Brazzil - Year 13 - Number 188 - November 2001

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'RESIDENTIAL CAMPAIGN IS ON

NTERNATIONAL

1ARDOSO'S FRENCH TRIUMPH

MEMORY: ROBERTO CAMPUS WAS RIGHT

RIGHTS:

IAN WE STOP TORTURE?

:IIIIIIRE:

hG NAMES 01 OUR THEATER

"We become not a melting pot but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams" --- Jimmy Carter

IRISH

14104CE '

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BRAZZIL - NOVEMBER 2001

In more than one way, Brazil was affected by the errorist attack against New York and the Pentagon. lye Brazilians were confirmed dead in the World rade Center and many more continue in the list of he disappeared. Many of them were illegal in the country. There are more than I million Brazilians in the United States, one third of them living in the eater New York area. The terrorists' act made some razilians already living in the US to go back home or to consider leaving the States. Others with plans o come here ended up changing their minds.

Talking to the nation, President Fernando enrique Cardoso expressed the ambivalent feel'rigs of a country shocked and saddened by the ragedy, but also afraid and cautious about American reaction to the incident: "I want to make it clear hat, if on one hand, Brazil places itself firmly against errorism, Brazil will also be firmly on the side of eason." In a letter to the UN, Cardoso suggested hat the world should get together not only to fight errorism, but also to end world's hunger and inquality.

From reading letters to the editor and opinion ages in the last few weeks on the Brazilian media one ets the impression that most of those writing didn't ave much room for compassion. The expressions f condolences and grief were generally followed by dmonitions that in one way or the other meant 'you eap what you sow'. Trying to understand the razilian soul we offer a collection of these opinions d musings.

Send mail to: P.O. Box 50536 - Los Angeles, CA 90050-0536 Ads/Editorial: (323) 255-8062 Info: (323) 255-8062 Fax: (323) 257-3487 Brazzil on line: http://www.brazzil.com E-mail: brazzilŠbrazzil.com Publisher and Editor: Rodney Mello Assistant Editor: Leda Bittencourt Art&Design Director: Marina Yoshie (marmayoshie@hotmail.corn) Entertainment Editors: Sam 8, Harriet Robbins Book Review: Bondo Wyszpolski Music Editor: Bruce Gilman Brazil Bureau Chief: Marta Alvim E-mail: mItdalvimŠyahoo.corn TIME TO RENEW? Sorry, we don't send reminders. Look at the label to know when your subscription ends.

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WWW. BRAZZIL - NOVEMBER 2001

13

Cover Terror: our readers on the Brazilian reaction Cover by Alex Korolkovas

Cutelts II

Humor The light side of the US tragedy

11

Diplomacy President Cardoso triumphs in Paris

I I

Obituary Roberto Campos. He was right!

11

Intelligence The Brazilian CIA branch

11 12 21

Art Manhattan shows Brazil's body and soul Human Rihts Amnesty's last report on torture in Brazil Politics It's open season for presidential campaign 2002

21 31

Politics Changing parties as they change socks

33

Short Story "Clinica Tribobo" + one by Julio C M Martins

31 31 52

Language English for Brazucas II

Energy Privatization screeches to a halt

Music

Time for Guinga to shine

Culture Brazilian theater's history

Departionts 1111 Rapidinhas 29 letters 41 Cultural Pulse 49 Classifieds 50 That's Brazilian

.COM 5

Humor Terror Doesn't Grow Here Brazilians used the American tragedy to make fun of themselves. This is one of the self-mocking stories that circulated in the Internet after the terrorist attack in New York: *woo* tit*itike* Why is a terrorist attack impossible in Brazil?

A. Thinking about the possibility of such an assault, we don't make buildings as tall as the World Trade Center!

B. Thinking about the possibility of such an assault, at 8:45 AM no one would be in their offices because even if they want to arrive on time, the traffic strategically blocks every car and all the streets where there is room to park.

C. Thinking about the possibility of such an assault, firemen wouldn't arrive at the tragedy's scene in five minutes and therefore they wouldn't die during the collapse of the building.

D. A Brazilian would not call their relatives by cell phone to say goodbye because either he wouldn't be able to complete the connection or his telephone wouldn't have credit.

E. If terrorists had to spend a year in Brazil as they had in the United States, they would have been victims of assault, kidnapping or w ould have died in a traffic accident preventing them from accomplishing their mission.

F. Terrorists don't even know where Brazil is located They think it's just another Third World country with samba and football (soccer) whose capital is Argentina.

G. In Brazil a terrorist would never find a flight manual in order to learn to be a pilot. First he would have to go to the Air Force and then to get his license he would need to spend a fortune with fees here and there, plus they would have to bribe someone on line and there would be so much to pay that there would be no money left to accomplish their mission.

H. In brief, Brazil is a country well prepared to deal with terrorism.

Survey

How's Brazil's self-esteem? Low, very low, according to a new poll by American ad agency Young & Rubicam. After interviewing more than 20,000 Brazilians and Americans they found out that sometimes people from the US have Brazil in better regard than Brazilian themselves.

The study asked the same question to all interviewees: "If Brazil were a brand name which are the qualities and defects that would be associated to it?" Asked if the brand Brazil was associated with the word prestigious, 35 percent of Brazilian said yes, while 85 percent of American gave an affirmative answer.

Is the brand Brazil associated to the idea of a useful country? A mere 15 percent of Brazilians classified their nation as useful while 55 percent of American answered yes to the same question. Fifty percent of Americans classified Brazil as sensual, but only 25 percent of Brazilians agreed with this statement.

Is the brand Brazil related to dynamic? Sixty percent ofthose from Brazil said yes, less than the 75 percent who said the same in the US. Is it innovator? Thirty five percent of Brazilians said yes, five percent less than the number of Americans who see Brazil as a trendsetter. As for the brand Brazil being arrogant, 80 percent of Brazilians agree with this statement while 50 percent of Americans think the same thing.

Another study by Young and Rubicam among 100,000 people from 35 countries, at the end of last year, showed that the Brazil as a brand sold well, bringing $31 billion in investments in 1999. The problem was the government. Japanese and German saw the country as one ofthe leaders. French, British, Italian and American saw it as promising with a great potential in the future. Foreigners stressed authenticity, cordiality, fun, dynamism and progress as Brazilian traits. The country won low marks, however, for quality, innovation and trustworthiness.

Thumbs Down

6

BRAZZIL - NOVEMBER 2001

International

Blaming the Americans for the world's problems will always win applause, especially in France, a country which was twice rescued by the Americans in the 20th century.

Vive Carden JOHN FITZPATRICK

Unlike Brazil's top tennis star, Guga, who flopped in Paris recently against a little-known opponent, President Fernando Henrique Cardoso was a sensational success in the French capital. He is now back in Brasilia after a triumphant visit to Europe during which he addressed the French National Assembly, spent a cozy weekend with the UK prime minister, Tony Blair, at his country retreat along with Bill Clinton, and met the Spanish prime minister.

A trip abroad is always a welcome relief for a political leader and in the past Cardoso has been criticized for leaving Brazil at moments oftrouble. This visit though has been acclaimed as the most successful in his seven years in power and could strengthen his position at home.

What a pity he had to mar it by playing to the gallery and criticizing, who else, the United States.

In an address to the National Assembly in Paris, Cardoso complimented his hosts and, instead of attacking the European Union's scandalous French-inspired agricultural policies, which are harming countries like Brazil, he made a veiled attack on the US. Although he did not mention the US by name in his speech he did so in a press conference beforehand. According to Cardoso, while the Americans are right to react against terrorism, they should be as equally determined to confront the problems of conflict, instability and inequality.

"Barbarity is not only the cowardliness of terrorism but also the intolerance or the imposition of unilateral policies on a global scale," he said. This means that the US should stop throwing its weight around and accept deals like the Kyoto gas emissions treaty just because every other country does. Will Brazil one day agree to an international treaty to safeguard the Amazon because the rest of the world thinks Brazil has failed to do so? If terrorists crashed planes into the statue of Christ the Redeemer and the Rio Carnaval parade would Brazil start doing what the rest of the world thinks it should do to safeguard the Amazon?

Cardoso was given a standing ovation by the French deputies and, caught up in the emotion, shouted.

Vive la France!". President Jacques Chirac said he could not remember any head ofstate being as well received as Cardoso. Chirac also had the effrontery to claim that France would be on Brazil's side in forthcoming trade talks between the EU and the Mercosul. However, as the French are pretty shrewd at getting their own way over foreigners one cannot help but feel that Chirac's remarks were "para brasileiro ouvir". * Tony Blair said more or less the same thing when he was in Brazil at the end of July and Cardoso is not so naĂŻve as to believe that French or British support will be forthcoming. However, one wonders if, when he meets George Bush later this month at the United Nations in New York, Cardoso will compliment the US, bleat about the EU's protectionist policies and shout "Long live America!". One doubts it. Blaming the Americans for the world's problems will always win applause, especially in France, a country which was twice rescued by the Americans in the 20th century.

Back home things were different and Cardodo was feted by the Brazilian media and the man in the street.

In their eyes Brazil was finally receiving the kind of first-class treatment on the world stage which it is due but rarely gets. One must admire Cardoso for the clever way in which he planned this visit, He made sure he took alongleaders from the main parties in his governing coal ition--F'SDB, PFL and PMDB-- —al I of w hom basked in the French adulation. This showed strong political unity to foreign political leaders, and more importantly to nervous businessmen, overseas and at home.

On their return the party leaders queued up to comment on the visit's success. They were probably right to do so and the government now intends using the unity brought about by the visit as a foundation stone for next year's presidential elections. At the moment the frontrunning potential candidates are from Cardoso's own PSDB but the PMDB and PFL also have strong contenders. There is still a long way to go and the anti-government wing of the PMDB will be a thom in Cardoso's side fora few months more, but for the moment Cardoso's star is rising. Although he will be unable to stand for re-election himself he will be a good position to nominate his successor.

The main opposition party, the left-wing PT, was incensed by Cardoso's success for two reasons: Cardoso was lauded by the French left-wing parties and his visit overshadowed a trip to France made earlier in October by its leader, Lula Compared with the eloquence and grandeur of the Cardoso visit, Lula's trip was a disaster highlighted by comments which implied that Lula supported the agricultural protectionism practiced by France and the European Union. While Cardoso was still basking in the acclaim Lula was trying to forge a local alliance with a former PMDB state governor of Sao Paulo who has been accused of corruption. So, no statesmanlike comment from Lula.

What did we get instead? One ofthe PT's deputies complained that Cardoso had spoken to the French National Assembly in French instead of Portuguese. "He has surrendered his citizenship because he doesn't like Brazil", was the inane comment made by this deputy who once attempted to introduce a law banning foreign words.

The feeble response ofthe PT is really worrying for the future ofBrazil. Lula is still in a good position in the opinion polls for next year's elections and he can point to many failures of the Cardoso years but the PT is offering no positive alternatives. By trying to team up with discredited PMDB politicians Lula may be weaving a web ofsupport for a possib le second round ofvoting in the election. He cannot, therefore, be criticized for doing what virtually every politician is doing. However, he is the leader of the only big nationally organized party, which has a real ideological difference with the coalition parties and he should be more effective in getting his message over.

He should be trying to put himself on the same level as Cardoso but this is not happening and does not look as if it will happen. One swallow does not make a summer and Cardoso's French triumph may soon be forgotten by other international events such as the Afghanistan war or the situation in Argentina, but for the moment he is enjoying la vie en rose or, if our PT readers prefer, urn mar de rosas. * A variation on the Brazilian phrase "para inglesver", literally "for the English to see," which means pretending to go along with the rules of the game while conning your opponent into trusting you. The explanation goes back to the 19" century when the British navy used to stop ships to check there were no slaves aboard. Brazil still imported slaves and slavers used to make cosmetic changes to the ships to fool the British inspectors into thinking the unfortunate blacks were not slaves.

John Fitzpatrick, the author, is a Scottish journalist who has been based in Silo Paulo since 1995. His career in journalism that started in 1974 includes stints as a reporter in Scotland and England, deputy editor of an English-language daily newspaper in Cyprus, news editor of a radio station in Switzerland, financial correspondent in Zurich and SAo Paulo, and editor of a magazine published by one of Switzerland's largest banks. He currently runs Celtic Comunicacoes, a SAo Paulo company which specializes in editorial and translation services. You can reach him at Johnfitzgosite.com.br

BRAZZIL - NOVEMBER 2001

j 7

Roberto Campos was referred to as apostle for the free market and was an militant anticommunist. For his liberal ideas and opposition to statism he was H e me Diem, derisively called Bob Fields (a free a Min translation ofhis name into English) in the '50s, an epithet that he carried with bonhomie thrDugnout his life. Former ambassador, former minister, former House representative, economist, writer and member of the Academia Brasileira de Letras (Brazilian Academy of Letters) Roberto de Oliveira Campos died October 9 in his house in Rio. With a sharp tongue and wi'Ay tirades this exseminarian had the gift for collecting enemies He was tie last of a generation of brilliant Brazilian economists, which also included Eugenio Gudin, a man Campos considered his master and "great inspiration", Octavio Gouvea de Buboes and Mario Henrique Simonsen.

Born on April 17, 1917, in Cuiaba, Roberto Campos almost became a priest, having studied 11 years in a seminary. Soon after leaving the seminary he became a high school teacher of Astronomy, H story, Grammar and Latin in Batatais, in the interior of Sao Paulo. His teacher stint didn't last one year and in 1939 le left for Rio, then the capital of Brazil. Since his studies weren't officially recognized and he couldn't type, Campos was prevented from applying for some jobs 'le was interested in and ended up starting a diplomatic career.

Still in 1939 he was approved by the Itamarati (the Brazilian Foreign Service) and began as a third class consul. His first foreign mission came in 1942 when he went to work in the commercial section of the Brazilian embassy in Washington.

It was there in 1946 that he met British economist John Maynard Keynes. 'Keynes would become a life-long inspiration.

Studying at night he graduated in economy from George Washington University and did post graduation from Columbia University.

In the United States he still represented Brazil at the UN until 1949. After a period in Brazil he was sent to the Los Angeles consulate in 1953, but he spent less than two years there. In March 1955 he was back in Brazil to head the BNDES (Banco Nacional de Desenvolvimento Economlico e Soc ial—N ational Bank for Economic and Social Development), a federal financial institution that had been created in 1952 as BNDE. In recognition for his backing during he president al campaign, President Janio Quadros invited Campos to be the Brazilian ambassador of the then Federal Republic of Germany. He decline saying that he didn't agree with :he President's "independent foreign policy.' Campos once again voiced his disapproval when the Quadros administrati on recognized the government of Cuba's Fidel Castle He was recruited during Joao Goulart's presidency to improve cowl, urications between Washington and Rio, but in January 1964 he resigned from that post arguing he didn't want to be "a heraiid without voice" and "an interpreter without a doctrine." Having backed the military \Vacs tooy< over the country in 1964, Campos was appointed Planning Minister of President Humberto de Alencar Castel° Branco. It was under his guidance thea severaI institutions were created, including the Central Bank, the FGTS (workers pension funcf), the BNH (Banco Nacional da Habitacao—National Housing Bank), indexing and the National Moretary Council.

Campos would be back to the diplomatic track in 1975, at the invitation of President General Ernesto Geisel. He was sent to England as ambassador staying there for six years. Another General, President Joao Batista Figueiredo thought about inviting him to join the Foreign Ministry in 1919. but was dissuaded by his aides who argued that the diplomat was not in tune with the nation's official Tine. Invited to be a "bionic" senator (choien by the military regime to run intervention) for Mato Grosso he declined, alleging "technical reasons." It was time for him to try an elected pose He became senator for Mato Grosso in 1982. At the end ofhis mandate, m 990 he was elected deputadofederal(House representative) to represent the state of Rio. He won re-election in 1994, the same year he published his 1400-page book of memoirs A Lanterna na Popa (Sterr Lantern). Campos tried a third term as congressman, but was defeated in 1998.

In September 1999 he was chosen by the Academia Brasileira de Letras to the seat left vacant by the death of playwright Dias Gomes, a leftist author. A movement to prevent the economist from being elected—did not sway the 39 other members of that literary body.

Playwright and journalist Nelson Rodrigues used to tease him. "Nothing is more insignificant than an ex-minister," the conservative author said once referring to Campos. In this demolishing criticism, the diplomat didn't spare people, institutions or the nation. "In Brazil there's a certain allergy to neo-liberalim. In reality, what we have are monopolies all over: the petrosaur, the telesaur, the electosaur. To say that liberalism is a threat is to have a grotesque reading of history.

Brazil holds the 94th place con :erning freedom and free market among 132 countries evaluated.

In his _ast speech to his colleagues from the House he said, "My melancholy doesn't come from an an ltnging for Brasilia, city that I consider a bazaar of illusions and a deficit factory... The melancholy comes also from the finding of our insufferable sameness. When I came to Congress, in 1983, elected senator for Mato Grosso he burning themes at thattime were moratorium and recession. Sixteen years later, when' say farewell to two mandates of Representative for Rio de Janeiro, the disturbing themes are again recession and currency crisis. This demonstrates that Brazil while capable of development leaps, has not learned the technology of a sustained development. It's a jumper of snort jumps and not a long distance runner."

Campos was already 80 years old when he was invited to the inaugural class of Ibrr ec's F.aculdade de Economia e A drninistracao in Rio. It was a moment ofpersonal triumph. Two aundred or so students were enthralled by his speech and burst into laughs when he said, "The homage they just paid me is transforming this gathering into my obituary. Normally, only tie sins are pointed out for those still alive"

Aee ,

Memory

d

BRAZZIL — NOVEMBER 2001

Alm Sinai Caws: Virtue and Sin "Maybe I was entitled to the laps es I had because I spent my whole youth in absolute celibacy, in a seminary. This way I accumulated a lar$e credit for simur g. IfI only used the right to sin moderately it was for lack of cooperation."

"I pray less for spiritual reasoris than for testing my memory. I recite the Hail Mary in Greek, Latin and Hebrew."

Women "I prefer blondes. I believe one can be unfaithful to a woman, not to a type of woman."

God "For me OW is the terrible God, the one from the Old Testament.

rasilia "It was the revenge of a communist architect against the bourgeois socitY," Politics "I committed the only sin that politics does not forgive: to tell the truth before it's time."

"By the way, as the target of injurious personal attacks, I've won all championships in this beloved fatherland."

"We are too far from an attainable wealth and too close to a correctable poverty. My generation didn't make the grade."

"In the Brazilian state, assistants are better off than the assisted."

"Nationalists spend so much time hating other countries that they don't have time to love their own country."

"There is only one thing wrong with the word revolution.

It's the letter R." "a L.

Life "Those who believe that we shoeld blame the stars an not ourselves for our ills get lost when the sky becomes clouded."

"Envy is the soul's bad breath."

"All advice is good as long as we don't have to follow "Contradiction is a privilege of beautiful women, intellient men and realistic governments."

"If I had to write a love chapter h would have only one phrase: "I was not a fag." And a fcoMote: "Nor a sexual athlete."

"The cell phone does harm to masculinity: it's getting smaller all the time, it's always foleed, gets disconnecte several times and doesn't work when it gets into the tunnel."

Imbecile is someone who doesn't change. I changed and - Socialism "I was a good pr phet, better than Marx anyway. He learned. Many ofmy critics have neither changed nor learned."

"There are three ways for a mar, to self destruct. The predicted the collapse of capitalism while I predicted the fastest one is by gambling. The most delicious is by woman- opposite: the failure of socialism."

"Communism is good to get us out Of misery, but ming. The most secure is investing in agriculture.

"Welsh poet Dylan Thomas spoke once on old age: "Do incompetent to take us to wealth."

"I never deluded myse If with the totalitarianism from the not go gently into that good night." He wanted to say that old people should get angry when the lightstarts to dim. But twill left thanks to a simple reasoning. God is not socialist. He created man profoundly unequal. All we can do is to hupenetrate gently the solitude of niglu." manly manage this inequality, trying to match opportunities, without imposing results."

Brazil "Socialists, who are always talking about masses, didn't "Ridicule does not kill because if did we wouldn't need contraceptives and today we would a have a soundly smaller create either mass consumption or mass culture. These equalizing "massifications" were produced by opulation." the individualistic American culture."

"In Brazil, stupidity has a glorious past r IMIll "(President) Fernando Henrique said that leftand a promising future."

1 ists are stupid. This is no secret for a long time.

'There are only three ways out for the I And he was kind: he didn't say they are totalitarcountry: Galeao (Rio's international airport), I Some of Campos' â&#x20AC;˘ if books: Cumbica (Sao Paulo's international airport) and liberalism."

Government Economia, Planejamento "The state is an abstract entity that in fact e Nacionalismo,1963 Economy does not exist. What do exist are flesh and blood Ensaio de Historia "Economy is the art of reaching misery public servants, with sometimes petty interests Econo mica eSociologia, with the help of statistics." and sometimes tyrannical appetites.

1964 "This business called partnership is "Statism in Brazil is like man's nipples: it' A Moeda, o Governo e o something for homosexuals. Client, fir that neither useful nor ornamental." matter, is something for prostitutes. And I Tempo, 1964 "Diplomacy is like 4 pornographic movie: it Politico Economica e outsourcing has everything to do with cuckbetter to be in it than simply watch it."

Mitos Politicos, 1965 olds."

"Our constitution is a potpourri of dictionary "If multinationals were spoliators, as it's 1 Temas e Sistemas, 1968 of utopias and minute regulation of the ephemEnsaios contra a Mare already been said, Sao Paulo would be the eral."

(1969) poorest state of Brazil and the state of Piaui, I A Nova Economia Brasithe richest one.", GIANNE CAR VAL140/26.01111.1969 leira (1974) A Tecnica e o Riso, 1976 USA ALanternana popoo994 "The sweet exercise of cursing Amencans in the name ofnationalism free us from researching the causes of our underdevelopment and allows any moron to draw applause at stump speeches."

Art "Opera is a cocktail that worsened the whole. It's poe of second, theater of third and music cf fifth category."

BRAZZIL - NOVEMBER 2001

9

Either the Itamaraty (Brazil's Foreign Relations Office) honors its existence and deals

Intelligence Yankee In ertinence

with foreign relations issues, or it is better to sell it off as a multilingual-staff catering service.

ELIO dASPARI

Now Things Are About to Get Out of Hand Things are really getting ugly now. The spokesman for the US Embassy in Brasilia has recently informed that the Brazilian and the United States governments are negotiating the installat on of a CIA office in So Paulo, the country's financial capital. According to the information, the future office will accommodate in its quarters two agents and one administrative officer.

Such an announcement is an impertinence associated with an act of so/reader from our country. The whole point of the deal is to sub-contract the duties of information intelligence in Brazil through making a concession to a foreign nation.

The CIA had always held "unofficial" offices in Sao Paulo, Brasilia, .ir, de Janeiro, Belo Horizonte and Recife. In Rio, their offices were located at the ninth floor of the American Consulate building in the city. At one time, the agency held a staff of 60 working in the country. There surely is a copy of a two-paged, unsigned document ii their Washington files entitled "Suggestions for Oral Understanding", which stated the groends for an effective relationship between the two nations' intelligence communities.

A former Brazil-based Agency director published his memoirs, and anotner one JORNAL DO BRASIL stated his dismay with the deac:ivation of Brazil's Intelligence Bureau, the infamous _ SNI (National Intelligence Service, which was closed in the, early 9)s). One has to CIA fez terrorism° no recognize that the American Agency's reports or. the s_tuation inside the country were Brasil na derada de 70 always superior to those drafted by their national counterparts.

Once the US Embassy announced their current negotiations with tl- e Brazilian government as to open an official office in So Paulo, one has to nonce that this situation is clearly impertinent. I don't believe that the United States wolid admit the installation of a Brazilian Army Intelligence Center in Washington. The CIA can operate worldwide, hiding under the veil of diplomacy. It is that simple.

It was under that cover that nne agent gave misleading information in regard to the aV,tt7 Desercoes minam o poder L"::::1::„ practice of torture that the Brazilian government inflicted on political prisoners. Any ' dos *ABMs no Areganistao American citizen can check the information by requesting copies of a certain cable sent by the US Consulate in Sao Paulo on August 24, 1970.

Frankly, the Brazilian government is openly admitting a concession or it sovereignty.

• There is no way that these gentlemen will instal, themselves in Brazil in order to help in enforcing the law and maintaining the order. For example, in a recent past, a representative of the US government influenced the release oftwo smugglers from the Federal Police in order to comply with the interests of a certain member of the US Senate.

The US-led war on terrorism deserves the total co.laboration of al nation.;as long as that does not jeopardize the national sovereignty. insteac of negotiate the opening e- of a CIA office in Brazil (which is almost effective) President Fernando Henrique Cardoso should create a national organ that would be in charge of negotiating issues of international security issues. Either the Itamaraty (Brazil's Foreign Relations Office) honors its existence and deals with foreign relations issues, or it is better to sell it off as a multilingual-staff catering service.

As the rules go, to date any US law enforcement agent (for example, the DEA—Drug Enforcement Administration) deals with the Brazilian Federal Police. (none occasioi, a US Treasury officer met with gas, water and electricity suppliers in order to negotiate the utility charges invoiced againg the consulate in Sao Paolo. If the CIA installs an official office in town, the Brazilian government might find it hard to impose its authority, and that's where things just might get out or hand.

According to the US Embassy, the CIA office will share with the Federal Police and Brazil's Central Bank any information regarding terrorism and money laundering. One can logically assume that the CIA is much more rigorous than the above mentioned organs. Anyway, that is a matter of sovereignty.

The US agents mightjust want to denounce the Brazilian authorities' red tape. They know exactly what they are talking about. However, when it comes to their own interests, such as the Sivarc case (the rain-forest satellite-monitoring system that was once considered), they just might as well act under the table, as taey have done before.

One cannot do much about the ways of bureaucracy. Just to refres a the Americans' memory, one recalls that a former president, the late Richard Nixon, tried to use the CIA to perform a bogus money-laundering operation in Mexico in order to cover for his wrongdoing in Washington. The mission failed, and the agency owed that to their vice-director, General Vernon Wallets, who by the way is that US representative who intervened in the case of the smugglers.

There is only one argument in favor of this novelty: Whenever a Brazilian citizen uncovers a politician sending money to secret accounts in tax shelters, he or she can make the following threat to the guys in power: "The CIA will know about this!"

Translated by Ernest Barteldes Elio Gaspari is a eokunaist witi 0 Giviro (wvvw.oglobo.com.br) where this text was

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10

BRAZZIL -NOVEMBER 2001

ERNEST BARTELDES This writer has been in New York for a year, and it's always a pleasure to have an opportunity to revisit something that is related to the land where 1 spent the greater part of my years.

Brazil- Body and Soul is the name ofthe exhibit that opened at the Guggenheim Museum last Oct. 19. The first contact we have with Brazilian art is an impressive 17th century altar that was brought in from the state of Pernambuco, Brazil As !saw the structure, I recalled when! saw that same altar where it originally stood— inside the SAo Bento monastery in the historical city of Olinda (not far from Recife, Pernambuco's state capital), in the northeastern area of Brazil.

It is quite impressive how they took apart the enormous structure, which reaches the museum's third floor, to bring it over to New York. Seeing the sacred structure inside the museum gave me mixed emotions, which I will get back to later in the article.

On we went up the Guggenheim's Rotundas to admire, remember and learn more about the history of Brazilian art. The first part begins with visions of Brazil by foreign artists.

For example, there are paintings by Frans Post and Albert Eckhout who made paintings from life during the short-lived Dutch colonization ofthe Northeastern part ofthec,ountry (mainly Recife).

The works basically depict life in the colony, with its natives, Africans and colonizers. The exhibit then moves on to the Baroque period. A lot ofthree-dimensional wooden and stone sculptures of deep religious influence, such as those made by Ant6nio Francisco de Lisboa, who was better known as 0 Aleijadinho (The Little Cripple), who was the most prominent artist of that era.

The 19th century is represented by the Afro art, rich with symbols ofthe Candomble, which is the African religion that was taken o Brazil by the enslaved blacks, who mostly resisted the Christian education that the Portuguese attempted to impose on them.

Today, Candomble (despite the opposition ofthe Roman Catholic Church) is present in every place in Brazil, although its influence' is mostly felt in the northeastern state of Bahia and in Rio de Janeiro, where the concentration of African-Brazilians is higher than in other states.

The second decade of the 20th Century is represented by the Picasso-influenced modern wave that began during the Modern Art Week of 1922 in Sao Paulo. Paintings by Di Cavalcanti, Tarsila do Amaral and others are well represented, such as the historical A ntropofagia (A nthropophagy, 1929) by Tarsila, as she is known in Brazil.

Tarsila do Amaral spent several years in Paris and she took home the influences she received from Cubism, Purism and other emerging European art tendencies. Later in life, she turned to social realism, responding to her admiration for Soviet art and culture.

The 1930s are represented by the art that was developed under the dictatorship ofPresident GetUlio Vargas (1930-1945 and elected back into office in 1950, where he remained until his infamous suicide in August 1954). Landscapes mark that era, and the best known artist of those times was Candido Portinari.

Other eras are also well represented, but a description ofthem would make this article too long. Between phases there are several video showcases that are screened on the walls between floors. One ofthe screenings is 0 Pagador de Promessas aka The Given Word, the 1961 movie that depicts the sad story of Ze do Burro, who promised St. Barbara—on a Candomble ritual—to take a cross to a church in Salvador, Bahia. The priest denies his entrance as he approaches the church, and his presence, day after day, in front of the church, raises a media havoc that ends in tragedy.

Another one is /t 's All True, the unfinished Orson Welles movie that tells the true story of three fishermen from Fortaleza, Brazil who sail 2,000 miles to Rio de Janeiro (then the nation's capital) in protest againt the harsh condition that their profession, the jangadeiros, faced every day, and to ask the nation's president for help.

Welles was impressed with the story, and traveled to Brazil in order to document how the story happened by doing it all over again, but this time on film. The shoot ended in tragedy with the death of one of the fishermen, and Welles abandoned the project, which was only posthumously released almost 50 years later—edited by two Brazilian filmmakers.

One of the last video screenings is Carnaval—basically a video of the parade performed by the Samba Schools in Rio every year during Mardi Gras, which is one of the lowest points of Brazil Body and Soul. Sadly, the video depicts only the exhibition of flesh that is common during those parades—models and wannabes who display their enhanced bodies in order to either get their "fifteen minutes" or a contract with Playboy. Carnaval is not that.

The celebration, which used to mark the four days of free partying before the period of Holy Lent is one of the trademarks of Brazilian culture, and it is a nationwide holiday where people dance, have fun and perform certain "excesses". The displays of nudity are part ofthe parades in SAo Paulo and Rio, but that isnot true in the rest ofthe country, although that is the image that most foreigners— especially Americans—get.

Another low point to this writer is one of the most stunning parts of the show—the already mentioned altar from the Sao Bento Monastery in Olinda. It is hard to understand how the Brazilian authorities (not to mention the Roman Catholic Church in Brazil itself) allowed a historical altar, which stood for more than 200 years inside a church of historical importance to the country, to be taken apart and included in a commercial exhibit in foreign lands.

