CAETANO VELOSO SINGING BY THE BOOK
MEMORY: DIAS GOMES DIES. SOAP IS ORPHAN
ECONOMY: A DISASTROUS BANK RESCUE
TRAV RIO GRANDE DO NOR. 'LS UNSPOILED A.C.RIES
SHORT STORY: "0 REI DOS SURUBINS" BY HELIO POLVOR
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Vinicius de Moraes, our cover subject, was a journalist, a composer, a diplomat, but the title he enjoyed the most was that of poet. Poetinha (little poet), that's the way he was called affectionately by friends and the public. And poetinha he was. A man, who unabashedly talked in poems about his intimate life and who brought his poems into his own life. A conkssed lothario he married nine times. 'Women loved and still love him, although among his passionate verses he could write typical male-chauvinist-pig verses like, "Ma-
cho, I am strong. Poet, I am superlative?' or "May the ugly ladies forgive me, but beauty is fundamental." Vinicius brought poetry to the common man and his vers9s are recited in schools, bars, and among lovers. He seems to be enjoyed by the older and younger generation alike. His are the lyrics for some of the most memorable Brazilian tunes such as "The Girl from Ipanema". His 1959 alAs you might know, Brazzil is a very small operation: one person and some volunteers who help as and when they can. The magazine is coming out a little mor than a month late and I'm sorry for that. don't see me catching up soon, but res assured that the content is fresh and yo will get all the issues you've paid for Thanks and all the best. R.M.
bum Canctio do Amor Demais, arranged by Tom Jobim and sung by Elizeth Cardoso and Jodo Gilberto, became de starting point for bossa nova. Deprived of his political rights and stripped of his job as a diplomat in 1967, Vinicius then dedicated himself to show biz, surrendering to his bohemian inclination. Irreverent, he had a peculiar way of loving Brazil as when he wrote in "My Country": "I feel like changing the colors—so, so ugly—of my country." R.M.
28 Short Story
Memory Stupid death of playwright Urns Gomes
"0 Rei dos Surubins" by Hello Polvora
33 Rio Grande do Norte so far from civilization
Culture La crime of scenic art
Cover by Salvino Campos
Vinicius de Moraes is all over again
6 Rapidinhas 22 Letters 47 The Cultural Pulse 49 Classifieds 50 That's Brazilian
Economy Central Bank burns a cool billion
25 Past There was never a bandit like Lampiao
36 Impressions Are you ready to take a Flamengo match?
40 Music Caetano Veloso keeps experimenting
52 Special They are Arranco and, boy, they do sing
TIME TO RENEW? Sorry, we don't send Send mail to: P.O. Box 50536 - Los Angeles, CA 90050-0536 reminders. Look at the Ads/Editorial: (323) 255-8062 - Subscrip.:1(323) 255-4953 label to know when your Fax: (323)257-3487- Brazzil on line: http:/frww.brazzil.com subscription ends. E-mail: firstname.lastname@example.org Publisher and Editor: Rodney Mello / Commercial c31 rector: Leda Bittencourt Entertainment Editors: Sam & Harriet Robbins / Book Review: Bond?1Wyszpolski / Music Editor: Bruce Gilman Brazil Bureau Chief: Marta Alvim - E-mail: mItdalvim@yahoo.com - el.: (021) 539-9214 - Fax: (021) 581-0198 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 °liars) in the U.S., $15 in Canada and Mexico, and $18 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. The Library of Congress ISSN: 1524-4997
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BRAZZIL - MAY 1999
000iniNuor NI I, 111.1 unniiir
Sky-High Dream If everything works according to plan, Sao Paulo will symbolically start construction on January 1, 2000, of what might be the tallest building in the world. Everything is in place: the project, the financing, the enthusiasm of the politicians, the media, and the population. Most of the money is coming from the Maharishi Global Development Fund, MGDF, an investment institution controlled by Hindu monk Maharishi Mahesh Yogi, the same person who served as guru for the Beatles. The project was designed by the Minoru Yamasaki company, the firm responsible for the New York World Trade Center. It's expected the tower will be ready by 2006. Behind the Sao Paulo tower project is the Sao Paulo financier Mario Garnero, 61, from the Bras ilinvest group. The new building will cost $1.65 billion and will be 494 meters (1621 feet) high, with 103 stories. There is no building that tall in the world right now, even though a tower being built in Taiwan is designed to be 508 meters (1666 feet) high. The Petronas towers in Kuala Lumpur, Malaysia, at 1483 feet, is the world's tallest edifice today. The Brazilian project will bring 50,000 people to downtown Sao Paulo, an area already plagued with traffic jams, lack of adequate infrastructure, and all kinds of pollution. While some criticize the project, others think it is an important piece in a broader plan to revitalize the town's decaying center. The 1.3 million-squaremeter (14 million sq. ft) structure will not only have thousands of offices and apartments, but also a university, hotels, and shopping center. 6
For Her Eyes Only Brazilian women now have the same old excuse as men who are caught leafing through Playboy: "I bought it for the interview." Intima is the Brazilian response to Playboy, which has published its Brazilian edition for more than two decades. The new magazine, aimed at the female population, is filled with personal articles, interviews, and naturally-----naked men. While the presence of nude male pictorials is not new in Brazilian magazinesâ€” there are around 30 gay publications which explore that theme It/ma wants to be a magazine that can be read by the whole family. Or at least that's what Marcos Salles, the director of Salles Editora, which publishes the magazine, says: "Our nude is sensual and not erotic, without embarrassment for the family." The premiere issue was a success. More than half of the 150,000 copies printed were bought in the.first week of release. The magazine has been reluctant to use frontal nudity although 30% of the readers are asking for it. Salles is afraid that such an approach might provoke a backlash. Editorial meetings have also discussed whether the penis should be shown erect or not. Women have also written about the men they would like to see uncovered. Three TV actors top their wish list: Fabio Assuncao, Luciano Szafir, and Edson Celulari. On the cover of issue number 2 of It/ma, however, is Gaucho (from Rio Grande do Sul) soccer player Renato Galicho. He became famous playing for Gremio from Porto Alegre, but since 1995 has ended and restarted his soccer career several times. The player, who has had a series of mishaps on and off the field, says he only accepted the bare-it-all assignment after being promised there would be no frontal nudity. He also revealed that he needed to drink two Camparis before getting in the mood for the pictures. But he is proud of exposing himself, stating: "This is a high-quality magazine that I can take home without being embarrassed." He wouldn't pose for a gay magazine though, Renato said.
Eight million Brazilian women are presently taking birth control pills. Another one million or so would be using this practical and reliable family-planning method if it weren't for the undesirable side effects of the oral contraceptive. It's for them that controversial Brazilian researcher and gynecologist Elsimar Coutinho has created Lovelle, a unique vaginal birth control medicine, which was developed in Brazil and has just started being marketed there. The new drug is the result of seven years of research, a three-milliondollar investment, and tests with 2,000 patients from Brazil, Mexico, China, and India. Approved by the Brazilian Health Ministry, Lovelle is being distributed by the small Biolab-Sanus laboratory. Often criticized by his peers and the national press as an opportunist and not very serious scientist, Coutinho expects this will change soon when his 1997 book Menstruation, the Useless Bloodshed is published in June in the United States by Oxford University Press. In the book the gynecologist defends the notion that women can live without menstruation their entire lives. He recommends that women take birth control pills to achieve this. The main difference between traditional birth control pills and Lovelle is the way the medicine is administered. Both contain estrogen and progesterone, both have to be taken uninterruptedly for 21 days, and they cost about the same. BRAZZIL - MAY 1999
Sun Filter and Poop Scoop For two weeks at the end ofApril and beginning ofMay, Cariocas (Rio's residents) had to stay off the beach while 997 tons of untreated sewage were discharged into Ipanema, just half a mile from where the Garota de Ipanema, who inspired the celebrated bossa nova tune, used to parade her curves. The pollution release was part of a scheduled repair of an undersea sewage system, but ended up provoking more annoyance and lasting longer than expected. It was also a great opportunity for jokes. Copacabana, which is called princesinha do mar (sea's little princess), became privadinha do mar (sea's little latrine). Marcelo Madureira from the Casseta & Planeta team of TV humorists, contributed this one: "Instead of curfew or state of siege the mayor should decree that people have a constipation." For veteran humorist Max Nunes, the Atlantic Ocean has become Atlanticoc6 (coco means feces in Portuguese). The Casseta & Planeta gang also suggested that Rio's mayor Luis Paulo Conde be called Coconde.qamous Pepe beach has been renamed Pipi beach and Copacabana became Cocopacabana. Meanwhile, residents from the Laranjeiras neighborhood got together to protest against the coed, left by the canine species when being walked by their owners. The event also had touches of humor, with a band, clowns and a children's choir, and marked the debut ofa campaign called X8, Coco (Out, Dung). The idea is to convince dog owners to carry a plastic bag to collect their pets' body waste. One thousand plastic bags are being distributed through newsstands and shops. Pet shops in Rio carry special scoops, but few people look for them and many pet owners do not even know they exist. The city has ordinances against pets dirtying the streets. There is no enforcement though. BRAZZIL - MAY 1999
6120E •. Rebel and His Cause "God is a good plivigwright. He .is able to get his roles under the illusion that they can improve it protective of his work, does not allow improvis a lot, since all His plays have the same ending colleague, but God suffers from a millenary lac From Apenas urn Subversivo by Dias Domes
interpreters fighting desperately for their ith a personal contribution, when He, tion. Only a complaint: He repeats Himself death. I know it is unethical to badmouth a of imagination."
Hundreds of people went to the Sao Joao Batis a cemetery in Rio and thousands more from the sidewalks and from their high-rise building win ows accompanied in silence, on May 19, the passage of the cortege with Dias Gomes's body. So e waved white handkerchiefs, others exhibited makeshift banners, many saying "Bem-amado" ( ell-beloved), the name of one of his best known works. You might think the illustrious deceased as a great sports figure or TV star and not the controversial playwright who became popular and amous by writing TV novelas (soap operas) that changed the language of this genre in Brazil and cr ated a gallery of memorable characters who are still remembered more than two decades after bei g created on the little screen. OBem-Amado-arguably his most popular work—a hilarious soap • om 1973 depicting life, politics, corruption, and hypocrisy in the little fictitious town of Sucu ira, still resonates in the Brazilian collective consciousness. Despite being 77 years old, Dias Gomes was s ill very active and going through a happy phase in his life, according to friends. He died in a car accident, May 18, in the early morning, on avenue 9 de Julho, in the southern region of Sao Paulo, w en the taxi in which he was riding with his wife Maria Bernardeth made a wrong turn and was hit b a bus. The writer, who was not using a seatbelt, was thro out the car. His wife and the driver escaped with minor inj ries. The couple had come from Rio (the distance between io and Sao Paulo is 250 miles) to see a presentation of Gi oma Puccini's opera, Madama Butterfly. After the show hey ate at a traditional pasta house, the Famiglia Mancini staurant, where they shared mineral water, Italian red wi e, fettuccini, and minced filet mignon, spending $40. The stayed less than 50 minutes in the restaurant, leaving a little before 2 AM. Bern deth, 36, with whom Dias Gomes, had two girls—M Ira, 12, and Luana, 8—confirmed earlier reports that she anted to wait for another taxi: "I didn't want to get into that i because the driver had been rude to me and I had the pression that he was a drunkard. The waiter stepped in trying to convince Dias to wait for ad iver known by the restaurant, but he did not want to wait and we ended up taking that taxi." It wasp.St two in the morning. According to the story taxi driver Ozias Patricio da Silva told police, Dias Gomes had chosen his car, instead ofone ofthe fancier taxicabs that stay at the restaurant's door, to help im. "I took you took your car because you work for a fleet and I wanted to give you a hand," the laywright told him. Dias Gomes had been married to another fam us soap opera writer, Janete Clair, until her death in 1983 from intestinal cancer. The couple had ree children: Guilherme, Alfredo, and Denise. Nobody would think they could have such a last ng union. They were the opposite of each other. While he was cynical, irreligious, communist and socially conscious, Janet was a romantic Catholic girl who did not care for politics. They first met hile working at Radio Difusora in Sao Paulo in 1945 and were married in 1950, but started livi and writing together before that. Ea y Start Alfredo de Freitas Dias Games was born in 19P 2 in Salvador, the capital ofthe northeastern state of Bahia. He moved in 1935 with his family to 'o. The author was 15 years old when he wrote A Comedia dos Moralistas (The Moralists' Comedy) ,his first play. The text was the winner ofthe 1939 National Service of Theater's Competition for amateurs. Three years later Gomes debuted on professional theater with Pe-de-Cabra (Crowbar) a play that went on tour throughout Brazil starring legendary actor Proc6pio Ferreira. Dias Gomes ould become internationally known in 1962 when his play 0 Pagador de Promessas (The Payer of Vows), turned into a movie by director Anselmo Duarte, won the Golden Palm at the Cannes F. m Festival. As a play, the work had a long and successful career at the TBC (Teatro Brasileiro e Comedia--Brazilian Theater of Comedy) with actor Anselmo Duarte starring in it. In 1944 the writer moved to Sao Paulo where he worked at Radio Pan Americana writing scripts and adapting stories. In 1945 he wrote the novel Duas Sombras Apenas (Only Two Shadows), the first of a series of books written in the ensuing ree years that included Urn Amor e Sete Pecados (A Love and Seven Sins), A Dama da Noite (T e Lady of the Night) e Quando E Amanhti (When It's Tomorrow). In July 1991, Dias Gomes be ame one of the 40 members of ABL (Academia Brasileira de Letras—Brazilian Academy of Le ers). He was buried at the Academy's mausoleum.
Firebrand A militant communist, he was seen as a threat to national security for most of his life. After a trip he made to the then Soviet 0 EST 00 DES. PAULO Union in 1953, he was fired from Rio's Radio Clube where he Vereadores worked writing radio scripts. He then started writing under choram, Maluf e Mtn brigam several different names. During the military dictatorship, which lasted from 1964 to 1985, Dias Gomes was constantly singled out by the censors. He was one of the first victims of the military. In 4: 1964, the same year his 0 Pagador de Promessas play premiered in Washington, D.C., he was fired from Rio's Radio Nacional because of the Institutional Act No. 1, issued by the new regime. The Act started the so-called Cleaning Operation, which put thousands in prison, took the political rights of 141 opponents of si the regime and placed leaders aligned with the military in command in universities and labor unions. One of Gomes' most famous soap operas was written in 1975, but was vetoed by the military and shown on TV only ten years later. It was Roque Santeiro (Roque the Saint-Maker), a caustic satire of corrupted politicians, which when aired reached up to 90% of the Brazilian TV audience tuned in. Besides Roque Santeiro, he had other texts censored, including 0 Berge) dos Herois (The Heroes' Cradle), A Revolucd'o dos Beatos (The Revolution of the Blessed Ones), Vamos Soltar os Demonios, HIS WORK (Let's Free the Demons), and A Invas do (The Invasion). President Fernando Henrique Cardoso, himself a victim of Plays military arbitrariness, said in a statement, "As a citizen, Dias A Comedia dos Mo listas Gomes was a democrat. As a dramatist and novelist, he always (1937) showed the best ofthe Brazilian people. We will miss his talent." Pe de Cabra (1942) "He was courageous in his positions, mostly when defending Joao Cambao (1942) the citizenry," said writer Carlos Nejar, adding: "The most 0 Homem que NAo Ea Seu interesting thing about Dias Gomes was that he linked with much (1942) wisdom the popular and the erudite. He created characters with Amanha Sera Outrê Dia the face and the soul of Brazil. He also helped to bring together (1943) the population and the Brazilian culture through television." Zeca Diabo (1943) Eu Acuso o Ceti (1943) Among the unforgettable characters created by him were the Beco Sem Saida (1944) corrupt mayor Odorico Paraguacu, the goody-goody Cajazeira 0 Existencialista (1944) sisters, Dona Redonda, the widow Porcina, and Roque the Saint A Danca das Horas (1949) Maker. In 1976 he introduced the fantastic realism on TV soap o Pagador de Promessas operas with Saramandaia, in which a woman would set on fire (1959) everything around her when sexually aroused, a man had wings A Invasao (1960) and another one had ants coming out of his nose. He protected as A Revolugao dos Beatos a jealous mother his texts and did not like to see them changed (T61) ; even when adapted to cinema. "Of all my works adapted to 0 Bem-Amado—Odorica, a movies I only like 0 Pagador de Promessas," he said once. "In Bem-Amado, e os Misterios de Amor e da Morte (1962) the others I don't even recognize my text." To actors who o Berco do Herai (1963) improvised over his text he used to send this message: "I can do 0 Santo Inquerito (1964) without contributions." 0 Time (1968) Dias Gomes was not writing novelas anymore, but kept Vargas—Dr. Getalio, Sua working on smaller projects. One, which he finished, was Vargas, Vida e Sua Gloria (1968) a mini-series based on the life of President Getalio Dornelles Amor em Campo Minado Vargas (1883-1954). He was also working on another mini(1969) series he called Ninguem E de Ninguem (Nobody Belongs to o Rei de Ramos (1968) Nobody). Campedes do Mundo (1979) In an interview with weekly magazine Epoca, he said, "ToNovelas (Soap Operas) day I avoid novela. There is not enough time to polish the text. For me, to write a novela is a solitary work. It's only you and God. A Pante dos Suspiros (1969) It's almost like a marathon, the shortest way to a heart attack. Verao Vermelho (1970) Today the novela has become a group work. They have found an Assim na Terra como no Ceu industrial solution for the novela, but with this it lost its author(1970) ship. 5,flandeira Dois (1971) In Apenas um Subversivo (Just a Subversive), a memoir -0 Bern-Amado (1973) released in May 1998 by Editora Bertrand, the author wrote: "I .,fo Espigan (1974) am able to pilot my boat through the winds, but I know there is Ssiamandaia (1977) Sinai de Alerta (1978) plenty of sea ahead. Maybe I will never reach port. I hope I never Roque Santeiro (1985) do because the best part of the trip is to be in it." That release was Mandala (1987) also the beginning ofthe publication ofthe seven-book complete Araponga (1990) works by Dias Gomes, whose last volume, a book with, stinfu rt Irmaos Coragem (1995 stories, is scheduled to appear in early 2000. 11.
Fim do Mundo (1996) Miniseries 0 Pagador de Promessas (1988) As Noivas de Copacabana (1992) Decadencia (1995) Dona Flor e Seus Dois Maridos (adapted from Jorge Amado's novel) (1998) TV Specials Um Grito no Escuro (1971) 0 Santo Inquerito (1979) 0 Boi Santo (1988) Urn Grito no Escuro (1971) Cinema 0 Pagador de Promessas, directed by Anselmo Duarte (1962), Golden Palm in Cannes 0 Marginal, directed by Carlos Manga (1974) 0 Rei do Rio, directed by Bruno Barreto (1985) Amor em Campo Minado, directed by Pastor Vera, Cuba (1998) TV Series 0 Bern-Amado (1980, 1984) In the Bookstores: Amor em Campo Mind Apenas urn Subversivo 0 Bern Amado 0 Berco do Heroi Os Caminhos da Revolucao Decadencia Derrocada Os Espetaculos Musicais Os Falsos Mitos A Invasao Meu Reino Por Urn Cavalo Odorico na Cabeca 0 Pagador de Promessas Peps da Juventude As Primicias Rei de Ramos 0 Santo Inquerito 0 Santo Inquerito Sucupira Ame-a ou Deixe-a
BRAZZIL - MAY 1999
MI= On stage, on screen In a daring and treacherous cultural endeavor, Brazilian weekly newsmagazine /sto has decided to choose the century's top Brazilians in the scenic arts. The ambitious proposition includes creative minds working in movies, legitimate theatre, TV drama, and dance. The initial list containing 33 names was prepared by a panel of experts including moviemakers, playwrights, dancers, writers, and media critics. The final choice will be made by the magazine's readers. /sto E has been promoting other categories of high achievers including musicians and sports figures. In the latter category, while soccer Pete was unanimously chosen as the century's top athlete by the experts, he lost to Formula One race driver, Ayrton Senna, in the popular vote. At least 246 names were listed by the panel of experts, giving an idea ofthe Brazilian culture's wealth in the scenic arts field i Even though there was no unanimity this time, writer, journalist, playwright Nelson Rodrigues (1912-1980) came in first on the experts' choice. Rodrigues, who used to call himself pornographic angel, would probably approve of this choice. In one of his most cited sayings he wrote: "All unanimity is stupid." Despite the abundance of names cited, some important figures didn't make the preliminary list. And they include peopIle of weight like respected moviemaker Joaquim Pedro de Andrade; stage, motion-picture and TV actor Lima Duarte; and theater diva Tonia Carrero. Late Janete Clair, the nother of all soap opera scribes, has also been snubbed. Some of the chosen are not Brazilian. For some people it might come as a surprise that comedian Oscarito, for example, was born in Malaga, Spain or that theater innovator Gianfrancesco Guarnieri cthrie from Milan, Italy. The A List Nelson Rodrigues, 24 votes, 1912-1980 The playwright from Pernambuce was a right-wing reactionary immoral moralist. Bonitinha, mas Ordinaria (Quite Pretty, but a Harlot), Beijo no Asfalto (Asphalt Kiss) and Vestido de Noiva (Wedding Gown) were some of his masterpieces. His tragedies are populated by crooks, prostitutes and adulterous men and women. Fernanda Montenegro, 23 votes, born 1930 This Carioca (from Rio) virtuoso actress has been in the world's spotlight since starring on Central do Brasil (Central Station),a film that gave Montenegro a nomination for the Oscar this year. She is considered Brazil's greatest living actress. Other movies she acted in: Arnaldo Jabor's Tudo Bern (Everything's Fine) from 1978 and Leon Hirszman's Eles Nao Usam Black-tie (They Don't Wear Black-Tie). Nobody would know her by her real name: Arlete Pinheiro Esteves da Silva. Jose Celso Martinez Correa, 22 votes, 1937 From Araraquara, in the interior of Sao Paulo. He revolutionized the razilian stage starting in 1961 when he founded Grupo Oficina in Sao Paulo. CorrĂŞaklirected memorable plays like Chico Buarque de Holanda's Roda Viva and Oswald de Andrade's Rei da Vela. Cacilda Becker, 21 votes, 1921-1969 Legendary stage actress whose life parallels the story of the theater in Brazil. Died on May 6, 1969 while performing on stage in Samuel Becket's Waiting for Godot. Jose Alves Antunes Filho, 20 vOtes, born 1929 Stage director from Sao Paulo, he has been a drive and inspiration to actors and directors all across the country. He i the founder of Centro de Pesquisa Teatral where hundreds of actors have learned about work on stage. Antunes has traveled the world with his experimental Macunaima group. Glauber Rocha, 19 votes, 1939-1981 Internationally acclaimed filmMaker, he was considered a genius by colleaIjes and critics alike. Among his best movies, which where shown all over the wor a, are Terra em Transe and Deus e o Diabo na Terra do Sol. Considered a cultural gitator he was the main force behind Cinema Novo in the 1960's and proposed "hunger aesthetic" to fight the commercial cinema. Grande Otelo, 17 votes, 1915-1993 From Uberlandia, state of Minas Gerais, diminutive Sebastiao Bernardes de Souza Prata formed with 9;carito in the '50s Brazil's most genuine comedian duo. Worked on stage, movies arid TV. Zibignew Ziembinski, 17 votes This Russian stage director introduced in Brazil the Russian KonstaUtin Stanislavsky method of interpretation. He was ,r also an innovator in staging and lighting. Nelson Pereira dos Santos, 16 votes, born 1928 This Paulistano (from Sao Paulo city) working in Rio started the Cinema Novo movement of ftilmmaking at the end of the '50s with Rio, 40 Graus (Rio, 104 Degrees Fahrenheit). His 1964 Vidas Secas (Barren Lives) has become an international movie landmark. Paulo Autran, 16 votes, born 1922 This Carioca is considered by many the best Brazilian actor ever. Graduated from law school he never worked as an
BRAZZIL - MAY 1999
attorney. She is renowned as an author of children's plays, but she also Oduvaldo Vianna Filho, 14 votes is an actress and director. Machado created in 1952, in Rio, the Playwright tuned with the times he portrayed with details the Tablado, a theater group that has formed many generations of harsh era of the country under the military dictatorship starting in actors. early 1964 and throughout the '70s. Sergio Cardoso, 8 votes, 1925-1972 Humberto Duarte Mauro, 13 votes, 1897-1983 Virtuoso actor, Cardoso debuted in 1948 interpreting HamFrom Volta Grande, state of Minas Gerais. Started the solet. Among his biggest hits:A Raposa e as Uvas (The Fox and the called Cataguases cycle in the pioneer years of the Brazilian Grapes) by Guilhenne Figueiredo and Arlequim, Servidor de movie industry starting at the end of the 1920s. He made more Dois Senhores (Harlequin, Servant of Two Masters). than 300 movies. Among the better known are Brasa Dormida Leon Hirszmain, 8 votes, 1937-1987 (1928), Ganga Bruta (1932), and Voz do Carnaval (1933) Director ofSdo Bernardo (1972) and in which Carmen Miranda made her movie debut. Eles Ndo Usam Black-tie (1981), which Oscarito, 13 votes, 1906-1970 won the Grand Prix at the Venice Film The most popular comedian in Brazil in the '40s. Festival. He founded in Rio the Museu Oscar Lourenco Jacinto da Imaculada Conceicao Tereza de Arte Cinematografica. Dias was one of the original creators of the chanchada, a Bibi Ferreira, 8 votes , burlesque theater transposed to the screen. Actress Abigail Isquierdo Ferreira is Marilia Pera, 12 votes the daughter of renowned Procopio Stage, movie and TV actress from Rio. InternationFerreira. Having started in 1941 on stage ally known for her role as a prostitute in Hector B'abenco's she reached the top of her career in the Pixote, a Lei do Mais Fraco (1980). '70s with Chico Buarque de Holanda's Plinio Marcos, 11 votes, play Gota d'agua (The Last Straw). Enfant terrible of Brazilian drama his favorite characFlivio Imperio, 7 votes ters are from an underworld populated by prostitutes, An innovator in scene painting, outlaws, and jailbirds. Infamous for a text laced with fourImperio in the '50s and '60s worked with letter words, his most important plays are from the '60s, Oficina and Arena, two avant-garde theamong them Navalha na Came (Razor in the Flesh) and Dois atrical groups. Perdidos numa Noite Suja (Two Lost Souls in a Dirty Night). Decio de Almei4a Prado, 7 votes Augusto Boal, 11 votes, 67 years old Theater critic aril playwright, he authored several books From Rio, Boal is a playwright and theoretician. According including Teatro emiProgresso (Theater in Progress). to his theory of Theater of the Oppressed, everyone is an actor. Luis Carkis Bati•eto, 7 votes Ariano Suassuna, 10 votes, 71 years old Legendary movie producer of such hit movies as Dona Flor From Paraiba in the Northeast he has fused Greek and classic e Seus Dois Maridos (Dona Flor and Her Two Husbands) and 0 literature with the Northeast folklore producing such masterQuatrilho. pieces as Auto da Compadecida (The Compassionate Lady's Paschoal Carlosi'Magno, 7 votes Play) and 0 Santo e a Porca (The Saint and the She-pig). Creator A diplomat, theater critic and playwright, he invested in the of the Armorial movement stage and discovered'and developed theatrical talent starting in Proc6pio Ferreira, 10 votes, 1898-1979 • the 1930s. In 60 years on the stage this Carioca played more than 500 Franco Zampart 7 votes characters all across the country. During the '30s, he performed An Italian busineisman involved with the arts, who founded 3,621 times his role in his biggest hit: Joracy Camargo's Deus lhe the Teatro Brasileiro de Comedia, in Sao Paulo in the '40s. Pague (May God Pay You). Paulo Jose, 7 votis Mario Breves Peixoto, 10 votes, born 1910 Working in movies for close to 40 years. He had his debut in Brazilian Orson Welles, he directed in 1931 at age 20 the , the big screen with Joaquim Pedro's 0 Padre e a Moca (The masterpiece movie Limite (Limit). He never made another movie, Priest and the Young Woman) from 1965. He has also been very however. active on stage and TV. Gianfrancesco Guarnieri, 10 votes, born in 1934 Born in Italy he moved to Brazil with his parents In charge of these nominations were when he was two. Guamieri wrote some of the best filmmakers Tizuka Yamasaki, Carla Brazilian plays including Eles N'do Usam Black-tie Camurati, Carlos Reichenbach, Sylvio hey Don't Wear Black-tie) and Arena Canta Back, Ugo Giorgetti, Marcos Fayad, PX i (Arena Sings Zumbi). Silveira, and Aurelio Michiles; first balleA I redo de Freitas Dias Gomes, 9 votes, born rina Ana Botafogo; actors Fernando in 192 died in May 1999 Bicudo, Renato Borghi, Fernanda Torres, Hay* started as a playwright, Dias Gomes Jose Wilker, Sergio Mamberti; critics Jeanbecame fkrnous and popular by creating a new Claude Bernardet, Astrid Fontenelle, language fO`Iihle Brazilian novelas (soap operas) in Rodrigo Carrero, Gabriel Priolli, Luiz the '70s. Se o of the best-known feuilletons he Carlos Maciel, Marcelo Tas, and Barbara penned were OkBem-Amado (The Beloved One) and Heliodora; theater directors Gerald ThoRoque SanteiroVoque, the Saint Maker). Inas, Marcelo Marchioro, and Caca Rosset; Dercy Goncarl,ves, 9 votes, 91 years old viriters Nelson Nadotti, Maria Tereza Jose Cols° Almost a centepary and still very active Dercy Vargas and Marcelo Rubens Paiva; chorehas made a career playing rude and obscene characographer Rodrigo Pederneiras; playwright ters on stage, screen and TV. This Carioca particiRenata Pallottini; and film professor Giba pated in 52 films. Assis Brasil. Dulcina de Moraes, 9 votes, 1908-1996 They were people from all over the country — not only from Legendary stage actress from Rio de Janeiro became famous Rio and Sao Paulo. Michiles is from Amazonas, Carrero from interpreting classic plays like Cleopatra and Caesar. Pernambuco, Marchioro from Parana, and Brasil from Rio Grande Maria Clara Machado, 8 votes do Sul. 10
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In the middle of the 60's, when all my girl friends had Paul McCartney, John Lennon, and Mick Jagger as pin-ups, I already had Vinicius on my side table. I was "introduced" to his lyrics and poetry by my motherâ€”a poet herselfâ€”and I was devastated by his poems. Vinicius created a revolution in the way lyrics and poetry were written in Brazil and had a tremendous influence on the generation that followed and adored him (Chico, Caetano, and Gil to mention the three greatest). He created a revolution in my life, in my way of seeing the world and in my demeanor. He led his life following his poems, and he lived a true poet's life. Nothing was fake about him. In the middle of the 70's, I had the chance to meet him in London, and the man was even greater than the poet. A wonderful friendship began, and in 1978 we married. He taught me nearly all I know about life. He gave me confidence, happiness, knowledge, and love, love, love. In spite of the difference in age (he was 38 years older than I), he was my "sort" because he wasn't afraid of life, and I took care of him. His life was pure love that he spread among family, thousands offriends and women in general and especially to the nine elected to be by his side. I thank God that Vinicius saved some love to give me at the very end of his life. Sarava, Vinicius! Gilda Mattoso, widow of Vinicius (who graciously agreed to write her tribute especially for this article. At the same time, she clarified the question of accent in Vinicius' name. There is none.)
