Brazzil - Year 7 - Number 116 - August 1995

IHE SEARCH FOR JUSTICE iSIDE THE COURTS

PECIAL: TRIBUTE '0 TOM JOBIM

p

YOUNGSTERS

oROFILE:

ETHO MAKES ART p/ITH HIS BODY

)RTHOGRAPHY: NOTHER EXERCISE J FUTILITY

'RAVEL: iE AFRICAN SOUL IF SALVADOR, BAHIA

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NEWS from BRAZIL. AUGUST 115

NEWS BRAZIL ON LINE

We believe that the best promotion is the one made by others and that self-congratulation is always a lack of self-esteem. But we can't resist telling you about our enthusiasm for having Newsfrom Brazil on Internet's World Wide Web. If you drop by our site — our address is on this page's top right — you will see that there are still many stories to be told. We will be building News from Brazil on line gradually and only a small portion

8

of our magazine will be there. On the other hand some of our service sections such as That's Brazilian might be so complete as to include addresses from all over the world. We will count on your suggestions, names and lists to make it a very comprehensive directory of things Brazilian.

On our links' page you are already able to jump from Japan to France, from Great Britain to many sites in Brazil itself, including all the major Brazilian newspapers which have a presence on the Web. The theme in all of these locations is always the same: Brazil.

Now, when your magazine is de-

CONTENTS

Profile

Patricia, a Brazilian ambassador

One year with the real

21

When the courts don't do justice

23 Review

Fighting for the Soul of Brazil

24

Betho Filho, philosopher and dancer

NEWSR"BRNZIC

29 Short story

35

16

The new orthography digested

layed on the mail you should be able to see and read at least a little of the coming issue, including our cover and cover story, the table of contents, the Rapidinhas and the Calendar.

You will be able to write to us, change your address, subscribe to the magazine, place your ad, send your complaint or comment, and even E-mail us your own article from inside our Web page. Welcome to News from Brazil on line, a citizen of the world.

R.M.

Clarice Lispector's excerpt

Cover

What Brazilian youngsters want

18

http://www.earthlink.net/--brazzil/index.htm

37

Cover by Aylan Francesco

DEPARTMENTS 6 Rapidinhas 14 Letters 45 Brazilian Notas 46 The Cultural Pulse 47 Por al 49 Classifieds 50 U.S.A. Calendar 52 That's Brazilian

Travel

Bahia tale - Chapter 2

41

Paralamas's forbidden lyrics

42

Music

Elis, live and well in the world

54 Special

A tribute do Tom Jobim

TIME TO RENEW? Sorry, we don't send Send mail to: P.O. Box 42536 - Los Angeles, CA 90050-0536 reminders. Look at the Ads: (213) 255-8062 - Subscription: (213 255-4953 label to know when your Editorial: (213) 255-8062 - Information: (800) 354-4953 subscription ends.

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Publisher and Editor: Rodney Mello / Associate Editor: Carlos Ravelo / Editorial Assistant: Graciela Castellanos / Entertainment Editors: Sam 8. Harriet Robbins / Book Review: Bondo Wyszpoiski I Representatives: MIAMI : Nosso Guia (305) 972-3427 - SAN FRANCISCO: Felipe Magalhaes (415) 648-5966 - Washington, DC: Wilson Velloso (Correspondent) (301) 585-6549 - Founder: Gilberto Ferreira NEWS from BRAZIL is published monthly by News from Brazil -2039 N. Ave. 52, Los Angeles, CA, 90042-1024. Application to mail at secondclass postage rate is pending at Los Angeles, CA. Single copy sold for $2. One year subscription for 12 issues is $3 (three dollars) in the U.S., $15 in Canada and Mexico, and $18 (surface mail) in all other countries. Allow 5 to 7 weeks to receive your first issue. You may quote from or reprint any of the contents with proper copyright credit. Editorial submissions are welcome. Include a SASE (self addressed and stamped envelope), if you want your material mailed back. News from Brazil assumes no responsibility for any claims made by its advertisers.

POST MASTER: Please, send address changes to News from Brazil- P.O. Box 42536- Los Angeles, CA - 90050-0536 NEWS from BRAZIL - AUGUST 1995

5

RAPIDIPIHRS Travel to and from Brazil has become easier. After years of dispute and a recent coup de grace when the US decided to give only three-month visas to Brazilians willing to travel • north, reciprocating that country's practice, the.

• five-year visa is a reah • Now, any American willing to go to Brazil will • be able to get a visa valid for five years. Brazilians coming to the US will have to renew their visas only 11 every ten years. In both ;.! countries, however, the • permit allows only a threemonth stay. But don't • expect American consulate • personnel to relax on their search for possible ille al immigrants.

Brazilian captain • Alves, o who was among Har IeYthelast f the UN captive soldiers to be released by their Serb kidnappers, had • some privileges forbbeing a " of the • fellow citizen iti • world's cup champions When a Serb brought a ii soccer ball (he knew the • names of Brazil's national • team players by heart) Alves was consulted an gave some advice. Thanks to that he was the only hostage allowed to phone home. And Harley decided that he had to draw a line, 4 "They also wanted me to ‘play with them.

But that I fused to do." Rest assured d.•no soccer senein were passed a At a time irF.,:thAepPel ' i decideB drtaz o manufacfins Ily tureBrazil, Macs in Microsoft has become almost totally B razilia e fact ftrantt Enthuseds jumped thifi Brazil has o to 10th place in the Microsoft's bestsel in foreignsubsid iaries, billionaire Gates is bullish ullish on B8roazyo i the of everything Microsoft. label "il sold in Brazil produced qi Brazilian wl o l1s, oob(3,i1d Th; ktawsiel 1s 0, mean 3 0 software a year

6

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f.tphr1i6p).L.., (1 1,111,11:s•b 11 a9..T.p .IIrav sett, ., ., . !.1. c pe u.redby 0 s h 14r w°ig111111111 1),eve t spend irZil ..h Pi eP e4le° , stre:zeisharl . supermar and ' s:'•• . kets, B . be a cu above the ,,would First World. According Switzerland . rs'W ootiutircde Grt'.. a ..13.eil'esearethhe:47 . w' 9: .01-3: 2 5dld:‘'iNa-niligstiicAet: h rIr Pnapufr lonie ' the 37th' ° enuagoetr)prn hefrnn tlasornelide:s:..,;'-, :-,11' lb2aenxis.st-dg.b.y.o(A 1:1,:if,;.3.w :6 vir,0! ;..tin s.:::74 oet:),.t5;h!liii R 9444 .expen •J'aulun the

i.o: Publicity

Breasting the competition Created by Brazilian ad agency DM9 for lingerie manufacturer Valisere. the display ad called "Magazine Spread- was chosen as the best advertisement published in a magazine last year. Seducti and simple. the piece shows a pair of breasts covered by a chiffoned black bra with the breast cleavage coinciding with the magazine fold.

The ad was celebrated as a reenginecring of lingerie advertisement for magazines by American advertising Bible .1dvertising.lge. It was also .1dvertising .1ge that gave Magazine Spread its trophy as the best of the pack.

Satellite wars There aren't more than 500,000 people who have pay TV in Brazil today, but it's expected that this number will increase to 8 million in less than a decade, generating $3 billion a year. With cupid eyes, Hughes Communications and Robert Murdoch's News Corporation, two international giants of telecommunications, are positioning themselves for the good times.

Both are investing in the DTH (Direct to Home) satellite transmission system. Hughes allied itself to the Abril group, which dominates most of the magazines in Brazil.

And Murdoch just recently signed a contract with the quasi-monopoly TV Globo network to invest as much as half a million dollars in the next few years.

Abril and Globo have been taking pot shots at each other for years. Veja, Abril's showcase publication, wrote in a smiling-face note under an article talking about a spectacular firing at Globo TV news division, "Globo is following the lead of TVA" (the Abril pay TV company). And added, with a picture for proof: "Explaining the new system, Globo showed [on the screen] the Hughes's system 'pizza' that will be utilized in Brazil by TVA."

$9, I !.' 1fWt..':: 11s5t -ini.th th.4: h.onsr . oT usatas 01. Acth s,k:f0, ;y i,O01 rn! .: ,44e.,Iw A a .„,,...n„„,N costs . ggreatvrieaji6'tli'n''gci' circumstance r.Ct.m ": OP't'aan7-le that,the aver ' Apple income is six tim ein the Big-age ., .„Inareger than to g. eutsea rss . Carioca aA ipiteiahe)cso:h.F i tgwRm frol:jr,.,6: 'm work aln Yorker 20 minutes are i.o ,i(" 1.. iil ,.

...ltatrue-4 aiton'CrutoataeliN s e Mexico, Japan, England, Germany, and France, in . ithat order, have sent more, ,Iirits to the. US in 1994 .. zitiiPnt none of .

'1°1 14404=:11'1.4;a4.4004ttri 17 more iriOnef and the to .e4),,t11 an Brazilians .°::1"lili:'0- 8!:*:'I.1'04:0.11 .,0:1B cerp azi Hans who visited the US last .,.

37a daya,n peseer il!I The 0 00.1.itta .0.1i.01.

Japanese managed to,burn,,$164, to while the 1$ 1 T ift eit r in0 didii. nad , 1,11., n .;' Cty.n

The.. newest art galk ble by PeoF .0'.1 l..1c 15 S.iPC! 7iii i.la.L .L':.'h .. is .d°60i .1'4i. ..td.:.° l'azit enii 'P LIIIcairduset;.stil ,..oi...t.,(!ty,eryatmhoanntgii. , , T: iwn offi that hangs the pjain behind pill be changed The d ese4'1: is to promote young paters Carioca (frun ocal gil Rio) Beatriz Milhazes, 34 was the first to, have. hell

NEWS from BRAZIL. AUGUST 195

Music

Rapper Romario work shown. Her "0 Menino e o Tambor" took .. the place of a Manabu Mabe's work. At 80, Mabe is arguably the most famous Brazilian painter .alive. His painting had been placed in the presidential office by impeached former ..:President Fernando Collor de Mello.

Rio'ss. Art Museu Nacional de B as es (MNBA) ha shown m Brazil the bets .t.he world has produced.

Last year 23,000 people :went there to see Sigmund 'Freud's personal belongings. The 1989 Picasso exhibit drew another 12,000 Cariocas. Close to 60,900 People went to the 'museum during 1994. But the MNBA wasn't prepared for the crowd that swarmed to watch the 58 bronze sculptures by French sculptor Francois Rodin (1840-1917). There were endless lines in front of the museum and more than 200.000 people dropped by during the two months that works like "The Thinker" and "The Kiss" were exhibited.

Why this fascination with Rodin? "I have no explanation. It's a phenomenon," said MNBA's adjunct director Luis Sergio I3ittencourt.

In the good ol' days the TV show "Escolinha do Professor Rairnundo" hit highs of 39 points. When Globo network decided to cancel the program created 44 years ago on the radio by Chico Anfsio, the same comedian who stayed as the teacher until the last class, the audience had fallen to 10 points.

Anisio, who used to be much funnier, was incensed with the cancellation and called the action 'murder." The Escolinha

NEWS from BRAZIL. AUGUST 1995

The most requested music at Rio's hip and hot RPC-FM these days is "Rap dos Bad Boys", a ditty sung by world champion Romario and Edmundo, his colleage at Flamengo soccer team. Even though most of the fans agree that the players should stick to their soccer boots, the new duo is planning to record an entire CD of rap. Here are some of the lyrics: Esse Ê o recado dessa dupla bad boys Eu sal do Jacarezinho Eu vim la de Niteroi Romario e Edmundo pedem a paz para a nactio Futebol com violencia Isso net° nos leva a nada Olha, meu amigo, briga e coisa de otarici This is the message from this bad boys', duo I am from Jacarezinho I came from Niteroi Romano and Ednnindo Ask peace for the nation Soccer with violence That amounts to nothing Look, my friend, fight is for dunces Theater

was giving work to 26 mostly old comedians who will probably have a hard time getting another gig.

But for years the show had been a repetitive caricature of itself, with the same old excretory, sexual, racial, and gay jokes and innuendoes. Chico will continue with a spot on TV. Is ex-President general J oao Batista Figueiredo in financial bad shape? Is he really ready to auction his personal library to get some reais? No, and no, answered the former President to both questions. And he added in a brief conversation with newsweckly magazine Isto E am living very well.

1 ve already asked: forget mer

Indecent angels Suor .Ingelica by Giacomo Puccini (1858:1924). composer of.11adame Butterfly, is showing every night at Rio's Teatro Municipal. The . religious-themed show, however, has provoked . the indignation of the city's yOuth authority. which has forced minor changes upon the angels who appear in a scene just before Suor Angelica's death.

Siro Darlan. a judge from the Juvenile Court. required that the 75 children who appear in the dream scene wear briefs and panties. Director ' Bin Lessa covered the children with skin colored underwear and a black sash in protest.

"This is an absurdity, a retrogression," she complained. "I myself take showers naked with my children.- retorted the judge. "But all this nakedness is not natural for these children."

The product has been touted by Pepsi-Cola as an aphrodisiac from the Amazon and has double the amount of the caffeine as coffee. The new soft drink being sold in the US tastes like Brazilian guarani, but is called Josta, a name that means nothing in English or Portuguese. Will guarana help Pepsi in its lifetime war against Coca-Cola?

For now, the Atlanta's Goliath is only watching.

If they wanted, they could market in the US their own Tai guarand, which it produces and sells in Brazil. Brazilian Antarctica, the most famous guararsci bottler, has been probing Yankee waters with Samba, a less sweet version of their soft drink,

7

Brazilian teenagers and Brazil's generation X are not different from their counterpart in the US. The twentysomething crowd loves comfort without unrestrained consumption, freedom but not anarchy, self realization without satisfying all its whims. They want a fulfilling job and career and a happy family.

And what a Brazilian youngster wouldn't like to be at all? A politician KATHERYN GALLANT

T

hey think that they're funny and original. They trust themselves — and distrust politicians as much as a tennis net would dis trust a ball. They want to go to college and have a successful career. Although money isn't everything. they nevertheless yearn for a comfortable life, a nice home. a happy family. They watch TV. listen to CDs and go out a lot with their friends. They aren't into long philosophical discussions. They devour hamburgers and pizza. They are also far more at home with computers than their parents. or even most of their older brothers and sisters.

A brief sketch of US teenagers of the 1990s?

Think again. In the shopping malls and high schools of Brazil. millions of middle-class adolescents conform almost perfectly to the pattern set by American youth. Nor is it strictly a Brazilian phenomenon. For the first time in human civilization, there exists on a global scale a generation of people who wear. hear. see. want and even feel the same things.

Most of us have long perceived that young people around the world are highly influenced by the cultural clout — and catchy advertising campaigns — of the United States. As reported

by Brazilian newsweekly reja. the American advertising agency D'Arcy, Masius, Benton & Bowles (DMB&B). based in New York. recently decided to prove that thesis. They surveyed a total of 6547 teenagers. aged 15 to 18. living in 26 countries on five continents, all from families earning the equivalent of at least $25.000 a year. In Brazil. the local affiliate of DMB&B interviewed 448 students at private schools in Rio de Janeiro and Sao Paulo.

Middle-class teens of whatever country show an astonishing similarity in ambitions, hobbies and concerns. Unlike the young people of the *60s. few teens nowadays think of themselves 4s rebels (only 6% of Brazilians would describe themselves as rebellious, while one-fourth of US teenagers lay that claim), and 64% of Brazilian teens claim to trust their parents. (However. 76% of American adolescents say that they confide in Mom and/or Dad.) Says Maria Eduarda Guarana, a 15-year-old Carioca (from Rio de Janeiro). " I have a great relationship With my parents. The dialogue is open and the exchange of ideas is constant." Adds Daniela Guadelha, 17. "I try to do what my parents tell me to. since they're more experienced.' An anti-yuppie bunch — Unlike teenagers of previous generations. the end-of-millennium edition can be described as an extremely moderate optimist — or perhaps a realist. Only 17% of Brazilian youth believe that the world will improve in their lifetimes. "I'd like to live in a more just society with P iecent life for even..

body, but I don't think it's possible.- says Carioca Gustavo de Moraes. 18. But many young people do not give in to despair.. In Brazil. 35% of teens (admittedly, from the top fifth of the economic ladder) believe that peopk. like them can make a difference in the world.

(American kids are considerably more hopeful about the future — over a third say that the world will improve in their lifetimes — but about as many believe that people like them can decisively influence events.)

The '90s generation abhors the yuppie excesses of the previous decade. The teens of today do not wish to take a vow of poverty — far from it. They crave a comfortable life, which means the latest consumer goods without conspicuous consumption. But even more resoundingly. modern adolescents aspire to have a job that they enjoy. "It's sad to see people who don't like what they do for a living. [don't want to be like that.- says Patilista (from Silo Paulo) Jose Thomaz de Luca. 16. One occupation in particular is regarded with disdain: politics. A mere 3% of Brazilian kids (as opposed to 20% of their contemporaries in the US) dream of being elected to public office, and barely 1% of Brazil's most privileged youth even trust the current crop of politicians. (In the US. a hardly more noticeable 4% sa.i' that they believe the nation's officeholders.)

It may be thought that middle-class adolescents have an almost limitless freedom of choice, compared with poorer kids, and even affluent youth of earlier decades. Nevertheless, according to psychologist Cecilia Pescatore Alves. the pressure to be like one's peers is overwhelming. The sources of that pressure. however. might be a surprise. At her office in Sao Paulo.

Pescatore Alves has been consulted by many parents who are worried because their teenaged children are not like their friends' kids of the same age. But this is not the parents' fault. the psychologist claims. "Young people have to be in one of the forms created by the cultural industry to be considered normal (...) It is difficult to be autonomous when a very rigid control of social roles exists.An adman's dream — "The globalization of youth is extremely interesting for ad agencies and big business," observes Jose Teixeira Coelho, professor of cultural politics at the University of Sao Paulo. "Massification is very convenient for them, in every way.- Certainly. as far as business interests are concerned. there are numberless advantages in having a car. a CD or a soda that will be just as popular in Patagonia as in Southeast Asia — or even in Petropolis (a mountain resort close to Rio) or Peoria. But the results go far beyond the strictly mercenary.

Psychoanalyst Isabel Khan notices that a global culture (spread especially by television) also means that teens can easily and quickly find out what is happening in every part of the world — which does not necessarily mean that they get a comprehensive or even a coherent view: " They can sympathize with the cause defended by Nelson Mandela_ but hardly know what's going on in the favela (shanty town) a block away from home."

But there is also a beneficial side to teens' increased knowledge of the world, Khan states. "With information coming from all over the place, young people have come to be part of a new and fascinating world clan, which could lessen the chances of future conflicts between countries." omumalimskiRatim The slightly older contemporaries of the teenagers surveyed by DMB&B also are highly influenced

by North American culture.

"Generation X," the title of Canadian author Douglas Coupland's 1990 debut book of interconnected short stories, has become the catchphrase to describe these young people in their twenties and even early thirties. (At 34, Coupland is in the vanguard of the generation that he christened and has described in four books.) The X-ers, as they are known, share with today's teenagers a yearning for a fulfilling job and a happy family life.

However, possibly tempered by a few more years of experience, the twentysomethings are slightly less insistent on gaining material wealth, and somewhat more accepting of individuality, than those under the age of 18.

Staying home until later —"My generation doesn't know whether it's punk, grunge or something else," stated actress Daniela Schmitz, 26, in the Porto Alegre newspaper Zero flora. "Previous generations weft; in the Age of Pisces, and went about in schools of

fish. Our generation is in the Age of Aquarius — we're individualists, and aren't scared of think; lig or acting differently."

Recis Montagna, a 27-year-old publicity agent, ;, grees. "My generation doesn't have any pattern;, but we are individualists and don't want to run risks. I only began to live on my own last year. In the previous generation, leaving home at 15 was a sign of maturity. Now it's a sign of foolishness." This delayed departure from the parental nest is as common among Brazilian young adults as in their US counterparts. Part of it might be due to the difficulty for even college graduates to find a job that will comfortably allow them to live on their own, but it is even more a reflection of the generally good relations that these "delayed adolescents" have with mamae and papal. Observes Alfredo psychoanalyst Jenisalinslcy, who is the father of a 23-year-old daughter, "There are almost no conflicts between parents and children."

The X-ers have some less sterling qualities as well.

Gilson Alves Bernardo, 27, a volleyball player, admits to one of them. "We know what we want, but are afraid of commitments (...) I think that people who don't want to take on commitments are afraid of looking ridiculous." This does not only, or even primarily, refer to the love life of twentysomethings. Says musician Luciano Leindecker, 23, "People my age don't have banners to rally to. Those which have been lifted up, like ecology, are diluted by the media and the system."

Eduardo Bier Correa, a 29-year-old businessman, adds, "There isn't any big cause to justify a coilective movement nowadays."

Psychoanalyst Jerusalinsky has an explanation: "They arrived too late to be at Woodstock [the legendary rock concert that occurred in New York state in 1969] and to believe in socialist ideals, but too early to try out some other social ideal." The good doctor adds that NEWS from BRAZIL - AUGUST 1995

Generation X is struggling to defend itself from this impasse by seeking its own space by contemplating its own navel.

The doors of perception — "The '80s and '90s were not a good time to be young," says M.L., a 22-year-old student somewhere in Brazil. Like many teenagers and young adults, M.L. wishes that he could have been old enough to take part in the cultural changes of the 1960s and attend concerts by Jimi Hendrix and Janis Joplin.

But M.L. discovered one way to bring back the '60s. For two years, he has used lysergic acid diethylamide, better known as LSD. "I found out about the drug by reading about it," M.L. says. He is not alone. A survey by the US National Institute of Drug Abuse has revealed that LSD use by American teenagers aged 16 to 18, which had been 7.2% in 1975 and fell to 4.4% a decade later, rose to 6.8% in 1993.

Far from the world of the street children — who are alleged to be sold drugs at low prices in order to become easily addicted to them — acid has resurged among middle-class Brazilian youth. LSD is frequently sent to Brazil by mail from abroad. Since it is tasteless, odorless and colorless, LSD is not detected. One doesn't need to rely on the post office for the drug, however. If one has the fungus Claviceps purpurea, says Maria Amelia Barata da Silveira, professor of pharmaceutical chemistry at the University of Sao Paulo (USP), "it's very easy to produce the drug in any laboratory." Naturally, she does not give demonstrations to her students on the technique of synthesizing LSD, but does admit that it is very simple to get hold of books that teach how to make acid. Barata da Silveira emphasizes that all student activities in college labs is strictly controlled and that she is unaware that anyone has ever used the facilities of USP to manufacture LSD. G.A., a 20-year-old college student, told NEWS from BRAZIL - AUGUST 1995

Brazilian newsweekly /sto E that she first took LSD when she was 14, at a rock concert in the US. "The sensitivity stayed on the surface of my skin. I came to feel in colors and hear the trees."

This is common in LSD trips, as well as changes in the perception of time and space. "Sometimes, it's as if a night had lasted an entire month." Not all trips are quite as pleasant, though. "I'Te already had a bad trip. I got depressed and it was terrible, but it quickly went away," says D.R., 22, an illustrator who claims that he first took acid while watching scenes from Woodstock of 1969.

Living scared — The much-publicized wave of kidnappings in Brazil (reputedly, there is at least one kidnapping a day in the nation) has inspired alarmed young people of both sexes to carry a gun for protection.

Naturally, since most abductions are done in order to get a ransom, these kids come from affluent families. Children of politicians, business executives and diplomats in Brasilia are toting revolvers in their belts or purses.

One of these young people — who preferred not to be identified— told the Brasilia Correio newspaper Braziliense that the kidnapping of Wagner Canhedo Filho in 1994 proved that people have to protect themselves. "The idea that Brasilia is a safe city fell by the wayside and everybody is afraid." The firearms are generally not flashed about and their owners don't want to use them except under a serious threat.

V.H., a 20-year-old inhabitant of the wealthy Lago Sul district in Brasilia, exemplifies this behavior. He carries a .38 caliber revolver which he bought legally. He took a firearm-safety course and says that he has the self-control to carry a .38: after all, he only has the gun in order to prevent assaults! According to V.H., "there are many boys who just stick a revolver around their waist." He adds that some even own guns that not even the police uses. L.L., 23, who also 11

lives in Lago Sul, owns a .38 caliber Taurus. He bought the revolver after one of his father's friends was kidnapped and shot.

"He spent eight months in the hospital and almost died," remembers L.L. "I don't want that to happen to me."

"A skinhead's life is hard.

You'd better get used to it."

That warning is given to new members of the Gazicho (from Rio Grande do Sul) group Carecas do Brasil (Baldies of Brazil), after an initiation ritual in which the new recruit, running rapidly through a line composed of the veteran members, is kicked, punched and slapped.

Since April 1994, 20 young men have met weekly in a secret location in the Porto Alegre metropolitan area to discuss the future of Brazil and how to spread their ideas in society at large.

In their zines (small handwritten and/or typed periodicals, photocopied by their "publishers" and distributed almost any which way) the skinheads expound their basic beliefs.

Ready to use violence — Like many skinheads in the US and elsewhere, these carecas are from working class families. Most work during the day, go to night school, live with their parents and contribute their earnings to the family budget.

They think that prostitutes and drug addicts are the bane of society, but have a special horror of homosexuals. "I think they're really degenerate," Robinson, the 22-year-old founder of the Porto Alegre branch of Carecas do Brasil, told Zero flora." It's a disrespect to society."

The skinheads believe in marriage ("but a woman doesn't have to be a virgin to get married," Robinson adds). The tra-

X-talk .liniuo (literally big friend) - a pest .11TaSar (to raze) - hit the jackpot

Baha-egg - sycophant Halo no ogulha (bullet on the firing pin) ha N c money or brains Banzoi - negative answer (Ex:. iquela loiroco me dell 0 maim. honzeti - That blondie gave me a total no) 'aroce (fruit pit) - same as cunigao 'I'm era - a flirt (Ex.: ni no malor chaveCo coin oquela (leuso.)

