majority. Besides seeking to rise from their own poverty, some of Brazil's poor have visions, albeit often vaguely defined, of a more egalitarian society. Politicians of diverse ideological leanings suggest increasingly in their conduct that they feel pressured to respond to this pool of voters in a symbolic, if not effective, way. This is especially true of politicians who need to appeal to urban electorates; they would quickly be turned out if they merely defended the interests of the privileged. Politicians tend to portray themselves as sympathetic with the plight of the country's poor, despite the deeply conservative tendencies of Brazilian politics. They do so in rhetorical ways; for example, the successor of the government party during military rule, ARENA (the National Renovating Alliance or Alianca de Renovacao Nacional), renamed itself the DemocraticSocial Party (Partido Democratic° Social or PDS). Similarly, Brazilian politicians frequently make reference to mudanca (change) and to a novo Brasil (new Brazil). They also try to gain standing with the mass citizenry by supporting policies that recognize popular desires for change, at least in some highly visible areas, such as labor legislation. Insofar as many of the policies that (even conservative) politicians are tempted to support in order to appear progressive do not ensure universal social rights or effective interest representation for the disadvantaged, they are more -populist" than "programmatic" in nature. Nevertheless, they often run counter to the military's goal of maintaining social order through restrictions on popular mobi-

lization. The military's ultimate fear is that politicians with populist leanings will encourage Brazil's historically quiescent lower classes to become more assertive, thereby jeopardizing political stability and a model of accumulation propitious for Brazil's rapid economic advancement. In addition to unleashing "populist" tendencies, democracy makes politicians accountable for the success of more strictly programmatic policies. These include social reforms as well as economic measures like privatization, stabilization, and adjustment. Given the importance of performance for public support, politicians seek maximum control over events and processes that occur within their jurisdiction, territorial and functionally Large bureaucratic organizations like the military can compromise this latitude. And unlike alliances with other established groups and institutions, close relations with the armed services rarely enhance a politician's electoral chances. While Brazilian legislators clearly rely less on taking policy stands and more on providing particularistic services, Brazilian presidents depend on enacting public policies that meet the public's approval. They are thus especially concerned with maintaining political autonomy from groups that could interfere with this goal. The constitution bans immediate presidential reelection, but former Brazilian presidents often reenter politics at lower levels. They can also compete for the presidency again after one term has lapsed. These seeds of conflict that democracy plants between civilian and military interests create strong pressures for elected politicians to reduce the military's sphere of influence. This does not mean that ideology is irrelevant or that all politicians will follow this course of action all of the time. But at the very least the framework presented here suggests that conflict will invariably develop between electoral politicians and soldiers, and that the survival interests of politicians are sufficiently compelling to prompt efforts to contract the military's domain over time. Political Capacity If electoral competition unleashes incentives for politicians to diminish military influence, the popular support that electoral victory certifies enhances the capacity of politicians to do so. A military organization would incur great risk and cost in taking forceful measures against a government with solid popular backing. The greater the mandate a given government enjoys, the less likely military elites will be to aggressively counteract civilian attempts to diminish their political role. All things being equal, a politician's capacity to take measures prejudicial to the armed forces is also enhanced to the extent that the armed forces do not form a united front opposing the measures in question.

In Brazil, capturing 53 percent of the valid vote in the 1989 presidential election (the first direct presidential election in twenty-nine years) helped President Fernando Collor face down the armed forces in the initial stages of his government. Concrete policies to narrow the military's sphere of influence, as well as symbolic gestures such as Collor's frequent references to himself as "commander in chief," met with little resistance. A poll conducted in the spring of 1991, which revealed the three military ministers to be among the least known of anyone in the cabinet, attested to Collor's ability to defuse the military. Rarely did Collor appear at public events alongside his military ministers, a sure sign that the armed forces had lost their place in the inner circle of power. By contrast, Collor's predecessor, President Jose Sarney (1985-90), was far more beholden to the armed forces. The military ministers, especially Army Minister Leonidas Pires Goncalves, were featured regularly in the press commenting on wideranging topics and criticizing civilian authorities. Sarney was the rather colorless vice presidential running mate of presidentelect Tancredo Neves, who died in 1985 shortly before assuming office. Neves himself was selected by an electoral college rather than by popular vote. The weakness of Sarney's mandate—beginning with the nonelectoral route by which he came to power—deprived him of the necessary authority to stand strong against the military. Notably, however, even President Sarney made some modest efforts to contain the military in the initial stages of his government. These efforts took place at roughly the same time that Sarney pursued a populist line on economic policy. But after his popularity plunged beginning in December 1986 with the failure of the Cruzado Plan, an economic stabilization plan intended to break inertial inflation, President Sarney became captive to the armed forces. President Itamar Franco suffered from the same basic weakness as President Sarney. Replacing President Collor in the wake of the December 1992 vote of impeachment, former vice president Franco did not come to power with an electoral mandate of his own. Moreover, during his presidency Franco never gained sufficient popularity among the citizenry to defy any established group or organization. President Franco therefore manifested much greater timidity than his predecessor in taking steps to increase civilian dominance. The dynamic described above suggests that civilian politicians will be motivated to oppose a politically active military as a natural outgrowth of democratization. Even in the absence of a deliberate, principledriven strategy to remove the military from political roles, the imperatives of electoral competition, together with the legitimation