Renaissance Man The name of the late poet Vinicius de Moraes has been very much in the news in the past year or two. Not only did Brazilian film director, Caca Diegues, decide to shoot a remake of Vinicius de Moraes' Orfeu, prompting many articles discussing the play, the first film, as well as the remake, updated and made more to look like the play written in Paris in 1953; a publishing house also launched a giant work of "all" of Vinicius' writingsHn the latter part of last year. KIRSTEN WEINOLDT
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Marcus Vinicius da Cruz de Mello Moraes was born on October 19, 1913 in Rio de Janeiro. The name was inspired by the protagonist of the novel Quo Vadis, and it was the way in which his father, Clodoaldo Pereira da Silva Moraes, paid homage to this character. As it turned out, the life ofthe poet was in many ways a restless and turbulent one, like that of the character of the most famous version of the movie—the 1951 release in which the role was portrayed by Robert Taylor. Vinicius' father used to recite poetry in the home, and his mother, Dona Lydia, played guitar during family reunions. The son followed both vocations of poet and musician, composing his first songs while still at the Santo Ignacio School with the Tapaj 6 Brothers. And young Vinicius wrote his first poem at the age of 7. Since childhood, he was a fanatic about the magic of moving images: One of his favorite diversions was to project images onto a sheet hung on a wall in his parents' house. This interest of his would later turn into one of his many careers. In the early thirties he earned a bachelor's degree in language and literature. He attended law school, and it was during this time that he published his first book, 0 Caminho para a Distancia (The Road to the Distance). In 1935, he published another work, Forma e Exegese (Form and Literary Interpretation). It was followed in 1936 with Ariana—the Woman, which is the height of his first phase filled with mystical sensation. Then he began using a more popular syntax, and his poetry was charged with sensuality in Cinco Elegias (Five Elegies). It was also around this time that he worked as a film censor. In 1938, he departed for Oxford University on a scholarship to study English literature. His studies there, however, were interrupted by the onset of World War II, and he was forced to return to Brazil. While in Oxford, he was influenced by poets such as Rimbaud, Verlaine, Leopardi and even Shakespeare— probably the principal source of stimulus for his sonnets. He also admired the work of Spaniard Federico Garcia Lorca and Brazilian writers such as Octavio de Faria and LUcio Cardoso. His Catholic upbringing was responsible for the eternal conflict between the flesh and the spirit present in his poetry. During the Second World War, he cultivated sympathies for Nazism until he met Luiz Carlos Prestes who contributed to his transformation into a man of the left. In 1941, he embarked on a career as a journalist. His first assignment was with the newspaper A Manha"(The Morning) as a film critic. Although he defined himself as simply a "fan ofthe seventh art," he possessed, already then, a more refined vision of cinema, a consequence of his close friendship with writer Otavio de Faria, erudite expert on the subject and one of the founders of Chaplin Club, in whose sessions Vinicius learned to adore "Carlitos" (Charles Chaplin) above all else and to consider talkies heresy. In his first column, he published a mimicry of a prayer—his cinematographic credo, which began as follows: "I believe in Cinema, silent art, daughter of image, original element ofpoetry and infinite visual arts, simple cell of ephemeral duration and freely multiplicative." He was a great admirer of the classic silent-film makers, Eisenstein, Dreyer, and Murnau and fought a holy war against. the talkies, which he considered a "diversion for the ignorant masses." In fact, Vinicius was not crazy about silent films with subtitles of any kind, nor even music—even the kind that occurred when a lone pianist accompanied the showing of the film. An important ingredient of being a renaissance man is, of course, to constantly learn and grow—and Vinicius was nothing if not that. Thus, from being adamantly opposed to talkies, a controversy Orson Welles found very entertaining, he did a 12
180. During his diplomatic assignment in Los Angeles (the alternative was Moscow, which Vinicius turned down), he quickly became a citizen of Hollywood. All his purism vanished. Soon, he was on a first name basis with Donald Duck! This assignment in Los Angeles as vice consul started in 1946, and the "party" lasted for almost five years. From the . diplomatic mansion on Redondo Boulevard, as often as he could, he would get away to go 'to the movies. He also went to the private 'showings of Alex and Elza Viany on Highland Avenue. Viany was the president of the foreign Correspondents' Association in Hollywood, had access to collections offilms, and Vinicius had the chance to watch, again and again, his favorite movies by D.W.Griffith and Buster Keaton. Vinicius also edited the only two issues of the magazine Filme. One of his great passions, Charles Chaplin, was on the cover of the first issue. He also got to attend the shooting of Orson Welles' The Lady From Shanghai with Rita Hayworth. Vinicius, who loved women, was only too happy to keep company with such goddesses as Marlene Dietriech, Greta Garbo, Ingrid Bergman Paulette Goddard, Ava Gardner "the antithesis of the Ten Commandments", and Lana Turner, "for whom nature rounded all the edges." ' At some time during his stay in Los Angeles, he had time to write and publish Poemas, Sonetos e Baladas (Poems, Sonnets, and Ballads). His style of poetry had by now become enriched with a sense of social consciousness. He also wrote some of his most famous works Livro do Sonetos (Book of Sonnets), Procura-se urn Amigo (Looking for a Friend), and Para Viver um Grande Amor (To Live a Great Love). His lyricism was written in the sensual style which had become his trade mark. Vinicius spent the next couple of years in Brazil. He liked having a good time and spent much of his time "hanging out" with friends at a popular Rio bar, Casa Villarino. Nobody would ever go as far as saying that so many thoughts and ideas would not have seen the light of day but for the existence of Casa Villarino, but it became almost a sacred place the way Mecca is to those of the Islamic faith. Ruy Castro in his book about bossa nova, Chega de Saudade (No More Blues) has the following to say about it: "If all the great ideas that you find around a bottle of whiskey came to life at the last drop, Casa Villarino on the corner of Avenida das Calogeras and Presidente Wilson, then in safe, potable, and civilized Rio, should be on the list of national monuments. In and around the fifties, a valiant pack of Bohemians planned the best radio programs, the definitive poems, the plays which would make posterity drool, the most devastating sambas-cancao, the overthrow of some presidents and, with or without just motive, the destruction of the purest reputations. It is true that almost all of this happened only in the imagination of those frequenting the place—not that they didn't have the talent, but because they were more interested in going on drinking to, in reality ,put their plans into practice. It is almost unbelievable that the artnership between Vinicius and Tom Jobim could have beefl born in Casa Villarino." Ronaldo Boscoli, bne of the central players of bossa nova, was not happy when he became aware that Vinicius, then 38, was hanging around his sister, Lila, 19. He was still ofthe school of thought that a sister needed brotherly protection. For the passionate Vinicius, such amorous incidences were commonplace. In this case, however, he was still with his first wife, Tati. yinicius and Tati, together 13 years, appeared to be inseparable. She exercised great influence over Vinicius. It was she, along with American socialist Waldo Frank, who was responsible for BRAZZIL - MAY 1999
the orchestra, but his fear won out, and Leo Peracchi picked up the baton. Orfeit played for full houses, but only for a week. Vinicius must have been unsure of the potential of his play and had reserved the theater for merely a week. The black dast, consisting of Haroldo Costa, who played Orfeu, Lea Garcia, Mira, and Dirce Paiva, Euridice, was beautiful. It was said at the time that it was the first time an all black cast had perforrifed at the Teatro Municipal. That was not quite true, however, as a production of O'Neill's Emperor Jones had been produced there before. Dear Helenice Teatro Repiiblica had no prior engagement, and the play moved. A couple of days into the performance, Abdias do Having convinced Boscoli that his intentions were honorNascimento, who played Aristeu, accused Vinicius of taking able where it came to Lila, he separated from Tati and started advantage of the black actors. Vinicius, who just a few years living with Lila. The salary of diplomats stationed in Brazil was later would be known as "the blackest white man in Brazil," was meager, and they lived in an apartment without light or refrigoffended and fired him. Instead, he hired Chico Feitosa, whose erator on Rua Francisco ptaviano. Boscoli was at that time a handicap for playing the role was that he was white. No reporter for the paper Ultima flora. The publisher, Samuel problem. He appeared in blackface—and the crowds did not Wainer, offered Vinicius some added income for being a film seem to mind. Out of the stage lights Chico was courting critic and gave him a daily chronicle. He was also put in charge Euridice (Paiva). Having been a great success in Rio, the play of a "Dear Abbey" column, responding to the lovelorn, female was to move to Teatro Municipal in Sao Paulo. The set was readers under the pseudonym Helenice, something that amused dismantled and shipped—and was never seen again. him a great deal. The Orfeu score, which consisted of a number of beautiful His "suffering" at Ultima Hora lasted two years. In 1953, he songs, was somewhat overshadowed by Se Todos Fossem left behind his life as a film critic, columnist, and lonely hearts Iguais 'a Voce (If everyone were like you). advisor, took Lila, and went to his new diplomatic assignment At Casa Villarino, Tom Jobim had asked if there would be 1, in Paris, where Orfeu da Conceiciio (Orpheus of the Concep"a little mone " in the project. As it turned out, that became a tion)—the Cariocafavela version of the Greek myth ofOrpheus ey went on to be very successful, and bossa nova prophecy, as they and Eurydice, first saw the light of day. became the craze. Upon his return from Paris in 1956, Vinicius was ready to Without a doubt, the start of bossa nova and one of the most put music to Orfeu. It was a natural thing for him to turn to his played songs of that era and the next was Chega de Saudade brother-in-law, Ronaldo BOscoli for advice on a composer. with music by Tom Jobim. Vinicius and Tom had created it and Boscoli had his finger on the pulse of the Carioca music scene then put it in a pile of songs, where it remained for more than a and hung out at the right places. Vinicius let it be known that he I year. was looking for someone "modern" to score Tom had composed the song while visiting the play. Vinicius also relied on Boscoli for his family in Petropolis. He arrived at the house proper slang expressions for his play. of Vinicius, who was on his way out the door, He did not consider himselfvery "up" on leaving for Paris. He took a look at the song— current street language. For one thing, at this and stayed a few more days to write the lyrics. time, Vinicius was still somewhat conservaNobody could have known that ground had tive, but he had also lived outside Brazil for been broken for a revolution. In fact, the reacsome time. When BOscoli suggested Tom tion of the people who heard it ranged from Jobim as the composer for Orfeu, Vinicius Aloysito, Lyra, Lara, and Vinicius disdain to indifference. Lila had a comment, tended to accept his judgment. Boscoli and "How silly, trying to rhyme peixinhos with his friend, Chico Feitosa, who became 1 beijinhos (pois ha menos peixinhos a nadar no Vinicius' secretary, showed up to help with mar, do que os beijinhos que eu darei na sua boca—for there the preparations, and Lila made figurines of the characters. are less little fishes swimming in the sea, than the little kisses I Tom Jobim was finishing up an engagement at the Odeon on will give in your mouth). Vinicius' response was, "Oh stop Avenida Rio Branco and could not join BOscoli and Feitosa at being sophisticated." Vinicius' house. Journalist Liicio Rangel set up the meeting at Years later, Vinicius acknowledged that one of the greatest Casa Villarino, and after Tom Jobim had inquired ifthere would thrashings his work had received, had been bestowed on this be any money, (dinheirinho, a little money) in the project, the song. Fortunately, it was dug out of potential oblivion and rest became history. recorded, first by Elizete Cardoso and then, with thundering Most of the work with Orfeu took place at the house on Rua success, by Joao Gilberto. Nascimento Silva 107, Tom Jobim's house. Vinicius' own In 1959 French film maker Marcel Camus in a Frenchhouse was impractical for work, as it soon became an "open Brazilian production, put Orfeu on celluloid in the now classic house" for all the friends of Vinicius and Lila who wandered in Orfeu Negro (Black Orpheus)—later to become the first—and and out at will. lasting—impression of Brazil for many foreigners all over the Vinicius and Tom worked—and drank. Vinicius liked his world, incltiding this author. It went on to win several awards, whiskey, though he did not drink while writing poetry. Orfeu, among them the Golden Palm in Cannes and the Academy however, was popular music, which changed things. Tom was Award for best foreign film. It starred Breno Mello as Orfeu and a beer drinker, but at the advice of Vinicius, he exchanged the Marpessa Dawn as Euridice. It also put bossa nova on the world barley for malt. As Vinicius said, "Beer is a waste of time." map. Orfeu da Conceicao debuted at the Teatro Municipal on In 1962 Vinicius was in his first big show with Tom Jobim September 25, 1956 with set designs by architect Oscar and Joao Oilberto at the Bon Gourmet nightclub. During this Niemeyer—the genius of Brasilia—which caused a great stir. period, he I participated in film festivals in Cannes, Berlin, There was a ramp leading to a platform—Niemeyer' s image of Locamo, and in Venice, and in 1966 he was on the international manyfavelas (hill, like the ones found in Rio), home of morro a film jury at the Cannes Film Festival. In the 70's, he embarked (shantytowns). on an extensive partnership with Toquinho that took him on Candinho was supposed to play the guitar, but he couldn't many travels and university tours. In particular, Italian and read music. Tom had suggested Luiz Bonfa, and so it was. Tom Argentine audiences adored him. Jobim, who suffered from stage fright, should have conducted
swaying Vinicius from his decidedly pro-Hitler and Mussolini sympathies. Up until that time he had rooted for that alliance in the war in the same way he rooted for Botafogo in soccer. His wife's influence, however, caused such a radical turnabout that in 1946, he was enamored of the idea ofjoining the Communist Party. He was dissuaded from doing so. It was probably just as well. Vinicius had a horror of bureaucrats and likely would not have stood for the discipline of the party.
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Partners After leaving the diplomatic service, Vinicius threw himself into music and soon became the "guru of bossa nova." He collaborated with a number of luminaries of Brazilian music and went on to author, compose and write lyrics of some of the bestloved Brazilian songs to date. The following lists a few of those songs. As Lyricist: with Baden Powell: Berimbau Cancao do Amor Ausente Canto de Ossanha with Carlos Lyra: Pode Ir Coisa Mais Linda Voce e Eu Sabe Voce Minha Namorada with Tom Jobim: Chega de Saudade 0 Amor em Paz Brigas, nunca mais Insensatez 0 Nosso Amor A Felicidade Eu Sei que you Te Amar Canta Mais Chora Coracao Derradeira Primavera Modinha Por Toda a Minha Vida 0 que Tinha de Ser Cancao de Amor Demais Soneto da 5eparacdo Agua de Beber Ela é Carioca S6 Danco Samba
Garota de Ipanema with Toquinho: Tarde em Itapoa Canto de Oxum Maria, Vai coin as Outras Urn Homen Chamado Alfredo Sei La 0 Poeta Aprendiz Testamento Samba da Volta Regra Tres As Cores de Abril 0 Filho que Eu Quero Ter Cotidiano no. 2 A Bencao Bahia Tatamiro Meu Pai Oxala 0 Velho e a Flor Veja Voce Mais um Adeus Como Dizia o Poeta Para Viver urn Grande Amor Morena Flor Sao Demais os Perigos Desta Vida Samba de Orly (with Toquinho and Chico Buarque) As Composer: Medo de Amor Serenata do Adeus Valsa de Euridice In addition to these above mentioned composers and lyricists, Vinicius also had partnerships with Francis Hime, Tapajos Brothers, Pixinguinha, Garoto, A ry Barroso, Ernesto Nazareth, and Adoniram Barbosa. Even Johan Sebastian Bach became a partner, however unknowing, in that Vinicius transformed Jesus, Alegria dos Homens into Rancho das Flores.
In 1980, on the 9' of July, at the age of 66, Vinicius died in his beloved Rio in the bathtub where he loved to spend time and from where he had conducted interviews and meetings. Brazil and the world had lost a unique renaissance man. And, as is always the case when a man like that passes, everybody steps up to the plate and offers their evaluation of his life, his loves, likes and dislikes, in fact, every facet that shone its light on the survivors. The Poet It is as a poet, of course, that Vinicius is most well known and loved. To this day, more than 40 years after the start of bossa nova, his songs are still heard on the radio and in the heart of the Brazilian people. Those words of strong emotion and overwhelming love have never lost their power. His passion has always rung true, which accounts for the staying power of the lyrics. His poetry denotes a certain religious impregnation, in long poems with biblical emphasis, which he abandoned little by little in favor of his natural tendency: intimate, personal poetry with a return to physical love, with a language at the same time realistic, colloquial, and lyrical. Established in the movement of bossa nova, composed with Tom Jobim The Girl from Ipanema, the symbol of an era. He formed many wonderful partnerships with other composers such as Baden Powell, Carlos Lyra, Ary Barroso, and his "inseparable friend" Toquinho, about whom he used to say that he had the best possible relationship, and they "just didn't have sex." And in the bathtub, where he died, he used to let himself feel lazy, chat with friends, and always have that indispensable glass of whiskey. He had a habit of saying that whiskey was a man's best friend, "a bottled dog." "Luciana's Page" on the Internet has this to say about his poetry: "In his work, Vinicius expresses with intense anguish, the constant opposition between matter and spirit, from which results a sensation ofsin. The earthly existence for him takes shape as chaos, the abyss. He looks in mysticism for the solution for that clash. This is the predominant vision of the world in 0 Caminho para a Disteincia (The Road to the Distance). In that context, love, by the fact of linking man to the earthly world— has a negative connotation, from the start. In the following book, Forma e E..Tegese (Form and Literary Interpretation), however, love begins to assume the role of strength which would permit uniting the material and the spiritual, especially in the figure of the idealized woman. The poet begins to distance himself from the mystical plane and searches, in the reality ofdaily life, away out of his anxiety. In "Ariana, the Woman," long poem published as a book, and New Poems, emerge the first signs of sensuality and eroticism which later will characterize his work." Other themes, however, also permeated his work. Death was one of those, as almost all poets, especially in the pieces he produced between the forties and fifties. In addition, he was also a poet with social worries, as he demonstrated after the poem Operario em Construcdo (Construction Worker) and the play As Feras (The Beasts). The Film Critic Vinicius' original purist view of silent films vs. talkies was well known, and there would come a time when his words would come back to haunt him. Journalists would question him on his militant stance against talkies and the turnabout after his stay in Los Angeles. He decided to once and for all put his cinematographic conservatism to rest and told the world in his usual and sometimes self deprecating manner, "I was and continue to be, not a cinematographic mute, as many think, just a little bit of a stutterer." And it was this humor, paired with his keen insight into and enthusiasm for film that prompted him to put together afutebol, soccer, team consisting of the best filmmakers of that time: Chaplin on goal, Griffith and Stroheim as fullbacks, Eisenstein, Pudovkin, and Dovjenko in midfield, and in the offense Flaherty, Gance, Vigo, Dreyer, and King Vidor. His team of actors again found Chaplin along with John Barrymore and Harry Baur, Werner Krauss, Emil Jannings and Fritz Kortner, Raimu, Orson Welles, Nicolai Cherkassov, Laurence Olivier, and Walter Huston. In April 1945 in an article forSombra—apart from that, overshadowed by an ingenuous evaluation of Soviet cinema ("never made concessions in
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the way it shows life and reality of the people.")—gave his list of preferred classics: The Gold Rush,City Lights, and The Great Dictator by Chaplin; Birth of a Nation, Intolerance, and Broken Blossoms, by D.W.Griffith; Napoleon by Abel Gance; Variety by Dupont; Greed and The Wedding March by Stroheim; The Crowd, Hallelujah, and The Big Parade by Vidor; The Battleship Potemkin and The General Line by Eisenstein, among others. Adept at culinary metaphors and audacious parallels, such as comparing Hitchcock to Mallarme and Carol Reed to Paul Valery, Vinicius was, like any and all critics guilty of some injustices. The most blatant related to the musical film genre, which he detested, "Gershwin is perhaps the best of the three worst musicians in the world," and John Ford, whose artistic death he proclaimed in 1951, well before at least three prime works: The Quiet Man (1952), The Searchers (1956), and The Man Who Shot Liberty Valance (1962). Was Vinicius a good film critic? If you had asked him, he would have told you that he was not, nor intended to be a great film critic, but rather just a columnist, whose material people would find enjoyable. Enjoyable until today, especially when he set aside a certain edifying tone. Every so often, the movies served him as a mere pretext for speaking on other topics, such as the art of making out in semi darkness without attracting attention. Even a bike trip with Rubem Braga was explored in his column. He was intimate with the esthetic of cinema, he was cultured, sensitive, intelligent, and inventive, but he did not appear to bring much seriousness to his trade, perhaps because he did not take it seriously. And with good reason, what with the bulk of the cinematic productions submitted for his scrutiny. His major deficiency as a critic, according to Paulo Emilio Salles Gomes, was not to be able to put one argument after another and draw a conclusion, and that his major virtue was his humor. Jose Castello of daily 0 Estado de S. Paulo writes: "The relationship of Vinicius with the movies is usually reduced to three aspects. The first, his hard fought battle against the talkies, which is treated much as an oddity. The second, his intimacy, more or less intense, with the celebrities of Hollywood, is considered a worldly sin. Finally, there is an aspect considered somewhat negative, his dubious taste and the soft arguments in his "reviews"—and here the quotation marks are fundamental, because they indicate the nonsense of this classification. "Vinicius, the poet, continues to be equally misunderstood. His relationship with the movies was always, moreover, that of a passionate spectator, the kind who, in principle, likes everything and when he does not like it, it is more because of a bad mood than conviction. His chronicles, of a rambling style, in which the cinema sometimes is only a pretext, never had the intention of rigor nor of a theoretical exercise, but was just the expression of a passion. Passion: a word that always returns when one speaks of Vinicius." In another context, Jose Castello says: "It is nonsense, therefore, to take Vinicius' relationship to the movies very seriously—and there is nothing belittling in this. On the contrary, the poet, who always had a tense relationship with the verse, and an exalted one with music, had with the movies a bond of pure affection, disinterested, full of romanticism, like that of those little girls who, in the stuffy afternoons
of summer, lock themselves in a movie theater to refresh themselves and to cry. There is ari aspect which, apparently, could contradict all that: The time Vinicius worked as a film censor. But that was just the bread winning efforts of a young guy starting out, and in addition, under the argument of backbiting, had the chance to see all the films he wanted. Vinicius de Moraes was a lover of the cinema, and it is like that—as love letters—full of quarrels, but also of exaltation, that his "critiques" should be read today." Vinicius As Seen By Others "In spite of the multiplicity of his talent, Vinicius de Moraes was never weil accepted by the critics of academia. Extremely popular, incorrigible Bohemian—in the most explicit sense of the word—he wrote in a bubbly manner. Even so, he was admired by Manuel Bandeira, Joao Cabral de Melo Neto, Carlos Drummond de Andrade, and Rubem Braga. To repay the critics who turned oil him, he gave himself the luxury of not recognizing the genius of Guimaraes Rosa: "He just wants to be the Brazilian Joyce, that's not writing." "As a diiilomat, he angered many conservatives with his appearance in the 100,000 person protest march in 1968, when a young student was shot to death by police in Rio. At the same time he offended academics by showing up in black tie. Neither side could accept the non-conformist ways of Vinicius. And when his colleagues were sipping champagne with foreign dignitaries, he preferred sharing a bottle of whiskey with personalities of the artistic world such as the poets Pablo Neruda and Nicolas Guillen, film maker Orson Welles, and musicians Louis Armstrong and Astor Piazzola. "During one of the first performances of Astor Piazzola's self-described "little opera" Maria de Buenos Aires in 1968, a voice rose from the audience, repeatedly emitting profane exclamations. Backstage, after the show, the culprit was discovered. It was the Brazilian poet, Vinicius de Moraes, paying homage in his paradoxical way to the composer's astonishing achievement." Pablo Zinger, New York Times, October 4, 1998 Everyone, who knew Vinicius, has his or her own story or opinion about him, and one would be remiss if one did not mention some of those diverse opinions and anecdotes about him. After all, just as beauty is in the eyes of the behOlder, so is a person's entirety the sum of all the many facets. "Who's right is Tia Zulmira, when she says, that if Vinicius de Moraes were only one person, he would not be Vinicius de Moraes, bit c Vinicius de Moral." Thus ends the chronicle "The Vinicius e Moraes'es" by columnist Stanislaw Ponte Preta (or Sergio Porto as they like). Singer Toni Garrido of the group Cidade Negra is the protagoniSt in the remake of Orfeu Negro and declares his admiration for the author: "Vinicius is illuminating me and filling my life with poetry. I have the objective of making this Orfeu more beautiful because I know how he (Orfeu) was importanr to Vinicius." You could say that the poet continues to be present in the cultural life of Brazil.
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"I remember Vinicius in Ouro Preto (baroque town in Minas Gerais). He was staying at the house of Chico Rei. I arrived with guitar in hand and he received me, listened to me, and adopted me. He was very important in my career. Through him, I got to know the true MPB (Musica Popular Brasileira, Brazilian Popular Music), in a much more acute form. He began writing lyrics for my songs. From that meeting on, I started dreaming about a much more definitive form of music. To do that, having besides the observations and advice of Vinicius, is something which left its mark on me." Joao Bosco, singer and composer.
that he did justice to a man who lived in abundance and with paradox, who never was afraid to err and to correct himself, and who never was totally happy inside himself. But it was because he never fled from conflicts, never dodged them, that Vinicius became the great poet that he was." From review of Bueno's Vinicius de Moraes, poesia completa e prosa from the magazine Bravo, July 1998 Vinicius Today Although it has been 19 years since Vinicius left this world, he is barely forgotten. Last year, Nova Aguilar issued a collection of his his work Vinicius de Moraes, poesia completa e prosa (Vinicius de Moraes, complete poetry and prose) organized by Alexei Bueno. It contains practically everything "The Little Poet" wrote along with film critics and other pieces, which had been lost or misplaced. It is a mammoth work of over 1500 pages and sells for around $70. It was received well by the critics, and although a work like that is only for those serious about reading Vinicius, it is no longer availableâ€”sold out in its first printing.
"Vinicius was a great poet. A very happy person who, in spite of being a diplomat, left it all behind to live as a Bohemian. He spoke several languages, was an intellectual and never let that, his great culture extrapolate the capacity for communication with people of all kinds. Among the phrases he always used with me, I remember one: "To drink beer is a waste of time, let's drink whiskey right away." The most beautiful phase in his career, in my opinion, is the partnerships with Carlos Lyra and Tom Jobim. He was a very likable figure, charismatic and always in a good mood. In addition, he was a great jokester." Luiz Carlos Vinhas, pianist.
Orfeu Today Back in the late fifties, when Orfeu Negro was on everybody's lips and a lifelong love affair was begun between Brazil and many people around the globe, Brazil was the only country in which the movie was not a success. That, however, is not the case with the new version, directed by Caca Diegues and under "Vinicius is a person about whom you don't forget the musical direction ofCaetano Veloso. On May 56 , Salvador's anything. We had a great and constant friendship. SomeA Tarde reported that the newly released Orfeu do Carnaval times, people forget that he died. When he went away, was the most watched movie of the past week. The soundtrack there was a void which will never be filled. He was a was released about a month earlier by Natasha Records. happy person, pleasant, and we spent many Carnavals Asked about his new version juxtaposed with the original, together. Living with him was always very good." the director says the following: "It is understandable that the Olivia Hime, singer and composer. first version was less popular in Brazil. It offered a certain utopian vision of the reality in a Brazilian favela, and perhaps "Vinicius was a person in love with the movies, a people of that era could not identify with it. Perhaps prejudice splendid columnist, the two things came together in his had something to do with it as well. And if middle class people reviews, which resulted in a valuable of today associate poverty with crime, whole. He is one of the most important imagine in the fifties, when the film by â€˘ critics in the country, next to Octavio Faria Camus was released." ORIGINIE SEIM Ma FROM T'T flaf and Paulo Emilio Salles Gomes." ofirnivue Caca Diegues goes on to say that unAlexei Bueno, author of Vinicius de like the French production, his new verMoraes, poesia completa e prosa sion is faithful to the social reality of today'sfavela. Orfeu is portrayed by Toni "An author, very interesting, very rich, Garrido, who is a composer for Carnaval, very present in the soul of the Brazilian and drug traffickers are among the other people." Alexei Bueno characters. "My version is much closer to Vinicius spoke and sang about love in the play by Vinicius, whose plot was part numerous forms and with the sensitivity of of the social context of Brazil. The favela few. Perhaps, it was the close connection is a Brazilian synthesis: a social horror and between romanticism and the feminine a boundless cultural treasure." figure, which so fascinated him. "The ugly The soundtrack is a combination of will pardon me, but beauty is fundamensome of Tom Jobim and Vinicius' classics tal," was one of the phrases which became A Felicidade and Se todos fossem iguais a famous on the exaltation of feminine beauty by the poet. voce and some brand new songs composed, in part, by Caetano, The passion, the suffering, the unconditional surrender. 0 enredo de Orfeu, co-written with Gabriel o Pensador and Sou To him, love meant more than just a feeling, it was a state voce, both sung by Toni Garrido. "We are including two sambas of spirit. which were not even in the play. Cad. chose Ciintico a Natureza "The work of Vinicius has been compared to one of (Song to Nature) and I chose Os cinco bailes da historia do Rio those Russian dolls that come apart in the middle and (Five dances ofthe history ofRio)," says Caetano. "The sambareveal a similar, but smaller doll inside, which also enredo by Dona Ivone Lara is my favorite of alltimes. I attended comes apart and so on and so forth. But the comparison, the parade of Imperio Serrano, in 1965, and I learned the song which at the beginning is tempting, because Vinicius in the street." was a poet who multiplied himself with impressive Clearly, a man so capable of creating poetry, prose, plays, speed, fails in two aspects. First, unlike the Russian reviews, music as well as the cultural atmosphere of his time, dolls, the work inside the hollow of the one before is not will not go quietly into oblivion. Here's to you, Vinicius! necessarily smaller than the one that preceded it. Another difference from the Russian dolls, is that it is not Kirsten Weinoldt was born in Denmark and came to the always the same inside, in fact, it is always different and U.S. in 1969. She fell in love with Brazil after seeing Black surprising. Orpheus many years ago and has lived immersed in Brazil"It is the great feat of the organizer, Alexei Bueno, ian culture ever since. E-mail: email@example.com ,
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Poetry and Prose A Casa Era uma casa muito engracada nao tinha teto, no tinha nada ninguem podia entrar nela, Wan porque na casa nao tinha chao ninguem podia dormir na rede porque na casa nao tinha parede ninguem podia fazer pipi porque penico nao tinha aui mas era feita cam muito esmero na rua dos Bobos, namero zero The House It was a very funny house it didn't have a roof, didn't have anything nobody could enter it, no for the house had no floor nobody could sleep in the hammock for the house had no walls nobody could pee for there was no potty but it was made with much care on Fool Street, number zero
Eu Sei Que Vou Te Amar music Tom iobim
I Know That I Will Love You
Eu sei que you te, amar por toda a minha vida eu you te1 amar em cada despedida eu you te amar desesperadamente, eu sei que you t amar
I know I will love you all my life I will love you with every farewell I will love you desperately, I know I will love you
E cada verso meti sera pra te dizer que eu sei que you t amar por toda min a vida
And each verse of mine will be to tell you that I'll love you all my life
Eu sei que you horar a cada ausencia tua eu you chorar mas cada volta tu ha de pagar o que esta ause cia tua me ausou
I know I will cry with each absence of yours I will cry but each return will erase what your absence caused me
Eu sei que you ofrer a eterna desventura de viver a espera de viver ao I do teu por toda min a vida
I know I'll suffer the eternal unhappiness of living waiting to live beside you all my life
Serenata d Adeus Music and L rics by inicius Ai, a lua que no céi surgiu nao é a mesma que te viu nascer dos bravos meus... cai a noite sobre o nosso amor e agora s6 restou do amor uma palavra: adeus
Vunclus and Baden Powell
Al, vontade de ficar mas tendo de i embora ai, que amor e se ir norrendo pela v da afora , E refletir n lagrima o mome to breve de uma est ela pura cuja luz orreu...
Dialetica E claro que a vida e boa E a alegria, a Unica indizivel emocao E claro que te acho linda Em ti bendigo o amor das c,oisas simples E claro que te amo E tenho tudo para ser feliz
O mulher, estrela a refulgir
Mas acontece que eu sou triste Dialectics It is clear that life is good And happiness, the only indescribable emotion It is clear that I find you beautiful In you I praise the love of simple things It is clear that I love you And I have everything to be happy
pane, mas antes de partir rasga o mei coracao crava as garras no theu peito em dor e esvai em sangue todo o atnor toda a desilusao
Serenade of Farewell
Ah, the moon, which rose to the sky is not the same that saw you to be born of my arms the night falls on our love and now remains only, of the love, one word—goodbye Ah, willing to stay but having to go away ah, love is to go and die throughout life it is to reflect in the tear the brief moment from a pure star whose light died Oh woman, star shining break down, but before you go away tear out my heart drive the talons into my breast in pain and vanishes in blood all our love everything an illusion
But it happens that I am sad 17 BRAZZIL - MAY 1999
5' Procura-se Um Amigo
Looking For a Friend
MID precisa ser homem, basta ser humano, basta ter sentimento, basta ter coracao. Precisa saber falar e calar, sobretudo saber ouvir. Tern que gostar de poesia, de madrugada, de passaro, de sol, da lua, do canto dos ventos e das cancOes da brisa. Deve ter amor, urn grande amor por alguern, ou entao sentir falta de nao ter esse amor. Deve amar o proximo e respeitar a dor que os passantes levam consigo. Deve guardar segredo sem se sacrificar.
You don't have to be a man, it's enough to be human, it's enough to have sentiment, it's enough to have heart. You have to know how to speak or be quiet, more than anything you have to know how to listen. You have to like poetry, dawn, a bird, the sun, the moon, the song of the winds and the music of the breeze. You must have love, a great love for somebody, or feel a void of not having that love. You must love your neighbor and respect the pain the passer-by carries with him. You must keep a secret without sacrificing.
Nao é preciso que seja de primeira mao, nem é imprescindivel que seja de segunda mao. Pode jater sido enganado, pois todos os amigos sao enganados. Nao preciso que seja puro, nem que seja de todo impuro, mas nao deve ser vulgar. Deve ter urn ideal e medo de perdelo e, no caso de assim nao ser, deve sentir o grande vacuo que isso deixa. Tern que ter ressonancias humanas, seu principal objetivo deve ser o de amigo. Deve sentir pena das pessoas tristes e compreender o imenso vazio dos solitarios. Deve gostar de criancas e lastimar as que nao puderam nascer. Procura-se urn amigo para gostar dos mesmos gostos, que se comova, quando chamado de amigo. Que saiba conversar de coisas simples, de orvalhos, de grande chuvas e das recordacOes de infancia. Precisa-se de urn amigo para nao se enlouquecer, para contar o que se viu de belo e triste durante o dia, dos anseios e dasrealizacOes, dos sonhos e da realidade. Deve gostar de ruas desertas, de pocas de agua e de caminhos molhados, de beira de estrada, de mato depois da chuva, de se deitar no capim. Precisa-se de urn amigo que diga que vale a pena viver, nao porque a vida é bela, mas porque ja se tern urn amigo. Precisa-se de urn amigo para se parar de chorar. Para nao se viver debrucado no passado em busca de mem6rias perdidas. Que nos bata nos ombros sorrindo ou chorando, mas que nos chame de amigo, para ter-se a consciencia de que ainda se vive.