Dor mole (give soft) - to make an overture Dar um norte to go out of town Detonar (explode) - to get rid of person or situation Deif.va - pretty and hard-to-get girl Evtrapolor - to cause embarrassment Ficor gel - to keep cool Lenda (legend) - the impossible Libel-ado (o) - freshly separated from Sweetheart or spouse LĂłki - nuts Potha (straw) 7 something flavorless Stress - boring (Ex: "Este livro ĂŤ um stress.")

7rado, cheirado - cocaine driven

The American dream In common with millions of young Brazilians. Amilcar Figueiredo. a 17-year-old from Petropolis. Rio de Janeiro state, is fascinated by the US. Last year he came to the Los Angeles suburb of Montclair as an exchange student.

"Brazilian and American kids both have the same goals.- Figueiredo says. "They want to graduate &din college and they like to have fun.He has noticed some differences though. -Brazilian kids act friendly more easily. American kids take a longer time to trust, but when theya do. they are friends for sure.- Figueiredo also likes the easier rapport that exists between young people of different classes in the US. And as an avid tennis player. Figueiredo is delighted that athletics is so prominent in US schools. He has been accepted to Citnis College in Glendora. California. where he will major in electrical engineering.

Says he. "I came to the US to go to college, bit( my greatest dream is to be a professional tennis player. And Em certain that I in on the right path.-

, 12

NEWS from BRAZIL - AUGUST 1995

ditional family, hard work, going to school and compulsory military service.. "A skinhead has to have not just physical strength but mental strength as well," Robinson says.

The skinheads wear pins of the Brazilian flag and consider themselves fervent na tionalists. They want all multina tional corporations to be taken ove by the Brazilian government, and condemn what they see as the "North American exploitation of Brazil." However, they abhor to be confused with neo-Nazi White Power groups (whose mainstay is in the Sao Paulo area) and despise the swastika. "We aren't racists, we're nationalists," the carecas insist. "We're fighting against all types of domination." Robinson emphasizes, "Everybody in the suburbs is exploited and the skinheads are struggling against that."

Marcia Regina da Silva, an anthropologists a Pontificia Universidade Catolica (PUC) in Sao Paulo, has written a book about the skinhead movement in Brazil." Those boys are looking for an identity," she states.

In spite of the different factions (in addition to White Power and Carecas do Brasil, there are also Carecas do Subarbio and Careca do ABC), da Silva says that all the skinhead groups are close-knit, exclusive and prone to violence. "They reproduce behavior around the world," she affirms.

Are skinheads violent?

"Brazilian reality is more violent than we are," Robinson replies.

•

Conflicts between parents and children * are very rare.

NEWS from BRAZIL - AUGUST 1995

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Letters TONGUE SMART I rea with interest the article •y Javier Nelson and Anita Fountain, Are Brazilians Smarter? (June 1995). I was surprised to know that people in Salvador (Bahia) speak Spanish. I thought that mostly Brazilians near borders with Spanish speaking people spoke that language.

Are we more sophisticated? Maybe.

Many Brazilians who never left the country are fluent in English. Many study French because they like that language. I also know of many others who speak their grandparents language — German, Italian, Japanese or other.

Traveling in Brazil, I met people who passed for German tourists until they spoke to me in perfect Portuguese. As one can see, there are several languages spoken in Brazil by a good number of people. To me that sounds like sophistication.

It would be marvelous if all Brazilians living here in the US would teach Portuguese to their children.

Geoniora G. Oliveira Fountain Valley, California ZUMBI AFFAIR I would like to clarify why Zumbi was found dead with his penis in his mouth (News from Brazil, July 1995, Rapidinhas). In the United States of America, castration was a common practice in the southern part of the union.

According to Eugene D. Genovese, Roll

Jordan Roll: The World the Slaves Made, the states of Alabama, Mississippi, and South Carolina were the most notorious states that practiced castration for spirited runaway slaves, and those who were in competition with white slave owners for the African women. Furthermore, castration was a means of denying the African man to be fully in control over his reproductive rights as a man.

The Ku Klux Klan began to use castration on the Negro after the slaves were freed by the Emancipation Proclamation. The practice of lynching and castration lasted until the early 1950's in the US. Fortunately, the Civil Rights Movement brought a close to a practice that began in slavery by the Europeans.

However, in the south, a few castration and lynching cases are reported in the African-American press each year.

Robert C. Blackmon Los Angeles, California OF COELHO & BAHIA

when we went to the Brazilian consulate to get visas. How nice to find in-depth articles on a country so poorly covered by the US press. You will be receiving our subscription form shortly.

Your July travel article on Salvador da Bahia was of special interest to us, since we will be attending a language school in that city. We were very happy to see a write-up on Paulo Coelho, a Brazilian national whose hot-selling stories deal with universal truths. His basic message to follow ones dreams is good advise for everyone.

We were introduced to his writings in Rio last year, then met him in May at a lecture and book signing at the Earthsong bookstore in San Diego. We expected a conceited man, puffed up by his success.

Instead we found a pilgrim of life, humble in manner. Paulo is a good ambassador, indeed worthy of being a role model for other Brazilian writers.

Jim and Grace Rickard Borrego Springs, CA STARVING FOR NFB It's about time I start to get your magazine again. My subscription expired three months ago and I don't know how I survived without it for so long. Your magazine is superb, you always have the news as they are in reality, not covered up to make it look good. I am a Brazilian living here in the States for 30 years, but in my heart I continue to be very much

iting areas I have not seen.

Henry A. Matthew Kingshill, Virgin Islands HOW ABOUT TEXAS? In your coverage, please do not forget the large community of Brazilians living in and around Austin, Texas. You might also consider doing a story on Internet access in Brasil.

Jep Hill Austin, Texas ALL THAT JAZZ I'd love to renew my subscription for another year. I love the variety of issues you cover and that you talk about: social issues, politics, music (I'm a musician), and fun, everyday people!

Cheryl Harrison Seattle, Washington SORRY, NO PORTUGUESE A friend of mine gave me your address and I would like to subscribe to your magazine and surprise my husband who is Brazilian. If the magazine comes in English and Portuguese, I would like to receive it in Portuguese.

Crystal Barros Portland, Oregon YOU'D BETTER BELIEVE I love Brazil and I love your magazine! I can't believe it's only $3 to subscribe. I hope to receive my first copy very soon.

Ted H. Ragsdale Boston, Massachusetts

verde e amarelo.

Gostaria de ver o Brasil subir novamente aos olhos do mundo, corn o respeito que tinhamos nos anos de minha mocidade no Rio de Janeiro. Keep up the good work!

Laura Schaefer Eagle Creek, Oregon AN OLD ACQUAINTANCE I have enjoyed reading News from Brazil ever since it was introduced to me while living in San Francisco. For the first time I have found a magazine that keeps me in touch with events in a country which I have had an opportunity to visit three times in the past few years.

Now I am planning a trip for next year when I intend to spend three months vis-

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JUMPING FOR JOY Cam nas minhas maos, por acaso ou obra divina, a edicAo de agosto de 1995 de News from Brazil. Que alegria em poder ler tanto na minha lingua Inge como na minha segunda lingua (de naturalizados convictos que somos, eu e minha esposa), o Inglés, artigos formidaveis (Machado de Assis) e bem redigidos (Brave New Words — cheers to Wilson Velloso!) e fascinantes (Bahia, ah!)... Nilo posso conter meu contentamento! Vai ai minha assinatura dessa iitil e gostosa revista. Keep up the good work.

Otto Raymond Newark, New Jersey

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After 30 years of economic struggle, Brazil seems finally able to control its inflation which had a staggering 50% monthly rate just one year ago. The real, the new currency, was instituted on July 1, 1994, by Fernando Henrique Cardoso, who was then the Finance Minister.

After the latest 12 months the Plano Real can be considered the most successful economic plan in the history of the country. A year after its implementation inflation stays at an average of a monthly 2% rate. This surprising turn of events made the sun rise again south of the continent, creating a bright horizon for development and growth in one of the richest lands around the globe.

Economists had predicted that if inflation was not controlled, a record 7,550% yearly rate was likely to have resulted. The goal of the new currency plan was to reduce inflation, but it was able to do more than that. The third quarter of 94 registered an economic growth of 6.3%; industrial production rose 17%; the real gained 10% against the dollar; foreign reserves reached the record level of $41,660 billion.

Daniel Dantas, director of Banco Icatu, a Brazilian investment group, explained that "firms without inflation could be producing at 90% of its full potential, but instead in the old Brazil the average was 75%." According to the banker, "The 15% difference had to do with the loss of efficiency due to inflation." Painting a possible scenario in the old economic regime, Dantas saw the GDP (Gross Domestic Product) reaching $600 billion, with "the loss being equivalent to $90 billion a year." The new currency thus worked to stabilize the economy and has 18

President Fernando Hennque •

earns to \fri. . e etrai .tit tr. . thri. ttritt -race itly infin 'a ,*It trin Pt'

. Inn rif - in

ncnrintrilja fining .flr,r.rtjfl fie* • P: trivrit t;f trurstIo. Ir.f.tri. if ,nnI' 1r:rtiff ritri tl,trtr; tr.r.rn hriisreilt ri\frit frxr.nnttrrnrirt:-—.

propelled the country into a new era.

The second big pillar of the Plano Real is to liberalize markets. Tariffs have been slashed and licenses and other restrictions have been abolished. Only now Brazilians arc learning that the free market mechanism of price control is a common tool to induce competition and productivity efficiency.

As an example, the government reduced auto import tariffs from 3 5%to 20% with the expectation that foreign pressure would force domestic producers to increase product quality while minimizing profits. However due to the unforeseen consumer demand and insufficient domestic supply, a trade deficit of $700 million resulted, the first of its kind since 1987.

The unforeseen increase in the purchasing power of the population generated one of the biggest shopping sprees ever in Brazil. Euphoric with its new hard currency, the Brazilian people decided to buy everything they needed or wanted at once. Savings slipped to 17% of total GDP, a low rate considering that in industrialized nations it accounts for 35% of the Gross Domestic Product.

In one of the largest Christmas seasons ever, people bought all types of imported products. In December alone, imports jumped 35.8% when compared to the previous year and the trade deficit surpassed the $1 billion figure.

Stores flooded their shelves with imported products causing a major strain on transportation, storage and bureaucratic facilities. At the closing of the year there was mixed feelings among entrepreneurs.

On the one hand, the domestic economy thrived, on NEWS from BRAZIL - AUGUST 1995

the other exporters faced difficulties marketing their products in the global arena due to the Brazilian overvalued currency.

Last year closed with the real overvalued 15% against the dollar. At the beginning of 95 the Mercosul free trade agreement between Brazil, Argentina, Uruguay and Paraguay, was introduced allowing local exporters alternatives to escape the dollar strangle.

The inflation in January and February reached a record low of 0.8%.

In February the government lifted up tariffs on products from 20% to 32%, in an attempt to narrow the trade deficit. In the midst of the effort to stabilize the economy, the severe blow of the Mexican Crisis drained foreign capital, and the Brazilian foreign reserves dropped to $38 billion. The Brazilian Central Bank had to intervene in the foreign exchange market up to 32 times in one day due to a widespread selling of the real. Stock markets plummeted as investors fled.

The country and the real were riding on a roller coaster. The first quarter of 95 registered a 9.1% growth, a level only achieved by the economies of the Asian Tigers. Nevertheless, the exchange rate in Brazil was suffering from a so-called "Tequila Hangover."

The Central Bank registered another $5 billion loss in its foreign reserves.

The government decided to take action and devalued the currency, allowing the dollar to trade within a floating band of 86 to 90 centavos (the equivalent to cents). This unsteadiness of the economy even caused the downfall of one of the master contributors for the Plano Real, Persio Arida, president of the Central Bank.

In April, inflation rose again to 2.4% and the trade deficit continued for its sixth consecutive month, putting the plan in jeopardy. The persistent trade deficit forced the government to impose a second tariff adjustment on products, this time of 70%. The automobile industry was the most affected and generated a trade war with Argentina. Other economic adjustments were necessary: a 1% tax on foreign investment in stocks was lifted, and other forms of investments had its taxes lowered.

Privatization is the third pillar of the reforms, giving foundation to the macroeconomics politics of the Plano Real. Privatization helped the government to cut $3.6 billion from its original $10 billion federal deficit. It changed the economic landscape "more than any other single policy," according to Sebastian Edwards, chief Latin American economist at the World Bank. The positive reaction from Congress towards privatization helped approval of a major change in the constitution named "The Law of Concessions."

This law allows previously state-owned oil, power generating and telecommunication monopolies to be disintegrated from the Union permitting the entry of private capital. Other state-owned companies are being lined up for privatization. CVRD (Companhia Vale do Rio Doce), the world's largest mining conglomerate, is on the auction block with a $12 billion NEWS from BRAZIL. AUGUST 1995

price tag. It is hoped that the revenues from these sales will ease the federal deficit.

The trouble with the economy is still on the consumer side. The third quarter of 95 posted a 10.5% economic growth. However, the IPEA (Institute of Advanced Economic Research) advises that the growth should drop to 3% in order to achieve equilibrium. In accordance to this prescription, the Brazilian government increased the interest rate to 70% and toughened credit to borrowers.

The results of these measures made it difficult for companies and citizens to honor the credit they took in previous months. Investors on the contrary benefited from the high returns. The inflow of speculative capital forced the government to devalue the currency even further, allowing the dollar to trade within a floating band of 90 to 98 centavos.

In the first six months of the Plano Real, the country saw its inflation falling, an increase in foreign reserves and a high rate of economic growth. In its first year, inflation stabilized at a 24% level and the government has shown a strong commitment to economic stabilization through the implementation of a series of adjustments and policies.

Further structural reforms on the tax system, social welfare, fiscal policies and the realization of privatization are necessary. The Plan Real has changed the idea of Brazil. Fernando Henrique Cardoso, now president, the Real Plan and the whole set of economic reforms have instilled a strong confidence in the eyes of foreign investors and have thus created a sense that Brazil is not Mexico nor Argentina. Brazil is for real.

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17

Marcus from Correio Brazinense

Every few years the self-appointed owners of the Portuguese idiom, the grammarians, decide to "refine" the language. They place a k here, they take an accent there and bring back what they took two decades ago They are at it again, those'

The spelling of the Portuguese language has undergone another -reform-. What else is new? Yawn. aw ii. •.% awn.

W1r.% do the continental Portuguese. who invented the language. and the Brazilians. Who picked it up on the iebound. and slaughter it at all levels. bother to go

into this empty but contentious exercise from time to time?'

Because: 1) they cherish the delusion that on can write a language exactly as it is spoken. Or speak it preeisel as it is written.

(2) perhaps they envy their Spanish-speaking neighbors. w ho claim to enjoy the only perfect phonetic spelling in the Western world. Pretty good spelling. yes: even excellent. But perfect. no! What about Mexico.

Ximena. Ximenez and a few other flies in the ointment? Shouldn't all that be spelled with a J? 3) they forget — or maybe never learned - - a science called "etymology.- which traces the origin and the development of a word and its changes in form and meaning. Etymology tells us that the cereal we eat for breakfast must be spelled with a C but a part of a TV soap opera. or of a novel, shown or published in installments, is serial with an S. Why? Because one comes front the Latin cereahs while the other collies from Latin serer(' (to put in a row).

(Believe it or not, it applies to all European languages. And I don't say all languages because I knou nothing about native American. Asian. African. oi Oceanic languages.)

(4) with time. Brazilians have grown to believe that they Must be the smartest nation on earth: don't the understand Spanish while the Spanish-speaking people don't understand spoken Portuguese? (See -Are Brazilian Smarter Xeirsjiwin Brazil - June 1995). This

18 NEWS from BRAZIL. AUGUST 1995

eventually turns into a kind of cated spelling ever, we did solipsism, a condition that also In a language where x is pronounced x adopt the usage of writing affects many Americans. as a single compound word, In the not too distant past, in sexo (sex); sh as in xarope (syrup); each which with its own s as in texto (text); ss as in prOximo, Brazilian kids living in rural meaning. Thus, we may areas used to play with a little serve dinner on a round and z as in exame (examination), wooden square-sided top, the table — a table that is round the demise of the trema doesn't piorra, also called "rapa-poe— while we hold a make much difference.. tira-deixa" (take all-put one-take roundtable discussion — half-pass). This descendant of with a round table or none — to refer to a meeting in which participants are theoretithe multisecular Jewish deirdle (with the Hebrew letters gimmel, shin, hay, nun meaning approximately the same) cally all equal. The same with parachute, handout, is played by two or more children, who give the piorra a gerrymander.

Portuguese does the same withsome terms, but not all. spin with their fingers and, when it falls down, use pieces It is all very convoluted, and confusing. Some prefixes of candy, ball player cards, marbles, or small coins to pay or collect the prize. They say that even grown men are such as p6s, pre, and pro demandthe hyphen (pos-guerra, pre-natal, pro-liberdade). The hyphen is also de rigueur known do the same with folding money. when the prefix ends in a vowel and the second word In the matter of reforming Portuguese spelling, it begins with an unaspirated h (anti-higienico). That's seems that grammarians and other practitioners of esoeasy: there is no aspirated h in Portuguese. Ergo, the teric arts have often used a piorra. Take it out, put it in, hyphen is necessary when a prefix ending in a vowel is take half, pass.

Consider for instance the letters K, Y, and W, which used and a vowel is the first letter of the second word had been banished from the alphabet (" sent to (quase-ascetico).

Prefixes ending in r — hiper, inter and super — call Clevelandia" the Brazilian equivalent of a Gulag) more for hyphen when the second word also begins with r than 50 years ago as part of a reform that did a few useful (hiper-rentavel, inter-rodoviario, super-rico). The prethings. Such as eliminating the groups ph (sounding like fixes ex, sota, soto, vice, and vizo all demand hyphen fl, th (sounding like plain t), and ch (when sounding like (soto-mestre, second master, vice-presidente Vice Presik in "chimica or chemistry. It also adopted a profusion of dent). Even vizo, which is obsolete and used only in accents in many words that didn't need them. archaisms: not even dictionary makers remember it.

In May 1995 k-w-y were triumphantly reintroduced With two other prefixes, circum and pan, a hyphen is into the Portuguese alphabet with many huzzahs by fans required if the second element begins with a vowel, to and followers of the late Brazilian poet Guilherme de avoid the pronunciation ma, me, mi, mo, mu or na, ne, ni, Almeida, and cries of anguish by publishers, schoolno, nu (circum-escolar, pan-americano). Incidentally, teachers, and others. In fact, the whining from publishers this rule is as old as the hill. is sheer posturing, pure baloney. Publishers don't withAnother old rule retained: If the second word after a draw and destroy books done in a "previous" spelling: prefix ending in a vowel begins with r or s, the hyphen is they sell'em. dropped and the consonant is doubled (hiporregado, As with kwy, the trema — two dots on top of a vowel teutorrusso). On the other hand, in terms containing a in a diphthong—had a similar fate. In Romance lanprefix ending in a vowel followed by a word also beginguages, the trema indicates a diaeresis, or separate ning with a (different) vowel, kill the hyphen (antiadreo)! pronunciation of each vowel. Portuguese used it only on Confusing? That's the spirit. u (after g or q) to show that you had to pronounce u.

Therefore quente (warm, hot) sounds like kente, while THINNING OUT ACCENTS freqfiente is pronounced freh-coo-ente (frequent). The trema was abolished (perhaps to come back in another 20 Speaking in general terms, fewer accents are now in or 30 years). Now you are on your own, brother, like in use. Some of the now dead were extremely silly, like the English: either you know it or you don't. How to proone on the syllables ei and di, assembleias (assemblies) nounce aguentar? Is it ah-goo-en-tahr (to bear, suffer), and jOia (jewel), now assembleias and joia. A little or is it ah-gen-tahr with a hard g as in get? silliness subsists when the vocalic group at the end of a Frankly, in a language where x is pronounced x in word keeps the accent, like papeis (papers) and dodOi sexo (sex); sh as in xarope (syrup); s as in texto (text); ss (sick, in baby talk). The circumflex is dropped in the as in proximo; and z as in exame (examination), neither double oo in words such as v6o (flight) and enj6o (nauthe recovery of the three letters, nor the demise of the sea) now voo and enjoo; same on the double ee which trema makes much difference. Actually, because few used to distinguish singular and plural of verbs as veem, bothered with tremar tranquilo (tranquil), radio/TV anThem now simply veem and leem. nouncers and lesser lights are already saying trankilo.

The (acute) accent was eliminated in words with more Spanish influence? than one meaning but the same spelling. Bitten by the bobeira (stupidity) virus, past negotiators had decided A HYPHENATED TEAR that pelo (hair) should be covered, pelo, while the other pelo (a contraction = by the) was uncovered. The accent I cry a small tear, though, for the passing of the made a difference between two meanings. The acme of hyphen. The orthography negotiators lost sight of how the stupidity was tcida (all, entire, fem.) not to be confused useful the hyphen was in differentiating meaning. In with toda, an ancient Dravidian language of India. In the English, although we have the craziest and most complisame case were para! (stop) and para (preposition = for NEWS from BRAZIL. AUGUST 1995

19

or toward).

However, this virus is highly antibiotic-resistant: because even now a verb needs a hat when it isptir (to put, place). Their fear is that Lusophones may think it is por (by), a preposition. Ditto ditto withpode, present tense of poder; and pode, its past tense.

The reforming grammarians never thought that in English we say: I read (now), I read (yesterday) and the book is read (past participle), without any diacritics to show which is which. Portuguese itself has several cases like that. For instance, manga means simultaneously sleeve, mango, and (fire) hose. Why shouldn't they be written manga, manga, maga?

The whole thing is so irrelevant as to be absurd. Can't they realize that a "perfect spelling" throughout is Mission Impossible? All languages make little adjustments now and then, not all necessarily logical. We call whiskey the barley drink the Scots call whisky yet English spell gaol (from the French geoele or gayole) and pronounce it jail, like we do and spell.

IT'S ALL GREEK [PLURAL] TO US Surprisingly for a nation that came to mean Empire at all levels, the English and their American heirs are paranoid in their respect for original spellings of words. If the ancient Greeks saidcriterion and phenomenon in the singular but criteria and phenomena in the plural, we try meekly to follow. However, Most people know practically nothing of Greek plurals. In the endcriteriaandphenomena become singular/plural, just as the Latin datum, plural data, is now mostly standard as data, singular and plural.

Most of us think that the accents that bedevil the poor Brazilian, French, Spaniard, Italian students are mere decorations, void of meaning. Years back, Chrysler marketed a low cost car called Volare (to fly) as a tribute to Domenico Modugno's song.

It couldn't resist the temptation of embellishing it with an accent. So it became Volare, which means "I will fly." It could be worse if it were Spanish: volare means "I shall blow it up." And all that happened under the sharp eyes of Chrysler's chairman Lee Iacocca, who should have known better. But could he?

After all, isn't the guy now 20

being touted nationwide as "Eye-ah-cock-a?" Does it make him sound more...Anglo-Saxon?

Worse than that is the Brazilians' decision, against all odds, against all reason, against all history, that Singapura should be spelled with a C, like agaiato (funster) said on TV. Perhaps the same chum who said "Chove a pincaros no Maracana" (It's raining mountain peaks in Rio's giant soccer stadium). This show of cretinism elicits not a peep from the well known and widely respected Brazilian philologist Antonio Houaiss. Yet he is 100% right when he says "Learn it!" to people who complain "how will I know to pronounce a word without a trema or an accent?"

Hoauiss should urge them to master how the English wonl mister differ in pronunciation. Sometimes it is a primer, an elementary textbook; others it is primer, a paint undercoat and/or an explosive detonator. Perhaps we should do to grammarians what Shakespeare suggested we do with lawyers: "Primero, ivamos a volarlos a todos1"

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Distrustful of the courts and fed up with unending trials more and more Brazilians are trying to take the law into their own hands. Only one group is happy with this state of affairs: the attorneys.

CARLOS RAVELO

A recent study carried out in five Brazilian states indicated that a majority of Brazilians don't trust the judicial system to resolve disputes, and that alternative methods are chosen as options. The study was conducted in five states: Sao Paulo, Rio Grande do Sul, Goias, Pernambuco and Parana by the Sao Paulo's Instituto de Estudos Econ6micos, Sociais e Politicos (Economic, Social and Political Research Institute) IDESP. The objective was to identify the process and procedures that need improvement within Brazil's judicial system starting from the police stations, through the courts and private law firms, and into the judge's chambers, pointing out the pitfalls and successes along the way.

An important component of the study coordinated and carried out by Maria Tereza Sadek, a political sciences professor at the Universidade de Sao Paulo (USP) was to analyze the procedural aspects of the court system itself One of the main reasons that a substantial number of people interviewed gave for not trusting the system is that obtaining solutions within the judicial process is extremely slow and inefficient. And that's why many people choose to resolve their problems outside the system.

"Many times," says Sadek , "problems such as domestic disputes are solved through the intervention of parents, friends or neighbors." On other occasions the police or even the District Attorney (promotor), will assist in solving the problem, but without utilizing the state bureaucracy. The establishment NEWS from BRAZIL -AUGUST 1995

seems to be so inadequate at times due to the excessive number of formal procedures built into the legal system itself.

The research showed, for example, that over 90% of sentences taken up on appeal are upheld.

"The current state of affairs is not by happenstance; there are vested interests behind this — the municipalities, the states and the attorneys themselves," states Sadek. "It is advantageous for the Statt," she goes on to say, "because it holds back a certain number of decisions in which it is the owing party, such as unduly retained taxes. On the other hand, the delays are a boon to attorneys because the more legal work there is and the longer it takes, the more money they make in the process."

Joao Piza, president of the Ordem dos Advogados [do Brasil (Brazilian Bar Association) in Sao Paulo, disputes this point of view.