BRAZZIL - DECEMBER 1998

that popular elections confer on winning candidates, set the stage for civil-military conflict and the subsequent adoption of measures to reduce the military's sphere of influence. Some politicians who support the reduction of military prerogatives undoubtedly do embrace the ideal of civilian control over the military. Many, however, appear to be motivated less by principles and more by instrumental considerations of electoral advancement. That former members of ARENA, the government party under authoritarian rule, have been among those who have contested the armed forces attests to the strength of pragmatic calculations. President Collor himself, who launched the most direct attack on the armed forces since 1985, was himself a son of the military regime. Presidents versus Legislators: Differences in Incentives and Capacities Both presidents and legislators seek to extend their own power and influence. A military that interferes regularly in politics will invariably constitute an impediment to this goal. The more the armed forces impinge on the electoral interests of executive and legislative politicians, the more they set themselves up to be contested. Beyond the basic interest that presidents and legislators share in their own electoral advancement, a slightly different set of incentives and constraints applies to the two categories of politicians. Presidents seek to remain in good standing with the electorate even though most Latin American countries bar immediate presidential reelection. In many countries, it is not unusual for former presidents to strive for the presidency anew after sitting out one or more terms. In Brazil, they often seek election to lower political offices. To maximize their long-term influence and chances ofreelection, presidents must do three things: govern effectively, build a political organization with strong personal loyalties to them, and survive in power. The presence of a powerful and politically active military can pose a threat to all three of these objectives. A military prone to political meddling is an especially vexing problem for presidents. The future careers of presidents, more than those of legislators, depend on achieving programmatic goals that resonate well with public opinion. If reelection is at all a goal, presidents must gather cross-regional support. The programmatic incentives facing presidents include a host of public-policy initiatives over which military influence could be problematic and electorally costly. The following constitutes an example of military interference limiting a president's latitude to enact reforms that could boost his government's popularity. The hierarchy's relentless pressure on the Franco government to Sward higher salaries to the military (which, if granted, would compel the government to provide salary increases for ci-

BRAZZIL -DECEMBER 1998

vilian public employees as well) threate ed the austerity requirement of the Franco government's economic plan, the Plano Real. President Franco had a vested interest in the plan, an eleventh-hour development that could improve the reputation of his beleaguered government. The success of the p an was also critical to Finance Minister Fernando Henrique Cardoso, who used i to launch his campaign for the presidency. While more attentive than legislator to broader policy concerns, presidents also n ed to build and finance personal support etworks. They rely on the distribution of lar escale patronage to win support for t eir programs in the Congress and bureaucr y, and among governors and mayors. Pr sidents' reliance on patronage is also desig ed to lay the groundwork for future polif cal candidacies to which they aspire. Thus, pr sidents too face pressure to direct public fu ds to where they have the greatest elect ral payoff. Having to spend patronage resb,u es on the armed forces in order to ward off he prospect of a coup interferes with this gal. When threatened with imminent milit intervention, Latin American presidents h ye historically redirected vast amounts of .atronage resources to the armed forces. t ut this leaves them with fewer resource to finance social and economic programs essential for maintaining general popul ity and legislative support. In short, through policies as well as electoral patronage, presidents can enha ce their long-term influence and subseq ent reelection. A politically inclined milita is likely to interfere in the dual processe of policy making and patronage distributio . It thus stands to reason that presidents w uld be motivated to contest the military d push them back from the political sph re. Moreover, by virtue of the impressive administrative powers that Latin Ameni an presidents have at their disposal, their a ility to enact reforms to contract mili ary influence greatly exceeds that of indivi ual legislators. But the aspiration of Latin Amen an presidents to contain military influenc in order to advance their electoral interes is often counterbalanced by the desire to urv ive in office. Antagonizing the military remains a widespread concern among Lkin American presidents. In the event of a military coup, a prospect that occurs to all Latin American chief executives at one time or another, the president is usually the main target of overthrow. In the decades before the installation of the bureaucratic-authoritarian regime of 1964-85, the military sparheaded several -moderating coups," w ose central purpose was to replace one civi ian executive by another. â€˘ Presidents can be counted on to c urt the militaryâ€”even at the cost of poli 'cal autonomyâ€”when deep economic and political crises put in doubt the survival oft eir