Soneto Do Amor Total • Arno-te tanto meu amor nao cante o humano coracao corn mais verdade... amo-te como amigo e como amante numa sempre diversa realidade. Amo-te enfim, de um calmo amor prestante e te amo alem, presente na saudade amo-te, enfim, corn grande liberdade dentro da eternidade e a cada instante. Amo-te como um bicho, simplesmente de um amor sem misterio e sem virtude corn urn desejo macico e permanente. E de te amar assim, muito e amiude que urn dia em teu corpo de repente hei de morrer de amar mais do que pude.
You don't have to be first-hand or even second-hand. You may already have been deceitful, for all friends are deceitful. You don't have to be pure, nor totally impure, but you shouldn't be vulgar. You should have an ideal and fear of losing it and, in case you are not like that, you should feel a great vacuum which that leaves. You must have human resonances, your principal objective should be that of a friend. You should feel pity for sad persons and comprehend the immense emptiness of the lonely. You should like children and lament those who could not, be born. Look for a friend to like the same tastes, who is moved when called a friend. Who knows how to converse about simple things, the dew, the great rains, and the recollections of childhood. You need a friend so as not to go mad, to talk about what transpired, beautiful and sad things during the day, of the yearnings and realizations, the dreams and reality. You should like deserted streets, puddles of water and wet roads, the edge of the street, the countryside after the rain, to lie down in the grass. , c. One needs a friend who says it's good to live, not because life is beautiful but because he has a friend. One needs a friend to stop crying. In order not to live leaning on the past in search of lost memories. Who slaps us on the shoulder smiling or crying, but who calls us friend in order to have the consciousness of what we are still living. •
Sonnet of a Total Love I love you so much my love—don't sing the human heart with more truth I love you as a friend and as a lover in an always diverse reality I love you, finally, with a calm, giving love and I love you, furthermore, present in the longing I love you, finally, with great freedom within eternity and every instant I love you like an animal, simply with a love without mystery and without virtue with a solid and permanent desire And to love you thus, a lot and often is to one day, in your body, suddenly die of loving more than I could.
A Casa Materna
The Maternal House
Ha, desde a entrada, urn sentimento de tempo na casa materna. As grades do porta° tern uma velha ferrugem e o trinco se encontra num lugar que s6 a mao filial conhece. 0 jardim pequeno parece mais verde e (mid() que os demais, corn suas palmas, tinhorties e samambaias, que a mAo filial, fiel a urn gesto de infancia, desfolha ao longo da haste.
There is, from the entrance, a feeling of time in your mother's house. The bars on the gate are rusty, and he latch is in a place which only the filial hand knows. The small yard seems more green and humid than the rest, with its palms, ornamenta plants, and ferns, which the son's hand, faithful to a gesture from childhood, defoliates along the tern.
E sempre quieta a casa materna, mesmo aos domingos, quando as mAos filiais se pousam sobre a mesa farta do almoco, repetindo uma antiga imagem. Ha urn tradicional silencio em suas salas e um dorido repouso em suas poltronas. 0 assoalho encerado, sobre o qual ainda escorrega o fantasma da cachorrinha preta, guarda as mesmas manchas e o mesmo taco solto de outras primaveras. As coisas vivem como em preces, nos mesmos lugares onde as situaram as mAos maternas quando eram mops e lisas. Rostos irmaos se olham dos porta-retratos, a se amarem e compreenderem mudamente. 0 piano fechado, corn uma longa tirade flanela sobre as teclas, repete ainda passadas valsas, de quando as mAos maternas careciam sonhar.
The mate nal house is always quiet, even on Sundays, hen the son's hands rest on the table full of lun h repeating an old image. There is a traditional silence in its rooms and a sad rest in its armchairs. The waxed, wooden floor, on which the ghost oft e little white dog still slips, is keeping the same tains and the same loose parquet block of other s rings. The things live as in prayers, in the same p aces where the maternal hands put them when the were girlish and smooth. Brothers' faces lool4 from the photo frame to be loved and understood silently. The closed piano, with a long flannel strip over the keys, still repeats past waltzes, from whei the maternal hands needed to dream.
A casa materna é o espelho de outras, em pequenas coisas que o olhar filial admirava ao tempo em que tudo era belo: 0 licoreiro magro, a bandeja triste, o absurdo bibelo. E tem urn corredor A escuta, de cujo teto a noite pende uma luz morta, corn negras aberturas para os quartos cheios de sombra. Na estante junto A escada ha um Tesouro da juventude corn o dorso puido de tato e de tempo. Foi au i que o olhar filial primeiro viu a forma grafica de algo que passaria a ser para ele a forma suprema da beleza: o verso.
The maternal house is the mirror of others, in little things which the filial glance admired of the time when all was beautiful: the slim carafe-set, the sad tray, the a surd ornament. And there is a crawlspace from whose ceiling hangs a dead light, with black openings to the rooms full of shadow. On the bookcase next to the stairs there is a Treasure of youth wit its back worn by touch and time. It was here that the son's glance first saw the graphic form, wh ch would come to be, for him, a supreme form of beauty, the verse.
Na escada ha o degrau que estala e anuncia aos ouvidos maternos a presenca dos passos filiais. Pois a casa materna se divide em dois mundos: o terreo, onde se processa a vida presente, e o de cima, onde vive a memoria. Embaixo ha sempre coisas fabulosas na geladeira e no armario da copa: roquefort amassado, ovos frescos, mangas-espadas, untuosas compotas, bolos de chocolate, biscoitos de araruta—pois nao ha lugar mais propicio do que a casa materna para uma boa ceia noturna. E porque é uma casa velha, ha sempre uma barata que aparece e é morta corn uma repugnancia que vem de longe. Em cima ficam os guardados antigos, os livros que lembram a infancia, o pequeno oratorio em frente ao qual ninguem, a nao ser a figura materna, sabe porque queima As vezes uma vela votiva. E a cama onde a figura paterna repousava de sua agitacao diurna. Hoje, vazia.
On the stairs is the step that creaks and announces to the maternal hearing the son's footsteps. For the maternal house is divided into two worlds: the ground floor, where the present life goes on, and that of above where the memories live. Below there are always fabulous things in the refrigerator, and in the cupboard: mashed roquefort, fresh eggs, cut mango, rich fruit in syrup, chocolate cake, araruta biscuits, for there is not a better place for a nocturnal supper than the maternal house. And because 1 it is an old house, there is always a cockroaeh, that appears and is killed with a repugnance that comes from far away. Upstairs are the guar4ed antiques, the books which remind you of infancy, the small oratory in front of which nobody, except the maternal figure, knows why there sornetimes burns a votive candle. And the bed where the paternal figure would rest from his agitation of the day. Today, empty.
A imagem paterna persiste no interior da casa materna. Seu viola° dorme encostado junto A vitrola. Seu corpo como que se marca ainda na velha poltrona da sala e como que se pode ouvir ainda o brando ronco de sua sesta dominical. Ausente para sempre de sua casa materna, a figura paterna parece mergulha-la docemente na eternidade, enquanto as mAos maternas se fazem mais lentas e as mAos filiais ainda mais unidas em torno A grande mesa, onde já agora vibram tambem vozes infantis.
The pat rnal image persists in the interior of the maternal house. His guitar sleeps leaning against the victrola. It's as if his body is still leaving its mark in the old armchair and as if one can still hear the gentle snore of his Sunday nap. Absent, forever, from the maternal house, the paternal figure seems to immerse itself sweetly into eternity, while the maternal hands work more slowly and the son's hands, sltill more united around the big table, where already now vibrate childlike voices.
BRAZZIL - MAY 1999
Insensatez music by Tom Jobim
Carta ao Tom Music Tom Jobim
Ah, insensatez que voce fez coracao mais sem cuidado fez chorar de dor o seu amor urn amor tao delicado ah, por que voce foi fraco assim assim tao desalmado ah, meu coracao, quem nunca amou nao merece ser amado
Oh what folly you committed heart very much without care your love makes me cry with pain a love so delicate ah, why were you so weak so cruel as this ah, my heart who never loved anybody does not deserve to be loved.
Vai meu coracao, ouve a razdo usa so sinceridade quem semeia vento, diz a razao colhe sempre tempestade vai, meu coracao, pede perdao perdao apaixonado vai, porque quern nao pede perdao nao é nunca perdoado.
Go my heart, hear the reason use only sincerity who sows the wind, says reason, always gathers the storm go my heart, beg pardon passionate pardon go, because he who doesn't beg pardon is never pardoned.
Onde Anda Voce
Where Are You Going
E por falar em saudade And to speak of longing onde anda voce where are you going onde anda seus olhos where are your eyes going que a gente nao ye which people don't see onde anda esse corpo where does that body go que me deixou morto de tanto which left me dead with so prazer much pleasure e por falar em beleza and to speak of beauty onde anda a cancao where is the song going que se ouvia na noite which was heard at night nos bares de entao in the bars of back then where onde a gente ficava people stayed onde a gente se amava em where people loved in total total solidao solitude Hoje saio na Today I go out in the noite vazia empty night numa boemia sem razao as a Bohemian without reason de ser to be na rotina dos bares in the routine of the bars que apesar dos pesares which despite everything me trazem voce bring me you E por falar em paixao And to speak of passion em raid° de viver as a reason to live voce bem que podia you could well me aparecer appear to me nesses mesmos lugares in those same places nas noites nos bares in the nights at the bars onde anda voce where are you going Deixa music Baden Powell Deixa fale quem quiser falar, meu bem deixa deixe o coracao falar tambem porque ele tern razao demais quando se queixa entao a gente deixa, deixa, deixa, deixa ninguem vive mais do que uma vez deixa diz que sim pra nao dizer talvez deixa a paixao tambern existe deixa nAo me deixe ficar triste
Allow Allow to speak, those who wish, my dear allow allow the heart to speak as well for it is quite right when it complains so people allow, allow, allow, allow no-one lives more than once allow say yes in order not to say maybe allow passion also exists allow don't allow me to be sad
Rua Nascimento Silva, cento e sete voce ensinando pra Elizete as cancOes de "Cancao de Amor Demais" Lembra que tempo feliz, ai que saudade, Ipanema era so felicidade Era como se o amor doesse em paz Nossa famosa garota nem sabia A que ponto a cidade turvaria neste Rio de amor que se perdeu Mesmo a tristeza da gente era mais bela e alem disso se via da janela Urn cantinho de ceu e o Redentor E, meu amigo, sO resta uma certeza, é preciso acabar corn essa tristeza E preciso inventar de novo o amor Rua Nascimento Silva, cento e sete Eu saio correndo do pivete tentando alcancar o elevador Minha janela nao passa de um quadrado, a gente s6 ye Sergio Dourado Onde antes se via o Redentor , meu amigo, so resta uma certeza, é preciso acabar corn a natureza E melhor lotear o nosso amor
Letter for Tom
Rua Nascimento Silva a hundred and seven You teaching Elizete the songs of "Song of Too Much Love" You remember a happy tune, oh what longing Ipanema was just happiness It was as if love hurt in peace Our famous girl didn't even know At what point the city would darken in their Rio of love that was lost Even the sadness of the people was more beautiful and moreover was seen in the window A little corner of Heaven and the Redeemer (statue of Christ in Rio) It is, my friend, there only remains one certainty, it is necessary to finish with this sadness It is necessary to invent love again, Rua Nascimento Silva a hundred and seven I go out running from the street kid trying to reach the elevator My window doesn't overlook a block, people only see Sergio Dourado Where before they saw the Redeemer It is, my friend, there remains only one certainty it is necessary to finish with nature It is better to divide one love
20 BRAZZIL - MAY 1999
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Letters HAVOC GOES ON T e estruction o t e Brazi ian Amazon continuous on an alarming scale. According to Brazilian scientists and the Woods Hole Research Center in Massachusetts, an estimated 17,000 square miles were deforested during 1998. (That is more than double of what government officials have reported. Most of this catastrophic destruction has been caused by the same familiar faces: large cattle ranchers and logging companies. One cattle rancher alone, burned close to 7,000 acres of rainforest to make pasture for his 4,000 white zebu cattle. To date, approximately 16% of the Brazilian Amazon has been destroyed for short term profits which only benefit a small part of the 1% of Brazilians (and their counterparts in the global economy) who control 50% of the land. An environmental crimes law, imposing a fine up to $30 million was passed by the government last year, but the usual forces have convinced the government not to enact it for another 6 years. The emergence of a social reaction out of the 20 year dictatorship is indeed one of the most hopeful forces to counteract this immense destruction. These are practically the only forces which have managed to avoid a greater destruction so far.
Beto Borges - Environmental Policy and Management Analyst email@example.com IGNORANCE AND BIGOTRY It was truly distressing to read Janer Cristaldo's ignorant, openly racist article. What purpose is served by vilifying a group with little resources and protection, demonizing an entire tribe for alleged crimes committed by two of them? This person has no expertise in the subject on which he is writing about. The worries about an oh-so precious nation's dig.nity and reputation would be laughable if they weren't also filled with such repugnant bigotry. You have insulted all indigenous peoples by having this trash printed in your Journal. You and Cristaldo owe an apology. The failure to do so will show your own lack of moral character.
Al Carroll San Antonio, Texas
with double "I"? Would be great with double "b"? Double "i"? Anything but with "z". But, anyway, I would like to suggest you had a look at the Lagoa do Abaete.--Ft's been ruthlessly vandalized-. I have checked with a geologist here and he assured me that there is salvation", but it costs money, good money. Actually, I would like very much to start a "Save the Lagoon".campaign . If you can allow me some "room" in your magazine, I would make an effort to get over my dislike and send you an article about the Lagoon. I might even be able to et some picture with the Brasilian (with an "s" consulate here. What do you say? ShouldI start taking anti-nausea tablets and ring the consulate for those pictures?
Ere Monteiro Via Internet
I am very disappointed with the level o
Brazzil. Brazilian culture is rich and has so
much to offer, but you do a disservice to our country by presenting this type ofgarbage. The magazine was given to me as a gift and Thoped I would find something interesting and in good taste. However, I was disappointed. For sure I will not renew my subscription and Twill look for a better presentation of my country somewhere .else. I would never dare to show this magazine to my American friends, I would be ashamed of being Brazilian. The topics are poorly selected, long and boring. Are you sure you know how put a magazine together? I am not even in the field of editing, but I guarantee you I could do a better Job.
pornographic poses in order to advertise the merchandise. And skinny minnie child porn? I lived in Rio from age 9 months (1927) until I graduated from the Escola Americana do Rio de Janeiro in 1945 and don't ever remember seeing anything like that in a Brazilian magazine. -I thinkyou.are conveying the wrong impression of Brazil to a lot of people. If your future issues are going to be similar in content please do not send- me any more issues.
Edward Saridaki Via Internet In June of 1996 you published an interesting article on prostitution and marriage in Brazil. I work with a bunch of foreigners in Brazil, and they are always asking me about where to go to pick up nice girls, not so nice girls, etc. Given that I am a middle aged female, this is not really my area of expertise. I was wondering—was this article ever updated?
Judith Ryan firstname.lastname@example.org CAN'T GET ENOUGH e Fe eruary issue was great. especia y the excellent articles by Daniella Thompson on Marcos Sacramento and by Bruce Gilman on Joyce. It is great that they include discographies as well as some lyrics in English and Portuguese. Both of these writers know their subject matter and write so well that their articles enhance my understanding of and love for Brazilian music. Give us more!
Charlotte Casey San Jose, CA
Evandro M. Faustino Salt Lake City, Utah YOU MORON YANKEES!
Why the hell do you put only Indians on cover ofthe magazines? There are only 150,000 Indians here, which is less than 0.15% of the Brazilian population. Go to http:// www.ibge.gov ,br and check it out, you bunch of ignorant illiterate, monoglote Americans. We re neat 50% White here, more than in California. his is not a racist letter, it's just to make you ignorant aware that there are Whites, Blacks, Asians, etc, etc, here. And stop killing children. in Yugoslav ia. you assassins. Your publication is very amateurish.
Congratulations! Brazzil magazine has greatly honored our community in the United States. We're very proud of its contributions to our progress.
Jodo Silva Via Internet
Brazilian American United Association (BAUA) Newark, New Jersey FOR MORE LETTERS AND ENTIRE LETTER SEE: http://www.brazzil.com
I ave enjoy el the ci tsu.scriptiona nen • arranged for me, hut sorely disappointed when-I saw page six of Marcb issue. I realize us. "Easterners" may not be quite as liberal minded as you folks but come on! I can't really believe that lingerie models have resorted to
Can't you find Brazzil at your Brazilian consulate? Don't ask us why, ask the consulate.
ABSURD & DUNG Janer Crista do s article on Indians an the Landless Movement is a total absurd and total shit... Where is the information about the situation of the land concentration and the reasons why the MST go into conflict with the local latifundiarios (landowners)? Why are the natives in such a bad social and political situation? Do you think they do not have the right to a piece of land, as well as guarantee that they will have adequate water, sewage system and disease control? You should hire better journalists.
J. Assis Ontario, Canada
THE Z OF THE QUESTION I would very much like to send you an article, but, unfortunately, I dislike so much seeing Brasil being written with "z" that I cannot get myselfto write anything. Couldn't you have written Brasil with an "s ? Why not You are invited to participate in this dialogue. Write to: Letters to the Publisher
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22 BRAZZIL - MAY 1999
Rotten The Brazilian Central Bank burned more than a billion dollars for nothing. A Parliamentary Inquiry Commission was established, but there's little hope that anything will change or that anybody will be punished. PAULO REBELÂ° In the past month, Brazilian citizens became so excited about the possibility of having an increase in their minimum wage that they all seemed to forget the economic and "image" problems the government was facing with its own electors and, as usual, the international investors. The country has summoned the Parliamentary Inquiry Commission (PIC) in order to investigate supposed corruption between Banco Central do Brasil (Central Bank of Brazil) and two other minor banks, which could have earned millions of dollars atypically via a strange secret transaction. The Real (Brazilian currency) was devaluated in the beginning of 1999 because the Central Bank wasn't able to hold the currency value against ferocious investors anymore. This left those people whose contracts were based on the American dollar in trouble, not to mention taxes, including importing and exporting actions. Up until this point, one dollar (US$1.00) had a value of almost one Real (R$1.00)â€”about $1.20 Reals for each dollar. In only a few days, the currency was devaluated more than 70%; one dollar reached as high as $2.15 Reals. After the period of fluctuation stabilized, the currency fixed between R$1.60 and R$1.70 BRAZZIL - MAY 1999
the dollar, at which it has remained. If you don't know anything about the Brazilian economy, try to imagine this situation: Brazil was known as the kiln of inflation for decades. Five years ago, the governtnent controlled the inflation and gave citizens a very lwelcome pricing establishment. Citizens at the end bf the month could purchase a product for the same p ice as the previous month. This was a dream come true, since inflation usually reached about 70% per month, and the money one gained would only have 30% of its value the following month. Quite difficult to shop, don't you think? Then, in a matter of hours, everyone saw the dream vanishing with the loss in currency value. It was impossible not to fear the return of the inflation nightmare once again. One would see people talking about the min mum wage being tied to the inflation rate index on every corner (index in this context meaning that he minimum wage grows relatively to inflation). If I is had happened, it would have signaled the co ing of the nightmare. Brazilian entral Bank prohibited the mass sending of dollar to other countries, since the country needed a bac p currency as strong as the dollar in its safes. Everyo e seemed to be all right as the economy was starting ti steady again, and international investors were re eating from their usual compulsive running awa when something unusual happens in an economy lik the Brazilian one. After the chaos, the Brazilian pre s reported a supposedly irregular transaction betwen Central Bank, and two privately owned banks in the c untry, Marka and FonteCindam Banks. The situa ion as described by the press, is that the Central Banl would have sold millions of dollars to Marka and F nteCindam during the devaluation for a mere R$1.2 . After the period of stability the dollar was valued a RS1.65. Have you got it yet? Try buying millions of cf ollars with the Real valuing 1.22 each and sell the for 1.65 each and you'll realize how happy you ould be... At prese t, the government is faced with PIC because oft at curious "help" the Central Bank gave those two mor banks. Brazil knows this really happened. ccording to Arminio Fraga's briefing, current pres dent of the Central Bank (not the one in charge duni g the transaction epoch; Mr. Francisco Lopes was tle C.E.O. at the time), the "help" givemto Marka and FonteCindam Bank was necessary in order to avo d an economic break down. Those banks were suppoedly facing many debts caused by the devaluation and could have shut down all together. According tlo the government report, that could have lead to an tconomic collapse in the Brazilian monetary system. Focusing on that explanation, should the Central Bank help private banks in debt using money earned by taxes? Tile same taxes paid by the loyal citizens of Brazil? If sp, why help only two insignificant (not anymore) banks when there are many, many others in 23
debt thanks to the devaluation, including federal banks? Anyway, Brazil not only has plenty of reasons to cry And, finally, what economic break down are we dealing for what happened, but must also now live with the dollar with? If in debt, shouldn't any private company quit its valued at R$1.65. The IMF is rigorously applying their counts and close? Isn't the globalized world of investrules (destroying the less fortunate people, indeed). No ments and investors just like gambling? At least that is one expects another devaluation or any problems with what the Central Bank and the International Monetary increasing prices. Fund (IMF) claimed to be the explanation for the deThe only option for the Brazilian community in valuation. Marka's case is to wait, watch and hope. Hope it doesn't What happens is that the case is far more compliend on nothing and hope the perpetrators are jailed cated than it seems to be. First of all, Mr. Francisco immediately. â€˘or:, Lopes refused to answer any questions raised by the PIC, causing suspicious behavior on the part ofhim and Paulo Rebelo is a freelance writer residing in Recife, his commissioners. He is accused of forwarding and Brazil. He can be reached at rebelo(i)t azul.com over the selling confidential information to investors and private Internet or by mail: banks during his period in Central Bank's Presidency. Rua Luis Barbalho, 120 / 701 â€” Boa Vista He's also accused of sharing confidential information Recife-PE anonymously with his own private economic adviser Brazil company, Macrometrica. This is extremely illegal, since, as president of the main government bank, he had access to secret internal information. The press went further and discovered that Marka "Ship to Brazil with the company that really knows how." . and FonteCindam were not BEST SERVICE + BEST RATES individual cases. Strangely AIR - IATA 01-1-9279-012 enough, a day before the OCEAN - FMC 3853 devaluation began, other banks changed their investments in the market and bought as many dollars as TO ANY AIRPORT IN BRAZIL they could, making an unimaginable amount of money. The PIC keeps on going and no one has been forFULL CONTAINER & DIRECT CONSOLIDATIONS merly indicted yet. As far as AI\ WITHOUT TRANSLOADING IN MIAMI its known, Central Bank's "playing" burned two billion Reals (about US$ 1.2 billion in today's currency) from public safes. The banks that benefited from the devaluation are laughing aloud as the PIC is about to end. If nothing is done to the directors in charge at the time, the Marka investigation will be treated as something of the past. Meanwhile, Mr. Alberto Cacciola, former owner of 12833 SIMMS AVE - HAWTHORNE, CA 90250 Marka Bank, keeps saying the press is unfairly haunting him. He asserts he's only -1114-vp a small fish in a big ocean. Unfortunately, he may be completely right.