"A great majority of fees are paid at the end of the case," he replies. "Furthermore, the code of procedure indicates the time limits for all parties involved, attorneys, judges and district attorneys, under penalty of law. Attorneys comply with them, or risk losing their cases." Piza adds that there are penalties for so-called "bad-faith" litigation, although these are not rigorously applied.

Professor Sadek indicates that there is a consensus about the need to change procedural steps, but that when justice is done too hastily, it can result in injustices which are as bad or worse than when justice becomes extremely slow. "It is proper to try to strike a balance," she adds. Piza agrees, but indicates that "any change must not affect the right to a proper defense."

21

The idea of simplifying the procedural pro26%, although in some states it reaches close to an cesses in the courts through the use of specialized appalling 50%. courts both within the civil and criminal spheres is In Brazil, there is one judge for every 29,542 a concept whose time has arrived. "An example are persons; in France the average is one for every the Small Claims Courts," says Sadek. "They are 7,142 citizens and in Germany one for every 3,448. free, expedient, and do not require attorAnother factor affecting these figures neys. Small Claims Courts in Brazil seems to be the inferior quality of some (like in the US) are informal and procelegal education programs and the reladures are simple. Furthermore, they have tive youth of candidates, on the average When ample support and are actively used by between the ages of 22 and 25. "The the populace." Sadek indicates that the examinations seem to attract the justice is establishment of a wider jurisdictional younger crowd, most with virtually no done too reach of these specialized courts in civil (legal) experience whatsoever" states and criminal spheres for less complex Professor Sadek again. hastily, it matters are a must, so that the court Finally, another contributing factor can result in calendars can be reduced to manageable seems to be the relatively short time levels. That would also help to improve periods that working judges and magisinjustices the competency levels of Brazil's overtrates spend at their assigned posts when which are as worked judges and magistrates. initially coming into the profession.

Congress would need to approve by "The number of cases is huge, and the bad or law the establishment of special crimijudge stays for a short time. They are worse than nal courts. Several states had previously thus unable to read the files in an adestablished their own, but the Brazilian equate manner" states Ms. Sadek. when justice Supreme Court struck them down as becomes being unconstitutional. Another probCarlos T. Ravelo, the author, lem, according to Sadek, is the crisis holds a Masters Degree in Criminal extremely within the legal education. One of the Justice and a Doctorate in Law slow. reasons given by IDESP's research is a (LL.D.) in Civil Law, and is lack of sufficient judges and magistrates.

Associate Editor for News from It is not the lack of candidates, but Brazil. He can be contacted at rather an insufficient number of qualified candi(213) 549-1119 or by writing to dates to fill the posts. The average of unfilled PO Box 42536 positions nation-wide in the Judiciary is about Los Angeles, CA 90050.

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NEWS from BRAZIL - AUGUST 1995

An excerpt

Lighting /or the Soul al Brazil.

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In question A collection of essays on Brazil, what the country is and what it could be.

SHERYL BARBIC

A project of Global Exchange,Fightingfor the Soul of Brazil presents a collection of more than 40 articles written by authorities of the contemporary Brazilian landscape, including five articles published by News from Brazil.

Spanning a diverse subject matter, the book covers political and economic analyses, environmental concerns, the labor movement, as well as social discussions of marginalized groups in Brazilian culture. The essays in this collection expose a system of internal and external problems keeping Brazilians from reaping the harvest of their land.

Fighting for the Soul of NEWS from BRAZIL - AUGUST 1995

Like Christ w ashin2 the feet of, the apostles.

Mauro Sergio Alexandre wipes clean the shoes and souls of 20th-century Brazilians. For a lcw;bueksa day. Mauro the shoe-sinner. ho wears. a rosary around his Beck. and his nine-year-old son. David. stoop before others from dawn to dusk in the plaza by the cathedral in South America's largest city. Sto Paulo. Or they may earn a little money sell mug old new spapers and cardboard they haul i n a large. homemade cart. Later, laid on its side w ith a piece of carpet over the opening. the cart becomes their bed. Like that of millions of other black I irazilians w ho wax shoes. sw cep streets, iron clothes or do any number of other jobs for pennies. their day of sacrifice ends w ith uncertainty about the next. last December. Mauro discovered somethinu that w mild drag him he ond the naked neoslavery of Brazilian capitalism to the w in of the cross of the black and poor. While taking I )avid for a walk on his day off. Mauro came upon the corpse ofa I -f-year-old bo XN ho had been strangled and left in a pool of water.

Revolted at the injustice, Mauro told the police.

But as is often the case with dark skin. instead of reaping the blessings of justice. Mauro spent a night in jail, where a cop w ho didn't like -black w itchcraft- made him take off his rosary.

Four men and a woman tortured Mauro for two hours. trying to force out information about the crime or perhaps a confession. Hung on the infamous -parrot's perch.- his limbs tied. body crouched and soles of his feet exposed to beatings from a club. he caught glimpses of his tormentors from behind a blindfold. The woman applied electric shocks to his toes and fingers.

Freed but summoned by the police again. Mauro returned w ith a law yer from the Sao Paulo archdiocese's center for human rights. There w 05 no torture, but he had to sign a charge of vagrancy that could later help put him back in jail. Mauro has filed no complaint about the abuse: he remembers that another victim who denounced police brutality has since disappeared from the plaza.

As Mauro tells his story. two policemen pass by escorting eight brown and 'black men to a wall for a frisking. Six go free because their identity cards are in order. The ronaining two climb into the police wagon. An officer calls one a "thief" because he was carryinu a broken watch. The other. the darkest of the eight_ did not have identification.

Mauro. David and the other blacks in the plaza are symbols of Brazil's blacks. Their situations are typical of blacks across the country and emphasize the need for activists of Black Pastoral Agents. the movement of lay militants. priests and nuns that has become a leading force among the fledgling black-consciousness groups in Brazil.

According to 1980 government statistics, less than six percent of Brazil's population, now close to I 50 million, is -black- and about 38 percent "mukmo. "I Iowever, these numbers are a serious underestimation to the casual observer and ironic in light of frequent police discrimination against darkskinned people.

For Pastoral Agents, the figures are a manipulation by census officials and the dominant white ruling class to Make Brazilian society less -black" by reinforcing the ideology of entwanquecimento, / the -whitening process.' In reality, says Pastoral Agents, which IS tryino to persuade the government to change its census-taking methods, about 60 percent of Brazilians are black.

From the chapter Pastoral Agents .11orement Raises Black Awareness by Ken Serbin

Brazil gives a poignant account of the socioeconomic structure of today's Brazil.

Arguments regarding the politics of inflation range from the Brazilian government and presidential politics to World Bank and IMF practices, thereby painting a recognizable portrait of how Brazil got to this moment in history.

Oftentimes books of this nature paint a o ne-sided view exposing only the facts with which to base their case.

Fighting for the Soul ofBrazil lends the reader a much more complete vision of the facts, telling both sides of the story, the good, the bad, as well as the very different position of attempting to mediate a common ground, in order to forge a constructive dialog from which to base development. Ignacy Sachs states that the challenge in terms of development facing Brazil today is to strike, "a new form of civilization based on the sustainable use of renewable resources is not only possible but essential."

Global Exchange is a nonprofit education and action center in San Francisco that works to change US policy on the third world.

The book's editors advocate that through effective international solidarity, the developing world, with Brazil leading the way, can renegotiate foreign debt. The Brazilian people are staunch supporters of grassroots initiatives. With their undying enthusiasm they lobby for a more people-centered model of development making use of Brazil's abundantly endowed natural and human wealth, in exchange for a more proportionate slice of the rewards. Fightingfor the Soul ofBrazilis passionately written inbehalf of the people of Brazil encouraging a balance enabling Brazilian society to more equally enjoy the fruit of their land while sustaining future development.

23

Cat's meow The world has lost a not-so enthusiastic chemist, but has gained in return an accomplished artist when Baiano (from Bahia) Betho Filho decided to change careers and dedicate himself to the stage and the teaching of dance in the US. SHERYL BARBIC

Originally from Salvador (state of Bahia), with cultural pride, Betho Filho teaches there is culture behind poverty. Fusing capoeira (a mix of dance and martial art) with the sensuality of samba, this Brazilian artist has concocted a new art form which he has been showing and teaching in the United States.

His combination of capoeira with the driving rhythms of samba reggae derives its inspiration from the Afro Bloco groups of Bahian Carnaval. Betho's form of capoeira dance emphasizes the drama of the orixas (African divinities) that sprang out of the repression blacks have faced in Bahia during slavery, dances that are passed down through the generations in the street academies and capoeira schools.

His art takes you through the history of the African people of Brazil.

As a performer, Betho astonishes audiences with his grace and power. His natural sense of fluidity has been compared by critics to that of a huge cat, yet one who does things a cat would never think of.

One of the similarities that Betho's art shares with the cat is that neither of them will engage in a movement they are not the master of.

Using myth woven into the fabric of dance and drumming, Betho draws inspiration from an African creation myth which shows the 24

NEWS from BRAZIL. AUGUST 1995

drum as the first instrument on earth. home where he teaches and performs The importance of regularly.

After a Great Fire destroyed the earth, all that remained of the devastated Founder and artistic director of the art, he teaches, homeland was a charcoal stump, Orixa -bá-bã, Betho Filho's perforlies in using the drawing the bird spirit back to earth. mance company celebrates the AfroBrazilian tradition in the manner of Betho Filho embodies the bird dance as a Olodum. A wild Carnaval spirit inspirit at one with his environment. mechanism to habits the Afro-Brazilian dance of Beating the charcoal stump, chantOrixa-bá-bá who gives engaging pering and dancing to its rhythms, express the soul. formances with an explosive energy.

Ichanchu saw a great shoot sprout The first Afro Bloco music and from his instrument and flower as a dance group in California, Orixa-bá-bá performs dances tree. Betho personifies Ichanchu, using the beauty inspired by the Afro-Brazilian folklore of Bahia. The of the flower and strength of the tree as creative troupe's main objective is to increase awareness of impulse, and the whole of the body to mark rhythms.

Afro-Brazilian culture through dance.

The performer impresses his students with his Betho travels extensively. To his credit he particitechnique, fusing classical and Afro-Brazilian dance. pated in the 5th Annual International Black Dance As an instructor, he teaches philosophy as much as Companies Conference and the First Capoeira Natechnique. The importance of the art, he teaches, tional Encounter USA in 1992. Orixa-bá-bá made a 13 lies in not merely duplicating the choreography, stop UK tour in 1993 where they were warmly rewhich can be a challenge in itself, but to use the ceived. They performed, lead workshops, held special dance as a mechanism to express the soul. children's classes, and participated in arts festivals.

Philosopher Betho leads his students to observe Principal dancer for the eight time Bahian Carnaval nature, to witness how a tree is rooted in the earth, champion Muzenza, nicknamed Sultdo do Carnaval, how a bird soars through the sky, and how everyBetho translates his vision to his San Francisco thing in our world is attached to the earth. Without Carnaval contingent Oju Oba. Carnaval is for the such expression, he says, one merely repeats movepeople, by the people. In keeping with this democratic ment in a mechanical fashion. The infusion of the spirit, Betho does not hold auditions for his Carnaval individual spirit is what transforms movement into contingent. His group is open to all, from beginners to art. professionals. Anyone daring enough to learn the Betho Filho keeps a vital part of his cultural rhythms, the choreography, and don a costume may heritage intact by performing and teaching a dance parade with him, dancing and drumming their way influenced by the orixds. He not only pays homage through San Francisco's Mission District. to the ancestral deities, but he also pays tribute to As an Afro Bloco group, Betho leads between 50 to life itself. The movements composing his choreog100 dancers as well as a bateria who plays powerful raphy are rooted in daily life. His form takes the Olodum rhythms. Since 1991, through Oju Obi, Betho shape of one who is cutting cane, bathing in a river, has encouraged hundreds of dancers and drummers. or with a basket atop the head. Betho uses the power Attesting to Betho's abilities to inspire his North from creation myths close to the heart of aBrasileiro American students, Oju Oba has been which are often times misplaced in gathering accolades as an award the urban society of North America. winning Carnaval contingent since Betho's background includes a Philosopher Betho 1991. bachelor's degree in chemistry with leads his students Most recently in the 1995 San a minor in dance from the College of Francisco Carnaval this past May, Bahia. He studied classical ballet, to observe nature, Oju Oba brought home three first and modern and folkloric dance in to witness how a place awards for Brazilian choreogSalvador at the Academia de Bald raphy, music, and costumes. With Teatro Castro Alves. Since 1974 he tree is rooted in the pulse of Bahia in his veins, Betho has performed and choreographed the earth, how a and his contingent are already prein Brazil, the US, Canada, and the paring for next year's Carnaval.

UK. He has been teaching Afro-Brabird soars through Currently you will find Betho at zilian dance since 1984.

Third Wave Dance Studios in San His performance career includes the sky, and how Francisco and the Citicentre Dance credits with Companhia de Danga da everything in our Theater in Oakland where he teaches Bahia. He also toured as choreograregular classes in Afro-Bahian pher and dancer for two years with world is attached capoeira dance. Orixa-bá-bá perOba Oba, the internationally renown to the earth. forms regularly throughout NorthBrazilian folkloric group. Betho now • ern California. calls the San Francisco Bay Area his

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NEWS from BRAZIL - AUGUST 1995

9 GIv CLARICE LISPECTOR

When writing I cannot fabricate as in a painting when I fabricate a color with workmanship.

But I am trying to write you with my whole body, sending an arrow that pierces the word's tender and neuralgic center. I don't paint ideas, I paint the more unreachable "for ever".

Or "for never", it's the same. corn uma alegria Lao profunda. E uma tal aleluia. Aleluia, grito eu, aleluia que se funde corn o mais escuro uivo humano da dot de separacao mas é grito de felicidade diabolica. Porque ninguern me prende mais.

Continuo corn capacidade de raciocinio — já estudei matematica que é a loucura do raciocinio — mas agora quero o plasma — quero me alimentar diretamente da placenta. Tenho urn pouco de medo: medo ainda de me entregar pois o proximo instante é o desconhecido. 0 proximo instante feito por mim? ou se faz sozinho? Fazemo-lo juntos corn a respiracao. E corn uma desenvoltura de toureiro na arena.

Eu te digo: estou tentando captar a quarta dimensao do instante-já que de tao fugidio nao é mais porque agora tornou-se um novo mstante-já que tambem naoe mais. Cada coisa tern um instante em que ela 6. Quero apossar-me do 6 da coisa. Esses instantes que decorrem no at que respiro: em fogos de artificio eles espocam mudos no espaco. Quero possuir os atomos do tempo. E quero capturar o presente que pela sun prOpria natureza me 6 interdito: o presente me foge, a atualidade me escapa, a atualidade sou eu sempre no já.

So no ato do amor — pela limpida abstracdo de estrela do que se sente — capta-se a incognita do instante que é duramente cristalina e vibrante no ar e a vida é esse instante incontavel, major que o acontecimento em Si: no amor o instante de impessoal joia refulge no at, gloria estranha de corpo, materia sensibilizada pelo arrepio dos instantes — e o que se sente 6 so mesmo tempo que imaterial Lao objetivo que acontece como fora do corpo, faiscante no alto, alegria, alegria é materia de tempo e é por excelencia o instante. E no instante esta o é dele mesmo. Quero captar o meu 6. E canto aleluia para o at assim como faz o passaro. E meu canto é de ninguem. Mas nao ha paixao sofrida em dot e amor a que ndo se siga uma aleluia.

Meu tema é o instante? meu tema de vida. Procuro estar a par dele, divido-me milhares de vezes em tantas vezes quanto os instantes que decorrem, fragmentaria que sou e precarios os momentos — s6 me comprometo corn vida que nasca corn o tempo e corn ele cresca: so no tempo hA espaco para mim.

Escrevo-te toda inteira e sinto urn sabor em ser e o sabor-a-ti é abstrato como o instante. E tambern corn o corpo todo que pinto os meus quadros e na tela fixo o incorpOreo, eu corpo a corpo comigo mesma. Ndo se compreende masica: ouve-se. Ouve-me entao corn teu corpo inteiro Quando vieres a me ler perguntaras por que nao me restrinjo A pintura e As minhas exposiçöes,jA que escrevo tosco e sem ordem. E que agora sinto necessidade de palavras — e 6 novo para mim o que escrevo porque minha verdadeira NEWS from BRAZIL - AUGUST 1995

29

palavra foi ate agora intocada. A palavra 6 a minha quarts dimensao.

Hoje acabei a tela de que te falei: linhas redondas que se interpenetram em traps fmos e negros, e tu, que tens o habit° de querer saber por que — e porque flan me mteressa, a causa 6 materia de passado — perguntaras por que os traps negros e fmos? 6 por causa do mesmo segredo que me faz escrever agora como se fosse a ti, escrevo redondo, enovelado e tepid°, mas As vezes frigido como os instantes frescos, Agua do riacho que treme sempre por si mesma. 0 que pintei nessa tela 6 passivel de ser fraseado em palavras? Tanto quanto possa ser implicita a palavra muda no som musical.

Vejo que nunca te disse como escuto mAsica — ap6io de leve a ma° na eletrola e a mao vibra espraiando ondas pelo corpo todo: assim ouco a eletricidade da vibracao, substrato Altimo no dominio da realidade, e o mundo treme nas minhas maos.

E eis que percebo que quero para mim o substrato vibrante da palavra repetida em canto gregoriano. Estou consciente de que tudo o que sei ado posso dizer, so sei pintando ou pronunciando silabas cegas de sentido. E se tenho aqui que usar-te palavras, elas tern que fazer um sentido quase que s6 corp6reo, estou em luta corn a vibracao Altima. Para te dizer o meu substrato faco uma frase de palavras feitas apenas dos instantes-ja. LE entao o meu invento de pura vibracao sem significado sena° o de cada esfuziante silaba, 10 o que agora se segue: "corn o correr dos seculos perdi o segredo do Egito, quando eu me movia em longitude, latitude e altitude corn acao energetica dos eletrons, protons, neutrons, no fascinio que 6 a palavra e a sua sombra".

Isso que te escrevi 6 urn desenho eletronico e ado tern passado ou futuro: 6 simplesmente ja.

Tambem tenho que te escrever porque tea seara 6 a das palavras discursivas e nao o direto de minha pintura. Sei que sac) prunarias as minhas frases, escrevo corn amor demais por elas e esse amor supre as faltas, mas amor demais prejudica os trabalhos.

Este nao 6 um livro porque nao 6 assim que se escreve. 0 que escrevo 6 um s6 climax? Meus dias ado um s6 climax: vivo A beira.

Ao escrever ado posso fabricar como na pintura, quando fabrico artesanalmente uma cor. Mas estou tentando escrever-te corn o corpo todo, enviando uma seta que se fmca no ponto tenro e newalgtco da palavra. Meu corpo incognito te diz: dinossauros, ictiossauros e plessiossauros, corn sentido apenas auditivo, sem que por isso se tornem palha secs, e sim funida. Nao pinto ideias, pinto o mais inatingivel "pars sempre". Ou "pars nunca", 6 o mesmo. Antes de mais nada, pinto puitura. E antes de mais nada te escrevo dura escritura. Quero como poder pegar corn a ma° a palavra. A palavra 6 objeto? E aos instantes eu Hies tiro o sumo de fruta. Tenho que me destituir para alcancar cerne e semente de vida. 0 instante 6 semente viva.

A harmonia secrets da desarmonia: quero !Lao o que esta feito mas o que tortuosamente ainda se faz. Minhas desequilibradas palavras sao o luxo de meu silencio. Escrevo por acrobaticas e aereas piruetas — escrevo por profundamente querer falar.

Embora escrever s6 esteja me dando a grande medida do silencio.

E se eu digo "eu" 6 porque nao ouso dizer "tu", ou "nos" ou "uma pessoa". Sou obrigada a humildade de me personalizar me apequenando mas sou o es-tu.

Sim, quero a palavra Altima que tambem C tao primeira que JO se confunde corn a parte intangivel do real. Ainda tenho medo de me afastar da logics porque cam no instintivo e no direto, e no futuro: a invencao do hoje 6 o meu Artie° meio de instaurar o futuro. Desde ja 6 futuro, e qualquer hora 6 hora marcada. Que mal porem tern eu me afastar da logica? Estou lidando corn a matena-prima. Estou atras do que fica eras do pensamento.

Intitil querer me classificar: eu simplesmente escapulo nao deixando, gEnero nao me pega mais. Estou num estado muito novo e verdadeiro, curioso de si mesmo, tao atraente e pessoal a ponto de ado poder pinta-lo ou escreve-lo. Parece corn momentos que tive contigo, quando te amava, alem dos quais ado pude ir pois fui ao fundo dos momentos. E urn estado de contato corn a energia circundante e estremeco. Uma especie de doida, doida harmonia. Sei que meu olhar deve ser o de uma pessoa primitive que se entrega toda ao mundo, primitiva como os deuses que sa adrnitem vastamente o bem e o mal e nao querem conhecer o bem enovelado como em cabelos no mal, mal que C o born.

Fixo instantes subitos que trazem em si a propria morte e outros nascem — fixo os instantes de metamorfose e 6 de terrivel beleza a sua sequencia e concomitancia.

Agora esta amanhecendo e a aurora 6 de neblina branca nas areias da praia. Tudo 6 meu, entao. Mal toco em alimentos, ado 30

quero me despertar pan alem do despertar do dia. Vou crescendo corn o dia que ao crescer me mata certa vaga esperanca e me obriga a olhar care a cars o duro sol. A ventania sopra e desarruma os meus papeis. Ouio esse vento de gritos, estertor de passaro aberto em obliquo voo. E eu aqui me obrigo A severidade de tuna linguagem tensa, obrigo-me C nudez de um esqueleto branco que esti livre de humores. Mas o esqueleto 6 livre de vida e enquanto vivo me estremeco toda. NA° conseguirei a nudez final. E ainda nao a quero, ao que parece.

Esta 6 a yids vista pela vida. Posso ado ter sentido mas 6 a mesma falta de sentido que tern a veia que pulsa.

Quero escrever-te como quern aprende. Fotografo cads instante. Aprofundo as palavras como se pintasse, mais do que urn objeto, a sua sombra. Nao quero perguntar por que, pode-se perguntar sempre por que e sempre continuer sem resposta: sera que consigo me entregar ao expectante silencio que se segue a tuna pergunta sem resposta? Embora adivinhe que em algum lugar ou em algum tempo existe a grande resposta pars mim.

E depois saberei como pintar e escrever, depois da estranha mas intima resposta. Ouve-me, ouve o silencio. 0 que te falo nunca 6 o que eu te falo e sim outra coisa. Capta essa coisa que me escape e no entanto vivo dela e estou C tone de brilhante escuridao. Um instante me lava insensivelmente a outro e o tema atematico vai se desenrolando sem piano mas geometrico como as figuras sucessivas nun caleidosc6pio.

Entro lentamente na minha dadiva a mim mesma, esplendor dilacerado pelo cantar Altimo que parece ser o primeiro. Entro lentamente na escrita assim como ja entrei na pintura. E urn mundo emaranhado de cipos, silabas, madressilvas, cores e palavras — limier de entrada de ancestral caverna que 6 o Otero do mundo e dele you nascer.

E se muitas vezes pinto grutas 6 que elas sao o meu mergulho na terra, escuras mas nimbadas de claridade, e eu, sangue da natureza, — grutas extravagantes e perigosas, talisma da Terra, onde se unem estalactites, fOsseis e pedras, e onde os bichos que sal) doidos pela sua pr6pria natureza malefica procuram refugio.

As grutas ado o meu inferno. Gruta sempre sonhadora corn suss neyoas, lembranca ou saudade? espantosa, espantosa, esoterica, esverdeada pelo limo do tempo. Dentro da caverns obscura tremeluzem pendurados os mtos corn asas em forma de cruz dos morcegos. Vejo aranhas penugentas e negras. Ratos e ratazanas correm espantados pelo chao e pelas parades. Entre as pedras o escorpiao. Caranguejos, iguais a ales mesmo desde a pre-histaria, atraves de mortes e nascimentos,.pareceriam bestas ameacadoras se fossem do tamanho de urn homem. Baratas velhas se arrastam na penumbra. E tudo isso sou eu. Tudo 6 pesado de sonho quando pinto uma gruta ou te escrevo sobre eta — de fora dela vem o tropel de dezenas de cavalos soltos a patearem corn cascos secos as trevas, e do atrito dos cascos o jAbilo se liberta em centelhas: eis-me, eu e a gruta, no tempo que nos apodrecera.

Quero p6r em palavras mas sem descricao a existencia da gruta que faz algum tempo pintei — e ado sei como. SO repetindo o seu doce horror, caverns de terror e das maravilhas, lugar de almas aflitas, inverno e inferno, substrato imprevisivel do mal que esta dentro de uma terra que ado 6 fertil. Chamo a gruta pelo seu nome e ela passa a viver corn seu miasma. Tenho medo entao de mina que set pintar o horror, eu, bicho de cavemas ecoantes que sou, e sufoco porque sou palavra e tambem o seu eco.

Mas o instante-ja 6 urn pirilampo que acende e apaga, acende e apaga. 0 presente C o instante em que a rods do automovel em alta velocidade toca minimamente no chao. E a parte da rode que ainda ado tocou, tocara num imediato que absorve o instante presente e torna-o passado. Eu, viva e tremeluzente como os instantes, acendo-me e me apago, acendo e apago, acendo e apago. S6 que aquilo que capto em mim tern, quando esta sendo agora transposto em escrita, o desespero das palavras ocuparem mais instantes que urn relance de olhar. Mais que urn instante, quero o seu fluxo.

Nova era, esta minha, e ela me anuncia para ja. Tenho coragem? Por enquanto estou tendo: porque venho do sofrido longe, venho do inferno de amor mas agora estou livre de ti.