Such a desecration would be comparable to taking an American symbol apart (say, the Washington Memorial) and taking it somewhere around the world to be put into display for cash. Of course, somemight argue, Brazil is a Third-World impoverished country, but some things should not be allowed to be done. Taking apart a two-and-a-half century-old altar is definitely one of them.

Brazil Body and Soul is, despite its low points, a worthwhile experience for anyone interested in art from a country that has given a significant contribution to it on a very global basis.

Brazil Body and Soul, Solomon R. Guggenheim Museum, 1071 Fifth Avenue (at 89th Street), New York, NY, Information: 212-423-3500 Ernest Barteldes is an ESL and Portuguese teacher. In addition to that, he is a freelance writer whose work has been published by The Greenwich Village Gazette, The Staten Island Advance, The Staten Island Register, The SI Muse, Braun magazine, The Villager, GLSSite, Entertainment Today and other publications He lives in Staten Island, NY. He can be reached at ebarteldes@yahoo.com

WRAZZIL - NOVEMBER 2001

11

They treat us like animals— a complaint which has become familiar to Amnesty International delegates on their regular visits to prisons and police stations across Brazil—is the title of the human rights organization's new report, presented October in sao Paulo.

Published at a time when the Brazilian government is launching a campaign to combat torture, the report documents its widespread and systematic use against criminal suspects and detainees at all levels of the Brazilian criminal justice system, from the point of arrest, through detention in police stations, to incarceration in prisons and juvenile detention centers.

"The extraction of confessions under torture is apparently a routine practice—so much so that it has become a de facto replacement for modern policing and investigative techniques in the context of strong pressures on the authorities and the judiciary to fight the soaring crime rates," Amnesty International said.

Amnesty International's report also highlights the plight of the thousands of men, women and children detained in the country's terminally overcrowded penitentiary system, which was exposed to the world's attention in the past 12 months as a result of a series of prison riots nationwide.

"Torture and ill-treatment are regularly meted out as the only means to control inmates in a prison system on the brink of collapse," the organization added.

Only a few weeks ago, detainees in the Santo Andre's pre-trial detention center in Sao Paulo told Amnesty International delegates about two separate incidents in different facilities in which an estimated 62 detainees were violently beaten by guards. In one of these incidents, in the Belem 2 pre-trial detention center, detainees were removed from punishment cells at night, taken to a small room, hooded and beaten for over half an hour. This was repeated over three nights.

The situation in the Sao Paulo FEBEM (State Foundation for the Well Being of Minors) juvenile detention system is also particularly worrying, says Amnesty, with continuous reports of detainees being beaten and subjected to cruel and inhuman treatment.

"In the past 12 months, at least 1,000 cases of beatings by prison guards have been reported in FE BEM facilities, yet not one of the guards responsible for these abuses is known to have been charged under the Torture Law," Amnesty International said, adding that the same pattern of torture and impunity is repeated all over the country.

"Impunity—the failure to bring those responsible to justice—is one of the main factors contributing to the prevalence of torture in Brazil," the organization continued, noting that while the country has had a law against torture in place for four years, its implementation is virtually non-existent, due to ignorance of its provisions or reluctance to put it in practice.

Amnesty International acknowledges that the Brazilian government has been frank and forthright in addressing the issue of torture in international forums—most recently before the United Nadons Committee Against Torture—and welcomes the announcement of measures to combat this scourge.

"However, it is essential that the government does not limit itself to purely cosmetic measures, and undertakes a fundamental reform of the criminal justice system, targeting all the elements and stages within it which facilitate incidents of torture and ill-treatment and contribute to the impunity of those responsible," the organization said.

The report puts forward a series of detailed recommendations on concrete steps to be taken to eradicate torture. These include: ensuring that laws such as the Torture Law and the Statute for Children and Adolescents (ECA) are fully implemented, to protect detainees against torture and ill-treatment; enhancing the professionalism of police forces by giving them the training and resources needed to enable them to do their job effectively without resorting to human rights violations; setting up effective complaints procedures, ensuring that complainants are examined by a doctor in the presence of an independent witness and guaranteeing the adequate protection of complainants and witnesses, including the provision of effective legal aid to all those who may need it; strengthening mechanisms for the investigation of torture complaints; reforming the prison system to ensure that inmates are treated humanely and in conformity with Brazilian law and international standards. This includes separating different categories of prisoners, providing adequate funding and training to prison staff and setting up a dedicated, effective and independent monitoring body.

"The Brazilian federal government must accept its responsibility and ensure that all of the country's 26 states and the Federal District duly and effectively implement all the necessary reforms," Amnesty International said. You can read the report "They Treat Us Like Animals": Torture and ill-treatment in Brazil at http://www. web. ananesty.org/ai.nsf/recent/A MR19022200 I ?Open Document

Human Rights

Torture and lo unit

12

BRAZZIL - NOVEMBER 2001

Manhattan Reflections Brazil 5 The American Tragedy

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jornal da Wde.

In the wake of our October issue dealing with the Brazilian reaction to the terrorist attacks against the World Trade Center and the Pentagon, Brazzil magazine was inundated with letters. Some aggressive, some conciliatory, most of them very passionate. Here's a quiet hefty sample of these statements, hoping they will contribute to the discussion of what brings us together arid what draws us apart.

If you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us shall we not revenge?

tkr.k.,

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Asides dos EUA dvagam fronbdra do Atwood°

Shylock, in William Shakespeare's The Merchant of Venice (act 3 sc. 1)

What Brazil Taught Me jornal da tardett

WA datidram os albs dos hombardelos no Atoganistao

3 'aortas na I'donra forte

Hi John Fitzpatrick, I want to thank you for your article "Do Brazilians Care?" in Brazzil magazine. I went to great private, expensive schools, and history and science books only taught me one version of the truth. That all of Brazil's problems were and are caused by the Portuguese and by the USA. By the Portuguese because they exploited our land, our native people, and enslaved the country with dictatorships. By the US because of our famous foreign policy.

The truth is, Brazil has always taught me that lam not responsible for my own actions. That I might as well steal a little over here, take advantage of anyone as soon as I get a chance, and never trust your own blood. It's quite hard getting into the American set of mind when all you've learned is how to be corrupt.

I thought that maybe things would've changed when Collor was impeached. I went to many of the student movements around the country protesting against our President. I thoughtwe were fighting for a better country. But those movements were nothing more than an excuse for students in the country to skip class, drink and smoke. I then thought that maybe we would learn the idea of patriotism when Senna died, but the country proved me wrong again.

The jokes were out split seconds after his car started spinning on the pavement. It was quite sickening. After living in a place like Brazil for such a long time I went numb. You see kids on the streets, the poverty, the bureaucracy, the corruption, you justgo numb. Your eyes refuse to see it.

Anyways, thanks for the article. I completely agree with you. Not necessarily based on the facts you bring up, but mostly because of how I have learned the other version of history and science.

Marianna O'Carroll Los Angeles, California

13FtAZZ IL - NOVEMBER 2001

13

jornal da Wino

EUA prometem guerta longa, 's4a' e secreta

Long live Opposition DearJohn Fitzpatrick, I too am a non-American citizen living in Brazil and thank God that Brazil has taken a muted stance regarding the terrorist attacks. It proves that maybe Brazilians are beginning to remember the past. This forgetfulness has always been an obstacle, especially in the political arena, and I, for one, welcome any form of recollection regarding any political action.

Now, I know thatyou weren't here during the military regime, but most history books (with anycredibility) will show you thatthis regime was supported and funded by the US government. Although incomparable to Chile, many people suffered here. lam talking about rape, torture and murder, besides other indescribable acts. Once again, backed and supported by the USgovernment. Furthermore, the education system was decentralized and conservative attitudes were taken to oppressing students and any form of rational thinking during this period.

This has had unfathomable repercussions on the development of the population and the country as a whole. All this funded and backed by the USgovernment. Now, I know thatthe US has notthrown anybombs on Brazilian territory, but I find your accusation that the Brazilian population is ignorantquite offensive. I believe it is abouttime that Brazilians begin to take a political position. Why does that position have to be an alliance to the US? Just because they are a superpower?

Well, that's a good start to a dictatorship like form of "globalization" if you ask me. The US' actions are more than questionable and I think that questioning such actions is a light at the end of a very dark tunnel that Brazilians have been "rustled into". The media has taken a pro-American stand point (just look at the last two shameless editions of Veja magazine), but that doesn't mean the population feels the same way. Let there be political awareness. Let there be questioning of actions. Let there be an opposition. The US is not always right; they are just bigger.

Tony Rosenberg Brazil

Brazlan ii Paradox

Taliban diz que Bin Laden tugiu; EUA woo acreditam

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Dear John, I share your opinion in an article titled "Do Brazilians Care?" and published in the October issue of Brazzil magazine. The reaction of Brazilians to the attack on the United States by Muslim terrorists portrays the dubious nature of human mind. United States is the country that the government and people of Brazil try to imitate as much as they possiblycan, not to mention the ever-present long lines of Brazilians waiting to obtain their travel visas at American Embassies and Consulates all over the country.

If the people of the United States and their government are such bad people that deserve to be slaughtered as on September 11, 2001, I wonder why anybody would want to visit the country. I don't see the same long lines of Brazilians in Iraqi, Iranian, Libyan, and Saudi Arabian embassies waiting for visas to travel to those countries.

My theory regarding the reactions of Brazilians and, in fact, of people in many other third world countries is that those reactions are a mixture of envy and frustration. These are countries that have failed to move forward in economic development. Even though Americans are always the first to arrive with help at a scene of disaster anywhere in the world, that is not what people think about when they think of the United States.

They just want to live the way Americans live without realizing that Americans worked hard to get to where they are, and still work hard, and do things the right way to stay there. The dubious nature of human mind makes these people feel good when the so-called mighty is brought down because they somehow irrationally believe that that would make everyoneâ&#x20AC;˘equal.

Whattheydon't realize is that if a country like the United States succumbs to terrorist threats, then no othercountry can stand in their way. What's more, the Muslim terrorists are not likely to use their newly acquired "world power" the way the United States uses its power. Although it is farfetched, but I can'tsee Brazilians surviving and thriving under a Muslim rule such as it exists in Afghanistan today under the Taliban.

I am a frequent visitor to Brazil, I like the people, and speak their language, but as a black man, I found a lot of contradictions in the Brazilian mentality. For example, Brazil is a country where a great deal of miscegenation has taken place. However, a very pervasive type of discrimination against black people exists in Brazil, yet Brazilians would comment with a greatappearance of disgust, whenever a racial incident in the United States is reported in their news media.

A Brazilian girl would take the worst men a country like Argentina could offer before she could consider a black American. She is much more concerned with skin color than the way a white American girl would look at it, ifshe were to date a black man. A white American girl would not concern herself with what her neighbors think about who she is dating because she has a sense of personal independence.

Brazilians like to criticize theircountry without thinking about whatthey, as individuals, are doing wrong. They hire those poorerthan they are and treat them with very little respect. They are not even bothered that the young girls they hire to baby-sit, cook, and clean for them should be in school instead of working for a few reals. Those who own cars drive them on the streets without regard to pedestrians. On the other hand, everybody in America, no matter what their status in life, crosses the street knowing that he has the right todo so, and those driving cars know thatthe pedestrians have as much right as those in their cars. I enjoyed reading your article and just wanted you to know that you hit the nail on the head. Thanks for the thoughtful opinion.

Paul Betterman Los Angeles, California

Let's All Die for the USA Dear John Fitzpatrick, my work led me onto the Brazzilwebsite where I stumbled onto your article. I'm Brazilian but have grown up in loads of places around the world, mainly in the US and England. It should have made me a little more tolerant and understanding of the general Anglo-Saxon self-righteousness.., but, alas, here lam writing to you.

Seeing as you've lived in Brazil for the past.... what? Six years? I would've expected some of the brasileiridade to have seeped into your system, but here you are, disappointed and depressed at Brazilians' reaction to the September 11 attack.

14

BRAZZIL - NOVEMBER 2001

Look around you. People aren't celebrating because that would be a tad inappropriate. After all, only the evil wish ill to fellow innocent human beings. But, take a private poll and see how many really think the planes should've all hit the White House, specifically George Bush himself. As you pointed out, the majority is too ignorant to connect their miserable lives to US policies and will just classify it as"Deus me livre"and will side with the US thanks to Rede Globo.

This, of course, means nothing, because, as you pointed out as well, they've already got enough to worry about.

Who's gonna really feel for people dying 10,000 miles away, when 300 are murdered every month nas favelas e periferias de Sao Paulo?

The smugness of the educated minority, as you defined it, comes from the feeling ofjustice having been done.

American arrogance got slapped in the face. 5000 people died? What a shame! We had that many killed during years of a dictatorship the US funded and promoted. I'm sure you've heard all these arguments before and consider the issue to be much more of a humanitarian one.

Fine. What should we do? Help the hand that slaps us? Let's all rush over and get killed in Afghanistan, so the US can regain its economical stability and pride (really needs it since Vietnam, don't they?) and continue to bully us around. Doesn't the US have enough military power to blow the world over as many times as it wants? Leave us alone!

They brought this on themselves and they've got a lot of nerve asking everyone to join in.

Divide o prejuizo mas administra o lucro. Depois fala que brasileiro que 6 malandro...

The only reason the attacks didn't come from Brazil is that we still have Camaval and soccer (more or less). Sad, but true. But the whole concept of being Brazilian stems from these simplefacts. You hate it sometimes and sometimes you love it. That's it. Trying to make sense of it, especially through an Anglo-Saxon point of view, is useless and void; which brings us to my final point.

What kind of a magazine is Brazzil? A mag that writes about Brazil in English? Who reads you guys? Probably gringos that wanna come over and visit.., watch a bullfight in our capital BuenosAires and meet t e typical Baiana that wears a fruit bowl on her head. What's your next article gonna be about? How we should interna ionalize the Amazon to keep it safe? "Brazilians just aren't reliable enough to take care of it..." Dude, get a life...

Mauricio Buchler Via Internet

Benning graduate Others became exiles, escaping fromii torture by the military thugs. Am the ones came exiles rest dent Cardoso., Health Serra and tion Minister

In Tune Mr. Fitzpatrick, I agree 100% with your views as expressed in the October edition of Brazzil magazine.

Arsenio Fornaro Newark, New Jersey

nochet m and all lost friends after . the CIA orga-

Not At All We do care. Brazilians DO CARE. I disagree 100 percent with the editorial of Mr. Fitzpatrick. He is wrong. ..and unrealistic. Sorry.

Denise Hoare Via Internet

We go It All Dear Mr. Fitzpatrick, Brazilians are friendly and helpful. We invest a lot in learning your language and getting to know more and more about your country and people. We do our best to "sound" American and adopt English words in our daily vocabularyâ&#x20AC;&#x201D;hot dog, networking, benchmark, etc, etc. We know that New York is a melting pot and New Yorkers love capuccino in the Fall. We know that the capital of this beloved country is Washington. We buy dollars, we spend dollars, we trade dollars, we "speak" dollars. WE DO CARE. Priscila Catta Preta Ribeiro English teacher and translator

US Can Dolt Alone In the article "Brazilians Don't Seem to Care" the author seems to expect Brazilians to be outraged about the NYC attacks. The author also expects military support for the US. As an American I don't feel that it is right for the US to bully countries such as Brazil into joining us on military missions. Our problems are not necessarily Brazil's problems.

President Bush wrongly states that countries must be with or against us. The US is constantly invading countries.

From Vietnam to Panama to Somalia. How can we expect Brazil to be there every time when we are not there to help Brazil? Yes, I know Britain is always there with us. However Brazil is not Britain and doesn't want to be! As an exmilitary person I can tell you that the US can handle things by themselves. However the US will continue to lobby for political and moral support from other countries....

Brian C Via Internet

The fine Point of It I want to comment on "Brazilians Don't Seem to Care." For me this article shows exactly the opposite and that Brazilians are finally getting more aware of international affairs and that they also are more careful about making judgments or undertaking actions without considering the national interests. Therefore I do not agree with this gentleman's statements. Furthermore, lam sure Brazilians felt sad and sorrow for the victims in New York and if he thinks Brazilian people are ignorant and so badly educated I wonder what is he doing living in Brazil.

econothie eft not trust Americans for their ownA reasons too. For decades, the USk-, . has preached fre trade, while raisi tariffs and non-tar 'ff barriers o steel, beef). Th adversarial attitude on trade dates back to the sixties with the soluble cof crisis. ' Of co painting advocate piettr and there are man reasons why Brazil ians should sym thize with A cans, perhaps more markedly th the large Brazilian population in the., USA, but ignorirt the reasons why Brazilians or anyone else might feel be distant is net exact

Johanna Via Internet

Peace Through Music Read your article about Brazil not displaying caring about America. I was unaware of the extent of the compassion in the rest of the world and that was helpful to hear of... Thanks. Your article BRAZZIL - NOVEMBER 2001

15

lanai da tardee Bush promote "ampla e torte resposta metar"

Para Bush, guerra ĂŠ entre a Nberdade e o tenor

came to me through a bookseller in Canada... I'm looking for charts for Jobim tunes....ah, the Internet!

Anyway, I went to hear Gal Costa and Dori Caymmi last week at Berklee (in Boston). She of course is incredible, such confidence and humility. Just extraordinary. And towards the end, they did the most beautiful rendition of "America the Beautiful" I have ever heard... It felt completely 'apolitical'... justfilled with compassion and empathy and immense sorrow. And also immense hopefulness. I can't tell you how much it meant to me.

First, that they would continue with the concert as scheduled, coming all the way from Brazil when many are afraid to leave the house) and, second, that they would acknowledge what happened. That even if it is 'true' that we broughtthis misery on ourselves, that someone would still realize that it's a huge amountof pain.

It was courageous to acknowledge Americans, especially given that the audience seemed to be 95 percent Portuguese speaking.

Sometimes, a show of compassion and empathy can allow the 'victim' to more quicklycome to realize their role in the victimization. And can help the situation improve foreveryone. I wish I could get a letter to her to let her know how listening to herJobim album, and seeing her in performance has brought joy and peace to me.

I don't read/write Portuguese, (so don't understand what info I found on the Net) and if you happen to know the best way to mail her, I'd appreciate the info. Thanks for your help.

I've memorized about 10 tunes, though I'm specifically clueless about what I'm singing about. I thought"A Felicidade" was a 'happy' tune and that "Falando de Amor" was a 'sad' tune.

Maureen Meinert Via Internet

Brazil Get an Education 1

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Thank you for your excellent article in the October issue ofBrazziL I have dual nationality, a Brazilian mother and American father and I fought in the US army in Europe in WW11.1have received e-mails from many friends and relatives in Brazil who have suggested that they wished the United States would not retaliate. I have tried to tell them that if we didn't retaliate we would invite every kook in the world to attack us.

I even believe that if the President refused to retaliate he would be impeached. One of my relatives is from Salvador, Bahia, where the police went on strike and the thugs ran rampant in the streets. Should they turn the other cheek?

The Brazilians who are here and are frightened, I urge them to go back home. They obviously won't pay the price of freedom and we don't ask it of them. We can't explain Americans to the world but I have traveled the world and these are prettydecent people who mostly want to be leftalone to enjoy theirfreedoms; but, having said that no one should mistakethatforweakness. Wewillfightwith everything we havegot, alone if we mustbutfightwewill. Keep up the good work, someone who is articulate musteducate the Brazilians of the facts of life.

George Pichel Via Internet

From a former Soldier I lam afraid that your article in October's Brazziloversimplified a complex problem. You have not suffered and have not bled, you are hardily in a position to write for those that have. What sacrifices have you made for your liberty? There is a price to be paid for liberty. As I told my relatives in Salvador: "Why not let the police stay out on strike and let the malandros take over.

Fifty eight years ago I volunteered and fought in the US Infantry in Europe. I could have asked for repatriation to Brazil, but at 18 I believed that liberty was a cause to fight for. lam one of those people with two countries and love them both. I would happily fight for either one except I am too old.

Why did you not explain to your readers that the US has spent more money feeding the Afghan than any other nation in the world? How much food has Brazil sent? On tonight's TV there are pictures of the Taliban stealing American donated food from their own people. I have traveled the world in my lifetime and probably know Brazil better than you do. We geologists work in the interiors not in the comfort of cities. The US with all its faults is a great country that desires no land from anyone else. We want a good life for all of our citizens and this is the reason one million Brazilians have come here.

George (Georginho) Pichel Via Internet

We Will Bleed for You jernal da tante Lel de Marla red= wee para educaclio e ateneeb Me do fuocionaligno

FBI mese atentados e monta 'Plano Apor,aBpse'

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You couldn't be more wrong about President Bush. There are some people that in a crisis rises to the occasion, others falter and fall. George Bush has risen to theoccasion. Over 250 million think so and I will take their word before yours any day. lam a Brazilian veteran who fought with the Americans in WW11.1was willing to pay the price for the freedom I enjoyed and so that my parents back in Brazil could live lives sossegadas.

If you are going to write articles about this war I suggest you read about the Reformation going on in the Islamic Faith. Oneelement, the one the Taliban and Osama Bin Laden are pushing, envisions onegreat Islamic nation. A nation ruled by religious leaders. From this base they would expand until Islam rules the world for Allah. Brazil is easy once the superpowers are out of the way.

Wedon't ask you to bleed and shed tearsover us, justgo back to your cafezinho and we will do the bleeding for you. Brazil is a rich country in mineral resources and arable land to grow food. It could be just as rich as the US and offer its people the same opportunities as the US. The problem reminds me of a joke about the people who asked God why he was so good to Brazil, no eartquakes, hurricanes or typhoons. His reply was classic: "Just wait until you see the people I put there". And I say that with love which I have for my fellow countryman.

George Pichel Via Internet

,

16 BRAZZIL - NOVEMBER 2001

Don't Cry for US Dione Rocha, I read your article ("No-Win Game", Brazzil, October 2001) in utter disbelief. You are a spoiled, childish woman. Have you ever suffered or bled for anything? You forget that when any nation anywhere in the world needs help the US is the first to come up with aid. We have given more fond for Afghans than any other nation, how much have you given?

As soon as I was 18, after Pearl Harbor, I volunteered to serve in the US Infantry. I could have asked for repatriation to Brazil but chose to do what I could. There is a price that many have paid with their lives to permit you to write snide articles with perfect impunity. I hope that none of my friends or relatives in Brazil, or you ever have to pay the price many of my friends paid. We don't ask you to cry for us—go home and stay there. Learn Arabic and you will be prepared for any eventuality.

114'50t.lim;

Oval da tate* Mao cnna du de Cabul.

Allilharia atega responde

George Pichel Via Internet

Plain Dumb Probably one of the most thoroughly uninformed, hateful and frankly, stupid articles I have ever read in your publication was the article by Dione Rocha titled "No-Win Game." lam compelled to respond itby addressing the various points Ms. Rocha brings up.

"To show America's power through an armed conflict is a childish and not very intelligent reaction, and makes no sense for a number of reasons."

So the USA is not allowed to defend itself, its citizens, and residents (many of whom are your countrymen).

What do you propose we do? Invite bin Laden and Mullah Omar over to sambar um pouquin o? Of course not! The Taliban doesn't allow music in Afghanistan, so they surely wouldn't enjoy that.

Oval da tarde-f FIN Melte tortorisias oho atacar nos proxbnos dias

"One is that most ofAfghanistan's population know nothing but hunger and misery caused by two decades of war. They do not have a clue as to what "The Taliban" or "New York" is, so remote are they from what we call "civilization"."

Regarding New York, while you may be correct, if you think that the average Afghani doesn't have "a clue as to what 'The Taliban" is, it is you who are clueless, Sra. Rocha. Do you believe that women in Taliban controlled Afghanistan wear burkas as a fashion statement or are denied medical care or the right to work for no reason after years of freedom under prior governments, some of which included women in government ministry positions? Do you think that men who never had any desire to grow beards who are how forced to grow them do not know who made them grow them? You are beyond clueless; you are badly uninformed.

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"Second is that whoever is responsible for the attacks, is ready to respond to retaliation with even bigger and unexpected force."

Do you know this for a fact? If so you should inform the authorities. Failing to do so would make you an accomplice. If not, then don't presentyour speculation as fact. That certainlyseems to be a persistent problem that permeates this diatribe of yours.

"No one is going to tease a giant and not expect a reaction."

It depends upon what the reaction may be. Experts on terrorism believe that bin Laden may be fomenting a popular uprising against governments in the Middle East and other predominantly Muslim cpuntries (e.g.

Indonesia and Malaysia) to lead to civil wars against more moderate leaders in order to install his band of Muslim fanaticism.

"Further yet, knowing that the giant will react, any being with a minimum of intelligence would have an even bigger (and worse) surprise for later."

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More than ten years after the Gulf War another giant teaser (Saddam Hussein) still hasn' launched his surprise. Your statement is your opinion and is not based on any facts in evidence. It is presum tuous and I'll excuse it because of your youth.

"Responding violently to the attacks will just generate an endless chain of violence that will result in loss for humanity as a whole."

A fair concern, what is your proposal for self-defense? Do nothing? Bomb bin Laden and the Taliban with hugs and kisses?

"Also, we have to consider every face of the subject. No American has ever cried over the millions of people who die every day in Third World Countries, victims (directly or indirectly) of American foreign policies designed to keep America on top. The average American is not able to see that. They are not supposed to see that link.

That is why they think they are poor victims who have been attacked for no reason and that is why they have been asking so insistently for retaliation."

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.erndiar riet.ora pen. now MU

This is probably the most thoroughly stupid portion of your article. Have you met all 260+ million of us?

Do you think that we all move in lockstep, that none of us have ever been to the Third World and have never worked on behalf of human rights issues in the Third World? Did you know that the US section of Amnesty International is the largest section in the world? Do you think thatwe all agree with every statement and action 17 BRAZZIL -NOVEMBER 2001

L.4

our government conducts?

Nothing could be further from the truth. For the record, I responded to you personally on this point and you have yet to afford me the courtesy of a response. That merely leads me to believe that you either lack the courage of your convictions or lack the strength of character to acknowledge the error of your sweeping and uninformed generalizations. As far as "asking insistently for retaliation," if you legitimize terrorism as a form of political expression as this statement clearlydoes, then be prepared for the Pandora's Boxthat you are opening.

How about the residents of Rocinha getting their hands on some artillery and firing shells into the rich residences of Sao Conrado and Leblon. Indeed, what would stop the entire Zona Norte from attacking the Zona Sul in Rio de Janeiro? What would you think of poorer residents of Sao Paulo firing stinger missiles at the helicoptersof rich businessmen going from their homes in Morumbi totheir offices on Avenida Paulista? Would you accept the Xingu and Xavante Indians blowing up the ltaipu dam? Could you accept the Pataxo Indians retaking Porto Seguro?

111 "The attack upon a member of the United Nations should be considered as an attack upon all. Who guarantees that if Brazil had been attacked, the States would give us their support?"

jornal da timid

It's called the Inter-American Treaty of Reciprocal Assistance, more commonly known as the Rio Treaty.

If you want to actually acquaint yourself with a fact for a change, you can find the text at http://www.oas.orq.

"They want us tostop polluting, butthey keep on polluting in order to maintain the growth of their economy."

I think that is a fair criticism, but again, it is a generalization. Many of us do our part: recycling, driving more fuel-efficient cars and using public transportation.

"They give us the hypocritical speech of tolerance, but when they are asked to do the same, the president leaves an International Conference Against Racism."

Oval da tarde Um dia de pĂł branco e talus alarmes na cidade

Another fair criticism, but only to a point. When I visit Brazil and see supposedly educated white people refer to Afro-Brazilians as"crioulos"and call their servants"neguinha" to their face, I cannot help but think how I would be ostracized socially if I were to do that here, not that lever would say such things. I'm glad to see that they are finally considering affirmative action programs in Brazil. I just wonder why a country that has portrayed itself as a "racial paradise" would ever have to do so.

"Before World War II, Europe was what America is now. The parents of my generation studied French at school. In a couple of decades, America may no longer be what it is. And the same way I had to learn how to speak English in order to achieve better positions in an 'Americanized' world, who knows what language my children will have to learn at school?"

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Oh, coitada! You "had" to learn English! Que pena!Did someone force you at gunpoint to learn English?

I learned German, Spanish and Portuguese because I wanted to, just as I'm sure you learned English because you wanted to learn it. Grow up and accept responsibility for your actions. There are probably millions of Brazilians who would love to learn English, but lack the financial means to do so. How sad for you that your family had the means to do so.

*nal da tarde&

"And one day, tired of suffering under the feet of a ruling country, America may be seen as terrorist, and they will want their reasons to be heard."

aim Oohs.

Antraz Tats. dole em Wtrahington

Well, we certainly won't be inclined to fly planes into office buildings to make our point. We will do so on the currency of our ideas and the wisdom of our leaders, present leaders excepted.

Randy Paul Jackson Heights, NY

The Do-Nothings

Word da tarde& Monftores da Febem mamados para morrer

18

This is a direct response to Diane Rocha's shallow and uninformative piece in the October issue. You cannot be serious: "No American has ever cried over the millions of people who die every day in Third World Countries"? What a ridiculous and intellectually infantile generalization. I realize you are very young and in the initial stages of your lifelong learning process, but you should still know better than to make such a blanket statement. No one will take your views seriously! In any case, you should know that there are literally millions of people in the US who are sick of the misguided and short-sighted foreign policies of our government. But just like in Brazil (and countless other developed and developing countries), the powerful rich have maintained their control overall aspects of policy. It's always about political elites making decisions that benefit themselves, not the people they are supposed to represent.

When I lived in Rio, I couldn't believe the attitudes ofthe general publicâ&#x20AC;&#x201D;didn't they want to change things?

Why did they continue to accept the incredible corruption and stupidity of their leaders? When I came back to the US and watched as George W. Bush was elected, I found myself asking the same questions! Perhaps people are notso different, no matter where you go in this world. There are always many working for positive causes, but so many more that simply do nothing or too little to make a difference (sadly, I often ask myself if lam one of those people). And while our brainwashed media is certainly obsessed with the flag-waving patriotism that denies rigorous analysis of why these attacks happened, I don't know many people who think we are "poor victims who have been attacked for no reason." Even the most apathetic Americans know this is really about such basic issues as oil, the Israeli-Palestinian conflict, etc. And many are beginning to whisper that it's time for BRAZZIL - NOVEMBER 2001

a change. Let's hope one comes. You say thatone day "America may be seen as terrorist (but aren'tyou saying we are already seen that way?), and they will want their reasons to be heard." Okay, Muslim militants may want their reasons to be heard—but who is going to listen with any sympathy when they perform Ouch cowardly and murderous acts on thousands of civilian? Was the American govemment heard when they killed Vietnamese civilians during thatworthless conflict? No, itjust made the world (and millions of American citizens) angry and hateful toward the US. Yes, there are many valid reasons thatAmerica is being attacked, butonething everyoneshould remember is that this particular group of "Muslims" is totally dedicated to bringing their perverted form of "Islam" to the ENTIRE world, and they will destroy anyone who opposes them or gets in their way, including you. I know the world is sick of American hegemony and manipulation, but would you prefer to have Bin Laden and his gang as the next imperial enemy? As for your prediction that America may no longer be what it is in a couple of decades and that it will one day suffer under the feet of a ruling country, I can only say that, yes, anything is possible, but if and when that becomes a reality, you and I will have been nothing but dust in our graves long beforehand.