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BRAZZIL - MAY 1999
accusing them of stealing goats, the There was a time when people embraced lore Saturnino took this as a huge insult, even about banditos, men who eradicated themselves though it was true. He then accused the from abject poverty by taking the law into their own Ferreira boys of mistreating his animals hands. Often sharing their wealth with people in and stealing their halters. While it is not their communities, their reputations flourished as proven ifthe Ferreira boys did this, if so, heroes and they soon transcended the status of mere it was more than likely an act of retaliamortals to become mythological figures. While the tion. American Wild West had the likes of Jesse James, Brief Cease-fire Brazil's send° had Lampido. Yet, long after bandits Maintaining a code of honor and had vanished from the West, cangaceiros continued avenging insult was an integral part of to thrive in the send°. the code of the backlands and the In the early 20th century, a new form of bandit Ferreiras had already proven themselves emerged in America—a figure who was acclimated as very valiant young men. Whatever the to a burgeoning industrialized society—the gangcause, hostility between the families esster. He maintained many ofthe same codes of ethics calated and soon erupted into violence. as the old-world bandit, such as belief in upholding There was a squabble over trespassing honor, integrity and family responsibilities, and disover the Saturninos land and gun battle played a great sense of unique style. ensued, with Virgulino's brother, However, unlike the bandit or the cangaceiro, he Antonio, suffering a wound to the hip. was able utilize a greater web of protectors. Even Jose Ferreira, who was less controverthough gangsters were usually from the working sial and more agreeable than his sons, class, because they functioned in what was considdecided to handle the matter privately ered a "New Country" where everyone was trying to with the Saturninos. Since he had less power than they did, get a piece of the American pie, those "higher ups" or he was forced to abide by their wishes, officials who helped them were often in a which were that he and his family similar financial boat as they were. While move from their ranch. The Ferreiras someone like Al Capone was literally makmoved to their new ranch, the Poco ing a killing in Chicago, an Old World do Negro, in Nazare and were barred gangster was monopolizing the send° of from ever stepping on the Saturninos Brazil—his name was Lampido. land again. The same policy also went Virgulino Ferreira da Silva was born for the Saturninos—they could never July 7, 1897 in the Passagem das Pedras of step foot in Nazare. the Pernambuco region. His family's ranch Unfortunately for Jose, he did not consisted of much vegetation and livestock, find the peace he was hoping to find such as goats, cattle and sheep. His father, with his move. The Saturninos broke Jose Ferreira dos Santos, also transported the agreement when Saturnino and merchandise throughout the immediate reThe New York Times i n a his brother-in-law, Jose Nogueira, gion via mule or burro. The Ferreira family 1931 article compared him showed up at market day in Nazare to was not rich, but they were not poor either. to Robin Hood, but many in collect a debt. Virgulino and his uncle. They were of the land-owning class that Brazil saw him as a vic lous Manoel Lopez, decided to ambush existed somewhere between the elite who killer. Lampiao and his them on their way home. A few shots dominated society and landless peasants. for many y ears cangaceiros were fired but no one was injured. They had the reputation of being hardused different tactics to After this incident, Saturnino was working and honest. elude de Brazilian police hot—he launched an attack of fifteen There was a division of responsibilities and terrorize the North east men on Poco do Negro. Only between family members and Virgulino, of Brazil. Virgulino and his Uncle Manoel were third of nine children, was assigned the task there and they were ready for the of caring for the cattle, goats and sheep. SONYA ALEXANDER attack. Armed with heavy ammuniOvertime, he became a skilled cowboy due tion, they managed to wound one of to his expertise with his daily tasks. He also Saturninos men. From this point on developed skills as a craftsman, making the, due t the potential harm this attack presented to the leather goods such as saddles and bridles. Luckily, he did whole Ferreira family, the have time to be a child and played the Ferreira boys felt they should be games of most children of his region armed whenever they went out such as the vaquejada (rodeo) game or and they felt they should look cangaceiros and police. As Virgulino intimidating. They now adopted grew up, he enjoyed more adult games, the dress and style of profeslike participating in dances or rodeos. sional bandits: they wore hats All in all, he was a well-mannered, goodwith the brims turned up, colorlooking young man who excelled at a ful kerchiefs around their necks number of things. and cartridge belts crossed over Unfortunately, all of his skills were their chests. They had cangasteered in the wrong direction once he ceiro Sebastiao Pereira, whom became involved in the cangago. Details they knew well, as a role model. about how he actually got involved with There was no turning back at the cangago are murky, but all facts this point. seem to point to his neighbor, Jose The Ferreira boys ran into Saturnino. It seems that hostility began much conflict in Nazare and between the Ferreiras and the Saturninos developed permanent reputain 1916, when Virgulino was nineteen. tions as budding cangaceiros. When the Ferreiras and their constable Lampiao band decapitated They encountered a lot of resisrelative showed up at the tenants' house,
BRAZZIL - MAY 1999
tance from most of the Nazare residents because most of the townspeople were related to the Saturninos or Nogueiras. Eventually, an armed encounter occurred between the Ferreiras and the town's leading citizens, with brother Levino being shottfr in the arm. The boys were now in deep trouble and had moved from the status of having a mere family rivalry to becoming legitimate cangaceiros. Needless to say, the family had to move again for things were getting too hot for them in Nazare. The Ferreira family now moved to Agua Branca, where the boys uncle by marriage, Antonio Matildes, resided. The family was not as well off as it had been, since they had to sell a lot of cattle and land in the process. They were now bordering on living in a desperate situation. Virgulino became such a skilled cangaceiro that he acquired the nickname, Lampiao, because he could fire a lever-action rifle so fast that it created continuous light in the darkness. As things became more precarious in Agua Branca, the family was forced to move again. Jose, his wife, and their youngest son, Joao, decided to travel together, while the other brothers traveled a different course, deciding to meet up in Engenho. Revenge This move would change Lampiao's life forever. His mother, who was in ill health at the beginning of the journey, died upon arrival at Engenho. Jose was incredibly distraught by this. He and Joao planned to leave the next morning when police troops, in search of the Ferreira boys, attacked the house with gunfire. Jose, who was sitting on the porch shucking corn, was shot to death. Joao, who never became a cangaceiro, managed to escape. The brothers heard of their father's death before they arrived and located their brother Joao. Whatever chance they had of entering "mainstream" society ended here. After their mother and father's death, the Ferreira brothers swore vengeance on the police. Up to this point, Lampiao had been a "tame cangaceiro," but this violent act against his father turned him into a hardened criminal. The Ferreiras moved swiftly and successfully into professional banditry. No one can say if mere circumstances led these boys to a criminal life or if it was a combination of circumstances and traits they already had. Whatever the case, all of the skills and talents they had were now geared towards crime and life on the fringe of society. On June 26, 1922, Lampiao and his cangago committed a crime that brought them to the forefront of banditry. They raided the home of a baroness of Agua Branca, a wealthy widow of Joaquim Ant6nio de Siqueira Torres. Since she had many political ties and associations with the police, Lampiao looked at this as a way to exact revenge on those who had killed his father, not to mention the considerable loot that would be involved. Lampiao arrived in Agua Branca with fifty men and easily overtook the feeble baroness. This event got his name into the newspaper, certainly not for the last time. The next event that was a turning point in Lampiao's life was his encounter with Padre Cicero. Padre Cicero was a man that many backlands people, particularly those in Ceara, revered and considered almost a saint. He supposedly performed miracles and healed the sick. Though Lampiao was a criminal, he still held many religious beliefs. By the time he met Padre Cicero in 1925, he already had a good many years of crime behind him. Lampiao prayed several times a day and wore a 26
picture of Padre Cicero on his chest. In fact, when he was killed he was carrying the "Prayer of the Crystal Rock" on him. Not to jump ahead in the story, when Lampiao met Padre Cicero, he was ready to repent and turn over a new leaf. He sent a letter to Padre Cicero requesting a meeting. They met and apparently had a good conversation. But because Padre Cicero was almost more of a politician than a religious figure, he denied having met with Lampiao or knowing him. This devastated Lampiao when he found out about it and he lost all faith in secular things. This betrayal came also at the same time of his brother Levino's death at the hands of the Paraiba police. It is said that Lampiao cut off his brother's head to prevent poi* from knowing Levino's true identity. Lampiao loved his brother dearly and went into sechtsion after his death. 4evino was the first Ferreira brother to die at the hands of the police. Brother Antonio died purely by accident, wrestling with a gun in a hammock. The man who accidentally killed him, Luis Pedro, was terrified that Lampiao was going to kill him. However, when he confessed, Lampiao requested that he take Ant6nio's place. He knew it was an accident and did not hold him accountable for his brother's death. Better death by accident than by a volante (policeman). Lampiao had along career of banditry, lasting until 1938, when police in Angicos killed him in a sneak attack. The reasons his career lasted so long are layered, like the man himself. If Lampiao had been born in another social class, he probably would haVe been a politician, for he not only instilled fear in people, but also admiration. His coiteiros, people offering him shelter were many. In fact, the way police finally got to him was by infiltrating and breaking down his widespread web ofcoiteiros. And, how did he do this? Simple. By making political moves. He would often share his wealth with poor people in various communities, particuliirly during difficult times like a drought. In fact, the New York Times labeled him "Robin Hood-like" in 1931. There were some in Brazil, partitularly Mossor6, who disagreed. Besides being charitable, Lampiao also mahntained loyalty amongst friends and coiteiros by histilling fear in them. Some of the retaliatory deeds he performed showed him to be a coldivicious killerâ€”someone not to be crossed. For example, it was told that Lampiao captured a man who had turned against him, stood him in frontof his wife and six children and gorged his eyes out. He then shot him through the eye sockets. Lampiao and his brigand were also very clever in eluding the volantes. They would do things like use tree branches to clear footprints, put sheepskin on the bottom of shoes, walk backwards over their tracks or bury food skins so vultures wouldn't circle. These kinds of tactics made them elusive and frustrating to police for many years. So, while Lampiao and his gang were dominating the Brazilian serta-o, Al Capone was ruling Chicago. Because Lampiao's terrain and modus operandi were a little more "primitive" he did not receive the recognition in the U.S. that he did in South America. But according to facts and lore, he was the Original Gangster. Sonya Alexander is a freelance writer who resides in Los Angeles and New Orleans. She can be reached at (323) 7695435 or e-mailed at Sonyaa2@excite.com BRAZZIL - MAY 1999
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The Kin of the River I saw the King arrive, half of him floating close to the boat, in the same place where my fishhook once was. I know he looked at me. This I know well. As I know that he stretched himself, he stretched so I could measure him. I closed my eyes wishing:tGo away. The Old Man is tlot dead yet. HELIO POLVORA Uma decisao de vida ou de morte nao se forma de repente: fica no fundo do pensamento, no leito barrento das ideias, como se morta, e urn dia, uma hora, urn instante vem a tona. E vindo a tona, salta como urn peixe na piracema. Assim aconteceu corn o Velho. Urn dia, na sua cabana da boca do rio, perto da Baia Escondida, ele acordou, talvez na cama de varas, talvez de urn cochilo nas sombras do copiar, e descobriu que tinha de fisgar o Rei dos Surubins. A decisao no lhe foi proposta. A decisao nao lhe foi imposta. Espreguicandose no seu despertar, o Velho aceitou-a corn a resignacao do tamandua e da sucuruju: enlacados, asfixiados, sabem que vac) morrer. 0 Velho sabia que ia matar. Matar urn peixe do tamanho de urn homem, quern sabe maior que um homem, urn surubim de cinquenta ou sessenta quilos. 0 seu amigo Surubim que ele se habituara aver na Baia Escondida corn a curiosidade e a docura de quem se acostuma, por exemplo, a companhia de uma mulher. Ou de urn amigo. 0 Velho ja tivera mulheres; agora tinha o Surubim. Sabia dos seus reffigios, ora no canto da agua, embaixo da goiabeira brava, quando fazia so!, ora nos canicos da margem sul, em epocas de frio e chuva. Da canoa ou do barranco o Velho procurava o Surubim sempre que ia pescar pacus, jaüs, carimatas e piraguajuras. HA uma alma viva nos matos e nas Aguas, ele pensava. 0 espirito da Baia Escondida é o Surubim. Homem algum é doido a ponto de querer matar urn espirito, uma alma encantada, urn assombro. Por vezes ele nao precisava atirar frutas na agua para localizar o peixe, nem tocar a gaponga junto da canoa. A gaponga imita o baque de goiabas na Agua. Bastava-lhe, de cima, estender os olhos e divisar nas Aguas rasas o dorso liso. Entao a conversa comecava: 01A, meu velho. o surubim mostrava a cabeca chata. Tudo bem, Velho? As Aguas quase nao se mexem. De longe, sei que a Baia Escondida se parece nesses instantes com urn charco. Urn charco escuro, mais para chumbo do que para prata. Mas daqui, da canoa que eu imobilizo corn o remo a baia me rodeia, é uma superficie de vidro ora fosco ora transparente. Depende do sol que ou se rnostra corn uma luz cegante, tipo facho, ou enfraquece como toco de vela. Me distraio A procura de rachaduras no espelho os peixes que saltam. Circulos se espalham, as gretas no vidro da baia cicatrizam. Segue-se urn silencio agoureiro, silencio pressago. Velho, voce esta bem?, pergunto ao meu reflexo deformado na Agua. Quem vive solitario conversa consigo mesmo. Aqui no meio da baia estou sozinho. Corn certeza o Rei dos Surubins 28 BRAZZIL - MAY 1999
esquenta o dorso entre os canicos da margem. Onde, de que lado? Tenho vontade de pedir-lhe: Venha ca pro meio conversar urn pouco. Cai uma goiaba silvestre. Sim, ele precisava matar e salgar o Rei. S6 que nao sabia ate entdo. A cunhazinha foi quern lhe revelou aquela decisdo já tomada e no entanto escondida no fundo da cabeca. A cunhazinha que aparece pra varrer a cabana, assar pacus no espeto, preparar caldos de mutuns e ler a Biblia. A Biblia preta que elatraz apertada contra os peitos nascentes. Posso ler?, pergunta a cunhazinha, depois de cumprir os afazeres domesticos e enroscar-se a seus pes, no copiar, como uma tentadora cobra de olhos verdes. Ele faz sinal que sim. Naquele dia, ainda manila ou tarde, a cunhAzinha abre a Biblia na Epistola de S. Paulo Apostolo aos Efesios. E le: "Porque o fruto da luz cons iste em toda a bondade, e ern justica, e em verdade." 0 Velho estremece. Estremece porque sabe entdo o que já sabia mas se negava a saber: que ia fisgar o Rei dos Surubins corn urn anzol especial de aco encastoado. Se sentir dor no peito, ponha Isordil embaixo da lingua, recomenda a cunhdzinha. Ndo you esquecer, cunha. E se estiver agoniado, sem ar, mande recado que eu venho logo. Recado por quem, o Velho pergunta. Ambos se calam. 0 Velho vive solitario na cabana da boca do rio. Tibum—cai a goiaba na agua. Pesada, endurecida pelo inverno e avermelhada pelo estio, cal a goiaba. A goiaba. A goiabeira brava soltou-a corn um suspiro de alivio que o vento transmite. A goiaba abre urn furo circular na agua empocada do remanso-mas a agua 6 mais rapida que ela: antes que a goiaba afunde, a agua se fecha, o vidro partido do espelho embacado se recompOe. Tremem os canicos. Eu sei, eu sei. Tremem e pendem como hastes de milho ou de trigo de snbito vergadas pelos grdos. Por elas passa veloz um dorso escuro. 0 Rei tern dorso da largura de um pneumatic°. Ele avanca, fende a agua corn a quilha do focinho. E antes que a goiaba chegue ao fundo, antes que se deposite no fundo lamacento, o Rei colhe-a num mergulho sinuoso. Uma corrida desde os canicos da margem sul ate a margem norte. Simples, direta e determinada. Como se o Rei, ao inves de dormitar, estivesse a espera do justo momento de entrar em cena na Baia Escondida. Os juncos sdo o seu reposteiro, as aguas paradas por tras dos juncos—o seu camarim. Ele espreita, tenso, atento da cabeca a cauda. E quando o instante soa num relogio invisivel, disparado pelo baque da goiaba na face do espelho, ele investe. BRAZZIL - MAY 1999
. Um Qual seta. Qual dardo. Fulminante e certeir. cdo. Aqui, Rei do Rio. Aqui—eu lhe digo num sopro, estalando os dedos. Tenho vontade q e ele, o surubim, em vez de peixe fosse mesm um canzarrdo. Urn peixe-cdo. Pois nAo existe eixeboi? Entdo ele e eu, depois de esquentar o Ipmbo ao sol da Baia Escondida, e depois de espre uicar os membros, sairiamos da agua, trotariamo lado a lado, como dois amigos velhos, para a thinha cabana. E eu Ihe daria um osso corn fiapps de came. Aqui, Rei do Rio. Aqui, bichAo. Mas e e ndo me escuta. Ndo quer conversa. Acabou de omer a goiaba, estaembaixo, quieto—um pedaco rosso de tronco tisnado que as aguas represam n leito da baia. Do copiar, olhos apertados na tentati a de enxergar melhor, o Velho ye a cunhd desaparecer na curva corn urn andar que já comeca a ondularse como o das cobras. Ainda sente o che ro do cabelo, o perfume de umiri. Tern a impres do de : que a menina-mulher continua ali perto, na ata— os cabelos pretos e escorridos sdo os cip ' s, os peitos sdo as tetas tremulas das tnacac que pulam nas arvores, as coxas semelham os tOncos de macia madeira amorenada. Cheirosos 6edros gemeos, balsamos. Ah, mulheres. Os rens passam, elas continuam ern tudo, o Velho pensa em voz alta. E ri. Estou mesmo velho, estou filoso ando. 0 espelho d'agua varia corn as estacies. As luas mudam. Chegam os ventos que de tam o mato mole dos baixios e encompridam as aguas. As lufadas e chuvas obliquas que encre pam a superficie espantam o peixe. Ndo 6 born pe car ern baia de agua doce que mais parece mar pic do. As arvores se desnudam no outono; magras, p ladas, elas espetam os barrancos e mais adi nte se conglomeram em mata fechada—mata es ura do tempo da criacdo do mundo. Vern a tempo ada de sole a cor da baia passa do barro ao cristal, • o bac° ao transparente. Nas semanas de sol é m 's facil distinguir o dorso do Rei do Rio, mesmo a ue ele nada sob a tona. E o surubim mais velho e mais pesado a a Baia Escondida. 0 rio o trouxe, o rio o leva. E e volta ao rio e reaparece sempre no remanso a a baia. Como em busca de aconchego. Eu esquent sol no terreiro da cabana e, nas invernias, levo as mdos ao fogo de lenha, as palmas para baixo, o calor subindo pelos bracos ate o peito. 0 fogo—o meu cobertor. 0 sol—o meu tonic°. Fogo e 4o1 juntos—a suspensdo que expulsa do corpo os maus humores, a bile negra, os catarros, as veias obstruidas. E eu alivio o fole dos pulmOes. Acordou banhado de suor frio. 0 °rack disparado batia em todo o corpo, as p ncadas chegam ate as pontas dos dedos. Pesa elo. 0 Velho sonhara que estava na varanda da casa de Pedro d'Avila, senhor daqueles matos rios e igapos. Bebiam uisque corn urn turista. " mborque", disse Pedro d'Avila. "Faz bem as cor narias, desentope veias." E ele, que preferia ag ardente pura, de alambique, bebia por educacao. Conversavam sobre peixes. "Corre uma lenda na Baia Escondida sobre urn surubim de oito palmos" falou o turista. "Ndo é lenda, é v rdade", disse Pedro d'Avila, no sonho. "0 Velho viu." "Viu e deixou fugir. Que pescador é esse?1, acusou o turista. "Calma, ele pegou o Rei dos Surubins", disse Pedro d'Avila. E bateu palmas.
Veio uma criada. "Pode servir", ordenou Pedro d'Avila. 0 peixe ndo cabia na imensa travessa de prata. Do tamanho de um homem, transportado por dois homens. Comecaram a corner. Garfos e facas atacavam o dorso, os costados, arrancavam pedacos dos quais se desprendia ainda a fumaca do assado. Imatil: a came inchava na boca. Pareciapapel, parecia palha. Sem gosto, sem tempero. 0 velho engulhava. Ndo conseguia engolir. Via espanto e censura nos olhos humanos do surubim. Dobrou-se em dois, vomitou na toalha de linho aquela came que the parecia sair do ventre, do peito, do sexo de um homem—do corpo de um velho amigo. Despertou de folego curto, o peito espetado por dores finas, como se dezenas de punhais o penetrassem. Tateou a mdo em busca do Isordil. Me pus a pensar: se alguem fisgar o Rei do Rio, pode comprar mantimentos para um mes, dois meses, mais roupas e remedios. Quantos quilos ele tern? Quarenta, cinqiienta? Eu calculo quarenta, por baixo. 0 rei dos surubins. Nao ha sonho sem uma realidade anterior ou posterior que lhe esta afeta, pensou o Velho. Ele se lembrava muito bem do encontro. Chegou, tirou o chapeu e se recostou no gradil; chapeu pousado no peito, ouviu mais do que falou. Aquele turista estava a procura de emocOes faceis, se dizia pescador e naturalmente queria impressionar os amigos no trabalho e no clube corn uma foto ampliada em que aparecia sorri dent e ao lado de urn surubim gigantesco por ele arpoado nos igapos. Para os filhos, urn heroi; para a mulher loura que naturalmente ja comecava a desprezar-lhe o ventre flaci do e a bazOfia alcoolica, a possibilidade, quem sabe, de redencao. 0 turista virou-se para ele e perguntou: "Ouvi falar na lenda de um peixe gigantesco nas aguas da Baia Escondida. Uma lenda antiga, ndo e?" Ndo é lenda, é a pura verdade, rebate Pedro d'Avila antes que o Velho fale. 0 Velho viu. Viu e deixou escapar?, o turista insinua a zombaria. Novamente Pedro d'Avila, ocupado em servir doses de uisque corn gelo, se adianta. "0 Rei dos Surubins e o Velho sdo amigos, se conhecem ha anos, se procuram na baia, conversam." "Conversam, e? E sobre o que haveriam de conversar urn homem e um peixe, send° sobre anzol reforcado, isca e captyra," indaga o turista. Pausa. Pedro d'Avila estende um copo ao Velho. "Beba. Faz bem as coronarias, desentope arterias." 0 Velho fica corn o copo namdo a fitar o liquido ambarino corn a mesma fixidez corn que na baia fita o dorso azul e pardo do Surubim, aquela fixidez sonhadora no olhar que divisa a barriga branca do peixe de quatro arrobas, as estrias negras; urn olhar vitreo corn que talvez pretenda hipnotiza-lo e traze-lo a margem e dele 29
fazer urn cdo que the lamba os pes nas incapaz de levantar a vista e abranger as belezas frias manias outonais. 0 Velho prefere nascentes da cunhazinha, sopesar corn o olhar os aguardente destilada, para ele uisque dois arroios liquidos que the brotam do peito, perfumaria de branco. Bebe urn gole aqueles dois olhos d'agua por enquanto secos mas corn urn furtivo jeito receoso. 0 chapeu que afogam a desilusao e fortalecem as fraquezas furado na copa esta pousado agora no da idade. Ah, pensa o Velho, eu preciso mas é de encosto da cadeira que Pedro d'Avila, pajelanca de branco. Feitico de branco, quando dá senhor daqueles horizontes, Ihe certo, cura de vez. empurrou. "Quanto quer pelo Rei dos A gente se acostuma com tudo. Corn urn gato Surubins?", pergunta o turista corn nas cinzas do fogdo, corn um cachorro estirado na aquela facilidade dos que podem porta do casebre, corn uma mulher, corn um peixe comprar tudo, homens e peixes, sairde, no rio. E passa a regular a vida pela companhia soliddo e liberdade. "0 que?", estranhou que tem. o Velho. "Ele pergunta quanto voce Para se descobrir viva, a pessoa olha o cdo, quer para Ihe pescar o Rei", Pedro apalpa a mulher, corm urn dedo no dorso do gato, d'Avila traduz. "Eu ndo pego o olha o peixe. Corn enlevo. Urn reconhecimento Surubim, eu respeito o Surubim", o sereno. Um cego tateia no escuro, encontra a Velho responde. "Quatro arrobas, cadeira, a panela, a parede, a cama, a mulher. Urn vamos supor que de quatro arrobas ", o velho de olhos cansados porem abertos troca corn turista murmura. Parece fazer contas. E urn surubim urn olhar cumplice e ambos povoam propOe: "Dou cinqUenta mil, mas quero a sua soliddo. Urn na agua, sempre na agua, o o peixe salgado, inteiro. Quero o peixe outro em terra e na agua, na canoa que se move ou nu, completo, tat como veio ao mundo, na cabana que é uma canoa encalhada. cresceu e envelheceu na Baia Escon"Nu sal do ventre de minha mde e nu tomarei dida." o Senhor o deu, o Senhor o tirou." A cunhAzinha No outono e sobretudo no inverno faz uma pausa na leitura do Livro de J6. 0 Velho ele prefere os canicos da margem sul. escuta ate mesmo o silencio. A cunhdzinharetoma No estio, se aconchega nas aguas a leitura: "Pereca o dia em que nasci e a noite em sombreadas pelas goiabeiras e limoeiros que se disse: Foi concebido urn homem." "Ele vai bravos. Ali a baia tern uma cor de breu se revoltar contra Deus", disse o Velho. "Nao, tio. diluido. 0 Rei do Rio, imovel, dá JO perde tudo e se humilha cada vez mais." "Ndo impressao de petrificado na gelatina existe homem assim, capaz de suportar todos os escurecida. Urn peixe ancestral. sofrimentos sem se revoltar. JO teria de ser tdo Eu chego na canoa, aproo em terra humilde quanto o pr6prio Deus, se é que Deus 6 firme, subo o barranco. E Id de cima, humilde", o Velho argumenta. "Nao se esqueca andando naponta dos pes, me acercando que Deus tambem é homem e que, atirando tantas da ribanceira quase a pique, aperto os desgracas nos ombros de JO, quis testar a paciencia olhos, vejo o Rei dos Surubins e a humildade dos homens", a cunhdzinha repete petrificado. Um fOssil. Eu rio e the a NOD que ouviu da missiondria. esse aceno urn adeus mudo. Esteja em paz, homem ndo existe", o Velho teima. "Perder tudo amigo. A baia é a sua casa, voce manda o que tern, rebanhos e filhos, amigos e honrarias, e ndo pede. A baia tambem é sua, o cobrir-se de doencas imundas e ainda fazer peixe me diz no meu pensamento. E penitencia de p0 e de cinza? E demais, é demais", minha, sim—mas ate quando? Para o Velho geme. "Tio, Deus recompensou JO, Deus sempre. Ora, para sempre. Ndo existe the devolveu tudo e em dobro", a cunhd adverte. para sempre para urn homem velho A manha vai alta, o sot se pendura no meio do nem para urn peixe do seu tamanho ceu, é um lustre-luzeiro. Corn urn suspiro a descomunal. Um dia desses a morte me cunhdzinha fecha a Biblia e, absorta, coca urn pega. E voce espeta a guelra num anzol joelho. Urn cheiro de pacu recem-assado chega da de aco. 0 Rei dos Surubins ri. Ou sou cozinha. Esse tat de JO, se e que existiu mesmo, eu quem solta esta risada curta e baixa devia ser mais moco do que eu, alerta uma voz de escarnio, de desafio? dentro do Velho. Ainda podia esperar. A voz Cinqiienta mil, o Velho se poe a interior se cala, como a espera de umaconfirmacdo, matutar na cama de varas, no copiar na espera talvez de testemunhar o poder corrosivo boca do rio, debaixo de arvores de suas palavras. De onde vem a voz? Dos esgalhadas onde costuma infernos que trago em mim? Do proprio enroscar-se a sucuruju. Ele Macaxeira que entrou em mim? Jo perdeu bem que precisa de uma os rebanhos, os amigos, a familia—a voz pajelanca. Já tentou encantos recomeca o discurso. Mas nao perdeu a fe. e rezas da rude medicina Seu caso é diferente. Diferente—e por indigena. Tempo perdido, os que?, o Velho quer saber. Diferente, sim: pajes no tern forca para voce nunca teve fe a ndo ser em voce espantar o mat que Ihe estanca mesmo, na sua habilidade para cacar e o ar no peito e the espeta pescar. Perdendo a sande voce perdeu a aquelas dezenas de facas de fe. Perdeu a fe na virilidade. A voz se afiado gume. A tonteira, urn extingue, revira dentro do Velho o veneno coracdo que se agita como das insinuacOes. E verdade, eu perdi mais sagiji, descontrolado, irredo que JO, o Velho admite por fim. Eu ndo quieto e surdo dentro da caixa dos tenho mais salvacdo. Maldito o dia em que nasci. peitos. E que nos seus destemperos o Eu pescava de carreira. Peguei uns pacus deixa largado, sem vontade, urn traste, beiradeando o barranco. Fazia os movimentos urn molambo atirado a um canto, certos, como se alguem de fora, um observador 30
interessado, me houvesse programado: anzol, linha, vara, canoa, rem o e pescador. Ndo exatamente nesta ordem: acOes quase misturadas, quase simultaneas, praticadas corn a precisdo, a indiferenca e a fatalidade dos relogios, tudo no instante certo, a mesma naturalidade da dgua a escorrer. Os pacus no fundo da canoa, vitreos. Eram lascas de vidro ao sot, estilhacos de vidro manchado. Neles eu queria me olhar, queria me ver. Mas era a agua da baia, de uma clareza translircida, que me refletia urn vulto quase dobrado ao meio. Senti uma fisgada no peito. Eu, que havia fisgado pacus e gamelas, acabava de engolir urn anzol de fina ponta de aco que me rasgava as carnes em cima do coracdo. Uma fisgada certeira, fimda, penetrante. Parei. 0 suor brotou. Eu suava, Cu era uma fruta madura de que se espreme o suco. Testa, axilas, peito, palmadas mdos. Um suor antes frio que momo, uma onda que descia da nuca ao baixo-ventre, passando pela linha do espinhaco. Ah, se eu me mexesse o anzol entraria mais nas minhas cames interims que deviam ser tenras e roseas como as cames dos cordeiros; se eu saisse do lugar, au i em cima da canoa, decerto o anzol revolveria o coracdo como uma faca que o criminoso enfia, enfia e revolve na ferida para matar mais depressa. Ah, eu tenso, o coracdo a pulsar na guela, urn tambor a bater nos ouvidos, nas temporas—o medo. E os pulmOes comprimidos, a respiracdo sufocada, uma poderosa golfada de ar que se reduz a urn sopro o sopro corn que se extingue uma vela. A dor da ferida alastrando-se por todo o peito, subindo do fundo para a superficie do corpo, varando a pele, mergulhos e ascensoes, laceracOes, a lamina que corta e recorta. Ignoro quanto tempo suportei aquele anzol a me transfixar, minha mao esquerda segurando a linha, a ma° direita a sustentar o remo fincado, a canoa parada, o sol quente da manhd adquirindo na minha visa° turva a precipitacdo de urn subito crepasculo negro. Tombei sobre as pernas. Corn o desamparo corn que caem goiabas bravas ou limOes na baia. A cunhazinha estremece. 0 olhar do Velho se afasta da boca do rio, desemboca na Baia Escondida, procura o canto sob a goiabeira brava onde a dgua forma um remanso escuro, procura a margem dos canicos, das lianas e canaranas. "Eu ainda tenho o peixe", o Velho grita. A cunhdzinha olha-o corn assombro. "Que peixe, meu tio?" "0 peixe grande, o Rei dos Surubins", o Velho explica em voz mais branda. A cunha se desenrosca dos seus pes, se levanta, é uma cobra sedutora, a cunha, assim de pe, pronta a soltar o bote e enroscar na vitima as dobras eldsticas BRAZZIL - MAY 1999
do seu corpo. "Vou fazer o seu prato, tio. Pacu assado corn farofa d'dgua. 0 tio come, dorme e repousa." Urn despertar agoniado. As pemas parecem travadas. As juntas perras. Envelheci. A dor agora se localiza na nuca, as mandibulas nao querem juntar as duas fileiras de dentes incompletos. Do jeito que estava, sobre os pacus, fin me apalpando, me reencontrando. Estirei as pernas, estirei os bracos, dominei aos poucos aquelas pecas que pareciam inteiras, sem dobradicas. E me sentei. Nos ouvidos que antes recolhiam uma tempestuosa mare interior, quando o anzol me fisgou, eu distinguia agora outros sons. Ouvi, por exemplo, a marola. A marola que ele faz, o Rei do Rio, quando sai do recanto de agua escura ou dos baixios dos canicos para o meio da Baia Escondida. Mas ora essa, nao havia caido goiaba nem jenipapo nem outro fruto silvestre já bicado por passarinhos. E no entanto uma quilha certeira fendia a superficie espelhante. Vi o Rei chegar-se, flutuar pela metade pert° da canoa, no lugar onde antes estivera o meu anzol. Sei que ele me olhou. Sei bem. Como sei que ele se estirou todo, se esticou para que eu o medisse. Medi uns oito palmos de comprimento, coin a vista. E fechei os olhos, desejando: Va embora. 0 Velho ainda nAo morreu. Depois a gente se ve. Depois a gente conversa nesta baia erma. verdade que existe um surubim enorme na Baia Escondida, me perguntou o turista. E, sim senhor. Voce já o viu? 0 Velho nao apenas o viu uma vez, sena° duas vezes, dez vezes, cinquenta vezes. Ele e o Velho conversam como dois bons amigos. Se conhecem e se respeitam, informou Pedro d'Avila. E o senhor proprietario destas matas e rios, incluindo a Baia Escondida. Talvez lhe tenham dado carta regia por servicos pitblicos relevantes. Tern um copo de uisque na ma°, estamos os tres na varanda, eles sentados em cadeiras de vime, eu recostado no gradil, chapel.' no peito. Quantos metros tern o surubim, o turista pergunta. Uns oito, eu Ihe digo. Oito metros? E ver para crer, comentou o turista. 0 Velho ndo mente, o Velho seri°, garantiu Pedro d'Avila. E quanto pesa mesmo?, o turista insistiu na conversa. Uns cinqiienta quilos, talvez mais. Meu Deus, disse o turista. Apenas duas palavras: Meu Deus. Em tom baixo, de reflexao, de espanto. Esvaziaram os copos e Pedro d'Avila me ofereceu uma dose. Beba, faz bem As corondrias, desentope veias, ele disse. Bebi para ser delicado, porque aprecio mesmo é aguardente da pura. Meia hora depois, se tanto, o turista propos: Voce pega ele pra mim. Nao me perguntou; afirmou. Sem me consultar, sem me olhar. Voce pega ele pra mim. BRAZZIL - MAY 1999
Embaracado, corn o rosto lambido por urn estranho rubor, eu fingi estupidez. Pegar quem, pear o que? Ora, o surubim. 0 Rei dos Surubins? A voz do turista tinha um desafio de bebado. Ele se chama Rei dos Surubins, e? 0 Velho deu-lhe este nome, disse Pedro d'Avila, revolvendo o fumo do bocal do cachimbo e acendendo-o corn urn isqueiro. Tambem O chama de Rei do Rio ou Rei das Aguas. Voce pega ele pra mim, insistiu o turista. Eu lhe pago. E levantou-se. 0 olhar sonhador varou o bosque, do outro lado do bosque ficava a Baia Escondida, o surubim. Eu quero aquele peixe. 0 surubim de cinqiienta quilos, sei Ia, o surubim de oito metros, sei Ia. Por ele Cu lhe dou trezentos mil. Salgado, esta certo? A cunhAzinha vem me ver. Ela é quern espolhe os dias de limpeza. Chega no seu passo furovo, o cabelo preto e escorrido cheirando a Oleo de nmiri. Esta ficando dengosa, Cu penso sentado no cppiar, vendo-lhe o andar meio requebrado de reptil. Esta botando corpo e jeito de mulher. Traz a Biblia de capa preta. Uma missionaria indigena,. eu Penso sem conter mais o sorriso de boas-vindas Born dia, tio. Bons olhoste vejam, menina. Esta melhor, tio? Vou vivendo como posso, e o que lhe respond°. 0 sol bate nos fundos e no lado da cabana, o copiar 6 urn poco largo de sombras. Quando os ramos das Arvores rangem como cordas de mastro, as sombras bailam no chAo, trepam nas paredes de barro. Quer urn caldo de mutum?, perganta a cunhAzinha. Estd bem. Sentado estou, sentado permaneco. Garcas pousam nos baixios do rio. Maitacas fazem uma algazarra de endoideder nos catules. Depois eu asso os pacus, aYisa a cunhazinha, Id de dentro, mexendo nas trempes. Chega a hora de ler a Biblia. A cunhAzinha vem para o copiar, senta-se no chao junto dos meus pes inchados e nodosos e enrola a saia entre as coxas. As coxas morenas foram arredondadas e alisadas a capricho por urn mestre torneiro. Mulheres. Devo estar velho, me desabituei a mulheres. Primeiro, a companhia que a principio aceito corn alvoroco, a espera, mais tarde, qbe elas se cansem e vdo embora. Depois, me desdbituei do desejo. 0 que acontece quando o bomem envelhece e perde a forca das virilhas?, me perguntou certa vez urn rapaz corn quem eu pescava gamelas de quinze a vinte quilos cada. Ho em é uma fogueira, arde e crepitana mocidade, s ltando fagulhas e robs de labaredas. 0 tempo cor C, luas e sois se sucedem, o fogo abranda. At ap .t• ar-se, completou o rapaz. Ate virar cinza quent , cinza moma, cinza fria, eu confirmei. A cunha evanta a vista, seus olhos sdo verdes. Escute, eta e diz. "Porque o fruto da luz consiste em oda a bondade..." Quern disse isso? 0 Apostolo . Paulo na Epistola aos Efesios. Bondade, bondad . A luz estd na bondade. Eu estremeco. A luz d ma, a graca divina, a luz da salvacdo. A cunhAzi ha nao sabe que eu you matar. Matar friame te, de madrugada. Sem desconfiar do meu intento, a cun Azinha parte. Seus cabelos parecem ficar para rds, na curva do rio, confundidos corn os coni bós e outros cipos. Os peitos dacunhAzinha estr mecem agora, rosados, na barriga dos bugios da oresta. 0 sol da tarde bate no copiar, desfalec do sol, descepelas minhas pemas de veias grossas, lumina os pes inchados. Ao entardecer eu you a boca do rio • dou o