Venho do longe — de uma pesada ancestralidade. Eu qua venho da dor de viver. E ado a quero mais. Quero a vibracao do alegre.

Quero a isencao de Mozart. Mas quero tambem a inconseqiiencia.

Liberdade? 6 o meu Altimo reffigio, forcei-me C liberdade e agriento-a nao como um dom mas corn heroismo: sou heroicamente livre. E quero o fluxo.

NA° 6 confortivel o que te escrevo. NA° faco confidencias.

Antes me metalizo. E ado te sou e me sou confortavel; minha palavra estala no espaco do dia. 0 que saberits de mint C a sombra NEWS from BRAZIL - AUGUST 1995

da flecha que se fmcou no alvo. S6 pegarei inutilmente uma sombra que nao ocupa lugar no espaco, e o que apenas imports 6 o dardo. Construo algo rsento de mim e de ti — eis a minha liberdade que leva a morte.

Neste instante-já estou envolvida por urn vagueante desejo difuso de maravilhamento e milhares de reflexos do sot na agua que cone da bica na relya de um jardim todo maduro de perfumes, jardim e sombras que invento já e agora e que sao o meio concreto de falar neste meu instante de vida. Meu estado é o de jardim corn figua correndo. Descrevendo-o tento misturar palavras para que o tempo se faca. 0 que te digo deve ser lido rapidamente como quando se olha.

Agora 6 dia feito e de repente de novo domingo em erupcao inopinada. Domingo 6 dia de ecos — quentes, secos, e em toda a parte zumbidos de abelhas e vespas, gritos de passaros e o longinquo das marteladas compassadas — de onde vem os ecos de domingo? Eu que detesto domingo por ser oco. Eu, que quero a coisa mais primeira porque 6 fonte de geracao — eu que ambiciono beber agua na nascente da fonte — eu que sou tudo isso, devo por sina e tragic() destino s6 conhecer e experimentar os ecos de mini, porque nao capto o mim propriamente dito. Estou numa expectativa estupefaciente, tremula, maravilha, de costas para o mundo, e em alguma parte foge o inocente esquilo. Plantas, plantas. Fico dormitando no calor estivo do domingo que tern moscas voando em tom° do acucareiro. Alarde colorido, o do domingo, e esplendidez madura. E tudo isso pintei ha algum tempo e em outro domingo. E eis aquela tela antes virgem, agora coberta de cores maduras. Moscas azuis cintilam diante de minha janela aberta para o ar da rua entorpecida. 0 dia parece a pele esticada e lisa de uma fruta que numa pequena catastrofe os dentes rompem, o seu caldo escorre. Tenho medo do domingo maldito que me liqtlifica.

Para me refazer e te refazer volto a meu estado de jardim e sombra, fresca realidade, mal existo e se existo 6 corn delicado cuidado. Em redor da sombra faz calor de suor abundante. Estou viva. Mm sinto que ainda nao alcancei os meus limites, fronteiras corn o qua? sem fronteiras, a aventura da liberdade perigosa. Mas arrisco, vivo arriscando. Estou cheia de acacias balancando amarelas, e eu que mat e mat comecei a minha jomada, comeco-a corn urn senso de tragedia, adivinhando para que oceano perdido vao os meus passos de vida. E doidamente me apodero dos desvaos de mim, meus desvarios me sufocam de tants beleza. Eu sou antes, eu sou quase, eu sou nunca. E tudo isso ganhei ao deixar de te amar.

Escrevo-te como exercicio de esbocos antes de pintar. Vejo palavras. 0 que falo 6 puro presente e este livro 6 uma linha reta no espaco. E sempre atual, e o fot8metro de uma maquina fotografica se abre e imediatamente fecha, mas guardando em si o flash. Mesmo que eu diga "vivi" ou "viverei" é presente porque eu os digo ja.

Comecei estas paginas tambem corn o fim de preparar-me pars pintar. Mas agora estou tomada pelo gosto das palavras, e quase me liberto do dominio das tintas: sinto uma voluptuosidade em ir criando o que te dizer. Vivo a cerimonia da iniciacao da palavra e meus gestos sao hieraticos e triangulares.

Sim, esta 6 a vida vista pela vida. Mas de repente esqueco o como captar o que acontece, nao sei captar o que existe senao vivendo aqui cads coisa que surgir e nao importa o que: estou quase livre de meus erros. Deixo o cavalo livre correr fogoso. Eu, que troto nervosa e se a realidade me delimita.

E quando o dia chega ao fun ouco os grilos e tomo-me toda replete e ininteligivel. Depois vivo a madrugada azulada que vem corn o seu bojo cheio de passarinhos — sera que estou te dando tuna ideia do que uma pessoa passa em vida? E cada coisa que me ocorra eu anoto para fixi-la. Pois quero sentir nas ram o nervo fremente e vivaz do já e que me reaja esse nervo como bulicosa veia. E que se rebele, esse nervo de vida, e que se contorca e lateje. E que se derramem safiras, ametistas e esmeraldas no obscuro erotismo da vida plena: porque na minha escuriclao enfim treme o grande topazio, palavra que tern luz propria.

Estou ouvindo agora uma musics selvatica, quase que apenas batuque e ritmo que vem de uma casa vizinha onde jovens drogados vivem o presente. Um instante mais de ritmo incessante, incessante, e acontece-me algo terrivel. que passarei por causa do ritmo em seu paroxismo — passarei para o outro lado oda vida. Como te diner? E terrivel e me ameaca. Sinto que no posso mais parar e me assusto. Procuro me distran do medo. Mas ha muito já parou o martelar real: estou sendo o incessante martelar ern mim. Do qual tenho que me libertar. Mas nao consigo: o outro lado de mim me chama. Os News from BRAZIL - AUGUST 1995

passos que ouco sao os meus.

Como se arrancasse das profundezas da terra as nodosas raizes de arvore descomunal, é assim que te escrevo, e essas raizes como se fossem poderosos tentaculos como volumosos corpos nus de fortes mulheres envolvidas em serpentes e em camais desejos de realizacao, e tudo isso 6 uma prece de missa negra, e urn pedidol rastejante de amem: porque aquilo que é ruim esta desprotegido e precisa da anuencia de Deus: eis a criacao.

Sera que passei sem sentir para o outro lado? 0 outro lado 6 uma vida latejantemente infernal Mas ha a transfiguracfie do meu terror era() entrego-me a iuna pesada vida toda em simbolos pesados como frutas maduras. Escolho parecencas erradas mas que me arrastam pelo enovelado. Uma parte minima de lembranca do bom-senso de meu passado me mantem rocando ainda o lado de ca. Ajude-me porque alguma coisa se aproxima e ri de mim.

Depressa, salva-me.

Mas ninguem pode me dar a mac) para eu sair tenho que usar a grande forca — e no pesadelo em arranco sabito caio enfim de brucos no lado de ca. Deixo-me ficar jogada no chao agreste, exausta, o coracao ainda pula doido, respiro as golfadas. Estou a salvo? enxugo a esta molhada. Ergome devagar tento dar os primeiros passos de uma convalescenca fraca. Estou consegumdo me equilibrar.

Nao, isto tudo ado acontece em fatos reais mas aim no dominio de — de uma arte? sim, de urn artificio por meio do qual surge uma realidade delicadissima que passa a existir em mim: a transfiguracao me aconteceu.

Mas o outro lado, do qual escapei mal e mat, tomou-se sagrado e a ninguem conto o meu segredo. Parece-me que em sonho fiz no outro lado urn juramento, pacto de sangue. Ninguem sabera de nada: o que sei é tao volatil e quase inexistente que flea entre mim e eu.

Sou urn dos fr cos? fraca que foi tomada por ritmo incessante e doido? se eu fo se solids e forte nem ao menos terra ouvido o ritmo? NA° encon o resposta: sou. E isto apenas o que me vem da vida. Mas sou o 8? a resposta é apenas: sou o que. Embora As vezes grim: ado quero mats ser eu!! mas eu me grudo a mini e inextricavelmente forma-se uma tessitura de vida.

Quern me acompanha que me acompanhe: a caminhada 6 longa, 6 sofrida mas A vivida. Porque agora te falo a serio: ado estou brincando corn palavras. Encamo-me nas frases voluptuosas e ininteligiveis que se enovelam pant elan das palavras. E um silencio se evola sutil do entrechoque das frases.

Entao escrever 6 o modo de quern tern a palavra como isca: a palavra pescando o que ado 6 palavra. Quando essa nao-palavra — a entrelinha morde a isca, alguma coisa se escreveu. Uma vez que se pescou a entrelinha, poder-se-ia corn alivio jogar a palavra fora. Mas ai cessa a analogia: a nao-palavra, ao morder a incorporou-a. 0 que salva entao A escrever distraidamente.

Nao quero ter a terrivel limitacao de quern vive apenas do que passivel de fazer sentido. Eu ado: quero A uma verdade inventada.

0 que te direi? te direi os instantes. Exorbito-me e s6 entao que existo e de urn modo febril. Que febre: conseguirei urn dia parar de viver? at de mim, que tanto mono. Sigo o tortuoso caminho das raizes rebentando a terra, tenho por dom a paixao, na queimada de tronco seco contorco-me As labaredas. A duracao de minha existencia don uma significacao oculta que me ultrapassa.

Sou um ser concomitante: reimo em mim o tempo passado, o presente e o futuro, o tempo que lateja no tique-taque dos relogios.

Para me inte4pretar e formular-me preciso de novos sinais e articulacees novs em formas que se localizem aquem e alem de minha historia h mana. Transfiguro a realidade e entao outra realidade. sonha ora e sonambula, me cria. E eu inteira robo e A medida que robo no chat) you me acrescentando em folhas, eu, obra anOnima de luma realidade anOnima s6 justificavel enquanto dura a minha vida. E depois? depois tudo o que vivi sera de um pobre superfluo.

Mas por enquanto estou no meio do que grits e pulula. E sutil como a realidade mais intangivel. Por enquanto o tempo 6 quanto dura um pensamento. de uma pureza tab esse contato corn o invisivel nude° da realidade.

Sei o que estou fazendo aqui: conto os instantes que pingrun e sao grossos de sangue.

Set o que estou fazendo aqui: estou improvisando. Mas que mal tern isto? improviso como no jazz improvisam mitsica, jazz em faria, improviso diante da plateia.

Mc) curioso ter substituido as tintas por essa coisa estranha que 6 a palavra. Palavras — movo-me corn cuidado entre elas que 31

podem se tomar ameacadoras; posso ter a liberdade de escrever o seguinte: "peregrinos, mercadores e pastores guiavam suits caravanas rumo ao Tibet e os caminhos eram dificeis e primitivos".

Corn esta frase fiz uma cena nascer, como num flash fotografico.

0 que diz este j877 que é improviso? diz bracos enovelados em pemas e as chamas subindo e eu passiva como uma came que é devomda pelo adunco agudo de uma aguia que interrompe seu v8o cego. Expresso a mini e a ti os meus desejos mais ocultos e consigo corn as palavras uma orgiaca beleza confusa. Estremeco de prazer por entre a novidade de usar palavras que formam intenso matagal. Luto por conquistar mais profundamente a minha liberdade de sensacoes e pensamentos, sem nenhum sentido utilitario: sou sozinha, eu e minha liberdade. E tamanha a liberdade que pode escandalizar um primitivo mas sei que nao te escandalizas corn a plenitude que consigo e que 6 sem fronteiras perceptiveis. Esta minha capacidade de viver o que é redondo e amplo — cerco-me por plantas carnivoras e animais legendarios, tudo banhado pela tosca e esquerda luz de urn sexo mitico. Vou adiante de modo intuitivo e sem procurar uma ideia: sou organics.

E nao me indago sobre os meus motivos. Mergulho na quase dor de uma intensa alegria — e pars me enfeitar nascem entre os meus cabelos folhas e ramagens.

No sei sobre o que estou escrevendo: sou obscura para mirn mesma. S6 tive inicialmente uma visao lunar e lücida, e entao prendi pars mim o instante antes que ele inorresse e que perpetuamente moire. Nao 6 urn recado de ideias que te transmito e sim uma instintiva volupia daquilo que esti escondido na natureza e que adivinho. E esta é uma festa de palavras. Escrevo em signos que sao mais um gesto que voz. Tudo isso é o que me habituei a pintar mexendo na natureza intima das coisas. Mas agora chegou a hora de parar a pintura para me refazer, refaco-me nestas linhas. Tenho uma voz. Assim como me lamp no taco de meu desenho, este 6 urn exercicio de vida sem planejamento. 0 mundo nao tern ordem visivel e eu s6 tenho a ordem da respiracao.

Deixo-me acontecer.

Estou dentro dos grandes sonhos da noite: pois o agora-ja 6 de noite. E canto a passagem do tempo: sou ainda a rainha dos medas e dos persas e sou tambem a minha lenta evolucao que se lanca como uma ponte levadica num futuro cujas nevoas leitosas jai respiro hoje. Minim aura 6 misterio de vida Eu me ultrapasso abdicando de mim e entio sou o mundo: sigo a voz do mundo, eu mesma de salt° corn voz 0 mundo: urn emaranhado de fios telegraficos em ericamento E a luminosidade no entanto obscura: esta sou eu diante do mundo Equilibrio perigoso, o meu, perigo de morte de alma. A noite de hoje me olha corn entorpecimento, azinhavre e visgo. Quero dentro desta noite que 6 mais longa que a vida, quero, dentro desta noite, vida crua e sangrenta e cheia de saliva. Quero a seguinte palavra: esplendidez, esplendidez 6 a fruta na sua suculencia, fruta sem tristeza. Quero lonjuras. Minha selvagem intuicao de mim mesma. Mas o meu principal esta sempre escondido. Sou implicita. E quando you me explicitar perco a fun ida intim idade.

De que cor é o infinito espacial? 6 da cor do ar.

Nos — diante do escandalo da morte.

Ouve apenas superficialmente o que digo e da faits de sentido nascera urn sentido como de mini nasce inexplicavelmente vida alta e leve. A densa selva de palavras envolve espessamente o que sinto e vivo, e transforma tudo o que sou em alguma coisa minha que fica fora de mim. A natureza 6 envolvente: eta me enovela toda e e sexualmente viva, apenas isto: viva. Tambem eu estou truculentamente viva — e lambo o meu focinho como o tigre depois de ter devorado o veado.

Escrevo-te na hora mesma em si pr6pria. Desenrolo-me apenas no atual. Falo hoje no ontem nem amanha — mas hoje e neste proprio instante perecivel. Minha liberdade pequena e enquadrada me une a liberdade do mundo — mas o que é uma janela senao o ar emoldurado por esquadrias? Estou asperamente viva. Vou embora — diz a morte sem acrescentar que me leva consigo. E estremeco em respiracao arfante por ter que acompanha-la. Eu sou a morte. E neste meu ser mesmo que se di a morte — como te explicar? E uma morte sensual. Como morta ando por entre o capim alto na luz esverdeada das hastes: sou Diana a Cacadora de ouro e s6 encontro ossadas. Vivo de uma camada subjacente de sentimentos: estou mal e mal viva.

Mas esses dias de alto veil° de danacao sopram-me a necessidade de remincia. Renuncio a ter um significado, e entao o doce e do loroso quebranto me toma. Formasredondas e redondas se entrecruzam no ar. Faz calor de verao. Navego na minha galera que arrosta os ventos de um veil° enfeiticado. Folhas esmagadas 32

me lembram o chao da infancia. A mao verde e os seios de ouro — é assim que pinto a marca de Sat.. Aqueles que nos temem e a nossa alquimia desnudavam feiticeiras e magos em busca da marca recondita que era quase sempre encontrada embora s6 se soubesse dela pelo olhar pois esta marca era indescritivel e impronunciavel mesmo no negrume de uma Idade Media —Idade Media, es a minha escura subjacencia e ao clarao das fogueiras os marcados dancam em circulos cavalgando galhos e folhagens que sao o simbolo falico da fertilidade: mesmo nas missas brancas usa-se o sangue e este 6 bebido.

Escuta: eu te deixo ser, deixa-me ser entao.

Mas etemamente 6 palavra muito dura: tern um "t" granitico no meio. Etemidade: pois tudo o que 6 nunca comecou. Minha pequena cabeca tao limitada estala ao pensar em alguma coisa que nao comeca e nao termina — porque assim 6 o etemo.

Felizmente esse sentiment° dura pouco porque eu nao agOento que demore e se permanecesse levaria ao desvario. Mas a cabeca tambem estala ao imaginar o contrario: alguma coisa que tivesse comecado — pois onde comecaria? E que terminasse — mas o que viria depois de terminar? Como yes, 6-me impossivel aprofundar e apossar-me da vida, ela é aerea, é o meu leve halito.

Mas bem sei o que quero aqui: quero o inconcluso. Quero a profunda desordem organics que no entanto da a pressentir uma ordem subjacente. A grande potencia da potencialidade. Estas minhas frases balbuciadas sao feitas na hora mesma em que estao sendo escritas e crepitam de tao novas e ainda verdes. Elas sao o já. Quero a experiencia de uma falta de construcao. Embora este meu texto seja todo atravessado de ponta a ponta por um fragil fib condutor — qual? o do mergulho na materia da palavra? o da paixao? Fio luxurioso, sopro que aquece o decorrer das silabas.

A vida mal e mal me escapa embora me venha a certeza de que a vida 6 outra e tern urn estilo oculto.

Este texto que te dou nao é para ser visto de perto: ganha sua secreta redondez antes invisfvel quando é visto de um avid° em alto v80. Entao adivinha-se o jogo das ilhas e veem-se canals e mares. Entende-me: escrevo-te uma onomatopeia, conyulsio da linguagem. Transmito-te nao uma historia mas apenas palavras que vivem do som. Digo-te assim: "Tronco luxurioso" E banho-me nele. Ele esti ligado a raiz que penetra em n6s na terra. Tudo o que te escrevo é tenso. Uso palavras soltas que solo em si mesmas um dardo livre: "selvagens, barbaros, nobres decadentes e marginais". Isto te diz alguma coisa? A mim fala.

Mas a palavra mais importante da lingua tern uma imica letra: 6. E. Estou no seu Ainda estou.

Estou no centro vivo e mole.

A inda Tremeluz e é elastic°. Como o andar de uma negra pantera lustrosa que vi e que andava macio, lento e perigoso. Mas enjaulada nao — porque nao quero. Quanto ao imprevisivel — a proxima frase me é imprevisivel. No amago onde estou, no amago do E, nao facto perguntas. Porque quando 6 — 6. Sou limitada apenas pela minha identidade. Eu, entidade elastica e separada de outros corpos.

Na verdade ainda nao estou vendo bem o fib da meada do que estou te escrevendo. Acho que nunca verei — mas admito o escuro onde fulgem os dais olhos da pantera macia. A escuridao 6 o meu caldo de cultura. A escuridao feerica. Vou te falando e me arriscando a desconexao: sou subterraneamente inatingivel pelo meu conhecimento.

Escrevo-te porque nao me entendo.

Mas you me seguindo. Elastics. E um tel misterio essa floresta onde sobrevivo para ser. Mas agora acho que vai mesmo.

Isto 6: you entrar. Quero dizer no misterio. Eu mesma misteriosa e dentro do amago em que me movo nadando, protozoario. Urn dia eu disse infantilmente: eu posso tudo. Era a antevislo de poder urn dia me largar e cair num abandono de qualquer lei. Elastics.

A profunda alegria: o extase secreto. Sei como inventar um pensamento. Sinto o alvoroco da novidade. Mas bem sei que o que escrevo 6 apenas um tom.

Nesse amago tenho a estranha impressao de que Mo pertenco ao genet° hurnano. muita coisa a dizer que nao sei como dizer. Faltarn as palavras. Mas recuso-me a invent& novas: as que existem já devem dizer o que se consegue dizer e o que é proibido. E o que proibido eu adivinho Se houver forca. Atras do pensamento nao ha palavras: 6-se. Minha pintura nao tern palavras: flea atras do pensamento. Nesse terreno do 6-se sou puro extase cristalino.

NEWS from BRAZIL - AUGUST 1995

E-se. Sou-me. Tu te 6s.

E sou assombrada pelos meus fantasmas, pelo que 6 mitico, fantastic° e gigantesco: a vida 6 sobrenatural. E caminho segurando um guarda-chuva aberto sobre cords tensa. Caminho ate o limite do meu sonho grande. Vejo a firria dos impulsos viscerais: visceras torturadas me guiam. N'Ao gosto do que acabo de escrever — mas sou obrigada a aceitar o trecho todo porque ele me aconteceu. E respeito muito o sue eu me acontego. Minha essencia é inconscrente de si propna e é por isso que cegamente me obedego.

Estou sendo antimelodica. Comprazo-me corn a harmonia dificil dos asperos contrarios. Para onde you? e a resposta 6: you.

Quando eu morrer entdo nunca terei nascido e vivido: a morte apaga os traps de espuma do mar na praia.

Agora 6 urn instante.

JA é outro agora.

E outro. Meu esforgo: trazer agora o futuro para já. Movo-me dentro de meus instintos fundos que se cumprem as cegas. Sinto entdo que estou nas proximidades de fontes, lagoas e cachoeiras, todas de Aguas abundantes. E eu livre.

Ouve-me, ouve meu silencio. 0 que falo nunca é o que falo e sim outra coisa. Quando digo "Aguas abundantes" estou falando da forga de cozpo nas Aguas do mundo. Capta essa outra coisa de que na verdade falo porque eu mesma ndo posso. Le a energia sue esti no meu silencio. Ah tenho medo do Deus e do seu silencro.

Sou-me.

Mas ha tambem o misterio do impessoal que é o "it": eu tenho o impessoal dentro de mim e ndo 6 corrupto e apodrecivel pelo pessoal que as vezes me encharca: mas seco-me ao sol e sou urn impessoal de carogo seco e germinativo. Meu pessoal é humus na terra e vive do apodrecimento. Meu "it" 6 duro como uma pedra-seixo.

A transcendencia dentro de mim é o "it" vivo e mole e tern o pensamento que uma ostra tem. Sera que a ostra quando arrancada de sua rain sente ansiedade? Fica inquieta na sua vida sem olhos.

Eu costumava pingar limao em cima da ostra viva e via corn horror e fascinio ela contorcer-se toda. E eu estava comendo o it vivo. 0 it vivo 6 o Deus.

Vou parar urn pouco porque sei que o Deus 6 o mundo. E o que existe. Eu rezo pars o que existe?Ndo é perigoso aproximar-se do que existe. A prece profunda é uma meditacdo sobre o nada. E o contato seco e eletnco consigo, urn consigo impessoal.

Ndo gosto 6 quando pingam lira° nas minhas profundezas e fazem corn que eu me contorga toda. Os fatos da vida sio o lima° na ostra? Sera que a ostra dorme?

Quid é o elemento primeiro? logo teve que ser dois para haver o secreto movimento intim° do qual jorra leite.

Disseram-me que a gata depois de parir come a pr6pria placenta e durante quatro dias ndo come mais nada. S6 depois 6 que toma leite. Deixa-me falar puramente em amamentar. Fala-se na subida do leite. Como? E ndo adiantaria explicar porque a explicacdo exige uma outra explicagdo que exigiria uma outra explicagdo e que se abriria de novo para o misterio. Mas sei de coisas it sobre amamentar crianca.

Estou respirando. Para cima e para baixo. Para cima e para baixo. Como C pre a ostra nua respira? Se respira ndo vejo. 0 que ndo vejo ndo existe? 0 que mais me emocionaC que o que ndo vejo contudo existe. Porque entdo tenho aos meus pes todo urn mundo desconhecido que existe pleno e cheio de rica saliva. A verdade esti em alguma parte: mas inutil pensar. Ndo a descobrirei e no entanto vivo dela.

0 que te escrevo Tido vem de manso, subindo aos poucos ate um auge pars depois ir morrendo de manso. Ndo: o que te escrevo 6 de fogo como olhos em brass.

Hoje 6 noite de lua cheia. Pela janela a lua cobre a minha cams e deixa tudo de urn branco leitoso azulado. 0 luar 6 canhestro. Fica do lado esquerdo de quem entra. Endo fujo fechando os olhos. Porque a lua cheia 6 de uma ins8nia leve: entorpecida e dormente como depois do amor.E eu tinha resolvido que ia dormir pant poder sonhar, estava corn saudade das no vidades do sonho.

Entdo sonhei uma coisa que you tentar reproduzir.. Trata-se de urn filme que eu assistia. Tinha urn homem que imitava artista de cinema. E tudo o que esse homem fazia era por sua vez imitado por outros e outros. Qualquer gesto. E havia a propaganda de uma bebida chamada Zerbino. 0 homem pegava a garrafa de Zerbino e levava-a a boca. Entdo todos pegavam uma garrafa de Zerbino e levavam-na C boca. No meio o homem que imitava artista de cinema dizia: este 6 um fume de propaganda de Zerbino e Zerbino na verdade ndo presta. Mas tido era o final. 0 homem retomava NEWS from BRAZIL - AUGUST 1995

a bebida e bebia. E assim faziam todos: era fatal. Zerbino era uma instituigdo mais forte que o homem. As mulheres a essa altura pareciam aeromogas. As aeromocas sdo desidratadas — 6 preciso acrescentar-lhes ao p6 bastante agua para se tomarem leite. E um flue de pessoas automaticas que sabem aguda e gravemente que sdo automaticas e que ndo ha escapatoria. 0 Deus ndo 6 automatico: para Ele cada instante C. Ele é it.

Mas ha perguntas que me fiz em crianga e que ndo foram respondidas, ficaram ecoando plangentes: o mundo se fez sozinho?

