So, the technical staff, the firefighters, the workers who maintain the air-conditioning devices and those who deal with the acquisitions of new material have all been affected. Not to mention the cleaning and security teams who serve important roles in helping the institution function, as well as those who work in the library, the document collection center, they maintain the online Brazilian film database, the three screening rooms, and digital and video materials, which also need to be preserved under specific conditions.
The Cinemateca staff, civil society, and municipal and state agencies have been working to minimize the impact of the lack of federal support, keeping the temperature devices working as well as providing security and other occasional needs of the archive. Obviously, such individual actions can only accomplish so much given the lack of financial support.
It is no exaggeration to say the collection is at risk. All the work has been totally interrupted with Acerp stepping out and the dismissal of all the workers. Trabalhadores da Cinemateca Brasileira 01 de setembro de On September 2nd, , there was a large fire at the National Museum of Brazil. It is believed that TCB: Sim. TCB: Em fevereiro de , uma enchente prejudicou parte do acervo de uma das sedes da Cinemateca Brasileira. TCB: Uma parte da equipe estava envolvida em projetos que eram a continuidade do ano anterior.
Para preservar os mais de Comosurgiu seu interesse pelo assunto? Alain Fresnot: A Cinemateca era grande fornecedora de filmes para o curso de cinema. Do que tratava essa revista? Valeria uma conferida. AF: Fazer cinema no Brasil sempre foi um desafio.
Tenho sete longas como diretor ao longo de 50 anos de carreira. Thus Brazilian cultural workers find their labor to be determined under the sign of fragmentation, and we find the most compelling work to be that which wears this mark as one of pride and uses its form to reflect its material inconsistencies. Limite: Can you describe how you originally came upon the figure of Vassourinha?
As a found-footage filmmaker, were you actively searching for a new topic to explore, or did Vassourinha come into your life in a more unexpected way? Also, the extreme rarity of the subject—an artist about whom very little information and documentation was left—was an interest as well. Vassourinha came into my life as unexpectedly as all good fortunes, by a loving chance.
L: Upon learning more about Vassourinha, and deciding to make a film about him, how did you begin the process of putting together the immense number of photographs, sounds, newspaper clippings, music sheets and even financial records that can be found within A Voz e o Vazio: A Vez de Vassourinha? Were these records presented to you within a single archive or did you undergo a long research process throughout numerous places to track this material down?
Take us through what this collection process was like. I started with almost nothing, only a few clips and clues. After an extensive and intense inquiry—somewhere between archaeology and detective work—I and Bernardo Vorobow co-producer and my life long companion 1 conducted research across every possible source, until we got two personal albums of news clippings gathered by Vassourinha himself.
Shards, specters, remains — the matter life is composed of. The collection process is, in a way, metaphorized in the end sequence at the cemetery: the search for his grave was like the search for his life-work information. L: When watching A Voz e o Vazio: A Vez de Vassourinha , one gets the sense that they are witnessing the re-birth of a defining Samba figure of the 20th century.
However, it is not one, two, or three historical documents that contribute to this feeling, but the hundreds that are sutured together through a dialectical montage of both sound and image which brings forth the presence and rhythm of Samba, life, death, mortality, and memory. It is important to note that in the film, many of these documents do not even appear on the screen for a long enough period of time for the viewer to fully read them.
The materiality of the record and its presence reigns supreme in Vassourinha. You never make fact-claims about who he was, what he wanted, or what he did, but you let these historical materials do the talking themselves. How does this speak to your larger philosophy on archival materials, and how does the cinematic medium afford you the tools to activate said material?
Maybe it is not so accurate to say that Vassourinha is unknown, because during his time he was very famous. He fell into oblivion afterwards, after his death, aftermath. In Portuguese, the word "olvido" oblivion is akin to "ouvido" ear , and this is a password I tried to work formally, as a way of aesthetic operation: representing the limits between forgetfulness and the rescuing of this forgetfulness through the act of hearing this artist's voice.
The film works around the limits of legibility, the border between reading and understanding. And it was exactly this contradiction — the fact that there existed plenty of documents about an elusive figure — which sutured together and fortified strength of the film.
My humble task was of a [Walter] Benjaminian nature: to gather this bag of rags and suggest a coherent constellation. L: Of the five films you have made which deal with forgotten cultural histories of Brazil, 3 this is the only one that deals exclusively with a musician. How did the work of sifting through the archives of a sambista differ from those of your films which focus on cinematic history?
Or is there a reoccurring methodology in your approach towards bringing archival materials into re-existence? CA: I am not quite sure if there is any difference — from my point of view of the filmmaking-operation — between working upon an archive of a sambista and working upon the archive an artist of a different medium literature, photography, caricature.
Veloso called the samba a manifesto for my cinema work. L: The history of cultural archives in Brazil is filled with stories of loss, tragedy, and neglect. However, one could also view this story as an occasional tale of triumph, as the will of a few individuals succeeded in preserving Brazilian cultural memory up until this day.
Their efforts have allowed us to glean new ideas from historical works of Brazilian art in our present moment. Can you speak to how the history and past efforts of Brazilian cultural preservation has impacted your work? Why, in your mind, have such important figures such as Vassourinha been previously forgotten? Ismail Xavier. Cristian Borges. That long and boring CV quote is just meant to show how serious I take scholarly research and how, throughout my life, spheres of study and archiving informed my trajectory.
I have also worked at the Cinemateca Brasileira from to Perhaps I could reply to your first question with an example from a case study. It was an unidentified object in terms of year and origin of production, its technical nature, and even its attributed name was wrong and misleading — but it was there, in the archive.
Dickson, and subsequently tracked its archival history. The last sentence of your question requires too large of an explanation, so I would hazard a risk of saying in short that I think Brazil historically has a consistent tradition of treating badly and worst its best sons and daughters, mainly in the realm of culture.
L: In Vassourinha , there are moments in which the soundtrack starts and stops, as if a 78 rpm record is skipping. This is often accompanied on the image track by a flicker effect. Knowing your affinities to other found footage filmmakers such as Ken Jacobs, how do you see this flicker effect operating in relation to its use in other global contexts, and is there something about the Brazilian archive, and the life of Vassourinha, that drove you to use said effect?
CA: I could only talk about my personal use of the flicker which is, of course, rooted in a tradition of avant-garde film , a feature that I use a lot in my films. In the case of Vassourinha , the flicker has a role a little bit analogous to the one I used in Remainiscences : in the sense of gaps, lapses, missing links, lost abysses, the void.
But in Vassourinha there is a surplus: the flicker as an instance of consciousness, as a moment when the shutter quickly obliterates the image to make it resonate in time; so the flicker is a constituent element of the fabric tissue of Vassourinha's history which has been torn to pieces , but it is also a device for understanding this history.
There is even a formal rhyme with the condition of his Blackness, in the sense of what is concealed or erased. I really like the Benjaminian notion of history, both as waste and ruins and as the viewpoint of the losers. Naturally, in a peripheral country like Brazil — which has always abused its institutions tasked with the preservation of its cultural memory, and which has a long and dark past of erasing and repressing its figures rooted in its history with slavery — the flicker reaches an profound allegorical power and I use this term as Ismail Xavier so well defined it in his seminal book Allegories of Underdevelopment in a way, far beyond the formal flicker wonders of Peter Kubelka, Ken Jacobs, Tony Conrad and others.