governments. Discretionary funding and other concessions to the armed services are key ways by which debilitated presidents try to secure their governments. Obtaining military support has two objectives: the first is to reduce the likelihood that the armed forces will try to overthrow the government; the second is to enhance governability by fortifying the government. For example, a president who enjoys military backing is better positioned than one who does not to intimidate an uncooperative Congress or an unruly labor movement into becoming more supportive (or at least less defiant) of his administration. In short, while the desire to extend their own power and influence constitutes a strong motivation for presidents to contest and contain the military, the instinct to protect themselves from overthrow also exists, constituting a countervailing source of pressure. Given the extensive powers of their office, Latin American presidents can affect decisively the civil-military balance depending on which logic and corresponding course of action they follow. As discussed below, in addition to a president's electoral mandate, broader power alignments and the overall political climate can tip the balance in one direction or the other. Legislators are also constrained by the presence of a powerful and politically active military. In order to improve their chances of reelection, they too want to extend their own control over resources and broaden their latitude over decision making. Compared to executive politicians, however, electoral support for legislators depends less on what programs they support and more on their ability to satisfy constituents through the provision of particularistic services and categorical patronage. As a general rule, the broader policy concerns of legislators will be more important to urban constituencies, who are better informed and more mobilized than their rural counterparts. But even in states with major urban agglomerations, such as Sao Paulo, Rio de Janeiro, and Minas Gerais, the provision of categorical patronage is important to getting elected. As individuals, legislators can only gain by doling out huge amounts of patronage. Presidents, by contrast, bear a disproportionate burden for relying excessively on patronage for electoral ends. For a president, the costs of pursuing such a policy range from antagonizing the military to ruining the economy. Legislators also have a strong interest in not antagonizing the military. But a collective action dilemma, which the organizational weakness and fragmentation of Brazil's political party system exacerbates, often prevents them from supporting budgetary and other policies that reflect this interest. For example, legislators cannot be assured that fellow members would contribute to the collective good of safeguarding democracy by satisfying the military's bud-

getary demands. The moderation of an individual legislator's hunger for patronage resources would barely affect the armed forces' budget share. But by sacrificing patronage, a crucial weapon in electoral competition, the individual politician might risk his or her political future. Thus, the incentive structure militates against an individual legislator's making a contribution to this cause on his or her own. This suggests that the Congress might be the most likely institution to impose political and organizational costs, as well as budgetary restrictions, on the armed forces. The fact that military reprisal is generally directed more clearly at presidents than legislators reinforces this expectation. The Brazilian Congress has indeed taken bold steps to challenge military power. But Congress's ability to enact reforms aimed at subordinating the military to effective civilian control in the long term hinges on acquiring collective support. Gathering support to promote the 7 common goal of establishing civilian supremacy over the mili tary is difficult where legislators direct their time, energy, and political capital to issues that yield more concrete and immediate political benefit. In short, the problem is that, as individuals, presidents havethe greatest capacity to downgrade the military's institutional powers, but they are often inhibited by fear; legislators are less concerned than presidents about antagonizing the military but face greater organizational barriers to bringing about reforms that would advance civilian authority in the long term. Yet despite these constraints, political elites in postauthoritarian Brazil have in fact challenged the military over specific policy decisions as well as certain institutional prerogatives. While democracy provides universal inducements to pushing back military influence, the strength of the incentives and the capacity of politicians to act on them vary across time and across countries. Institutional differences—for example, electoral rules and internal party procedures that shape politicians' strategies for electoral advancement—explain some of the variation among democratic countries. So do broad domestic and international changes that affect the degree to which politicians view military restiveness as a serious threat. As elaborated below, both factors—institutional differences among politics and broader power alignments in society—condition the process by which civilians contest the military. While the weakly institutionalized nature of Brazilian politics heightens the incentives for political elites to contest the armed forces, the lack of domestic and international support for military intervention in the postcold war era removes a previous disincentive. Together, they render politicians more likely to push back military influence. CONDITIONING FACTORS