Mas se fez onde? Fin que lugar? E se foi atraves da energia de Deus — como coMegou? seri que C como agora quando estou sendo e ao mesmo tempo me fazendo? E por esta ausencia de resposta que fico tdo atrapalhada Mas 9 e 7 e 8 sdo os meus nimieros secretos. Sou uma iniciada sem seita. Avida do misterio. Minha paixdo pelo imago dos nirmeros, nos quais adivinho o ceme de seu proprio destino rigid° e fatal. E sonho corn luxuriantes grandezas aprofundadas em trevas: alvorogo da abundancia, onde as plantas aveludadas e camivoras somos nos que acabamos de brotar, agudo amor — lento desmaio.

Sera que isto que estou te escrevendo 6 atras do pensamento?

Raciocinio 6 que ndo C. Quem for capaz de parar de raciocinar — o que C terrivelmente dificil — que me acompanhe. Mas pelo menos ndo estou irnitando artista-de-cinema e ninguem precisa me levar a boca o tomar-se aeromoca.

Vou te fazer ulna confissio: estou urn pouco assustada. E que ndo sei aonde me levara esta minha liberdade. Ndo 6 arbitraria nem libertina. Mas estou solta.

De vez em quando te darei uma leve hist6ria — area melodies e cantabile para quebrar este meu quarteto de cordas: urn trecho figurativo para abrir uma clareira na minha nutridora selva.

Estou livre? Tern qualquer coisa que ainda me prende. Ou prendo-me a ela? Tambern 6 assim: ndo estou toda solta por estar em unido corn tudo Alias uma pessoa 6 tudo. Nao 6 pesado de se carregar porque simplesmente ndo se carrega: 6-se o tudo.

Parece-me que pela primeira vez estou sabendo das coisas. A impressdo C que s6 ndo you mais ate as coisas para ndo me ultrapassar. Tenho certo medo de mim, ndo sou de confianga, e desconfio do meu falso poder.

As tres e meia da madrugada acordei. E logo elastica pulei da cama. Vim te escrever. Quer dizer. ser. Agora sdo cinco e meia da manta. De nada tenho vontade: estou pura. NA° te desejo esta soliddo. Mas eu mesma estou na obscuridade criadora. Lucida escuriddo, lummosa estupidez.

Muita coisa ndo posso te contar. Ndo you ser autobiografica.

Quero ser "bio".

Escrevo ao correr das palavras.

Antes do aparecimento do espelho a pessoa ndo conhecia o preprio rosto sendo refletido nas Aguas de urn lago. Depois de certo tempo cada urn C responsavel pela cara que tem. You olhar agora a minha. E um rosto nu. E quando penso que inexiste urn igual ao meu no mundo, fico de susto alegre. Nem nunca haver-A. Nunca é o impossivel. Gosto de nunca. Tambem gosto de sempre.

Que ha entre nunca e sempre que os liga tdo indiretamente e intimamente?

No fundo de tudo ha a aleluia.

Este instante C. Voce que me le C. Custa-me crer que eu moffa. Pois estou borbulhante numa frescura frigida. Mmha yids vai ser longuissima porque cada instante 6. A impressdo 6 que estou por nascer e rid° consigo.

Sou urn coragdo batendo no mundo.

Voce que me le que me ajude a nascer.

Espere: esta ficando escuro. Mais.

Mais escuro.

0 instante 6 de um escuro total.

Continua.

Espere: comego a vislumbrar uma coisa. Uma forma luminescente. Barriga leitosa corn umbigo? Espere — pors sarrer desta escuriddo onde tenho medo, escuriddo e extase. Sou o coracdo da treva.

0 problema 6 que na janela de meu quarto ha urn defeito na cortina. Ela ndo cone e ndo se fecha portanto. Entdo a lua cheia entra toda e vem fosforescer de silencios o quarto: 6 horrIvel.

Agora as trevas vdo se dissipando.

Nasci.

Pausa.

Maravilhoso escandalo: nasgo.

An excerpt from Agua Viva.

33

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TRAVEL NEWS from BRAZIL-

AUGUST 1995

Patricia Leao's passion for Brazil and Brazilians began at age 15 when she met a group of Brazilians during her four-year stay in Germany. Then a Brazilian roommate in Switzerland broadened herview of the Brazilian culture. But it was in her own hometown, in La Paz, Bolivia, that she deepened her knowledge of Brazilian music and culture thanks to a group of exchange students from Brazil. That's when Patricia fell in love with Brazil, a passion that has only increased since.

Patricia has made her home in the US now for ten years, but she has lived her on and off here since the age of nine. She brought with her the ties with the Brazilian culture and she's got herself much of the joyfulness and relaxed way of being by which Brazilian people are famous for.

When you ask her, why is Patricia and Gilberto • she so much involved in liTIrmar everything Brazilian, she answers, "I love the freedom and joy for life whichBrazilian inspire."

Her involvement with Brazilian social life in the US began at UCLA (University of California, Los Angeles) in 1984, when Patricia decided to attend samba classes with Luci and Floriano Regis. This led to her participation in the UCLA Carnaval, and a show at the Japan American Theater. By 1988 she was dancing with Los Angeles based Lula and Afro-Brazil group.

At that time the Bolivian with a big • Patricia is not crush on Brazil went on an eightBrazilian.

But you month visit to the country she had wouldn't find it out by learned to love from afar. yourself in a million After her return to the US, feeling more than ever linked to her years. She speaks an adoptive country Brazil, Patricia impeccable Portuguese, went back to dance. In 1988 she she dances as any good opened the Djavan show at the sambista, she Rio's Hollywood Palace, in Los Angeles, and in 1989 a Gilberto Gil concert promotes Brazil as if it in San Francisco. As one thing led were her own kid and to another, she began to actively just talk about Brazil dance in shows in several places around her to see goose and to participating in musical bumps rising on her festivals. Samba and Salsa in Long Beach was one of them. She also tanned skin. had a chance to show her talent entertaining at the reception for the ARIANE DALLA DEA NONSftorriBRAML-AUGUST1W6

Grammy Awards, and even got a small role in the movie Forbidden Dance.

Full of enthusiasm Patricia started to promote Brazilian weekend parties at the Monaco Club, in San Fernando Valley, in the Greater Los Angeles. Soon she would create Brazilian Nites Productions, a company dedicated to the promotion of Brazilian rhythms. She used the lambada craze from the late 80s to turn her parties into the must go place for those in Southern California interested in Brazilian sound.

Around that time Patricia met her Brazilian husband Gilberto at a Halloween party.

After the Lambada k craze died out, Patricia and Gilberto began promoting special events, as Carnaval, Spring Party, "Festa Junina" (Brazilian Country Party), Independence Party, Halloween, Rio by Night, Bahia Tropical and a Brazilian Summer Jam, the prelude of the Brazilian Summer Festival. They had an average of eight events per year, which they held at different locations, and with many prizes including trips to Brazil. The Brazilian Nites Hotline (818- 566-1111)offers information on events that they are currently promoting.

Since last year the 34 year old Patricia, with the active support and participation of Gilberto, has concentrated in the Brazilian Summer Festival. "What we always wanted was to bring artists from Brazil, and the Festival is a step closer to this goal. We want to bring artists especially known to the American public."

This year, Gilberto and Patricia brought us a second Brazilian Summer Festival that surpassed the success of the first not only in the financial area, but in the quality of the presentations. For someone who "only wanted to cover the expenses," the first festival was a hit and paved the way for this year's great splash.

The couple now have dreams of parties and promotions spinning in their heads for the coming months.

Stay tuned.

35

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In no other region in the world outside of Africa, the Black heritage has been cultivated and blossomed as here. Salvador with its preserved colonial past, .colors flavors churches and ,spontaneous parties otl,the streets is something like nothing you've seen :before .

NEWS from BRAZIL. AUGUST 1935

alvador da Bahia, often abbreviated to Salvador by Brazilians, is the capital of Bahia state and one of Brazil's cultural highlights. This city with a population of two million has managed to retain its African soil and develop its unique, vibrant culture -the best of its colonial legacy. Ornate churches still stand on cobblestone streets. Festivals are spontaneous, wild, popular and frequent. Candomble services illuminate the hillsides. Capoeira and afoxe dance through the streets. It is also appropriate to mention that Salvador suffers from social and economic problems, with a great number of jobless, homeless, hungry, abandeined and sick citizens.

Histo — According to tradition, on 1 November 1501, All Saints' Day, the Italian navigator Amerigo Vespucci sailed into the bay, which was accordingly named Baia de Todos os Santos. In 1549 Tome de Souza came from Portugal bringing city plans, a statue, 400 soldiers and 400 settlers including priests and prostitutes. He founded the city in a defensive location: on a clifftop facing the sea. After the first year, a city of mud and straw had been erected, and by 1550 the surrounding walls were in place to protect against attacks from hostile Indians. Salvador da Bahia became the capital of the new lands and remained Brazil's most important city for the next three centuries.

During its first century of existence the city depended upon the export of sugar cane, but tobacco cultivation was later introduced and cattle ranching proved profitable in the sertdo. The export of gold and diamonds mined in the interior of Bahia (Chapada Diamantina) provided Salvador with immense wealth.

The opulent baroque architecture in the city is a testament to the prosperity of this period.

Salvador remained the seat of government until 1763 when, with the decline of the sugar-cane industry, the capital was moved to Rio. Overlooking the mouth of Baia de Todos os Santos, which is surrounded by the reconcavo, Brazil's richest sugar and tobacco lands, Bahia was colonial Brazil's economic heartland. Sugar, tobacco, sugarcane brandy and, later, gold were shipped out, whilst slaves and European luxury goods were shipped in.

After Lisbon, Salvador was the second city in the Portuguese Empire: the glory of colonial Brazil, famed for its many goldfilled churches, beautiful colonial mansions, and numerous festivals. It was also renowned, as early as the 17th century, for its bawdy public life, sensuality and decadence, so much so that it became known as the Bay of All Saints.. .and of nearly all sins!

The first Black slaves were brought from Guinea in 1538, and in 1587 historian Gabriel Soares estimated that Salvador had 12,000 Whites, 8000 converted Indians and 4000 Black slaves. A Black man was worth six times as much as a Black woman in the slave market. The number of Blacks eventually increased to constitute half of the population and the traditions of Africa took root so successfully that today Salvador is called the African soul of Brazil.

In Salvador, Blacks preserved their African culture more than anywhere else in the New World. They maintained their religion and their spirituality, albeit 37

wrapped in the outer layer of Catholicism. African food and music enriched the houses of Black and White. Capoeira, the dance of defiance, developed among the slaves. Quilombos, runaway slave communities, terrified the landed aristocracy; and uprisings of Blacks threatened the city several times.

In 1798, the city was the stage for the Conjuracao dos Alfaiates (Conspiracy of the Tailors), which intended to proclaim a Bahian republic. Although this conspiracy was quickly quelled, the battles between those who longed for independence and those loyal to Portugal continued in the streets of Salvador for many years. It was only on 2 July 1823, with the defeat in Cabrito and Piraja of the Portuguese troops commanded by Madeira de Melo, that the city found peace.

At that time, Salvador numbered 45,000 inhabitants and was the commercial center of a vast territory.

For most of the 19th and 20th centuries the city stagnated as the agricultural economy, based on archaic arrangements for land distribution, organization of labor and production, went into uninterrupted decline.

Only recently has Salvador begun to move forward economically. New industries such as petroleum, chemicals and tourism are producing changes in the urban landscape, but the rapidly increasing population is faced with major social problems.

Orientation - Salvador sits at the southern tip of a V-shaped peninsula at the mouth of Baia de Todos os Santos. The left branch of the 'V' is on Baia de Todos os Santos; the right branch faces the Atlantic; and the junction of the 'V' is the Barra district, south of downtown. Finding your way around Salvador can be a bitch. Besides the upper city and lower city, there are too many one-way, no-left-turn streets that wind through Salvador's valleys and lack any coherent pattern or relationship to the rest of the existing paved world. Traffic laws are left to the discretion of drivers.

Gridlock is common at rush hour. Perhaps most difficult for the visitor is the fact that street names are not regularly used by the locals; and when they are, there are often so many different names for each street that the one you have in mind probably doesn't mean anything to the person you're asking to assist you — the road along the Atlantic coast, sometimes known as Avenida Presidente Vargas, has at least four aliases.

A steep bluff divides central Salvador into two parts: Cidade Alta (Upper City) and Cidade Baixa (Lower City). These are linked by the Plano Inclinado Goncalves (funicular railway), the Lacerda Elevator and some very steep roads (ladeiras).

Cidade Alta — This is the historic section of Salvador. Built on hilly, uneven ground, the site of the original settlement was chosen to protect the new capital from Indian attacks. The most important buildings — churches, convents, government offices and houses of merchants and landowners — were constructed on the hilltops.

Rational planning was not a high priority.

Today, the colonial neighborhoods of Pelourinho, Terreiro de Jesus and Anchieta are filled with 17th-century churches and houses. Although these aren't the 38

safest parts of town — several streets are centers of prostitution — they are certainly the most interesting.

Just around the corner from Praca Se and the Lacerda Elevator, you'll see a large, cream-colored colonial building which houses Bahiatursa, the state tourism agency. A few blocks further is Praca Castro Alves, a major hub for Carnival festivities. From here, Avenida 7 de Setembro runs southwards and parallels the bay until it reaches the Atlantic Ocean and the Barra district, which has many of the city's upper and middle-end hotels and bars.

Heading east from Barra district, the main road along the Atlantic coast, sometimes called Avenida Presidente Vargas (at least on the maps), snakes along the shore all the way to Itapod. Along the way it passes the middle-class Atlantic suburbs and a chain of tropical beaches.

Cidade Baixa — This is Bahia's commercial and financial center, and port. Busy during working days, and filled with lunch places, the lower city is deserted and unsafe at night. Heading north, away from the ocean and along the bay, you pass the port, the ferry terminal for Ilha de Itaparica (Itaparica island), and continue to the bay beaches of Boa Viagem and Ribeira (very lively on weekends). These are poor suburbs along the bay and the further you go from the center, the greater the poverty. Watch for the incredible architecture of the alagados, which are similar to favelas, but built on the bay.

Dangers & Annoyances — Salvador has a justifiable reputation for theft and muggings, and tourists clearly offer easy targets. Paranoia is not necessary, but you should be aware of the dangers and understand what you can do to minimize problems. The following are some general points to remember when visiting Salvador.

Dress down; carry only a photocopy of your passport; and don't wear a watch or carry a camera. Look at a map for basic orientation before you set out to see the sights.

Stick to the main streets when walking during the day, and don't hesitate to use taxis at any time, but especially after dusk. Avoid side streets, and do not enter the area northeast of Pelourinho, which is a prostitution zone full of heavy dudes and ladies.

The Lacerda Elevator is renowned for muggings, especially at night, and you should totally ignore any street touts offering to change money or sell drugs.

Pickpocketing is very common on buses and in crowded places. Stay alert at all times and only take as much money with you as is necessary for your outing. Tourist police maintain a highly visible presence in the center of Salvador, particularly Pelourinho, but this does not apply after dark.

On the beaches keep a close eye on juvenile thieves, often referred to as Capit5es d'Areia (Captains of the Sand), who are quick NEWS from BRAZIL - AUGUST 1995

to make off with unguarded possessions.

During Carnaval, tourist authorities highly recommend that tourists form small groups, carry photocopies of passports, and avoid deserted places, especially narrow alleyways.

Time — In Salvador, shopkeepers close for lunch from noon to 3 pm (instead of 2 pm), and then go home at 3:45 pm instead of 5 pm. Café da manhet becomes Cafe da tarde. Work has a different flavor: slow, relaxed and seemingly nonchalant.

The slow pace often frustrates and irritates visitors, but if you can reset your internal clock and not get uptight or unsettled, you are likely to be rewarded with many kindnesses and surprises. For example, whilst traveling in a taxi and unable to find an obscure restaurant, the taxi driver stopped, turned off his meter, and started to read our map. After 10 minutes we drove on and he turned the meter back on.

Walking Tour — Historic Salvador is easy to see on foot and you should plan on spending a couple of days wandering among the splendid 16th and 17th-century churches, homes and museums. One good approach is to ramble through the old city in the morning, head out to the beaches in the afternoon, and devote the evening to music, dance or Candomble.

The most important sections of Salvador's colonial quarter extend from Praca Castro Alves along Ruas Chile and da Misericordia to Praga da Se and Terreiro de Jesus; and then continue down through Largo do Pelourinho and up the hill to Largo do Carmo.

Catedral Basilica — Starting at the Praca da Se, walk a block to the Terreiro de Jesus (Praca 15 de Novembro on many maps). The biggest church on the plaza is the Cathedral of Bahia, which served as a Jesuit center until the Jesuits were expelled from Brazil in 1759. The cathedral was built between 1657 and 1672, and its walls are covered with Lioz marble which served as ballast for returning merchant ships.

Many consider this the city's most beautiful church.

The interior has many segmented areas and the emphasis is on verticality -- raise your eyes to admire the superb ceiling.

Museu Afro-Brasileiro — Next door is the Antiga Faculdade de Medicina (Old Medical Faculty), which now houses our favorite museum in Bahia, the Afro-Brazilian Museum, with its small collection of displays focusing primarily on orixas from both Africa and Bahia. There is a surprising amount of African art from pottery to woodwork, and superb ceremonial Candomble apparel. Other highlights include wooden panels representing Oxum (an orixa revered as the goddess of beauty) which were carved by Caryl* a famous Argentine artist who has lived in Salvador for many years. In the basement of the same building is the Museu de Arqueologia e Etnologia (Archaeology & Ethnology Museum).

In the middle of the plaza you'll meet drug dealers, NEWS from BRAZIL - AUGUST 1995

honest hammock vendors and rip-off money changers. Be careful: Don't change money.

Igreja Sao Francisco As you exit the museum, turn left, walk to the far end of the plaza, and continue one block to Igreja Sao Francisco. Defying the teachings and vows of poverty of its namesake, this baroque church is crammed with displays of wealth and splendor.

Gold leaf is used like wallpaper. There's an 80-kg silver chandelier and imported azulej os (Portuguese ceramic tiles).

Forced to build their masters' church and yet prohibited from practicing their own religion (Candomble terreiros were hidden and kept far from town), the African slave-artisans responded through their work: the faces cherubs are distorted, some angels are endowed with huge sex organs, some appear pregnant. Most of these creative acts were chastely covered by 20th-century sacristans. Traditionally Blacks were seated in far corners of the church without a view of the altar.

Notice the polychrome of Sao Pedro de Alcantara

by Manoel Inacio da Costa. The artist, like his subject, was suffering from tuberculosis. He made one side of the figure's face more ashen than the other so that Sao Pedro appears more ill as you walk past him. Jose Joaquim da Rocha painted the hallway ceiling using perspective technique, which was considered a novelty at the time.

The poor come to Igreja Sao Francisco on Tuesdays to venerate Santo Antonio and receive bread. The Candomblistas respect this church's saints and come to pray both here and in Igreja NS do Bonfim.

Igreja da Ordem Terceira de Sao Francisco — Next door to the Igreja Sao Francisco is the 17th-century Church of the Third Order of Sao Francisco. Notice the frontispiece, in the Spanish baroque or plateresco style, which remained hidden until it was accidentally discovered in the 1930s when a workman hammered off some plaster to install wiring.

Igreja Sao Pedro dos Clerigos — The Igreja Sao Pedro dos Clerigos is back on Terreiro de Jesus and close to Cantina da Lua — a congenial restaurant. This rococo church, like many others built in the 18th century, was left with one of its towers missing in order to avoid a tax on finished churches.

Pelourinho — To see the city's oldest architecture, turn down Rua Alfredo de Brito, the small street which descends into the Pelourinho district. Pelourinho means whipping post, and this is where the slaves were tortured and sold (whipping of slaves was legal in Brazil until 1835). The old slave auction site on Largo do Pelourinho (also known as Praca Jose de Alencar) has recently been renovated and converted into the Casa da Cultura Jorge Amado (Jorge Amado Museum). According to a brass plaque across the street, Amado lived in the Hotel Pelourinho when it was a student house. The exhibition is disappointing but you can watch a free video of Dona Flor or one of the other films based on Amado's books.

Next door is the Museu da Cidade. Among bits of whimsy (fleas in a matchbox dressed up to get married) 39

there are costumes of the orixas of Candomble and the personal effects of the Romantic poet Castro Alves, author of Navio Negreiro and one of the first public figures to protest against slavery.

Igreja Nossa Senhora do Rosario dos Pretos, across the Largo do Pelourinho, was built by and for the slaves. The 18th-century church has some lovely azulejos.

Igreja do Santissimo Sacramento da Rua do Paco — From Pelourinho go down the hill and then continue uphill before climbing a set of steps to the left leading up to this church — an approach which is reminiscent of the Spanish steps of Rome. The first Brazilian film to win an award at the Cannes film festival, 0 Pagador de Promessa, was filmed here.

Igreja da Ordem Terceira do Carmo — At the top of the hill, this church, founded in 1636, contains a baroque altar and an organ dating from 1889.

Igreja e Convento de Nossa Senhora do Carmo/ Museu do Carmo Next door, this religious complex is moderately interesting. Among the sacred and religious articles in the museum is a famous sculpture of Christ created

by Francisco Chagas (also known as o Cabra). There's also a treaty declaring the expulsion of the Dutch from Salvador on 30 April 1625.

The document was signed at the convent, which served as the general's quarters at the time.

For a glimpse of unspoilt, old Salvador continue a few blocks past very old, dilapidated buildings which teem with life. Also notice an odd-looking public oratory, Oratorio da Cruz do Pascoal, plunked in the middle of the street (Rua Joaquim Tavora).

Praca Tome de Souza — Starting at Naga da Se again, walk over to the Praca Tome de Souza. While not officially recognized or protected by the Brazilian historical architecture society SPHAN, this plaza has several beautiful and important sites.

The Palacio Rio Branco was built in 1549 to house the offices of Tome de Souza, the first governor general of Brazil; the palace has been rebuilt and refurbished over the years. The large, cream-colored, birthday-cake building is now headquarters for Bahiatursa.

Elevador Lacerda — The Lacerda Elevator, inaugurated in 1868, was an iron structure with clanking steam elevators until these were replaced with a new system in 1928. Today electric elevators truck up and down a set of 85-meter, vertical cement shafts in less than 15 seconds, and carry over 50,000 passengers daily.

Things weren't always so easy. At first, the Portuguese used slaves and mules to transport goods from the port in Cidade Baixa to Cidade Alta. By 1610, the Jesuits had installed the first elevator to negotiate the drop. A clever system of ropes and pulleys was manually operated to carry freight and a few brave souls.

Cidade Baixa — Descending into the lower city you'll be confronted by the Mercado Modclo. Filled with souvenir stalls and restaurants, it's Salvador's worst concession to the tourism business. If you've missed capoeira, there are often impromptu displays 40

for tourists outside the building -- anyone contemplating taking photos is well advised to negotiate a sensible price beforehand or risk being suckered for an absurd fee. The horrendous modernist sculpture across the street is referred to as bunda (arse) by the locals. There are many cheap lanchonetes in Cidade Baixa and it's worth exploring.

Mercado Sao Joaquim — To see a typical market, take either the `Ribeira' or the `Bonfim' bus from the bus stop beside the elevator (base station). Ride for about three km and get off after the Pirelli Pneus store on your left. Mercado Sao Joaquim is a small city of waterfront barracas, open all day every day except Sunday. Watch out for the meat neighborhood — it can turn the unprepared into devout vegetarians. You are bound to come across some spontaneous singing and dancing at the barracas serving cachaca.

Igreja Nosso Senhor do Bonfim — Further along the Itapagipe peninsula, past Mercado Sao Joaquim, is the Igreja Nosso Senhor do Bonfim. Built in 1745, the shrine is famous for its miraculous power to effect cures. In the Sala dos Milagres (ex-voto room) you'll see offerings: replicas of feet, arms, heads, hearts — the parts of the body devotees claim were cured by this power.

For Candomblistas, Bonfim is the church of Oxala and thus their most important church.

In January, the Lavagem do Bonfim, one of Bahia's most important festivals, takes place here and Candomble priestesses (maes de santo)lead the festivities together with Catholic priests.

When you approach the church you'll undoubtedly be offered a fita (ribbon) to tie around your wrist. With thefita you can make three wishes that will come true by the time it falls off. This usually takes over two months and you must allow it to fall off from natural wear and tear. Cutting it off is said to bring bad luck.

The Bay — From the church there's a very interesting half-hour walk to the bay, where you'll find the old Monte Serrat lighthouse and church (good crab at the barracas). Nearby is Praia da Boa Viagem where one of Bahia's most popular and magnificent festivals, Procissao do Senhor Bom Jesus dos Navegantes, takes place on New Year's Eve. The beach is lined with barracas and is very animated on weekends. It's a poorer part of town and quite interesting. Museu de Arte Sacra da Bahia — From Praca Castro Alves, jammed with tens of thousands of people at Carnaval time, it's a short walk to the Museu de Arte Sacra da Bahia at Rua do Sodre, 276. It's housed in a Excerpts from Bra:// 17th-century convent which has been .1 Travel Survival Kit beautifully restored.

2nd edition.

The sacred art on

by Andre NN Draffen. display includes exDeanna Swane cellent and varied and Robert Strauss. For sculptures and immore in call ages in wood, clay Lonely Planet: (800) 275.and soapstone — 8555. Copyright 1992 many were shipped Lonely Planet Publications. to Salvador from Used by permission.

Portugal. Museu de Arte Moderna. • NEWS from BRAZIL - AUGUST 1995

Luiz Mack) (300 Charlatans)

Luiz Inacio falou. Linz Inacio isou Silo 300 picaietas Co ill and de doutor Lies ficaram ofendidos corn a afirmacao Que rk..•flete na N crdade o sentimehto cla nacao E lobb. C concha\ o.