P. Castles Sacramento, California

Talk about Hypocrisy This is myfirst comment ever to any magazine with political or any other kind of views, butthis time, I have to answer to Dione Rocha. Hopefully it will be short and to the point. She talks about American being hypocritical but at the same time she talks about learning English to achieve a better position in an "Americanized" world.

This to me sound even more hypocritical that anything. What did you do? Did you go to England to learn English because you do notlike Americans? Did your rich parents pay your private school so you could learn a language that you do not like but have to learn because you want to belong?

You talk aboutAmerica, but I think you mean our government. America is not a government! Itis composed of people of all nations and races and yes, we do cry as individuals forthe different tragedies around the world.

What it affects me, it does not affect you, so I won't lie to you and tell you that every time that somebody dies in a foreign country I cry, however, because I'm Hispanic, I'm more prompt to react to news from Hispanic countries. I believe is the same thing with you. You will devour any news from your country in contrast from one from Africa. Does this make you and me bad people? I do not think so, because is just the reality.

When the towers in NYC and the Pentagon were hit on 11 September, many innocent people died. Are you saying that it was our turn to suffer?Are you saying thatwe deserve it becausewe do not care about nobody else? How can you talk so openly and irresponsibly?

You talked about America killing people directly or indirectly with its foreign policies "designed to keep America on top." Are you saying that your country want to be in the bottom on purpose becau0 in that way nobody gets hurt? All governments want to be or have some kind of power, especiallyglobal poWer, so please do not be so naïve. I do not say it is right, but it is reality.

You are right, violence brings violence, but as President Bush said, "We didn't ask for it." But according to you, we did ASK FOR IT with our attitude. Therefore, your answer is do nothing because %ey will hit us again. We did not hit them before and they did hit us hard, so what make you think that they will n t do it again, just because we do not want conflict. You have to understand that we cannotwait still until they decide to do it again. We have to act, the American people need to see that their Presidentdoes not seatstill lett ng his people be killed just because the enemy may get upset and try again.

Once again you are right, more people will die, but what is your warranty that if we do not ling, nobody else will.

J.C. Navarro Guam

jornal da tate* Vice-presidento dos BM ye Bin Laden no surto de antraz _

jornal da tardes ZroteanvenloOra.sho— muda com o Plano Otero,

jornat da Mlle* :7.

— antra: a FBI descobre caminho da Casa Bianca

The forgotten Ones Our condolences go out to the people that will be killed in Afghanistan by US bombing and soldiers.

Somebody has to be concerned for them!

Nubian Network Via Internet

In Bad Taste While lam a fervent defenderof the rightto free expression, lam nevertheless shocked that Brazzil would publish the tasteless and offensive article by Dione Rocha in its first issue after the murderous acts of terror in America. While Ms. Rocha has the right to her morally bankrupt opinions, Brazzil has no obligation to publish them in its magazine. The factthat Brazzil chose to do so betrays a severe lack of editorial discretion. Or should we assume that Brazzi/considers Ms. Rocha's views within the bounds of civilized discourse?

It may seem unnecessary to even dignify her rationalization of terrorism with a response, butsome of her assertions demand a thorough repudiation.

First, how can she have the audacity to posit that last month's terrorist attacks and America's response are somehow morally equivalent? On 9-11, terrorists murdered thousands of innocent civilians. The World Trade Center was a peaceful center of commerce. The people there were merely working for a living. America, in its response to the Taliban's harboring of the evildoers, is focusing on military targets.

America is making every effortto avoid the loss of civilian life in Afghanistan. America is evan giving food and humanitarian supplies to Afghans. Ms. Rocha should remember that no one suffers more under Taliban rule than Afghans themselves. This is especially true for Afghan women, who are deprived of eVen the most fundamental personal oreconomic freedoms.

Ms. Rocha's second point reveals a total ignorance of the lessons of history. If this were pre-War England, BRAZZIL - NOVEMBER 2001

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I suppose that with Neville Chamberlain she would be declaring "peace for our time." As Hitler taught us, appeasement is no way todeal with a monsteron the international scene. Ms. Rocha would have us cowering in fear in the face of any threat. There comes a time, Ms. Rocha, when evil must be stood up to. Evil doesn't respect weakness. It only seeks to exploit weakness for its own purposes. That was the whole point of the 911 attacks: to terrorize the American people into paralysis. The terrorists severely miscalculated the spirit and will of the American people. America is more united, and more resolute than it has ever been. As it should be.

Herthird point is perhaps the most offensive (and the most untrue). What is so offensive is her implication that America somehow"deserved" these acts of terrorism, as punishment for its sins. The moral refutation of her attitude speaks for itself. Her argument is flawed on factual grounds as well. To say that Americans have no compassion for suffering in underdeveloped nations is ludicrous. VVhat nation donates more tocharities whose sole purpose is to relieve suffering and promote development in poor countries? What nation invests more in the economies of developing nations? The cause of poverty in certain parts of the world is not American foreign policy, or a lack of compassion on the part of the American people. The cause of poverty is wrong-headed economic policies. If other nations were to emulate the United States, and adopt democratic capitalism as their political-economic system, they too would prosper.

It is sad and disheartening to see Ms. Rocha proceed with her worn-out leftist tirade, as if the issues she raises have ANYTHING to do with terrorism. I'm sorry, Ms. Rocha, the attacks on America have NOTHING to do with pollution, international conferences on racism, or what have you. I could defend America's environmental record, or point to what a colossal, ill-conceived SHAM the U.N. conference on racism was.

But that would miss the point. Even if America was on the wrong side of those issues (which it most definitely was not) that would in no way alter the fact that what happened on 9-11 was pure EVIL. Finally, Ms. Rocha concludes her article by looking forward to the day when America is no longer the world's superpower. Well, Ms. Rocha, I'm sorry to disappoint you (and the terrorists), but America doesn't intend to roll over and play dead anytime soon.

Nathan Brinkman Via Internet

Recipe for Prosperity

jornal da tarifa

I live in the United States for 13 years. I was born in SaoJose dos Campos and I moved to the United States when I was four years old. I recently read your article on a Brazilian's reaction to terrorism. Well, I have decided to give you my response which I hope you to take into consideration.

You call America's military attack a childish response. Firstof all, America must respond by destroying the evil terrorists who are hiding in Afghanistan. Let me tell you why. It is very important they do use military force because these terrorists are serious murderers. In 1998 they destroyed embassies in Kenya and Tanzania and the United States did not use any military force to go after Osama Bin Laden. He killed over 300 Africans and 12 Americans. Then he blew a USS ship killing 20 more people and then they killed another 5,000 people in September 11th and you expect the United States to stand by and do nothing.

The problem I have with the way you think is that you offered no solution to the problem. America can not stand by while terrorists continue to destroy all the freedom and democracy the United States has constructed.

Yes, some lives are lost in Afghanistan, but this is an occurring pattern throughout history. The United States had to use force against the Yugoslavian governmentfor killing ethnic Muslims, innocent lives were lost but the key point is that we saved lives. When the US destroyed Hitler, innocent lives were lost but itwas for the better good of humanity and for the world.

You go on to attack the USfor the killing ofThird World people who live in poverty. Well, I can easily respond to that statement, it has nothing to do with the US. It has been proven that capitalism brings people out of poverty when economic growth is achieved. Let's look at Ireland, let's look at Taiwan, lets look at South Korea. What about China, which has generated great economic growth, which has cut poverty in half?

Look, your idea of American dominance is incorrect because many poor countries still have not strived to open their economies and reform their old ways and that's the reason they are in poverty. I want you to give me another economic method (like capitalism, or communism) which actually works. I pointed out Ireland, South Korea, Taiwan, Singapore, Germany, US, France, Italy, Canada, China, and even now Russia who have improved the lives of their people through capitalism. Communism, and socialism have failed! Failed in Russia, failed in China, failed in North Korea, failed in Vietnam. So, why are you against capitalism? Too much success?

I cannot believe you would say America has in the past turned its back to humanity fonts own interest. First, they risked their own men and women to save Europe from Germany and WWI. Then, they went and saved Europe and the Jews from Hitler in WWII. They did this because they knew it was the right thing to do. Now, I get mad when people criticize the United States for acting out and doing things positive, but at the same time people attack the USfor doing too much. That is unfair and I believemany of my fellow Brazilians have a negative view of what the United States and capitalism truly have to offer.

Brazil my home country suffers from a lack of capitalism. Mario Covas the greatest leader could have led our country to its true rich form, but he is no longer with us. He was the best! Well I hope Fernando Henrique Cardoso's policies continue and hopefully somebody will realize what I have realized atthe ageof 17 and fight for more capitalism in Brazilian society. Before fast economic growth with low inflation can occur Brazil needs astrong developmentof ajustice system, along with education. Education is essential to improving society. Justice is needed to enforce the laws of the land, and so it takes growth, education, justice to make Brazil a better place for all Brazilians Daniel Via Internet

Far from True The reported lack of sympathyfor victims of the recent catastrophicterrorist crimes in the U.S. in your October 20

BRAZZIL - NOVEMBER 2001

issue surprised and saddened me. It also didn't seem to correlate with what my Brazilian friends were saying to me by e-mail and phone.

What really hurtwas writer, Dione Rocha's statement that "No American has ever cried over the millions who die everyday in Third World Countries." That just is not true. I have seen people cry, not over millions, but over only one person's story they've heard. Americans are just like any other people, sympathetic to suffering.

Why do you think millions of US dollars are given to private foreign charities every year? Wlty do you think Americans go to other countries to adopt homeless children? What human with imagination does notgrieve over horrible suffering of others when they know their stories? Dione must be very young, and she must not be well acquainted with ordinary Americans. People are people. Only the very hard-hearted or those with no imagination don't want to help people who are suffering.

Her statementis ridiculous. If we hadn't been sympathetic, our country would never have si pported Israel after WWII; we would never have implemented the Marshall Plan that helped the countries of ourenemies in that war. We, too, sorrowfor the innocent civilians in Afghanistan who are caughtin a battle zona that they had nothing todo with. That's why oursoldiersdo nottarget civilians, unlike ourcriminal enemies, thefundamentalist Moslem cult.

Those criminals who destroyed four planes full of people, a section of the Pentagon, the twin towers of the World Trade Center, and killed more than 5,000 civilians, attacked notjust the United States on September 11th, they attacked Western Civilization that Brazil is a part of. I hope Brazil will support the anti-terrorist effort as their political leaders have stated they will.

It's been a shock to us here, but almost all Americans (even those, like me, who did not vote for Bush and even those, like me, who stronglyopposed the Vietnam War) supportour govemment's effortto stop this terrorism as best we can. For thatwe need all civilized countries' help, especially Brazil's, as it, too, is a nation with many immigrants, and thus many hiding placesfor criminals.

Jo Curtis Wisconsin, USA

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Look at Your Yard Dione Rocha, I justread your article in Brazziland am surethatyou'll besurprised to learn that!, an American, qgree with your premise that America's foreign policies played a huge part in precipitating the WTC attacks.

However, it is clear that your article was written solely from your impressions and isn't supported with facts. I especially would like to focus on one thing you mentioned.

"NoAmerican has ever cried over the millions of people who die everyday in Third World Cortries, victims (directly or indirectly) of American foreign policies designed to keep America on top. The ave age American is not able to see that. They are not supposed to see that link. That is why they think they are ppor victims who have been attacked for no reason and that is why they have been asking so insistently for retaliation."

Tell that to my friend Roz, who for several years has been actively involved in the move ent to restore women's rights in Afghanistan. She has been crying herself to sleep nearly every night with the thought that her friends at RAWA (Revolutionary Association of Women of Afghanistan), who are already risking their lives in order to achieve a better life, will become victims of bombs that don't differentiate between T liban and nonTaliban.

Of course that is just one person. But, you may be surprised to learn that many American are calling for restraint in our attacks. Many Americans, (but not the majority in this case) understand tha violence only perpetuates violence. We are afraid that World War III is on our doorstep, and no one wins in that situation.

I would also like to mention that you seem to neglect that the US is also dropping food to the refugees.. .sure, the food isn't enough and is a case of too little, too late (I mean, America armed and fed the Taliban, but now we've decided to startfeeding the people who really need it? I think that we should always spend more on feeding than on bombing) But, consider this: The American people (not the government) give billions ofdollars of aid to charities and organizations worldwide in order to hopefully save some of those millions of people that you say we don't cry over. For you to say that"NoAmerican has ever cried' over the problems of the world is a gross generalization that any credible writer would have avoided. I ask you this: How many Brazilian reals are given out to charities worldwide? How many American dollars does the Brazilian government take each year? I'm sure that you'll find that, per capita, the Americans donate far more money to your poor than you do.

Yes, the American government's foreign policies leave much to be desired, but take into consideration that many American people do not actively support everything the government did or does. (In fact, no President of this century has been elected with 50 percent or more of the votes.. .in other words, more people DO NOT vote for the winner than vote for him) To say that we all think alike is the same as suggesting that every Brazilian supported the torture and killing of the millions of people who disappeared during the Brazilian government's decadesof military rule. Or to say that all Brazilians support the random killing of street people in Sao Paulo.

On a recent trip to Brazil, I was amazed by the number of times I saw people begging on the streets who were forcibly removed from the premises and beaten in the process. Am Ito assume that no Brazilian cries over this? I don't assume that. Compassionate people exist in every partof the world. People lacking compassion exist in every part of the world and, often, they are part of the government.

For you to say that America's foreign policies are part of the problem is correct. For you to say that the average American is ignorant of whatis going on in the rest of the world is somewhat true. For you to assume that ALL Americans are one way is wholly incorrect. It is the same as saying that a rich Sao Paulo businessman thinks and acts exactly the same as a favela dweller in Manaus. It's just not true.

Furthermore, whether the US would respond if Brazil were attacked, I cannot say. But, we haven't asked Brazil or the UN to join with us, but our NATO partners did come to our aid. Brazil is not part of NATO, so your

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21 BRAZZIL - NOVEMBER 2001

point is moot.

However, the billions of dollars of financial support that the IMF (headed by America) has given to the Brazilian government are testament that someone in Brazil is benefiting from America's foreign policy, but you can bet that it isn't the average citizen. get poorer, It mightgive you comfort to blame America, while your rich get richer and your poor, but perhaps you should look at the problems in your own backyard before you blame one country for all your woes. Brazil has all the resources it needs to become a world power, yet it falters in that respect. What assumption can one make from that?

In response to another point you make, yes, Europe used to be the superpower, now America is. American dominance will fade, just as the Greek, Roman, Spanish, French, British, et al empires faded. But, will a more compassionate world order take over or will the new superpowers be just like all the rest and try to maintain themselves on top regardless of how their actions affect other people's? I think you know the answer.

I respect your opinion and your right to have that opinion. That is (in theory) one of the hallmarks of the American conceptof democracy. lam not attempting to say thatAmerica does notcontribute to oroommit atrocities, but the Average American does not openly condone such actions. Many are largely ignorant of them, unfortunately. This is a problem, but that doesn't mean that these same people deserve to die.

In fact, in my version of the perfect world, everyone deserves to have adequate food, health care and education. Including those who don't think as I do.

Rob Aikins Via Internet

Tribal Ritual

if

Dione, you seem like an angry young woman, and I like that... I smell the fires of the pyre we call ground zero and dream of a girl like you. We don't know the meaning of "Taliban" or"NewYork", we speak in Quechwa and Ainu, the languages of our children. We conquerourfears and build our hopeson the backs of holy martyrs as we ritually re-enact their final preparations of clean socks and strippers from Miami. We sipfrom the cup of righteousness ofthose whotickle giants and tiltat windmills, stuffed with our wisdom. We have cried for the millions so that others need not. Can you not feel the love?

John DuQuette Manhattan, New York

Mere Pawns Greetings Friar Betto ("It Serves US Right", Brazzil, October 2001), you're talking of morality to demons.

Your writing is eloquent and also very true, unfortunately, you are preaching to the choir, these people have no moral conscience, forthem "might makes right" and we are all just collateral damage, or pawns in the game.

Also, I think the problem is not with Uncle Sam, it's with the robber barons of the "Illuminatti." The presidents of this country are now and always have been just front men, no less puppets than Museveni, etc, just on a different level. Peace & Blessings. We certainly are in need of them both. From one born in the belly of the beast Afrikadzatasi Via Internet

War Is Nell -,'

ESTADO OE S. PAULO

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The good Friar (Frei Betto) should make no mistake: this is a war, a world war! When a country and a people are attacked it is an act of war. It is the responsibility of a government to protect its people. You may call it vengeance if you like. You may make be critical of previous policies (with some merit). But no government will remain viable for long if it cannot protect its people. Those who cry for peace in the face of an attack live in a world of philosophy that exists only in the mind.

Reality is the unfortunate domain of those who attacked us and to our government in its response. Innocents will die, they already have. Butthe attacks are against Islamist notthe Islamicfaith. The Friar should visit the real world and learn the difference.

James Stolarczyk Via Internet

Right On! I agree with Friar Betto's point!!!! And I am from the US. Via Internet

No Comparison 4-* This is in response do "It Serves US Right." How can you compare the two: Just as the victims of the World Trade Center and the Pentagon did not deserve the tragedy that they suffered, so the people of Nagasaki and Hiroshima should not have been exterminated with two atomic bombs. In the case of the atomic bomb...let us recall: Japan attacked Pearl Harbor on a Sunday morning. The US responded by declaring war on Japan and then bombing Hiroshima and Nagasaki. Japan could easily have averted the bombings by surrendering.

The WTC victims did not have this chance. Terrorists do not declare war. They are too cowardly to face their enemy and announce their intentions. I think it is ridiculous to try and compare these two acts and to do so shows how poorly thought out this report is.

And I love how you people state the obvious: "In Arns' words, terrorists should be punished for the horrible crimes thatthey committed but innocent populations should not suffer." But. can you give us an answer on how to do this? It is not easy to bring criminals to trial when they hide amongst the civilians. You would never see Bush hidden around civilians. Our government leaders are not cowards. He moves from one military base to another, but not in peoples houses like the Taliban.

22

BRAZZIL - NOVEMBER 2001

Randy Parman Senior Consultant Via Internet

Can't Bo Right Maybe Friar Betto should read American newspaper accounts regarding President Bush's statements on Islam. We are not chasing a religion! We are chasing criminals! We are criticized when we do something and when we don't! So, if you Brazilians can do better, be my guest! Talk is cheap, let's see some action from you, but you pay for it. So on't send us the bill!!

OESIADO I S. PAOLO FUA respordato Caw soon'

William J. Crane Via Internet

Superpower Headaches As a New Yorker I found Friar Betto's article ("It Serves US Right") to be well intentio ed but seriously lacking in logical conclusions. lam also offended at his implication that the attack was deserved. Regarding Hiroshima and Nagasaki, these were horrendous actions, I agree, but must be seen in the mindsetofthe times.

Japan and the US had been atwar for some time. There were atrocities committed on both aides and the war was started by an aggressive attack by the Japanese. As a man of the cloth, Betto must knew that equating one immoral act with another does not absolve anything but only obfuscates reality.

This is 2001 and not 1940. As to the great accomplishments in the world of Islam, this is irrelevant. Nazi Germany had a long listof major cultural and scientific achievements in its history. The accomplishments of a society do not justify the kind of despicable act like the attack on the Twin Towers. What is totally lacking in the modern world of Islam is any real condemnation of the acts of the terrorists. Many Muslims are still supporting beliefs created in their medieval period.

Trying to equate things in terms of good vs. evil is too difficult as nothing is that clear cut. Nothing, that is, with the exception of the attack on the Towers, which, historically, will be used as the premier example of as close to evil as possible. The US has its faults, as does any society. Being a superpower, anything the US does is double sided. When you supportone side orcause, you automatically create enemies on another front.

No matter how benevolent a super power attempts to be, any actions will, by necessity, create hostility.

Using Betto's logic, if the USsided with the Palestinians, thatwould give Israel the right to crash planes into the Towers. Since being sent to Viet Nam against my will, I was vehemently against all US foreign policy and considered myself radical left. Since this attack, I have realized that mycountry, with all itsfaults, hasdone much and sacrificed many people, to protectthe right of Friar Betto to have his say. I far prefer this to lying in a Muslim society where women are treated like dogs, all sensual pleasures are outlawed and Friar Betto himself would probably be executed for his beliefs.

Friar Betto, come out from the monastery and your ivory tower and see what is going on in the world. In the worst case scenario, in the not too distant future, it may be my countrymen who will giv0 up their lives to protect you from the terrorist acts which, at this point, seem to be justified by mostof the Islamic world.

0 ESTADO OE S. PAOLO jittit Talttal.

-

-

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11 'A

0 ESTAIX1 DES. PAULO

John Breski San Francisco, California

Brazil the Sideliner This is a response to your cover story "Feeling the Pain," I would like to comment first dn the editorial in the Folha de Sao Paulo that states in the author's opinion that "The United States has not contributed to the reduction of the level of world tension." My response is that the United States has done more than any other country in the world for the welfare of the human race. Because the United States can somehow take care of all of its own people and at the same time take in people of all origins in staggering quantity and provide for them as well, all the while being theworld's policeman, nuclear caretaker, and lone superpower (which I might add we have notexploited butshared) itmakes itincumbent upon us to do the most. It is a responsibilityAmerica takes seriously.

The author of this selfish comment has no understanding of these kinds of responsibility, nor does Brazil.

It is no surprise that he could be so narrow-minded. Here is an oxy-moron for you: Brazilian foreign policy.

The United States has made mistakes in its efforts to "reduce the level of tension" but not contributed? Come on. The United States chooses to do its BESTfor the most and then stays the course. Brazil? On the sidelines as usual. I find it shocking thatthe main complaint in all of the remarks you printed about Brazilian experiences in the tragedy focus on how it ruined "their dreams" and how they had to go home and that what America somehow owed them was torn from their grasp.

Shouldn't the focus be on the real victims? Maybe Brazil will benefit from all of these people coming home.

They bring with them the best of American spirit and attitudes toward justice and freedom and opportunity, things they may not have left with. Everyday I read the life stories and personal tragedies of the people who died, notjustAmericans, people of all nationalities, and until theirstories are heard and taken into consideration, let's notglorify a tiny number of unfortunate occurrences.

Thefinal numbers on the opinions concerning a military response were amusingly predictable. 74 percent think we should get the terrorists, 79 percent think just not where they live. 78 percent think Brazil should do nothing. I have news, you are already doing nothing! Maybe you should join the Mideast peace process. And in the final numbers, 51 percent think Brazil will get screwed and 29 percent think it will be a hassle.

This is the only article I have read about Brazilian responses to the tragedy, but the author of this amalgamation of selfishness is shameful. Nowhere did he publish comments on whatAmerica had done FOR these immigrants, only whattheycouldn'thave anymore. The authorshould go to Ground Zero and then reread what he published and then write a truly thoughtful article aboutwhat it really is, a senseless human tragedy BRAZZIL - NOVEMBER 2001

thsh xraNA114 oprdr distkim kit tan*

23

for all of us. And then talk about what Brazil should do, which is get involved.

Brent Via Internet

Brazilians, Go Home!

Who in the educated and informed world wrote and I quote from your magazine, One cannot ignore that the United States has not contributed to the reduction of the level of world tension." As if to imply that we called this on ourselves or in some way deserved this. That my short little brown friend is absolutely ludicrous.

Please wake up from whatever little 2nd or 3rd world fantasy land you are living in and open your eyes and you will see that America has helped so very many people in this world Is your country sending food for the innocent peasants in Afghanistan???? Hell no!!! What has Brazil EVER done to relieve world tension, BITCH????????

I have the feeling that if your wonderful little impoverished country had been attacked and continuously threatened and the general public (the vast many ofwhom cannot read or write) were in a general state of panic .you would be singing a different tune, bitch.

I personally invite you to visit me at my home or office or in the street or any parking lot or any place at all for that matter and I will fix your little red wagon. All you need to do is bring your big ass mouth and I'll take care of the rest... and until you have experienced terror please do not pretend that you understand you foul little brown fag. ERIC S. HATCH 4151 S.W. Freeway suite 512... HOUSTON TEXAS USA FOREVER I will visit you if you cannot come to me because you will need to understand what you are talking about and learn to have respect for the USA. I do not care if all you little brown bastards go home because if you are only here for the taking of the GOOD life and not to give anything back then you do not belong here... If you do not love America do not come here to take from its generous peoples, you little FUCK... You should go back to where that is all the people do take and take and take and never give back. I am waiting Are you a man or a mouth? Is there really any true MEN in BRAZIL??????

You have a whole country of little brown faggots who are AIDS infested. Uneducated starving bastards, what have you done to erase terrorism??? Oh, I forgot, it is not YOUR problem right, bitch?????

Eric Houston, Texas 0 MOO DE S PAULA 1416411: 'NUM:A

rtlitlerVInwS.

Cowards Go Home!

I offer my opinion about Ms. Dalevi views ("Feeling the Pain," Brazzil, October 2001) on the Brazilian immigrants who want to leave the US because of the tragic terrorist attacks of Sept. 11: They should go back to Brazil. Spineless individuals won't be missed here. Lots of people who really want to be here are waiting for the chance! Ms. Dalevi and all Brazilians who think it is unsafe here should remember that in Brazil, the equivalentof two Vietnam Wars die victims of violent crimes every year! In the city of Sao Paulo alone, more people died from generalized violence than the Israel/Palestine conflict this year alone! To a lot of us, that's justanother kind of terrorism. Who's kidding who? Justgo! We'll find a way to help this great Nation!

Arsenio Fomaro Newark NJ

Tomorrow Will Be Better I read with great interest the article titled "Feeling the Pain". One thing that is difficultfor people to understand is the powerful role that the media is playing during and after those attacks. The media is certainly to blame for the anti-foreigner sentimentthat is growing. All of this talk about"God Bless America" also is not helping. Shouldn't we really be saying "God bless everybody?"

As an American I feel that my country is going backwards. Ever since the people were denied their voting rights in the last presidential election, things have been eroding here. Now we face economic recession and war. Therefore lam not surprised that Brazilians are no longer eager to come here. Unfortunatelywe Americans have to weather the bad times. Good times will return, right after the next election...

Brian C Via Internet

Double Standard I hope terrorism doesn't come to your country. Please do not contact me again with your newsletter. Just as your people call on the US not to harm the innocent civilians of Afghanistan they applaud the deaths of US civilians, what hypocrisy.

Brent Curry Via Internet

Time to Give Back I think the Brazilian attitude stinks and it shows a lotof ignorance in their part. It's time to stop and think to see what's going to happen when Brazil cries for helpfrom the USA next time. lam Brazilian and I feel that Brazil should offer help to the Americans. So far, all we did was to take. I think it's time to give some help back.

Olga Didenko Via Internet

You Won't Be Missed It is very obvious that the central purpose of all of those Brazilians who wrote in have no allegiance to the United States. They are here for a short time to reap as many monetary rewards as possible, and return to their homeland at the slightest hardship. The United States was not, and is not built of citizens and immigrants 24

BRAZZIL - NOVEMBER 2001

of this low a quality of opportunistic people. Please, go in peace. We will not miss you.

Michael R. Feldman Saint Louis, Missouri

Let's Not fight It is such a shame that so many Brazilians feel thatway about Americans as a whole. When I watched the news and sawthe Afghan people cheering that 5000 Americans were dead, itbroke my heartthat people could be so cruel. But after hearing all the facts, I realized that way of thinking is only held by a select minority. This is the same for the people who think all Islamic people are terrorist and retaliate on these p ple because of their race.

It is sad that even one innocent person is hurt by this type of vigilante justice, but this w rld is not perfect nor should we expect that it be perfect. I think that I represent the majority way of thinking in that what makes a person cruel is in their heartand notby the colorof their skin or bywhatcountrythey arefrom. We, as Americans, are not perfect. But before you degrade the Americans for this tragedy and the factthatwe wanttosend a message thatterrorism will have a zero tolerance, then perhaps you and everyone should remember h w many people we help. We even help your country.

I hope that perhaps Brazilians will become more informed about whatour country stands for and continue to come to the USA. We are a wonderful people and there are some not so wonderful people. Just as this is true in your country. We must not let terrorism frighten us or turn one against another. For a nation divided is a nation destroyed. I welcome the Brazilian people to our country. I have met some great Brazilian people and I believe the people that I met know that America as a whole is a good people.

OE S PAOLO 111...a•sabw.x..orinx•awo pr• ' 013 telnetita%

vie rename' liqpi

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ESTADO S. P Tektun d &tutu eninkei de Bit Laden

Michelle Chorn Service Dept Via Internet

Not the World's Keepers It aggravated me to read that Brazilians think that the US, because it is the richest country in the world, should be responsible fortaking care of all the poorcountries of the world, and their problems. Who takes care of us when we have a problem? It's just like you said in your magazine, Brazil doesn't care about the tragic event that happened to us on Sept. 11, and now "we" should be picking up the pieces for their country, that cannot advance because it's so corrupted by the government?

Brasil is poor because of the way their government is run, so there is nothing the US can do for them. If they wanttheirsituation to getbetter, they need to open their mouth and speak up about it. Brazilians themselves don't try to improve their situation, so why should we do all the work?

People are so lazy. All Brazilians ever talk about is that their government is so corrupt. So why are we going to send them money? So the government can get richer? The poor people would never see a penny of it. Brazil's problem is not our problem and it's far too deep for any country to pull them ou of. And I'm glad Brazilians amongst other foreigners are getting scared and going back to their country.

They should open their eyes, like your article said, and see that they are notgoing to bec me millionaires the second they step foot of the plane. I travel to Brazil several times a year and have even lived there for a period of time, have been all over the country and everyone has the same ignorant idea tha they can come here, do nothing, and money is going to fall from the sky.

Besides, if that 23 year old kid Netinho went back to his country forgetting a broken nose, then he is weak and shouldn't have been here in the first place. Americans get slapped in the face all the time, physically and mentally and they keep going. The bottom line is, when you're number 1, everybody is jealous and talks down about you.

Many countries are jealous of the US and it's a fact. That's what it boils down to. Brazil should take responsibility for their actions, and if they want to complain to someone, they should comp amn to their own government who is stealing all of their money, not the US. I don't understand whyforeigners just live to complain and think thatthe whole world owes them something.

Snap out of it. I wish my letter would get printed in the same newspaper in Brazil that wrote about the US not helping poor countries. That was about the most asinine statement I've heard in a long time.