meu aviso ao surubim do tamanho de um homem: Cuidado, amigo. Eu you te matar. Eu preciso da tua came em salmoura prapagar a pajelanca dos brancos da cidade grande. 0 vidro de formol e a seringa, objetos que o turista the deu para injetar salmoura na came do peixe, est-do na mochila de palha. Acocorado na cozinha, o Velho tempera o anzol de aco ern banha de jail. 0 fogo estala, a banha salta e morde-lhe a cara tomada pela barba rala. Anzol de aco especial, dois grossos fios trancados. 0 Velho olha corn desgosto a vara de bambu-jardim corn que fisga pacus, carimatas e piraguajuras. Grossa porem fraca, o Rei dos Surubins pode quebrdla corn urn simples tranco de sua cabeca achatada. Vai pescar, tio?, pergunta a cunhazinha. Vou pegar o Rei dos Surubins. O Rei dos Surubins é uma velha lenda do meu povo. NA° é lenda, é verdade verdadeira. Eu vi corn estes olhos que agora te veem. Vi muitas vezes, cunhA. A cunhazinha se prepara para moquear a paca. Frutos despencam a intervalos na Baia Escondida. VA embora, grita o Velho de cima do barranco. O peixe parece petrificado em camadas de agua solidificada. Fuja, aconselha o Velho. Fuja rio acima. Fuja que ainda é tempo. O Velho tern na mac) o anzol volteado e temperado em banha de jan. Aquele mesmo anzol que costuma fincar-se no seu peito e rasgar-lhe as entranhas. Entrou de canoa no igapo, cortou uma vara de canduru, a mais tensa e flexivel que encontrou. Tres metros e meio. 0 branco do canduru é madeira sem a menor serventia. Desbastado, o canduru revela um tesouro—o seu coracAo secreto, nude° duro que nem pedra, yermelho dmago incorruptivel. Agora faltava a linha. Fuja, meu velho. Va embora da Baia Escondida. Va corner goiabas rio acima. Alguma vez euja the fiz algum pedido? Pois entao faca o favor de me escutar. E por seu bem, é pelo meu bem. A linha tinha de ser nailon 160. 0 Velho fez a ponteira corn cordinha de ndilon de seda. Para urn peixe especial—vara, anzol e linha especiais. E urn pescador especial, o Velho da Baia Escondida. Vou matar friamente. Vou matar deliberadamente. Estou calmo. Agora que comeco a Or minha decisao em pratica, agora que resolvi sobreviver, me sinto mais forte, um sangue mais fluido corre desatado nas veias. Mais moco, dez anos mais moco. 31
,-STINIM Fecha a cabana, pendura no ombro a mochila corn o sal, o formol e a seringa, na mao direita vai a vara de pesca corn a linha e o anzol. A canoa o espera na boca do rio. Insensivel a picadas, atravessa uma nuvem de meruins, piuns, mosquitos e mutucas. Leva urn tororo de frutas no anzol. Manha cedo, o dia acabou de romper. 0 Velho sai da curva da picada e avista a cunhazinha no ancoradouro. Vou sozinho, cunha. Ela nao responde. E trabalho pra homem, cunha. Eu sei. Me espere que eu volto. Nao, diz a cunhazinha. Nesse caso, adeus. Tenho uma coisa pra voce, tio. 0 que 6? E coisa so pra ver, uma coisa pra mostrar. Pois mostre logo. A cunhazinha baixa os olhos, pega o vestido nas pontas e puxa-o pela cabega. Continua de olhos baixos. 0 frio da manha Ihe percorre o corpo corn a pungencia de labaredas vorazes. A cunhazinha vira-se de costas, oferece de novo a frente do seu corpo nu. Do peito parecem manar dois olhos d'dgua,
ape's o ligeiro declive do ventre comega a enseada das virilhas, que, fosse ela moga branca, estaria recoberta por umarala canarana, aqui e ali cortada por moitas de tajas. Me espere que eu volto, o Velho pede. No, diz a cunha. Um bando de macucaguds observa os dois vultos imoveis. 0 Velho entra afinal na canoa e desaparece no rio. Culpa tido tenho, eu mandei voce fugir e voce teimou em ficar. Vou para o meio, you manobrar a canoa, o remo e a linha como so eu sei fazer, sou mestre nisso, voce sabe, quanto mais velho e pesado voce flea mais Ihe cresce a gula, posso muito bem imitar o baque de uma goiaba brava na dgua, afinal para que pensa que eu trouxe este toroth? Voce nao me engana, sei que estd entre os canigos, assim que ouvir o tibum voce cone por entre o capinzal, forma uma marola, seus olhos saltados se recusam a ver qualquer coisa que nao seja a isca, voce estd cego, engoliu o anzol de ago que eu proprio temperei em banha de jail, o anzol vai Ihe rasgar a guelra, pode resistir, pode sacudir a sua cabega chata e arrastar a canoa, temos tempo, eu tenho o dia inteiro, a cunha corn certeza me espera, ela se mostrou toda para mime me deixou corn urn bolo na garganta, acha que estou no fim e quer me dar o presente que tern, puxe A vontade, o bolo me corta a respiragao, sera que you ter outro ataque, maldito o dia em que nasci, o anzol de ago esta fincado na sua came ou na minha?, a canoa
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dispara, desse jeito eu perco o equilibrio, parece que eu tenho urn bolo de comida seca entalado na garganta, este suor o JO da Biblia verteu muitas vezes nos seus padecimentos, ah, a nuca, o peito, o maxilar endurecido, a cunha me espera, peixe desgragado de quatro arrobas, voce é urn monstro das profundezas, vá a gente adivinhar os caprichos de uma mulher, voce me ptie de joelhos no fundo da canoa, eu um vassalo do Rei dos Surubins, voce existe mesmo ou é lenda?, tanto vento na baia e meus pulmOes ardem, a caixa dos peitos vai estourar, adeus Rei Meu Senhor dos Surubins...fitja corn o anzol na boca...vd viver no rio o resto dos seus dias...eu
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BMA FORMOSA The fishing village of Baia Formosa has lovely beaches, a couple of cheap pousadas and little tourism. Backed by dunes, Baia Formosa s eeps from the end ofthe village (on the southern part of the bay) to an isolated point to he north. Parts of the beach have dark volcanic rocks eroded into weird shapes by t e surf. The beaches further south of town are spectacular and usually des,erted. Th e's a couple of decent point breaks for surfers. BARRA DO CUNHAU Barra do Cunha-Cr, 10 km from C nguaretama on a dirt track, is a hybrid fishing village/resort town. You can camp in he coconut grove. There are four buses a week, on Monday, Thursday, Friday and S turday at 3.30 pm from Natal. TIBAU DO SUL The small and rocky beaches of T bail do Sul—Praia da Madeira, Praia da Cancela and Praia da Pipa—are said to be a ong the finest in Rio Grande de Norte. From Goaininha, 75 km south of Natal on R-101, there's a 20-km paved road to the coast. Praia da Pipa Pipa is the main attraction of Tibau do Su and is developing into a small, laid-back resort with several pousadas, a hostel and some goo restaurants and bars. The main beach is lovely, but it can get crowded on weekends. If you k p walking south of town, there are plenty more isolated beaches. Apart from beaches, there's e recentlY established Santuario Ecologic°, one km north of town, a flora and fauna reserve on 4 hectares, which is trying to recreate the natural environment of the area. SENADOR GEORGINO ALVINO TO BUZIOS This stretch of coast has some of the best aches in Rio Grande do Norte, a state which has so many great beaches it's difficult to find o e that's not worth raving about. Buzios is a beach town 40 km south of Na al. The beach is nice, but the area is a bit dry and barren. A couple of hotels here cater to week nders. The Varandas de Bazios (239-2121) has large chalets on the beach for $35/50 for singles/doubles. Resist the temptation to get off the bus at Buzios. After Bilzios, the road crosses a stream and follows the coast— there's nothing here but small waves crashing against the beach, white dunes, coconut palms, uncut jungle and pretty little farms. The place is idyllic. PIRANGI DO SUL & PIRANGI DO NORTE Twel ye km north of Buzios, the pretty twin beach towns of Pirangi do Sul and Pirangi do Norte are split by a river Which weaves through palm-crested dunes on its way to th e ocean. It's a quiet area where wealthy folk from Natal ha e put up their beach bungalows. There are a few pousadas in the palm grove where the road crosses the river. The PousadaEsquinadoSo1(238-2078) is a friendly place with apartamentos at $15/28 for singles/doubles. Nearby s the world's largest cashew tree—its rambling Rio Grande do Norte. Here's a state sprawl o branches is over half a km in circumference, and which has so many great beaches it's still gro ing! difficult to find one that's not worth BAJREIRA DO INFERNO raving about. The state also boasts a few Twe ty km from Natal is Barreira do Inferno (Hell's good brands of cachaca. Try a shot of Gate), the Brazilian Air Force (FAB) rocket base. The base Olbo d'Agua, Murim or Caranguejo with a is open to visitors on Wednesday. The tour of the base includes a half-hour talk with slides and films. Intending bite of cashew fruit visitors inust call (222-1638, ext 202 (after 1.30 pm), at least on(F day in advance to reserve a place on the tour. PONTA NEGRA PontaNegra is 14 km south ofNatal. The 'each is nearly three km in length and full of hotels, pousadas, restaurants, barracas and sailboats—at weekends the place really jumps. The water is calm towards the end of the bay and safe or weak swimmers. At the far end of the beach is a monstrous sand dune. Its face is inclined 500 and drops straight into the sea. Bordered by jungle green, the slope is perfect for sand sk ing, but there are moves to close it off to save the dune from ending up in the sea. Evening activities consist of beer drink ng and snacking at the barracas, and gazing for shooting stars and straying rockets. NATAL Natal, the capital of Rio Grande do No e, is a clean, bright city which is being developed at top speed into the beach capital of the Northeast. There is very little to see of cultural or historical interest: the main attr ctions are beaches, buggy rides, and nightlife. History In 1535, a Portuguese armada 1 ft Recife for the falls of the Rio Ceara-Mirim (12 km north of present-day Natal) to drive out the French, who had set up trading posts in the area. Although the territory iad been proclaimed by King Joao III of Portugal in 1534 as one of the 12 coastal captaincies, the Portuguese then abandoned the area for 6 years, until the French again b gan to use it as a base for attacks on the south. The Portuguese organized a huge flotil a from Paraiba and Pernambuco, which met at the mouth of the Rio Potenji on Christmas Day 1597 to battle the French. On 6 January, the day of Os R is Magos (The Three Wise Kings), the Portuguese began to work on the fortress, w ich they used as their base in the war against the French. The Brazilian coastline wa hotly contested, and in 1633 the fortress was taken by the Dutch, who rebuilt it in ston , but retained the five-point star shape. First under
Sea Lovers' Heaven
BRAZZIL - MAY , 999
Dutch and thereafter Portuguese occupation. Natal grew from the fortress, which was named the Forte dos Reis Magos. With the construction ofa railway and a port, Natal continued to develop as a small and relatively unimportant city until WW II. Recognizing Natal's strategic location on the eastern bulge of Brazil, Gettilio Vargas and Franklin D Roosevelt decided to turn the sleepy city into the Allied military base for operations in North Africa. Orientation Natal is on a peninsula flanked to the north by the Rio Potenji and the south by Atlantic reefs and beaches. The peninsula tapers, ending at the Forte dos Reis Magos, the oldest part of the city. The city center, Cidade Alta, was developed around the river port, which was built in 1892. Dangers & Annoyances The dramatic increase in visitors to the beaches has attracted petty thieves. There's no cause for paranoia, but you should take the usual precautions. Things to See The principal non-beach attractions of Natal are the pentagonal Forte dos Reis Magos (open from 7 am to 5 pm Tuesday to Sunday) at the tip of the peninsula, and the Museu de Camara Cascudo, at Avenida Hermes da Fonseca 1400. This museum of folklore and anthropology features a collection of Amazon Indian artifacts. It's open on Monday from Ito 4 pm and Tuesday to Saturday from 8 am to 4 pm. The Museu Café Filho, at Rua da Conceicao 601, will probably only appeal to history buffs. This museum is housed in the mansion that once belonged to Joao Café Filho, and now displays his personal effects. It's open from 8 am to 5 pm Tuesday to Saturday. In 1954, the military presented President Getalio Vargas with an ultimatum to resign from the presidency, whereupon Vargas left a patriotic note and then shot himself through the heart. Café Filho, who had been vice president, assumed the presidency, and muddled through political crises until he suffered a major heart attack in 1955 and gave way to Carlos Luz. Although Café Filho recovered quickly and tried hard to be reinstated, he'd missed his turn on the political carousel and had to be content with his brief moment of fame as the first person from the state of Rio Grande do Norte to become president. Beaches Natal's city beaches—Praia do Meio, Praia dos Artistas, Praia da Areia Preta, Praia do Pinto and Praia Mae Lulu-stretch well over nine km, from the fort to the Farol de Mae Luiza lighthouse. These are mostly city beaches, with bars, nightlife and big surf. The ones closest to the fort are rocky and closed in by an offshore reef. Buggy Rides Beach-buggy excursions are offered by a host of bugueiros (buggy drivers), mostly Brazilian-built vehicles with brand names such as Bird, Baby, Praya or Malibuggy. An excursion lasting from 8 am to 4 pm costs around $17 per person with four passengers in the buggy (a tight squeeze). The price includes transport and driver/guide, but excludes food and ferry fees (minimal). Take sunscreen, a tight-fitting hat and swimwear; and keep all photo gear in a bag as protection from sand. Bugueiros seem to be a crazy bunch of wannabe racing drivers intent on demonstrating a variety of buggy tricks and spins on the dunes. You may be treated to some or all of the following: Wall-of-Death, Devil's Cauldron, Vertical Descent, Roller-Coaster and something best described as Racing the Incoming Tide—if you lose, the surf claims the buggy and the passengers scramble for high ground. There are pirate bugueiros and accredited bugueiros, and the latter are represented by Associacao de Bugueiros (2252077). You can usually arrange a deal through your hotel, and youth hostels may be able to negotiate a discount. International Service (211-4092) and Affitasi (221-5385) seemed reliable outfits. Although Brazilians and foreigners clearly have a fun time zooming around in buggies, the more remote beaches don't 34
exactly benefit from the commotion and erosion. The coastline close to Natal has been claimed by bugueiros, but in years to come there may be a move to protect beaches further afield from their impact. NORTH OF NATAL The beaches immediately north of Natal, where sand dunes plunge into the surf, are beautiful, but not quite as spectacular as the southern beaches. Praia Redinba Twenty-five -km by road north of Natal, Praia Redinha features 40-meter-high dunes, good view of Natal, lots of bars and capongas (freshwater lagoons). - • 4,11-tit Genipabu Five km fuller north is Genipabu, where golden sand dunes, palm treeS and dune buggies converge on a beach lined with numerous barracas, pousadas and restaurants. It's a popular, crowded place where you can swim, toboggan down the dunes, or take a half-hour jangada trip ($3 per person). Praia Jacuma to Praia Maxaranguape A coastal road is being built which will head north from Genipabu towards praias Jacuma, Muriü, Prainha and Maxaranguape. These are little, palm-graced bay beaches separated from one another by rivers and hills. The beaches are readily accessible, but off the beaten track. Muriii and Prainha (still undeveloped) are especially nice. Touros Eighty-three 1bn north of Natal is Touros, a fishing village with several beaches, bars and a couple of cheap pousadas. It's a convenient base for exploring isolated beaches to the north, such as Sao Mig41 do Gostoso and Praia do Cajueiro. AREIA BRANCA The town of Areia Branca, 50 km from Mossoro and BR304, is a small fishing port. It's possible to visit the supermodern salt docks 25 km away, but only with advance notice. The hotel Areia Branca Praia (332-2344) is right on Upanema, the town beach. Apartamentos start at around $12/18 for singles/doutileS. MOSSORO To break the trip between Natal and Fortaleza, you might want to visit this town on the fringe of the serttio. About four km out of town there are hot springs at the Hotel Termas de Mossoro. The hotel is expensive, but you may be able to pay a small fee just to use the springs. The Museu HistOrico, at Praca Antonio Gomes 514, has all sorts of personal effects, weapons and documents connected with Lampiao and his bandit colleagues, who attacked MossorO in 1924. It's open from 8 am to 8 pm Tuesday to Friday; from 8 to 11 am and 1 tO 5 pm on Saturday; and from 8 to 11 am on Sunday. TIBAti Tibaa, 25 km frOm BR-304, is a bustling resort beach on the border between and Rio Grande do Norte. Truck caravans roll past the surf into Ceara, saving a few km and giving the place a frontier-town flavor. Locals sell bottles filled with sand in many different colOrs that they collect from the beach. Four km Weston the coast you come to a river and a friendly outdoor bar. The river's current is swift, but nevertheless it's a popular bathing Excerpts from Brcri/ spot. Two men pull you and A Travel Survival Kit your vehicle across on a low3rd edition, tech car ferry—a. wooden by Andrew Draffen, platform and a piece of rope pegged to both banks. Chris McAsey, Between ferry duty, the float Leonardo Pinheiro. serves as a diving platform for and Robyn Jones. the bathers. For more information Follow the caravan of trucks. The coast from Tibaa call Lonely Planet: (Rio Grande do Norte) to (800) 275-8555. Ibicuitaba (Ceara) can be Copyright 1996 Lonely negotiated at low tide. From Planet Publications. Ibicuitaba, the road is paved again. Used by permission. BRAZZIL - MAY 1999
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The stadium flood lighting has come on and its only 20 minutes to start. The samba drums are playing, and then the flares and smoke bombs start. You cannot even see the other side of the ground there is so much smoke and red flares burning and the drums, firecrackers and-singing are just so loud. The Flamengo crowd chants, "M-en-g-o, M-e-n-g-o, M-e-n-g-o". JOHN MILLER Bus adventures continued Selling on the buses seems to be at an all-time high of late. The vendors have been really working the buses hard. But how many Mars bars, Chokitos, toe nail clippers, pens, caramels, leather belts, fuzzy things with batteries inside that go ding dong can you buy. I already have four toe nail clippers and I'm never short ofcaramels and Chokitos in the refrigerator. Gees, the words product diversification ring in my ears; I have to get these guys something different to sell. The other day I was going into the city, and I am sitting by the open window, and another bus pulls up alongside extremely close. How close? Well the guy sitting in the window seat on the next bus obviously had garlic and fish for lunch, I could smell it. Well maybe it was not that close, the fish and garlic here can be a pretty strong smell at times. One thing I am yet to master is the "departing the bus with grace and dignity" . Say I am at the back of the bus, hopefully sitting down, but sometimes standing, briefcase, suit and tie. So as I approach my departure point, I press the buzzer to request the bus to stop, and stand up if I have not done so already. Now just when you think the bus is not going to stop and go straight past your destination, the driver locks up all four wheels, air brakes hiss, smoke and rubber everywhere and the G forces build up like a NASA flight simulator.
I am not one to boast, but I think I have an average sense of balance and coordination. However when the bus starts to enact a scene out ofSpeed, the movie, I usually end up flying down the aisle in the horizontal spear tackle position. My brief case is flying out behind me, collecting the head of every second passenger, and my body impales the front five passengers in the driver's front window. I am reduced to apologizing and repeatedly saying "Desculpe, estupido e desajeitado Argentino" (Sorry, stupid and clumsy Argentinean) to every passenger and driver on board, and as I depart the bus, I turn, smile and offer a friendly wave to all as the bus pulls away. There are just the most horrid scowls from the passengers on board, people holding their heads in pain, some pointing fingers at me and pulling triggers, others are shouting various terms of abuse and less flattering terms of endearment. (PS: If there are any Argentineans reading this article, feel free to impersonate and blame an Australian next time you are caught in an embarrassing situation.) The most embarrassing part of this is watching elderly Cariocas undertake this same assignment with the grace and dignity of a ballerina. Beach Culture Part 3 OK, so I finished up on the beach last month about midday. So now we approach the afternoon, and it really starts to swing, the selling, the bathing, the tanning, the noise, it's all happening. The only change is the drinking, eating and selling picks up steam, and there is just more of everything than in the morning. So I will describe some more specific activities to complete the daytime picture. Sunday Sunday is the most important beach day, as IA of the main Avenue along the beachfront of Copacabana & Ipanema is closed to cars, and you can hoof it, roller blade it, bike it without the dreaded car. And the Carioca comes down in droves on Sunday, and really makes a day of it. It is very busy (about 150-200,000 people on the beaches between Leme & Leblon on a typically good day), and the Carioca is very happy, unless of course it is raining on a Sunday, the ultimate bummer. Late in the afternoon, when the shadows start to form on the beach, the Cariocas hit the bar huts & botecos for a cocolado, caipirinha, and cerveja. The bicycle track along the beachfront is a wonderful piece of town planning and is one of the best ways to get around the Zona Sul area. The bike track will take you from Leblon to Copacabana and Leme, then on to Botafogo, Flamengo, Gloria, and into Centro, or alternatively through Lagoa and Gavea. The only problem is people (usually tourists) who walk off the footpath or median strip straight into the bicycle track without looking. I had one Tour de France type spill the other week because of this, and had some 5-10 cm nasty scabby wounds on my elbows and knees for the next three weeks. The tourist got off reasonably lightly fortunately, but please, if you are coming here, remember to look left, right left when you walk across the bicycle track. Locations One of the favorite beach locations is in front of the Ipanema Beach Club, a very historical Carioca club like those found at Palm Beach. The Ipanema Beach Club is tres chic, very exclusive, prime real estate, with tennis courts, clubhouse, pool, restaurant, and reputed high social climbing value. In front of Ipanema Beach Club is where many of the Carioca teenagers hang out; it reminded me of a giant penguin colony in the Antarctica. The noise from all the teenagers jabbering away with the constant boing boing of the fresco ball is just enthralling. Not much room to walk around here except down by the surf, as every square meter is covered by Cariocas. It is like a scene out of some old Elvis Presley movie with Annette Funicelli and Frankie >7 Vallie and the 4 Seasons. "Sherrie, Sherrie baby Maconha Maconha (marijuana) is very popular on the beach, and BRAZZIL - MAY 1999
if you get the right on shore breeze and downwind, can be a very interesting way to relax on the beach. Teenagers near the Post 9 (a surf life guard patrol point and shower block) are the most active in this area, and the chill out factor hear is very cool. The local beach police patrol seems pretty relaxed about this. Plane Advertising Four or five planes buzz up and down the beach on Saturday and Sunday with an advertising slogan towed behind. This costs $600 for the sign, and $150 for two passes of the Zona Sul and Niteroi areas. The plane flies at just above stalling speed to maximize advertising time in front of consumer. When the winds are calm, you will also see ultra light aircraft and parachutists with an engines strapped to his back sailing the winds off Ipanema. Milkman One of the activities that takes place each morning between 6:00-7:00 AM is the milk delivery to the beach. The milk is delivered by truck to all the beach huts, and stored in the refrigerator. In Brazil, the milk for the beach does not come from a cow, but actually grows on trees. A bunch of milk is delivered to each beach hut/kiosk in containers that contain approximately 500 ml of milk. Only one flavor, coconut. The best part is you get to eat the container. The kiosk shop vendor opens the rnitk container with a machete. First he cuts a flat bottom to the coconut so you can rest it on the table. Then he cuts the top off with about four clean swipes of the machete. Then he insertstwo straws and away you go to heaven. When you have finished, you take the container back to the vendor, he cuts a piece of the outer green covering off to act as a "spoon", then splits the green outer husk and brown inner husk in half with two mighty swipes of the machete. Then you scoop the coconut skin out with the "spoon", and its back to heaven. Body Surfing Ipanema is not really suited to body surfing except at Arpoador. We are lucky in Sydney with the shape of waves and sand bars that the waves break reasonably gently and slowly, and you can get a good ride just by body surfing, even without flippers. Ipanema beach waves just come out of the deep and break very quickly on the sand bar about 40-50 meters out. The waves break left and right very rapidly, many are just straight dumpers. I have given up trying to ride these waves, as I am tired of being churned up in the Atlantic washing machine. Sometimes after a couple of tumbles off a 1.5-2.0 wave, you get out of the ocean, and for the next 12 hours your nose empties the Atlantic ocean out at the most inconvenient time, usually onto your dinner plate or in your beer. If you get out the back of the break, then it is a very exhilarating swim and not at all crowded. At the same time, Ipanema is ideal for boogie boards, as you can get enough speed up to stay in front of the breaking tube. It is a short but very fast and intense beach break, and I have never seen a beach that so consistently produces glassy waves of 1.5-2.0 meters in size, day in day out. Bathing costumes - Homens (Men) Only two bathing suit attires suitable: black Speedos for the Carioca that is well endowed, and black board-shorts with a stripe down the side and two metal press studs with Velcro fly, for guys like me that are not so well endowed. Brand names are important. Quicksilver and Mambo are two of the most popular. The male Carioca rarely sits on a towel, always on the sand or a chair. Females usually prefer chairs, but the sarong (canga) is quite popular as well. A staple food item on the beach is biscoitos, a type of biscuit, but more like eating fresh air with saltine crumbs. These cost $1 for a packet of about 15 rings of "prawn cracker" texture biscuit. They come in two types, sweet and salty although! cannot tell the difference. Do not attempt to talk and eat these biscuits at the same time as you end up with biscoitos all over your chest, and very hard to get out of chest hair when mixed with BRAZZIL - MAY 1999
coconut suntan cream. ey go well with an icy cold beer though, and it is like McDonald's; ou could eat 50 packets of these and still feel hungry. Lo al expressions and etiquette. Brazil has some ice turns of phrases. For example, a rough translation in English or "This is not my Beach," means you are not enjoying the current e perience. Or "Let's get back to the cold cow" means let us return ts the facts or core subject. There are many expressions that do n â€˘ translate exactly and I am sure vice versa. Kissing on cheeks s obligatory between men and women, women and women, not men d men. Right first, then left (then right again in Sao Paulo). Cheek kis ing is pre and post social contact etiquette (and also very important in coitus-interruptus). Telerj My trials and tribu ations with the local Telerj have been continuing, but nearly over. A out eight weeks ago, I bought a new answering machine and telephon ($500), a Panasonic cordless.! bought this from a Telerj retail outlet i Rio Sul shopping center. Two weeks after I bought it the phone w nt dead. So Marta returned the phone to get it honiired under warran . Four weeks later, they are still umming and arring about whether i is real fault or misuse and so we are surviving with a standard teleph ne but with no answering machine. I have left Marta ti run with this problem and she has used all her charm and Latin temp r to get Telerj to honor the warranty. I feel for her as she is equally strated and she has been to see them at least once per week. It is the sam old bullshit every time. I call in to the Rio Sul Telerj Office and expl in that they are hurting me a great deal. I do this politely, and get the ual call back in one week for an answer. One week later the same t ing. So I ask a few harder questions next time. The Telerj manag r is a nice guy, but just a wimp and his problem is that the Panasonic d stribUtor has him over a barrel, he has no power as a local retail Telerj onager. He can do nothing, so I think Panasonic are just playing hard b 11. I decide after seven weeks it is time to show my frustration and ca in again at the Telerj retail outlet. This time I have a letter saying ho frustrated lam and dissatisfied with Panasonic, and that threat of lega action is under way (I know this is a poor bluff but at least I am sendi g the message). I give this to the T lerj manager and then say I will be back in one week, but when! com back I want to demonstrate what! will do if the phone is not replaced. o I then walk up to the first customer in the shop and explain to her th I will pay her $10 to get the same phone in the shop around the corn r for the same price. We go and get the same phone about 100 met rs away in a non-Telerj privately owned shop. She thanks me profus ly and gives me my $10 back after she hears my horror story. I come back and t e manager is looking at me and says, "You are some crazy gringo". I ay "Yes I am, and to prove to you how crazy, I am going to stand ou ide the shop and tell everyone in the shopping mall in my loudest vo cc how dissatisfied I am as a customer". This I do for about 20 sec() ds, when the guy is practically on his knees begging me to shut u.. He says "Please do not break the shop, please do not break the sho ". I start winding my index finger against my temple and say "Eu s u rnaluco" (I am crazy). 24 hours later I h ve a new replacement phone. (Telerj tried one more trick on me wit a faulty phone adapter that I had to replace as well. I just walked i the shop with a can of neon spray paint and pretended to paint th place when the manager raced up with a new adapter. How did he k ow the adapter was broken when I had not even shown it to him?). A r all was working properly Marta made a point of going to see the g and giving him another earful (not pleasant, I have been on the recei ing end ofthis once or twice and it is ferocious). In the end, I kind of fe sorry for the manager, it really was not his fault, and it could happen i any country, but gees, this type of thing really tests your patience. The Bathroom If there is one thi g that gets up my nose more than anything else in the bathroom, it is hen your spouse uses your razor to shave her legs and armpits. It's just he pits. And why do they always take your last fresh blade. Marta th nks this is fun, a way of sharing or something intimate. I don't, just â€˘ lunt razors to shave with and consequent shaving rash and cuts. I will n er understand this half of the population.! don't think any of us men ave. Fla i engo versus Vasco - MaracanA 37
Marta gave me a nice present the other day. She bought two tickets to the football at Maracana: Flamengo versus Vasco. This was an important near end of season game. Flamengo were on top and very successful. Vasco needed to win to stay in the hint for the finals as such. Flamengo has reputedly the largest supporter base of any football club in the world. You soccer experts out there can argue over this, I am only relaying to you what has been told to me by many Brazilians, and not just Flamengo supporters. This is however the largest soccer playing nation on earth so it is not surprising. When I asked some Brazilians how many Flamengo supporters there were, 3-4,000,000 supporters in Rio de Janeiro alone suggested as a reasonable estimate, maybe treble this in Brazil. Flamengo supporters just dominate Rio de Janeiro, the club has been successful. It was established over 100 years old, from a support base in the old and very beautiful suburb ofthe same name. Similar football clubs (Botafogo, America, Vasco, Fluminense for example) also sprang up from suburbs and ethnic groups in Rio de Janeiro (for example the Vasco football club comes from the explorer Vasco da Gama and was formed from a base of Portuguese soccer players). Flamengo play in red and black horizontal stripes (sponsored by Petrobras), and Vasco play in white with a single black stripe. Marta is a Flamengo addict, and a member of the club, which is now based in Leblon. We arrive by bus at about 4:15 PM on a Sunday afternoon. It has rained the last few days; the crowd is not expected to be too big, as the weather is relatively cold for Rio de Janeiro. Lots of over exuberant youths running around, the usual food stalls (camelos) of all types (the most popular is the corncobs, kebabs and sausages, and manioc). Some of the Flamengo supporters are carrying Vasco coffins to bury the opposition supporters. Lots of face painting, banners, flags, jumpers, beanies, etc. Two guys dressed as Batman and Robin with Flamengo jumpers draw a crowd of photographers. We ask for directions from one of the stadium attendant's as to which direction to head to the closest entrance to our seats, and get told to head off in a clockwise direction. Twenty minutes later we have circumnavigated 95% of the stadium (1 mile) to find our entrance (I guess the guy who gave us directions was keen to see all the people moving in the same direction). Lots of young kids trying to scale the fences and get in for free. They are treated pretty reasonably when they do make it over by the police, and summarily ejected. ' We head inside and the Vasco supporters on the next level of the stadium are throwing Coca-Cola, ice and some bodily fluids (yuk) at some other Flamengo supporters who arrived at the same time as us. This is going to be one of those nights I can feel. The fever is here like any great Coliseum, the smell of courage, victory, defeat, blood, sweat, passion, drama. The stadium is electric. The noise from inside is already very loud. We walk around another 50 meters and then up a ramp and into the inside stadium itself. Finally we walk out and I can see the crowd and it's Oh boy, I am glad I am not a Vasco supporter. There must be at least 20 Flamengo supporters for every Vasco supporter. It is just a sea ofred and black everywhere. BANG, what was that Firecracker's. VERY LOUD firecracker's. Inside we find some seats, get a drink, peanuts and a corncob. Football spectators are the same all over the world. This is like being at Wembley, the MCG, or Wrigley Field, one of life's great live sporting experiences. I am surrounded by a red and black army, there is tension, drama, anticipation, adrenaline. The stadium flood lighting has come on and its only 20 minutes to start. The samba drums are playing, and then the flares and smoke bombs start. You cannot even see the other side of the ground there is so much smoke and red flares burning and the drums, firecrackers and singing are just so loud. The Flamengo crowd chants "M-e-n-g-o, Me-n-g-o, M-e-n-g-o, Meeeeeeennnnnnnnnnnnnngggggggg00000, Mmmmmmmmmmeeeeeeeeeeeennnnnnnnggggggggggg000000", the Mexican waves start, and the players come onto the field. The crowd just goes ape shit, and starts belting cans and anything else that will make a noise against the metal seats. The noise is just unbelievable. The passion is here in a big way. They call out the names of the players, and some of the players blow kisses to the crowd. They have a special place for the goalie; this guy works the crowd well (he is also very good at his job). The media is here in droves, cameras, video, and goal-cam. 38