1)101)1 11.1 e .ICI 0111 VariacCies do niesino lentil sem salt do tom Brasilia é lima illia. en falo porque cu sci Ulna cidade que fablica suit prop' ia lei Aonde Sc N IN C HMIS on 111C110S C01110 liii

Disney landia Sc essa palliticada fosse na Cinclandia . la juntas. Illatta genie pra pegar nil saida Pt a fazer justica unlit C/

lla

En me vali deste discurso panfletario Nlas a luinha burrice faz am.% ersario Ao permitir gine num pais como o Brasil Ainda Sc obrigue a otar. por qualqucr Ii ocado Pot um par de sapatos. pot urn sac° de farinha A nossa imensa massa de iletrados Parabens coroneis. Noces encerain outra Nei 0 congress° continua a SCIN

ico de OCeS

Papai quail& cu crescer (woo set anilo Pia roubar. renunciar.

Noltar na proxima eleicil9 E se cu fosse dizer nomes a cancilo era pequena Joao Al‘ es. Genebaldo.

1-Itimberto Lucena De exemplo em exemplo apiendemos a Ileac) Ladrilo que ajuda ladrao ainda teethe concessilo De radio FM c de ICICN IS/10 NEWS horn 9RAZ1L - AUGUST 1995

The Brazilian courts have forbidden the publication and any public utterance of the lyrics below. Let us see just how long are Brazil's Justice arms.

EMERSON Lula The Paralamas do Sucesso had their share of success in Brazil and overseas, but they have become internationally famous since their song Luiz Thacio (300 picaretas) was censored by the Brazilian justice and forbidden to be played on radio and public shows. The band itself couldn't have thought of a better plot to boost their sagging career.

Everybody in Brazil — and newspaper have been calling from other countries including Japan — seems to be interested now in listening to the condemned lyrics. Since the dictatorship times there wasn't such a fuss about a song. Censorship against Chico Buarque's "Apesar de Voce" ("Is Spite of You") in 1971, made that song an anthem against the military regime.

The 300 picaretas (charlatans) referred to in the tune were inspired by a comment made in 1993 by then presidential candidate Luiz Inacio Lula da Silva Lula said that there were 300 picaretas in Congress. The Paralamas were ready to start their show in Brasilia when they were presented with a writ of prevention forbidding them from singing the song.

The order calling the lyrics "offensive t the honor of the congressmen" came from fe etal judge Ionilda Maria Carneiro Pires, but it was requested by Bonificio de Andrada, the Hou e of Representative's general prosecutor. "I'm a democrat and against censorship," declared Andrada soon after the measure was taken against the b nd.

"All I've done was to preserve the House's in.age and I intend to bring criminal suit against the song's authors."

Herbert Vianna, crooner, guitarist, leader o the band and author of the song, called the meaSure completely arbitrary, adding, "All we say in the song has been said and written before". Chec by yourself.

Luiz. Inacio has said. Luiz Inacio has warned They are 300 charlatans ith a doctor's ring They were Offended with the statement Which in reality reflects the nation's feelings Ifs lobby. it s hankypanky. it s bribe and gratuities Variations on the same themes and on the same tone Brasilia is an island. I say that because I know It's a town that fabricates its ow n law A place where we live more or less as in Disneyland If this buffoonery was at Cinelandia 'downtown Riol There would be a lot of people waiting outside To do justice once a in a lifetime I have used this pamphletary discourse But lily stupidity celebrates its anniversary B fflowing that in a country like Brazil People are forced to ‘ote. for just a clinic A pair of shoes. a bag of flour Our immense mass of illiterate people Congratulations. colonels. you have won again Congress continues at your beck and call Daddy. when I grow up I want to be a dwarf To steal. resign. come back in the next election And if I were to tell names the song would be too short Joao Alves. Genebaldo.

Humberto Lucena From every example we learn the lesson Thief who steals from thief still gets a concession For an FM radio and a television station 41

In the 60's, intensity and energy lit the petite frame of legendary singer Elis Regina.

Cloaked in this aura of free spirit, Elis triumphed in impassioned performances and recordings, putting her in the same league as Gal Costa and Maria Bethania. Now, while Gal and Bethania celebrate their 50th birthdays and many years of success, we can only guess what sparkling contributions 50-yearold Elis's repertoire would have held had she not accidentally overdosed on cocaine and alcohol in January of 1982.

Still, we can celebrate, through digitally re-mastered CD's of her performances and the story of her raise to fame, the 1945 birth of a woman whose shows, style and voice helped make the Brazilian bossa nova one of the most recognized and cherished musical contributions of Brazilian culture.

Few ofus are ever touched with the magic of fame, and, of those who are, fewer still achieve it as quickly as Elis.

Born in Porto Alegre, in southern Brazil, of a modest family, Elis began her musical career at age 14, singing on local radio shows. In 1961, a 16-year-old Elis recorded her first album. By 1962 she could brag of receiving two major awards in the South:

Romaria Renato Teixeira dc sonho e de pit 0 Llestino de um so Ieito en perdido cm pensamentos sobre o Ifleu CaVall) de lac() e de no de gibeira 0 uilo dessa Aida (_'timplida a sol Sou caipira. Pirapora Nossa Senhora Ic Aparecida Ilumina a mina cscura funda o trent da minim vida 0 men pai foi pen) Minha Inle solidilo Mcus irinnos pertleram-se na ida A custa de aventuras I )escasei. .joguei In‘ esti. desisti Se ha sorte eu ii all sei nunca vi Me disserain porem chic en iesse aqui pra pedir De romaria c piece Pa/ in,s deSaVelltOs 0,1111) Cu 1111 . 0 set re/ar So quctia mostrar Men olhar. melt olhar. melt

tan 42

Still the greatest This year Elis Regina would have turned 50 if not for a tragic drug overdose 13 years ago. She was bold and sharp, bringing to the public more than a beautiful voice.

With her imagination and energy, Elis set standards by performing in often outlandish outfits and with always original style. A diva in her time, Elis set the pace for Brazilian popular music and left an impression yet to be equaled.

CINDY PEREIRA WILSON

Queen of the Disco Club (1961) and Best Singer of the Year (1962).

Elis headed to Rio de Janeiro, a driven, determined and fiery soul, as her nickname "Pimentinha" ("Little Pepper") suggested. Already showing signs of the controversial star to come, Elis faked a birth certificate in order to sing in night clubs.

She stowed away in bathrooms during police raids.

She catapulted into popularity around the ripe age of 20, when she began conquering audiences in Sao Paulo with charm, timing, style and beautiful interpretations of bossa nova tunes composed by such legends as Tom Jobim and Vinicius de Moraes.

Elis also bravely took to the stage unknown songs by then young and green composers like Caetano Veloso, Chico Buarque, Gilberto Gil, Milton Nascimento, JoAo Bosco and Aldir Blanc. Her daring to sing unknown and sometimes controversial pieces was, to some, irreverence and cost her commercial support and fans. The singer sometimes clashed with interviewers and even with favorite composers like Gil and Caetano by way of brash comments and stubborn decisions to alter their lyrics.

Pilgrimage It's made of dream. of dust The destiny of one person Like me lost in thought Riding horseback It s made of noose and sheath's knot 'lite bitterness of this life Served under the sun Fin a hillbilly. from Pirapora Our Lack of Aparecida Shine upon the dark mine And sustain my life's train My father ANas a peon My mother solitude My siblings got lost in life Searching for adventure I got unmarried. I gambled I invested. I lost If there's luck I don't kno\\ I've never seen it They have told me. ;lime\ er To come here to pra) In pilgrimage and praer Peace for tile disputes Since I don't kno\‘ hom to pray I just Want to slims reMy regard. my regard. gard NEVVS from BRAZIL - AUGUST 1995

In her personal life, Elis stood true to her fervent nature. Although she claimed her friendships were eternal, Elis was known to denigrate friends behind their backs. Perhaps the defamation was self-defense fueled by doubts and distrust, for she once said, "With me it's simple — I doubt everything; my clothes, my friends.., but my stage, that I do not doubt." Elis was able to transmit her confidence and intensity in performing to the audience, and they in turn rewarded her with energy and adoration. Largely through talent, but also through great dedication, Elis unleashed the passion to make her shows spectacular.

Even though performing may have been her first love, her ardor flowed outside of music to family, dreams and lovers. With her first husband, Ronaldo Boscoli, Elis's six-year, on-again-offagain relationship was stormy from beginning to end, when she instigated an affair with Cesar Camargo Mariano.

Mariano had been working on the Elis &Torn album when Elis boldly propositioned him. Ironically, one of the songs they had been working on described the end of a relationship much like the impending demises of their own marriages. Elis had one child with Boscoli (Joao Marcelo) and two with Mariano (Pedro and Maria Rita).

At least some of Elis's musical roots were passed on to Joao Marcelo, who has hosted the show Cia. da Müsica (The Music Company) that spotlights new MPB (Milsica Popular Brasileira — Popular Brazilian Music) releases.

A look at the trilogy tribute to Elis and her vast contributions to the MPB is especially appropriate as Elis would have become 50 on March 17 of this year. Bursting with Elis's beautiful, resonant voice, the trilogy, Elis no Fino da Bossa, paints an auditory picture of the singer's seismic TV performances in Sao Paulo from 1965 to 1967.

Eighty thousand dollars were invested in the digital re-mastering, production and release of performances originally taped by journalist and researcher Zuza Homem de Mello. Combined with other recently released El is CD's, the trilogy helps convey her life achievements through their various stages, recounting musical history in its making.

For Elis the performer, flirtations with the controversial, dedication to her heart's call and frenetic exuberance were not just peculiarities. Her idiosyncrasies may have been key ingredients in launching her to legendary status among Brazilian vocalists, for she gave audiences not only a strong, crystalline voice, but surprises, vivacious style and dedication to the art. Elis will live forever in the history of Brazilian music.

NEWS from BRAZIL AUGUST 1995

Como Nossos Pais

As Our Parents

Antonio Carlos Belchior N;lo quer° 'he fakir men grande amor Das coisas qe amend' nos discos Quero the eontar wino cu vi vi E ludo o,que aconteeeu comigo Viver c melhor que sonhar 1.: en sei tine o amor uma eoisa boa klas lambent sei que qualquer canto E melhor do que a N ida De qualquer pessoa Por isso cuidado. mot bent Ila perigo na esquina! lies veneeram c o sinal esta fechado l'ara nos que sonms jovens Para abracar men irmito benar minha menina na 111:1 E que se fez o men labio 0 mett bray) c a minim voz Voce me pergunta pela minho paixao Digo que estou encantado ('out uma nova invencilo I.: en sei de ludo na ferida is a do men coracao fziz tempo que en N I s oct3. na lIla Cabelo at, vento. genie jo‘ cm reunida Na paiede da memoria Essa lembranca éo quadro tine din mais Minim dot e pereeber que Apesar de termos felt° tudo title fizemos Ainda somos us mesmos e viVe11105 COMO nossos pais Nossos idolos ainda siio (is mesmos E as aparencias nao se enganam 11110

Voce diz title depots (Ides nil() apareceu ma is ninguem Voce pode ate dizer title en estou por fora On entio que estou inventando Mas e Voce que ama o passado e clue ithui ve Que o 110V0 sempre Velit E hoje CU sei title quem me den A ideia de LIIMI nova consciencia e jUlentude Esta cm casa guardado pot Deus Contando vii metals Min ha dot e per ceber que Apesar de termos fen° ludo Tudo quc lizemos Ainda somos os tnesmos e vivemos Ainda somos os mesmo c vi‘emos Ainda somos (is mestno e vivemos Como nossos pais

I don't x\ ant to tell you Ill dear lo‘ e The things.ive learned in . records I \N ant to tell you hoN\ Eve is And everything that happened to Inc To II\ e is better than to dream And I knon dial line is a !Jam,' t'hing Put I do also kno‘N that any song Is better than the lute . Of anyone So be careful. Inv darling There's danger in the corner!

Ihe have l‘on and the ligh t is red kor US N\ ho are ming To hug my brother And to kiss mv girl on the street My lips mere made As \N ell as Inv arm and my voice You ask about my passion I sa that I ;AM heNN itched a ne\\ invention And I ktum it all on hearts 1i\ e . 55 01111(1 Its beell sometime Sillee 1 sass N'OU MI the street !lair in the \\Md. young People gattlereif around On my memory's 55 all fhis recollection is the painting Ihat hurts the most 1\4‘ pain is to acknom ledge ,that Despite having done everything e've donc We ate still ale same and \\ e As our parents Our idols are still the same And appearances don't fool. oh no You say tliat there Isas.one else after them You can even tell that I knom nothing Or that I am just inventing But it's vim ‘‘ho loves the past and can't see That the nex\ is aim ays coming And today I Kinn\ that 55 110 gave Imenr.Ole The idea of it ne\‘ conscience •and math Is at home under (iod's protection Counting. vile coins My pain is to ackium ledge that Despite haling done ever \ thing Evelvthing We've done We are still the same and ‘xe his c We are still the same aml s e live We are still the same and me live As our parents

43

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tainted blood transfusion, guitarist Francisco Mario developed a keen interest in preserving the roots of his country's musical past. The result isRetratos (Portraits), SCOTT ADAMS which resurrects a variety of Brazilian song forms In both 1993 and 1994, through a heady combinathe Sharp Primeiro award tion of instinct and curiosfor "Best Instrumental Jazz ity. Elegantly recorded, the Recording" has been pre- original material inRetratos sented to Rio de Janeiro's succeeds so well in mainCaju Music. Its the highest taining the undiluted dighonor in Brazil's recording nity of these styles that it's industry. US distributor hard to believe it is not the Milestone World Music has work of some contemporary included three more Caju vision. Not surprisingly, the titles in their summer re- album received little fanfare lease schedule. Canhoto da in Brazil, where musical Paraiba, having influenced tastes run internationally, the careers of Baden Powell but the critics loved it and and Nonato Luiz among you will, too. And finally, others, could well be de- Dirceu Leitte's Leitte de scribed as a "founding fa- Coco (Coconut Milk) finds ther" of modern Brazilian the talented reedman in a samba. Pisando ern Brasa jazzy mixture of choro and (Dancing on Hot Coals) samba that revolves around finds the 67 year old, left several originals as well as handed guitarist recalling works by Milton Nascihis years with such legends mento, Ary Barroso and as sax player Pizinguinha Chico Buarque. and Donga in a well produced setting that features Caju Music has dedicated the late Brazilian guitarist itself to producing the highRaphael Rabello and long est quality Brazilian Instrutime compatriot Paulinho mental music, with the unda Viola. derstanding that each new release breaks new ground.

Before his untimely pass- Owner Barry Powely paints ing from AIDS due to a 1988 an enthusiastic picture for

Brazilian Notas

don jle"larson t

e

Brazilian instrumental music with a clear understanding of his labels' objectives.

"When we started with Caju, our idea was to provide high quality recordings of both new and established musicians and give them the opportunity to create and record under the best possible conditions. We're working to become the Deutsche Gramophone of Brazil, and our quality is something we feel Brazilian music fans will continue to appreciate as they become more aware of what Caju/ Milestone has to offer."

Twenty-seven years ago, when Dori Caymmi's Like A Lover became a hit for Sergio Mendes and Brasil 66, it opened the door to a career that spans two continents. Dori Caymmi's penchant for musical story telling is approaching near legendary status both here and in Brazil. He's blessed with a matched set of musical talent: lilting, gentle melodies that recall his native Bahia, and a voice that is part arid cerrado, part ocean breeze and part rainforest.

Caymmi's If Ever is his fourth US recording for the Warner family of labels (his debut with Elektra and the last three with Quincy Jones' Qwest label) and, not surprisingly, the album carries his trademark signature: If Ever is an artful portrait that combines the musician with his culture, projecting a soft musical focus on the Brazilian spirit. If Ever opens with Stephen Sondhelm ' s "Send in the Clowns," which Caymmi rescues from its over-exYour home away from home. posed past by transforming it into a soulful tone. By framing the melody with Toots Thiele-

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mans harmonica, Caymmi creates a cross-cultural Brazilian saudade, overlaid with the very familiar American melancholy. The result is as refreshing as it is reflective.

Transformation. Tradition. Transition. Caymmi is the self-described gate keeper of Brazilian music (a homage to his famous father, Dorival), and the gate swings wide to accommodate our expectations. Here's his "Irresistible," another Caymmi hit on loan to our American culture, presented for contemporary jazz radio play. Dori Caymmi's duet with Kevyn Lettau, "We Can Try Again," begins with his English lyrics revisiting a bittersweet relationship.

Where his reading is resigned and reluctant, Kevyn' s voice brings hope, the possibility of rebirth. The ability to present interpretive differences such as these displays Caymmi's musical evolution. And instrumentals such as "The Pilgrimage" and "Flute, Accordion & Viola" indicate his growth as a composer and arranger of the greatest caliber. In this respect, IfEver explores new territory, seeking to fill the void leftby Jobim's passing.

And if ever there was a time for Caymmi's impressive musical talent, it is now.

In a time when the Brazilian musical idiom is constantly being stretched and redefined by singers, musicians and producers Dori Caymmi's IfEver stays the course, building upon tradition, punctuating his time-tested impressions with bursts of newly found perspective.

You can sample both of these new releases by calling The Brazilian Music Review Listener Line 24 hours a day at (708) 292-4545.

Available at Tower Music stores, nationwide.

45

,

Car/eta Joaquma with Ma neta

Sev e rraTal Marc' o

Corra que Papai Vem al - A gay man has his life disturbed when his father decides to make him an unannounced visit. By Ron Clark and Sam Bobrick.

Directed by Ary Fontoura.In Rio. Gilgamesh - Director Antunes Filho has based this on a poem of same name. Gigalmesh, a semi-god is beautiful as his mother (a goddess) but mortal as his father (a mere man). Luis American films just released: The Swan Melo plays the hero. In Sao Princess (A Princesa Encantada), The Quick Paulo. and the Dead (Rapida e Mortal), Batman Kean - Alexander Dumas's Forever (Batman Eternamente), Priest 0 story about actor Edmund Kean Padre), Bullets Over Broadway (Tiros na through the eyes of French phiBroadway), Casper (Gasparzinho, o losopher Jean-Paul Sartre. BraFan tasminha Camarada), Top Dog (Top zilian version adapted by Maria Dog: Uma Dupla Animal) Pocanhontas Adelaide Amaral. Aderbal (Pocahontas).

Freire directs. In Sao Paulo Carlota Jo7quina - Princesa do Brazil 0 Livro de Jo - Based on the Brazil - 1994 - Directed by Carla Camurati, Bible, it discusses divine interit tells the story of Dom Jo5o VI's wife. vention and God's power. DiLa Chasse aux Papillons (Caca as rected by Antonio AraUjo. In Borboletas, - France - 1992 - Directed by Sao Paulo.

Otar Iosseliani. The world seen through the Louro, Alto, Solteiro, Procueyes of two women who are against progress. ra - Miguel Falabella, who Gazon Maudit (Uma Cama para Tres) wrote the text, plays all 17 charFrance - 1)95 - The arrival of a woman acters of this comical monoshakes the foundation of a happy marriage. logue. In Rio. Directed by Josiane Balasko.

Nas Raias da Loucura - Name Heavenly Creatures (Almas Gemeas) - Ausinspired by interpreter Claudia tralia - 1994 - A morbid friendship between Raia. Lyrics by Silvio de Abreu two girls who live in a fantasy world. and directed by Ze Rodrix. In La Machine (Memorias do Mal) - France Rio. 1994 - A psychiatrist (Gerard Depardieu) is Noites de Cabrita - Comedy able to read people's minds thanks to a directed by Bibi Ferreira. The contraption he invented.

Cabrita from the title is Le Parfum de Ivonne (Peractress Marcia Cabrita fume de Ivonne) - France who is the interpreter 1994 - Love and friendship in of the monologue. In the 50s among three vulnerRio. able people.

Trair e Cocar E SO Ryaba my Chicken - (0 Ouro Comecar A loony maid dos Tolos) - France/Russia makes life miserable for 1994 - By Andrey Konchaher bosses. In Sao Paulovsky. An old lady is used as lo. a portrait of post-cold-war Yerma - Federico GarRussia. cia Lorca's play critiThrough the Olive Trees cizing false moralism (Atraves das Oliveiras) - Iran and painting a scary - 1994 - A group of people tableau of humankind. struggle to make a movie Eduardo Wotzik diafter an earthquake destroys Antuneslho in rects. With Clarice the region of Koker where games Niskier. In Rio. they live.

Movies

46

1. Pelas Portas do Coracdo Zibia Gasparetto (Espaco, Vida & Consciencia) 2. A Profecia Celestina James Redfield (Objetiva) 3. Comedias da Vida Privada 101 Cranicas Escolhidas Luis Fernando Verissimo (L &PM) 4. Violetas na Janela Vera Lucia Marinzeck de Carvalho (Petit) 5. Na Margem do Rio Piedra Eu Sentei e Chorei Paulo Coelho (Rocco) 6. Do Amor e OutrosDemonios Gabriel Garcia Marques (Record) 7. A Ilha do Dia Anterior Umberto Eco (Record) 8. Nada Dura para Sempre Sidney Sheldon (Record) 9. 0 Alquimista Paulo Coelho (Rocco) 10. A Ilusdo de Scorpio Robert Lundlun (Rocco)

Nonfiction 1. 0 Guia dos Curiosos Marcelo Duarte - (Companhia das Letras) 2. A Magia dos Anjos Cabalisticos - Monica Buonfiglio (Oficina Cultura Esoterica) 3. Maud, Empresdrio do Imperio Jorge Caldeira (Companhia das Letras) 4. A njos Cab alisticos Monica Buonfiglio - (Oficina Cultural Esoterica) 5. Dez Anos no Mar Familia Schurman (Record) 6. ChatO - 0 Rei do Brasil Fernando Morais - (Companhia das Letras) 7. Maktub Paulo Coelho - (Rocco) 8. 0 Povo Brasileiro - Darcy Ribeiro - (Companhia das Letras) 9. Churchill - Memorias da Segunda Guerra Winston Churchill (Nova Fronteira) 10. Zona Quente Richard Preston (Rocco) NEWS from BRAZIL. AUGUST 1995

ON UNCHARTED WORLDS

BRING BACK THE FUN! The picturesque and quaint Northern California town of Los Gatos can't forget the good times Brazilians brought to the place and wants them back. As you may recall Los Gatos hosted the Brazilian national soccer team which just one year ago won the World Cup for the fourth time.

Brazilian soccer fans brought a joy and energy that Los Gatos had never seen before. Willing to replay the magic, the city decided to sponsor an annual celebration of Brazil on its streets. It all starts August 6 at 2 PM and becomes a whole week of Brazilian-style song and partying.

Los Gatos High School will be the setting for a festival of everything Brazilian. There will be booths presenting Brazilian art, products and food. And plenty of music and dance performed by the likes of Aquarela, Pandemomum, Orixa-BA-Bá, Lisa Silva and Capoeira San Jose.

The party has been put together by the town of Los Gatos, the Consulate of Brazil in San Francisco and Brazil Today newspaper. Want to know more?

Call (510) 526-1115.

FROM NY TO LA The East the West and everywhere in between will be again celebrating Brazilian Independence Day. Song, dance, and food will be served in Miami, New York, Chicago, Los Angeles and San Francisco among other places.

Already a tradition, New York's Dia do Brasil — the world's biggest Brazilian festival outside of Brazil — on September 3, a Sunday, will close several blocks on 46th Street for Brazilians and Brazil lovers to revel in.

Brazilian rocker extraordinaire Rita Lee will be the piece de resistance.

On Labor Day, September 4, Los Angeles Brazilians will have their party at the African Market Place and Cultural Faire. Sonia Santos, Kleber Jorge and Marcos Santos, among other artists, will command the fun at Rancho Cienega Park. More info? Call (212) 382-1630 in New York and (213) 7341164 in Los Angeles.

NEWS from BRAZIL. AUGUST 1995

Ready to be as influential in the - 90s as in recent decades. Flora Purim is back and not one day too soon — with Speed of Light.

The new CD. taped in England and the US with talents, from all over the world. features some celebrated names from the jazz world as Freddie Santiago and Giovanni Hidalgo (both from Puerto Rico).

Billy Cobham (Panama).

Changuito (Cuba) and Brazilian Jovino Santos Neto.

Back from a gig in South Africa. Purim's percussionist husband. came with the idea of creating a background of mixed ethnical sounds over which the voice of Purim dominates. Airto and Flora have worked together on more than 30 albums.

Speed qf Light— the name has to do with the experimentalism of the project — has songs by Milton Nascimento (-Portal da Jovino Santos Neto. and Purim and Airto themselves. The CD is being released by Britain's B&W Music.

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(415) 928-5506 Phone/Fax

WHEREVER YOU ARE IN THIS GALAXY

NEEDS

PSYCHOTHERAPY & COUNSELING

IMMIORMIN ATTORNEY

THE BEST OF

BEACHWEAR o,

MIMI

DR. JEffERSON SA

ffiVA I I

VOLUNTEERS FOR PROOFREADING WRITING

FOg A DAILY 3 PAGE SUMMARY OF THE BRAZILIAN PRESS, SUBSCRIBE TO THE

FAX NEWSPAPER A MONDAY THROUGH FRIDAY SERVICE BY

AGENCIA ESTADO

MAINTAINING MAILING LIST & EVERYTHING ELSE

FAX YOUR REQUEST FOR A ONE WEEK FREE TRIAL TO

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COVPA\Y: CO \TACT: ADDRESS: CITY, ST, ZIP: PHO\ E: PRODUCT:

DROP BY AT OUR PLACE ON THE WEB RETURN THIS FORM TO:

NEWS FROM BRAZIL - P.O. BOX 42536 LOS ANGELES, CA 90050 OR CALL (800)354-4953

http://www.earthlink.net/—brazziVindex.htm

FOR AD, CALL NOW 213 255-8062 NEWS from BRAZIL - AUGUST 1995

FEIRA LIVRE OPEN MARKET CATERING

MAGAZINES & NEWSPAPERS

Joy's Catering - "We Make Your Party" - Dinners, salad bar, finger food and petit fours. Now cooking frozen food for your busy week. Call (310) 438-3415.