0 ESTADO Of S. PAULO ; tr :1;;;;:;::Al",3:1:Alr

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Cindy Via Internet

How Dare You? lam Brazilian and I live in Germany. lam deeply ashamed that any Brazilian would take the cold and hateful position that most have taken concerning the bombings in NewYork and DC. Brazil is poor, ignorant, diseasefilled and needs help from other countries, so howdare you say anything negative against the USA? The tourist industry will feel the sting of the Brazilian response to the US, you can believe this! By doing this, you have made Brazil look very bad.

We must be honestwith ourselves. Look at Brazil: there is NO political power, a disgraceful and severelylacking educational system, racism to dark skin Brazilians and Indians.. Brazil does NOTHING to even help its own poorand illiterate adults and children! They have to prostitute themselves and steal to even live! Shameful!

Brazilians need to be helpful in a time of crisis and not part of the problem. Are we not a C nstian country?

Do you not see the arms of Christ open as a symbol of how loving we should be to others? I m shocked and hurt that any Brazilian would think to rejoice at this sad time. Brazil cannoteven compete with t e US or Europe because it is so far behind, so please do not make all decent Brazilians look as ignorant s the ones who celebrated the painful bombings in the US. Ana Germany BRAZZIL - NOVEMBER 2001

25

Via Internet

SORRY FOR YOU am an • rican-j mencan woman in e I ni • states. Being a dark-skinned woman is not difficult here. We do not share the same prejudices as in Brazil. Theone thing that I like about the US is that your unique qualities as a person are what get you by. The complexion of your skin no longer matters.

I'm so sorry that you live this way. Please always remember Black is beautiful.

Via Internet THANKS FOR CAYMMI

You are invited to participate in thisdialogue Write to Letters to the Publisher P 0 Box 50536

LosAngeles,CA90050-0536 or send E-mail to hrazzil@brazzii.com

LATE BUT GREAT

er enjoying your magazine a ew years on the Internet, I decided to try theprinted version. Not obvious to receive a magazine like yours for so little money over herein Europe... I can only regret I didn't try it sooner. Although the magazines arrive with a serious delay (just received the July/August issue), they're something to look forward to. The articles are agreat addition to the other news you hearand read about Brazil.

My interest is alsofocusedon the articles related to music. Very instructive to hear aboutiesserknown musidans. Spedal mention herefortheartides written

by Daniela Thompson An 'essay like"FillingtheWoid" (nr 185 July/August) is ajoy bread, Well informed,well documenteo and nicely written.

Kees Schoof Belgium

WELL DONE oroug y enjoy your e ig' u ac e •• Portuguese Spoken Here" in the Septemberissue of Brazzli. Having been born and done my primary schooling in Brazil, my Portuguese is reasonably fluent, though not polished. I was consequently aware ot some of the usage you describe, but without a formal basis for it. Yourarticle struck a chord in me.

It reminded me of my_delight and puzzlement when I discovered that the opanishwordsforsumameand nickname(ape/lido and sobrenombre)were inverted from the Portuguese sobrenome and apelido. I have always wondered how that inversion came about.

Regarding your comment about Portuguese seeming more mellifluous than Spanish, I would go further and include any other ianguages I have heard.

Mywife, who knows no Portuguese beyond obrigada and boa noite, has commented many times on the pleasant sound of spoken and sung Portuguese.

Thank you for adding so pleasantly to my education.

R Thomas Hayes Via Internet

-I'D RATHER IGNORE 3r "t e lone, on ow e un e • 0 CIA committed genocide in the Amazon, in a thrift store. It has changed my whole imageof this country and sadly! kind of wish I could live in ignorance and being flying my flag right now By reacing this book I became a world citizen who must keep shining the light of love through what may sometimes seem the impenetrable darkness. God has given me a role to play on this stage of life.

Dave Williams

25

ruce, an you or your in erview in :razz/ with Dori Caymmi. I served a mission for the LDS (Mormon) Church in Southern Brazil from 19681970, at a time when Chico Buarque, Edu Lobo, Dori Caymmi, Gal Costa et al were establishing their musical personas. Even then, their music was oompetingwith the insipid rock of the Jovem Guarda— Roberto Carlos et al. I had to go to the back of the record bins to find albums by Baden Powell, for example, at a time when he was at the height of his powers!

I find virtually all interviews with my Brazilian musical heroes bittersweet, as so many of them cannot make a living in Brazil, but then again, the Brazil I remember does not exist today. It was great to catch up with what Dori has been doing, and to reminisce through him about an amazing cultural era, in theface of incrediblepoliticalopposition—afact that many of us didn't completely understand, because the government-controlled press was largely forbidderffrom writing about it. Thanks for your efforts.

Tom Williams

THANKS FOR CAYMMI II r. i man, an you or every insig • an candid interview with Doff Caymmi in Brazzil. lam a hugefan of his music—producing, arranging and songwriting. I really learned quite a bit about the history of Brazilian music in that article. For instance, I'm not familiar with the music ofJoao Gilberto before bossa nova. I really appreciated him expressing himself so openly and honestly.

Michael Lewis Via Internet THANKS FOR CAYMMI III

r man, my apprecia ion or aymmi as grown considerably. I liked him because of Msfamily connections, but now I understandthat heis deserving in his own right andfor hisown accomplishment.

I went to his concert at the Greek Theatre in Los Angeles and was very moved by the flag display.

Keep up the good work! ?As. K Los Angeles, California THANKS FOR PIXINGUINHA

:ruce iman,jus a i' e wore o suppo an.

FOR MORE LETTERS AND ENTIRE LETTER SEE: httplIwww.brazzilcom

acknowledgement for your article about Pixinguinha.

Keep the,good work going. Mu/to obrigado.

Jose Goldberg Australia NO MORE? I T ere,o were s . az• e gone. ave not read any of his observation's about Brasil this year, has he left Brazil now? Is there any where else I can read his writing? Thanks.

Via Internet CORRECTION MADE I ear:razzi,congra a ions or ea ice o Shame," aboutnudist beaches in Brazil. I just had the pleasureto read it. I have just one comment, for which I beg you to take into account and make the oorrectiom Tambaba Beach, which I have the pleasureto visit every other weekend (I live in Natal-Rio Grande do Norte) is located in the state of Paraiba, instead of Pernambuco, as is mentioned in your article.

Paulo Formiga Natal, Rio Grande do Norte, Brazil

NOTE OF DISCOURAGEMENT a es, reao your e'er in e Sc o'er issue of Brazzil. Portuguese is not a "dialect of Spanish" as you put it, but it is its own and beautiful language. If you know so little about Brazil, why are you entertaining getting a job there? Personally, I think it's foolish for a person like you to try to get a job there, since Brazilians themselves can't get empfoyment in their own country. Even if you get one, you'll be getting a starvation salary anyway. Forget it and do as milfions of hardworking immigrants do inthe U.S.: Get a job here!

Arsenio Fomaro Newark NJ

CONFESSION an wai o o.i an. rea.i in • Sarah Gadye San Francisco, California THE 200 TON PILL

ma ;•r, -year-o. man w o as a. pro. ems now for years with impotency. Viagra does no good for me. One day watching TV, a report came on saying that Brazil has come up with impotency pill that's 200times stron erthan Viagra. I'm notsure, but I think the name was aga). If so, pleasetell me how to purchase this product.

Via Internet

PACK OF DUDS ou razi ians area ounc o mu a ' o osers. e meget this straight, Brazil has French cultural roots?

Hahahahahahl- What a bunch of idiot wannabes.

What mountain do you live on? Or do you live in the jungle with the rest of the family?

Via E-mail QBTREXMAN@aol.com Can't you find Brazzil at your Brazilian consulate?

Don't ask us why, ask the consulate.

Allow 5 to 7 weeks to receive your first issue. No back issues sold. No subscriptions by phone.

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Jereissati

The starting bell was effectively rung at the end of October for the fight between the two main PSDB (the party of President Fernando Henrique Cardoso) presidential contenders. The governor of Ceara state, Tasso Jereissati, was quicker off the mark than the health minister, Jose Serra, and even outmaneuvered him in his Sao Paulo base. Serra hit back quickly and although he did not exactly float like a butterfly and sting like a bee the opening minutes showed that this contest will be entertaining and pretty evenly matched. One thing is certainâ&#x20AC;&#x201D;it will not be settled by a knockout but go the full 15 rounds.

For the moment the initiative is with Tasso Jereissati who has practically parked his tanks on Serra's lawn. First of all he turned up in Sao Paulo to be feted by 1,500 admirers who think he should be the PSDB's (and hopefully) the government's candidate. Among these supporters were the family of the late PSDB governor of Sao Paulo state, Mario Covas. Had Covas survived his battle with cancer he would probably have been the PSDB candidate. Now he is giving Jereissati his blessing from the grave. Other supporters are believed to include Covas' successor as governor, Geraldo Alckmin, although he has not voiced any public support, and a group of wellconnected politicians and backroom boys who have created an informal election committee.

For a Northeasterner like Jereissati this is not a bad accomplishment since the average inhabitant of sao Paulo state (Paulista) regards politicians from the Northeast as corrupt, menacing and lusting to get their greedy hands on Sdo Paulo's wealth. The Ceara governor (like Serra) is still being coy and says he has not yet made up his mind whether to stand, but the press expects an official announcement within the next two weeks.

Before we turn to Serra let's look at Jereissati's prospects a little. He has twice been governor of Ceara and has managed to project an image ofhimself as a dynamic governor who has bettered the living standards of the population in one of Brazil's poorest areas. Like another state governor, Jaime Lerner of Parana, Jereissati has also managed to sell himself abroad and whenever supplements about Brazil appear in the In a country as regionally foreign press the "good" news part usually focuses on the improved social conditions in Ceara and the efficiency of the minded as Brazil would it make transport system in Parana's state capital Curitiba. Naturally sense to have a joint Northeastern Jereissati and Lerner hog the credit and bask in the limelight.

However, being a Northeastern could backfire despite team? A lasso Jereissati-Roseana Jereissati's cuddling up to the Paulistas. Let's look at one Sarney ticket would stick in the thorny problem Tasso Jereissati would face if he were the PSDB/government candidate. Who would be his running craw of a lot of people. mate? Recently he appeared side-by-side with another Northeastern governor, Roseana Sarney, who has made a spectacular debut in opinion polls, attracting around 15 percent of JOHN FITZPATRICK potential voters. The media lapped up this photo opportunity and presented a Tasso Jereissati-Roseana Sarney ticket almost as a fait accompli.

Roseana Sarney is a member of the center-right PFL with which Jereissati has good relations, despite "ideological" differences. One of Tasso Jereissati's admirers is the former Senate PFL president, Antonio Carlos Magalhaes, of Bahia who has spoken warmly of his fellow Northeasterner. Having characters as disparate as Covas and Magalhaes in your camp shows not only that Brazilian politics is full of strange bedfellows but indicates that Jereissati, unlike the truculent Serra, is easy to get on with.

However is a Tasso Jereissati-Roseana Sarney ticket really the kind of team which Paul ista PSDB members would back? Furthermore, in a country as regionally minded as Brazil would it make sense to have a joint Northeastern team? Incompetent, corrupt politicians are not unique to the Northeast but a Tasso Jereissati-Roseana Sarney ticket would stick in the craw of a lot of people not just in Sao Paulo but also in Rio de Janeiro, Minas Gerais, Parana, Santa Catarina, etc.

The country has already had two Northeastern presidents since the return of democracy in 1985â&#x20AC;&#x201D;Fernando Collor and Roseana Sarney' s father, Jose Sarney. Neither was a success.

Collor resigned in disgrace before being impeached for corruption charges and vicepresident Jose Sarney became president when Tancredo Neves died before taking office.

Sarney' s administration was weak and his daughter has been lucky not to be tarred by it. On top of this there will be at least one other Northeastern candidate in Ciro Gomes of the PPS. To complicate things Gomes is a former governor of Ceara and a friend of Jereissati so we could have a plethora of Northeasterners on the ballot paper.

Another point which could shatter this dream team is the fact that they both have histories

Gloves Are Off

28

BRAZZIL - NOVEMBER 2001

of health problems although they are reasonably young. Brazil has already lost two presidents before the end of their mandates and the possibility of either lasso Jereissati or Roseana Sarney having to be replaced on health grounds could be seen as tempting fate.

Turning to Serra, hardly had the Jereissati lovefest ended on Monday before he was ripping up his agenda and appearing on Tuesday as a self-invited guest speaker at an international trade forum. For someone who is in charge of the nation's health and hospitals this seemed an odd forum. Health was far from the minister's mind and he spoke about foreign trade and the need for tougher budgetary laws to stop state and municipal administrations going on spending sprees knowing that the federal government would bail them out.

Unlike Jereissati, who was seen to have made a timid criticism of the Cardoso government's social policies, Serra made no controversial comments. However, he was critical of the open-armed way Brazil had welcomed foreigners and made it clear that this would not continue. As this area does not come within his ministerial remit and he is unlikely to be made a trade minister he must have been speaking as a potential president.

Serra's action was a counter response to Jereissati and a notification that he has his sights on the presidency. Some of his advisers have been saying he should now quit his ministerial post, declare himself and start organizing his campaign. This is unlikely as Cardoso has made it clear that he does not want to see an internal war start so soon.

Cardoso knows that any successor will not come from the PSDB alone and allies will be needed.

Of his current allies the PMDB, is playing its usual cat-and-mouse game. After being nice to Cardoso recently by electing the pro-government Lower House chairman, Michel Temer, as its national leader and giving a setback to Cardoso foe former President Itamar Franco, it is turned nasty again. It is refusing to nominate a replacement justice minister, a PMDB member who has resigned, and is still maintaining the idea of having its own presidential candidate. At the moment this could only be Franco.

Without the PMDB Cardoso would have a difficult task in shaping his successor. If the three main government parties--PSDB, PMDB and PFLâ&#x20AC;&#x201D;were split then the way would be open for the left-wing PT candidate Lula to win in the first round. Unlike Serra and Jereissati, Lula, currently riding high in the opinion polls, does not have to go through a grueling boxing match to win his party's nomination.

BRAZZIL - NOVEMBER 2001

Switch as You Wish Almost half the politiciaIs elected in 1999 no longer represent the parties on whose ticke they were elected and the electors who voted for them have been hoodwinked.

JOHN FITZPATRICK At the start of this year, wher a senior American senator switched sides from the Republicans to the Den'ocrats his action caused headlines because he had changed the balance of p wer in the Senate. However, his defection was also noteworthy because it s fairly rare for elected representatives in mature democracies to do so. It has happened, of course, and one striking example is Winston Churchill ho joined the UK Conservatives from the Liberals in the early years of last century. In general though defections like Churchill's were done for ideolo ical reasons. This is not the case in Brazil where party swapping is routine and certainly not for reasons of principle.

Candidates switch if they think t ey have better chances with other parties regardless of the fact that they ere elected as representatives of another party.

The newsmagazine Veja rec ntly published figures which showed the astonishing extent to which this practice has been carried out since Brazil returned to democracy in 1985. he figures show an increase in defections from 25% in 1987-90 to an estimated 42% in 1999-2002. Just think of this latter figure. It means that almost halfthe elected politicians no longer represent the parties on whose ticket they were elected and the electors who voted for them have been hoodwinked.

None of these politicians ever resign their seats and stand again but merely exchange their membership cards and remain in power continuing to receive their pay, perks and privileges. It is also common for politicians to move backwards and forwards. One member of the House of Representative has switched loyalties seven times over three separate parties. He has rejoined the evangelical PL party four times in the last two years.

There was a recent rush from one party to another in the weeks and days before Saturday October 6, which was the legal deadline for politicians to register their party affiliations ahead ofnext year's presidential and Congressional elections. By Sunday October 7 we saw a reconstituted Congress. The new line-up was not radically diferent from the previous day but was very different from the freshly-elected Congress in 1998. Two ofthe main governing parties, the PFL and the PSDE of President Fernando Henrique Cardoso have seen their numbers in the Lower House fall from 105 to 95 and 99 to 92 respectively over this period.

By contrast the PMDB has increased its 1998 intake from 84 to 91 in 2001 but this is not surprising as the PMDB is such a broad church that it could easily split into two or three separate parties. In fact the center-right PFL has overtaken the PMDB as the biggest party in the House benefiting from the scandal surrounding PMDB Senator Jader Barbalho who stood down as Senate chairman earlier this year in the face of allegations of corruption.

There was some relief for the PMDB, though, in the fact that Itamar 29

Franco, the governor of Minas Gerais and a former president, did not leave the party as some observers had expected.

Franco is a well-know figure and could be a presidential candidate if the PMDB decides to field its own person. The PMDB also lost four seats in the Senate but is still the biggest grouping there. The PSDB is the second-largest grouping in the House but has lost more members reflecting fears that the party may do badly next year if the economic situation continues to deteriorate.

This lack of party loyalty is accepted by most Brazilians who expect nothing better from politicians. Attempts to reform the system have been bogged down for years. The voters' apathy is surprising to the foreign observer as voting is compulsory in Brazil with a hefty fine imposed on those who do not turn out on election day. Going to the polling station here is not the kind of pleasant stroll or short drive associated with voting in western European countries.

Brazil is a huge, developing country and people often have to make great efforts in the face of physical and bureaucratic obstacles. I remember being in the steamy heat of Manaus in 1989 during voting day for the presidential election and saw long queues of people snaking around the street waiting for hours to cast a vote. The patience with which they waited in the blazing sun was impressive and, in retrospect, misplaced as most ofthem voted for Fernando Collor who later resigned to avoid being impeached for corruption.

When that election took place I was living in Berne in Switzerland with my Brazilian wife. She and the other Brazilian expatriates could not cast a postal vote and to vote they had to go to the Brazilian consulate in Paris. Not only did this involve expense and time but at that period Brazilians visiting

France needed a visa so they had to go to the French consulate and experience French bureaucracy at first hand. As my wife and most of her friends could not go to Paris they had technically broken the law. They were subsequently contacted by a bureaucrat at the Brazilian consulate in Geneva who came to Berne and officially registered that their reasons for not voting were genuine and they were not fined. All of this a tangled web making a mockery of democracy and freedom of choice.

The voting system itself has improved enormously since then and Brazilians sniggered last year when the US presidential election result was held up because of the primitive voting system there. The smug Brazilians compared this delay with the fast results from their municipal elections, which had taken place shortly before the US vote, thanks to a new electronic polling system. This is all well and good but worth little when you are forced to vote for people who put their own interests first and treat your vote with contempt.

This material was originally published in the E-zine Infobrazil (www.infobrazil.com) John Fitzpatrick, the author, is a Scottish journalist who has been based in Sao Paulo since 1995. His career in journalism that started in 1974 includes stints as a reporter in Scotland and England, deputy editor of an Englishlanguage daily newspaper in Cyprus, news editor of a radio station in Switzerland, financial correspondent in Zurich and SAo Paulo, and editor of a magazine published by one of Switzerland's largest banks. He currently runs Celtic Comunicacoes, a Sao Paulo company which specializes in editorial and translation services. You can reach him at Johnfitz@osite.com.br

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The two most cogent reasons for the 50 percent decrease in forceable rules only do their job when there is widespread direct foreign investment in Brazil in 2001 are the world economic agreement on the results desired. Existing legislation that slowdown and the halt in further privatizations of state-owned contemplates the privatization of the entire sector, the phasing in of competitive conditions and ultiproductive capacity. There are howmately a free market, has no particular ever two other important lesser reapolitical constituency behind it. sons: the increasingly likely victory Much ofthe PT's (Workers' Party) of the socialist labor party (PT) in present popularity surge is based on the 2002 federal elections and perits principled opposition to sistent regulatory and legal disputes privatizations, and most of its organiin the electric sector and more rezational strength is drawn from skilled cently, surfacing even in telecompersonnel in government controlled munications. There is, in the midst companies like the federal electric genof this group of events, a merging eration giant Fumas and the oil and consensus among all parties to gas monopoly Petrobras. Although Brazil's electric sector: change is the same elected executive adminisnecessary. The sector is ever emtration is in power that enacted the broiled in dispute, litigation, negoelectric energy sector model, and altiation, renegotiation, rumor and though it still plays lip service to that speculation. model, it has not for some months Since the rationing, which betaken actions that would promote or gan in June, the public has clearly enforce the model. expressed its cooperation by curbFumas will certainly not be privaing consumption. Even the gods of tized by the elections in 2002, although rain seem lately less offended; an as recently as the onset of rationing, aspect not to be overlooked when over 90 percent of generated electricity is based on Brazil's President Cardoso renewed his public commitment to the unmunificent hydrology. But closer to decision-making in the popular objective. To the contrary much has happened, espesector itself, the distributors are fighting with the generators, cially since the advent of rationing, to contradict the objectives both are prejudiced by a paralyzed wholesale market, and implicit in the enabling legislation under which electric energy is produced, distributed and consumed. Important steps like everyone blames the government.

The regulatory agency responsible for the sector (Aneel) replacing political appointees with professional managers, rehas been effectively relieved of any impor- • • • • • • • • • • • • • • • • • • • • solving accounting disputes with its parent tant policy role by a "crisis committee" • • holding company and with the wholesale • market, separating Fumas transmission di• (GCE) that answers directly to President vision from its generating division and proCardoso; the ineffective administration of viding for the funding necessary to support the wholesale market, which has not operits army of well paid retirees have not ocated efficiently since its inception, now curred. answers to the GCE. The federal legislaFumas is the nation's largest generature, not missing the chance to capitalize tion firm and additionally commercializes on unpopular rationing and slowing bi-national Itaipu production. Fumas Presigrowth, wants to reassert control over dent, Luiz C. Santos, testified last month further federal privatizations; the Ministry ShockrY • before the Brazilian Senate on the controof M ines and Energy wants all institutions • versial subject of enforcement of Annex V in the sector to be more responsible to of distributor licensing agreements trigOpposition presidential them, though everything they do is too gered by 20 percent rationing in most of the reviewed by the GCE. candidates, with healthy country and involving as much as SUS 5 Meanwhile, opposition presidential billion in payments by generators to discandidates, with healthy leads in the polls, leads in the polls, have vowed tributors, that "the government has no inhave vowed to reverse any federal tention, not by a long sight, to penalize the to reverse any federal privatizations, and scheduled auctions for generators". state electric assets have fewer competiand privatizations, Francisco Gros, President of Brazil's tors than in previous sales. Many of the development bank (the BNDES is larger most aggressively investing foreign firms, scheduled auctions for state lender than the World Bank)—responsible the American AES, the French EDF and electric assets have fewer for restructuring Fumas for privatization— the Spanish firm Endesa have recently denied that Santos spoke for the governwithdrawn from the October 31st schedcompetitors than in previous ment. But neither did Gros offer any hope uled auction of controlling interest shares for the negotiations between government, sales. in Copel, the Parana state distributor and generator and distributor interests. This generator. The sale of the remaining genlack of determination, like many of the eration capacity of Cesp, the correspondCONRAD JOHNSON sector's disputes, leaves conflict resoluing Sao Paulo state company, has been put tion to slow judicial determinations.

• on hold because of lack of investor inter• • • • • • • • • • • • • • • • • •• Distributors have had only modest enest. couragement in recent months and any slow The common solution for the sector, many claim, is a set of clear regulatory rules that will attract the resolution of the problems means some firms will face failure. investment necessary to increase generation and regularize the They are all unp ofitable, facing cash flow problems and some relationship between distribution entities, mostly private, and may fall into cas crisis. Distributor receipts are estimated to be generators, mostly state-owned and controlled. But clear en- down by an ave age 30 percent for the year. Most distributor

ul

31 BRAZZIL - NOVEMBER 2001

debt is in dollars, so currency devaluation means not only less generators at wholesale rates of distributor contracted electricreceipts in reais , but proportionally larger debt payments in ity—as contemplated by Annex V because distributors are dollars. AES, the largest foreign investor in the electric sector restricted in their gross sales by rationing—means that increashas cut by 40 percent its projected investment for Eletropaulo ing costs must ultimately fall on consumers. An across-thein 2002 and has put on hold, US$ 1.8 billion in gas thermo board rate increase that included settlement of all these impediinvestment. ments to stability is estimated to be at least 20 percent. But like More immediately disturbing are new problems in gas privatizations, rate increases of that magnitude are sure to have thermo generation. An emergency plan for natural gas genera- distinct political repercussions. BNDES recently offered a new tion was expected to contribute to long-term stability in gen- program to guarantee distributor bank loans in cases of cash eration and provide the short-term increases that would lift the crisis; but loans alone will not keep the sector healthy until country out of rationing. Immediately following inaugural October and November elections in 2002. ceremonies for its new US$ 280 million Eletrobolt plant in Rio The cash needed for operation and the investment funds de Janeiro it shut the facility down and suspended further needed for new generation capacity need a new commitment by investment in another US$ 500 million plant in that state. "We the federal administration to their own original competitive are not continuing investment in thermo generation without model, even at the risk oflosing votes. "It is necessary to confirm resolving pending regulatory issues in the energy sector", said the model and not to create a new one; a lack of regulation is a Orlando Gonzalez, President of Enron Brasil. In contrast Duke built-in risk to investment", is how the President of the PortuEnergy will operate its gas thermo in Macad, Rio de Janeiro, guese EDP, Eduardo Bernini phrased it. "with or without the wholesale market," according to Robert "Everyone needs the rain that could bring reservoirs back to Carter, a vice-president of operations. tolerably safe levels. Though when that occurs, and significant All three of the American companies see the resolution of new more costly gas generation comes on line, new gas generaAnnex V as one of the biggest impediments to health in the tors with uninterruptible natural gas purchase agreements with sector. They see it as threatening contractual integrity. "This Petrobras, will likely face cash flow problems too: it is not likely type of attitude creates much uneasiness", says Luiz Mauer, that present consumers will return to the levels of use they director of governmental issues of Enron in Houston. "It is a enjoyed prior to rationing. Increasing rates could well convince cultural question, and depending on how the government Brazilian consumers to continue indefinitely some of their new resolves it, it could give bad signs to investors." But they also conservation habits. see no way to sector stability that does not include a substantial increase in consumer rates. The GCE has admitted to Conrad Johnson, the author, is an American attorney, considering as much as a 20 percent increase that would fall permanently residing in Brazil. more on industry than on the residential users. On average He writes for various publications on development and industrial users pay only one-third of residential rates. legal issues in Latin America. You can reach him at These mounting disputes, especially the repurchase by conrad@alternativa.com.br

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Olhei a cordilheira nevada diante de mim. A cordilheira tinha colocaria numa ca a. E enact a caixa seria fechada e enterrada em tres picos. 0 primeiro era o seu nariz. 0 outro cram os pes. 0 do meio algum lugar. Sera imples, e talvez nab muito caro. Na verdade, nap havia muito o qu aprender au. eram as maos entrelacadas sobre o peito.

Fiz um esforc de mem6ria para despertar outras informacOes 0 mono empacotado no lencol era o pai da minha secretaria.

Viviam juntos e ele ha muito tempo era doente. Ela nao tinha sobre o homem, a em do fato dele ter sido velho e doente. 0 seu ninguem, a nao ser a mim, paraacompanha-lae tomar as providencias nome eu nunca perguntara, mas havia algo de especial no seu passado... Sim! Ele havia lutado na For-9a Expedicionaria Brasileira do sepultamento.

Ela era solteira e eu tambern. Trabalhavamos juntos ha oito na Italia, no fim la Segunda Grande Guerra, e havia matado e anos, todos os dias da semana, na minha pequena firma de prendido alguns a emaes, os nazistas, que por alguma razao cram nossos inimigos mortals naquela epoca importacao. Nunca fomos intimos, mas id tao remota. 0 soldado brasileiro ja nos tornavamos urn. sobreviveu aos tanques e aos obuses Quando eu proprio morrer, provae ajudou a tomar o Monte Castello. Mas velmente ela tera que tomar todas as nao sobreviveu a Clinica Tribob6. E ao providencias. Era preciso mostrar como tempo, é claro. Nas batalhas europeias se faz. E ela estava au i para aprender. Foi de fora condecorado por bravura, mas por isso que ela me telefonou -Lao tarde roubaram-lhe as medalhas no suburbio da noite. Para aprender comigo. onde morava, e da antiga guerra s6 Estavamos os tres sozinhos naquela restaram nele o panico dos ruidos dos saleta do andar terreo da Clinica avities e das bombinhas que as criancas Tribob6. 0 meu carro era o unico no soltam nas noites de Sao Joao. estacionamento. A Clinicapareciavazia.

"Meu pai foi urn excelente pai", ela Talvez todos dormissem. As portas disse, corn os olhos secos, num torn de estavam trancadas, corn excessao de voz ainda levemente profissional. uma, a da saleta de paredes brancas e The German soldiers, dead and "Todos os dias de madrugada, antes de nuas onde os mortos esperam seus sair para o trabalho, ele se sentava parentes. Abrimos e entramos. Enconalive, could now put on their old diante dos filhos em fila e corn a mao tramos o pacote branco sobre a mesa. firmetorcia urn por um os nossos dente, SO havia urn. Era o seu pai que nos uniforms, take out from the closet their para que nao crescessem tortos..." "E, recebia, solene. Nao era preciso um excelente pai...", confirmei. Ela desembrulha-lo. rusty rifles and press forward, press acendeu outro cigarro.

Da saleta, que depois vim a saber do carro e voltamos a saleta, que era chamada de "capela" ouviamos forward without any resistance and paraSaimos nao deixa-lo sozinho por muito os grilos e os ruidos dos caminhoes na tempo. Perguntei a ela se ele nao gostaria estrada distante. A Clinica Tribob6 era invade the Tribobo Clinic. de ser sepultado na sua farda. Ela sorriu, urn edificio retangular e escuro, no alto lisonjeada de que eu ainda me lembrasse de uma colina e cercado por urn bardaquilo, e respondeu que de nao tinha ranco vermelho. Urn caixote de cimento, JULIO CESAR MONTEIRO MARTINS mais farda. H muito tempo etc era apenas para onde iam os velhos pobres. As urn velho doente, e que foi mesmo dificil visitas so cram permitidas quando os encontrar uma roupa qualquer para ex-pacientes já estavam deitados na tal alguem que ultimamente s6 vestia saleta. Ali a porta ficava sempre aberta piiamas. Para ela o pijama seria o traje dia e noite. Creio que todos os velhos mais correto para o dia seguinte, mas que entravam para a Clinica s6 reviam as havia a minha preset-to., e a solenidade suas familias na saleta onde estavamos agora, e passavam corn des uma noite tranqiiila, a noite mais no trajar que em g ral se exige para que o morto se apresente A terra.

Como estavamos fora do mundo, eu nAo procurei sentido na sua tranqiiila, em silencio.

Ali ele era o grande anfitriao. E eu me sentia envergonhado por explicacao.

0 soldado es a mono. Urn obit° ou uma baixa? Ninguem mais te-lo visto pela primeira vez naquelas circunstancias. Eu era urn estranho, urn nome que volta e meia ele escutava em casa, so urn veio despedir-se etc. Estavamos os tits na "capela" sob a luz fria nome, e era recebido, era mesmo bem-vindo all, num moment° ao do neon. Eu nao bia lutar e ja estava velho para guerras. Nao tive filhos, e nem ela teve, para lutarem numa mesmo tempo intimo e cerimonioso. guerra futura. Havera guerras futuras? Pois Aprumei o corpo e procurei apresentar-me nossos filhos nao estarao la. da melhor maneira possivel. Foi entao que o soldado havia finalmente sucumbido vi a cordilheira.