There must be at least 4 helicopters overhead with searchlights fanning the crowd. It is awesome. Apocalypse Now! As you would expect, there are a number of constabulary here as wall to ensure things go smoothly, but no more than what would be at a big game in Melbourne (well maybe a few more, and carrying a bit more firepower). I notice that no one sits on seats that are in a direct line of fire from overhead seats. OK the game kicks off, Flamengo to our end of the stadium. Marta & I are in the bottom left corner of the football pitch, about 50 meters back from the playing field. Brazilians say the rest of the world plays soccer, and they play football. They attack, take risks, and are very skillful. One guy on the wing for Flamengo is just killing his opposition player (the rest of Flamengo are playing badly, too casual, not chasing, lazy). About fifteen minutes into the game the Flamengo winger is chopped down by his opposition player and he is in agony (shin pads offer minimal protection). Ha gets up after five minutes, but fades from the game and is replaced after halftime. Vasco are playing very well, and their small band of supporters are very vocal in the face of huge opposition. About four yellow cards are issued, and the game is getting spiteful. The game up to half time is back and forward, but Flamengo are not playing well, Vasco looked like scoring about three times, but the Flamengo goalie is very courageous. The score at half time is 0-0 (when I am going to see a goal scored). Marta says the referee is dreadful (she can be so one eyed at times), and suggest that the referee has probably taken a bribe. No formal balf-time entertainment, no little league, no cheer squads in leotards, no Dallas cowgirls. The half time entertainment involves trying to pelt the police with firecracker's, flares, smoke bombs, etc. Most of this occurring about 40 nieters away, with the major protagonists in the stand above our head in the next tier. The police (mostly black, big and huge Colgate smiles) involved just treat it as a game, laughing, and dodging crackers, and even at one stage hurling a burning flare back into the crowd. All except the Police Sargent who is on the edge of the ground, watching what is happening and talking into a walkie-talkie. He is pointing up into the crowd, and obviously organizing a pincer movement. I cannot see what is happening above me, but the firecracker/flare throwing stops about 3 minutes later and there is a lot of booing coming from above my head. It is never dull. I ask Marta why there are Telerj public telephone booths installed on theplaying surface of the ground, in the corners of the field. She explains to me that when a player scores a goal, he is allowed to go to the telephone booth and call tollfree his mother or girlfriend and tell her how is feeling and share the emotion of the moment with them. "Hey Mum, I just kicked a goal for Flamengo, I may be late home tonight, so don't wait up." After half time, the game drops in quality. Flamengo have no passion tonight, they are not playing as a team. Too many solo acts,bad passes, loose in defense, and not seizing opportunities. Marta is just ropeable at the referee, she thinks he must be on the take. More yellow cards. Even Vasco have gone off the ball. But not the crowd. They are trying to lift Flamengo, and are really in full swing. Chanting, the drums, more drums, it is so tribal, primitive, the singing, I love it. But the score remains 0-0. Near the end, Marta thinks we should leave 5 minutes before SQ as to miss the crowd, and get a seat on the bus. We leave; head outside, and the crowd and skyrockets start signaling the end of the game. I will have to come back some other time to see my first soccer goal live. Bus home uneventful, just lots ofnoise in the streets, and all the bars are full of soccer addicts watching the replay. Not much sleep this night, the Flamengo supporters are out in droves honking horns, making a racket and just letting off lots of steam. More firecrackers. BRAZZIL - MAY 1999
Next morning the papers report the results, official projector. The room w 11 hold 50 comfortably. crowd 86,000. About 5:00 PM th students arrive, and arrive, and arrive, and Carioca Humor arrive. By 5:15 it is pa ked, and still more arrive, so about 80 in the A Gaucho (a Brazilian cowboy from Rio Grande do Sul room. I am impressed. Most would be young (late teens, early 20s), where there are many large cattle ranches), a Paulista (Sao 80% female, about 500 speak English. I thank Pedro for allowing us Paulo resident), a Mineiro (a local of the state Minas Gerais the time, to talk to his tudents, etc. It is clearly evident the students in the middle of Brazil), and a Carioca are in a boteco (bar) respect him a great deal and I like him a lot as well. I explain to the class talking about what would happen if a fight were to happen my problem (I have raveled 3 hours, talk for free, pass on my between them. The Gaficho said if a fight broke out then the knowledge, etc. cost t Mitsui $R3-400, me the same, and expect no Gaticho would win the fight, the Paulista would get the shit sales of wine, how can get some reward for this. They are curious?). punched out of him, and the Mineiro would try to stop the I ask the students ow long they have been at school (average 6 fight. What happened to the Carioca? Oh, he would have run months, some 12), an how many wine salesmen (or beer for that away long before. matter) they have seen. Surely the local Brahma beer sales representaVanessa tive has been to see the ? He must sell a couple thousand dollars per Sometimes Vanessa's aunt and sister come to the streets month to the Hotel. W at about the Antarctica beer Sales representawhere we live to ask for food and some coins. They are tive? Have they seen an one from Moet Chandon? What about the local stunningly beautiful dark skinned ladies, aged about 28-30, Liebfraumilch (one of he most popular wines in Brazil) salesperson, seven kids under the age of 10, smiling whenever I see them, surely he/she must ha e been to see them, after all there is 5 dozen and have a great deal of love for her children. They are bottles of Liebfraumilc in the cellar, I have none. always making kangaroo jokes about me, and we try to give ZIPPO. Pennies be in to drop. Have they had a wine tasting before? them some food at least once a week. But it is sad, it is hard, NO. Have they ever r ceived any free samples? NO. OK, I get the really hard life for them, and emotionally you feel so inad- picture and they do as well, they are very bright students and so is equate in your ability to help them beyond food and clothing. Pedro. A Sales Call Report So it's back to gras roots. I ask them, "Why people should drink The following is an extract from a sales call I made on the wine?" I get one answe , "It is pleasurable." Yes it is if you drink good Grande Hotel Agua de Sao Pedro, a school for restaurants quality wine, it is not s pleasurable if you drink bad quality wine. So and hotel management, about 2 Brazilian hours from Sao I go over the important easons for drinking wine with them (you know Paulo. This is an absolutely magnificent hotel; an old casino the British Medical Journal stuff, helps sell more food in restaurants, built in the 1940s by a philanthropic Italian. Refurbished to good for economy, cul ural aspects, beverage growth rates in Brazil, the highest standards, it is run by SENAC (a government etc.). A few lights are going on, even with Pedro, and I have their owned teaching academy) and is the finest art deco hotel I attention (don't you j St hate it when the students throw paper airhave ever seen. planes). Now they und rstand why wine is important. You can see this ...Wilson (a fellow Paulista sales representative) and is an education job, wh n the school does not even teach this. 1 head up to Agua de Sao Pedro to visit Pedro da Silva. It's Next I ask them w at they expect of a wine and beverage sales about a 2 Brazilian hours (as a rule of thumb, when estimat- representative? No one nows. One girl says to sell wine and beverages ing driving times, you should multiply Brazilian estimates to a restaurants and hot Is. I said that is the sales representative's job, by 1.5 to arrive at standard units of measure for time) from but not what you shoul expect of the sales representative; or else you Sao Paulo. Nice drive, good roads, and Willie is a good will get what you aske for. I ask them to think about this, and suggest driver, no maniac. We have a bet on the way about how much that any sales person w o visits a restaurant or Hotel should be thinking wine we will sell, he says zero, and I say 2-3 cases. He thinks about how to improve t e restaurant or hotel, using their products and this is going to be another freebie tasting. I am prepared for services, not merely se I wine. the worst. So I do my "Dog an Pony" show. This time the presentation goes We arrive at the Grande Hotel Agua de sao Pedro, and over really well, lam st rting to really get a good angle on the material, this is just another one of those jewels that are all around lots of humor, but also he right messages about quality, product, etc. Brazil. Agua de Sao Pedro is in a small town (population A very warm applause. he tasting is done in a frenzy and is over within 2500), and the hotel is the showcase of the town. This is a an hour. But not before Pedro commits to buy some OZ wine. Wilson Paulista weekend retreat, lots of horse riding, gardens, owes me lunch. fazendas, good pousadas, etc. Highly recommended. Pedro Pedro was great aft r the meeting, we had a lot of laughs. A young comes out to meet us, we feel very welcome. The hotel has Brazilian comes up to s at the end; he is trainee chef at the hotel and been fully refurbished to its original art deco decor, very asks us to come to his ar afterwards. He wants to distribute OZ wine authentic, just the most tasteful, big gardens, a swimming in a radius of 100 km. e have a lovely meal and then go to the bar pool that would not look out of place in a Scott Fitzgerald downtown, have a few rinks and meet halfthe students that were in the novel, tennis, health spa, gymnasium, massage, the full class. We have a goo sing, drink, do some bar tricks, and clown health farm. And of course the famous mineral waters for around. drinking and bathing. I hope one day lean come back here to teach another class, and not SENAC has about 600-800 students enrolled at the have to worry about m ing money. It was a lot of fun, but 3 cases of Hotel. Cost $600 per month, without accommodation. The wine for 24 hours wor is not going to keep me fed and clothed. hotel has 175 rooms; built in the 1940s as a casino, the hotel We return to Sao Pa lo early Thursday morning. Arrive 10:30 AM. went belly up and was rescued by SENAC in 1969. Due to Threat of national strik , so Wilson thinks I should go back to Rio de Brazilian laws prohibiting gambling, is it no longer a casino. Janeiro before the city loses down tomorrow. He gives us the full guided tour ofthe hotel including the End of trip report. cellar. Now the shit hits the fan. The cellar has about 15-20 dozen bottles of wine and champagne, and the inventory John Miller is n Australian, living in Rio de Janeiro, selling slips on each wine box show most of the recent sales took Australian wine. `Pos ards from Rio' is a journal of his journey in place in November 1995 when they had a convention here. the land of the Cariocas. OK, how to get something out of this? I have nothing to lose For contact: for the next 24 hours, this trip has cost Mitsui and John a lot, John and Marta Miller and this guy can do very little for us, but maybe, just maybe Rua Joaquim Nabuco, 106 / Apt 1001 if I have some luck. Copacabana CEP 22080-030 We check into our rooms, and I go and check the room Rio de Janeiro for the presentation and tasting. Pedro has done his homeBrazil work, the room is set up perfectly and he has A-grade Tel: +55 (021) 521 8568 equipment to work with, first class slide and overhead E-mail: millerjArio.nutecnet.com.br BRA22L-MAY1999
the move, always on the lookout for fresh challenges. As the year 2000 approaches, Caetano Veloso appears That this doctrine has been responsible not only for the more and more likely to be the single giant among quality of Veloso's music itself but also fundamental to Brazilian artists to have been a truly forward-looking current directions in music can be seen in the recent influence on the music of our time. To grasp this, one "discovery" of Tropicalia in Europe and the United States would have to look back over a thirty year period when (see cover story in Brazzil December 1997) and in the artists like Milton Nascimento, Gilberto Gil, Chico appearance of the verb "caetanear" (to Caetano-ize). Buarque, and Veloso himself were each making unique Performances aside, in just the past five years Caetano contributions and laying the foundation for the future of has composed the sound tracks for the films Tieta do Brazilian popular music (MPB). Wholly overcoming the Agreste, the Caca Diegues remake of Black Orpheus, and fears of rejection and commercial inviability that keep themes for the Italian influenced film 0 Quatrilho. He composers from following their experimental impulses, recorded and released two CD's of Latin American muVeloso dared to propose new concepts of song. He talked sic, Fina Estampa and Fina Estampa ao Vivo, and is about seeing music with free eyes, as sound set free, and currently planning the production of Joao Gilberto's next about composition as a continual process of expansion, CD. In addition, he published Verdade interaction, and transformation. ComTropical (Tropical Truth), a book that paring the process of composition to analyzes and reflects upon the creation cannibalism, he searched for whatever and the consequences of the Tropicavehicle would respond best to the reallista movement and spawned the CD's ization of his ideasâ€”be it reggae, conLivro and Prenda Minha. Verdade crete poetry, rap, twelve-tone techTropical, Livro, and Prenda Minha nique or the juxtaposition of all of form a curious, but complementary these. whole. Veloso has always advocated and In Verdade Tropical, published by continues to demonstrate unexplored, Companhia das Letras in 1997, Caetano but essential concepts. In the book speaks about his influences and prefMasters of Contemporary Brazilian erences in literature and art as well as Song: MPB, 1965-1985, Charles A. his relationship with drugs, sex, rock Perrone notes that when traditional The College of Caetano 'n' roll, and Cinema Novo. Not an and nationalist sounds were highly opens enrollment for its autobiography, Verdade Tropical is a prized, Caetano emphasized internasummer session with the narrative, an interpretation, and an aptional trends. When musical militancy arrival of Livro Vivo. plication of critical theory to the culand activism were in vogue, he extural vision and creative surge that plored romantic and spiritual spheres. grew in the arIn the face of sentitistic and intelmentalism, Caetano lectual commurefocused on the denities of Bahia velopment ofthe mass in the late media and consumer1960's. Tropiism. And when comcalismo genermercial viability came ated new phiinto question, Caelosophies in tano's experimentalmusic, dance, ism and individualism theater, and the surfaced. plastic arts. It Literary and musialso scared the cal references are inhell out of the terwoven in his muBrazilian govsic, and there is an ilernment. The lusive sense of reality, book analyzes one that doesn't neatly the political discriminate between left, the milifact and fancy. His is tary dictatoran art of conflict with ship, its methboth enough sharpods of violence edged weight to etch a and torture, Gil mood and enough and Caetano's light to let the emoimprisonment tions soar. But far from in 1968, and being intellectual extheir exile in ercises, Caetano's muLondon. Versic is bursting with dade Tropical suggestive qualities is the history that have stimulated and commelisteners' imaginamoration of a tions from the time of cultural movehis earliest recordings. ment that was His image has changed heard despite over time from a rethe oppressive bellious tropicalista gag of governmental censors. and counterculture guru, to a cultivated, suave media In principle, the book Verdade Tropical and the CD persona; but Veloso has remained a realist, constantly on
Heari the Book
BRAZZIL - MAY 1999
Livro should have been released at the same time, as the CD is full of citations and homages as is the book. But after Caetano's initial enthusiasm for writing Verdade Tropical, he found that the revisions, editing, completion, and release had left him little time to record. By the time of publication, he was tired of words, was experiencing writer's block, and suffering a kind of postpartum depression. Caetano's fatigue in completing the book is expressed in the lyrics to the second tune on the CD, "Livros" (Books). Additionally, the small ensemble he used for the Fina Estampa tour as well as his work on the sound track for Tieta do Agreste, which utilized both orchestra and the Bahian percussion group Dida Banda Feminina, exacerbated his hunger for working with a larger group of musicians and for the music played on the streets of Bahia. Consequently, although he had only a vague idea of what his approach would be for the new disc, his interest in the initial stages was essentially focused on texture and tonal colorings rather than lyrics. Caetano, contrary to his approach on past projects, composed the music for Livro first, enlisted Jaques Morelenbaum to create the arrangements, recruited a legion of percussionists, and only afterward wrote the lyrics—many of them in the studio at the time of recording. Of the fourteen compositions, only "Um Tom" (A Tone) and "Os Passistas" (Carnaval Dancers) had complete lyrics when Caetano entered the studio. Nevertheless, the combining of Morelenbaum's orchestral sophistication with the street percussion of Bah ia evolved into one of Caetano's best discs and tours to date. But Livro is not a companion CD that functions as an interactive guide, orienting listeners aurally to the subject matter treated on a particular page of the book. Where Verdade Tropical concentrates on justifying the theories of the Tropicalismo movement, the disc expands the concept of paying homage and remembering influences. From Chico Science and Lulu Santos, to Antonio de Castro Alves, Livro is full of citations, some subtle, others more direct. For example, the woodwind arrangement for An Barroso's "Na Baixa do Sapateiro" by Luiz Brasil "suggests" the syncopated guitar phrasing of Joao Gilberto, who for Caetano is the beginning and the end of modern Brazilian music. And the tune "Um Tom" is dedicated to both Tom Jobim and Caetano's youngest son, Tom, who was born at the time Verdade Tropical was completed. WV1721L-MAY1999
"Voce E Minha" (You Are Mine) was wri en for Caetano's wife,, Paula Lavigne, and bears a similarity to another of Caetano's d dicatory tunes "Voce E Linda" from 1983. The symbolically named "Pra Ninguem" ( or No One) is an homage to Chico Buarque and a direct reference to Chico's tune "P atodos" (For Everybody), in which Chico pays homage to everyone from Jackson d Pandeiro to Hermeto Pascoal. Just as Caetano's life revolves around he axis of Bahia and Rio, the 14 tracks on Livro are a mix of samba and the music of 1: ahia. The listener discovers the integration of the two immediately; there is an almost 1 mitless degree of overlapping. "Onde o Rio é Mais Baiano" (Where Rio is More Bah 'an) is an homage to the escola de samba Mangueira that paid tribute to the Doces Barbaros (Sweet Barbarians—Gal Costa, Caetano, Gil, and Maria Bethania) a few years ago. The first theme is played in a traditional samba rhythm, the second in samba-reggae. Caetano's oldest son, Moreno, contributed a samba with Selected the minimalist lyric, "How Beautiful Could a Being Be." Discography: The tune's single phrase, repeated over percussion, disTitle Label Date torted guitar, and choir induces a flavor suggestive of Prenda Mi ha PolyGram 1998 Bahian candomble and is at Livro Mercury/Polygram 1997 the same time reminiscent Tieta do A reste Natasha 1996 of arrangements by tropicaFina Esta pa ao Vivo PolyGram 1994 lista Rogerio Duprat. Fina Esta pa PolyGram 1994 "Minha Voz, Minha Tropicalia 2 Vida" (My Voice, My Life), (Caetano d Gil) Elektra/Nonesuch 1993 a tune Caetano originally Circulado *vo PolyGram 1992 Circulado composed for Gal, and now Elektra/Nonesuch 1991 Estrangeir one of the most beautiful Philips 1989 Caetano tunes Caetano has ever rePhilips 1987 Caetano V loso corded himself, is performed Nonesuch 1986 Totalment Demais as a bolero with Bahian Philips 1986 Vel Philips drums submitting to a sen1984 Uns Philips suous swirl of strings. It has 1983 Cores, No es Philips 1982 the simplicity and dancing Outras Pa ras Philips 1981 radiance that has become a Brasil (JoA Gilberto, fixture in much of his music. Caetano, tl, and Bethania) WEA 1981 The track that holds the least Cinema Tr nscendental Verve 1979 interest for me is "Nao Maria Bet einia e Enche" (Piss Off). There Caetano V loso ao Vivo Philips 1978 isn't enough angst. CaeMuito (De tro da tano's emotionally detached, Estrela Az lada) Philips 1978 almost buoyant delivery is Muitos Ca navais Philips 1977 not aligned with the unreBicho Philips 1977 mittingly harsh lyrical conDoces Bar aros (Caetanotent: Gal-Gil-B hania) Philips
Harpy, spider, Prowess for preying, ensnaring, snaring You slut, you piranha My energy keeps you afloat up there, Get out! Get lost, Get out of my blood, you bloodsucker, that's all you know, Let me enjoy, let me enjoy Let me enjoy, let me enjoy.
Qualquer oisa Joia Temporad de Verlio
1976 1975 1975
Caetano & Chico Juntos e tic! Vivo Araca Azu Transa Caetano V loso Barra 69 (Caetano and Gil)
Caetano V loso Tropicana ou Panis et Circensi Caetano V loso Domingo (Caetano aid Gal)
Philips 1972 Philips 1972 Philips 1972 Philips 1971 Recorded live 1969* Philips Released 1972 Philips 1969 Philips Philips
In "Manhata" Caetano Philips 1967 exploits a familiar enunciation from the Portuguese lan* Horri le sound quality, but a valuable resource. guage and the refined har- L monic language and tonal colorings ofthe Gil Evans/Miles Davis collaborations. He rhymes Manhata with man/ii (morning) as well as other words that end vith the a ("eng") sound. The idea stemmed from a nineteenth century poem that incorp rated a similar rhyme scheme with sounds 41
from the Tupi language written by the Brazilian romantic poet from the Northeastern state of Maranhao, Sousandrade. In this enigmatic mix of Gil Evans, Sousandrade, and Lulu Santos (to whom the tune is dedicated); Caetano's voice hovers Above subtle Bahian percussion as he alludes to Manhattan as Manhata. Some passages simply seem to float in mid-air as he sketches a rare vision of New York. The best track on the disc is "Doideca" whose title refers to the Portuguese word doido meaning insane or mad and to the musical term dodecaphony, the technique of composition developed by Schoenberg. The musical term evolved from the Greek words dodeca meaning twelve, and phone meaning sound. In this homage to Chico Science, the piccolo introduces a repeated then inverted twelvetone row over an atmospheric drum 'n' bass foundation performed by a battery of Bahian percussionists rather than by synthesizers. Quoting himself, Caetano sings a phrase from his 1970 "London, London." The major reference here is to Brazilian composer Arrigo Barnabe, best known for his film scores, his ensembles of dissimilar instrumentation (rock band with string quartet and percussion), his experimentation with atonal andtwelve-tone composition, and for his reputation for always being on the threshold between popular and contemporary music. "0 Navio Negreiro" (The Slave Ship) is the other great track on the disc. It is a setting ofthe magnificent epic poem by Antonio de Castro Alves, the great Brazilian nineteenth century poet whose themes opposing black slavery clashed with public opinion. Castro Alves died at the age oftwentyfour from tuberculosis, but left behind works at the highest level of poetic art. On Livro, "0 Navio Negreiro" is transformed into a rap performed alternately by Caetano and Bethania aloft a foundation of percussion commanded by Carlinhos Brown while a choir echoes the strophe: What ship is this that has just arrived? It is a ship carrying slaves form Nigeria and Angola. They are the children of the desert where the land marries the light. A fiercely emotional performance, the music is informed by a great deal of integrity, fueled by passion, and marked by a high degree of empathy among the participants. Livro was released in Brazil in 1997, in Europe in 1998, and is scheduled for release in the United States on June 1, 1999, roughly one month prior to the arrival of Caetano's Livro Vivo tour. Curiously, Prenda Minha, a live recording extracted from the September 1998 shows of Livro Vivo in Rio, arrived in our stores first. Prenda Minha (My Gift) is essentially the B side of Livro. The repertoire, based on its predecessor, pays homage to the great names of popular Brazilian music and includes several of Caetano's encore pieces. And like its predecessor, Prenda
Caetano Veloso's summer tour with Livro Vivo: June 27 June 29 July 1 July 3, 4 July 6 July 8 July 10 July 12 July 13 July 15 July 17 I. 42
Beacon Theatre New York, NY Vogue Theatre Vancouver, Canada San Francisco, CA Masonic Hall Ford Auditorium Los Angeles, CA Bass Concert Hall Austin, Texas Salle Wilfrid Peletier de la Place des Arts Montreal, Canada Lowell AuditoriumBoston, MA Northrup Auditorium Minneapolis, MN Ravinia Festival Chicago, Illinois Warner Theatre Washington, DC Miami, Florida Gleason Theatre .1
Minha incorporates Bahian percussionists and the orchestral palette of Jaques Morelenbaum. But there are also two pieces for just voice and guitar, "Sozinho" and Chico Buarque' s "Carolina." Jorge Benjor' s "Jorge de CapadOcia" is here (prefaced by allusions to Fernanda Abreu, the rappers Racionais MC' s, and Miles Davis) as is the tune "Meditacao" by Tom Jobim. There is a tip of the hat to Djavan with "Linha do Equador," the funk tune he co-wrote with Caetano in 1992, and a salute to Carnaval with "Boa Vida" and "Atras da Verde-e-Rosa S6 No Vai Quem Jรก Morreu" (Only Those Who Have Died Won't Join Mangueira's Parade), which contains embedded quotes from "Festa do Interior." Gilberto Gil is acknowledged with "Drao" from 1981 and one of his earliest compositions, "Bern Devagar" from 1962. Caetano, however, reserved an even more elegant homage for his close friend and Tropicana companion with his reading of a passage from Verdade Tropical in which he reveals the way Dona Cano, Caetano's mother, once referred to Gil. With the, exception of "Onde o Rio E Mais Baiano" and "No Enche," Caetano has chosen tunes for this CD that were not included on the Livro CD. The outstanding tracks are the new arrangements Morelenbaum created for the Caetano classics -Eclipse Oculto" (1983) and "Odara" (1977), which cleverly concludes with a musical quote from "Doideca." Morelenbaum's salsalike score for "Mel" is vibrant and accessible. The tune, originally recorded by Bethania in 1979, is performed here by Caetano in both Spanish and Portuguese and demonstrates the remarkable stylistic synthesis that Caetano is capable of achieving. Surely the most interesting track is "Prenda Minha" itself, a pearl of Gaiicho folklore by an anonymous composer. Almost a hymn of Rio Grande do Sul, the tune has been memorized by school children throughout Brazil, and Caetano delivers it with the stylistically appropriate Gaficho accent. Morelenbaum again draws from the Gil Evans/Miles Davis color wheel as he had for "Manhata." But here it is with an ironic wink, as the tune was reco-ded in 1962 (though not released until 1964) by Mies for the controversial Quiet Nights album. The liner notes on the Columbia recording attribute Miles and Evans as the tune's composers. It is very difficult to verbalize about music. It BRAZZIL - MAY 1999
Minha Voz, Minha Vida Caetano Veloso Minha voz, minha vida Meu segredo e minha revelacao Minha luz escondida Minha bussola e minha desorientacao Se o amor escraviza Mas é a nnica libertacao Minha voz d precisa Vida que nao é menos minha que da cancao Por ser feliz, por sofrer, por esperar eu canto Por ser feliz, por sofrer, para esperar eu canto Meu amor, acredite Que se pode crescer assim pra nos Uma for sem limite somente porque eu trago a vida aqui na voz.
My Voice, My Life
Livros Caetano Veloso Tropecavas nos astros desastrada Quase nao tinhamos livros em casa E a cidade nao tinha livraria Mas os livros que em nossa vida entraram Sao como a radiacdo de urn corpo negro Apontando pra a expansdo do Universo Porque a frase, o conceito, o enredo, o verso (E, sem cluvida, sobretudo o verso) o que pode tailor mundos no mundo. Tropecavas nos astros desastrada Sem saber que a ventura e a desventura Dessa estrada que vai do nada ao nada Sdo livros e o luar contra a cultura.
ooks ou tripped clumsily over the stars e had almost no books at home nd the city had no bookstore ut the books that entered our lives re like the gleam of a black body ointing to the expansion of the Universe ecause the phrase, the concept, the plot, the erse And, verily, above all, the verse) s what can throw worlds to the world. You tripped clumsily over the stars Not knowing how the luck and misfortune Of the road goes from nothingness to nothingness Are books and the moonlight contrary culture?
Os livros sdo objetos transcendentes Mas podemos ama-los do amor tdctil Que votamos aos maws de cigarro Doma-los, cultivd-los em aquarios, Em estantes, gaiolas, em fogueiras Ou lanca-los pra fora das janelas (Talvez isso nos livre de lancanno-nos) Ou—o que é muito pior—por odiarmo-los Podemos simplesmente escrever urn:
Books are transcendental things But we can love them with our hands The way we touch a pack of cigarettes ame them, nurture them in fish bowls, helves, cages, and bonfires Or fling them out the window (And that may keep us from jumping out) pr—and what's much worse—to hate them e could simply write one more:
Encher de vas palavras muitas paginas E de mais confusdo as prateleiras. Tropecavas nos astros desastrada Mas pra mim foste a estrela entre as estrelas.
Fill whole pages with vain words ' dd confusion to the bookcases. ou tripped clumsily over the stars ut to me you were the star among the stars.
My voice, my life, My secret and my revelation My hidden light My compass and disorientation If love enslaves us But is our only liberation My voice is needed Life is no less mine than the song's For being happy, for suffering, for waiting, I sing To be happy, to suffer, to wait, I sing My love, believe me If a flower can grow for us Without limit It is only because I bring my life here in my voice.
Manhata para Lulu Santos Caetano Veloso Uma canoa canoa Varando a manha de none a sul Deusa da lenda na proa Levanta uma tocha na mdo Todos os homens do mundo Voltaram seus olhos naquela direcdo Sente-se o gosto do vento Cantando nos vidros o nome doce da cunha: Manhattan, Manhattan Manhattan, Manhattan Manhattan, Manhattan, Manhattan Urn remoinho de dinheiro Varre o mundo inteiro, urn leve leviata E aqui dancam guerras no meio Da paz das moradas de amor Ah! Pra onde vai, quando for, Essa imensa alegria, toda essa exaltacdo Ah! Sadao, multiddo ue menina bonita mordendo a polpa da macd: Manhattan, Manhattan Manhattan, Manhattan Manhattan, Manhattan, Manhattan
BRAZZIL - MAY 1999
Manhattan for Lulu Santos ./!!+ canoe, canoe Cuts through the morning from north to south Ooddess of the legend on the prow ifting a torch in her hand II of mankind Turns its eyes in that direction One tastes the wind Singing in the windows the sweet name f the Indian girl Manhattan, Manhattan Manhattan, Manhattan Manhattan, Manhattan, Manhattan A whirlwind of money weeps the whole world, an overwhelming light nd here wars dance amid ove's peaceful dwellings. Ah! Where is it going, when it goes, his immense joy, such exaltation h! Solitude, multitude, that beautiful girl biting the apple: anhattan, Manhattan anhattan, Manhattan Manhattan, anhattan, Manhattan 43
0 Navin Negreiro (excerto) The Slave Ship (excerpt) feels pointless at times, Antonio de Castro Alves like making a statue of a famous painting. The jamos em pleno mar We're on the high seas important thing is what each listener brings to and (.. • ) ( • • • ) Era um sonho dantesco . . . o tombadilho, It was a Dantean dream. .. the quarter-deck, personally gets from the Que das luzemas avermelha o brilho, Reddens the skylights' gleam, music. When asked to Em sangue a se banhar. Bathed in blood. write an article about The chink of irons ... the whip cracking .. . Caetano, I was hopelessly Tinir de ferros . estalar do Nolte . paralyzed. I had no words LegiOes de homens negros como a noite, Legions of men, dark as the night, Perform a hellish dance. Horrendos a dancar to describe fully my respect for the man. It ad Women, suckling at their breasts seemed useless to add Negras mulheres, suspendendo as tetas anything more about the Magras criancas, cujas bocas pretas Squalid children, whose mouths, so dark contributions Caetano Rega o sangue das maes: Are filled with mother's blood: has made to MPB, as he Outras, mops . mas nuas, espantadas, Others, young. . . but naked, and aghast is probably the most inNo turbilhao de espectros arrastacIns; Are dragged among the maelstrom of specters fluential composer alive In vain grief and anguish. Em ansia e magoa in terms of impact on the present musical generaAnd the orchestra laughs, ironic, strident. . . E ri-se a orquestra, irOnica, estridente tion. E da ronda fantastica a serpente And out of the phantasmal whirl comes a serpent According to one Faz doudas espirais . . Spiraling madly . . . theory of the arts, the Se o velho arqueja . se no chao resvala, 'f the old man wheezes . . . if he does fall down function of a great artist o chicote estala. ' Screams are heard . .. the whip cracks down, Ouvem-se gritos is that of a teacher, one And they fly and fly . . . E voam mais e mais whose work is to be contemplated and one who Presa dos elos de uma so cadeia, Tiecrto the links of a single chain, communicates ideas of A multidao faminta cambaleia The famished horde staggers, wails intellectual and social sigE chora e danca ali! Weeping and dancing! nificance. It is exactly in One raves delirious, another has lost his mind. . . Um de raiva delira, outro enlouquece this sense that Caetano Outro, que de martirios embrutece, Another, with torments numb Veloso—poet, author, Cantando, geme e ri! Sings, laughs, and sighs! journalist, philosopher, producer, translator, acNo entanto o capita° manda a manobra And yet the captain orders the shady procedure tor, film maker, director, E ap6s, fltando o ceu que se desdobra And then, staring at the sky unfolding social activist, singer, and Tao puro sobre o mar, So pure over the sea, composer—has been Diz do fumo entre os densos nevoeiros: He says, eying the smoke amid the thick clouds: teaching for over three "Vibrai rijo o chicote, marinheiros! "Keep that whip cracking, seamen! decades that music, litFazei-os mais &nor! .." Make them dance on! . ." erature, and cinema are passports that remove our And the ironic orchestra laughs, strident. . . E ri-se a orquestra ironica, estridente blindfolds to new fronE da ronda fantastica a serpente And out of the phantasmal whirl comes a serpent tiers. His capacity to go Faz doudas espirais! Spiraling madly . . . in all kinds of directions Qual num sonho dantesco as sombras voam . . . As in a Dantean dream the shadows dart . . . and always get to the Gritos, ais, maldicties, preces ressoam! Screams, sighs, curses, prayers ring out! nucleus of Brazil in an E ri-se Satanaz! . . . The Devil laughs out loud! . . . intellectually and emotionally satisfying manSenhor Deus dos desgracados! Dear God of the unfortunate! ner is unparalleled. Dizei-me vos, Senhor Deus! Tell me, Dear Lord! The vision of Brazil Se é loucura . . . se é verdade If it be madness. . . if it be truth expressed in Caetano's Tanto horror perante os ceus . . . Such horror before heaven . . . music constitutes a key mar, por que nao apagas Oh, Sea, why do you not erase to an understanding and Co'a esponja de tuas vagas with your waves an interpretation of Brathis blot from your cloak? . . . De teu manto este borrao? . zil and her people. Be it Astros! noite! tempestades! Stars! Night! Oh, Tempests! in a negative or positive Rolai das imensidades! Roll out from your immensity! form, or perhaps subVarrei os mares, tufdo! . . . Typhoons! Sweep the seas! . . . merged in a feeling of ambivalence, Brazil's inQuem sao estes desgracados Who could these wretches be ner reality has always Que nao encontram em Niels Who only find in you held a position in CaeMais que o rir calmo da turba The laughter of the crowd tano's music. His relaQue excita a furia do algoz? Exciting the executioner? tionship to Brazil is not Quem sao? ... Se a estrela se cala, Who are they? If the star is mute, merely that of a comSe a vaga a pressa resvala If the wave passes resolute poser/singer toward his Como um ciunplice fugaz, As an elusive accomplice, country, and it isn't just a Before the confused night. . . Perante a noite confusa socio-political reaction Dize-o tu, severa musa, Say it then. Oh, austere muse, on the part of a poet/auMusa liberrima, audaz! Free and fearless muse. thor. Caetano lives in Brazil in its totality, as sao os filhos do deserto They are the children of the desert 44
BRAZZIL - MAY 1999
Onde a terra esposa a luz. Onde voa em campo aberto A tribo dos homens nus Sao os guerreiros ousados, Que corn os tigres mosqueados Combatem na solidao . . Homens simples, fortes, bravos.. Hoje miseros escravos Sem ar, sem luz, sem razao
Where the land marries the light. Where through the open landscape The naked people soar. They are intrepid warriors, Who battle the spotted tigers, In the wide solitude .. . Simple men, strong and brave, Today miserable slaves Without air, or light, or reason ...
Sao mulheres desgracadas Como Agar o foi tambem, Que sedentas, alquebradas, De longe bem longe veal... Trazendo com tibios passos Filhos e algemas nos bracos, N'alma—lagrimas e fel. Como Agar sofrendo tanto Que nem o leite do pranto Tern que dar para Ismael .. .
These are wretched women As was once Agar as well, Who, thirsty, broken down, Come far from where they dwell. Bringing with their timid steps Children and chains on their arms, And in their souls—tears and gall. Like Agar, they suffer so They lack even the milk of tears To quench the thirst of Ishmael ..
La nas areias infindas, Das palmeiras no pals, Nasceram—criancas lindas, Viveram—mocas gentis Passa urn dia a caravana Quando a virgem na cabana Cisma das noites nos veils ... Adeus! ó choca do monte! Adeus! palmeiras da font& . . Adeus! amores adeus! (•••) Senhor Deus dos desgracados! Dizei-me vos, Senhor Deus! Se eu deliro ou se e verdade Tanto horror perante os cells 0 mar, por que nao apagas Co'a esponja de tuas vagas De teu manto este borrao? Astros! noite! tempestades! Rolai das imensidades! Varrei os mares, tufao!
There, in those expanses of sand, Among the palms of their country, They were born—beautiful children ... They lived—noble young women... One day the caravan comes While the virgin, in her hut Dreams of veils in the night. . . . Farewell! straw hut in the hill Farewell! palm trees by the spri ... Farewell! my loves Good-b (•••) Dear God of the unfortunate! Tell me, Dear Lord! If! am delirious ... or if this is rea ity Such horror before heaven. . Oh Sea, why do you not erase with your waves This blot from your cloak?. Stars! Night! Oh, Tempests! Roll out from your immensity! Typhoons! Sweep the seas! .