L: A Voz e o Vazio: A Vez de Vassourinha , in addition to being a work of art invested in the gesture of resurrection, also serves, even unprojected as a roll of celluloid, as a veritable repository of images and documentation relating to Vassourinha — an archive in itself. What do you make of this and how do you feel the historical material transforms when it passes from one medium to another? CA: Definitely, Vassourinha film is an analog piece of art — it was thought and made as a 35mm film.
I regret that you are not able to screen the film in its original format of 35mm. I made some disruptive turns with the celluloid that are only fully accomplished in film form. Besides the flickering, I used veils, those mysterious frames which are not properly exposed in the camera shutter. Except for the final sequence, shot on location in the set of the cemetery where Vassourinha is buried, the film was shot with an Oxberry animation machine.
One of the highest praises of which I am most proud is about my style of editing: even when editing in a digital suite, my work is tributary to the moviola. In the sense of passing from the medium of history to the medium of film, I would say that the transformation occurs in the realm of poetry. I take the word here to mean poetics, the method of structure, a matter of form, a way of shaping materials and thoughts.
And I would say that historians like Walter Benjamin, Aby Warburg and Hayden White have contributed to let the document free, to be reappropriated by the artists. To what extent does a work such as Vassourinha follow within that trajectory of historical research, and how in your mind does it deviate from it? The film historians you mentioned worked from a peripheral point of view, where issues of underdevelopment were very present in Brazil, and they were informed by the delayed experience of modernity in Brazil.
They definitely conjured up a key body of work and provided references for anybody else interested in the adventure of investigating the Brazilian film past. The elements from popular culture were taken as a password for a revelation of Brazil to Brazilians themselves.
I think that Vassourinha deviates from this tradition insofar as it radically assumes a notion of a poetic metahistory, in the sense that it is not obliged to clarify nor conclude anything as far as a national project is defined in terms of teleology and a big synthesis. Can you comment on this interpretation of your ideas? I think it is an original contribution to film studies, this conceptual montage that I do between Benjamin, Frampton and Warburg among many other theoretical, cultural and historical notions.
Moving into the geographical and socio-political-economic context of a country like Brazil would require an effort and an extension of argument that I am not capable of in the brief context of this interview. Evidently, at a first glance, the economic difficulties themselves bring other parameters to the question: how to think about the survival of images as depositories of national memory if the very survival of the archive as an institution of that duty is plagued by risks to its material contingency?
On the other hand, the Brazilian condition has unique and original characteristics that distinguish it from other countries: our colonial formation, our peripheral situation, our conservative modernity, our outrageous social inequality, and the artistic and intellectual strength of several generations that have responded to these challenges. We must be reminded that film celluloid is made also of organic material, therefore subject to decay, just as we are.
The current moment evokes in our minds a Twilight Zone -esque episode in which a found footage filmmaker wakes up to learn that there is no longer any found-footage to be found. While your work has certainly featured found footage that has been sourced beyond the walls of an archival institution, one cannot deny that these institutions are repositories for cultural works that still remain hidden from the public eye.
Firstly, can you comment on the long-standing neglect of the Brazilian government to properly invest in preserving Brazilian cultural memory? Lastly, can you comment on what this potentially dystopic scenario evokes for you in relation to your body of work, aspiring found footage filmmakers, and the future of found footage filmmaking in Brazil? CA: We are currently living under dark and terrible times in Brazil, and many public institutions related to culture and education are under threat, at different levels, degrees and circumstances, such as Casa de Rui Barbosa and Cinemateca Brasileira.
In the case of the Cinematic Brasileira, as well as these other archives, there is a problem that has been going on for years and it is a complex issue — what is happening now is of great urgency, because it affects basic issues of maintenance of the archive itself in addition to the salaries of the technical staff, the current crisis affects services of electrical supply, which threats refrigeration and security.
The tragedy of the fire at the Museu Nacional Rio de Janeiro in is as a metaphor for the lack of public commitment to national memory and heritage: the neglect turns memory into ashes. Personally, I have always worked with shards, leftovers, remains, incomplete fragments; lost, neglected and forgotten materials. Therefore, I am used to working in scarcity and poverty. I always keep in mind the adage that "it can always be worse", which may not ease many anxieties about the future.
L: Part of the astonishment in watching Vassourinha is the fact that it is so rare to see works unveiled from the archive that highlights the lives on important Black artists from the past. In a way, the film projects the role that archives should be fulling in modern-day society — that is, beyond just preserving materials, recovering and presenting heretofore repressed existences and narratives.
In your mind, why did it take nearly a century for the world to be able to rediscover Vassourinha in your film? And as you yourself have worked as an archivist in the past, what do you think future archivists can learn from the film? What really is most important to save for future generations? On the other hand, we have lots of cases of great artists in different artistic areas who were forgotten.
I consider myself a very materialist film maker, in the sense that I treasure most the rare and bare materials that history is made of. I think one can feel in a very palpable way a sensual materiality that my films place onto the screen. Numerous famous musicians have covered his songs and there are rumors that a feature length film about his life is in the works.
Do you view any of this as part of the legacy and impact that your film had? Relatedly, what do you think the likelihood is that there are hundreds of other potential Vassourinhas repressed within the archives: inimitable, historical, and most commonly Black marginalized talents whose legacies have never reached the people of Brazil beyond their time?
I would hate to look pretentious, but it is a fact: I did contribute to make Vassourinha more well-known and more appreciated. I would love to make a film about her, but 22 years have already passed by and I have not made it yet…a companion to Vassourinha, in fashion and musical style, her voice has remained indeed lost to a deeper void.
The following interview took place with archivist Hernani Heffner on July 4th, When we spoke on July 4th a lot was different in the world of Brazilian film preservation. Since then, Heffner has been made the director of the Cinemateca do MAM -- certainly a cause for celebration -- but the crisis at the Cinemateca Brasileira continues, with its future remaining uncertain.
More information about the most recent events related to the Cinemateca Brasileira can be found here. At the moment of writing this introduction, the collection of films at the Cinemateca Brasileira remains at imminent risk, as the Brazilian government continues to fail in providing the serious and necessary federal support that this institution deserves.
Despite having taken place over one month ago, this conversation with Hernani Heffner loses no relevance, as we dealt with the particularities of Brazilian Cinema and Brazilian film preservation from a transnational context. Heffner touches on issues such as access to Brazilian cinema in the digital age, our current precarious state of global unrest, and he provides an overview of the Cinemateca do MAM for those unfamiliar with the important institution.
William Plotnick: Can you comment on the recent news surrounding the Cinemateca Brasileira? Hernani Heffner: The crisis of the Cinemateca Brasileira has worsened this week. The institution is in a dangerous situation because there are no firefighters or guards, the employees are all on strike, and the government has said nothing.
WP: Do you think there might be some light at the end of the tunnel? Is it possible that some of these issues can soon be resolved and things can return to normal? There remain no public policies for the preservation sector.
There have been five different secretaries of culture in the last fifteen months, and the work in this sector has completely come to a halt. All of this has paralyzed the country, and it has halted any previous intentions to develop some kind of policy concerning culture, arts, and preservation.
WP: Due to recent social injustices such as the murder of George Floyd, people throughout the world have begun re-evaluating their national histories. Social-justice protests are sparking up, and monuments erected to commemorate visions of the past built on the fruits of slavery and colonialism, are either being absconded with or torn down. To what extent do these recent historical evaluations and conversations exemplify the very crisis that the Cinemateca Brasileira is going through right now, as the institution is the safeguard of that history?