CLASSES

Jornais e revistas do Brasil.

Recebemos jornais diarios e todas as principais revistas, incluindo masculinas e femininas, alem de gibis, palavras cruzadas e livros de bolso. Tel. & Fax: (617) 787-0758.

Computer classes - Groups and private classes. (818) 507-1521.

Looking tor a very fast, efficient and pleasant way to learn Brazilian Portuguese? (415) 991-3476

Brazilian Music in its totality.

Samba, bossa nova, chorinho, balk>, axe, and more. Merchant Express - (800) 589-5884.

Portuguese lessons - Designed for all levels, in an informal fun atmosphere. The instructor is a native speaker with Master Degree/teaching experience in the US. (415) 383-8859.

COOKING

Best Selling Brazilian Cookbook - Delighful Brazilian Cooking

by Eng Tie Ang. Over 130 authentic, quick and easy recipes. $14.95, plus $3.00 shipping and handling. P.O. Box 30818 - Seattle, WA 98103 - Phone and Fax (206) 789-3693.

ENTERTAINMENT

Exotic samba dancers - Traditional music and dance of Brazil. For clubs, celebrations, etc.

Video available. (408) 4642234.

Experienced "Brasileiro" Guitarist available to perform Originals, Jazz and Brazilian Music. Call (805) 288-2076.

The best Brazilian dance group in San Francisco & Bay Area with the performing experience in movies, clubs and other celebrations. Video available. Call (415) 312-8667.

INCOME OPPORTUNITY

Make $$Smoney at home! No gimmick! Send S.A.S.E to Goldberg Co. 1453 14th St. Box 275 - Santa Monica, CA 90404 JOB OFFERED

Attitude over resume - Looking for bilingual (Portuguese a plus) to help with growth of international company. Must have a positive, business minded and money motivated attitude.

Call (714) 581-3312 for interview. Training & travel available.

News trosIjjrjrztI on the WEld http://www.earthlink.neti --brazziltindex.htin NEWS from BRAZIL. AUGUST 1995

Music

PERSONAL

American businessman has lived in your country and loves your people, music, & dance.

Desires friendship/romance with brasileira between 22-30 years.

Interests include yoga, health food, nature. Please write R.B. 1106 2nd St. #268, Encinitas, CA 92024.

American Doctor, male, seeks Brazilian lady, 18-32 for fun and romance. Must be pretty.

I'm very handsome and look Brazilian. (213) 293-8909. Los Angeles area.

American Jewish man, 36, sincere, deep, fun, active, doctor, seeks Jewish lady under 35 with brown eyes and long dark hair, in Los Angeles area. (310) 2713168.

American Plastic Surgeon. Internationally recognized. Attractive. Athletic. Has toured Brazil. Seeks intelligent, athletic, attractive, non smoking Brasileira who likes skin diving, aerobics, surfing, outdoor photography & cooking. Ages 2230. Send photos and C.V. to G.M. -2318 Washington - Great Bend, Kansas, 67530 - U.S.A. Americano: 31, handsome, secure, seeks Brazilian lady 22-32 for lasting relationship. Eu falo Portugues. Send letter and photo to Brad, 5510 Sepulveda Blvd., Apt. #212, Sherman Oaks, CA 91411.

American°, divorciado, branco, 51 anos (parece 44 anos), 176 centimetros, 71 quilos, olhos azuis, cabelos castanhos, engenheiro, monogamo, casa propna.

Nao fumo, pode fumar. Procuro uma mulher delgada ou media ate 40 anos que more pert° de Simi Valley, para relacionamento serio. Responda em ingles coin sua foto, por favor.

Patrick O'Bryan, 1728 Townley Circle, Simi Valley, CA 93063.

FE1RA LIVRE RATES: 50e a \\ ord. Phone is one \\ ord .

DISCOUNTS: For 3 times deduct 5"0. for 6 times deduct I 00. for 12 times deduct 15"0.

POLICY: Al! ads to be prepaid. Ads are accepted at our discretion. Sorry, no credit card at this time. Your canceled check is ur receipt. Please. include address and phone number. ‘‘ hich w ill be kept confidential.

DEADLINE: The 15th of the month. Late material will be held for the following month if appropriate.

TO PLACE AD: Send ad with check or money order to: News from Brazil P.O. Box 42536 Los Angeles, CA 90050-0536.

American°, 37 anos, delgado, olhos azuis, professor de Ingle's.

Fala Frances, Espanhol, Italiano, Portugues. Deseja encontrar brasileira, 18-30 anos. Escreva para William, 1431 Ocean Ave., #1106, Santa Monica, CA, 90401.

French American guy looking for friendship with Brazilian men 35-55. (310) 659-3139 or write: Occupant, P.O. Box 16655, Beverly Hills, CA 90209.

If you are in your twenties and would not mind living in California, you are an ideal candidate for an honest highly educated (Ivy League) financially secure, executive who likes to travel with you around the world, walk on the beach, cuddle with you in front of the fireplace in a ski chalet, go to concerts, Scuba dive and go to movies. Hopefully both of us can also give a little to others and help those in need. Please send a letter with picture to: 3857 Birch, Suite 454 - Newport Beach, CA 92660.

Call (714) 345-8338.

L.A./Ph.D. - Loyal, funny and supportive seeks smart, loyal and young Brazilian lady age 28 to 35 for love and companionship.

Write letter with photo to Dr. G. Martin - 1107 Fair Oaks #I84 South Pasadena, CA 91030 or call (213) 223-6100.

Single American male seeks Brazilian women, 18-35 years old. I am 34 years old, healthy, attractive, romantic. Please send note & photo to: 2440 16th St. #179, San Francisco, CA 94103.

Successful, wealthy, goodlooking marriage-minded romantic American comedy writer, 30, speaks a little Portuguese, seeks slender, intelligent, educated, English-speaking, non-smoking, non-religious brasileira in L.A. area. Note &

photo to: Occupant, P.O. Box 3757, Santa Monica, CA 90408 PSYCHOTHERAPY

Elizabete Almeida MFCC licensed psychotherapist. (310) 281-7536.

REAL ESTATE

BUYING, SELLING, RENTING - Let me assist you with all your Real Estate needs. Anywhere in the U.S. through National Referral Services. Call Debora Jackson at (703) 5480700. McEnearney Associates Inc. RECIPES

Brazilian recipes - 18 of the most popular Brazilian foods, including "comidas baianas" (Bahian food) and delicious "sobremesas" (desserts). Special price for News from Brazil readers. Send $2.55 (includes shipping and handling) to: Landmark Publications, Dept. C-1, 15860 Landmark Dr. suite 19, Whittier, CA 90604.

SERVICE OFFERED

Civil Engineer with Master's Degree offers service. (Substantial knowledge of computers and software.) (818) 507-1521.

Pyramid Press offers: typesetting, copyediting, custom desktop publishing. Low rates! Call for estimate (310) 518-3425.

TRANSLATION & INTERP.

Certified translator, fast and reliable. Call Sonia (813) 7747458.

J. Henry Phillips, simultaneous interpreter and ATA accredited Portuguese translator: (512) 834-1941. Fax: (512) 834-0070.

49

TV & RADIO

THURSDAY 3 P.10111 8:00 PM - Rio Ecstasy with Marta Sargentelli at Scala Miami - (305) 371-5604 - Every Thursday to Sunday

Lgi aTewohl COAST TO COAST TV Beautiful Brazil - Every Saturday, 9 PM (East Coast Time) with Goulart de Andrade on the International Channel (In Portuguese with English subtitles)

BOSTON Coracao Brasileiro - Every Sunday, 12 00 noon with Dennis Miller - 88.1 FM VVMBR

9:00 PM - Boca Livre at SOB

1:J4:1114111411Mal 9:00 PM - Caddo & guitar at Nino's

M.101ifil00101 re1.11011.

9:00 PM - Katia Moraes at 14 Below

FRIDAY 4 Vidas Secas in Berkeley

10:00 PM - Yes Brazil at Brasil Fantasy - (305) 461-5669 - Every Friday

[si 40k itill:arei k WAWA.

THURSDAY 10 1:11:1:141114vtiMagi 9:00 PM - Carla() & guitar at Nino's

8:00 PM - Rio Boogie at Tripps

1=11101i El iTirolOINAIIKAN

CHICAGO

SATURDAY 5

9:00 PM - Kleber Jorge & Rique Pantoja at 14 Below

The Sounds of Brazil - Every Saturday, 10:00 pm Midnight , 95 5 FM, VVNUA with Scott Adams

10:00 PM - Yes Brazil at Brasil Fantasy - (305) 461-5669 - Every Saturday

LOS ANGELES Sounds of Brazil - Every Thursday, Noon - 2:00 pm, KPFK, 90.7 FM with Sergio Mielniczenko Brazilian Hour - Every Saturday and Sunday, 9:00 am - 10.00 am, KXLU, 88.9 FM with Sergio Mielniczenko

MIAMI RADIO Brazilians Love Jazz - Every Sunday, 5.00 pm - 6:00 pm with Gina Martelli -93.9 - Love 94

TV BTN (Brazilian TV Network) - 11.00 pm - 1 00 am, DCI ch. 40, S South ch. 51, Adelphia ch. 52, Gold Coast ch. 99 Luqui Corporation -Jornal Bandeirantes - 11:00 pm 1 00 am, Dynamic ch. 20, S South ch. 41, Gold Coast ch 44, DCI ch. 45

1:14:111411141 5:30, 8:00 & 9:30 PM - Nelson Pereira dos Santos's Vidas Secas and Fome de Amor at Pacific Film Archive (510) 6421412 rc WIWI)]IIIMM 7:00 PM - Copacabana Summer Fest Carnaval with Aquarela Dance Ensemble & Brazilian Band Entre Nos at the Hollywood Palladium (213) 852-7119 or Ticketmaster

L01-11i1Ore141441 10:00 PM -Constellation Band at Café Danssa

SUNDAY 6 liDNEHI:10iTel:umI 7:00 PM - Marcos Santos & Sambata at Foothill

ITNII:1:110101 IWO asi

FRIDAY 11 L'11Illavailk 8:00 PM - Rio Boogie at Tripps

SATURDAY 12 1:140N4 II WI

5:30, 7:10 & 9:05 PM - Nelson Pereira dos Santos's Como Era Gostoso e meu Frances and Azyllo Muito Louco at Pacific Film Archive (510) 642-1412

ANGEL ..LOS ;jinl; ab! tly4thi. xL:43uli 304) 84581146_8t51190S4w Sapt

BBokaos sliiri Hills- 610) 659-1200" Cafe Danssa3 (10 -11533 W. Pico West - 3 ) 4787866 Canotfo -

Beverly Hills (310) 274-73-1 entury Supper Club 10131 onstellation ala l3n1s :4 $i'77i7W n ):5:,53A-ga -

-

4.04)*1 kr

o liiikl!2t32FroC)h91. 6;_9Aiv9ofill togr

2:00 PM - 8:00 PM - Brazilian Folklore at 14 La Perla Restaurant, 1832 Columbia Rd. -(202) 723-5854

'EiY4:Uillg.1.1:Z5:44.,Yentura 13r Ci ty 980-81581, Saint Marks -23 Windward Aye. Verilei!"4:‘',31.0)'. 452-2222 Tatou

WEDNESDAY 9

lfeerly Hills (310)51'rlY 955 Zabwnba -10717 Veni Blvd Culver City (310) 841-6525 -

-

10:00 PM - Raga Negra at SOB - (305) 534-4288 so

NEWS from BRAZIL- AUGUST 1899

SUNDAY 13

111[010[01:1W2011:11111MS .:00 PM - Marcos Santos & SambaLa It Foothill

iTATERI:11010 MOVII

.:00 PM -8:00 PM -Brazilian Folklore It 14 La Perla Restaurant, 1832 ColumOa Rd. - (202) 723-5854

THURSDAY 17

1:114S114114AMO -:00 PM - CarlAo & guitar at Nino's Ok fill rim Ma i00 PM - Marcos Santos at 14 Below

FRIDAY 18 [044 111107Mik

.:00 PM - Rio Boogie at Tripps

SATURDAY 19 1:14:11141471

:00,7:05 & 9:30 PM - Nelson Pereira los Santos's 0 Amulet° de Ogum and ienda dos Milagres at Pacific Film -rchive (510) 642-1412 I 01-1FinteiWI 10:00 PM - Lula & Afro-Brazil at Café anssa

SUNDAY 20 I 0101c1 :WAR :00 PM - Marcos Santos & Sam baLA

at Foothill - SambaLa first anniversary celebration.

THURSDAY 24 1:10:1114111411MIN 9:00 PM - Carla() & guitar at Nino's

F:fil k fill M•101reliltea§ 9:00 PM - Katia Moraes at 14 Below

FRIDAY 25 1:14:111411141 7:30 - Nelson Pereira dos Santos's MemOrias do Carcere at Pacific Film Archive (510) 6421412 MI 9:00 PM - Lulu Santos at Club Amnesia - (305) 944-4640 DR 40k illrIMENIIVAIM! 8:00 PM - Rio Boogie at Tripps

SATURDAY 26 1:14:1:1411474 5:30, 7:30 & 9:25 PM - Nelson Pereira dos Santos's Na Estrada da Vida and Jubiaba at Pacific Film Archive (510) 6421412

1101-,LIOlei II al 10:00 PM -Constellation Band at Café Danssa 10:30 PM - Katia Moraes at Luna Park - 665 N. Robertson Blvd. (310) 652-0611

SUNDAY 27

SAN FRANCISCO

Alberto's • 736 W. Dana St Mtn View,(4 15) 968-3007 Aloft • 469 Bush Street San Francisco (415)2490900 Ashkenaz " - 1317 San Pablo Ave.-Berkeley (510) 525-5054 Bahia • 41 Franklin St, - S. Francisco (415) 626-3306 Bahia Cabana • 1600 Market St. - S. Fco. (415) 861-4202 Chambord - 152 Kearney St, S. Francisco (415) 434-3688 The Ferryboat - Embarcadero St, Pier 3, SF, (415) 788-8866 Nino's - 1916 Martin L. King Jr., Berkeley (510) 845-9303 Pasand Lounge - 2284 Shattuck Av., Berk. (510) 848-0260 The Ramp - 855 China Basin San Francisco (415) 621-2378 Yoshl's - 6030 Claremont Ave. Oakland (510) 652-9200

EWS from BRAZIL - AUGUST 1995

TV & RADIO

I 01 NI :laiTel Iffilffi 7:00 PM - Marcos Santos & SambaLA at Foothill - SambaLa's first anniversary celebration.

NEW YORK/ NEW JERSEY RADIO Brasil corn S - Every Saturday, 9:00 PM with Judith King, 88.3 FM - WBGO Brazil FM - Every Sunday, 10:00 PM with Tulio Reis 105.9 FM - WNWK Brazil Street Samba - Every Friday, 10:00 PM with Leo Costa & Alberto Lopes - 89.9 FM - WKCR Radio Amaz6nia - Every day, 6:30 PM on short wave -6185 MHZ

TV Brazilians in America-TV - Every Sunday, 5:30 PM Channel 16

SACRAMENTO California

The Sounds of Brazil - Every Sunday, 11 00 pm - 1 00 am KSSJ FM, 101 9 with Scott Adams

S. FRANCISCO

101ATATAIel 011 8:00 PM - "raffia Maria at Blue Note

Agora Brasil - Every Saturday, 3:00 PM - 4:00 PM, KPFA, 94.0 FM with Elvira Cola and Eric Taller Brasileirinho - Every Wednesday, 9:30 PM, KZSC, 88.1 FM with Renato Frota Canta, Brasil - Every Sunday, 6:00 PM - 8:00 PM KKUP, 91.5 FM, with Xuxu,

THURSDAY 31 1:11:1a4I

Maria Jose and David Heyman Programa de Domingo -

7:30 PM - Nelson Pereira dos Santos's A Terceira Margem do Rio at Pacific Film Archive (510) 642-1412

Every Sunday, 1:00 PM 2:00 PM, KSQQ 96,1 FM with Lino Bugatti A Taste of Brazil - Every Sunday, 10:00 PM - 11:00 PM, KKSF, 103.7 with Dick

TUESDAY 29

I:14 Z1114 WAWA 9:00 PM - Carla° & guitar at Nino's

glAnfAM•101[011ffilll 9:00 PM - Hugo Jogo at 14 Below

Conte Tropicalia Brasiliana -

4/0a /

Irei:111.10rei 41114:1 10:00 PM -Sergio 2000 Band at Café -anssa

9£9Zt7 x0E1 'O'd 01 p ew-11100'10e•smaul1zei4 011! H ew-3 . L817C-L9Z £1.Z 01 0/ 11!Jep ua1e0 H10x • eaCI'Z908- SS Z(£1, Z) 11e3JO 09006 VO "V 1

calendar - august 95 - u.s.a.

Every Friday, 8'00 PM - 9 00 PM, KUSF, 90.3 with Rai. mundo Franco

51

Boston Area Books Livraria Plenitude (800) 532-5809 Consulate Consulado G. do Brasil (617) 617-542-4000 Dentist Sylvia P. Lease (617) 924-1882 Food &Products Aqui Brazil (617) 787-0758 Brasil Brasil (617) 561-6094 Jerry's Cachaca (617) 666-5410 Instruction Bras. & Amer. 14. Inst.

(617) 787-7716 Music Brazil CDs (617) 524-5030 Publications The Brazilian Monthly (617) 5664651 Restaurants Cafe Brazil (617) 789-5980 Tropicana (617) 567-4422 Pampas Churrascaria (617) 661-6613

Chicago Consulate Consuls& G. do Brash (312) 464-0244 Translations Portuguese Lang. Ctr. (312) 276-6683

Los Angeles Accountant Sheila Shanker (310) 836-3436 Airlines yang (800) GO VARIG Vasp (310) 364-0160 Arts 8. Crafts Bakari Art Studio (213) 938-0523 Folk Creations (310) 693-2844 Uniquely Brazil Folk (818) 458-1474 Zebi Designs (310) 391-6530 Auto Repair Cosnto Auto Parts (213) 259-9818 Banks Banco do Brasil (213) 688-2996 Catering Joy's Catering (310) 438-3415 Reml Vila Real (818) 280-0061 Clothes Samba (310) 983-9190 Summer Brazil (310) 455-1772 Clubs & Associations Brazil-Cal. Chbr of Com. (310) 202-6820 Centro Cultural Gaucho 52

(213) 256-6548 Clube Bras. da Calif.

(714) 857-6764 MILA - Samba School (310) 391-6098 SambaLi -Esc. de Samba (310) 983-9190 Computer Henriques - Maintenance (818) 767-5153 Consulate Brazilian Consulate (213) 651-2664 Dentists Gilberto Henriques (213) 464-0524 Jose Carlos D. Polido (714) 848-9200 Events Promotion Brazilian Nites Prod.

(818) 566-1111 Pegasus - Parties & Ent. (818) 549-0383 Ricardo Gehr (818) 831-0992 Food & Products Brazilian Market (310) 827-9139 Import/Export Brazil "A" US (310) 607-9771 Instruction Brasil Brash Cult. Ctr (310) 397-3667 Modern Lang. Center (310) 839-8427 Legal Services Melnjas & Ferraz (310) 360-0901 Music Bossa Nova - Georgia (818) 891-0912 Braz. Jazz /All Occasions (310) 839-3788 J1121 Richard Samuels (818) 798-5424 Physician Paulo Coharte (310) 285-9670 Decio Rangel (310) 828-7454 Ingrid Rodi - Gynec.

(310) 451-8144 Nilson A. Santos (213) 483-3430 Psychother/Counsel.

Elizabeth Almeida M.A. (310) 281-7536 Fatima Castro (310) 822-6770 Dr. Jefferson Si (818) 592-0402 Publications News from Brazil (213) 255-4953 Real Estate • Cent. 21 - Solon Pereira (310) 633-0787 Cold. Banker - J. Freitas (818) 304-9562 Restaurants & Cafes Boss* Nova (310) 657-5070 Brazilian Tropical (714) 720-1522

By Brazil (310) 787-7520 Café Brazil (310) 837-8957 Lulu's Alibi (310) 479-6007 Pan Handler (714) 970-5826 Rio Grande (818) 376-0202 Yolie's Brazilian Steak (714) 251-0722 Zabumba (310) 841-6525

Translationlinterp.

Brazilian Int. Affairs (310) 854-5881 Tocantins Communic.

(818) 343-4451 Travel/Tours Around the World Tn. (800) 471-6333 Brazil Air (800) 441-8515 Brazil Tours (818) 767-1200 Cheviot Hills Travel (310) 202-6264 F & II - Hotel Repres.

(800) 544-5503 Heliview - Helicopter (805)297-3691

Miami Airlines Transbrasil (800) 872-3153 yang (800) 468-2744 Vasp (800) 732-8277 Banks Banco do Brash (305) 358-3586 Banco Nacional (305) 372-0100 Banco Real (305) 358-2433 Banespa (305) 358-9167 Clubs & Associations ABFC -A.. Bras. da Flan.

(407) 354-5200 Cam. Corn. Brasil- EUA (305) 579-9030 ARARA - Amazon. As. (813) 842-3161 Consulate Consulado do Brash (305) 285-6200 Dentists Arnaldo Souza (305) 595-3238 Hedimo de Si (305) 262-8212 Food & Beverages All Bras. Imp. & Exp. (305) 523-8134 Guarani Esteves (305) 345-1540 Via Brasil (305) 866-7718 Physicians Dr. Jorge Mace& (305) 271-7311 Dr. Mario Sanches (305) 541-7819 Dr. Neri Franzon (305) 776-1412 Publications Florida Review (305) 374-5235 Restaurants Brazilian Tropicana (305) 781-1113 Brazilian Delight (305) 374-0032 Brazilian Pie (305) 866-1001 Cheese Bread House (305) 443-5358 Guts Gula (305) 532-3636 Travel Agencies Brazilian Wave (305) 561-3788 Discover Brazil Tours (800) 524-3666 Euroamerica (305) 358-3003 International Tours (800) 822-1318 Luma Travel (305) 374-8635

Monark Travel (305) 374-5855 New Port Tours (305) 372-5007 Venture Travel (305) 379-7678 Via Brasil Travel (305) 866-7580

New York New Jersey Books Lasso-Brazilian Books (800) 727-LUSO Clubs & ASsociations Brazilian Ch. of Corn.

(212) 575-9030 Brazilian Corn. Bureau (212) 916-3200 Brazilian Trade Bur. (212) 224-6280 Consulate Brazilian Gen. Cons.

(212) 757-3080 Food & Products Amazonia (718) 204-1521 Coisa Nossa (201) 578-2675 Merchant Express (201) 589-5884 Publications The Brasillans (212) 382-1630 Brazilian Voice (201) 955-1137 Portugal-Brasil News (212) 228-2958 Samba Newsletter (718) 937-0574 Restaurants Brasilia (212) 869-9200 Brazil 2000 (212) 877-7730 Brazilian Pavillion (212) 758-8129 Cabana Carioca (212) 581-8088 Indigo Blues (212) 221-0033 S.O.B. (212) 243-4940 Travel Agencies Barb Tour Service (201) 313-0996 International Sandny (718) 699-2900 Mystical Destinations (718) 956-1630 Nascente Travel (718) 545-0608 Odyssea Travel Service (212) 826-3019 Santos Dumont Int. (212) 764-5680

San Diego Attorney Ivan Porto (800) 314-4826 Clubs & Associations Ciube Bras. San Diego (619) 295-0842 Sunday Night CL Brazil (619) 222-6911 ImportlExport Brazil Imports (619) 234-3401 Money Remittance Vigo-California (619) 479-V1GO

San Francisco Area —Airlines Varig (415) 986-5737 Vasp (800) 732-VASP Attorney Ralph Baker (510) 444-8100 Auto Repair

Musical Instruments Tamborim & Samba (415) 871-2201 Physician Dr. Guilherme Salgado (415) 832-6219

Nelson Auto Repair (415) 255-6717 Matte Auto Body (415) 565-3560 Banks Banco do Brasil (415) 398-4814 Beauty Salon Bibbo (415) 421-BIBO Carmen's International (415) 433-9441 Dalven Hair Design (415) 433-7646 Neyde's (415) 681-5355 Bike Repair West Bike (415) 241-9125 Clubs B.A.S.O. (415) 661-2788 Bay Area Brasillan Club (415) 334-0106 Computer Micronet (415) 665-1994 Consulate Brazilian Consulate (415) 981-8170 Dance Instruction Aquareia (510) 548-1310 Brazil Culture & Arts (510) 215-8202 Ginga Brasil (510) 428-0698 Escola Nova de Samba (415) 661-4798 Samba do Coracao (415) 826-2588 Samba, Swing & Suor (415) 282-7378 Dental Care Roberto Sales, DDS (510) 451-8315 Food Brazilian Coffee Dist.

(415) 648-5966 California Produce (415) 586-6200 HGC Imp. Wholesale (408) 947-8511 Instruction Portuguese - A. Frame (510) 339-9289 Portuguese Lang. Serv.

(415) 587-4990 Money Remittance Via Brazil (415) 673-0262 Vigo (415) 863-0218 West Brazil (415) 695-9258 Music Fogo na Roupa (510) 635-8406

Marcos Silva (510) 945-0138 Terra Sul (415) 752-9782 Viva Brazil (415) 342-8508 Voz do Brazil (415) 586-2276

Printing M. C. Printing (510) 268-8967 Publications Brazil Today (510) 223-5190 News from Brazil (415) 648-5966 RestaurAlight Clubs Bahia Cabana (415) 861-4202 Café do Brasil (415) 626-6432 Café Mardi Gras (415) 864-6788 Canto do Brasil (415) 626-8727 Little Rio (415) 441-3344 Michelangelo Cali (415) 986-4058 Nino's (510) 845-9303 Taqueria Goyaz (415) 821-4600 Soccer Sunset Soccer Supply (415) 753-2666 Translation Port. Lang. Services (415) 5874990 Raimundo Franco (415) 285-8364 Travel Agencies Rio Roma (415) 921-3353 Santini Tours (510) 843-2363 Tucanos Travel (415) 454-9961

Washington DC Area Airlines Transbrasil (202) 775-9180 Varig (202) 331-8913 Vasp (202) 822-8277 Banks Banco do Brasil (202) 857-0320 Banco do Est. de S.Paulo (202) 682-1151 Clubs & Associations Bras. Am. Cult. Inst.