As tropas inimigas, quase meio seculo Retomamos ao estacionamento sem depois de encerrado o conflito. E ele era nos falarmos. Sentamos no carro. Era a todo o nosso exercito. Os alemaes, vivos primeira vez em oito anos que nos viamos e mortos, poderiam vestir agora os seus A noite. 0 cenario e os ruidos nao nos velhos unifonnes, tirar dos armarios os assustavam. Nao estavamos no planeta seus fuzis enferrujados, e avancar, avancar Terra, e portanto nada seria estranho. sem resistencias, atravessar o oceano, Estavamos calmos e fumavamos. Esperainvadir as nossas terras e cercar corn seus riamos au i o amanhecer ou tocariamos a estandartes a Clinica Tribob6. 0 soldado campainha da Clinica, despertando morto ja fez a sua parte, e os seus herdeiros reacties imprevisiveis? Era melhor esperar. ja perderam a memOria da guerra, uma Nao havia mais pressa. Eramos os donos guerra de outros, a atroftar-se nos livros de das cercanias da Clinica e tambem daquela Historia. saleta onde seu pai nos aguardava. E alem Os inimigos já poderiam vir, se disso havia os gilos, uma noite estrelada quisessem, mas nao virao. Daquela guerra que prometia ser longa, e uma paz isolada, sobraram muitas cordilheiras brancas, como se estivessemos acampando numa evanescentes. Os aliados tambem nao praia deserta ou visitando urn monumento virao. 0 mundo sem guerras é diferente. E no horario errado. um mundo de grilos, de luar claro e de urn Pela manha, certamente as enfermeiras caixao pesado demais para duas pessoas. dariam as orientaceoes, ou o proprio agente A Clinica Tribobo é sempre a ultima funerario faria a sua ronda habitual A fortaleza. E pela manha ela abrird as suas procura de clienteg. A minha secretaria traziaconsigo uma pequena sacola corn roupas do pai. Ao amanhecer, portas. Pela m A, nos ja estaremos muito cansados. Nos somos ela as passaria a algum profissional, que o vestiria a contento e o a rendicao incon icional. Ou o trofeu.

iribobe Clinic

BFtAZZIL - NOVEMBER 2001

33

—Cuidado corn os tropicos, Gerard. Cuidado!

--A16, Gerard?

—Que nada. Voces fantasiam muito. Eu adoro essas frutas --A16, quern e? coloridas, essas arvores imensas, esses matos tao verdes, corn —Gerard. Co Ivan. Lembra de mim? 0 Ivanzinho, Diretor das tantas plantas diferentes... E tao undo, tao sensual... Eu gosto Faculdades Reunidas G,eremario Couto... de sentir o sol forte na pele e, —E muito cedo... Que horas sdo? de noite, aquelabrisamorna... passa da uma datarde. Acorda, que eu Gosto de brincar corn os preciso falar com voce... macacos. Eles sao divertidos... estou acordado. Fa.la mais alto, que o Parece que estdo em toda parte telefone esta uma merda. nos observando... Gosto de --Olha, e o seguinte: NOs fechamos passar a mao no pelo dos temporariamente a filial de Vassouras e a de pequenos animals da floPedra Negra. Nao vai ter mais o seu curso. resta... Das pacas, das preOuviu? guicas...

Tudo bem... Escuta! Passei ontem —Os macacos e os outros perto do predio la de Itacucu. Aquele toe() esta bichos trazem doer-19.as que em ruinas. A parede de fora desabou. Como e depois ninguem vai saber que voce ainda pensa em reunir o pessoal la? como curar... Encare a real iNao dá nem pra chegar la direito. Esta urn dade, Gerard. 0 tr6pico esta matagal danado... destruindo voce. Olha so, voce — Itacucu ja esta fechado tambem. Vou The tropics are a leper. providenciar esta sempre suado, sua camisa outro lugarpara reunir o pessoal... esta sempre um ida, sua pele 0 I ha, o seu cheque ja esta comigo. Mas s6 vai Montezuma's Revenge exists.

The esta macilenta, seu rosto esta poder ser liberado no inicio do mes que vem, td inchado...

Eldorado of the Senses that you are legal?

—Eu nao sinto muito isto - -Tudo bem... Ivanzinho, vem ate aqui. que voce esta falando. Voce Vamos tomar umas pingas e conversar... Traz looking for, however, this doesn't se preocupa a toa... aquelas duas, lembra? Traz aquela morena —A paixao pelo tropic° e exist. Only the big, hairy spider awaits baixinha pramim... uma velha conhecida minha.

Eu conheeo os seus efeitos. you in its web. All you are is a prey, -.--ba , aqa ixuienlha?d.O. Para, que me ensinou a Ela esta cegando voce. Como dancar lambada... Aquilo e gal inha que da bom um viciado, que na ansia por can't you see it? caldo... mais droga, broqueianamente — 0 neg6cio e o seguinte. Os onibus estao os danos fisicos que esta todos em greve e eu estou sem can-o. E melhor sofrendo. Tropic° é vicio, JULIO CESAR MONTEIRO MARTINS esperar acabar a greve...

Gerard.

—Nao, toma urn taxi que eu pago... Acorda —Nao sou viciado... Eu a baixinha e diz pra ela que... Alo! Alo! Caiu a apenas me sinto mais feliz Merda! Deixa pra la... Tudo bem... aqui...

—Entdo me diga: quando alguem que ja nao ye voce ha —Ah, como eu gosto de ficar aqui na varanda depois do algum tempo, um ou dois anos, vem visita—lo aqui nos tr6picos, almoeo, me abanando, ouvindo os passarinhos... Da uma quando o ye, ndo da um pub o para tras, leva as maos ao rosto moleza... Essas plantas estao enormes... Aquela trepadeiraali eu e grita ppavorado: Gerard!? Nao e assim? plantei nasemana passada.

—E, é assim mesmo... E engraeado...

Ela ja subiu, se enroscou — 0 que ë que voce acha que assusta tanto as nos fios do varal ejá esta pessoas? crescendo pelas vigas da sei o que voce vai dizer. A minha decad 'encia casa. Repare sO que quanfisica... Ou a degradacao moral... to mais ela sobe, marores —0 trOpico é uma lepra. A "Maldicao de ficam as folhas...

Moctezuma" existe. Mas o "Eldorado dos Sentidos" —E, é bonito de ver... que voces procuram, esse nao existe. S6 a grande Mas essas trepadeiras aranha peluda espera por voce na sua teia. Entre as sao umapraga. Has cresarvores. Voce é apenas mais uma presa, sera que nao cem rapid° demais e depercebe? Voce esta em rapido declinio, em pois fica dificil de cortar. decomposicdo. Daqui a pouco voce no sera mais Daqui a uns dias ela vai humano. A transformacao jp comecou... envolver a casa e nao vai —Chega! Nao quero mars ouvir as suas historias... mais entrar luz. A planta Esta calor hoje, ndo esta? abafa tudo, tira o ar da —Esta quente e muito uimido. Deve cair uma casa... tempestade mais tarde.

—Mas e tao bonita...

—Estou pensando em dar uma andada ate a Tao forte... cachoeira. Mas eu deixei as botas em casa..

—Voce vai ver... Es—Entao é melhor deixar para outro dia... sas trepadeiras arreben—Ndo. Acho que you assim mesmo. _ tam tudo. Olha all. Ela ja —Vai pelo caminho de barro, pelo bananal... E esta entrando pelo forro. menos pengoso...

Vai levantar as telhas e —Ndo. A lama la ainda esta muito mole. Tern derruba---las. Os galhos trechos que a perna entra no barro ate o joelho. Por sao fortes e avaneam dois, la nao vai dar. Vou pelo mato mesmo. ate tres palmos por noite.

—Voce nao acha melhor a gente voltar agora?

Se eu fosse voce, pegava Voce precisa consertar o teto da sua varanda que logo urn facao e cortava caiu. Antes que desabe o temporal. essa planta fora...

—Ndo adianta. 0 madeirame esta todo podre. 0 —Quando ela crescer forro dentro da casa tambem esta afundando. Vou ter mais eu corto. Agora tido... que reformar tudo. Amanhd eu penso nisso. Agora eu you a —Quando crescer mais, voce nao vai conseguir cortar. Mas cachoeira. problema seu...

—Eu sei que voce nao gosta que eu fale... Mas cuidado, —Quatro horas... Olha as minhas maos... Já comecou a Gerard. Cuida urn pouco mars de voce... danada da tremedeira. Toda tarde agora e isso. Por volta das quatro comeca a crise, quatro e meia o corpo todo fica tremendo,

Tropic al Fever

34

BRAZZIL - NOVEMBER 2001

suando frio, batendo os dentes... La pelas cinco e meia, passa tudo...

— Voce tern que tratar disso corn urgencia, Gerard... Nao pode deixar isso assim...

—Nao, isso é normal. 0 corpo acostuma. Corn o tempo, cura sozinha. Daqui a pouco, quando a tremedeira apertar, eu tomo nela... A noite ficatudo umacachacinha e dou urn "chega pra uma beleza...

— Cachacinha, ne?... Voce vai dar o curso la no Ivanzinho neste semestre?

— Que nada. Foi tudo cancelado. 0 Ivanzinho telefonou ontem. Eu já previa isso. Aquilo Ia esta caindo aos pedacos.

Sabe, eu decidi que nao you mais lecionar por enquanto. Ando muito cansado pra ficar duas horas em pe, falando, nesse calor...

0 ventilador da sala de aula, alem de fazer urn barulho irritante, parece que sO espalha o calor, joga ar quente no rosto da gente, resseca a boca, os olhos... Nao you mais dar aulas naquela espelunca, nao. Chega...

—0 que e que voce vai fazer entao?

—Nab sei ainda. Urn amigo meu, da Suica, tinha me pedido que comprasse umas pedras semi-preciosas pra ele. Aguasmarinhas, turmalinas e ate safiras ou esmeraldas, se eu encontrasse por aqui. Acho que é isso que eu you fazer... Me da uma cigarrilha dessas? Essa febre esta me deixando nervoso...

— Em Lavras do Espirito Santo voce compra essas pedras quase de graca, aos punhados...

— Mas é muito dificil ir para aqueles lados agora. A estrada esta horrivel, ja quase acabou... Soube que caiu uma barreira perto de Lombardina que deixou uma Lila de mais de duzentos caminhOes. Já tern duas semanas que eles estdo empacados por Ia...

— Born, eu tenho umas pedras comigo. Se voce quiser tentar vender para esse seu amigo...

— Ah, legal... Traz umas amanha pra eu ver. Vou passar urn telegrama pra ele, que os telefones agora enguicaram de vez...

Voce ja sabe quando eles vac) consertar?

E dificil saber... 0 pessoal da companhia entrou todo em greve, exigindo reposicao salarial de duzentos por cento,

•RIO-SP

FROM LAX

•fts.4%.%*

1)DioN (RI)

aumentos nos niveis da inflacao e demissao de toda a diretoria da empresa. A Companhia diz que esta sem verba para cumprir as exigencias dos grevistas porque a maioria dos usuarios estao corn as contas em atraso de mars de tres meses. Essa greve vai demorar...

— Esta todo mundo sem dinheiro para pagar as contas, tambem... E pagar por que, se os telefones no funcionam mesmo,?...

— E... Nao vale a pena esquentar a cabeca corn isso nao... Os onibus continuam parados... Ninguem consegue ir trabalhar e os patraes no podem fazer nada, nem descontar os dias parados... Eu soube que a Bayer esta mandando buscar os funcionarios em casa nos carros da empresa... Mas, Gerard, se voce quiser passar o telegrama amanha, eu posso alugar um taxi...

Esta muito em cima... Semana que vem —No, amanha eu dou uma passada no Correio e mando... Voce traz as pedras amanha... Eu quero ver as pedras primeiro... Amanha nao, domingo... Domingo é melhor... Amanita- vem urn pessoal aqui...

Sabe como 6...

The original titles of these short stories are respectively "Clinica Tribobo" and "Bachianas Brasileiras."

Julio Cesar Monteiro Martins, the author, was born in Niteroi, in the Greater Rio, in 1955. He has published several short-story books: Torpalium, Sabe Quem Dattcou?, A Oeste de Nada, As Forcas Desarmadas, and Muamba.

Monteiro Martins is also the author of three novels: Arterias e Becos, Barbara, 0 Espaco Imaginario and a volume of essays: 0 Livro das Diretas. He is one of the founders of

the Brazilian Green Party and from 1992 to 1994 worked as a lawyer for the Brazilian Center in Defense of Children's Rights. He taught literary creation at the Goddard College in the US and is now a professor in Italy, teaching literary creation and Brazilian literature in colleges in Pisa, Florence, Lucca, and Pistoia. Martins is the founder of Sagarana School (http://www.sagarana.com). You can get in touch with him writing to jmontei cptin.it

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35

My son Daniel was born in Washington, D.C., but his first language was Portuguese. A very special Portuguese, taught by his Hungarian mother, who never fully learned Portuguese: she just picked it up at the grocery stores, at the open street markets (feiras), with our building janitor, Severino, and Brazilian friends and neighbors.

Up to 4 years of age, Dan showed an uncanny ability to make himself understood to speakers of French, German, and Spanish.

He engaged anybody with his babyish and tongue-twisting Portuguese, helped by graphic gestures and any noise that seemed helpful to him. And when asked which language he was talking with new found kid friends, he would answer categorically: "German, of course". Or French or Spanish.

In Brazil, France, Germany, and Peru he didn't have the slightest difficulty conversing with boys and girls of his age or a little older. His first problem came when he was • enrolled in an American pre-kindergarten school patronized by a number of diplomatic families. It was a veritable Babel but Dan tried making friends left and right.

• One day, however, he came home and made a formal statement to his parents: "My father is Brazilian, my mother is Hungarian, but I am an American—and don't you forget it! Americans speak American! Let's stop this foolishness of speaking Portuguese." We agreed: it was time to change to his own country's language.

He had to learn it the hard way, at school, both in class and in playtime. His mother didn't help him much and I had a timeconsuming job, couldn't teach him English. But Dan was clever enough to pass from one language to another, although of course he made mistakes. And sometimes his schoolmates laughed at him.

Instead of being offended and hurt, he learned. Pretty soon he was teaching school terms to his parents. Here was a guy with a great sense of humor and invention. And we had to put it up when he mocked our accents. Obviously we had to imitate his attitude and laugh at ourselves too.

Although my family in Brazil had our own code word for human excrement, during a stay in Brazil Dan added coco to his vocabulary. In his school he quickly heard poop and it became his term of choice. Don't ask me why Americans use this word, which originally means a popa, a superstructure at the stem of a ship, both as a verb and noun to describe waste.

Pipi was easy to transpose. Instead of saying the syllable twice, the kids—and almost everybody else—said pee. At the time, Dan had no worries about spelling either in English, Portuguese or any other language. He just didn't spell.

Baby talk (linguagem infant/I) is full of mysteries. Children call stomach (estomago) the entire region of the human body from the neck down to the legs. More or less what a Brazilian would call barriga (tummy). It has an imprecise sense and a nice sound. But stomach, for heaven's sake! Specially when a mother says: "When my baby was in my stomach..." (What, did you devour your own child?)

Of course, it is silly to expect logic from language, specially from English, a true mixordia, or mishmosh, of Saxon, Celt (pronounced kelt...), Latin, Greek, French, German, Italian, Venetian, Russian, Spanish... Even Portuguese is present in the English dictionary with words like commando, mandarin, fetish (fromfeitico), ayah and others that the Portuguese left in India and other parts of the Orient. More recent acquisitions are pau d'arco and favela— identified as "a shantytown close to a city."

In the everyday language, we sometimes encounter odd English terms, such as St. John's wort. Neither wart nor worth: just a-somewhat archaic term for plant, herb. It translates as erva de Selo Joao in Portuguese. Still in the vegetable garden we find egg-plant that has nothing to do with birds. Brazilians call it berinjela. In the UK the English say it in French, aubergine. The rficula, a vegetable introduced in Brazil by Italians, is called arugula in English. And the pea that has nothing to do with pee, but sounds the same, is en//ha. Always ervilha both fresh and from a can or frozen.

"Petits-poids" is a completely unnecessary Gallicism, from the time we aped French, not English as today.

Range, a word of many meanings—serra (mountains), the extent of ability or knowldege (alcance do saber), the distance that a missile may reach (alcance de fogo), a greographical region, a

English for Brazucas Baby Talk: from Coco To Poop Of the kitchen appliances, one is—or used to be—more popular in Brazil than in America, the blender. Why does it have such horrible long name in Portuguese—liquidificador?

111.1RN 1,14,%1MFM21122 II

W

ILSON VELLOSO

place for shooting at targets (pista de tiro ao alvo)—in Brazilian is fogdo, big fire. A pot is an elastic term to describe a variety of pane/as, cacarolas, caldeiros, caldeir5es. It may also be a pote or vaso, made of clay, glass, or plastic. When used in the kitchen it becomes a jar. Another common word for foga° is stove.

Another kitchen utensil with many uses and sizes is the pan, which also translates as pane/a, etc. On a special type of pan, the frying pan, we make pancakes which Brazilians call pan quecas— a good adaptation and welcome enrichment of the culinary arts idioms.

Of the kitchen appliances, one is—or used to be—more popular in Brazil than in America, the blender. Why does it have such horrible long name in Portuguese—liquidificador? Whoever invented the term had no idea of what a blender does. It mixes and transforms fruit and vegetables in purées, not liquids. Besides, Portuguese has a perfect word to say "make liquid"—liquar. If the people who invent new words in Brazil knew Portuguese better they would have chosen liquador, pronounced licuador.

Why do Brazilians—who so love short English terms such as cash, top, stop, run—accept such long words, which often demonstrate ignorance and lack of imagination? They should stop screwing up their language and using common and well-known words, like curtir, in the silly sense of enjoy, perhaps only because it is short? They should run wide contests to create new terms that describe new objects, techniques, methods.

Let's take the American term gizmo. Somebody came up with a hilarious parafuseta da rebimboca. Funny, but much too long.

Treco is much better, is short, and may pack a lot of punch.

Do you have questions, doubts? Put them on a postcard and mail it to Brazzil, PO Box 50536, Los Angeles CA 90050-0536. Ifyou are wired, you mam send e-mail to vewilson @ 3oalcs.com.

Wilson Velloso is a veteran Brazilian journalist who describes himself as a jack of all trades, master of none.

Having begun to work as a boy (vending flowers and candles at a cemetery gate in his hometown of Sao Paulo), he became a journalist and writer, earned a living in Brazil, Argentina, the United Kingdom, Canada. He immigrated to the U.S. in 1955, is an American citizen by choice, and often collaborates with Brazzil. He can be reached, sometimes, at vewilson@3oaks.com BRAZZIL - NOVEMBER 2001

He's one of Brazil's great virtuoso guitarists, but he considers himself above all a composer.

He's never written a lyric, yet he's primarily a songwriter.

His tunes are made to carry words, but they're often recorded as instrumentals.

He thinks he's a poor vocalist, yet nobody interprets his songs better.

He's known as an avant-gardiste, yet he says he's the velha guarda.

His music is very Brazilian, yet also universal.

Contradictions aside, when people talk of innovative Brazilian music. his name is often the first to be mentioned Hermeto Pascoal said about him, "He's someone who appears only once in a hundred years."

His name is Carlos Althier de Souza Lemos Escobar, but everyone knows him as Guinga. The nickname has a nice musical ring, but in fact it goes back to his childhood. Called Gringo for his lily-white skin, the little boy repeated "Guinga."

The adult Escobar appreciates the conciseness, musicality, and African sound of the name.

Nickname notwithstanding, these

Guinga Rising

Thirty-four years into his career, the composer finally looms larger than his interpreters.

DANIELLA THOMPSON

days Guinga is permanently tanned, a testament to a steady regimen of walking and soccer playing. But he also spends hours upon hours with his guitar, working and reworking musical passages. More than a quarter-century has passed since the male vocal group MPB-4 made the first recordings of Guinga's songs, and his career has been gaining slow but steady momeçltum ever since. However, it wasn't until the second half 0111990s that the composer, who's 51, finally broke out of his cult status. Propelled by five solo CDs—all released

by Velas (his first album was also the label's first)—and by Leila Pinheir 's breakaway Catavento e Girassol, Guinga's songs took wifig and made themselves a home in the standard Brazilian rep rtoire. Tunes like "Choro pro Ze," "Baido de Lacan," "Niti o e Obscuro," and "Di Menor—all songs with lyrics—have ecome obligatory fare as instrumentals in other musicians' al ums. Since the mid '90s, not a year has gone by without at le t half a dozen prestigious recordings of Guinga tunes by the ream of Brazil's artists, and the number keeps climbing. To date, I've counted 137 existing recordings of Guinga's son in 85 non-Guinga albums, one video, and one future CD (se They recorded Guinga). A Guinga Songbook, containing 3 songs and 15 instrumentals, is due to be published by rmaos Vitale.

While m st popular composers are usually associated with specific songs, Guinga established his reputation primarily on his unique sound. Regardless of the genre in which he works—cang o, choro, frevo, waltz, bolero, samba, coco, bald°, modin a, foxtrot, or jazz, vocal or instrumental—the outcome is un istakably his. Like Kurt Weill and Nino Rota— two other composers who are instantly recognizable by their sound-f--Guinga straddles an indefinable line between pop and serious music. He's been called "an intuitive genius" aid "a visionary." His chromatic melodies and harmonic modulations are often described as "unconventional," "difficult," and "always surprising." Yet the composer places enormous importance on emotional content and h pes above all to move his listener. Like Rota, he transforms memories into the soundtrack of life. Like Weill, he swings easily between the lyrical and the modernistic. It's not uncommon for him to create a melody from the d construction of an old tune by Ernesto Nazareth, Abel Ferreira, or George Gershwin, or to base a harmony on the work of Ravel or Cyro Pereira. Synthesizing numerous sources, including Impressionist music, opera, older popular songs, and jazz, he distills an intoxicating brew all his own, enriched with audacious lyrics by a handful of partners past and present.

"In all my discs the concept is the same—my daily life."

Guinga was born on 10 June 1950 in Madureira, the Rio working-class suburb that is home to the great escolas de samba Portela and Imperio Serrano. His father, born in the suburb of Penha, was an air force sergeant—the "Sargento Escobar" of Guinga's fourth disc, Suite Leopoldina, nomi ated for the Latin Grammy this year. His mother was a housewife born in Olaria, not far from Penha. Both Olaria and Penha are served by the trains of the Leopold ma BRAZZIL -NOVEMBER 2001

37

line.

The composer reminisces, "Our family was poor, but with a refined musical taste. My childhood consisted mainly of school in the morning and soccer playing in the afternoon. Until I was twelve, we lived in Vila Valqueire, anon-urbanized community with a country atmosphere; many farms, horses, cows. I passed my adolescence in the suburb of Jacarepagua, where the cultural level was high; people saw great films and heard good music. The musical climate of that place helped me a lot.

"Everyone in my family played and sang: my mother always sang seresta [romantic songs of the type recorded by Vicente Celestino and Orlando Silva], and my uncles, her brothers, played— all amateurs, with the exception of my uncle Claudio Lemos, who recorded several discs. My father had a complete collection of Orlando Silva's records and liked classical music. At home we heard Bach, Chopin, Villa-Lobos, Gabriel Faure, Tchaikovsky, and the operas of Puccini and Verdi.

"A neighbor in Jacarepagui, Paulinho Cavalcanti, used to play and sing Joao Gilberto's repertoire exactly like Joao. I would watch him play bossa nova in the street, and at home I'd hear classical music and seresta. And there was as much American music as Brazilian, because one of my uncles was a great jazz collector. When I was eleven, we got Stan Getz's album Focus, composed & arranged by Eddie Sauter. Nobody listened to it but me; I played it again & again. Eventually the family sold the disc.

Years later I heard it and asked a friend to buy it for me in the U.S. It's still one of my favorites."

When Guinga was eleven, his uncle Marco Aurelio taught him to play the guitar. He began composing when he was fourteen, influenced by his friend Paulo Faya. In 1967, at the age of seventeen, he had his first professional experience in TV Globo's second Festival Internacional da Cancao—the one in which Milton Nascimento introduced "Travessia." At 26, he began his five-year classical guitar studies with Jodacil Damasceno.

During the '70s Guinga accompanied Beth Carvalho and Joao Nogueira and recorded with Clara Nunes, Cartola, and Raul de Barros. He also began his first major songwriting partnership, the collaboration with Paulo Cesar Pinheiro that produced songs recorded by Clara Nunes, Elis Regina, Nelson Goncalves, Miticha, Michel Legrand, and American jazz musicians like singer Mark Murphy and trumpeter Brian Lynch.

There was an instant of commercial success in 1975. Like Ary Barroso in 1930, Guinga was able to marry and establish a household on the proceeds of a single song. "Valsa de Realejo" was recorded by Clara Nunes in her hit album Claridade. This LP sold 300,000 copies in one month and netted the composer the equivalent of R$30,000 (approximately $15,000). But composing was never sufficient to pay the bills, and, says Guinga, "I didn't want to play other people's music." Besides, his father insisted that he obtain a university degree.

The obedient son entered dental school in 1970 and received his diploma in 1975. At school he met fellow dental student Fatima, now his wife. They raised two daughters, Constance and Branca, namesakes of the tunes "Constance" (in Suite Leopoldina) and "Melodia Branca" (in Cine Baronesa). For the next sixteen years, Guinga made his living solely from dentistry, and he continues to practice until today, albeit only two mornings a week.

Over the years, Guinga has been moving away from the suburbs toward the Zona- SuL The family lived first in Rib Comprido, then in Copacabana, and now in Leblon. His work has taken him from Estado to Penha, Cachambi, and Grajaii. Several years ago Dr. Escobar closed his Grajail office to share space in the dental clinic of a colleague in Copacabana. What hasn't changed through all the geographical moves is the suburban heart of Guinga, who continues to draw on his past for inspiration.

New partner, new presence Throughout the sixteen "dental" years, Guinga never stopped composing, but he remained an unknown as far as the Brazilian public was concerned. Not until 1989 did he headline a show, when he appeared with Paulo Cesar Pinheiro and singer lthamara Koorax at the bar Vou Vivendo in Sao Paulo. The following year he found himself without a lyricist when his partnership with Pinheiro came to an end. Through Raphael Rabello he had made contact with Aldir Blanc, whose own great partnership with Joao Bosco had dissolved in 1983.

Like Guinga and Pinheiro, Aldir is also a suburban carioca, and the new collaboration reflected their shared sensibilities.

38

Their first complet song, "Esconjuros," landed in Leila Pinheiro's 1991 album Outras aras (where it was called "Esconjuro"), Sergio Mendes' 1992 Brc4ileiro, the 1998 German disc Maraca& by mandolin & guitar do Ilka and Roland Hoffmann, and the American clarinetist Richard oltzman's Danza Latina, also released in '98.

More recently, Monica Salmaso sang "Esconjuros" at the 2000 Heineken concerts and recorded it for her next disc.

Guinga's first disc was created almost wholly in guitar sessions at the home of composer Moacyr Luz. Also participating were Aldir, Fatima Guedes, Ivan Lins, Herbert de Souza (Betinho), producer Paulinho Albuquerque, and Paulo Cesar Pinheiro. Before long, Guinga and Aldir had enough songs for an album, and Aldir embarked on a crusade to expose his partner's work. He was joined in this mission by Ivan, Leila, and saxophonist/producer Ze Nogueira (with whom Guinga recorded Nino Rota's "Amarcord").

Countering thersimple and absurd situation of Guinga's not having an outlet, Ivan and his partner Vitor Martins founded the Velas label to launch the composer's debut disc, aptly titled Simples e Absurdo, in 1991. It's an entirely vocal CD, sung not by the composer but by a stellar team of his admirers, among them Leila Pinheiro, Chico Buarque, Ze Renato, and Leny Andrade (see The Guinga discography). His composing style was already in place, alternating agitated tunes like "Canibaile" and "Zen Vergonha" (which we might classify as falling in the Hermeto line) with slow, evocative melodies such as "Lendas Brasileiras," "Quermesse," and "Nem Cais, Nem Barco" (in the Impressionist/Villa-Lobos/ Jobim/Edu Lobo line). All the songs in Guinga's first album were distinguished by Aldir's verbal pyrotechnics and frequent references to icons of popular culture—be it Brazilian, American, or French—setting the course for the discs to come.

In his second CD, Delirio Carioca (1993), the composer sang ten songs, leaving the title song to Djavan, "Choro pro Ze" to Lucia Helena, and "Baiao de Lacan" to Leila Pinheiro. Loaded with compositions later recorded by others, this may have been Guinga's most influential album. It includes two songs with lyrics written by Paulo Cesar Pinheiro: the hauntingly beautiful "Sad" and "Passarinhadeira" (the latter influenced by Jobim and sung with Fatima Guedes), while the rest are partnerships with Aldir, a number of which have become his best known: "Nitido e Obscuro," "Catavento e Girassol," "Choro pro Ze," and "Baia° de Lacan."

Curiously, the most unusual song on the album is not one of the former—revolutionary as they sounded when they first appeared—but "Age Maria," in which Guinga comes as close as he ever has to an operatic aria, accompanied by Leandro Braga's organ-like keyboards (electronic keyboards also made an appearance in Simples e Absurdo; it was hard to get away from them in the early '90s, and they date that disc somewhat). The rest of the arrangements on Delirio Carioca include mostly acoustic instruments, with an occasional use of a string quartet or a wind quintet.

Delirio Carioca began to spread Guinga's name abroad, and he received his first European invitation to participate at the Brasiliana festival in Madrid in 1993. In consequence, Guinga's third album, Cheio de Dedos (1996), was almost entirely instrumental— a conscious effort to appeal to international audiences, as well as to allow his compositions to speak for themselves without the added interpretation of lyrics. The disc's tone was the richest and most assured yet in the composer's discography. Gone are all traces Of keyboards and electric guitar.

Opening the album, the title track offers us the acoustic guitars of Guinga and Lula Galva°, followed by "Da o Pe, Louro," a baido with repetitive phrasing arranged by Carlos Malta for two guitars, acoustic bass, percussion, cello, and flutes. "Impressionados," one oftwo vocals, is a song in the French mode, complete with accordion and string accompaniment, with lyrics that make numerous references to the French Impressionist and Post-Impressionist painters.

"Inventando Moda" is a slow choro dominated by Sergio Galvao's soprano sax. It is followed by the now famous "NO na Garganta," which isn't played by a bandoneon but could easily have been.

Next there's Latin jazz in the tango-beguine "Me Gusta a Lagosta," featuring the Spanish pianist Chano Dominguez, Cuban string quintet Diapason, and percussionist Jose Eladio Amat.