And how do you perceive the fact that during the moment when the Brazilian people will need to be able to have access to their collective histories the most, the existence of those histories are being threatened? HH: Brazil is a country that has a long colonial past. For three hundred years we moved forward on this colonial path, and many things from that time period remain today, especially the racism towards black people. The Brazilian elite portray our country like an aristocracy, providing a misleading conception to those outsiders looking in as to what the day to day life for most Brazilians is like.
In a country with social and economic conditions so distant from one class to another, there is no real democracy. There is no democracy if the people do not perceive a sense of community among each other. A sense of respect. A sense of doing the work to construct a society that includes all persons. If you are a divided society, there is no real democracy and no real social justice. This kind of society, of course, works against the interests of the people.
If I can trace a parallel between the current moment in the United States and the current moment in Brazil - in the United States, you can disagree with the broadcasting of a film like Gone with the Wind and force the movie to be removed from broadcasting. In the United States, there is no discussion about destroying this film, destroying its materials, destroying the negatives or the prints or the digital copies.
This is because the people that make these films are coming from the lower classes, and therefore the elite actively choose to ignore these works. The Cinemateca Brasileira, the most important film archive in Brazil, which contains an enormous collection of films, is an institution that does not represent a valuable collection for the government or for the elite.
According to them, if you lose the collection of the Cinemateca Brasileira, what important material have you lost? The musical comedies, called chanchadas in Brazil? The films from the Cinema Novo movement, the Cinema Marginal movement, or the state-produced films from Embrafilme? What value do these things have?
They consider them all to be like soap operas! Brazilian cinema is very important. It has received numerous prizes throughout the world, been screened in the main selections at Cannes, Venice, Berlin, and some titles have been nominated for the Oscars. But the reality in Brazilian society is that this collection, this national cinema, is not perceived as important. These works that criticize social problems and that criticize the racism of Brazilian society are often pushed aside and treated as works of little value.
When Nelson Pereira dos Santos began his career in with a film called Rio, 40 Graus , he introduced the favela and the slum to Brazilian cinema. He discussed the situation of Black people and especially poor black people, pointing a finger at the elites of the country. The government is not preoccupying themselves with the kind of developmental policies that you learn about when watching films, and they therefore do not think about preserving these kinds of artistic expressions, these kinds of films, or these kinds of materials.
So, if you lost, for example, the huge collection that the Cinemateca Brasileira is holding, you would be losing almost nothing for these kinds of people. WP: In your opinion, what can we be doing throughout the world to stand with Brazilian cinema, the Brazilian film industry, and with the workers of the Cinemateca Brasileira during this difficult moment in time? HH: Well, the answer is simple: people in Brazil, in the United States, and throughout the world must create value for our national cinema.
We can create value for its past, for numerous rare films, and for the preservation of their materials. We can find new ways to spread the films to academics, to artists, and to the film community in the United States to influence cinephilic perception at large so that they realize that it is important to access these films and that it is important to know about Brazilian Cinema.
It is also imperative that the cinema-watching audience at large knows that Brazilian Cinema has created and continues to create very original ways of expression in film. In order to create a better world, people must have access to Brazilian cinema, African cinema, Malaysian Cinema, to know that there are other film cultures, there are other languages, and there are other forms of expressions in cinema that are as equally important as what they typically see.
If you believe that there is a center, and that the greatest films revolve around this center, then you keep an old value system alive which says that films that are not European or American are poorer works of cinema. We must do away with this by holding screenings, creating cine-clubs and operating microcinemas — Ed.
If you create cultural exchange between two or more countries, two or more national expressions, then one begins to learn why the other acts a certain way or does the things that they do. If you invest in Brazilian cinema in this way, you begin to understand more about the commonly held misconception that Brazilian cinema is bad cinema.
You learn that Brazilian cinema is not considered poor because there are no production facilities, nor because there is no money, but because it exudes a form of conscious expression against a foreign cinema that is dominant in the Brazilian market.
This conscious expression was created at a moment in Brazilian cinema history, and it was an incredibly profound moment. Brazilian cinema has a very distinctive form of expression which includes its cultures, its landscapes, and its worldview. Yet the fact of the matter is that today, Brazilian cinema history is almost unknown all over the world. Do you think a major initiative abroad, manifested in large retrospectives or more prestigious awards being given to Brazilian films, that these could be the catalyst to make the government in Brazil finally realize that they need to fund the Cinemateca Brasileira and that they need to finally support the film industry and its cultural workers in a respectful and supportive way?
HH: Of course, these kinds of recognitions create a lot of perceived value for our films, and help people realize that they are important. But in Brazilian Society, this kind of importance is very particular. The elite do not value these kinds of recognitions, and they often view the works as very destructive to their right-wing agendas.
It is important for us to sustain a fight for the permanence of Brazilian cinema, of the Cinemateca Brasileira, and of the past, but the real fight is against a larger force that reduces the country to a few people. To one social class. That reduces the country to a view that asks for a future and not for a past.
This force accepts and advocates for the destruction of this past with no sorrow or pity. And we as a society must fight to transform and to change that for the better of all of us so that we can become a real democracy. The benefit Brazilian cinema receives from being recognized around the world is very valuable because these recognitions help us sustain some kind of barrier to harmful government decisions.
We can sustain the fight with that. But I believe the real fight is with another, larger force. Can you tell me about the history of this archive, and provide an idea about what makes it unique, for those less familiar with its operations? In the 60s the director was Cosme Alves Netto, who was very influential in the film preservation movement. Cosme asked all the American and European archives for help in constructing film archives in these under-developed countries, because during that time, and in fact still today, these archives have no money, no structure, and no workers.
These institutions are facing an enormous task to preserve their entire national cinemas. Today, I think very little has changed from that situation. The same American and European archives are incredibly well funded, while film archives from poorer underdeveloped countries are in the same position. The Cinemateca do MAM suffered a huge crisis in the beginning of the 21st century, in and We were almost closed by a decision of our main institution, the Modern Art Museum.
However, we survived. We also received some important guests here at the archive such as Ray Edmunson, who is a very important thinker about the philosophy of film preservation. We tried to further understand what was happening in the field in the 21st century and what our place was within the larger picture. This was an important moment for us in realizing what we can do at the Cinemateca do MAM to serve the film preservation community of Brazil. One important thing that we do at the Cinemateca do MAM is provide educations in film preservation.
Especially during a time when we are going through the transition from film to predominately digital formats, it is very important to have a new work force in our country ready to meet the technical challenges that come along with this transition. And also, there are even now five or six of my own former students who are working at the Cinemateca Brasileira. Another thing at that we attempt to facilitate at the Cinemateca do MAM is the presence of foreign students in Brazil.
We are a privately run archive so we are open to receiving students from Greece, France, Argentina, the United States, and other countries. It is important for us to receive these students because they will encounter an archive with less money than the national archives they have at home, and with worse conditions to preserve films. This provides them with a more realistic view as to what film archiving is like around the world for those supposedly on the periphery.
It is important to us that these people have a perception of these problems, and that they can begin thinking about the best ways to solve them. Additionally, an important intervention that the Cinemateca do MAM has made in the preservation area is focusing on preserving marginal films, especially experimental works, because in Brazil only a small space is given for this mode of filmmaking. First, we created an experimental cine-club and after that we decided to receive a festival concerning experimental cinema, DOBRA - Festival Int'l de Cinema Experimental.