Institutional Rules Institutional rules condition politicians' strategies for pursuing reelection, which in turn shape their conduct toward the military. The system of government (presidentialism versus parliamentarism), rules governing elections, the party system, and internal party procedures have an important impact on these strategies. Brazil's political system contains numerous features that impel politicians to act in accordance with electoral exigencies. Under the short time horizons that this system encourages, politicians are especially motivated to adopt policies that impose organizational, political, and budgetary costs on the armed forces. Comparatively speaking, Brazilian politics is highly personalistic and weakly institutionalized. The party system is extremely fragmented. Parties themselves lack internal cohesion. The 1989 presidential race provided strong testimony to the weakness of party affiliation and the negligible role that parties play in structuring Brazilian politics. Fernando Collor de Mello created a new party, the PRN (Partido de Reconstrucao Nacional or National Reconstruction Party), for the sole purpose of running for president. The runner up, Luis Inacio (Lula) da Silva, came from the Workers' Party (Partido dos Trabalhadores or PT), whose representatives comprised a mere 3 percent of the Congress. Several institutional provisions elevate the importance of personalistic leadership and populist appeals. Presidential ism, coupled with a fractionalized multiparty system, is a foundation for highly candidate-centered politics. The independent basis of power that presidents enjoy allows them (more than prime ministers) to circumvent parties. And because a multiparty system creates special difficulties for the creation of stable majorities, presidents facing this situation are especially likely to try to govern above parties. The unique combination of proportional representation and open-list candidate selection gives Brazilian parties limited influence over which candidates are elected. Because candidates effectively compete against members of their own party (as well as other parties), open-list proportional representation systems place a high premium on a candidate's personal characteristics (rather than his or her links to a political party) and on a candidate's ability to dole out patronage. Further weakening the strength of Brazilian parties is the absence of an entry barrier to the formation of apolitical party (a certain minimum percentage of the national vote that parties must obtain in order to win representation in the legislature). Brazilian politicians thus form new parties when it is opportune to do so, and because no legisla-

tion prohibits it, they frequently leave their old parties for other already established parties. Between 1987 and 1990, 40 percent of all federal deputies switched parties, mainly during the Constituent Assembly of 198788. Given the electoral importance of patronage, it is not uncommon for legislators to join and abandon given parties based on party connections to clientelist networks, especially those sustained by the government. Many politicians previously of ARENA have switched into centrist or even somewhat progressive parties, mainly to improve their electoral prospects. It should not be surprising that levels of party identification and loyalty among voters are extremely low in such a system. Because most Brazilian parties have no "reservoir of support" among their followers, politicians are beholden to rank and file demands. The conditional nature of the electorate's support and the high electoral volatility present in weak and fragmented party systems make politicians especially sensitive to immediate electoral considerations. The ultimate result of Brazil's weak party system is the personalization of politics. Such a system renders the political landscape ripe for the emergence of populist leaders. Prone to demagoguery, they appeal to voters on the basis of diffuse popular images and political patronage. The fluid nature of Brazilian politics and the nonprogrammatic orientation of political parties not only provide politicians with incentives to behave this way, but also offer them great latitude to endorse political platforms in response to shifting public opinion. The weak institutionalization of Brazilian politics selects for those politicians who shun institutional constraints on their rule, whether these constraints assume the form of a stronger party system or a military that is embedded in the state and armed with a broad array of institutional prerogatives. There is a double edge, however, to the organizational characteristics of the Brazilian political system and their effect on civilmilitary relations. In weakly institutionalized systems, civilians are more likely to support policies that effectively lead them to challenge the military. When electoral opinion and military preferences come into conflict, politicians are likely to side with the former since few politicians enjoy the reservoir of support that would allow them to act otherwise. But at the same time, politicians in such a system are less likely to build collective support for measures aimed at institutionalizing civilian control over the armed forces.

Excerpted from Eroding Military Influence in Brazil—Politicians Against Soldiers by Wendy Hunter, The University of North Carolina Press, 1997, 244 pp.

BRAZZIL - DECEMBER 1998

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