Mauricio Carrilho arranged the following track, "Picotado," as a traditional choro, with Paulo Sergio Santos playing soprano and alto sax, clarinet, and bassett horn (Santos ha,s since become a regular feature in Guinga's live appearances). "Aria de Opereta" is the second vocal; a waltz whose lyrics talk of operas and whose melody recalls Tom Jobim turned on his ear, with string arrangement

by Leandro Braga.

Another jazz time, "Devagar, Quase Pairando," showcases BRAZZIL - NOVEMBER 2001

Paulinho Trumpete's fluegelhom against a solo guitar, accompanied by Armando Marcal's steady percussion. The tempo picks up with the bossa nova "Rio de Exageros," then slows down for "Blanchiana," a lyrical tribute to Aldir Blanc and Villa-Lobos, with vocalese by the composer and a quotation of "Bachianas Brasileiras No. 5" in the guitar. Another change of pace, and the bpitio returns in "Por Tras de Bras de Pina," where N6 em Pingo D'Agua guests.

A tango with Piazzolla overtones, "Desconcertante" is played by Diapas6n, with Leandro Braga's piano and Marcos Esguleba's pandeiro. The disc closes with a guitar duo in "Sinuoso" and the return of "Cheio de Dedos," this time arranged for a variety of wind instruments, all played by Carlos Malta.

It was with Cheio de Dedos that Guinga finally gained international acclaim, being widely recognized as one of Brazil's best living composers, if not the best. Direct comparisons were made between him and Villa-Lobos, Tom Jobim, and Egberto Gismonti. He won three Sharp awards, including one for Best Instrumental Disc. There were more invitations to perform in Europe: in 1996 he appeared at the International Guitar Festival in Cordoba, Spain, and the following year in Copenhagen. Since then he's toured Italy and played in Cuba. But even before the release of Cheio de Dedos, Guinga broke into mainstream Brazilian music through Leila Pinheiro's Catavento e Girassol, a critical and commercial success that extricated the singer from her bossa novista image and turned the composer into a living legend.

Trips into the past Guinga's fourth album, Suite Leopoldina (1999), was a continuation and an amplification of Cheio de Dedos. It sprang from a collection of guitar pieces evoking the composer's suburban past and developed into a major instrumental work studded with five vocal tunes. The disc opens with "Dos Anjos" and closes with the waltz "Constance," both featuring the harmonica of Toots Thielemans, who was unable to choose only one to record. Toots described them as soundtracks for a film's opening titles.

It's a fitting metaphor. Both tunes were arranged by Gilson Peranzzetta for harmonica, piano and strings (in "Constance" there's also bass) in a haunting, pensive atmosphere.

The mood changes abruptly with "Parsifal," a humorous sambachoro about an upright and strict major who fell for an extravagant young passista from Mangueira— an innocent Blue Angel—and died in I misery. "Di Menor,' with lyrics by Celso Viafora (who recorded the vocal version in Cara do Brasil), began in the original guitar suite as a choro dedicated to bassist Jorge Helder. Inspired by an uncle of the composer's—an elegant though hard-up figure halfway between a malandro and a tango dancer—it's arranged here as a dancehall samba with typical gafieira instruments: bassett horn and clarinet (again at the hands of Paulo Sergio Santos), Guinga's and Lula Galvao's guitars, Jorge Helder's bass, and an array of percussion instruments (in care of Armando Marcal).

"Sargent° Escobar," a brief choro for solo guitar, is a love song from the composer to his father. Another mood change brings the baido "Cha de Panda," dedicated to Hermeto Pascoal. This Sharp award winner has been recorded by Leila Pinheiro and is here reprised by the nordestino star Alceu Valenca in an arrangement

by Carlos Malta. The nostalgic mood returns with "Choro Perdido," composed for Guinga's mother and played with great feeling by Ze Nogueira (soprano sax), Leandro Braga (piano), Jorge Helder (bass), and strings. "Noturno Leopoldina" picks up the tempo, imitating the cadence of the suburban trains in Guinga and Lula GalvAo's guitars, backed up by Armando Marcal's percussion.

The rhythmic and disturbing moda de viola "Gum de Cego" follows, sung by Ivan Lins and Guinga and arranged by Rodrigo Lessa for guitars, flute, clarinet, bass, percussion, and strings. The lyrics were written by Mauro Aguiar, who like Guinga grew up in Vila Valqueire and who later collaborated with the composer in "BaiAo da Guanabara," recorded by Carol Saboya. Next, the happy "Perfume de Radames," dedicated to legendary composer/arranger/pianist Radames Gnattali and the musicians of his celebrated quintet: guitarist Ze Menezes, accordionist Chiquinho, BRAZZIL - NOVEMBER 2001

drummer Lucian4 Perrone, and bassist Vidal.

Needless to ay, the tune is arranged for the same instrumental formation. Ed otta vocalizes the wordless "Par Constante," a beautiful song Guinga wrote for his wife Fatima, inspired by the guitar work of Bamey Kessel, Tal Farlow, Herb Ellis, Kenny Burrell, and Hello Del iro. It's followed by the instrumental bald() "Cortando urn D brado," in which Lula GaJvAo solos on guitar and Guinga plays c aquinho in his own arrangement. Lenine sings "Mingus Samba,' which, as the name implies, mixes samba and jazz in a driving, dan able rhythm arranged by Rodrigo Lessa. In its previous incar ation, this song was called "Dobrando a Mantiqueira," an instrumental dedicated to Banda Mantiqueira and released in a D that accompanied the July 1998 special issue of Guitar Player agazine dedicated to the best guitarists in Brazil.

The penultimat track is Guinga's guitar solo in the choro "Dissimulado"— usual, full of surprises.

Guinga's la est CD, Cine Baronesa, again harks back to Guinga's time in the suburbs. Cine Baronesa was the name of a movie theater in Praca Seca, Jacarepagua, where the composer spent many adol scent hours watching American musicals. After the movies, he ant his neighbor Hello Delmiro picked the film tunes on their guitars. e disc opens with the moving "Melodia Branca," arranged by Gil on Peranzzetta for piano, strings, and Paulo AragAo's eight-s ing guitar. Guinga composed this waltz for his younger daughter who, according to her father, failed to appreciate it. Coming full ircle, as in Cheio de Dedos and Suite Leopoldina, the opening tune so closes the album, this time with the composer's solo guitar.

About the xt track, "Cine Baronesa," Guinga says that American film so gs mixed with Brazilian waltz inspired the theme. the Maogani guitar quartet in Paulo AragAo's It's performed arrangement, wit Fatima Guedes and the composer vocalizing the melody. "Vo Al i edo," says Guinea, was inspired by the brass ands that played in bandstands in the plazas of rovincial Brazilian towns. This bumptious tune at recalls Nino Rota's film scores is given the full rass treatment by Nailor "Proveta" Azevedo, ho arranged the piece for a team of cracks.

A new partner, the lyricist Sergio Natureza, akes an appearance with "Nem Mais um Pio," an ea of the Brazilian tropical universe in the Villaobos line, according to the composer. Guinga s ngs movingly of sea, sky, river—natural eleents and their native deities, accompanied by 'tars, percussion and strings. He calls the folwing song, "Yes, Ze Manes," a carioca ballad ith the esthetic influence of American song, ying, "I made it as if Billie Holiday were singing My daughter Constance is crazy for Billie oliday, and from hearing her records so much, I also picked up passion for her."

Chico Buarq e sings this gentle blues, in which English and Portuguese phras s mingle with funky electric guitar and bass lines. Guinga coin osed "Caiu do Ceti," a waltz in the mode of VillaLobos, in honor f his young friend, the prodigy guitarist Caio Marcio (son of P ulo Sergio Santos, who also recorded the tune in his new CD Ga galhada). The witty title, meaning "fell from the sky," is only one e ample in many of Guinga's way with names and puns. This waltz i arranged for guitar and strings in a manner that recalls once again the classic film scores.

The funky s ba"No Fundo do Rio" follows, a spirited tribute to Rio de Janeiro ung by Guinga and lyricist Nei Lopes, with adlibbed asides by usic historian Sergio Cabral. Guinea calls it "a samba of compl ely carioca essence, with the swing of black cariocas and a p ogressive harmony." A tribute to Tom Jobim can't fail to app , and here we get the lyrial choro-canctio ged for guitar, flute, piano, and percussion.

"Estonteante," Another instrume tal, "Gerald° no Leme," is a lively baiao made in homage to the f er of Nailor "Proveta" Azevedo and arranged by the son for an nsemble of wind instruments.

"Fox e Trote, ' with lyrics by Nei Lopes, was inspired by the Gershwin foxtrot 'Walking the Dog," featured in the Fred Astaire and Ginger Rogers film Shall We Dance. The lyrics amply illustrate the disorientation ne experiences in the face of mixed idioms (see song lyrics)—wha better way to describe Guinga's work? "Como Eu Imaginara" is expansive modinha composed for a recently born baby called ara and arranged for guitar and strings. Before "Melodia Branca" rings the disc to a close, Guinga sings the slow progressive samba "Orassamba," which he and Aldir Blanc con39

ceived with the idea of a Rio de Janeiro oppressed by the present.

This song is to be recorded by Sergio Mendes for his next album.

r Fox e Trote Fox and Trot (Guinga/Nei Lopes) (Guinga/Nei Lopes)

Mentor to a new generation Guinga's sphere of influence continues to grow. As the music critic Mauro Dias pointed out in 0 Estado de S. Paulo, at the first competition for the prestigious Premio Visa de MPB, which took place in 1998 and was waged among instrumentalists, practically all the competitors played Guinga. In the next one, where singers competed, Monica Salmaso won, singing (among other composers) Guinga. Last year, in the composers' competition, many candidates were notably influenced by Guinga. This year it was the instrumentalists' turn again, with more Guinga in the repertoire.

At least two of the competitors (Itamar Assieri and Daniel Santiago) had played with Guinga, and the composer sat on the selection jury. Guinga is the subject of the tribute song "Guingando," composed by the young team of Edu Kneip and Mauro Aguiar and recorded in Maogani quartet's new CD. The British guitar duo of Tim Panting and Stuart Blagden performed Guinga at the Festival Guitarras del Mundo 2000 in Argentina. The next generation is recording Guinga: Renato Braz, Ze Paulo Becker, Cris Delanno, Carol Saboya, Simone Guimarks, Hamilton de Holanda, Maogani, Monica Salmaso, and Chico Saraiva have all done so.

Many are sure to follow.

Guinga expounds On what makes good music To make good music, it's not enough to listen to music. You have to look at art and life.

Many musicians think only of music. They play many impressive notes. Joao Gilberto plays only three chords and touches your heart. There is only one valid path in music, and that is the path of emotion.

On Brazilian and American musicians Brazilian musicians can't play American music (Hello Delmiro is the exception, but what he plays is different) and Latin music.

American musicians can't play Brazilian music, but they've recorded some lovely things, like John Williams' bossa nova "Moonlight" that Sting sings in the film Sabrina.

On Brazilian vs. American music Brazilian music was always more baroque than American music. American music tends to have a vertical structure: block chords at the base, with a melody floating on top. Brazilian music, primarily through the influence of choro, has a very highly developed counterpoint. It is written horizontally. You have several melodic lines intertwining. And they can form a chord, but it is something very different from the block chords of American popular song [from an interview with Bryan McCann].

On continuity in music I believe only in the artist who has one foot in the future and the other foot in the past. It's enough if you use everything you have in a progressive manner. If a guy keeps playing choro the way it's been played in the past, nothing will come of it. It's better to go to the graves of Benedito Lacerda, Pixinguinha, and Jacob do Bandolim, exhume them and have them play. Listening to choro played exactly as before? This is horrible; I have no patience for this. You have to take what's Brazilian, based on what it's been, and think ahead. Without a foundation there's nothing.

On his legendary recording with Cartola One of the running legends of the samba world is Guinga 's recording with Cartola in the great sambista's second eponymous album of 1976. The track on which Guinga played wasn't specified in the LP liner notes, but the pundits have always maintained that the song was "As Rosas Nao Falam." 1 asked Guinga how he came to accompany Cartola on this track His I. reply: The,recording was not of "As Rosas No Falam" but of "0 Mundo E urn Moinho." It happened at the invitation of Cartola 40

Estranhaligacao, tao descabida!

Que coisa sem razao e sem medida! lgual a jazz ou atonais Sons de Debussy Num mocotO ou num forrO EmParacambi.

Municipal, num recital E eu de calca Lee...

Foi como Miles Davis, doido no camaval, Tocando no Orfeao Portugal.

Estranha ligacao, tao descabida!

Que coisa sem razao e sem medida!

Como °racks pentecostais louvando Zumbi Como free-ways monumentais pra daqui e ali Ou certas que o homem far pra nao se cumprir Foi como um trio eletrico em urn funeral mandando funk, rap geral Golpe de a72r, sina de estar num mau lugar na hora errada, Eu, que pensei mais uma vez que essa era dez Que dez, que nada!

Estranha I igacao, tao descabida!

Que coisa sem razao e sem medida!

Igual a jazz ou atonais Sons de Debussy Como oracOes pentecostais louvando Zumbi Municipal, um recital e eu de calca Lee Foi como um trio eletri0o descendo o Pelt) Desrespeitando/Dona Carlo Golpe de azar, sina de estar num maulugar na hora errada Eu, que pensei mais uma vez que essa era dez Que dez, que nada!

Meu peito de aco inox, de Dom Quixote dancou no fim do fox: LeVei urn trote

Strange connection, so inappropriate!

Such a thing with no sense and no measure!

Like jazz or atonal Sounds of Debussy In a mocoto' or in a forro2 In Paracambi.3 Recital at the Municipal theatre, And I in Lee jeans...

It was like Miles Davis, crazy in the Carnaval, Playing at the Orpheum Portugal.'

Strange connection, so inappropriate!

Such a thing with no sense and no measure!

Like Pentecostal prayers praising Zumbi5 Like monumental freeways going there and here Or certain laws that Man makes So as not to follow them It was like a trio eletrico in a funeral broadcasting funk, rap general A stroke of misfortune, the fate of being in a bad place it.: At the wrong time " 1, who thought once again that it was a ten What ten? No way!

Strange connection, so inappropriate!

Such a thing with no sense and no measure!

Like jazz or atonal Sounds of Debussy Like Pentecostal prayers praising Zumbi Recital at the Municipal theatre, And I in Lee jeans It was like a trio detrico descending Pe167 Desrespecting Dona Cana' A stroke of misfortune, the fate of being in a bad place At the wrong time I, who thought once again that it was a ten What ten? No way!

My stainless-steel breast Like Don Quixote Collapsed at the end of the foxtrot: I fell victim to a prank I. arich soup made with the cartilage and tendons of beef or pork legs 2. a northeastern dance 3. a town in the state of Rio de Janeiro 4. a dance club that specialized in samba 5.legendary I 7th-century rebel slave leader 6. an amplified sound truck in the Bahian Carnaval 7. Pelourinho, the historic center of Salvador, Bahia 8. Caetano Veloso & Maria Bethania's mother

.1

BRAZZIL - NOVEMBER 2001

himself, with whom 1 worked in the show Vern Quern Tern, Vem Quern Nilo Tern.

On his enduring musical influences Beniamino Gigli, Nat King Cole, Cole Porter, George Gershwin, Vernon Duke, Orlando Silva, Tom Jobim, Pixinguinha, Hermeto Pascoal, Chico Buarque, Villa-Lobos, and many others.

On his favorite composition It's impossible to pick a favorite tune. Among my compositions, perhaps "Constance" and "Melodia Branca," made for my two daughters.

The Guinga discography Simples e Absurdo (Velas 1991) 1. Canibaile (Guinga/Aldir Blanc)—Leila Pinheiro 2. Sete Estrelas (Guinga/Aldir Blanc)—Paulo Malaguti, Eveline & Jackie Hecker 3. Lendas Brasileiras (Guinga/ Aldir Blanc) Chico Buarque 4. Paixao Descalca (Guinga/Aldir Blanc)—Lucia Helena 5. Ramo de Delirios (Guinga/Aldir Blanc) Claudio Nucci 6. Zen-Vergonha (Guinga/Aldir Blanc)—Beth Bruno 7. Rio-Orleans (Guinga/Aldir Blanc)—Ivan Lins 8. Simples e Absurd() (Guinga/ Aldir Blanc)—Lucia Helena 9. Quermesse (Guinga/Aldir Blanc)—Ze Renato 10. Odalisca (Guinga/Aldir Blanc)— Be Happy 11. Nem Cais, Nem Barco (Guinga/ Aldir Blanc)—Leny Andrade Delirio Carioca (Velas 1993) 1. Delirio Carioca (Guinga/Aldir Blanc)—Djavan 2. Sad i (Guinga/Paulo Cesar Pinheiro) ,Guinga 3. Par ou lmpar (Guinga/Aldir Blanc) Guinga 4. Passarinhadeira (Guinga/Paulo Cesar Pinheiro) Guinga & Fatima Guedes 5. Nitido e Obscuro (Guinga/Aldir Blanc)—Guinga 6. Cancao do Lobisomem (Guinga/ Aldir Blanc) Guinga 7. Catavento e Girassol (Guinga/ Aldir Blanc)—Guinga 8. Viola Variada (Guinga/Aldir Blanc)—Guinga 9. Choro pro Ze (Guinga/Aldir Blanc)—Lucia Helena 10. Age Maria (Guinga/Aldir Blanc)—Guinga 11. Baiao de Lacan (Guinga/Aldir Blanc)--Leila Pinheiro 12. Mise-en-Scene (Guinga/Aldir Blanc)—Guinga 13. Henriquieto (Guinga/Aldir Blanc)—Instrumental 14. Visao de Cego (Guinga/Aldir Blanc)—Guinga BRAZZIL - NOVEMBER 2001

On Milli with Guilla Paulo Aragao A founding member ofthe acclaimed guitar qua tet Maogani, Paulo Aragilo has been called by Guinga "the best Brazilian guitar arranger of ill time."

It was the bassist Jorge Helder who first cajiled our attention to the value of spending time with Guinga, saying that he thought a great deal bout the significance of being in "proximity to a guy who'll only be fully recognized as a genius some years hence." I didn't have this awareness the first times I met Guinga in 1996 during the rehearsals forthe recording ofMaogani's first disc, in which he ended up participating. Since then, these encounters have been frequent, almost weekly—and only now do I begin to appreciate their importance in my musical education.

Guinga accompanied and actively participated in the entire process of the creation of our second disc, Cordas Cruzadas, contributing from repertoire selection to the elaboration of the arrangements. And we had the honor of accompanying the complete creation of his latest disc, Cine Baronesa, hearing the tunes as soon as they were ready. In fact, this process continues uninterrupted: since April (when his disc was released) we've been presented with various new creations. I in particular have never seen anyone combine quantity and quality in composing to the extent that Guinga does—his repertoire of unpublished compositions would be sufficient to fill not one but several discs.

In addition to being occasions for hearing his new tunes and showing our new arrangements, our encounters are opportunities to observe a very particular way of looking at music. After all, spending time with Guinga represents for me and for my Maogani colleagues more than simply being with our idol, a stupendous guitarist, and a composer of genius. It also represents the possibility to learn from and interact with a person who has one ofthe richest and most interesting musical personalities that I've ever met.

Guinga is one ofthe major connoisseurs ofpopular Brazilian music of any period. He knows Orlando Silva's repertoire inside-out, he sings with emotion serestas recorded by Augusto Calheiros more than 70 years ago. Informally, he plays many of these songs in his style (the harmonization that he made for Custodio Mesqui a's "Notumo" is unbelievable!). He spent time with Cartola and Nelson Cavaquinho and dranl4 as much from them as from Tom [Jobim] or Hermeto [Pascoal]. It would be fantastic if one ay he'd have the opportunity to record a disc only with this repertoire arranged by him. Becau e although he's modest and doesn't admit it Guinga is also a marvelous arranger, who recreates in an absolutely unique way without infringing upon or damaging the original spirit of the songs.

His contact with classical music is also profound. He phones just to tell enthusiastically about a piece of Bartok or Ravel that he heard at dawn (he has the habit of awaking at dawn to listen to Radio MEC). Orto comment about the harmony ofa string quartet by Radames [Gnattali] or the "Sexteto Mistico" by Villa-Lobos. He also gives us lessons about popular music that we're not so familiar with. "You have to listen more to the American arrangers!," "Have you heard Michel Legrand's orchestrations?," "Do you know Bix Beiderbecke?," he asks, taking the opportunity to recall an obscure disc of Stan Getz [Focus] that he heard when he was eleven and found again recently.

All this musical baggage, coupled with the generosity and the interest to hear new things, makes him have direct and very frequent contact not only with us but with many (really many!) musicians of my genetation. Exaggerating, he says that he learns from us... But the truth is that we're the ones who benefit and add to our musicality the informal lessons that are worth more than any academy and will certainly mark us profoundly in our careers.

Nei Lopes Nei Lopes is a distinguished sambista, intellectual, and author.

My first partnership with Guinga was in "Parsifal" [recorded in Suite Leopoldina]. As always, I created lyrics and little stories about what the melodies suggested to me. In "No Fundo do Rio" [from Cine Baronesa] however, the idea olftalking about the suburbs came from Guinga.

I'd like to emphasize that, in addition to the pleasure I have in writing lyrics for such original and unusual melodies as are Guinga's (which tums the v[ork even more valuable, because it's not easy), he's a musician with a lot of prestige. The partnership with him helped me a little to get out of the ghetto to which samba artists are relegated in Brazilian music—especially those who, like me, are black and traditionally linked to the escolas de samba.

I was for many years a member ofAcademicos do Salgueiro and later ofUnidos de V ila I sabel.

This stood in the way of my progress and visibility in the media. These days I've appeared more owing to the books I write, but music occupies an important place in my life. The last work of importance I did was the creation of five song lyrics for themes by maestro Moacyr Santos, in the tribute disc Ouro Negro, released in May. Here my lyrics were recorded by Milton Nascimento, Gilberto Gil, Joao Bosco, Djavan, and Ed Motta. I was very happy, because at the age of 59 with a 30-year career behind me, it signified a major acknowledgement of my work.

Monica Salmaso The award-winning singer recorded the song "Guingando," a tribute to Guinga by Edu Knetp and Mauro Aguiar, in Maogani 's new CD Cordas Cruzadas.

Guinga is for me like Dorival Caymmi, Chico uarque, and Edu Lobo. One-hundred percent of what he creates is of indisputable beauty. He's a omposer whose music enchanted me as soon as I heard it. There are some composers who create music that doesn't age. Songs that are for our entire lifetime, that we call classics. The music o Guinga is like that, eternally beautiful and profoundly true.

41

15. Delirio Carioca (Guinga/Aldir Blanc)-Instrumental (vocalese: Djavan) Cheio de Dedos (Velas 1996) 1. Cheio de Dedos (Guinga)-Instrumental 2. Da o Pe, Loro (Guinga)-Instrumental 3. lmpressionados (Guinga/Aldir Blanc) Chico Buarque 4. Inventando Moda (Guinga)--Instrumental 5. NO na Garganta (Guinga)-Instrumental 6. Me Gusta a Lagosta (Guinga/Aldir Blanc)-Instrumental 7. picotado (Guinga)-Instrumental 8. Aria de Opereta (Guinga/Aldir Blanc)-Ed Motta 9. Divagar, Quase Parando (Guinga)-Instrumental 10. Rio de Exageros (Guinga)--Instrumental 11. Blanchiana (Guinga)-Instrumental 12. Por Tras de Bras de Pina (Guinga)--Instrumental 13. Desconcertante (Guinga)--Instrumental 14. Sinuoso (Guinga)-Instrumental 15. Cheio de Dedos (Guinga)-Instrumental Suite Leopoldina (Velas 1999) 01. Dos Anjos (Guinga)--Instrumental 02. Parsifal (Guinga/Nei Lopes) Chico Buarque & Nei Lopes 03. Di Menor (Guinga/Celso Viafora)-Instrumental 04. Sargento Escobar (Guinga) Instrumental 05. Cha de Panela (Guinga/Aldir Blanc)-Alceu Valenca 06. Choro Perdido (Guinga/Aldir Blanc/Mariana Blanc)Instrumental 07. Notumo Leopoldina (Guinga)-Instrumental 08. Guia de Cego (Guinga/Mauro Aguiar)-Ivan Lins 09. Perfume de Radames (Guinga)-Instrumental 10. Par Constante (Guinga)-Ed Motta 11. Cortando urn Dobrado (Guinga)-Instrumental 12. Mingus Samba (Guinga/Aldir Blanc)-Lenine 13. Dissimulado (Guinga)-Instrumental 14. Constance (Guinga)-Instrumental Listen to the songs of Suite Leopoldina here: http://usinadosom.zip.net/cd.asp?indice=18572 Cine Baronesa (Velas 2001) 1. Melodia Branca (Guinga)--Instrumental 2. Cine Baronesa (Guinga/Aldir Blanc)-Fatima Guedes & Guinga 3. V6 Alfredo (Guinga/Aldir Blanc) -Instrumental 4. Nem Mais urn Pio (Guinga/Sergio Natureza) Guinga 5. Yes, Ze Manes (Guinga/Aldir Blanc) Chico Buarque 6. Caiu do Ceu (Guinga)-Instrumental 7. No Fundo do Rio (Guinga/Nei Lopes) Guinga, Nei Lopes & Sergio Cabral 8. Estonteante (Guinga)-Instrumental 9. Geraldo no Leme (Guinga)-Instrumental 10. Fox e Trote (Guinga/Nei Lopes) Guinga 11. Como eu lmaginara (Guinga/Herminio Bello de Carvalho)Instrumental 12. Orassamba (Guinga/Aldir Blanc) Guinga 13. Melodia Branca (Guinga)-1nstrumental Listen to the songs of Cine Baronesa here: http://usinadosom.zip.net/cd.asp?indice=20209 Daniella Thompson is a writer and preservationist living in Northern California. She can be reached at daniv(&,ips.net.

This choro is a tribute to Aldir Blanc's mother, who died at the beginning ofthe year.

Guinga sings it in Quarteto Maogani's new disc, Cordas Cruzadas.

Choro-Requiem (Guinga/Aldir Blanc)

Choro-Requiem (Guinga/Aldir Blanc)

Born, ate `manha, ate pra sempre ou mesmo ate ja, ate o dia que eu deslembre ou volte a lembrar.

Quanto major a ausencia mais eu te percorro, minhaconsciencia te revive e eu morro.

Well, Until tomorrow, Until always Or even right away, Until the day I disremember Or remember again.

The larger the absence A` The more I delve into you, My conscience Revives you and I die.

Mae, arranha o vidro da janela onde a sujeira vela por nos dois porque eu nao sei quern anda mais sozinho.

Ai, eu perdi o ninho, a casa, o cob, a crenca -so nossa doenca nao me abandonou...

Mother.

Scratch the window glass Where the grime watches Over us both Because I don't know Who's lonelier.

Al, I lost my nest, my homes The lap, my faith -only our illness didn't abandon me...

Que nab soe falsa a valsa lenta e o que ela alimenta na hora tardia: a solidao como urn cora') tern uma ponta solta, fria,livre da hipocrisia.

Adeus, querida, cascade ferida, escrava de Jo, luz do meu ceu, tao pequenina: no Sao Joao, o tangerina...

Let not the slow waltz Sound false And what it feeds At the late hour: Solitude Like a cord Has a loose end, Cold, free of hypocrisy.

Goodbye, dear, Scab of a wound, Slave of Job,' Light of my heaven, So tiny: At Sao Joao,' a tangerine hot-air balloon

Na rapsOdia em blusao de tafeta, flutuas em Paqueta!

In the rhapsody in a blouson' of taffeta, You float in Paqueta14

Mae, no teu velOrio eu desejei as mocas nacachola.

Ai, mae, naoliga, me perdoa, que eunao sou boiola.

Eu sou mesquinho, mae, letrista pobre, aumento: Fui teu catavento, foste o met,' moinho.

Mother, At your funeral I desired the girls in my mind.

Al, mother, don't mind, Forgive me, It's that I'm not gay.

I'm insignificant, Mother, a poor lyricist, I add: 1 was your pinwheel, You were my windmill.'

1."Escravos de Jo" is a nursery rhyme sung during a circle game 2. a mid-winter festival 3. smock; a pun on "Rhapsody in Blue" 4. a bucolic island in Guanabara bay, Rio de Janeiro; it is also mentioned in Aldir's songs "Latin Lover" (coauthored with Joao Bosco), "Choro das Ondas" (with Moacyr Luz), and "Santo Amaro" (with Franklin da Flauta & Luiz Claudio Ramos) 5.a reference to the song "Catavento e Girassol"

BRAZZIL -NOVEMBER 2001

Catavento e Girassol Pinwheel and Sunflower (Guinga/AldirBlanc) (Guinga(AldirBlanc) Men catavento tern dentro o que ha do lado de fora do teu gftwol.

Entre o escancaro e o contido, eu te pedi sustenido e voce nu bernol. oce se, pensa no espaco, euexigiduraglo.

Eu sou um gato de subirrbio voce litoranea ando eu respeito os sinais, vejo voce de palms yard° na contrarnao mas quandoataco de macho voce se faz de capacho e nao quer confusao.

Nenhurn dos dais se artrega.

Nes nAo ouvimos conselho: eu sou voce que se vai no sumidouro do espelho.

My pinwheel has inside it What's on the outside of your sunflower.

Between the open and the shut, I asked you in sharp And you laughed in flat.

You think only of space, I require duration.

I'm a suburban cat You're a beach person.

When I obey the traffic lights, I see you on skates Coming on the wrong side But when I come on as macho You turn into a doormat And don't want confusion.

Neither of us gives in.

We don't listen to advice: lam the you that gets Sucked into the mirror.

Senhorinha (Guinga/Paulo Cesar Pinheiro)

Young Lady (Guinga/Paulo Cesar Pinheiro)

Senhorinha Moca de fazenda antiga, prenda minha Gosta de passear de chapeu, sombrinha Como quem frigiu de uma modinha

Young lady Daughter of an old plantation, my girl Likes to stroll in a hat, parasol Like a character from an old-fashioned song

Sinhazinha No balancn da cadeira de palhinha Gosta de trancar retros de linha Como que parece que adiv nha(amor)

Little missy In the wicker rocking chair Likes to weave her linen thread Like someone who appears to divine(love)

Sera que ela quer casar Sera que eu von casar corn ela Sera que vai ser numa capela De casa de andorinha

Does she want to marry?

Will I marry her?

Will it be in the chapel Of a birdhouse?

Princesinha Little princess I'm from Engenho de Dentro' Moca dos contos de amor da Girl of fairy tales of AndyouliveinthewindofArpoador.2 1 carochinha love I'mretiring Gosta de brincar de fada-madrinha Likes to play at fairy godmother And you're gregarious Como quem quer ser minha Like someone who wants to be my (the insect and the flower). rainha queen One of us roots for Mia Farrow, The other for Woody Allen...