This was very successful because we became the main space in Brazil for presenting that kind of cinema. We are a little archive with only seven people. So, we try to bring forth smaller initiatives and create a big impact. We try to facilitate the synchronization of information, the synchronization of people, and the synchronization of films. We are not the terminal, we are not the first step, we are a hub in film preservation in Brazil and we can aggregate some materials, some films, some information, and make connections with a larger array of people.
For a little archive, I think that this is a very important position to hold. HH: Providing basic access to Brazilian cinema is an old problem in the world of film archives in Brazil. People are not familiar with Brazilian cinema. Why is that? Why are Brazilian people not more familiar with the history of their own national production?
The Cinemateca Braisleira is an example of this. The history of Brazilian cinema is there. But getting access to these works is very difficult. The old Brazilian cinema is there, most of the 20th century Brazilian cinema is there, but the access to this past is very difficult.
Using the BCC is very difficult because there is always a huge watermark placed over the film. With this logo there in the center of the frame, you cannot see the film in the proper way. We need to try to provide access to Brazilian cinema in the best way possible, because people need to know that these treasures exist.
We must prevent this and make a complete degree turn in policy when it comes to access. WP: To what extent do the copyright laws make it hard to effect these changes? HH: In my opinion, the copyright laws are not a problem.
You can talk to the producers, you can talk to the people who own these films. Most of the time, anyway, it is the archives performing the technical elements such as creating new prints of the films and digitizing them.
This comes from funds provided from the archives and the states, and not the producers. Those people who refuse to provide access to the works that they own, are using a strategy of power. They are attempting to control who can see what, and for which price. Because of that, many works of Brazilian cinema are invisible in the world.
The dangers of this is that in fifty years, people may no longer be interested our cinema at all. Today, we live in an information society, and in this digital world, people move forward from the past very quickly due to free exchange and the forward direction of freely circulating content.
Going hand in hand with this is the fact that we need to be making good digital copies of films and making them available on the internet. Copyright owners can find ways to get 2K or 4K versions of their works, and even make a profit from them. Once the spectator is connected with this good digital copy, and they begin to personally relate to the film, they will begin to ask for more of this type of content.
This puts that viewer in the running to become deeply interested in discovering the many pearls of cinema to be found throughout Brazilian film history. WP: Put yourself in the shoes of an international programmer interested in doing a program of Brazilian films: An enigma arises, because whether you show older works of Brazilian cinema or newer works, the material is going to be unfamiliar to the majority of those audiences.
You have numerous amazing contemporary Brazilian filmmakers on one hand, whose works need to be seen and discussed, but on the other hand, you have the entire history of Brazilian cinema which many international audiences have not yet had the chance to discover. A case in point is that that there has never been a North American retrospective of Humberto Mauro. HH: There is a contradiction in that situation, no?
In the past, the Brazilian government used to put money towards international programs of Brazilian film. All of these programs were sustained by the Brazilian government which commissioned new 35mm prints and paid for the transportation of said prints as well as the rest of the logistics. When the 21st century came around, there was no longer the need to spend money sending prints around the world thanks to digital copies. The digital seemed to be the magical response towards the problem of increasing the circulation of Brazilian cinema.
But there is a huge problem with this situation as it stands. To circulate Brazilian cinema on a global scale, especially through the internet, you must be able to digitize the Brazilian films made during the 20th century. You must digitize the films in 2K, 4K, and perhaps in five or ten years, even 10K. However, in Brazil, there is no strategy, no money, and no interest to digitize these older films.
Suddenly, once these works are finally digitized, we realize that there is no space being made for them. A gap has been created in their circulation and in their recognition. The new generation of filmgoers is not in contact with these works. This explains why Humberto Mauro has never received a retrospective in the United States up until today.
We desperately need a program that allows us to digitize Brazilian cinema systematically. If we do not come up with one, older works of Brazilian cinema will disappear from national and international programs and will never show up on streaming platforms for a new generation to discover. This is going to be a huge test for us because the status of the mission is critical.
What is a Brazilian film about the Brazilian Northeast? What kind of melodrama is that? Without the full picture, you may still think Bacurau is a great movie and that it is very attractive! There needs to be a balance between both the contemporary works and the past works. They need to be able to inform one another for a larger picture of Brazilian cinema to be understood.
You can see a much larger presence of Brazilian films on the internet right now than there has been in the past, and many of these works are being translated into different languages too. However, at the same time there is the sense that this access does not matter if these works are not being properly preserved. So, the digital moment is an illusion in a way — we finally have access and with subtitles, but we know the film print itself is decomposing right now within the Cinemateca Brasileira.
HH: Well, I think that this digital moment is a double illusion. On one side, the difficulties to access Brazilian films have existed for a long time, but nevertheless we must find some way to see them. So, someone takes an old VHS, or they take a poor copy, and you put these films on the internet so people can see them. Of course, this is the worst way to see the film, but when it is all that we have, it is better than nothing. The downside of this, though, is that usually, Brazilian cinema looks bad.
Although Brazilian cinema is not bad in terms of its cinematography, sound, texture, and contrast, these copies give off the impression that this is so. This state of preservation causes the feeling among people that Brazilian cinema is not important. This is very tragic. On the other side, even if we had pristine 4K digital copies of our films, we know that to present a film digitally is not to preserve it.
So, we must preserve the film in its original format. You must create a positive print and an internegative, and you must preserve all the negatives in a professional way. This preservation work is not optional, but mandatory. If it is not done, the material will be lost in a span of twenty years! Then, what do we have? Just a digital copy, and this is not the same thing.
Not to mention, these digital copies must be preserved in equal measure. Digital preservation is a completely separate task from that of film, with other demands, which requires different technical specifications. So, you must face the task of preserving both the digital and the physical at the same time.
Preserving the materials in this way requires a huge task of planning, of creating an infrastructure of conservation, of digitization, and providing access mostly through the internet. For us to be able to do this successfully becomes mostly a question of politics.
It is a question of whether we will be provided with the necessary funds to carry this task out. It is a tragedy that our cinematic heritage remains put aside on the global scene because of these politics. The impact that this lack of political action on the part of the governmental elite has had can be seen and felt still today.
We are living in a moment in which we need cinema to help us understand what Brazil is today. If we can or if we desire to take down the statues which retain the values of our colonial times, we must be able to know what they represent. Film is a good way to know, to understand, and to perceive that some statues have been around for years.
These statues were raised at the beginning of the 20th century, a time in which Brazil was another place and had a different society. What has changed since then? Films from those periods help give a voice to the anonymous people that have not had their voices heard, and in the event that these people cannot be found in the films, we begin to understand why that is.
I think we need to have this debate and film is a good way to hold a debate about our heritage because it has lived with us for over a century. Que tipo de filme era? Quem trabalhou nele? Pelo menos a minha. A vida girou, larguei da Luffa e decidi voltar ao cinema. Conheci o grande Cavi [Borges].
Ele me instigou a fazer um clipe de 6 a 8 minutos sobre o filme desaparecido na Cinemateca. Da Brasilidade. L: Quem era Adriano Fonseca Filho? Depois, larga tudo e se engaja na luta armada contra a ditadura. Assim como o Brasil precisa de se reencontrar… Justamente no acervo do seu passado.