(202) 362-8334 Inst. of Brazil. Business (202) 994-5205 Embassy Embaixada do Brash (202) 745-2700 Travel Agencies Intern. Discount Travel (703) 750-0101 Washington Travel (703) 527-6977

NEWS from BRAZIL - AUGUST 1996

REAL ESTATE

JOSEPH FRETTAS

• Portuguese Speaking • When Buying or Selling a Home • San Gabriel'San Fernando Valleys • Free Consultation, Appraisal • Great Referral Network throughout the U.S.A. • SEU AGENTE IMOBILIARIO SEMPRE A SUA DISPOSIcA0

"Professionalism At Its Best" COLDWOLL BANIIKeR Expect the best!

99 S. Lake Ave Pasadena, California 91101

(818) 584-0050 Ezt. 480 (818) 304-9562 Res.

AMS TRAVEL AGENCY Ingpmmw PASSAGENS AEREAS E SERVIPOS DE REMESSA

Licenciados pelo Departamento de Bancos REMESSA DE DOLARES PARA 0 BRASIL E TODA A AMERICA DO SUL E CENTRAL Faga sua rem ssa corn seguranga e rapidez Ligue gratis para

1-80 548-8052

BR AM IR ARKET BRASIL. JOFIFIAI

BRASIL BRASIL CULTURAL CENTER CAPOEIRA MARTIAL ARTS

AFRO-BRAZILIAN MUSIC & DANCE

CULTURAL

PORTUGUESE

EvENTs

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YOUR BRAZILIAN DENTIST NEWS from BRAZIL - AUGUST 1995

53

On the eighteenth of April, 1995, I woke up in New York. The night had been tranquil, I had slept well and felt rested and ready for the show which was about to take place. New York, syncopated spindle of Spring. I soon remembered that I was at the Parker Meridien, where the musicians and artists who would appear in that evening's "Tribute to Tom Jobim" were staying. I took a quick shower like someone who was late for an unexpected appointment.

Soon I found myself in the lobby of the hotel, or rather in its pink marble atrium, when I bumped into Milton Nascimento. Milton was one of the artists invited to participate in the Tribute.

I fooled around with him as I had for years when we met by scheduled-surprise in radio stations and shows in Brazil and Los Angeles. I asked him playfully "What are you doing here?" and without waiting for an answer, gave him a hug expressing how good it was to see him, confirming to myself that I was in the right place.

This was a very special mission. I thought of my many years of radio production. The "Brazilian Hour," which began in the Los Angeles Consulate in 1978, was now broadcast over more than 30 stations in the United States and a hundred worldwide. Brazilian music, how many friends it has given me: Milton, Ivan, Bosco, Sergio, Dori, Rique, Gil, Laurindo, Oscar, Moacir, Rafael, Tom, Aloisio, Nana, Eliane, Tania, Gal, Marina, Joyce, Paulinho, Viola, Ricardo, Arid, Caetano, Leny, Zizi, Rita, Nara, Roberto, Menes cal, Egberto, Edu, Chico, Luiz Gonzaga, Sivuca, Hermeto, Baden, Bethania, Elizeth, Elis, and more. All now played within me like a non-stop musical film. Something Tom said came back to me: "To do something well, you have to love what you're doing."

The morning sped by. The spinach omelet and coffee looked like California but tasted like New York. I had breakfast in a diner on the corner of 56th Street and Eighth Avenue, a half block from the hotel, a kind of "Cafe 50's." I drank my coffee listening to interior Jobim. I savored the East Coast flavors, knowing this would probably be my first and last meal of the day. It was 11 o'clock, and I had some time left before immersing myself in my mission—to write about the event and interview musicians for the radio program. So I decided to go back to the beginning, that is the beginning of the bossa nova movement in the United States.

I walked down 56th Street and turned left. Carnegie Hall was majestic with flags and banners that read "The One and Only" flapping in the wind. Tbc; appellation seemed to me more than appropriate. It was here that Jobirn, Joao Gilberto, Oscar Castro-Neves, and Sergio Mendes — the famous bossa nova gang —played in 1962. Flown in as if by

I walked down 56th Street and turned left.

Carnegie Hall was majestic with flags and banners that read "The One and Only" flapping in the wind. The appellation seemed to me more than appropriate. It was here that Jobim, Joao Gilberto, Oscar Castro-Neves, and Sergio Mendes — the famous bossa nova gang — played in 1962.

Your absence hurts, Maestro!

SERGIO MIELNICZENKO

From top Ary Barroso, Jobim, Bosco, Lyra

magic carpet on PanAir and PanAm, that night they changed the course of our music and world music, too. I entered Carnegie Hall as if I were entering a temple, imagining how those boys from Rio had felt on that November 27 night in 1962, more than 30 years ago.

In 1988, when I interviewed Tom, he mentioned how surprised and in some way unprepared the musicians had been.

Not musically of course, but they had left Rio in the hundred degree heat of summer and arrived in the Big Apple's winter chill. Ipanema froze. But the music was balmy and seductive, so much so that it soon became the sound of the sixties, the seventies, and today still lives in the chords and phrases of musical artists of every kind. After Carnegie Hall, Tom Jobim would hear his compositions sung by Frank Sinatra, Sarah Vaughan, Ella Fitzgerald, and, years later, by Sting among many, many others.

Stan Getz with his impeccable tenor sax, Jodo Gilberto's guitar and vocals, Astrud Gilberto whose tenuous voice was never intended to sing "Summertime" at the Metropolitan Opera, seduced us, as did Jobim's two-finger piano which soon made the "Girl from Ipanema" the most famous $irl in the world. This was the beginning of the simple, of less is more.

Inside the "Hall," I paid tribute to the place which had been so receptive to our music. How would Tom's night be now, so many years later, at Avery Fisher Hall? The concert should be memorable — the musicians are all first class and the music indisputably beautiful.

At the beginning of 1995 when the Tribute was in the planning stage, I was invited by Carmen Santos Ritenour, the event's producer, and Lee Ritenour, its musical director, to create a musical review of Tom's work to serve as a touchstone for the American musicians in the form of a digital tape of songs with which they could familiarize themselves and select what they would present. After two weeks of meditation I came up with the seemingly mystical number of 33 songs, interpreted by numerous artists, both foreign and Brazilian.

In spite of knowing intimately that the majority of the musicians were already well acquainted with Tom's music, actually listening to the recordings of his compositions brought up something we had been thinking and saying for years: his music is beautiful, involving and inspiring but, like many of the simplest things in life, it had failed to crystallize for me into something beyond the obvious, to take a new form. It was like the experience of maternal love about which we all talk but only mothers understand. I felt the depth and simple beauty of Tom's work and all that which he had given and told us as time passed,

NEWS from BRAZIL - JUNE 1995

little by little. To die, to be born, to love.

I ended up with a small but representative selection of recordings. To have a collection of his songs would always be a gift, a tender living memory.

On the way back to the hotel, I decided to stop by the Steinway & Sons piano store which, according to an article in that morning's New York Times, had been sold along with other company stores and factories for one hundred million dollars to Semer, known for its premier saxophones.

I recalled with a smile that Jobim's piano on the Getz/Gilberto sessions was a finely woven counterpoint compared to some forms of jazz, from "bebop" to "cool", it was Brasilia and the calm of Ipanema in the sixties, few notes but what impact! The pianos rested silent and majestically tranquil, awaiting some delicate fingers to come and touch them.

Insensatez?

It was already early afternoon. Manhattan wasn't resting and never would.

The yellow cabs were fighting for imaginary space on the streets. The traffic lights changed colors rhythmically. It was the sound and spirit of the city which had at one time inspired Gershwin, Porter, Goodman, and Jobim himself.

Back at the hotel I went up to the 39th floor, from which Central Park looked like a scale-model, to say hello to Lee Ritenour and Carmen. Carmen had been involved for the last 13 years with music and art in the US as the founding director of the Sociedade Cultural Arte Brasil and C.S. Productions. In these years Carmen has been dedicating herself to multi-media projects involving Brazilian music, film, photography, video, sculpture and painting, encouraging the North American public to immerse itself in our worlds of Brazilian art.

Producing along with her husband, Lee Ritenour, Carmen created some celebrated concerts, among them "Earth Day 90" and "Earth Voice" in 1992, with the participation of renown artists like James Taylor, Gilberto Gil, Maxie Priest, Anita Baker, and James Ingram among others. Both concerts were staged in Tokyo, Japan. Among the art shows she promoted were expositions at the Guggenheim in New York and the Modern Art Museum of Sao Paulo.

On the 18th of April, Carmen was constantly on the telephone. As concert producer and coordinator, for her time was critical, an emergency; the many crises demanding resolution multiplied and bloomed like the buds on the trees in Central Park. Concerns and demands resounded: Joao's little Persian carpet, Gal's Italian makeup man, the ironing board which had to be brought to the theater by taxi, budget control with Mark Wexler, preparations for the cocktail party to be held at the hotel that night.

Innumerable calls pleading for tickets

NEWS from BRAZIL - JUNE 1995

for artists who had come to New York just for the show. The ticket problem (there weren't any) would become the topic of the day. It was said that as soon as they went on sale they ended just like the "one note samba."

Lee Ritenour was talking with Zero Nelyn, the production manager, going over details. I was reminded that Lee and Carmen had undertaken numerous productions together, both of his own shows and those grandiose ones in Japan, Europe, and Indonesia.

In some part of the hotel or on the other side of the world, Joao Gilberto, as always, was continuing to be one of the mysteries of the night. No one had seen him or heard from him and, from what we gathered, he had changed hotels in the past few days and unexpectedly returned. His spokesman was his manager, Gil. Not to be confused with Gilberto Gil. Would Joao be present at the performance or would he change course at the hour of reckoning? We would know only at show time. Joao has always been a bossa nova Houdini.

There were lots of musicians, picked as if from a music box containing a few rare jewels. Milton Nascimento was seen from time to time walking with friends down 56th Street on the way to who knows where, on one of his many crossings of New York. All were somewhere in the city, each preparing for the event in his or her own way, maintaining privacy, waiting. Out there were Gal, Caetano, Nana and Danilo Caymmi, Mancha, Astrud Gilberto (who has been living in the City for many years). Would she sing "The Girl from Ipanema"?

The pianist Eliane Elias has also been living in New York since the seventies. Paulo and Daniel Jobim had already arrived from Rio. Maestro Oscar Castro-Neves, based in Los Angeles, would be the one who maintained the evening's flow, cohesion, and musical balance.

In the last decade, Oscar had become the ideal musician. Apart from being a renown arranger, he has become involved with the art and science of phonographic production as well as creating work for American television and films. I remembered that Oscar had come to the United States for the first time with the bossa nova boys in '62. Actually, Carnegie Hall was his first big musical concert. It was natural that he should be the connecting link between the American and Brazilian musicians. He speaks all musical languages fluently.

Also present was the percussionist Paulinho da Costa, another resident of the City of Angels. He is considered an authority, due to his sensibility and musical subtlety, and admired by other musicians and the world at large. The Jobim-Morelenbaum Quartet is made up of Paulo Jobim and Jacques and Paula Morelenbaum, members of Jobim' s New

Band since its formation in 1985. The newest member of the group is Daniel Jobim, Paulo's son and Tom's grandson, a young musician of great talent, according to Dave Grusin and Herbie Hancock. The percussionist CafĂŠ from Sao Paulo would also bring the typically Brazilian taste of his drumming to the music of the group.

Among the non-Brazilian musicians were Sting (who recorded "How Insensitive" on Jobim's record Antonio Brasileiro), the master pianist Dave Grusin, the magical pianist Herbie Hancock, Lee Ritenour, Michael Franks, the singer of "Popsicle Toes", who met Jobim in Rio and wrote "Antonio," super-sax Michael Brecker, Russell Ferrante, pianist and member of the jazz fusion band Yellow Jackets, the extraordinary base-player John Patitucci, who recently recorded the diseMistura Fina, inspired by Brazilian music and jazz and Mike Shapiro, the young American drummer who was accepted in 1986 into The Brazilian Secret Society of Good Drummers. (I'm kidding!)

Mike began his career with Airto Moreira — a good start! In the band which would accompany most of the singers we also had Vinnie Colaiuta, one of the most respected American drummers, who has recorded with stars like Madonna, Barbra Streisand, Michael Jackson, and recently Sting. Well, the result promised to be remarkable.

Lee Ritenour had been anchored for days in the hotel's music room where he had spent long hours looking over the sheet music, studying the arrangements, playing with possibilities, rethinking and solidifying the order in which the songs would be presented. A lot of this he had decided long before, but like the consummate professional he is, he was mulling over his ideas.

Ritenour, the musical producer of the "Tribute," began his career as a guitarist when he was twenty and soon became one of the most sought-after studio musicians in his native United States. He has participated in more than two thousand recording sessions with big names like Quincy Jones, Steely Dan, Kenny Loggins, Pink Floyd, and Barbra Streisand, among many others.

He has recorded 25 solo albums of contemporary jazz. Lee is one of the most influential musicians in the "cross-over" of jazz, rock and R&B in the United States.

The final rehearsal of the show was set for 3:45 P.M. at Avery Fisher Hall. I still had around an hour to eat a sandwich in one of those delis where I believed a pastrami on rye would help me really immerse myself in the spirit of this city where Jobim himself was inspired, from time to time, by his walks through Central Park. I ran into a lady friend, by chance, who suggested we have a bite at Planet Hollywood, next

55

door to the hotel. There would be a few Tale on American public television. minutes' wait during which we could After this musical flight, I decided to bring each other up to date on the latest go back to the hotel and wait for the happenings. evening hour when the "Tribute" would Our chat contained many musical take its definitive shape. I was afraid stories: Paulinho da Costa's latest trip to that I had committed an injustice toward Brasil; his first performance in 17 years myself: after having witnessed such inat the Heineken Concerts along with timate musical moments as these, would Joao Bosco; the afternoon party hosted the event still have the magic I expected? by the singer Alcione in Rio, with Bahian With the tickets in my pocket, I teleappetizers; the visit of the samba school phoned to invite my old friend, the writermusicians honoring their illustrious col- diplomat Edgard Telles Ribeiro, who league who had long since become the joined me in radio projects at the Los most requested Brazilian percussionist Angeles Consulate and was now serving for recordings in the United States. So with the Brazilian mission to the United much time passed in line at the Planet Nations. that now I had only a half hour to get to At the appointed hour, I succeeded the theater. in speaking with Edgard. On the teleFinally, three lines later, they served phone, he asked excitedly "Have you got us very good hamburgthe tickets?" and, alers and Caesar salad, most without waiting better than at most of for my answer, "Let's these stylish places. Afmeet at seven o'clock."

Theel ter eating my sandwich, On the way to the I took off like a minitheater my guest would marathon runner who show me, as if in a preknows from the start that view of coming attracAntOnio Carlos Jobim's he's going to be late. In last studio Cl) tions, some of the city's Antonio this case the finish line Bra.qleiro is available in the passing points of interwas Avery Fisher Hall. I fnited States (Sonv Latin est: a good French resPardon my delay. After Jaz/ - CSZ-821-514/2- taurant, the Metropolian interesting, zig-zag 4762811. tan, the Blue Note, trip in a Haitian's taxi, I Tower Records, as the It w as recorded w ith his found myself in the "Nova Banda- and special opening measures of wings of the stage where guests. It includes sonic of Jobirn's "Rio de Janeiro they were testing the his famed compositions such Symphony" played insound and trying out bits as "S6 daily() samba.- "I low side my head. of music. insensitive.- and "SurfInside the theater, Now the imaginary board.Avery Fisher Hall, LinOther notcw orthy songs sound became a reality coln Center, you could as Michael Franks re- are -•Maracangalha,- with the feel an air of excitement, hearsed with the special participation of its a healthy dose of expecPaulistana (from Sao legendary composer Dorival tation. The Brazilian Paulo city) Eliane Elias, Cavmmi: 71311.te Train,- a Embassy in Washingalways exuberant in her marvelous arrangement on ton and Ambassador chords and phrases, Os- the 1970's 1.6 Borges/ Paulo Tarso Flecha de car Castro-Neves on Ronald() 13astos song with Lima had supported the guitar, and the beautiful lyrics in English by Jobim: event; he had been the voice of Gal Costa, and "Trent de ferro,- based one who facilitated the while Herbie Hancock on a poem by Manuel necessary introductions and illustrating appeared to mysteri- 13andeira so that patrons were Jobim's flirtation with clasously improvise a theme sical music with the possible found and the "Tribute" ofJobim's; the old trans- influence of Villa-Lobos. could take place. The continental musical al- •liitoiiiü Brasi/eiro is a must! Ambassador was here chemy.

Milton not only for this reason Nascimento sang as if but also because of the he were in a temple, obvious fact that Presiwhich he probably was. After the music, dent Fernando Henrique was one of the his interpretation merited only the si- guests of honor. lence of satisfaction.

In the entrance hall, people in formal Interesting, these rehearsals. Sting, dress for the occasion maintained their the rock singer gone pop with excur- customary air of nonchalance as if this sions into the jazz world, classical mu- happened every day rather than every sic and Broadway musicals, tried out thirty years! The presidential gathering "Insensatez." It was bossa with a pop settled on the second floor foyer with feel or what some would call nova-bossa, Ministers, Ambassadors and Senators something slightly surprising given the encircled by Brazilian and American fact that I remembered him singing security and hangers-on. It was almost "Roxanne" with The Police or the im- as if the event became a fusion of two. peccable recording of "Bourbon Street" The show was ready to begin. Off and that almost collage-like appearance stage, Herbie Hancock announced: "Welwith Pavarotti in Stravinsky's Soldier's come ladies and gentlemen to Avery

ast, am ust

56

Fisher Hall at Lincoln Center. Please welcome Lee Ritenour, Dave Grusin, and Oscar Castro-Neves." A movie screen descended like a vertical magic carpet and the music and image of Tom Jobim slowly materialized, transporting us to the 60's with beautiful pictures of Tom at the piano, historic slides recording momentous musical meetings and events which, as the evening went on, gradually brought us back, by way of more recent images, to ourselves.

In the background, from the beginning of the presentation, a pot pourri of Tom's compositions was played live by Lee, Dave, and Oscar, bringing a melancholy sensation which, despite the peace which the music transmitted, left us with an ache of loneliness. In moments like these we feel we have souls. This was the start of an unforgettable night.

The musicians came next, interpreting Jobim compositions. Paulo Jobim with the Jacques Morelenbaum Quartet.

The talented, twenty-year-old Daniel Jobim appeared with them. Who knows?

I imagine that Daniel, living with Tom and Paulo Jobim, his father, had the sensitivity and the opportunity to learn and absorb this beautiful side of the music of Brazil. Nana Caymmi interpreted two of Tom's songs in a simple manner, reminding me of a tune I did not recognize but had heard long ago. The notes came from inside her with the ease common to great singers. It was the feminine version of Dorival or Don's voice, really lovely.

Oscar Castro-Neves came on and off stage like the chords which live in his fingers and sometimes must miss the guitar. Oscar presented Eliane Elias who was enthusiastically applauded before and after she played. As expected, she surpassed the rehearsal. Eliane announced Michael Franks who sang with the American, Veronica. The rule appeared to be two songs per interpreter.

Michael and Veronica presented "Chansong" and "Antonio's Song" in simple interpretations characteristic of the success of Michael Franks.

S8nia Braga also made her presence felt. Here was the Bahian Gabriela of many years and dreams. When Jobim composed "Gabriela" did he see your heart on the lid of his piano, Sonia? She was graceful in New York, thanking the show's sponsors in a voice like Dietnch's and announcing the presence of President Fernando Hennque Cardoso and his wife, Dona Ruth. The audience smiled. SOnia can do almost anything.

Everyone loves her. The President seemed happy. I was certain that Fernando Henn que and Dona Ruth were delighted with this musical night of Jobim.

Sonia Braga then presented the renown pianist, Dave Grusin. Dave is an outstanding composer and arranger as well as the founder of the jazz label

NEWS from BRAZIL - JUNE 1995

GRP, along with the drummer Larry Rosen. He has distinguished himself in solo recordings and in his television and film scores. These artists live in many worlds. Dave has cut more than 20 albums, received numerous Grammy nominations, and won an Oscar in 1988 for the musical soundtrack to The Milagro Beanfield War. A master with years of musical experience, whose good taste is reflected in every chord he plays, Dave Grusin is part of the universe of musical stars in the States.

The show proceeded. Sonia Braga announced Joao Gilberto. Joao is always a special case. He broke the rules and ended up playing more than two songs, which, for the innocence of the unadvised and the luck of all, became an improvised gift. Joao's mystery has existed and persisted from the time of his arrival from Juazeiro via Salvador to Rio de Janeiro in 1950. To negotiate his moods is a necessity and can be painful, but when he plays the angels listen.

Joao Gilberto has always been the subject of stories which have become legendary, an integral part of the myth of Brazilian popular music. He is the possessor of a peculiar personality. To put it simply: he doesn't always like what others like and others don't always like what he likes or does. Well, on the night of the "Tribute to Tom," another story was added to Joao's collection.

It was like this: when Astrud finished her set with "Agua de beber" she called Joao to accompany her in "The Girl from Ipanema." It would be more than natural — after all it was with Joao, Astrud, Jobim, and Stan Getz that the music became world famous. But on this night Joao had already left the stage when Astrud called him back. He seemed to have taken another elevator inside himself. If Carmen Ritenour and Herbie Hancock hadn't brought him back, the "Girl" would not have been invoked on stage.

Joao entered the scene with guitar in hand just like a black and white picture I saw as a child in 0 Cruzeiro magazine.

Astrud was already at the microphone, Oscar moved almost in slow motion, it seemed a deja vu ready for the first chord, after Joao's all but triumphal entrance. In this version, Dave Grusin was going to be even more minimalist than Tom himself in the "Girl's" original recording. The fact was that Joao's guitar was not in tune with the band.

Any musician, no matter how courageous, who attempted to unite with that guitar would be musically deported.

Neither the tone nor the tuning coincided. I never imagined I would see such a subtle musical conflict on stage, and all done with such delicacy and style.

Oscar was sending musical messages in code to Michael Brecker and John Patitucci who instantaneously attempted

(rum LA-0-CL[L - J111,1E

About the author Srgio Mielniczenko is a stall member of the Brazilian Consulate General in 1,os Angeles. Ile produces a series of radio show s aired in Los Angeles. including the The 13razilian I lour broadcast on KX1,11LA. 88.9 FM on Saturdays and Sundays from 9:00 to 1():00 a.m.: and Sounds oll3razil on KPFK. 90.7 PM on Thursdays from 12:00 noon to 2:00 p.m. and at over 30 National Public Radio stations nationwide.

To receive Sergio Mielniczenko's monthly music and culture newsletter. Brazilian Cultural Bit, w rite to: New sletter, 8484 Wilshire Blvd.. Suite 730, 13eyerly I Iills, CA 901 I .

to tune their instruments to Joao's. And the piano? Well, you could go so far as to say it was a "blue note," but that wouldn't do it justice. The story entered, as it couldn't help entering, the historicomusical annals. However, it is probable that the magic ofJodo's guitar and voice had hypnotized many in the audience so that the happening passed unnoticed.

One moment of standout brilliance among many was the performance by Caetano Veloso, accompanied by Paulinho da Costa. Caetano, the "tropicalist" concrete poet of the ideas and polemics and festival protests, with the beautiful voice and confidence of the artist he is, appearing with the master percussionist Paulinho da Costa. The musical marriage of Caetano and Paulinho was immediate and flowed like a river of saudades from the first moment. It couldn't have been otherwise.

At the very start, Caetano presented Paulinho as the musician in America of whom we Brazilians are proudest. What a beautiful remembrance and homage.

Paulinho da Costa is a musician emeritus with many awards offered by the US National Academy of Recording Arts and Sciences. Ile has recorded with Quincy Jones, Miles Davis, Madonna, Sting, and hundreds of others. Caetano shone, and his homage to Toni conirmed what he has said in the past: 'Tom is the sun of our music."

Another happy and illuminating moent was the performance by Daniel obim, Tom's grandson, along with his ittle aunt Maria Luiza just over five ears old. Dave Grusin announced the entrance of the young musicians and said that Daniel's talent confirmed the existence of genes, when science and tature work in tune with great art. Daniel at the piano with Maria Luiza singing 'Me Samba of Maria Luiza" was emotlional.

1, Daniel showed his talent once again that night. Maria Luiza sang as sweetly as on the compact disc Antonio Lfrasileiro which she recorded with Tom, her papa. Only this time, on stage, represented by Daniel. "The Samba of Maria Luiza" played in me, a different beat, for "many days after the show.

The "Tribute" in Lincoln Center was coming to an end. The show ended with the traditional curtain call of all the musicians. It was the closing music after the cries of "encore."

We Brazilians, lovers of music, those who have dreamt of tropical forests, equatorial sunsets, bare feet in the sands of Ipanema, blue skies decorated with white clouds, who fell in love one day to the sound of the bossa nova, are going to make tributes to Tom as we have for a long time. Tom is the sun.

(English version by Peter Lownds)

57

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Conversing in a foreign language is a major social and business asset which brings new life to travel, entertainment, and relationships.

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Best Value! With a total of 30 cassettes plus study materials -(ad triple bonus!*-this program represents the best lank, available today in language n qructi or Con ipared to other programs, the Accelerated Learning Series outperforms them all with tkNice the audio and 20 times the study material.

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