Sinhamocinha Little mistress When I whistle a serenade Corn seu brinco e seu colar de With her earrings and her aquamaYou dance the hula. agua-marirftra rine necklace Gosta de me olhar da casa Likes to watch me from the house Eu you de fenis e jeans, I go in sneakers and jeans, vizinha next door encontro vocedemais: Find you overdressed: Como quem me quer na Like someone who wants me in her scalpel, soirée... High heels, eveningtogs... camarinha (amor) chamber (love) Quando o pau quebmnaesquina, When we fight on the street corner, voce atara de fina You put on airs Sera que eu von subir no altar Will I go up to the altar? e me ofende emingles: And insult me in English: Sera que irei nos bracos dela Will I go in her arms?

Sera que vai ser essa donzela fuck you, bate-bronha, It's "fuck you, jack-off' Will this damsel become ninguern mete° bedelho: And no one dares interfere' A musa desse trovador The muse of this troubadour? voce sou eu que me you You are the me that gets O prenda minha Oh my girl surnidouro do espelho. Sucked into the mirror.

0 meu amor Oh my love A paz é feita no motel We make peace in a motel Se tome a minha senhorinha Be my young lady de alma lavada e passada With our souls washed and pressed pra descobrir logo depois Only to discover shortly thereafter que no serviu pra nada That it was to no avaiL Bol ro de Sad Bolero of Satan Nos dias de camaval, DuringCaniaval, (Guinga/PauloCesarPinheiro) (Guinga/Paulo Cesar Pinheiro) aurnentarnosdesenganos: The disillusion grows: voce vai pm Parati You go to Parati3 voce penetrou como o sol da you penetrated like the morning e eu pro Cacique de Ramos. And Ito Cacique de Ramos.' manha sun e em n6s comecou u a festa paga and began within us a pagan feast Meu catavento tern dentro My pinwheel has inside it voce libertou em v " a infernal you liberated in yourself the infero vento escancamdo do Arpoador. The wide-open wind of Arpoador. corteza nal courtesan Ten girassol tern de fora Your sunflower has outside it ,1 e em mim despertt$i esse amor and awakened within me this love, escondido do Engenho de Dentro The hidden engine from within' the ' atormentado e inau de sata tormented and evil as satan daflor. flower. voce me deixou como o fim da you left me like the end of the Eu sitfto muita saudacle, I'm very nostalgic, manha morning wee 6 contemporanea, You're contemporary, e em mim comecou es a angnstia, and within me began this anguish, penso em tudo quanto faco, I think before I do anythin esse afa this yearning voce é to espontanea! You're so spontaneous! voce me plantou a paiao imortal you planted in me immortal and e malsA sick passion Sei queum depende do outro I know that one depends on t.he other r que se enraizou e sera meu that took root and will be my cursed pra ser diferente, Just to be different, maldito final amanha end tomorrow pra se completar. To be complete. e agora me aperta a atlicao and now I'm seized by the affliction Sei que urn se afa.sta do outro I know that one leaves the other de chorar louco e s6 de mantra to weep madly and alone in the no sufoco somente pm se When times get tough only to get a seta do arco da noite morning aproxirnar. closer. sangrando-me agora it's the arrow of the night's bow tern urn jeito verde de ser You have a green way ofbeing sao lagrimas, sangue, veneno making me bleed now eeu sou meio vennelho And I'm rather red correndo no meu coracao tears, blood, poison are Inas os dois juntos se vao But together we go formando-me dentro esse pantano coursing through my heart no surnidouro no espelho. Sucked into the mirror. de solidao forming within me this mire ofsoli1.a working-class suburb in Rio tude 2.a beach neighborhood between Copacabana and Ipanema My gratefii thanks to Kimson Plant for his generous of Rio de Janeiro 3.a fashionable beach resort inththe c ntributions to the translations.

4.famousCamaval b/ocofrom ew0 nung-classsuburbofRamos 5. Engenho de Dentro Eu sou do Engenho de Dentin voce vive no vento do Arpoador.

Eutenho urn jeito arredio e voce expansiva (o inseto e a for).

Urn torce pra Mia Farrow, o outro 6 Woody Allen_ Quando assovio uma seresta vocedanca,havaiana

BRAZZIL - NOVEMBER 2001

43

They recorded Guinga .

.

Album (or Source) Palhacos e Reis (Philips/Phonogram)

Year 1974

Paulo Cesar Pinheiro (EMI-Odeon) Alvorecer (EMI-Odeon) Claridade (EMI-Odeon)

1974 1974 1975

0 lmportante e que a Nossa Emoodo Sobreviva No. 2 (EMI-Odeon) Chorando pelos Dedos (Coronado/EMI-Odeon) Ronda (EMI-Odeon)

1976

Elis, Essa Mu/her (WEA)

1979

0/ha Al (Saci)

1980

Paulo Cesar Pinheiro (EMI-Odeon)

1980

Conclusclo: (RCA Victor)

1982

Nagel° (EMI-Odeon)

1982

Brazil Song (Cancoes do Brazil) (Muse) Pedro Paulo Castro Neves e Michel Legrand (Pointer) Mukha (Continental)

1983

Rafael Rabello (Visom)

1988

Noturna (Guinga/Paulo Cesar Pinheiro) Oliandi-Fox (Guinga/Aldir Blanc) Lendas Brasileiras (Guinga/Aldir Blanc)

Amelia Rabello (Velas) Selma Reis (PolyGram) Guanabara (CT!)

1989 1990 1991

Outras Caras (Philips)

1991

Boca Livre

Esconjuro (Guinga/Aldir Blanc) Noturna (Guinga/Paulo Cesar Pinheiro) Zen-Vergonha (Guinga/Aldir Blanc)

1992

Sergio Mendes & Gracinha Leporace with Guinga Monica Salmaso

Esconjuros; Chorado (both by Guinga & Aldir Blanc) Nitido e Obscuro (Guinga/Aldir Blanc)

Dancando pelas Sombras (MP,B/Warner) Brasileiro (Elektra)

Fatima Guedes with Guinga

Vii Alfredo; Diluvianas; Destino Bocaitiva; Sete Estrelas (all by Guinga & Aldir Blanc) Nem Cats, Nem Barco; Lendas Brasileiras (both by Guinga & Aldir Blanc) Choro pro Ze (Guinga/Aldir Blanc) Noturna (Guinga/Paulo Cesar Pinheiro) VO Alfredo (Guinga/Aldir Blanc) Non Sense (Guinga/Paulo Cesar Pinheiro) Choro pro Ze (Guinga/Aldir Blanc)

Artist(s) MPB-4

Paulo Cesar Pinheiro Clara Nunes Clara Nunes Eduardo Gudin, Marcia & Paulo Cesar Pinheiro Joel Nascimento (instrumental) Marcia Ells Regina with Cauby Peixoto Mauricio Tapajos Paulo Cesar Pinheiro with Guinga Nelson Goncalves Clara Nunes Mark Murphy Pedro Paulo Castro Neves & Michel Legrand MiOcha

Raphael Rabello (instrumental) Amelia Rabello Selma Reis Art Farmer with Ithamara Koorax Leila Pinheiro

Ithamara Koorax

Rita Peixoto & Carlos Fuchs Marcia Maria Marco Pereira (instrumental) Paulo Sergio Santos (instrumental) Turibio Santos (instrumental)

44

Song(s) Conversa corn o Coracao; Ma!dick) de Ravel (both by Guinga & Paulo Cesar Pinheiro) Bandoneon (Guinga/Paulo Cesar Pinheiro) Punhal (Guinga/Paulo Cesar Pinheiro) Valsa de Realejo (Guinga/Paulo Cesar Pinheiro) Danca da Forca; Canto do Beato Louco (both by Guinga & Paulo Cesar Pinheiro) Valsa de Realejo (Guinga/Paulo Cesar Pinheiro) Valsa Maldita (Guinga/Paulo Cesar Pinheiro) Bolero de SatA (Guinga/Paulo Cesar Pinheiro) Resta Sobre o Bar (Guinga/Paulo Cesar Pinheiro/Mauricio TapajOs) Quadrat) (Guinga/Paulo Cesar Pinheiro) Resta Sobre o Bar (Guinga/Paulo Cesar Pinheiro/Mauricio TapajOs) Cinto Cruzado (Guinga/Paulo Cesar Pinheiro) English version of Bolero de Sata (Guinga/Paulo Cesar Pinheiro/J.P. Pinherd) Passos e Assovio (Guinga/Paulo Cesar Pinheiro) Chorando as Magoas; Por Gratidao; Non Sense; Porto de Aratijo (all by Guinga & Paulo Cesar Pinheiro) Comovida (Guinga)

1976 1977

1985 1988

1992

Monica Salmasoâ&#x20AC;&#x201D;Ao Vivo (MPO Videol Pra Born Entendedor (Velas)

1992/3

Ao Vivo (JVC/Imagem)

1993

Rita Peixoto & Carlos Fuchs (Independent/Leblon) Passion (Igloo)

1993 1994

Danca dos Quatro Ventos (GHA)

1994

BaiAo de Lacan (Guinga/Aldir Blanc)

Segura Ele (Kuarup)

1994

Five pieces for guitar: Sete Estrelas [Cancao] (Guinga/Aldir Blanc) Sinuoso [Choro] (Guinga) Igreja da Penha [Valsa] (Guinga) Nitido e Obscuro [Baiao] (Guinga/Aldir Blanc)

Fantasia Brasileira (Visom)

1994

1993

BRAZZIL - NOVEMBER 2001

Richard Stoltzman (instrumental) Fatima Guedes

Brian Lynch Quartet (instrumental) Mark Murphy & Karlheinz Miklin Quartet

MPB-4 Ze Nogueira (instrumental) Aldir Blanc Renato Braz Sergio Mendes & Gracinha Leporace Leila Pinheiro

Carol Saboya Vania Bastos Eduardo Gudin & Noticias dum Brasil Guinga Afonso Machado & Bartholomeu Wiese (instrumental) Maogani (instrumental) Pery Ribeiro Claudio Roditi (instrumental) Turibio Santos (instrumental) Elza Soares Agua de Moringa (instrumental) Chico Buarque Guinga (instrumental)

Ilka & Roland Hoffmann (instrumental) Hamilton de Holanda (instrumental) JP Sax (instrumental) Carlos Malta with Guinga (instrumental) Marco Pereira (instrumental) Leila Pinheiro Garganta Profunda Monica Salmaso BRAZZIL -NOVEMBER 2001

Vfi Alfredo [Frevoj (Guinga/Aldir Blanc) Chorado (Guinga/Aldir Blanc) , 0 Coco do Coco (Guinga/Aldir Blanc) Caos-Brasil (Guinga/Aldir Blanc/Paulo Emilio) Samba de um Breque (Guinga/Aldir Blanc) Bolero de SatA (Guinga/Paulo Cesar Pinheiro) English version of Bolero de Satfi (Guinga/Paulo Cesar Pinheiro/J.P. Pinherd; attributed in the CD to J.P. Pinherd & Elis Regina) Sepia e Flash (Guinga/Aldir Blanc) Senhorinha (Guinga/Paulo Cesar Pinheiro) Futuramente (Guinga/Aldir Blanc) Negfio nas Parada (Guinga/Aldir Blanc) 7 x 7 (Guinga/Aldir Blanc) Rio de Janeiro (Guinga/Aldir Blanc) Catavento e Girassol; Canibaile; 0 Coco do Coco; Neblina e Flfimulas; Valsa pra Leila; Chi de Panela; Bailo de Lacan; Pra Quern Quiser Me Visitar; Samba de um Breque; Exasperada; Cordas; Exilio e Paraiso; Luas de Subtirbio; Madeira de Sangue (all by Guinga & Aldir Blanc) Carta de Pedra lIgreja da Penha] (Guinga/Aldir Blanc) Choro pro Ze (Guinga/Aldir Blanc) Eterea; Conversar Corn igo (both by Guinga & Eduardo Gudin) Valsa No. 1 (Guinga) Nitido e Obscuro (Guinga/Aldir Blanc)

Di Menor (Guinga/Celso Viafora) Ballo de Lacan (Guinga/Aldir Blanc) Bolero de Sata (Guinga/Paulo Cesar Pinheiro) Samba de um Breque (Guinga/Aldir Blanc) Nitido e Obscuro (Guinga/Aldir Blanc) Igreja da Penha (Guinga) Vo Alfredo (Guinga/Aldir Blanc) Rio de Janeiro (Guinga/Aldir Blanc) Choro pro Ze (Guinga/Aldir Blanc) Voce, Voce (Guinga/Chico Buarque) Intro; Dobrando a Mantiqueira (Guinga)

Chorado; Esconjuros (both by Guinga & Aldir Blanc) Choro pro Ze (Guinga/Aldir Blanc) Baiao de Lacan (Guinga/Aldir Blanc) Exasperada (Guinga/Aldir Blanc) Carta de Pedra [Igreja da Penhal (Guinga/Aldir Blanc) Influencia do Jackson (Guinga/Aldir Blanc) 0 Coco do Coco (Guinga/Aldir Blanc) Saci (Guinga/Paulo Cesar Pinheiro)

Dreams (RCA/BMG)

1994

Grande Tempo (Velas)

1995

Keep Y .ur Circle Small (Sharp Nine)

1995

Just Jazz (Jazzette)

1990s

Arte de Cantar—Ao Vivo (Som Livre) Disfarga e Chora (MP,B/Warner)

1995 1995

Aldir Blanc-50 Anos (Alma) Renato Braz (Atracao) Oceano (PolyGram)

1996 1996 1996

Catavento e Girassol (EMI)

1996

Aldir BI nc-50 Anos (Alma)

1996

Diversd- Nilo Eletronicas (Velas) Pra Tira o Chapel.. (RGE)

1997 1997

Pequeno Dicioncirio Amoroso (film soundtr. k; BMG) Bandoli & Violcio (Leblon)

1997 1997

Maogani S arteto de Violoes (Rob Digital) A Vida é k 6 pra Cantar (Albatroz)

1997

Claudio, ' io & Friends (RTE)

1997

Mistura

1997

igos (Visom)

Trajetori. (Universal) Saracotea do/Strolling (Rob Digital/M landro) As Cidade (BMG) Os 10 Me ores do Brasil (Guitar Player malazine special issue with CD) Maracatzi Megaphon) • Premio Vi a de MPB Instrumental (Eldorado Quarteto ( PC-UMES) 0 Esculto do Vento/Jeitinho Brasileiro Independent/Malandro) Valsas Br.‘ ileiras (Nikko Contempo , neo) Na Ponta Lingua (EMI) .

Deep Rio ndependent) Trampolim (Pau Brasil/Blue Jacket)

1997

1997 1998 1998 1998

1998 1998 1998 1998 1998 1998 1998 1998 45

Richard Stoltzman (instrumental) Carlos Malta & Fife Mudemo (instrumental) NO em Pingo D'Agua w/ Guinga (instrumental) Leila Pinheiro & Guinga Carol Saboya MOnica Salmaso Chico Saraiva (instrumental) Celso Vidfora Karrin Allyson Banda Mantiqueira (instrumental) Duo Panting-Blagden (instrumental) Adriana Capparelli

Alaide Costa Heather Davis & Jill Russell Guinga Email L6pez-Nussa with Guinga (instrumental) Quinteto Villa-Lobo (instrumental)

Carol Saboya Monica Salmaso Ze Paulo Becker (instrumental) Cris Delanno Simone Guimaraes with Guinga Guinga with Paulo Sergio Santos

Ana de Hollanda with Guinga Maogani with Guinga singing Leila Pinheiro with Guinga Paulo Sergio Santos Trio (instrumental)

46

Esconjuros (Guinga/Aldir Blanc)

Danza Latina (RCA/BMG)

1998

Nitido e Obscuro (Guinga/Aldir Blanc)

Carlos Malta & Pife Muderno (Rob Digital) No na Garganta (Independent)

1999

Songbook Chico Buarque Vol. 8 (Lumiar) Daiwa da Voz (Lumiar)

1999 1999

Voadeira (Eldorado) Agua (Cantaro)

1999 1999

Cara do Brasil (RGE) From Paris to Rio (Concord Jazz)

1999 1999

Bixiga (Pau Brasil)

2000

Festival Guitarras del Mundo 2000 (Epsa) Pequeno Circo intim° (DabIiii)

2000

Falando de Amor (CID) Check the Beans (CTB)

2000 2000

Orquidea—Choro e Samba em Niteroi (Rob Digital) From Havana to Rio (Velas)

2000

Fronteiras (Rio Arte Digital)

2000

Sesscio Passatempo (Jam Music)

2000 2000 2001

Yes, Ze Manes (Guinga/Aldir Blanc) Porto de Araajo (Guinga/Paulo Cesar Pinheiro) Canibaile (Guinga/Aldir Blanc) Catavento e Girassol (Guinga/Aldir Blanc) Di Menor (Guinga/Celso Vidfora) Yes, Ze Manes (Guinga/Aldir Blanc) -

Heineken Concerts and future CD Lendas Brasileiras (Independent/Kuarup) Filha da Patria (Independent) Virada pra Lua (Lua Discos) 2° comPasso Samba & Choro (Biscoito Fino)

2001

Um Filme (Jam Music)

2001

Choro-Requiem (Guinga/Aldir Blanc)

Cordas Cruzadas (Rob Digital)

2001

Catavento e Girassol (Guinga/Aldir Blanc) Nitido e Obscuro (Guinga/Aldir Blanc) Caiu do Ceu (Guinga/Aldir Blanc) Canibaile (Guinga)

Mais Coisas do Brasil (Universal)

2001

Gargalhada (Kuarup)

2001

NO na Garganta (Guinga) Voce, Voce (Guinga/Chico Buarque) Nuvem de Gafanhoto (Guinga/Aldir Blanc) Senhorinha (Guinga/Paulo Cesar Pinheiro) Choro pro Ze (Guinga/Aldir Blanc) Di Menor (Guinga/Celso Vidfora) Catavento e Girassol (Guinga/Aldir Blanc) Catavento e Girassol; Ballo de Lacan (both by Guinga & Aldir Blanc) Chorado (Guinga/Aldir Blanc) Vida Noturna; Catavento e Girassol; Valsa pra Leila (all by Guinga & Aldir Blanc) Noturna (Guinga/Paulo Cesar Pinheiro) Choro pro Ze (Guinga/Aldir Blanc) Valsa pra Leila (Guinga/Aldir Blanc) Baia() de Lacan (Guinga/Aldir Blanc) Di Menor (Guinga/Celso Viafora) Aria de Opereta (Guinga/Aldir Blanc) Picotado (Guinga) Valsa de Realejo (Guinga/Paulo Cesar Pinheiro) Cheio de Dedos (Guinga) Baia() da Guanabara (Guinga/Mauro Aguiar) Esconjuros (Guinga/Aldir Blanc) Lendas Brasileiras (Guinga/Aldir Blanc)

1999

2000

2000

2001 2001

444. fli WI

BRAZZIL -NOVEMBER 2001

elations. Written by Claudia Vasconcelos, directed by Jairo Matos, Alessandra Thomazini, Keila Taschini, Rosdngela Frasao and Veronica Mello.

Eu Falo o Que Elas Querem Ouvir (I Say What Women Want to Hear) Comedy. Politicians kidnaps a theater director so he can help him win the election. Written by Mario Prata, directed by Roberto Lag9,, with Paulo Gorgulho, Javert Monteiro, Angelo Paes Leme and Maria Clara Fernandes.

Dovies Just-released or re-released American movies: A Cartada Final (The Score), A Conspiraceio (The Contender), A Enfermeira Betty (Nurse Betty), A Fuga das Galinhas (Chicken Run), A. I. - Inteligencia Artificial (A. I. Artificial Intelligence), Amnesia (Memento), Atlantis: 0 Reino Perdido (Atlantis: The Lost Empire), Como Caes e Gatos (Cats and Dogs), Feliz Coincidencia (Happy Accidents), Final Fantasy (Final Fantasy), Hora do Recreio (School's Out), Hora do Rush 2 (Rush Hour 2), Lara Croft: Tomb Raider (Tomb Raider), Moulin Rouge - Amor Em Vermelho (Moulin Rouge), 0 Barato de Conversa Privada (Private Talk)—Com- Grace (Saving Grace), 0 Dia do Terror edy. The idea is to tell the public things that (Valentine), 0 Diario de Bridget Jones (Bridget Jone 's Diary), Olhar de Anjo (Annormally are only said between four walls.

Series of sketches and monologues by the gel Eyes), Olhos Famintos (Jeepers Creepfemale group Grelo Falante (Talking Clit). ers), Os Outros (The Others), Os QzteriScenes are interspersed with songs and dinhos da America (America's Sweethearts), Pecado Original (Original Sin), Refem do dance.

Silencio (Don't Say a Word), Replicante Deus Lhe Pogue (May God Reward You)— Comedy. A bum gets rich by begging. Writ- • (Replicant), Requiem Para um Sonho (Reten by Joracy Camargo, directed by Paulo quiem for a Dream), Ricos, Bonitos e Infieis (Town & Country), Rugrats em Paris - Os Afonso de Lima, with Benvido Siqueira Copenhagen—Scientists Niels Bohr, from Anjinhos (Rugrats In Paris: The Movie), Denmark and German Werner Heisenberg Shrek (Shrek), Todo Mundo em Peinico 1 get together to discuss the construction of (Scary Movie 2), Velozes e Furiosos (The the atomic bomb. Both were awarded the Fast and the Furious) Bufo & Spallanzani (Bufo & SpalNobel Price. Written by Michael Fryn, lanzani)--Brazi1/2000--Directed by Fldvio directed by Marco Antonio Rodrigues.

0 Gordo e o Magro Vdo para o Ceu (Larry R. Tambellini, with Tony Ramos, Jose and Hardy Go to Heaven)—A couple and Mayer, Isabel Gueron, Maite Proenca.

Based on Rubens Fonseca's novel. Ivan, an their adventures to build a wall. Written by insurance inspector, doesn't believe when Paul Auster. With Isabel Cavalcanti and one of his clients shows up dead. He thinks Ronaldo Serruya.

Bugiaria—Joao Cointa and his misadven- the policy holder ingested a poison extures before the Inquisition. Considered the tracted from a frog that makes him look like best play by the jury of respected Governo a dead person. do Estado award. Written and directed by 0 Xango de Baker Street (Baker Street's Moacir Chaves, with Ord Figueiredo, Xango)—Brazil/1999—Sherlock Homes and his sidekick Watson travel to Rio during Claudio Baltar and Candido Dam. the Brazilian Empire to help solve a crime that occurred in Rio de Janeiro. Based on Jo Soares's book of same name. Directed by Agreede - 0 Pé Esquerdo da Jornalista Miguel Faria Jr, Joaquim de Almeida, An(The Newswoman's Left Foot)—Drama. thony O'Donnell, Maria de Medeiros and Written directed and interpreted by Jair Marco Nanini.

Alves. After winning the fight against a Mem6rias P6stumas (Posthumous Memserious disease, a woman journalist goes oirs)—Brazil/Portugal, 2000—An adaptaback to work to face corruption. tion of Machado de Assis's Memeorias Carine—Drama. A jailed commander ac- POstumas de Bras Cubas. Already dead, cused of slave and weapon trafficking has only one hour to live when he receives the visit of someone telling he is going to write his biography. Written by Guil Branco, directed by Renato Kramer, with Renato Kramer and Guil Branco.

As Mais Fortes (The Strongest Women)— Three high school friends get together to party after being apart for more than a XangO de Baker Street decade. They end making unexpected rev-

III

iRi PAULI

BRAZZIL -NOVEMBER 2001

Bras Cubas tells about his adventurous and sad life filled with passion and money problems. By Andre Klotzel, with Marcos Caruso, Walmor Chagas, Sonia Braga, Milena Toscano, Vietia Rocha, and Otavio See www.memoriaspostumas.com.br Copacabana—Brazi1/2001—The theme: old age in the most famous beach of Brazil: Copacabana. Alberto, an old photographer getting ready to celebrate his 90th birthday, reminisces about his past. By Carla Camurati, with Marco Nanini, Ida Gomes, Myrian Pires and Laura Cardoso.

Aventura na Amazonia (Taind—An Adventure in the Amazon)— Brazil/2000—Indian girl Taind lives in the Amazon with her little monkey Katu.

Some smugglers give her a hard time trying to get her animal. By Tania Lamarca and Sergio Bloch, with Eunice Baia, Jairo Mattos and Caio Romei.

0 Grilo Feliz (The Happy Cricket)— Brazi1/2001—Cartoon. Grilo Feliz cannot be the joy of the party anymore when lizard Maledeto decides to steal his guitar.

By Walbercy Ribs

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II or atnmen Experienced "Brasileiro" Guitarist; Brazilian native Jo5o Junqueira (MFA in Jazz Guitar at CALARTS) is available to play, sing and record, solo or accompanied, his specialty, Authentic Brazilian Music, Originals and Jazz. Please call (818) 716-9053 or write j_junqueira@yahoo.com [179]

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ersona 'an see s man Brazilian bottom, 33 y/o, 55", 123Ibs, white skin, seeks black, young top man who wanna move to Brazil and share a whole life. Valdeck - Phone 011 5571 981 1990, valdecka@hotmail.com [163]

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Vendo Apartamento de quarto/sala. Uma quadra da praia em lguaba, Rio de Janeiro. Apenas $13,500.00. Prediocom 7 apartamentos, 1 loja em Cabo Frio. Lucia Tel (909)623-7661 [188]

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Brasileira, 35 anos, morena, atraente. Falo Portuguese Ingres. Procuro brasileirode ascendenda africana em Los Angeles, educado e culto. Enviar fob. E-mail: pmgutier@aol.com [185] Educated, pretty Brazilian lady iso nice semiretired man. We'll teach English and enjoy beautiful nature in Maceio, Brazil, most of the year. Write to 41 Sutter #1033 San Francisco 94104 [180]

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'en a

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51

Stage Struck II In the '70s, with the toughening of the actions of the censors, the Brazilian dramatic community takes to expressing itself with metaphors. In spite of this, Fauzi Arap writes plays that reflect on the theater, alternative options for life, and homosexuality. There emerge several theatrical groups formed by young actors and directors.

KIRSTEN WEINOLDT

Continued from our last issue MILESTONES OF BRAZILIAN THEATER IN THE XX CENTURY 1927 The Teatro do Brinquedo opens in Rio de Janeiro with the play Ada°, Eva e Outros Membros da Familia, Adam, Eve, and Other Members of the Family, by Alvaro Moreira, leader of the group. Founded by amateurs, the group proposes an elite theater. It is the beginning of the insurrection against the commercial theater considered "low level."

1938 The Teatro do Estudante do Brasil, Student Theater of Brazil, is launched in Rio de Janeiro conceived and directed by Paschoal Carlos Magno and with a cast consisting of academics. The first production was Romeo and Juliet, protagonized

by Paulo Porto and Sonia Oiticica under the direction of Italia Fausta.

1943 Vestido de Noiva by Nelson Rodrigues has its debut, produced by the amateur group Os Comediantes. of Rio de Janeiro. The direction of Zibgniew Ziembinski and the scenery of Santa Rosa marked the emergence of the artistic treatment of a play. â&#x20AC;˘ 1948 The Teatro Brasileiro de Comedia (TBC) is inaugurated in Sao Paulo; initially, it was a theater created to house the works of amateur groups. Two of those groups are in the forefront of the renovation of Brazilian theater: The Grupo de Teatro Experimental (GTE), by Alfredo Mesquita, and the Grupo Universitario de Teatro (GUT), by Decio de Almeida Prado. In the following year, the TBC became professional contracting actors and Italian director Adolfo Celi. An eclectic repertoire consisting of great classical and modern texts, in addition to comedy at a high level, became the key for this company, which, under the leadership of Franco Zampari in his golden period, marks one of the most important phases of Brazilian theater. The TBC ended its activities in 1964. Other companies were founded in its molds: The Teatro Popular de Arte by Maria Della Costa, the Companhia Nydia Licia-Sergio, the Teatro Cacilda Becker, and the Companhia TOnia-Celi-Autran.

1953 The Teatro de Arena de Sao Paulo by Jose Renato was founded. In the beginning it was merely an attempt at spatial innovation, but it ended up being responsible for the introduction of innovative elements in Brazilian drama and stage production. The montage of Eles Usam Black-Tie, They Don't Use Black-Tie, by Gianfrancesco Guarnieri, in 1958, introduces the class struggle as a theme. Under the direction ofAugusto Boal, the Arena "gives birth" to new actors and adapts classic texts in order to show

Brazilian reality. It achieves the introduction of the wild card system in which the notion of the protagonist disappears in works such as Arena Conta Zumbi(1965) and Arena Conta Tiradentes (1967), which create a historic national revision. The Arena closed its doors in 1970.

1958 Ze Celso Martinez Correa, Renato Borghi, Carlos Queiroz Telles, and Amir Haddad, among others, founded a group called Teatro Oficina, Workshop Theater, at the Faculty of Law at Largo Sao Francisco, in Sao Paulo. Its members go through a "Stanislavskian" phase (realistic interpretation created by the Russian dramatist Stanislavski), orientated

by Eugenio Kusnet. The Most important play of this period is Os Pequenos Burgueses, The Petty Bourgeois (1963)

by Maxim Gorki. Soon after, an anthological montage of 0 Rei da Vela, The King ofthe Candle (1967) by Oswald de Andrade, the group evolved to a "Brechtian" phase (set-apart interpretation developed by German Bertolt Brecht) with Galileu Galilei (1968) and Na Selva das Cidades, In the City Jungle (1969), always under the artistic direction of Ze Celso. With the collective work Gracias Senor, Thank you, Sir, begins the so-called irrationalist phase of the Oficina. A new relation with space and with the public reflects the deep changes the group went through. That phase ends with As Tres 'rinds, The Three Sisters, by Chekov.

1964 The group Opiniao starts its acitivity in Rio de Janeiro, adapting shows and musicals for the stage and developing a theatrical work of political character.

Responsible for the launching of Ze Keti and Maria Bethania is the production of the play Se Correr o Bicho Pega, Se Ficar o Bicho Come, If You Run the Beast Catches You, If You Stay the Beast Eats You, by Oduvaldo Vianna Filho and Ferreira Gullar.

1968 Debut of Cemiterio de Automoveis, Automobile Cemetery, by Arrabal. This show and 0 Baled°, The Balcony, by Genet and both directed by Victor Garcia and produced by Ruth Escobar, mark the entry of Brazilian theater into a phase of daring stage productions, as much spatially as thematically.

DECADE OF THE 1970'S With the toughening of the actions of the censors, the dramatic community

3RAZZIL NOVEMBER 2001

takes to expressing itselfwith metaphors.

In spite of this, Fauzi Arap writes plays that reflect on the theater, alternative options for life, and homosexuality.

There emerge several theatrical groups formed by young actors and directors. In Rio de Janeiro Asdnibal Trouxe o Trombone stands out. His production Trateme Ledo, portrays a whole generation of the middle class, and Pessoal do Despertar, The Awakening People, a name adopted after the production of 0 Despertar da Primavera, The Awakening of Spring, by Wedekind.