Considero que o Cavi, cumprindo o seu papel de produtor, me passou a bola na hora certa para eu fazer um gol de placa. A eterna busca pelo tesouro perdido. SL: Com certeza! There was a DOPS building at every state capital. Sponge gourd, or Luffa cylindrica. The Araguaia Guerilla was an armed political movement which opposed the military dictatorship in the Araguaia river basin. During the s, the military executed most of its members and concealed their remains.
Daniel and Victor, can you provide an overview of your paths to careers in filmmaking? When did you first meet and begin collaborating with one another through Iracema Filmes? It was only in journalism school that I started watching films and thinking about cinema. But in those days, I was more interested in reading and writing.
Cidade dos Jovens even won some awards. From that meeting, the idea of building a production company came to fruition again. Our modus operandi was somewhat like this: Vitinho, as we call him, and I took the creative jobs usually I was the cinematographer, and he was the editor and Ju was the producer.
Those were very good times, as we all lived in Vidigal. From these interactions sprung many new meetings and creative exchanges which resulted in many forms of collaboration. From then on, our larger friend group was immersed in many art forms, while we at Iracema Filmes focused on audiovisual content.
I enjoyed filming my friends as they rode skateboards and surfed. I loved editing those videos, setting them to music and cutting the action to the beats. My parents told me I could be a professional editor and supported me by showing me films that had made a deep impression on them throughout their lives.
My father would show me classics from all around the world and my mother would tell me about Glauber Rocha and Ruy Guerra. I decided to move to Biarritz for a while to try and take a film course, which, unfortunately, I was never able to take. Back then I shot and edited many experimental shorts.
We instantly became friends and noticed we had very similar thoughts about filmmaking. We gathered our equipment and rented a small room at the same production company I was working for in Botafogo and started writing screenplays and projects to apply for grants via the Culture Incentive Law. Those were incredible times. And where does the drive to collaborate with great veteran filmmakers come from? VM: I am a great champion of Brazilian cinema.
I really enjoy rewatching films to help sharpen my creative process. I have a vital relationship to those films, and I think Daniel is similar to me in that aspect. Something I really like about the films of the s is that the filmmakers were also cinephiles. The film writings of that generation are captivating. These texts allowed me to understand and respect those masters of Brazilian cinema. Knowing the history of Brazilian cinema is key.
The list has no end. Did you both return to these Cinema Novo films to gain inspiration for this kind of filmmaking process? And what kind of lessons would you say that new and emerging filmmakers can learn from watching Cinema Novo or Cinema Marginal films, and seeing the way that Brazilian filmmakers have made so much in the past out of only a camera and inspiration?
DP: It is impossible to make films without any budget. But it is possible to make films despite the budget. No film should be classified according to its budget. We think only of the film itself. Of filmmaking. But the absence of money alters relationships.
You only devote unpaid time to something you believe in. To make necessary films. And I put together a crew who would agree with that. We were working for ourselves. To New Cinemas all around the world. To decolonial cinemas. But we liked those films prior to meeting him. Is it Marginal or Marginalized Cinema? The s were such a hard time for filmmaking in Brazil.
And a brief look at the history of cinema proves few filmmakers are able to change their production conditions without sacrificing their own styles. In Brazil, will likely be the worst year in our entire history, both in macro and micro aspects. We have no perspective whatsoever of securing a true audiovisual industry. So, we must make the necessary cinema, a cinema placed in reality. In our context, that idea has to be magnetic and important to all involved.
Collectivity is the idea. The technological revolution of the 60s made cameras smaller and allowed for direct sound recording, which took films out of the studio lot and into the streets, closer to the people. Unfortunately, very little has been done in that sense and the situation gets worse with the arrival of a far-right government which sees artists and minorities as enemies. I can only hope for better days ahead. Then, how did you finally meet the director, and build this working relationship with him?
DP: I had just moved to Vidigal. The director of A Noite do Espantalho! I mentioned the film and he gladly told me more about it, but his expression soon turned sour once he spoke of how hard it was to make more films. We could come up with a short film just so he could go back to directing. When do we start shooting? So, I got a hold of myself and heard his idea. While we wrote new treatments and made small adjustments, I began to understand his work process and I formed a crew with some friends, and he brought other people in as well.
Among them was Juliana Krause, whose strength as a producer was fundamental to bring together a very diverse crew to work on the film. Victor had shot the making-of doc. The editing took a long time. There were so many possibilities for the favela fire. We spent a whole week working on that sequence alone. People who watched the first cuts thought our initial solution, combining superimposition and digital effects, felt exaggerated.
That was until Daniel came up with the idea of setting fire to some photos of the shacks. Bandeira de Retalhos was made in that same vein. Daniel, you shot the film and worked as an assistant director on it. Like Neorealism, you know? The camera was always near the actors. Many times, I leaned on them to shoot close-ups. That strengthened the relationships between the crew.
I began with that knowledge in my head. I remember the first shot was a pan which started in a low angle shot, went down through a sun flare and slowly framed the two characters, with girls playing in the background. But, when that moment comes, if someone gives you directions, it works out right then and there. That shot is in the film. There was no mystery. It was all very open, all very focused. Here, four years earlier, is an example of your working with such footage.
Can you provide any insights into how you approach cutting a film that has such a freely moving camera, especially when all the interesting things captured cannot wind up in the final cut? My mind as an editor is very documentary-oriented, which means I have a different approach when working with fiction. No shot is ever like the other - unlike the films of Domingos de Oliveira.
He liked the freshness of chance, the surprise element. But during the editing process, we thought we needed a witness to this story. The film was made one part at a time. When did the production process of the new feature length film begin, and what were the important factors leading up to it being made? That story was important not only to him but also to the residents of Vidigal. The idea came from a real story, the judicial struggle of those dwellers who were facing eviction during the military dictatorship.
Initially, the budget for Bandeira was estimated at 2 million reais. But I digress. Our budget was 2 million reais, but the film ended up being made with roughly thousand reais! That was quite a surprise. This incredible list of companies got behind making Bandeira de Retalhos. Art is political, in tune with the times. Because of this, he was loved by many but despised by others. We accepted it and did what was possible.
I built a camera shoulder rig out of polyvinyl tubes bought at a building supply store in Vidigal hours before the shoot. We improvised all the time. We did it because we had to. There was a sense of urgency which unfortunately went unnoticed by all cultural, business, or governmental spheres. We could have made a much better film with some minimal structure. But the people involved were all top quality. Technicians, actors, etc.
DP: We worked with a Blackmagic Pocket, a kit of prime objective lenses, and practically no quality lights or machinery. It was all raw handheld camera. He owned a studio, etc. To quote the poet Aldir Blanc, it was an incompatibility of geniuses.
But when I came to the set, the equipment was all gone. We made the best of it. There was little lighting, a wide aperture very close to the characters, and the camera pulsating with their actions. We shot practically every nighttime scene, and the previous cinematographer had shot every daytime scene. It's also important to focus on collaborating as part of a collective process.
For me, it was fantastic to see the descendants of those who represented popular resistance playing their own ancestors in the retelling of their story. L: I found that one of the most fascinating elements of Bandeira de Retalhos is its use of archival footage of the Vidigal crisis from This footage adds a sense of realism to the events taking place within the film.
It pulls archival footage from many diverse media formats that details the various struggles of favela inhabitants over different time periods. Victor, can you discuss how you found and used all of this archival footage and incorporated it into the film?