E existe urn povo que a bandeira empresta P'ra cobrir tanta infamia e cobardia! . E deixa-a transformar-se nessa festa Em manto impuro de bacante fria! Meu Deus! meu Deus! mas que bandeira é esta, Que impudente na gavea tripudia?! Silencio! ... Musa! chora, chora tanto Que o pavilhao se lave no seu pranto Auriverde pendao de minha terra, Que a brisa do Brasil beija e balanca, Estandarte que a luz do sol encerra, E as promessas divinas da esperanca Tu, que da liberdade apos a guerra, Foste hasteado dos herois na lanca, Antes te houvessem roto na batalha, Que servires a um povo de mortalha! Fatalidade atroz que a mente esmaga! Extingue nesta hora o brigue imundo 0 trilho que Colombo abriu na vaga, Como urn iris no Otago profundol Mas é infamia demais ... Da eterea plaga Levantai-vos, herois do Novo Mundo Andrada! arranca este pendao dos ares! Colombo! fecha a porta de teus mares! BRAZZIL - MAY 1999
And there is a nation whose banner lies Over such infamy and cowardice! . And transforms in this feast Into the impure cloak of a dissolute woman! ... Dear God! Dear God! What flag is this, Shamelessly fluttering on the foretop? Silence! ... Muse! Weep, weep so rnuch The banner may be cleansed by your tears. Golden green pennant of my land, You whom Brazil's breeze sways and kisses, Standard gathering in the light of the sun, And the divine promises of hope. . . You, who were hoisted on the heroes' lance, After the war to signal freedom, Before you could be tattered amid tle battle, Serve these people as a shroud! . . . Atrocious fate that minds obliterate! Extinguish now the dreadful brig The trail left by Columbus on the wave, Like an iris in the ocean deep! ... ... It is too much infamy.. . From t e ethereal zone Emerge, oh heroes of the New Worl Andrada! uproot this banner from th main! Columbus! Close the doors to your cean!
Noel Rosa, and An Barroso had before him, and he dramatizes his own personal feelings toward his country in terms of his musical creation. Throughout his work, the consciousness of Brazil has been a motivating force in his creative process. What Caetano learned originally from Joao Gilberto and Oswald de Andrade he later expanded into an individual talent that knew the virtues of assertive expression as well as the beauties of blurring the boundaries between disciplines. Caetano Veloso, a man who has seen not only the more sophisticated side of life but also its hardships, has experienced the academic as well as the mind-broadening lessons not found in books and institutions. A prolific composer whose works number in the hundreds, Veloso has lived to see his music both lauded and vilified. Significantly marking the history of Brazilian music, he has always been and today remains identifiably, Caetano. The December, 1997 cover story in Brazzil magazine, "Thirty Years of Tropicalismo/Times of Gall," can be found on the Web at: http:// www.brazzil.com/ dec97.htm Caetano's Web site is: http:// www.caetanoveloso.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: email@example.com 45
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TRAVEL L3RAZZIL -MAY 1999
Plays RIO Os Ratos do Ano 2030 (The Mice from the Year 2030)—Tragicomedy. Written, directed and starred by Flavio Migliaccio with Dirce Migliaccio, the director's sister. A couple argues with a supercomputer after they find that they are on a list to be fired. Teatro do Espaco Cultural dos Correios. A Danca dos Mitos (The Dance of the Myths)—Comedy. Four people interpret their heroes Jean D'Arc, Elvis Presley, Marilyn Monroe and Che Guevara. Written by Vinicius Marquez and directed by Marcelo Saback, with Isabela Garcia, Rodolfo Bottino, Rosana Oliveira, and Andre Bonow. Teatro Sesi. Os Sete Gatin hos (The Seven Kittens)— Typical feuilleton by Nelson Rodrigues. Directed by Moacyr Gees, with Natalia Lage and Andre Valli. Father goes up the wall when he finds out that his younger daughter Silene lost her virginity to a gigolo who is also the lover of his older daughter. Teatro Leblon. Alice Atraves do Espelho (Alice Through the Mirror)—Based on Lewis Carroll's story. Directed by Paulo de Moraes, with ensemble Armazem de Teatro. In a mobile labyrinth Carroll and Alice share their hallucinations with the public. Fundicao Progresso.
SAO PAULO A Lua é Minha (The Moon Is Mine)— Drama. Written and directed by Mareio Bortolotto, with Aline Abovsky, Christine Vianna, and Everton Bortotti. To survive an artist must produce new works of art. Dur. 60 min. Um artista plastico se ve diante da necessidade de produzir novas obras para sobreviver. Dir. Texto e dir. Centro Cultural Sdo Paulo. 0 Homem Que Sabia Portugues (The Man Who Knew Portuguese)—Musical. Directed by Chico PeIncio with Tim Rescala, Marina Machado, Mauricio Tizumba, and Regina SpOsito. A teacher, his maid and their love life. Tom Brasil. Cacilda!—Dramedy. Written and directed by Jose Celso Martinez Correa, with Leona Cavalli and Renee Gummie. The story of Brazilian theater though the eyes of virtuoso actress Cacilda Becker. Teatro Oficina. Corpo a Corpo (Body to Body)—Written by Oduvaldo Viana Filho, directed by Eduardo Tolentino de Arafijo, with Ze Carlos Machado. Adman in conflict with his convictions and the values of world he lives in. Teatro Alianca Francesa
BRAZZIL - MAY 1999
Just-released American movies: Pleasantifille (A Vida ern Preto e Branco), Waking Ned Devine (A Fortuna de Ned), Simon Birch (Pequeno Milagre), At First Sight (A Primeira Vista), Eight Millimeter (Oito Milimetros), Happiness (Felicidade), True Crime (Crime Verdadeiro), Phantoms (Fantasmas), 54 (Studio 54), Forces ofNature (Forcas do Destino), In the Deep End of the Ocean (Nas Profundezas do Mar Sem Fim), Ravenous (Mortos de Fome), Waterboy (0 Rei da Agua), The Matrix (Matrix), The Impostors (Os Impostores), The Education of Little Tree (A Educacdo de Pequena Arvore), The Confession (A Confissdo), Hilary and Jackie (Hilary e Jackie), Never Been Kissed (Nunca Fui Beijada) Ate Que a Vida Nos Separe (Until Life Do Us Ap art)—B razi1/1999—Ad venture— Directed by Jose Zaragoza, with Alexandre Borges and Julia Lemmertz. Five friends from Sdo Paulo and their love exploits. Outras Estorias (Other Stories)—Brazil/ 1999—Drama—Directed by Pedro Bial, with Caca Carvalho, Giulia Gam, and Juca de Oliveira. Based on Guimaraes Rosa's short stories. Um Copo de Colera (A Glass of Wrath)— Brasil/1999—Drama—Directed by Aluizia Abranches, with Alexandre Borges, Julia Lemmertz, Ruth de Souza, and Marieta Severo. He is running away from society, she is a politically active journalist. Based on Raduan Nassar's cult book of same name. FILHOS DO Orfeu (Orpheus)— Brazil/1998—Drama. Remake of Marcel Camus's Oscar winner Black Orpheus. This is the Orpheus myth and his love for Euridice set among the favela (shantytown) residents in Rio. Based on Orfeu da Conceicdo, a play by Vinicius de Moraes. Directed by Carlos Diegues, with Toni Garrido, Patricia Franca, and Murilo Benicio. Tiradentes—Brazi1/1998—Drama. The story of Joaquim Jose da Silva Xavier, Tiradentes, the martyr of the Brazilian independence. Critics have lambasted the film as a caricature. Directed by Oswaldo Caldeira, with Humberto Martins, Rodolfo Bottino, and Adriana Esteves. Sao Jeronimo (Saint Jerome)—Brazil/ I999—Drama. The life of Saint Jerome and his preaching in the desert. Directed by' Hifi° Bressane, with Everaldo Pontes, Hamilton Vaz Pereira and Helena Ignez. Central do Brasil (Central Station)—Brazil/1998—Drama. A woman who writes letters to illiterate people for a living together with a little boy goes looking for his father. Directed by Walter Salles, with Fernanda Montenegro, Vinicius de Oliveira and Marilia Pera.
FICTION IA casa dos budas ditosos, Luxdria, Joao Ubaldo Ribeiro. Objetiva, R$ 19 2 A eminencia, Morris West. Record 3 Homem que matou Gettilio Vargas, Jo Soares. Companhia das Letras, R$ 28 4 Conte-me seus sonhos, Sidney Sheldon. Record, R$ 25 5 Toxina, Robin Cook. Record, R$ 28 6 0 clube dos anjos, Gula, Luis Fernando Verissimo. Objetiva, R$ 16.80 7 Ramses, o templo de milhdes de anos, Christian Jacq. Bertrand, R$ 30 8 Mal secreto, Inveja, Zuenir Ventura. Objetiva, R$ 22 9 Veronika decide morrer, Paulo Coelho. Objetiva, R$ 15 10 0 Advogado, John Grisham. Rocco, R$ 25
NONFICTION I 0 essencial, Contanza Pascolato. Objetiva, R$ 39 2 A casa do Rio Vermelho, Zelia Gattai. Record, R$ 25 3 As melhores piadas do planeta e da casseta tambem, vol.2, Casseta e Planeta. Objetiva, R$ 12 4 A via gem do descobrimento, Eduardo Bueno. Objetiva, R$ 18 5 Ndufragos, traficantes e degredados, Eduardo Bueno. Objetiva, R$ 19.50 6203 man eiras de enlouquecer um homem na cama, Olivia Saint Claire. Ediouro, R$ 10.90 7 As barbas do imperador: D. Pedro II, um monarca nos tropicos, Lilia Schwarcz. Companhia das Letras, R$ 32 8 208 maneiras de deixar um homem louco de desejo, Margot Saint-Loup. Ediouro, R$ 9.90 9 A (llama grande liciio: o sentido da vida, Mitch Albom. Sextante, R$ 18 10 Chiquinha Gonzaga, uma historia de vida, Edinha Diniz. Rosa dos Tempos, R$ 22
COMPUTERS 1 Cibercultura, Pierre Levy. Editora 34, R$ 25 2 Introducdo ao Windows 98, Russel Borland. Campus, R$ 60 3 Filtros para Photoshop, Michael Clark. Ciencia Moderna, R$ 53 4 Modelagem de objetos atraves da UML, Jose Furlan. Makrom, R$ 44,60 5 Access 97 visual basic passo a passo, Evan Callaran. Makrom, R$ 49,50 According to Jornal do Brasil, http://www.jb.com.br 47
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African/American Male, 40, Engineer, handsome, affectionate, romantic, in Houston, desire to meetBrazilian lady 35-35, send letter with photo; Wilfred Edwards,. PO. Box 2525, Missouri City, TX 77459, USA Email: email@example.com 
FEIRA LIVRE RATES: 500 a word. Phone is one word. DISCOUNTS: For 3 times deduct 5%, for 6 times deduct 10%, for 12 times deduct 15%. POLICY: All ads to be prepaid. Ads are accepted at our discretion. Your canceled check is your receipt. Please, include address and phone number, which will be kept confidential. DEADLINE: The 25th of the month. Late material will be held for the following month if appropriate. TO PLACE AD: Send ad with check, money order or your Credit Card number (plus your name and expiration date) to: BRAZZ I L P.O. Box 50536 Los Angeles, CA 90050-0536. Brasileiro-Americ: no, 36 anos, romantic° e atraente procurando relacionamento corn brasileira ou americana. (818)344-1881  American Gentle an, 25, 176 cm, 72 kg, Universi educated, graphic artist. You y have seen me on Fantastic° V in April 1998 featured with om Cruise, Antonio Bandera and John Kennedy Jr. (title: S uce in New York City). Frien ly, caring, honest, adventuro s, playful. Likes home-life, out oors, travel, music, exercising a the ocean. Seeks lady, 19-27, ith similar qualities for corresp ndence for friendship leading o possible long term relation ip. Please send letter in Englis (photo appreciated) and I wil reply with same. Stephen Pel icano, 182 Trouville Road, Copiague NY, ' 11726, USA 
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Seeking Bay Area Ingle Brazilian women to meet ice, single, attractive American men in the Bay Area for frie dship, romance, and marria e. No fee. Send color photo an profile to Love Connection - 9.4 Howard St, San Francisco, A 94103 Suite 20  Seeking ladies 18-4 years old to correspond with American men for friendship a d companionship. FREE for all ladies. Write: TigerLilies, 709 Lookout Dr., Suite 5206, arland TX 75044 USA  PERSONAL. brazzil-ADS (323) 255-8062
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Boston Books Livraria Plenitude
Brazil-Cal.Chbrof Corn. (310) 657-3161 Brazilian Sociocult C. (310) 370-0929 Centro Cultural Gaucho (323) 256-6548 MILA - Samba School
Sylvio P. Lessa
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Consulado do Brasil (617) 617-542-4000
Food & Products Brasil Brasil (617) 561-6094 Jerry's Cachaca (617) 666-5410
Instruction Approach Student Ctr (617) 787-5401 Braz. & Amer. Lg. Inst.
Publications Brazzil (323) 255-8062
The Brazilian Monthly (617) 566-3651 Bossa: Braz. Jazz Guide' (617) 262-9997
Restaurants Cafe Brazil (617) 789-5980 Ipanema (508) 460-6144 Tropicilia (617) 567-4422 Pampas Churrascaria (617) 661-6613
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Translations Portuguese Lang. Ctr.
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Cent. 21 Tfinia Sayegh (562) 865-2992
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Restaurants & Cafés Bossa Nova (310) 657-5070 Brazilian Tropical (714) 720-1522 By Brazil (310) 787-7520
Café Brasil (310) 837-8957 Carmen Banana (310) 837-4545 Ginga Brasil (714) 778-0266 Ipanema Grill (323) 933-7254 Itana Bahia (310) 657-6306 Rio Braz. Churrascaria (714) 739-2000 Zabumba (310) 841-6525
Translation/Interp. Brazilian Int. Affairs (310) 854-5881
Travel Agencies Brazilian Wave (305) 561-3788 Discover Brazil Tours (800) 524-3666 Euroamerica (305) 358-3003 International Tours (800) 822-1318
Luma Travel (305) 374-8635 Monark Travel (305) 374-5855 New Port Tours
ABFC -As. Bras. da Hon (407) 354-5200
New York N. Jersey Books
Food & Beverages
Vanya's Sweets (954) 785-0087 Via Brasil (305) 866-7718
Physicians Dr. Jorge Macedo
(305) 271-7311 Dr. Mario Sanches (305) 541-7819 Dr. Neri Franzon (305) 776-1412
Publications, Brazzil (323) 255-8062 The Brazilian Sun (305) 933-3633 Florida Review (305) 374-5235
Real Estate Simone Bethencourt (954) 704-1211
Restaurants Boteco (954) 566-3190
Brazilian Tropicana;. •4 (954) 781-1113 PorcAo (305) 373-2777
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Auto Nelson Auto Body (415) 565-3560
Clubs & Associations Brazilian Ch. of Com.
(212) 575-9030 Brazilian Corn. Bureau
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Food Products Amazonia (718) 204-1521 Coisa Nossa (201) 578-2675 Merchant Express
Publications (323) 255-8062
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Airlines yang (650) 794-1998
Consulado do Brasil
Hedimo de Si
(415) 255-6717 Matts Auto Body
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Clubs & Associations
Money Remittance Vigo-California
Via Brasil Travel
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Import/Export Brazil Imports
(305) 372-5007 Br Online Travel (888) 527-2745
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Arts & Crafts Bakan Art Studio (213) 731-3700
Cosmo Auto Parts
TV Brazil TV & Production (562) 437-6404
Finance Plus Mort. Corp. (310) 585-8911
(800) GO VARIG Vasp (310) 364-0160
Folk Creations (310) 693-2844 Culture Planet (310) 441-9808 Zebi Designs
(800) 529-2990 Brazil Air (800) 441-8515 Brazil Tours (818) 767-1200 Cheviot Hills Travel (310) 202-6264 South Winds Tr & Tours
CAm. Corn. Brasil- EUA (305) 579-9030 ARARA - Amazon. As. (813) 842-3161
Travel/Tours Around the World Trl. (800) 471-6333 ATW Travel
(212) 382-1630 Brazilian Voice (201) 955-1137 OCA Magazine (516) 596-1853 Portugal-Brasil News
(212) 228-2958 Samba Newsletter
Bibbo (415) 421-BIBO Carmen's International (415) 433-9441 Neyde's (415) 681-5355
Clubs & Associations B.A.S.O. (415) 661-2788 Bay Area Brasilian Club
Computer Micronet (415) 665-1994
Consulate Brazilian Consulate (415) 981-8170
Dance Instruction Aquarela (510) 548-1310 Birds of Paradise (415) 863-3651 Ginga Brasil (510) 428-0698 Escola Nova de Samba (415) 661-4798
Samba do Corsica° (415) 826-2588 Samba, Swing & Suor (415) 282-7378 Dental Care Roberto Sales, DDS
(212) 869-9200 Brazil 2000
(212) 877-7730 Brazilian Pavillion (212) 758-8129 Cabana Carioca (212) 581-8088 Indigo Blues (212) 221-003 S.O.B. (212) 243-4940 Tapajos River
Travel Agencies Barb Tour Service (201) 313-0996 Odyssea Travel Service (212) 826-3019
San Diego Auto Car Mania Auto Repair (619) 223-7748
Clubs & Associations
Clube Bras. San Diego (619) 295-0842 Sunday Night Cl. Brazil
Events Promotion Eyes For Talent (650) 595-2274 E. B. C. Events , (415) 334-0106 Nativa Productions
Food Evergreen Market (415) 641-4506 HGC Imp. Wholesale (408) 947-8511
Fogo na Roupa
(510) 464-5999 Ricardo Peixoto (415) 752-9782 Voz do Brazil
Percussion Emiliano Benevides (415) 648-2441 Physician Dr. Guilherme Salgado (415) 832-6219
Printing M. C. Printing
Publications Brazil Today (510) 526-1115 Brazzil (323) 255-8062
Restaur./Night Clubs Bahia Cabana (415) 861-4202
Café Mardi Gras (415) 864-6788 Canto do Brasil (415) 626-8727 Janete & Pedro Br. Food
(415) 821-4600 Muzzarela Di Bufala (415) 346-2284 Nino's (510) 845-9303 Porto Brasil (510) 526-1500 Terra Brazilis (415) 863-5177 Translation Port. Lang. Services
Travel Agencies Brazil Express (415) 749-0524 Paulo's Travel (415) 863-2556 Rio Roma (415) 921-3353 Santini Tours (510) 843-2363 Travel Americas (415) 334-0404 Tropical Travel (510) 655-9904 Tucanos Travel (415) 454-9961
ashington DC Airlines
Transbrasil (202) 775-9180 yang (202) 331-8913 Vasp (202) 822-8277
Banks Banco do Brasil (202) 857-0320 Banco do Est. de S. Paulo (202) 682-1151
Clubs & Associations
Braz. Am. Cult. Inst.
Portuguese - A. Frame (510) 339-9289 Portuguese Lang. Serv. (415) 587-4990
(202) 362-8334 Inst. of Brazil. Business
Money Remittance Brazil Express-Vigo (415) 749-0524 West Brazil (415) 695-9258
Music Celia Malheiros (415) 738-2434
Embassy Embaixada do Brasil (202) 238-2700
Restaurants Amazonia Grill
Travel Agencies Intern. Discount Travel (703) 750-0101
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Conjuntos vocais (vocal ensembles) occupy a prominent.place midst Joao Gilberto got his start as crooner. Both Lticio Alves and in the history of popular Brazilian music (MPB). The tradition of Joao Gilberto also had stints as soloists with Anjos do Inferno. It's interesting to nOte how many of the early vocal groups' songs were group singing is very old, but vocal arrangements came into their later performed as solo versions by Joao Gilberto, thus gaining new own following the electrification of the microphone in the mid1920s, when it became possible for several people to sing together audiences throughout the world. In 1942 came Os Cariocas (The Guys from Rio), whose harmoin a normal tone, unlike earlier singers who had to bellow individunies are said to have surpassed those of their U.S. model, the Pied ally into a horn. Pipers. The Cariocas' first hits were "Nova Ilusao" (Luis Bittencourt/ One of the earliest and best-known groups was Bando da Lua, Jose Menezes; 1948) and "Adeus, a vocal/instrumental nonet founded by America- (Harold° Barbosa / the young Aloysio de Oliveira in 1929. Geraldo Jacques; 1948): In 1954 They were strongly influenced by the the group participated in the reMills Brothers and maintained two repcording of Sinfonia do Rio de ertoires, one in English, Mills Bros. Janeiro by Tom Jobim & Billy style, the other Brazilian. Between 1931 Blanco. They flourished during the and 1940, they launched thirty-eight bossa nova era, disbanded in 1967, 78rpm discs containing 74 songs. Some reorganized in 1988, and are still of their successes were "Segure a Mao" active today with a lineup includ(Eneias/Martinez Grau; 1935); "Nao ing two of the original members. Resta a Menor Duvide (Noel Rosa/ The next wave of vocal groups Herve Cordovil; 1936); "Maria Boa" broke in the early 1960s. Here we and "Negocios de Familia.' (Assis Vocal groups are hot again, and find the first major all-female enValente; 1936); "Que E Que Maria Arranco is the hottest of them semble, Quartet° em Cy, whose Temr and"Cansado de Sambar" (Assis numerous recordings cover songs Valente; 1937); -Bola Preta" (Assis all. The good news about vocal by Dorival Caymmi, Torn Jobim, Valente; 1938); and -Samba da Minha arrangements is that what still Vinicius de Moraes, and Chico Terra" (Dorival Caymmi; 1941). Bando works best is good old samba. Buarque, among others. Quartet° da Lua appeared in films and toured em Cy's male counterpart, MPB-4, Arranco adds its own flavor to a South America. In 1939 they played arrived on the scene at about the with Carmen Miranda in the Cassino da long and distinguished line of same time, and they too are known Urca in Rio and shortly thereafter acsamba ensembles for their Chico Buarque interpretacompanied her to the United States, tions. In 1978 Boca Livre joined where they became her permanent band this elect company and contributed DANIELLA THOMPSON and established the second phase of standards like "Toada" (Ze Renato/ their career. They disbanded following Claudio Nucci/ Carmen's death in Filho), Juca 1955, but not before "Quem Tern a having spawned a Viola" (Ze Renahost of imitators. to/Claudio NucThe 1940s saw a ci/Xico Chaves), veritable explosion in "Mistérios" vocal groups whose (Joyce/Mauricio recordings have Maestro), and passed into the stanAnima" (Ze Redard MPB repertoire. nato/Milton NasDuring that decade, cimento) to the the great samba comMPB repertoire. poser Ataulfo Alves Between and his Pastoras were 1978 and 1984, the hit of many a the ten-person Camaval with instant group Ceu da Boclassics such as -Ai! ca (a wordplay on Que Saudades da heaven and roof Amelia" (1942) and of the mouth) fea"Atire a Primeira tured the talents Pedra- (1944). Ataof singers and ulfo and his female musicians such as group also recorded Veronica Sabino, many fine mid-year Mancha Adnet, sambas like "Mao Irei Paula Lhe Buscar" (1944) Morelenbaum, and -Martir no Chico Adnet, Amor- (1945). DurPaulo Brandao, ing the same period, and Paulo the all-male quintet Quatro Ases e um Coringa (Four Aces and a Joker) sang elaborate Malaguti, who've gone on to solo careers, Tom Jobim's band, vocal arrangements the likes of which have not been heard before, Aquarela Carioca, and Arranco, among other destinies. The group released two LPs, Ceu da Boca (Philips; 1981) and Baratotal among them Ary Barroso's "Terra Seca" (1943), "Na Baixa do Sapateiro" (1946), and "Aquarela do Brasil" (1947). and Pedro (Philips; 1982), that now fetch high prices in the collectors' market. In 1985, the Orchestra of Voices Garganta Profunda (Deep Caetano's hymn to Mangueira, "Onde Estao os Tamborms" (1947). Another legendary male vocal ensemble active during the '40s Throat) was founded as a 23-voice choir. By the time they released and '50s was the Anjos do Inferno (Hell's Angels). They were their second disc, Yes, Nos Temos Braguinha (Funarte; 1986), the Dorival Caymmi specialists, and their recordings of Caymmi's number of singers had shrunk to thirteen. They sang everything Vatapa" (1942) and -Acontece Que Sou Baiano" (1943) and from bossa nova to the Beatles and participated in a number of Almir i those of Dorival Geraldo Pereira's -Bolinha de Papel" (1945) sound as fresh today Chediak'sLumiar Songbook CD projects, including Caymmi, Edu Lobo, Ary Barroso, Tom Jobim, and-Djavan. In 1995, as when they were committed to acetate. Anjos do Inferno's main competitors may have been Os Namorados da Lua (Moon Lovers), they recorded the CD Vida, Paixiio e Banana: Garganta Canto a Tropicana (Albatroz):As of 1996, the group is a quartet performing a male group founded in 1941 by the then 14-year old singer/ a repertoire of traditional MPB, newer music, and their own compocomposer Lucio Alves. The Namorados made a splash on Ary Barroso's talent program, and their successful recordings included sitions. • Although the established conjuntos vocais have maintained Quero um Samba" (Harold° Barbosa/Janet de Almeida; 1945), their presence in the musical market with greater or lesser relevance, Feitico da Vila- (Noel Rosa/Vadico; 1946), and -De Conversa em fewer and fewer new vocal groups have been coming into promiCon-versa'. (Lacio Alves/Haroldo Barbosa; 1947). One more male singing group whose name borrowed from Bando da Lua was nence as the decades marched toward the end of the century. This could be attributed in part to the emergence of Brazilian rock in the Garotos da Lua (Moon Boys), the Radio Tupi ensemble in whose
BRAZZIL - MAY 1999
'80s and to the diminished role of MPB in Brazilian radio programming—hardly a nurturing climate. And yet, miracle of miracles, the '90s brought us three of the best vocal groups Brazil has heard. One of these groups is located in Paris: the adult incarnation of Trio Esperanca—three sisters who sing tight a cappella MPB harmonies. Both of Trio Esperanca's CDs, A Capela do Brasil (1992) and Segundo (1995), are available on the Philips (France) label. The other two groups, based on home turf, are mixed ensembles of male and female voices accompanied by acoustic instruments. Both perform samba of the best kind. One is in Sao Paulo: Eduardo Gudin e Noticias dum Brasil, headed by the composer Eduardo Gudin. This wondrous assemblage of talents produced two outstanding CDs: Eduardo Gudin e Noticias dum Brasil (Velas; 1995), a tribute to bossa nova, and Pra Tirar o Chapeu (RGE; 1998), a pure samba album. The other group is our subject: Arranco of Rio de Janeiro. Although they've been around since 1994, Arranco (formerly Arranco de Varsovia) made an international name for themselves only last year, when news of their first album, Quem E de Sambar (Dubas; 1997), spread through the Internet like wild fire. Since then, Arranco released a second CD, Samba de Cartola (Dubas; 1998), clinching their image as the Manhattan Transfer of Samba. Arranco comprises five singers: Eveline Hecker, Jurema de Candia (who recently replaced Soraya Ravenle), RitaPeixoto, Muri Costa, and Paulo Malaguti. They perform with three percussionists and a 7-string guitar. Paulo Malaguti (who plays piano and guitar) and Muri Costa (guitar and cavaquinho)are responsible for the arrangements, with editorial assistance from the women. Vocal formations vary with each song, and the members also carry on solo careers. Arranco's repertoire is selected according to the singers tastes. As Rita Peixoto says, Cantamos o que gostamos" (we sing what we like). We chatted with Arranco's members, beginning with Paulo "Pauleira" Malaguti, co-founder of the group. Brazzil—You used to be Arranco de Varsovia, and although you're now plain Arranco, the first thing that people want to know is: what does it mean? Paulo Malaguti—Arranco is a tradi-
tional samba group or bloco that parades in the streets, ,dancing and singing. There are still some other arrancos in Rio's suburbs: Arranco de Madureira, Arranco do Engenho de Dentro, and so on. De Varsovia means from Warsaw, the Polish capital. In our original formation we had three members descended from Polish Jews: Eveline [Hecker], Soraya [Ravenle] and myself. This pointed out the mix we proposed to produce, African and European heritages blending through samba. Of course, this is not a new trend. Brazilian music is definitely the result of this mix, and other vocal groups of the past— Anjos do Inferno, Bando da Lua, Quatro Ases e um Coringa—had done what we do. But at this point in Brazilian history, our attitude towards samba, coming from where we came, could be considered original. Brazzil—How did it all start? Where did you come from? Paulo Malaguti—I'm a pianist, ar-
ranger, and composer born Nov. 3, 1959, and-Arranco is my most important project.