In Sao Paulo appears the Royal Bexiga's Company with the collective creation 0 Que Voce Vai Ser Quanclo Crescer, What do You Want to be When You Grow Up, The V itor Group, with the play Vitor, vu As Criancas no Poder, Vitor or the Children in Power, by Roger Vitrac; The Pod Minoga, consisting of alumni of Naum Alves de Souza, who launch themselves professionally with the collective montage Folias Biblicas, Biblical Celebrations, in 1977; Mambembe, born under the leadership of Carlos Alberto Soffredini, by whom they produce Vem Buscar-me Que Ainda Sou Teu, Come Take Me, That I'm Still Yours; and the Teatro do Ornitorrinco, Platypus Theater, by Caca Rosset and Luis Roberto Galizia, who begins his career in the basements of the Oficina in plays like Os Mais Fortes, The Strongest Ones and Ornitorrinco Canta Brecht-Weill, Ornitorrinco Sings BrechtWeill, of 1977.

1974 Debut of Macunaima by the group Pau Brasil, with direction of Antunes Filho. It is the start of a new stage lingo of Brazil, in which the images have the same strength as the narrative. With that show, Antunes Filho begins another stage in his career, at the front ofthe Centro de Pesquisas Teatrais (CPT), where an intense study of the work of the actor is developed. Great productions ofthe CPT make for international careers: Nelson Rodrigues, 0 Eterno Retorno, The Eternal Return, Romeo and Juliet, by Shakespeare; Xica da Silva, by Luis Alberto de Abreu; A Hora e a Vez de Augusto Matraga, The Life and Times of Augusto Matraga, adapted from the Guimaraes Rosa short story of same name; Nova Velha Historia, New Old Story; Gilgamesh; Vereda da Salvacdo, Path of Salvation, by Jorge Andrade.

1979 The censorship fails to be an opinion poll and again takes on the character of classification. The play RasgaCoraccio, Torn Heart, by Oduvaldo Vianna Filho,

is freed and produced in Rio de Janeiro.

It is awarded a prize in a competition of Servico Nacional de Teatro and, subsequently, prohibited.

Decade of the 1980's Diversity is the principal aspect of the theater in the 80's. The period is characterized by the influence of the post-modernism, movement marked by the union of the traditional esthetic with the modern. The exponent of this line of theater is the director and playwright Gerald Thomas. Productions like Carmen, Electra corn Creta, and Quartett presents a technical refinement not seen before. His productions give great importance to set design and choreography. New theatrical groups, such as Ponka, the Boi Voador, and XPTO, also have as priority visual and sound expression.

The director Ulysses Cruz, of the company Boi Voador, stands out with the play Fragmentos de um Discurso Amoroso, Fragments of an Amorous Discourse, based on a text by Roland Barthes. Otheryoung dramatists like Jose Posi Neto, De Bragos Abertos, With Open Arms; Roberto Lage, Meu Tio, o Iauarete, My Uncle, the Iauarete (extinct people ofthe rain forest), and Marcio Aurelio, Lua de Cetim, Satin Moon, have their works recognized. Cud Rosset, director of Ornitorrinco, Platypus, becomes a phenomenon of the public with Ubu, by Alfred Jarry.

In the world ofdrama, slapstick dominates—situation comedies, which explore absurd situations. The movement grows in Rio de Janeiro and has as its principal representatives Miguel Falabella and Vicente Pereira. In Sao Paulo names like Maria Adelaide Amaral, Flavio de Souza, Alcides Nogueira, Naum Alves de Souza, And Mauro Rasi emerge. Trair e Cocar E So Comecar by Marcos Caruso and Jandira Martini, becomes one of the great commercial successes of the decade. Luis Alberto de Abreu—who writes plays like Bella, Ciao, and Xica da Silva—is one of the authors whose work has staying power that transcends into the 90's.

1987 The improvisational actress Denise Stoklos emerges internationally in a solo career. The play Mary Stuart, produced in New York, is totally conceptualized by her. Her work is called essential theater because she utilizes a minimum of material resources and a maximum of the actor's own means, which are the body, the voice, and the thought.

DECADE OF THE 1990'S

Matadouros, St Johanne of the Slaughterhouses.

In the field of stage direction, the tendency for visualization lives side by side with a gradual return to the word through the production of classics. This genre is highlighted by the group Tapa, with Vestido de Noiva, by Nelson Rodrigues, and The Taming ofthe Shrew,

by William Shakespeare. The experimentalist theater continues and attains popular and critical success with the plays Paraiso Perdido, Paradise Lost, 1992 and 0 Livro de J6, Job's Books, 1995, by Antonio Araojo.

The director puts together a ritual-. ized stage production and makes use of non-conventional sets—a church and a hospital, respectively. The circus technique is also adopted by several groups.

The group ParlapatOes. Patifes e Paspallthes (Swindlers, Scoundrels, and Suckers). The figure of the clown is used side by side with the good tempered drama of Hugo Passolo, one of the members of the group. Also, the comedic art of Pernambucano (from Pernambuco) AntOnio Nobrega, gains projection. The actor, musician. and dancer explores the playful side of stage direction employing regional songs and dances.

Other names that stand out are Bia Lessa. Viagem ao Centro da Terra, Journey to the Center, ofthe Earth and Gabriel Villela, A Vida E Sonho, Life is a Dream.

At the end of the decade, director Sergio de Carvalho of Companhia do Latao (Brass Company) gains importance. His group produces a work of research on the dialectic theater by Bertolt Brecht, which results in the plays Ensaio Sobre o Lately, Essay on Brass—based on Brecht's Der Messingkauf (The Buying of Brass), the author's first theoretical work on theatre— and Santa Joana dos

1993 Director Ze Celso re-opens the Teatro Oficina with a production of Hamlet, the Shakespeare classic. He opts for an adaptation, which focuses on the political, economical, and social situation in Brazil.

1998 Domestica, Domestic, by Renata Melo debuts. It is a show with strong influence of dance. This production is a sequel to the work initiated in 1994, with Bonita Lampido. Her work is based on the elaboration of play-w riting by the actors through the study of the body language of the characters.

1999 Antunes Filho, Fragmentos Troianos, Trojan Fragments, based on The Trojans

by Euripides. For the first time, the director produces a Greek play. The production is the result of the re-formulation of his method of interpretation, consolidated in studies of delivery of voice and body posture of the actors.

DIFFERENT STYLES AND COMPANIES OF BRAZILIAN THEATER Over the years the Brazilian national theater has and still continues to invent new ways of theatrical expression. Whereas theatrical expressiveness thrives in a free society, adversity can often be an incentive, not only to invent and re-invent but also express opinions in such a way that, in the case of Brazil, the censors of a military dictatorship do not "get it," while the rest of the population does. That requires great imagination, and for 21 years it was the way theater, as well as other artistic expressions, were realized. These area few of the theatrical companies that shaped the theater of Brazil.

Teatro de Revista, Magazine Theater or Musicals.

Trianon Generation Teatro do Comediante (Comedy Theater) Teatro de Arena (Arena Theater) Teatro Brasileiro de Comedia—TBC Teatro Dulcina Grupo Macunaima Grupo Ta. na Rua Grupo Macunaima From Centro de Pesquisa Teatral comes the following: Opening night of Macunaima in September, 1978, marked a start to-activities of Grupo Pau Brasil, later Grupo de Teatro Macunaima. With the opening performance as an emblem, the group gained international renown under this name. Macunaima: 0 Heroi Sem Nenhum Carater, Macunaima: A Hero of No Character, was the work of Mario de Andrade in a literary rhapsody soon to become one of the central masterpieces of the Brazilian Modernist Movement. It tells the adventures of a mythical hero, his travels, and his life experiences between the jungle and the big city, between a primitive era and a torrent of Modernity.

Scenic transcription directed by Antunes Filho not only opened new prospects to dramatic narrative, but it brought the trespassing and critical meanings of the original up to date, to result in one of the most important masterpieces in the history of Brazilian theater.

In far away travels, in countries in the Americas, Europe. and Asia, invariably with the applause of critics and public, Macunaima proved to be one of the greatest artistic successes in international theater in the last decades. It paved the way for later productions by the group in over 20 countries. And it opened the international market to Brazilian theater on a permanent basis.

The second production by Grupo de Teatro Macunaima, Nelson Rodrigues—o Eterno Retorno, 1980, included four plays by the most important Brazilian playwright (later synthesized down to two plays under the name Nelson 2 Rodrigues, 1984, consolidated the group's international prestige, and lent continuity to the aesthetic

studies characteristic thereof. The group broadened activities to include training actors, technicians and other scenic artists, invariably under Antunes Filho.

TupA Teatro Based in Salvador, Bahia, this fairly young theater company, a few days from this writing, sets sails for Denmark, far away from Brazilian shores. Though Denmar is best known for its fairy tales (Hans Christian Andersen), the story this time is about a change of reality for 12 adults and adolescents, inhabitants of Itinga, in the periphery of Salvador. Created two years ago, this company represents "philosophy of life," and activity and source of income unique for them. The group will show Yaba, a show whose name in Tupi-Guarani, signifies origin and symbolizes the synthesis of the proposal of "investigation of the cultural roots of Brazil," says the director of Tupa, Hirton Fernandes, Jr. Texts by Euclides da Cunha, Gilberto Freire, Castro Alves, and Darcy Ribeiro serve as sources for the actors who "have as point of departure for their research, the legends of the Indians of Xingu, who speak ofthe origin ofthe world and the formation ofthe tribes," says Hirton. This tour is the result of a collaboration between the Odin Theater (Odin being a god in the Nordic mythology) and Hirton Fernandes, Jr. CRITICAL COMMENTARY Dr. Andre Carreira, who writes and teaches about Latin American theater movements in addition to being a theater director, has kindly given his permission to use the following piece about Brazilian theater. He presently teaches at the Department of Performing Arts at the University of Santa Catarina (UDESC). He can be reached at carreiraudesc.br The Hybrid Identities of Brazilian Popular Theater Cannibalism and Hybridity Latin American popular or folk cultures appear when oppressed groups deliberately appropriate aspects of the hegemonic culture in a process that Brazilian scholar and poet Mario de Andrade called "antropofagia." The term can be translated as "anthropophagy," and was used by Brazilian modernist artists to celebrate their "cannibalistic" appropriation of European influences.

With this understanding, I propose that Brazilian popular theater is a process where diverse cultural elements are "devoured and vomited" to create a hybrid product. The product is a new popular theatricality that is distinct from the folklore traditions, but that cannot, on the other hand, be strictly labeled as "popular theater."

To talk about popular theater as a category is not an easy task, since the very act of attempting a definition of "the popular" already entails a series of conceptual difficulties. However, and without the pretense of exhausting the field in this brief essay, I propose to approach the subject based on the concept of hybrid cultures as defined by the Mexican theorist Nestor Garcia Canclini. The postmodern concept of cultural hybridization draws from the older process of "mestizaje," that is, a mixture that produces a culture based on diverse sources and references. Thus, the popular is not a purely preserved cultural object, but the result of fusions from diverse cultural elements.

Popular Theater As in other Latin American countries, the gap between rich and poor in Brazil is very wide. Brazilian society also presents a very diverse cultural spectrum where we can find sophisticated European-style theater coexisting with subaltern (grassroots) cultural expressions.

In talking about popular theater, we could start by addressing the many staged spectacles of village festivities. There are a great number of "ox festivities" (a kind of performance staged by peasants that tells the sorry life of oxen under evil ranchers), carnivals, and other highly theatrical celebrations. These could be considered as the roots of Brazilian popular theater.

On the other hand, it's interesting to note how these modes of Performance are somehow related with the ecumenical mysticism that characterizes a vast segment of Brazilian popular culture. From music, to staged performances and social

"IRAZZIL â&#x20AC;˘ NOVEMBER 2001

ceremonies, we can see a strong presence of syncretic religiosity. Catholic ceremonies are mixed with Afro-Brazilian cults, both in sacred spaces (churches or the Umbanda terreiros) and in everyday life. Researcher Armindo Biao has noted the proximity of performance genres and possession cults in Brazilian culture.

Popular theater also derives from diverse medieval traditions that reached Brazil in fragmentary form during the colonial period. Examples are the very popular puppet theater ofthe north-east, known as "mamulengo," the ox performances (that span the country from south to north), diverse carnival celebrations, as well as para-religious performances that serve as a model for contemporary theater.

Political Theater Many specialists in Brazilian theater hold that the work of Augusto Boal was an example of popular theater. (Boal was one ofthe most influential practitioners of political theater in Latin America.

He created the "Theater of the Oppressed" based on Paulo Freire's theories of education and Bertolt Brecht's drama manifestoes, while he worked with grassroots communities in Brazil, Argentina and Peru during the sixties and seventiesâ&#x20AC;&#x201D;ed.) However, it would be impossible to find any connections with Brazilian popular performances in the Theater of the Oppressed, since what Boal's experiments attempted was to apply to the Latin American context traditions of political theater developed in Russia and Germany early in the century.

Boal's ideas were associated with the Popular Culture Centers (CPCs), organized by the National Students' nion (UNE). The CPC's objective was o link intellectual theories with social ovements in order to create a propaanda (agit-prop) theater. The results ere widely imitated by Latin American assroots movements of the seventies. owever, the CPCs ultimately failed, ue to lack of organization, political epression, and lack of social support.

Garcia, 1992) Many groups that attempted to crete a popular theater during the '60s and '70s used forms of agit-prop and

Brechtian didactic theater, in order to establish dialogues with the disempowered sectors of the population. To this end, various themes and visual elements from the popular cultures were put into practice. The trend was particularly felt in the industrial city of Sao Paulo, where several labor movements appeared during the '70s.

(These groups worked under extremely dangerous conditions. Ruthless dictatorships were taking power across the region, and unleashed the persecution of all social workers. Boal was imprisoned and tortured in 1971, and fled Brazil that yearâ&#x20AC;&#x201D;ed.)

The Political in Search of the Popular Also during this decade, a movement of theater groups appeared which sought audiences at the periphery of the great cities. Historian Silvana Garcia has identified dozens of groups that held in common their rejection of the professional market circuits catering to the middle and upper classes. These groups strived to take theater to sectors of the population that normally had no access to theater houses, and thus insisted that their work belonged to the category of"popular theater." Unfortunately, popular response was not strong enough to ensure the long-term survival of these groups.

There are, however, exceptions, such as the Teatro Uniao e Olho Vivo (Union and Live Eye Theater), directed by Cesar Vieira during the past 20 years. Throughout, this group has maintained its activity in the poor slums at the edges of the. city. Their concept of popular theater is based on their work with popular narratives and their direct contact with the subaltern sectors ofthe population. Uniao e Olho Vivo holds that the path to popular theater lies in providing opportunities for the workers themselves to create their own performances. Thus, the group has permanent members from the working class who join them during the neighborhood workshops.

Another group is TA na Rua (It's in the Street), based in Rio de Janeiro and founded in 1980 by director Amir Haddad. This group seeks the popular through a radical approach to street life.

They try to discover elements within the behavior of street dwellers (beggars, vendors, bums) for the construction of spectacles that can establish a dialogue with all of their audience. For Amir Haddad and his troupe, popular theater is where no barriers exist between the stage and the audience, a theater that does not seek to "educate" in a pragmatic sense, but to provoke an encounter

56

with what the director calls "the magic of Dionysian spectacle." Haddad believes that his work is "much more that simple entertainment, it's an intervention into people's everyday life, awakening their senses in spite of the suffocating city life." (Haddad, 1983) An aspect of Brazilian popular theater worth mentioning is the movement of rapprochement with the circus. Many groups have taken to the use of circus techniques as a way to create spectacles with popular character. Some groups that work in this vein are Teatro do Anonimo (Rio), the Doutores da Alegria (Sao Paulo), the Tonheta clowns (AntOnio NObrega), Xuxu (Luiz Carlos Vasconcellos).

Beyond the metropolitan Rio de Janeiro Sao Paulo axis, it's important to note that a great number ofpopular forms originate in the country's Northeast region. The Northeast is Brazil's poorest region, subjected to severe droughts and to oppressive forms of rural exploitation. The region is dominated by reactionary oligarchies that control the population by maintaining it in conditions of abject misery and illiteracy. In spite of this, the Northeast boasts a strong movement of amateur theater with close links to popular culture. Their productions can be followed in the innumerable theater festivals around the country, where plays by Northeastern groups employ elements of popular culture as an essential component of their mise en scene. It can be said that Northeastern theater exemplifies the fusion of -high culture" theatrical traditions with traces of popular theater, as has been developing for centuries in the Brazilian streets.

Several groups and playwrights have turned to traditional street performances and carnivals, as an essential practice that aims to reconstruct the cultural references that deliberately draw "high" and "popular" cultures together.

This exercise in hybridity taking place in the Northeast is clear in the work of Joao Cabral de Melo Neto, Antonio Suassuna and Hermilo Borba Filho, as well as in the spectacles of Teatro Piollin of Recife, or the Teatro Brincante of Antonio NObrega, among others. Thus, for example, the Cordel literature (stories printed in cheap magazines sold during popular fairs) is present in dramaturgy and in the creation of characters.

The fusion of religiosity and humor, the use of street satire and the popular hero result in a theater that directly feeds into national theater practices, and thus aims to insert itself within the larger discourse of national identity.

Identity as Resistance It's important to note that this "popular" theater, while not overtly political in the militant sense, does demonstrate a practice of cultural resistance. Its main feature is to affirm itself as an alternative to mass-mediated culture, basing itself in a purported national identity. Indeed, this quest for identity is a main concern for those who attempt to build Brazilian popular theater today. This trend is not particular to the '90s, since already in the '60s groups like Oficina and Opiniao had proposed the quest of a theater both national and popular.

With the absence of the strong ideological drive common during the '60s and '70s, theater groups today have resorted to "identity building." To this end, they try to balance the ideas about "Brazilian-ness" that circulate in the social imagination (Bazcko, 1984) with the aspects of the dominant culture that exert pressure through the mass media.

While it can be said that popular theater in Brazil is articulated as a site of resistance, this is not done in a programatic way. The social role that these theater practitioners play has not yet been articulated, nor has it been clearly identified by the specialists. Theater researchers strive to theorize the political and aesthetic meanings ofthese performances as they exist around the country. Indeed, this has been the subject of an increasingly large number of studies and graduate programs in the universities. This trend has put Brazilian popular theater under an unprecedented scrutiny, and suggests that contemporary theater productions will be studied from a previously disregarded perspective: that of popular/folk culture.

References Bazcko, Bronislau, Los Imaginarios Sociales, Editora Nueva Vision, Buenos Aires, 1991.

BiAo, Armindo. "Urn mesmo estado de graca - 0 Teatro e o Candoble da Bahia", in Urdimento, No. 2, August 1998 Borba Filho, Hermilo, Espetaculos Populares no Nordeste, Sao Paulo, Sao Paulo, 1966 Garcia, Silvana, Teatro da MilitĂĄncia, Editora Perspectiva/EDUSP, Sao Paulo, 1990 "Vamos fazer a festa juntos, cada urn no seu lugar", in Revista USP, No. 14, Sao Paulo, 1992 Garcia Canclini, Nestor. Culturas Hibridas. Grijalbo. Mexico, 1990 Haddad, Amir, Ta na Rua, RioArte, Rio de Janeiro, 1983 Rabetti, Beti (Ed.), Urn Estudo Sobre o C omico: 0 Teatro Popular no Brasil

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Entre Ritos e Festas, UNI-RIO-PPG, Rio de Janeiro, 1997 Translated and edited by Antonio Prieto, ISLA Seven Minds and One Conclusion: Theater must be Socially Important (from Rio's newspaper, 0 Globo) Seven important and very different Brazilian theater directors were joined by 0 Globo (one of the most important Brazilian newspapers) to talk about theater nowadays: Brazilian Theater Today. The meeting took place in the auditorium of0 Globo's building and brought to the public one conclusion: the stages must conquer a new place in a work "linked" by the technology and dominated by the images of cinema and TV. The directors were: Aderbal Freire Filho, Domingos Oliveira, Eduardo Tolentino, Jose Celso Martinez Correa, Sabato Magaldi, Moacyr Goes, and Ulysses Cruz. The discussion took hours but didn't disappoint the attending 500 people. What happened was just the other way around: people didn't want to stop asking questions. And this audience could see, by the answers, that the seven think in a complete different way, but that all ofthem agree that theater must be socially important. Below are just a few of the thoughts of these prominent Brazilian theater people.

Aderbal Freire Filho: "Theater represents a return to what is human, but my fear is that society doesn't give an answer to this 'magic.' In a time of developing culture as something commercial, the theater loses its audience. Cinema substitutes in various ways the 'flowing' of theater, and this turns out to be only one part of the drama. Nowadays, philosophers mention more films than plays as examples. But, paradoxically, after being restricted to an accessory part, theater grew and discovered its specialties."

Ulysses Cruz: "There are lots of reasons for the loss of audience. We sometimes forget this marvelous being called audience. I regret that sometimes we are irresponsible with our public, doing theater for ourselves and not sharing this pleasure with the audience. Our difficulty of communication passes through the problem of quality. Everybody who didn't function in other areas, like dance and music, ends up going to the theater. The quality must be excellent in order for the communication to always improve."

Eduardo Tolentino: "We ended up believing when people say that theater loses space, that it is excluded from industrial society for not getting to be

3RAZZIL - NOVEMBER 2001

'independent,' like other forms of art. Prado. Concise History of Brazilian This is a lie. What happens Theater: 1570-1908. is that Brazilian theater is turned to a specific public Abundantly illustrated Gtise miumnrucoostA but doesn't satisfy even this with photographs and cariWOAD MO public. It is a vicious circle; catures of the era, the 64.11*.44. t Mas- 10 i not even the plays that inHist6ria Concisa is a relitend to be commercial, able panorama ofthe stage 04.1614 please. In Brazil, everything art of the country. From is fashion; in the 50's it was the religious plays of FaTennessee Williams, in the ther Jose de Anchieta to 60's Plinio Marcos, and the theater of Rio de today comedy is en vogue."

Janeiro of the beginning Moacyr Goes: "There of the 20th century, the is a unanimity about the author analyzes the manidiversity of our positions, festations of the baroque but theater is also Joao 18th century, the romantic Bethencourt, Mauro Rasi, theater, the birth of come Atilio Rico, Miguel edy in the middle of the Falabella, and Gugu Olimecha. I defend 19th century, the historic drama in the a large diversity. In the moment that second half of that century, and the realtheater is thinking of itself as a place, the ism, which came to replace it, the three questions of the word, of the actor and of types of musical theater (the operetta, the scene are the ones that move. It is not the year in review, and the magic) and, true that people don't want to go to the finally, the burleta, a light comedy of theater, what is true is that there's no Italian origin, at the coming of the new access." century. With an exact dosage of formal Sabato Magaldi: "I see the history reading of the plays, theatrical genres, of theater review as a history of mis- and styles of interpretation, on one side, takes, I recognize this fragility. The critic and insertion of theater in the society of must learn to dialogue and to make the the time on the other, thus, with the right projection to discover the ways vision of totality and attention to detail, through which theater is going to walk. this will be henceforth a book of obligaWhen I used to write daily, I felt like a tory consult to those, who study the part of theater, but in fact I was in soli- theater of Brazil. darity to the movement and to the process of creation. But all of us have our About the Author: Decio de limitations."

Almeida Prado, born in 1917, wrote Domingos Oliveira: "The artist is about theater since the 40's, initially on who tells the future of the world, and the pages of the famous magazine, Clima theater is the art of the future. The the- and, from 1946 to 1968 at the newspaper ater is doing well despite all the "facts:" Estado de S. Paulo where he was in we have problems with media, the TV charge of the equally famous "Supleforgets what it owes to theater, and the mento Literario" for ten years. In addinewspapers have radical and disrespection to this, he was head of the Grupo ful critics. But the day that television niversitario de Teatro, as director, and will bother everybody is very close. The aught the material successively at the fashion now is what is not human, and scola de Arte Dramatica and in the the future will be human. And theater is niversidade de Sao Paulo. Sadly, on like life. More than any other kind of ebruary 4,2000, a heart attack took his spectacle." ife. He was 82.

Jose Celso Martinez Correa: "TheRecognized as one of the great intelater has not been looked at with justice, 1 ctuals of the country, he left an unit is a luxury in the cybernetic society, quailed body of work on the subject of the vibration of the audience is a luxury. razilian Theater. Decio was always in Theater is a kind of richness that is e cultural and political vanguard. He wasted in science's point of view, in the pproached moderniSm, according to J. political parties, and in the capitalistic oledo, in 1935, participating in the • unding of the modernist group point of view, because the social mind is • uarteirao," in Sao Paulo, in which hostile to any group alive. Technology created something that is called reality, to ok part—among others—Flavio de but I am completely out of it." arvalho, Oswald de Andrade and Paulo Ilio Salles Gomes. Furthermore, he *** as active in the Partido Socialista asileiro, Brazilian Socialist Party, next Historia Concisa do Teatro Brasi- to his friend Antonio Candido. leiro: 1570-1908 by Decio de Almeida Educated at USP, University of Sao

Paulo, he graduated at the faculty of philosophy and social sciences in 1938, after joining amateur theater as actor and director, and at the faculty of law in 1941—same year in which he founded, along with Antonio Candid() and Paulo Emilio, the magazine Clima specializing in cultural criticism. Also part of the group were Alfredo Mesquita (author of the idea), Lourival Gomes Machado and Marcelo Damy, among others. He then led the Suplemento Literario at Estado de S Paulo, where he worked all together more than 20 years. His last book, the above mentioned, was issued the year before his death, which represented an immense loss for the dramatic art and Brazilian culture.

A Lighthouse to always Illuminate Brazilian Theater—Sabato Magaldi

By Beth Nespo I i from 0 Estado de S Paulo Rare are the theater critics who manage— without softening their reviews—to accumulate intellectual prestige and the affectionate admiration of the theatrical class. On the eve of completing 74 years of life, in May 2001, Mineiro (from Minas Gerais) Sabato Magaldi can be proud of that fact. Awarded the Premio Multicultural Estadao 2001 for his contribution to dramatic art, as critic, essayist, and historian, he has 17 other awards to his credit, many of them coming from the world of theater.

Member of the Academia Brasileira de Letras, The Brazilian Academy of Letters, with eight books published, some of them indispensable reading like 0 Panorama do Teatro Brasileiro and 0 Texto no Teatro, without counting the diverse participations in publications in Brazil and abroad, Sabato receives this indication in very special recognition, almost familiar. After all, he was connected to the Grupo Estado for 35 years.

In 1953, recently arrived from Paris, bringing with him a sheepskin from the University of Sorbonne in Esthetics, he was hired as editor at Estado—at the invitation of Alfredo Mesquita—and, three years later joined the theater news at the recently created Suplemento Literario. With the creation ofthe Jornal da Tarde, he assumed the function of theater critic of the new vehicle, in 1966, a post at which he stayed until 1988.

"Large parts of the texts of my books were originally published in Jornal da Tarde or in Estaddo,- says Sabato, in an interview conducted shortly before the award ceremony at his apartment in the

neighborhood of Higienopolis.

Despite all the recognition, Sabato is far from resting on his laurels. The publishing house Senac recently finished editing Cem Anos de Teatro em Selo Paulo, A Hundred Years of Theater in Sao Paulo (1875-1974), another book with vocation for becoming obligatory reference reading, arriving shortly at the bookstores. Written in partnership with Maria Thereza Vargas, the volume reunites texts ordered on the occasion of the centennial of the founding of Estado in 1975, and published in four special issues of "Suplemento Literario."

And, attention artists who, by chance, have perceived the presence of the critic in the audience oftheir shows.

He was not there for mere delight. Officially "retired," Sabato writes reviews, in stylish writing, in notebooks that accumulate in his house.

"There are 45 now, each one with 400 pages," he confesses.

He continues to attentively follow the theatrical productions of Brazil and, although he no longer publishes his work in the daily press, he critiques systematically—in writing!—everything that he sees on stage. "If people stop, they lose their touch," he argues. "I don't yet know what I'm going to do with this material, perhaps use it as part of an autobiography, perhaps I'll publish it later. At any rate, it will end up being an important documentation for me, a source of consulting, because what I write there. I know that it really happened."

Sabato is planning, shortly, to issue a complement to Cem Anos de Teatro Brasileiro em Sao Paulo, in which he analyzes the cultural production of the last 25 years—from 1975-2000. "I have already started editing. Initially, I planned to publish it as an appendix in this edition of Cem Anos..., but I soon realized that I was writing another book, because too many things had happened, and it would be ridiculous to publish as simply a complement."

At the beginning of this year, he was forced to take a rest, which he had alhad two relatively ways postponed. grave operations for obstruction of my carotid arteries." The period of convalescence demanded a short absence from the theaters. "Now I'm already raring to return to my routine, there is much to see." But if the return to the theater requires time, Sabato has already returned to writing about the theater. 1 wake up early, write a lot in the morning and a little in the afternoon. At night, I prefer doing other things such as receive friends or go to the theater.-

He has a few books in progress. "I want to issue, shortly, probably with Perspectiva publishing house, a volume entitled Depois do Espetaculo, After the Show, the title provided by Edla (Van Steen, his wife and also a writer), and I thought that was very good." In the opening is a text with considerations on theatrical criticism.

"I speak of the requisites I consider necessary for a good review. And, afterwards, I even want to add articles, some ofthem unfortunately written as obituaries, published sparsely. I have a lot of material, I just have to organize it."

Another book has its origin in the doctoral theses defended at Universidade de sao Paulo's Faculdade de Filosofia, Letras e Ciencias Humanas, in 1972, about the Theater of Oswald de Andrade.

"I wasn't satisfied with the text. I thought of redoing it, but 1 thought there had been so much published about Oswald.

Today I see that there doesn't even exist the minutest examination of his theater.

Therefore, if I have time, I want to rewrite and publish it."

If the indication for the Premio Multicultural Estadao 2001, in the case of Sabato, makes one think of categories like "recognition ofthe established," the intense activity of the critic points to the present. "With the passing of the years, people end up, inevitably, being treated as a medallion," he comments, laughing.

"But this indication obviously makes me very happy, to the point that this prize gives continuity to the philosophy of partnershfp with the artistic activity, which always oriented the journalistic effort at the Grupo Estado."

Sabato, who was already part of the commission of the Premio Saci and edited a diversity of articles denouncing the lack ofresources for cultural production, as far as preparing a project for salvation of the theater at the request of actress Cacilda Becker, considers that partnership fundamental. "Obviously, if you're a theater critic, you want to see good theater. I don't want to see junk my whole life. Therefore, collaborating with the existence of good theater is an obligation," he argues. "A journalistic business will not sponsor art but can stimulate cultural production. Estado always did this. Awarding is one of those forms of stimulus."

To be continued on our next issue.

Kirsten Weinoldt was born in Denmark and came to the U.S. in 1969. She fell in love with Brazil after seeing Black Orpheus many years ago and has lived immersed in Brazilian culture ever since. Her e-mail: kvvracing@erols.com

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