Though I agree the set top box option is the future. Netflix knows it too, they have tried working a sinilar deal with Tivo for the past few years. The US has been at war with the Iranian people since Eisenhower authorized Operation Ajax. The operation was successful, and Mosaddegh was arrested on 19 August The coup was the first time the US had openly overthrown an elected, civilian government.
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David has always been one of my favorite Bible characters because he messed up so badly, in so many ways! Hei du! Gleder meg til kaffekoppen om morgenen. Jeg drikker ikke store mengder jeg heller, men nyter et par kopper om dagen. Flott bolero du har strikket. Glad tirsdag. Ron Paul does well in that youtube link, posted it around to local Tea Parties thinking of joining the petition drives now and some of them have.
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Sorry Andy but it went against the grain to read the whole writing tips, but I must say the the first half dozen were quite amusing. Sires last blog post:. Oh hey, keine Sorge: Ich bin von der geduldigen Sorte. Und wenns nix hilft — na dann werd ich eben der Punto Finale. Our weekends are so busy that I find I actually eat less. At this time, withal , the promise of a peaceful Arab Springtime appears to be giving way to the reality of a long, trigger happy summer as authoritarians across the Middle East and North Africa draw a line in the sand and fight to keep ascendency of their lands.
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Great images, and I especially agree… love his pick and yours! The truck is awesome. They will treasure these for a long time to come. You continue to inspire me each and every week. This card is sweet and soft and oh-so darling!! I always love to see your take on the sketch and am constantly in awe.
Another beautiful card, Dearie! Hugs, kadie. Op dit moment echt heel inspirerend voor me, moet ook echt doorpakken met een aantal dingen, maar ik ben hard op weg! Even iets anders, ik kan bij de Hema alleen nog maar tshirts vinden met een hele diepe ronde hals, haal jij de jouwe bij de mens toevallig?
Ser ut som planet som tog mig mellan Visby och Arlanda…inget trevligt! I have realized that in digital cameras, specialized devices help to focus automatically. These sensors of some cameras change in in the area of contrast, while others start using a beam involving infra-red IR light, specifically in low lumination.
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Min bedste chokoladeoplevelse…. Hard pressed to find space like that in the city. That being said, my favorite thing to do with Mazzie is to walk her along the Hudson River on a clear and crisp day. Tail enders are cliche? What nonsense! Why does there have to be a rule? Surely whatever is right for the product and the message to be communicated is the answer?
Moreover, the French language may be more conducive to lucid rationality than any other tongue. The question of genetic influence on language is a very interesting one, however, and so is the reverse. Stuart, I think you might be conflating two very different social phenomena. The former want out no easy task , the latter want in. From the NYT article you reference, "The majority, however, seemed to be iconoclastic young people from middle-class backgrounds living some version of the freegan dream.
I always thought a major touchstone of blogging was to inject your personality into what you write! Please, keep up the good work and try not to take comments like that to heart. My little sister is having her first baby as well as first in our whole family! She would absolutely LOVE this bag!!! Yes, training with low reps will boost your myogenic tone. However, every once in awhile it is beneficial to lower the weight and raise the reps.
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It is good to see you back again : KimMJbast omcast. Today, I went to the beachfront with my kids. There was a hermit crab inside and it pinched her ear. She never wants to go back! LoL I know this is entirely off topic but I had to tell someone! Oh Marsha!! That is so awesome that God gave you that gift. I can't imagine how wonderful it must have felt.
I am so thankful that you got to see him! It seems clear these parents either have no control over their children or support their vandalism. Veramente Lestat dice cose dal suo punto di vista, forse con un po di fanatismo. Con Giubizza non ci capisco niente, cosa dice? Regards, Judith. Mais peu importe, nous sommes un pays riche qui peut se permettre de payer des haut-fonctionnaires ou des cat.
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Well, apparently a Clash member was done for animal cruelty after shooting and killing a pigeon with an air rifle through an open window. Me ha dolido mucho esta lamentable perdida de una mujer ejemplar. Que tristeza saber que ella no queria ni pensarlo si ella fallecia, que seria de sus hijos? La vida no le concedio su deseo de estar siempre unida con sus hijos. Descansa en paz Jenny Rivera. These ended up my gucci wallets for women been incredibly satisfied with them. These are incredibly good, surely retain me style and dry.
Torches and Pitchforks? You are too kind, Ma'am. Besides, it's all pretty well spelled out there in the BoR anyway. We get to congregate and say all sorts of nasty things about the powers that be, and we can write it all down and circulate it amongst the proles.
Once that avenue is exhausted, we break out teh guns. How on Earth can anyone not see that? Fun story! I especially liked the bit about looking for scat, not making it. Rock on, Ms. If all Christians hold true to the teaching of Christ and the Bible, this should be an easy enough concept for them to grasp. Durch diese o. I don't like how in order to like something I have to list it as a favorite, yet I can "Thumbs Down" something? That's not fair. Also, I liked having videos by the person in the sidebar so I could check them out easier.
Or am I just missing it? I'd also preferI don't like how in order to like something I have to list it as a favorite, yet I can "Thumbs Down" something? Make your food with Love. Infuse it with love and gratitude for the people you get to share it with. Ruhls, why are you listening to these people?
You know better. On independence, if God has created us for community and we are not intended to live our lives in complete independence from Him and from others, why do we limit this to women? If his design is for this community, would it not also be wrong for a man to assume this independence?
Thank you for your submission on Make Your Own! Monday link-up. Check back later tonight when the new link-up is running to see if you were one of the top 3 featured posts! Since the day you started commenting on my site, I noticed that you are a very cynical person.
Also very negative. You make me appear as a poor lost soul who needs help at times and you are the savior. I suggest you tone down a bit, and stop being so pessimistic and negative. VN:F [1. However, the easiest way to demonstrate the logical incoherence of the biblical god here on this thread seems to be to simply point to Sharon, a person who allegedly has the spirit of god speaking through her.
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At midnight, we turn back into flabby wannabes in my case, this happened at 9 AM. Wonderful site and theme, would really like to see a bit more content though! Great post all around, added your XML feed! Love this theme, too! Oz was founded by sundry thieves, conmen and rebels — it shows. Australia was founded as a penal colony to dispose of people unwanted by their homeland, so it has nowhere to go but up. Tusen takk! Tu Speedes pas mal. Bien le Bonjour de France. Things that could help improve this game..
Put this game on Xbox and PS3. Add cross platform after that. No monthly fees. Add tons of kick ass looking outfits in the game. These are hilarious. Even if my DS did hear these things at school, he would probably never repeat them to me, cause what happens at school stays at school.
Debbie K. I live in California, and was out of the country for the wedding, but i so love seeing this pictures— captured beautifully! Actually, it is possible to beat drug tests by drinking lots and lots of Cranberry Juice. Deze verwerken in je boek en uploaden, wat bij een flink boek wel enige tijd in beslag neemt.
Hahah, they are so cute — good luck shrinking your feet. If I am ever asked one of those silly questions like "if you could have one super power, what would it be? The video accurately showed the conditions of the time of depression and how Hoovervilles were established. People were jobless and then later homeless. There were later droughts and people were starving. Children had to work to support their families and many children came to develop illnesses.
Studies by historians and actual clips from the incident were shown to further back up the conditions going on. Ah…hab mich gerade im Shop ein bisschen umgeschaut…. Und deine Karte ist ein Augenschmaus! Thank you Rori, once again, for putting in all the hard yards and compiling this.