BRAZZIL - MAY 1999
For the last five years, I've been deep y involved with this form of music making, focusing much of my energy into the grou . Arranco has been a powerful synthesis f my beliefs and tastes in music. I studi d piano since the age of six: classical at fir' but but the Beatles Set me in the 'by. ea ' world. Used to play adolescent drums b t left it at age 18 to play popular music n the keyboard and can handle the guit r enough to survive anywhere. Played blu s at first, but soon Jobim took control of y attention, and the world of harmony is still being unveiled by my ears. Brazilian c rioca melody/rhythm/harmony is the b sic combination I learned to admire a d am still working to achieve. Brazzil—Why vocal music? Paulo Malaguti—Vocal music h s been part of my life since 1976, when I was in the Pro Arte Choir, brilliantly co ducted by Jacques Morelenbaum. We sa g popular and classical music with mu h spirit. It was a very young choir made of music students, and we won a cho r contest promoted by Jornal do Brasil 'n 1976. From there evolved my first music 1 achievement: Ceu da Boca, a ten-pers n vocal group singing popular music, usin basic chorus SATB- formation to sing e erything from choros to sambas, conte porary, and funky fun stuff. We releas two albums at Polygram and toure Brazil's main capitals between 1978 an 1984. Ceu da Boca gave me the chance come into contact with many Brazili musicians (Tom Jobim, Chico Buarqu , Wagner Tiso, Joyce, Cesar Camarg Mariano) with whom we recorded an performed. The group was very skillful t absorbing different trends in Brazilian •r Latin music and sang in a very natura , non-vibrato style. My first arrangemen s were made for them, and I learned a I t about voices and harmony through th s experience. Soon I was attempting to joi my abilities as a pianist to the vocal poss bilities of the group, and we developed a simple rhythm section: drums, bass, string guitar or mandolin, or 10-strin caipira [country] guitar. Having te people, we could vary the formations fir each tune either on vocals or instrument . It was a very rich experience, and in Ri Ceu da Boca is still a reference for goo quality vocal music. Parallel to this, I developed keyboard playing with man different artists and instrumental group . Brazzil—W hat did you do after th breakup? Paulo Malaguti—In 1986, after
small tour in Mexico, I went to the Ne England Conservatory in Boston to stud with Ran Blake in the department of Thir Stream Studies. Jacques Morelenbaum ha studied cello at NEC and told me abo t this department, where theblending_ blending f many styles was the goal to follow. vocal scene in Boston didn't interest m , so I could focus on piano and compos tion. The great advantage of NEC is i s many different music departments. I coul learn something from each: jazz, conte porary, classical, music history, musico ogy, electronic. Of course I could al look at my own country from an outsider s point of v iew and be reassured that Brazil s gift of music is extraordinary, and sam is certainly its most outstanding form. I returned to Brazil in 1989 with t decision to be a full-time keyboardis . Had some good experiences with artis such as Danilo Caymmi, Nana Caymm , Adriana Calcanhotto, Simone, Jod
Donato, Veronica Sabino, and others. Met the choro crowd—Mauricio Carrilho, Pedro Amorim, Paulo Sergio Santos— and toured Japan in 1992. Came back with the idea of restarting a vocal thing, but this time specifically samba. Brazzil—Why samba? Paulo Malaguti—My best results as arranger in Ceu da Boca were in sambas. It was always fun. Every time we played the samba tunes, I had the most fun of all. I always had this kind of distant admiration for the great composers and the sambas they made: Chico Buarque, Tom Jobim, Cartola, Nelson Cavaquinho, Assis Valente, Lamartine Babo, Paulinho da Viola, and the list goes on and on. Through Arranco I could arrange the best material possible, because the repertoire of goodquality tunes never ends, and I could also sing, play piano and guitar, and eventually write m,y own tunes. On our first album, uem E de Sam bar, I composed the tune that humorously defines the group, "0 Arranco de Varsovia," and I'm very proud of it. With Arranco I could again relate to the carioca music scene from an artist's point of view, and we would soon perform with samba masters such as Beth Carvalho, Zeca Pagodinho, Arlindo Cruz, Sombrinha, and many others. It's been a deep pleasure to perform in this manner, and -I find myself perfectly in tune with our objectives. Brazzi/—Paulo, you're known as "Pauleira" ("Heavy") throughout Brazil. What makes you heavy? Paulo Malaguti—Pauleira refers to
my rock 'n roll drumming period. Yes, heavy. I still am a John Bonham fan. Brazzil—Muri, how did you come into the picture? Murt Costa—I'm 44 years old, and
since I was very small music has played an active role in my life because of the love my parents had for music. My mother played piano quite well, and my father was a complete samba and bossa nova aficionado. My only brother, Marcelo Costa, also became a professional and is today one of the most sought-after drummers in Brazil. At the age of six I began my music studies on the piano, the instrument I still use to create my arrangements. At twelve I got a guitar. I began my professional career in 1973 with the group A Barca do Sol, which made three discs in eight years of existence. I was also in Ceu da Boca and in a Caribbean dance band called Banana Tabaco e Rhum. As a guitarist, I played with Nana Caymmi, Danilo Caymmi, Miocha, and Dorival Caymmi. Since 1980 I've developed a career as a choirmaster; I'm director of the choral department at the Universidade do Grande Rio, in Duque de Caxias (Baixada Fluminense). I launched my first solo disc in 1992 through Leblon Records. Brazzii—A very nice disc that I had to import from Sao Paulo. Leblon has terrible distribution. You're also a producer. Muri Costa—As a record producer I
worked on discs of Nana Caymmi, Clara Sandroni, and Bia Bedran. I've also put together vocal groups or choruses for performance with Fagner, Elomar, Roupa Nova, Elza Soares, and others. Paulinho and I have been talking about doing something involving samba for quite a while when he returned from his studies abroad with this ingenious idea of founding a conjunto vocal dedicated exclusively to samba. Arranco may be the work that, of
all I've done in my entire life, comes closest to my ideal of high-level popular music. Brazzi/—Eveline, you're one of the original "de VarsOvia" members, and you also have another career. Eveline Hecker—I have a degree in pedagogy and teach singing to adolescents and adults. I studied pianoand classic singing, worked with choruses, did solo shows, and sang with Vinicius Cantuaria, Francis Hime, Beth Carvalho, and Tom Jobim. Coming from a classical music background, I've found that samba has enriched and enlarged my experience as an artist. My contact with Beth Carvalho occurred simultaneously with my work with Tom Jobim, and it influenced my choice in the direction of popular music. For me, Arranco is the place where one goes to sing samba—an inexhaustible source of pleasure and apprenticeship of music and life. Brazzi/—Jurema, you're the new kid on the block. What did you do before Arranco? Jurema de Candia—I began my career at the age of fifteen, singing in dances. I sang backup for Maria Bethania, Tim Maia, Elba Ramalho, Roberto Carlos, and Pepeu Gomes in shows throughout Brazil, South America, Europe, and Japan. I recorded jingles and sang on the discs of Alceu Valenca, Maria Bethania, Alcione, Beth Carvalho, Emilio Santiago, Julio Iglesias, Grupo Fundo de Quintal, and Elba Ramalho. I joined Arranco in October 1998. It was, without a doubt, a great present for me in terms of professional realization. This is work where I spend all my time with the culture of my country, enabling me to sing and delight in the gorgeous compositions of our great songwriters. Brazzi/—Rita, we already know something about your solo activities. Rita Peixoto—In 1994 I was invited to participate in Arranco. I already knew all the members and thought that it could be an excellent idea to sing samba with friends. I had just launched my first solo CD [Rita Peixoto & Carlos Fuchs; 19931 and was doing shows. This was a different proposition and at the same time a challenge: I wouldn't be the only singer and would have to join my voice to the others'. The repertoire and the arrangements were beautiful, and I became interested immediately. I love our shows, they're fun! A fundamental question for me is the repertoire. Our third CD, which will be recorded this year, will have compositions by sambistas that aren't very well known; we're going to look for music that hasn't been recorded yet. I don't think that what Arranco's doing is a 'rescue' of samba. Samba doesn't need to be rescued. Good music always has a guaranteed public. Quem E de Sam bar, track by track
Brazzil—Let's talk about your music. Your first disc, Quem E de Sambar, is a varied mixture of sambas, beginning with the title song. a call to anyone who's from samba to comp and dance. Muri Costa "Quem E de Sambar" was my first arrangement for Arranco. The song was suggested to us by Beth Carvalho in an unforgettable night for us, when we sang for her at her house and she became our artistic godmother, having since accompanied our trajectory with a lot of affection and with memorable participations in our shows and discs. The great challenge of this song was the decision to divide the solos among all of us, and the tone in which we sang became a problem. The solution—changing the tone from D to F—is what gives me great satisfaction in this arrangement. Paulo Ma la guti -Rosalina--This tune was quite known by the samba crowd before we recorded it. Fundo de Quintal had released it in the late '80s when Arlindo Cruz and Sombrinha were still part of the group. This tulle has been for years now the encore in our performances. It's one of the tunes that the whole group sings, alternating. soloists. It refers to this independent girl that spends her week dancing in the pagodes around the suburbs of Rio. Many of these are mentioned in the lyrics: pagode dos boleiros, CCIP. Cacique (de Ramos). Rosalina is very busy partying and has only Tuesday left to make love. My contribution as arranger, other than harmonizing the voices, was especially the bass line of the main refrain and the intro and coda that, I believe, became organic parts of the tune. "0 Arranco de VarsOvia"—This tune came to me in a very natural and intuitive manner that I'm not quite used to. Sometimes I think I virtually psychographed it. Anyhow, the group needed a tune like this to be used as self-reference, and I'd been thinking about it for a while. The main idea was suggested to me by our performance director TOlio Feliciano, who observed during a chat that one of our interesting characteristics was that we were different from the typical sambista, that we could be considered citizens of the world dedicated to the art of samba. I thought this comment was very accurate and positive, and when I sat down to write the tune it appeared to me instantly. I'm not an intuitive composer, I spend lots of time on each tune, and this one was definitely different. There is no vocal arrangement in this tune because there was no need for that. I made a verse especially for each member of the group, and it fit very well. Beth Carvalho showed up, and we had to twist the original key (from A to F) to fit her very personal voice range. "Amor Ate o Fim"—Gilberto Gil composed this samba in the mid '60s, and it was brilliantly sung by Elis Regina in two of her albums. The first time I heard it I was intrigued by its awkward structure, where two tonal centers are displayed, and by the improvised part a the end. I felt this would be a good tune for Soraya's agile singing and dancing abilities and for my own improvisational skills at the piano. This is one of our jazzy bossa nova arrangements, and the use of Luis Alves' upright bass reinforces this sonority. The use of plain batucada and no drumset is one of our original trends, and we use it to keep a tough percussive feel, thus escaping from the cool bossa nova beat. Brazzi I—Next you have Chico
Buarque's "Biscate." I didn't think it was possible to improve on Chico's duet with Gal Costa in Paratodos, but you've done it. Paulo Malaguti—This tune [the title means earning money by doing odd jobs] describes a funny quarrel between a poor carioca couple. He sells mate on the beach, she spends the food tickets on booze, he's jealous and she's not trustworthy. This is Chico Buarque's world, where common man is universal through his weaknesses and passions. I firmly believe there is no one in the world composing like Chico. Melody, harmony, and poetry at its best! Have you heard'`Iracema Voou" from his latest album? My arrangement begins with the option of having Rita, with her powerful voice and attitude, take the part of the man, and the rest of us taking the part of the woman. Very close four-voice jazzy chords are included in the vocalized parts. making use of the refined harmonic path of the tune. The intro, middle-part scat singing, and final coda are all my creations. This coda makes a radical modulation that makes the tune more and more aggressive until its final chepa! ' "Quern Me Ve Sorrindo' —This is a very special tune for me and for Arranco too. This was the first arrangement I made for the group, and it was based on a very specific recording. In the mid-'40s Leopold Stokowski went on a diplomatic trip to South America as part of the Good Neighbor policy invented by Roosevelt during W.W.II to maintain his south-of-the-border allies. Stokowski came on a ship with a recording studio in it to capture native Brazilian music, and his contact in Rio was Villa-Lobos. Villa-Lobos hurried to call the main popular musicians then. So Cartola and the Mangueira crowd; Donga, composer of the first samba ever recorded [‘Pelo Telefone"; 1917]; Jararaca and Ratinho; Luis Americano; Ze Espinguela; and others gathered in the ship and recorded many different things. Among these was "Quem Me Ve Sorrindo." These recordings were kept by the US State Department for years, until many years later Lncio Rangel and other Brazilian musicologists recovered them in Washington, DC. I was given one of these records when they were released by Funarte in 1993 and was very impressed with the whole album and particularly with this specific track. The -blending of a very delicate melody and poem, the sound of the pastoras with the early Mangueira drumming made a deep impression on my understanding of the history of samba. So I used exactly the same form as the original recording in my own polyphony for the intro and harmonizing the main melody. This melody is so well done that it makes it easy for the arranger to create the other voices to accompany it. This song remains for us in Arranco a very powerful greeting card when we make short appearances This is the song that we first showed Beth Carvalho, and she was sincerely touched by our singing. We recorded it again on our second album in a slightly different version. "Consideracao"—Cartola made only this one tune with Heitor dos Prazeres, painter, poet and composer, and when we listened to it we all agreed that Rita should be the soloist. In our performances, this tune gets a warm reaction from the audience. Cartola's ultra-refined melodic sense gives a frame for a poem about dishonor and betrayal in a love relationship. The
BRAZZIL - MAY 1999
intro and middle section were created intentionally as a weeping moan (ai, ai,)and increase dramatic force in the tune. We recorded this tune again in our second CD, reducing many elements. Rita Peixoto—Many women ask me if I sing this song for someone special. I don't sing for any special person, I only 'visit' an emotion. Cartola didn't like fast sambas; he said that he didn't know how to make fast sambas. He really liked to compose slow sambas, and "Consideracao" is the proof. Paulo Malaguti—"A Felicidade Perdeu Meu Endereco"—I was introduced to this song at a tribute to one of its composers, Pedro Caetano, where I played piano and arranged a few tunes. The intro had been originally conceived for piano, guitars, and mandolin, and I transposed it to voices. It was sung by Ithamara Koorax, who happens to be Soraya's sister, and this was one of the reasons that in Arranco it was sung by Soraya. This pair of composers, Pedro Caetano and Claudionor Cruz, belongs to the brilliant generation of the '40s. They had some hits like "Onde Estao os Tamborins" and many beautiful melodies and lyrics. This poem has a very original view of loneliness: the poet tries to escape sadness by offering his heart for a party. He invites joy, happiness, and other feelings, but diffe rent characters, like silence and sadness, show up instead. And at a certain point hope leaves the party, telling him to wake up from his illusion because happiness won't show up—it's lost the address to his heart. This tune had a very different treatment, obviously, because of its silent nature. Cello, piano, upright bass, and vocals make a delicate andhaunting setting for Soraya's deep interpretation. The piano was recorded in my house with an Adat recorder. Brazzil—Usually we hear Joao Gilberto singing solo versions of old vocal group songs. It's startling to hear the process reversed, as you've done with `Pra Que Discutir Corn Madame." Paulo Malaguti—My goal as arranger in this tune was to take it back to a samba feel as opposed to Joao Gilberto's fantastic bossa nova version. Again I created the intro, the modulating section that leads to Muri's solo, and small comments by the group that punctuate the sOrit of the lyrics. I kept the quote of Tchaikovsky's theme that was inserted in Joao's version. The lyrics talk about the prejudice of a rich woman who says that samba is a minor form of art compared to classical music, and the poet's answer is that 'Brazilian democratic samba has real value.' Muri Costa—"Paozinho de Acucar" —I think that the major reason for our singing this song is the enormous passion all of us have for Rio de Janeiro, and the form of saying this in the song is very special. What stands out in the arrangement is the high unison of the meninas [girls}—our pastoras '—that's increasingly becoming one of the most important timbres and characteristics of Arranco. -Sao Paulo Rio"—Ze Miguel Wisnik is an old friend and collaborator of Arranco, having been brought into our midst by Eveline. This is our only 'non-samba' and perhaps because of this it causes a certain wonder in people. It's also the only song sung only by the meninas, which changes our sonority a bit, turning it a little sweeter and higher. The style of the arrangement is also different from all the rest, being all constructed with voices in parallel move-
ment. All these factors together create a special place for this song in our repertoire. Paulo Malaguti—"Mas Quem Diss Que Eu Te Esqueco"—Dona Ivone Lara one of our greatest samba composers joined Herminio Bello de Carvalho, poe and cultural activist, to write this song tha became a hit in Beth Carvalho's voice. I live performances there is a choreograph that was spontaneously created by th samba crowd that gives greater life to thi tune. Eveline sings it in her special 'classy style with emphasis on smooth syncopa lions. The 'Ialaialas' are made by Don 1vone, and I made the counterpoints an the harmonized ending. Murf Costa —"Nega do Cabel Duro"—This is the only song whose ar rangement isn't ours but of Bando da Lua I transcribed the original from a cassett of Bando da Lua's US recordings [the sang this samba in English], adapting for Arranco's formation, and it was se lected by us as a point of departure, as a example of the spirit for our future direc tion. Perhaps it was our 'how to arrang and sing a good samba.' Samba de Cartola, track by track Brazzil—Y ou released Samba d Cartola to commemorate Cartola's 90th birthday last year. Rita Peixoto—This second CD is the result of our having had a run at Centro Cultural Banco do Brasil in tribute to Cartola, who would have turned 90 in 1998. The show was a success, and we were invited to record it. Our show opened a series in which various artists presented music from different periods of Cartola's life; ours retraced the first phase o Cartola's career during the '30s and '40s. Paulo Malaguti—Owing both to Cartola's carefully crafted tunes—where arrangements should not run over the song—and to lack of time to prepare, rehearse, and record what originally had been a live version, we relied strongly on every soloist to capture each of the tunes' spirit. I believe each of us had a fine individual performance with no harm to the collective unity ofthe CD. With Cartola we learned to be economical. "Divina Dama"—This tune was a hit, in the voice of Francisco Alves. It belongs to Cartola's first period, when he was very much acknowledged as the finest Mangueira composer. Brazzil—In fact, Cartola was only 24 years old when Chico Alves recorded this song on 3 January 1933. He was the first singer to record Cartola, and this was his fifth Cartola recording since 1929. Paulo Malaguti—My idea of arrangement for "Divina Dama" always was the rubato style presented in the first rOund of the tune. While I was showing this idea to Muri, he suggested that it had a waltz feel, and this was used in the meninas' intervention. This waltz feel meshed perfectly with the lyrics, where the protagonist dances with the Divine Lady at a ball. At the end I sing it regional-style, close to the original version. I like this track very much for many reasons, and one that I like to point out is the piano sound that our producer Armando Telles was able to create. "As Rosas Nao Falam"—This is Cartola's most famous tune. When we called Beth Carvalho to sing on our CD,
we thought it would be interesting if she sang some other tune. She's been singing this one for many years, and we thought she'd love to sing something else. No way. Beth considers "As Rosas" her tune and is very jealous of it. So I had a very hard task to be original in this arrangement. I think the contrast between her soloing and our harmonized interventions made a good effect. Beth was very pleased with the result and especially with the two-three part fade-out vocals. Mu ri Costa—"A Vila Emudeceu"— A great tribute by Cartola for Noel Rosa, composed under the impact of Noel's untimely death. He was Cartola's partner in some memorable sambas and drinking binges. This song has all its drama in the second part, and for this reason I put the vocal harmonizations only there. Although Cartola dedicated this song to Noel, he never mentions his name in the lyrics; that's why I asked for Noel's blessing when I was recording my solo voice part. Paulo Malaguti—"Sim --Lost love, unforgiving, and suffering make the spirit of this tune. The call 'Amor' was based on an old Tamba Trio vocal arrangement. Pedal in E makes this haunting atmosphere until the tune beautifully modulates to B major and then back to E. Soraya sings brilliantly. "Quem Me Ve Sorrindo"— We used our original arrangement but simplified it in many ways. Less arrangement, more soloist. Brazzi/—Revivendo just reissued rare recordings of Cartola's songs, including Cartola's own rendition of this song made for Leopold Stokowski on board the ship Uruguay. At that time, the song was titled "Quem Me Ve Sorrir." The same CD also contains Cartola's 1961 recording of "Amor Proibido." Mu ri Costa—"Amor Proibido- & "Tive Sim"—The suggestion to unite these two songs came from Eveline, the soloist, and we got good results for three important reasons: the smoothness of Eveline's interpretation; the choice of using vocal harmonizations only at the beginning, intermezzo, and end; and, finally, the magnificent playing of Carlinhos on the 7string guitar Rita Peixoto—"Ao Amanhecer —At the beginning, Mangueira had a Carnaval wing called ala dos Piriquitos. Cartola belonged to this wing and composed the song especially for it; apparently it was the composers wing. In the song, he compares his companions to parakeets. Most parakeets are green, and this is one of the colors of Mangueira. They meet at dusk to compose, and the music is irresistible: faz dancar a propria lua.' [it makes even the moon dance]. The comparison is a happy one, and once again Cartola shows that he's the great master of slow sambas. Muri Costa—"Ao Amanhecer" is, without doubt, my favorite song on the disc. When we were invited to do the
Cartola tribute show, I immediately thought of this song, sung by Rita, and it appears that I was right. I came to know this song at the recording sessions for the CD 0 Sol Nascera by Fernando Rocha, where Arranco participated in the track -Corra e Olhe o Ceu.- and I fell in love with it completely. Ciencia e Arte--This samba was a loser in one of Mangueira's samba-enredo competitions. It was composed in the nationalistic climate of the Getillio Vargas era and came to us through the recording of Gilberto Gil's disc Quanta, where we participated in the chorus.
50-- Same procedure as in -Quem Me ve Sorrindo." We took off vocals that were excessive but, again, had a hard time recording this track. The middle part where all instruments stop and Rita repeats the first part occurred to us in the studio during the mix. "De-Me Gracas, Senhora--I'm definitely grateful to have run across this tune and to have arranged it and to sing it. This is a partnership between Cartola and a very talented guitarist called Claudio Jorge.
Brazzil—This must be the same Claudio Jorge who just produced and arranged Luiz Carlos da Vila's Candeia tribute A Luz do Vencedor and Nei Lopes' Sincopando o Breque. How old is he now? Paulo Malaguti—Probably in his forties. Claudio must have been very young when he composed this tune with Cartola, and this makes it very fresh and positive. Though retaining the dramatic mood of Cartola's poetry, these words speak of a mystic vision of love that sounds like a revelation. I tried to convey this reverential atmosphere with the introduction, which is in minor key leading to the tune's ma_jor, smiling tone. Brazzr/—"Nao Posso Viver Sem Eta" was recorded by Ataulfo Alves on Side B of the hit "Ai! Que Saudades da Amelia." That original version is also on the Revivendo CD. It's another Paulo Malaguti
of Cartola's early tunes. Sorava gives a bouncing interpretation, and the arrangement , instrumental, and vocal suggest this. The intermezzo leading to Muri's solo is one of the few vocal fireworks that we shot in this CD. By fireworks I mean virtuoso passages, which in Cartola's romantic tunes cannot be used so often. This CD, as I said, pointed us to the notion of 'less is more' in the Jobinian sense. We're trying to get to the essential elements of each tune and make them shine, and Cartola's music forces you to proceed this way. We are at this very moment choosing the repertoire for our next CD, and by means of new sambas that are being made today we'll be able to use what our first two CDs taught us. „4"Pa Daniella Thompson is a writer and preservationist living in northern California. She can be reached at danivps.net.
Arranco on Disc Quem E de Sambar (CD; 1997) Dubas MUsica/WEA 063018941-2 http:// www.dubas.com.br/ Tracks: Quem E de Sambar (Sombrinha/Marquinhos PQD) Rosa! ma (Serginho Meriti/Luizinho) Arranco de VarsOvia (Paulo Malaguti) Amor Ate o Fim (Gilberto Gil) Biscate (Chico Buarque) Quem Me ve Sorrindo (Cartola/Carlos Cachaca) Consideracao (Cartola/Heitor dos Prazeres) A Felicidade Perdeu Meu Endereco (Pedro Caetano/Claudionor Cruz) Pra Que Discutir Corn Madame (Haroldo Barbosa/Janet de Almeida) Paozinho de Acirear (Martinho da Vila) Sao Paulo Rio (Jose Miguel Wisnik/Paulo Neves) Mas Quem Disse Que Eu Te Esqueco (Dona Ivone Lara/Herminio Bello de Carvalho) Nega do Cabelo Duro (Rubens Soares/David Nasser) Produced by Paulo Brandao
Samba de Cartola (CD; 1998) Dubas Mirsica/WEA 398423104-2 http:// www.dubas.com.br/ Tracks: 0 Sol Nascera (Cartola/Elton Medeiros) Divina Dama (Cartola) As Rosas Nao Falam (Cartola) A Vila Emudeceu (Cartola) Sim (Cartola/Oswaldo Martins) Quem Me ve Sorrindo (Cartola/Carlos Cachaca) Amor Proibido (Cartola) Tive Sim (Cartola) Ao Amanhecer (Cartola) Ciencia e Arte (Cartola/Carlos Cachaca) Consideracao (Cartola/Heitor dos Prazeres) De-me Gracas, Senhora (Cartola/Claudio Jorge) Nao Posso Viver Sem Ela (Cartola/Bide)
Singer/composer 1-atima Guedes- album. Track: 0 Dia em Que Faremos Contato (Leninei Braulio Tavares)
Aldir Blanc 50 Anos (CD; 1996) Alma Producoes Ltda. Alma/001 The poet/lyricist Aldir Blanc's retrospective album, celebrating his 50th birthday. Track: Vim Sambar (Joao Bosco/Cacaso/Aldir Blanc)
0 Sol Nascera (CD; 1996) Independent release 1996/110053 Singer Fernando Rocha's tribute disc to Cartola. Also with Leandro Braga, Marcos Suzan°, Mauricio Carrilho, Pedro Amorim, Paulo Moura, Marco Pereira, Ze Nogueira, Cristina Buarque. Carlinhos 7 Cordas, Marcelinho Moreira, and others. Track: Corra e Olhe o Ceu (Cartola/Dalmo Castelo)
Ago! Pixinguinha 100 Anos (double CD; 1997)
Som Livre 1030-2 A commemorative box set produced by Herminio Bello de Carvalho in celebration of the legendary composer Pixinguinha's centenary. Track: 1 x 0 [Urn a Zero] (Pixinguinha/Benedito Lacerda/Nelson Angelo)
Coisa da Antiga (CD; 1998) Rob Digital RD 014 Familia Roitman's second CD.
Tracks: Hora do Adeus (Elton Medeiros/Delcio Carvalho) A Cabeca (Paulinho de Castro) Eu Vivia Isolado do Mundo (Alcides da Portela) Mastruco e Catuaba (Claudio Cartier/Aldir Blanc) Coisa da Antiga (Wilson Moreira/Nei Lopes)
Cantoria (CD; 1995) SACl/CSN 107-727
Simpatia 15 Carnavais (CD: 1998) Simpatia E Quase Amor P0043/98 http://
An album dedicated to the work of the famed lyricist/producer Herminio Bello de Carvalho on the, occasion of his 60th birthday. Also with Angela Maria, Martinho da Vila, Elba Ramalho, Zeze Gonzaga, Chico Buarque, Zeca Pagodinho, Ney Matogrosso, Nana Caymmi, Maria Bethania, Paulinho da Viola, Caetano Veloso, and Alcione.
www.sitesbrasil.com/simpatia/cd.htm Rio's best-known carnaval bloco marked its 15' anniversary this year with an album featuring the fourteen sambas of the previous years, each sung by a different star. Arranco sang the samba of 1990. Also with Joao Bosco, Noca da Portela, Moacyr Luz, Joao Nogueira. Luiz Carlos da Vila, Tania Machado. Lenine, Elza Soares, Zeca Pagodinho. Beth Carvalho, Walter Alfaiate, Martinho da Vila, and Monarco.
Produced by Armando Telles, Muri Costa & Paulo Malaguti
Track: Cantochao (Mauricio Carrilho/Herminio Bello de Carvalho)
Grande Tempo (CD; 1995) Velas 11-V114
Track: Urn Ano Depois (Lenine/Braulio Tavares)
BRAZZIL - MAY 1999
Arranco's Songs Quem E de Sambar (Sombrinha/Marquinhos PQD)
Who's From Samba (Translation: Paulo Malaguti)
Quern é de sambar, vem agora, Vem agora, vem agora Pra dizer no pe rid° tern hora Nat:, demora ndo demora Quem samba procura o prazer de viver Desfaz essa magoa que so faz sofrer Que o samba tá pronto pra te receber
Whoever's from samba, come now, Come now, come now Anytime is a good time to say it with your f et, It won't take long, won't take long He who sambas seeks the pleasure of living Take off this sorrow that only makes you su er For samba is ready to receive you
Meu samba é puro, ndo deixa em apuro Quem quer encontrar solucdo E a receita de Deus, é uma religiao Que faz o fraco se fortalecer E o indeciso p6r os pes no chao Se é mai de amor ndo deixa doer E um remedio pro coracdo
My samba is pure, it doesn't leave helples Him who wants to find solutions It's God's recipe, it's a religion That fortifies the weak And makes the undecided put his foot do n If there's a heartache, it won't let it hurt It's a balm for the heart
Meu samba nao pede passagem Nem leva bagagem de Ind() Em qualquer canto ele esta Porque é dele esse chdo Corn sua forca de contagiar Vai cativando quern ndo quer chegar Mas sei que tern gente no fundo querendo sambar E, mas sei que tern gente no fundo querendo sambar
My samba doesn't ask for a ride It takes no hand-luggage It's in every corner For this soil is its own With its contagious force It captivates those who won't come And I know there are people who deep do n want to samba Yes, I know there are people who deep do n want to samba
Meu samba ndo tern corda bamba E a nossa cacamba tern corda de tido rebentar E mas sei que tern gente no fundo querendo sambar Meu samba é a arte mais pura a nossa mistura, Cultura que e bem popular E mas sei que tern gente no fundo querendo sambar Meu samba merece respeito e nab dá o direito A quern s6 quer descriminar E, mas sei que tern gente no fundo querendo sambar Quern é de sambar, vem agora
My samba doesn't hang on a rope And it can safely carry big weights And I know there are people who deep do n want to samba My samba is the purest art, it's our mixture, Culture that's really popular And I know there are people who deep do want to samba My samba deserves respect and gives no rights To those who only want to discriminate And I know there are people who deep do want to samba Whoever's from samba, come now
Pfiozinho de Acucar (Martinho da Vila)
My Little Sugar Loaf (Translation: Paulo Malaguti)
Ah, sou gamado por voce Nao devia mas nao posso dominar meu coracao Ah, meu pdozinho de acircar Quero ser seu Corcovado Sua Barra da Tijuca
Ah, I'm in love with you I shouldn't but I can't control my heart Ah, my little Sugar Loaf I want to be your Corcovado Your Barra da Tijuca
Cheguei de mansinho em busca do amor Entao mergulhei na sua Lagoa Qual urn peixinho Nadei no seu rio Deitei no seu leito Fiquei numa boa Ah, sou gamado por voce... Vou fazer nenem na sua barriga Porque voce é a maravilhosa Bela, gostosa, sem fantasia Manda no Rei Cai na folia Ah, sou gamado por voce...
BRAZZIL - MAY 1999
As Rosas Nao Falam (Cartola) Bate outra vez corn esperancas o meu coracdo Pois ja vai terminando o verdo, enfim Volto ao jardim coma certeza que devo chorar Pois bem sei que nao queres voltar para mim Queixo-me as rosas mas que bobagem as rosas nao falam Simplesmente as rosas exalam o perfume que roubam de ti, ah... Devias vir para ver os meus olhos tristonhos E quem sabe sonhavas meus sonhos enfim Roses Don't Speak (Translation: Paulo Malaguti) Once again my heart beats with hope For summer's finally coming to an end I return to the garden, certain that I must cry For I know that you won't come back to me I complain to the roses, but what nonsense, roses don't speak Roses simply give off the perfume they steal from you, ah... You should come to see my saddened eyes And, who knows, dream my dreams at last
I arrived smoothly, looking for love So I dived into your lagoon Like a little fish Swam in your river Lay in your bed Felt good Ah, I'm in love with you... I'm gonna make a baby in your belly Because you are the marvelous one Beautiful, tasty, naked of costume Rules the King And has fun Ah, I'm in love with you...
0 Arranco de Varseivia (Paulo Malaguti)
The Warsaw Pullout (English version by the author)
Me leva pra onde o Arranco de Varsovia esta Eu quero ileac por la E naquele pagode que eu fico legal Pois saiba que a rapaziada do Arranco ja esta Aqui nesse bendito local, cantando hist6rias
Take me where the Warsaw Pullout is I want to stay there It's in that party that I really feel fine For you should know that the Arranco crowd Is already here in this blessed place, Singing stories
Flores de Katmandu, Borboletas vermelhas em Madagascar Sou homem do mundo, nao paro um segundo, Mulheres eu tenho que galantear Mas em VarsOvia encontrei A morena que sabe sensibilizar ,Em Varsovia que eu quero viver E no Arranco que eu quero morar
Flowers in Katmandu Red butterflies in Madagascar I'm a man of the world, I can never stop Since there are women to court everywhere But in Warsaw I found the morena Who knows how to be sensitive Warsaw is where I want to live And Arranco's where I want to dwell
Me leva pra onde o Arranco... Vinhos da Macedonia, aguardente de cana de Jerusalem, Maconha da B6snia, haxixe da Persia Xexenia do chopp, chopp do bem Minha cabeea rodando numa frigideira internacional Mas so cheiro o perfume de VarsOvia E o Arranco na veia principal Me leva pra onde o Arranco... Jacas da Filadelfia, morangos nevados da Costa do Sol Bananas de Cuba, Kiwi da Mongolia, Coquetel de uva de Vinha del Mar Cada fruta que eu mordo que eu cuspo o caroco E um samba novo que eu trago pra ca Pro Arranco me capturar Pra VarsOvia me civilizar Me leva pra onde o Arranco... Valsa de Reikjavik, bolero maluco de Montevideu Piquenique dancante da costa brilhante Balanco do suingue de Boma' Tudo isso me encanta, me sinto modemÂ° Ate mesmo meu samba deve melhorar Pra depois eu voltar pro Arranco Em VarsOvia ĂŠ que eu you me acabar Me leva pra onde o Arranco... Kennedy declarou que Getulio ficou amarradao Lenine curtiu, Mussolini engoliu Ghandi guarda o Arranco no coracao Todos sambando de lado Hipnotizados formando um cordao Que vai dar num barraco de N.TrsOvia E o Arranco causando comocao
Take me... Wines of Macedonia, sugar-cane firewater from Jerusalem, Bosnian marijuana, Persian hashish, Chechen draft beer, beer with good vibes My head turning in an international frying pan And I can only sniff the perfume from Warsaw It's Arranco in the principal vein Take me...
Ciencia e Arte (Cartola/Carlos Cachaca) Tu es meu Brasil em toda parte Quer na ciencia ou na arte Portentoso e altaneiro Os homens que escreveram tua histOria Conquistaram tuas glOrias Epopeias triunfais Quero neste pobre enredo Reviver glorificando os homens teus Leva-los ao panteon dos grandes imortais Pois merecem muito mais Sem querer eleva-los ao cume da altura Cientistas tu tens e tens cultura E neste rude poema destes pobres vates Ha sabios como Pedro Americo e Cesar Lattes Science and Art 4 4, (Translation from Quanta You are my Brazil everywhere, Be it in science or in art Prodigious and haughty The men that wrote your history,' Conquered your glories Triumphal epic poems I wish in this poor story To relive glorifying your men Take them to the Pantheon of great immortals For they deserve much more Not wanting to take them to the peak of heights Scientists you have and culture And in this rude poem of these poor bards There are wise men like Pedro Americo and _ Cesar Lattes
Jackfruit from Philadelphia, Strawberries & cream from the Costa del Sol Cuban bananas, Mongolian kiwi, Villa del Mar's grape cocktail Every fruit that I eat and whose seed I spit Is a new samba that I bring back For Arranco to capture me For Warsaw to civilize me Take me... A waltz from Reykjavik, a crazy bolero from Montevideo A dancing picnic of the shining coast Swinging to the swing of Borneo All of this enchants me, makes me feel modern And my samba will probably improve Then I'll be back to Arranco In Warsaw I will dance 'til the end (of time) Take me... Kennedy declared that Getillio was really turned on Lenin loved, Mussolini swallowed Gandhi keeps Arranco in his heart All of them hypnotized, dancing a weird samba alongside Forming a long line that leads to a shed in Warsaw It's Arranco causing a commotion
0 Sol Nascera (Cartola/Elton Medeiros) A sorrir eu pretendo levar a vida Pois chorando eu vi a mocidade perdida Finda a tempestade 0 sol nascera Finda esta saudade Hei de ter outro alguem para amar The Sun Will Rise (Translation: Paulo Malaguti) I will lead my life smiling Because weeping I saw my youth lost End of the storm The sun will rise Longing ended I will have someone else to love
BRAZZIL - MAY 1999
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