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Das trifft zum Beispiel bei Linkedin nicht zu. Khoop divas hech vichaar manaat hote. Tumhi mast shabd rup dilat. By the way.. He lihine sva sukhaay svaant navhe aani vaachakansaathi suddhaa asatech.. Otherwise lihoon diary t thevale asate.
Publish nasatech kele. Wonderful for a quick read, and the price is very reasonable. BUT the poor editing to fit the Kindle really needs improvement. I have stated my point and repeating myself another way as you become upset because I disagree you — very American — is not going to change our positions on this issue.
We will just have to agree to disagree. I imagined myself reading this to Mr. Lawson and Mr. Smug, humorous, appreciative of your freedom and the gift wrapped appeal. I like it. Nice tone. Oh,I guess you are so full to have turkey that much including the leftovers re-heated. Its your average run-of-the mill whey protein blend. However for the value its not bad even though the taste is bearable at best. But for an everyday, whenever protein its fine. Well — I did not see that coming.
Not panicking yet, but this was a bad start. Specifically MB is off to a bad start. The team was not prepared mentally, the offensive sets were horrible, and there were no in game adjustments. What if I had told you guys that KB goes before the game.
Would anyone have seen a loss with that stat? When I originally commented I clicked the Notify me any time new comments are added checkbox and currently each time a comment is added I receive 4 emails with the same comment. The performer, twenty five, who was seen on Japanese TV attired as a panda, proclaimed. She seemed to be really good at cooking most types of pasta and loves home cooking and cleaning. I am looking forward to your M8 article.
ThaNKs Mr. No waY. Quick question though. What will this do to prevent that from happening? Any ideas? I have to say Gina is not for us and I like to file her books under fiction. She made me cry, naughty Gina. Hope you get some sleep soon. I can identify with you in two ways the heat, it was in texas today, and 3 boys. I have four grandsons and they are the love of my life.
One of my grandsons is homeschooled and may neice and nephew are also homeschooled. Their days are very busy but all their formal work is done by noon and then they have project time which is art, music, educational videos and outside play and dicovery time.
I think that the CSA is a good thing. If it did what it was suppose to do. Make companies fix faulty equipment, but from my experience with the CSA has come back on me the driver. As a driver all I can do is report what needs to be fixed. If I refuse to drive the equipment I could lose my job. With my past it is hard for me to get a driving job with a well known company. I want to to thank you for your time for this fantastic read!! I definitely loved every part of it and i also have you saved to fav to see new information in your blog.
With minimal allowance not salary , depending on what rank u get. After which, serve another 10 years of part time whereby u get called back for 1 to 3 weeks of training every year. Pentru a intelege mai bine eventul voi face un clip in care voi explica clar cum se face si ce iti trebuie sa fi in party cu mine sambata cand va avea loc streamul! Hey guys! I am talking about an architectural style a la REST, object-orientation and then about how that architectural style is better represented at the programming model.
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With longer-run inflation expectations assumed to remain stable, changes in commodity and import prices expected to be modest, and significant resource slack persisting over the forecast period, inflation was forecast to be subdued through The Fed should go back to just being a bank and let our economy heal itself.
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How do you do? How much were you paid in your last job? The company has outsourced Dreamliner production to about 50suppliers from the United States and around the world. Boeingretrieves the completed components and assembles the aircraft inEverett, Washington. How many would you like? The arena, championed by former Newark Mayor Sharpe James, has struggled to turn a profit due in part to a large number of competing sports and entertainment venues in the New York metropolitan area.
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Through a backstage work of talking to politicians he was able to deliver the victory to his boss and, in the process, regain his own prestige. Luis Eduardo MagalhAes The Speaker of the House was able to display leadership just before passing the post to an ally. Magalhaes, from the PFL, is already a serious name for the presidential election. Thanks to that, and as a reward, government allies gave him the necessary votes to get the house speakership.
Francisco Dornelles -Oppos. He talked the majority of his party's legislators into siding with the President. They Lost Paulo Salim Maluf — The former mayor of Sao Paulo and greedy wannabe presidential candidate was probably the worst loser of all after managing to make his own successor in Sao Paulo.
He refused to deal with the President and ended up having his party the PPB split in half. His chances as a viable presidential candidate have diminished considerably. Just a few hours before the House vote, Maluf announced: "I will play Russian roulette with six chambers loaded if reelection is approved.
This time, however, in his eagerness to please everybody, he ended by displeasing all. He publicly sided with the opposition, while privately encouraging PMDB congressmen to vote for Cardoso. Ha mar Franco—Another expresident dreaming of a second chance as nation chief. His plans to head a center-left coalition to recapture the presidency are not been taken too seriously by other politicians.
Itamar has no party and his double talk — one day backing the administration and the next opposing it — has alienated possible allies. But his alliance with Paulo Maluf, his traditional enemy, just to defeat Cardoso's bid, was a serious blunder. Despite all defections in his party he pledges to vote again against reelection when the bill goes back to the House.
He has become a solitary voice within his party. The government has also pledged to start later t is year construction of the Brazil-Bolivia 2,mile long pipeline that w. Two thirds of this gas is for se in a four-state area concentrating more than 50 percent of the Brazilian lectorate: Sao Paulo, Rio de Janeiro, Minas Gerais and Rio Grande do Sul his money will be used in sanitation and construction of popular housin.
The plans are grandiose and t e budget generous. The only problem is that the government doesn't have thi kind of money. To be-able to fund all these feverish construction work, FH will have to dispose of public property. That's where the privatization e orts come in. No small feat there. However, big construct on will not suffice. Cardoso himself Seems disappointed that his administr on has done so little in the social area. Brazil has also a serious tra e deficit.
From this amount, Raw materials epresented The flow of foreign capital is increasing every year. An even graver problem is t e domestic deficit. The biggest chu k of the revenue goes to pay its work force. That's why the priority of the administration now is to ave approved the administrative reform that will among other things establ sh a ceiling on salaries.
The refo i would also allow for public servants-to be fired for negligence or unsatisf ctory performance. Brazil hasn't enjoyed such monetary stability in the 1 st 50 years. The President's worst enemy is the high interest rates trigger -d by the budget deficit and the government's borrowing from the financial m rket.
This has made very hard for companies to finance their expansion and h s contributed to the rising unemployment in the country. After giving high riority to Congress, the President will from now on pay more attention tow at he calls the "raucous voices of the streets". Even the poorest people are not complaining though. Despite a still high unemployment rate, lower mid le class and poor Brazilians are eating better and having an easier time buyi g home appliances.
For more than one year the cheap price of chicken ma 'e the product a symbol of the Real the new currency success. Now it is the yogurt that is in ading the humblest tables. Yogurt sales jumped from The previously scarce product is presented on supermarket shelves under dozens of packag ngs and flavors and can be bought for as little as 60 cents a package. The Long Goodbye Death, which is rarely kind, was its unkindest, this beginning of year, taking away with it the cream of the Brazilian intellectuality.
They will all be sorely missed. For Brazil, which became considerably poorer, it was one heavy loss after another, after another, after another. In a short span of a few weeks in January and February, the country lost its most respected economist, Mario Henrique Simonsen; one of its best novelists, Antonio Callado; its brightest polemist-journalist Paulo Francis; world-renowned anthropologist and senator Darcy Ribeiro; folkloric soccer team owner Vicente Matheus; hated union leader Joaquim Santos Andrade; and promising young talent, composer Chico Science.
With the exception of Chico, who died in a car accident in the northeastern Brazilian city of Recife, at 30, all the others were over Despite their age, however, the intellectuals in the list were still very active till very recently or even until the very day when they died as in the case of Paulo Francis and Darcy Ribeiro. A group of children, women and men placed over his chest a miniature vase symbolizing plenty in the after-life.
His last girlfriend, Irene Ferraz, 38, confirmed his fame as a womanizer: "He left thousands of widows," she exaggerated. He wasn't a man for an only woman. He died on February Only two weeks before he had been to the senate to cast his vote against the government as the senate chose its new president, which is also the president of Congress. His vote was for iris Resende, who had no chance against political powerhouse Antonio Carlos Magalhaes.
Darcy was an accomplished success under all the hats he wore: educator, novelist, anthropologist, and politician. His contributions to the Indian ethnology started with the publication in of Religido e Mitologia Kadiueu Kadiueu Religion and Mythology.
He loved Brazil with all its warts. That's terrible. I prefer our country that is still being made. I really have a tendency to despise modest people because I believe that modesty is an attitude of those who are mediocre and satisfied with themselves and the world. I am the only Brazilian theoretician and the only LatinAmerican theoretician to provoke international discussion.
My studies about the anthropology of civilization have had editions. I tried to alphabetize the Brazilian children, but I didn't succeed. I tried to save the Indians, but I didn't save them. I tried to build a serious university and I failed. My failures, however, are my victories. I would hate to be in the shoes of those who won. He Would have a place guaranteed in the Brazilian literature even if he hadn't published anything else besides Quarup, a novel that he himself wasn't that proud of.
Published in , the work whose title refers to a death ceremony among the Brazilian Indians, is the story ofNando, a priest from the Northeast who, in search of the truth, leaves the convent and goes to live with the natives in Xingu. There, the missionary is converted himself and discovers sex and love. When he goes back to the Northeast he has become a guerrilla. Three years later he moved to Paris to work at the Radio-Diffusion Francaise.
In he was back in Brazil. During the military dictatorship , the writer was imprisoned five times. It was during his first period in jail in that he concocted the plot for Quarup. Let poor Brazil breathe. Leave it in peace, so it will lose its tortured manner, as if it were a stutterer, a child always being bugged and, who for that very reason gets bad grades in his report card.
He had been fighting prostate cancer for 12 years and had two operations in and to try to eliminate the tumor. His bier was placed in the Academy, with the dead writer wearing the Academy's pompous uniform that he criticized for being inappropriate for Rio's hot climate. He was a leftist of principles. He became famous and was hardly criticized for his role in conducting the Brazilian economy during the military administrations of generals Ernesto Geisel and Jodo Baptista Figueiredo.
He was the voice of reason in a military regime with grandiose nationalistic plans without concern for its cost. While the generals wanted miracles, Mario Henrique Simonsen preached moderation and belt-tightening. As Figueiredo's Economy Minister, he didn't last more than six months, presenting personally his letter of resignation, to a startled president, who still on his underwear.
Said the general: "From what I gather, you are saying here that my government is shit. With a college diploma in civil engineering and another in economy, he became the proverbial sage that every administration consulted in times of crisis. From his post at Fundacao Getfilio Vargas he became the most influential man in Brazil as far as economic policies were concerned, a guru everybody wanted to hear though not necessarily to heed.
But he had also profound knowledge of music, mathematics and chess. In his book Ensaios Anal ticos Analytical Essays , he demonstrated how easy it as for him to move from quanta physics to music, from philosophy to mathematics and show the relationship and links among these disciplines. It was at t e end of that he discovered he had lung cancer causet by a life of chain-smoking. According to his own cale lations for him numbers could explain everything , rrioking 2 or 3 packs a day for 40 years, he puffed on , cigarettes.
After chemotherapy left him bald he didn't prevent photographers from taking his pictures and he didn't stop smiling, For a time it seemed that ti e cancer was in remission. It was a mirage. In the last fe months he had been unconscious most of the time. He dreamed wit a country entirely bound by the constraints of a global e onomy.
He was the brightest economist of all, but he ha a hard time dealing with politics and the realities of d ily life. He loved to polemicize. Extremely b ight, a confessed book worm who never finished univ rsity, the became famous practicing a journalism in whi h he accused first and then if ever tried to show proof. Through is one-page column published Thursdays and Sundays 'n 0 Estado de Sao Paulo and 0 Globo and commentaries at Globo TV, he became the most famous, most feared nd best-paid Brazilian journalist.
From the 21" floor ap rtment at 47th St in Manhattan, where he lived, the st nchly conservative newspaperman was a machine gun lways poised to fire. Not only with attacks, but also with praise, he sometimes would condense his thought in o e-liners about anything his keen sense of observation nd erudition saw fit, from a new Broadway show, to a b ok just released, from a Brazilian friend visiting New ork to an old snippet of information he had seen three de ades ago.
He started as a iolitical columnist writing for Rio's daily Ultima Hora His left leanings with a Trotskyite flavor In he helped to launch 0 Pasquim, an underground weekly paper that would enrage the military regime and introduce in the country a new form of journalism. His articles at Pasquim would land him in jail four times before he decided to move to New York in He would never go back to live in Brazil and "from the top of the world" as he used to say, his Weltanschauung would little by little be drastically reformed.
In his trajectory from left to right, he would also substitute his for the poor for the ridicule of blacks and poor people. Some of his old friends never forgave him for what they considered high treason. Galbraith interrupted him with a "I would like to remind you that I am the professor here.
The rhythm — a mix of Northeastern styles like ciranda, coco, and maracatu with rock, funk and rap — was created by Francisco de Assis Franca, a former employee of a computer company, who then adopted the name of Chico a common nickname for Francisco Science.
He called himself a "crab with a brain" and a "mangueboy", since it was in the mangues swamps , favelas shantytowns and cheap bordeis whorehouses that he found his inspiration. Among the new generation of Northeastern composers, which includes Carlinhos Brown and Raimundos, Chico Science was the most articulate one Influenced by his interest in computers — he made part of a videoclip for his firs album on his Mac — the composer baptized his new sound as "mangue bit" to show the computer connection.
But a journalist misspelled the name and mangue beat it became. His international career got an impulse two years ago when his group opened the show for singer-composer Gilberto Gil at the Central Park in New York. Chico Science's life ended on the fast lane with his speeding car hitting a pole on the road that links Recife do Olinda, in Pernambuco state.
It is not clear whether the accident was caused by another vehicle. What is clear is that Brazil lost a very promising musical talent. Composer Arnaldo Antunes, who had invited Chico to be part of his next album, Silencio Silence eulogized the friend:. I identify myself with him. He was able to go much farther. At his wake, three of his four children were present, but neither his official wife nor his extraofficial mistress bothered to go.
He was 70 when he died on February 5, of a stroke and pneumonia. In the obituaries his name came always linked to the word "pelego" bosses's worthy , a supreme insult, describing him as a sychophant and a government's informer during the military dictatorship.
He became the symbol of peleguismo. Even when the political opening started and other leaders were encouraged to take his place, the Christian conservative was able to keep his position first by rigging elections and then making an unholy alliance with the PCB Partido Comunista Brasileiro — Brazilian Communist Party.
Just before dying, Joaquinzao declared: "I wasn't a good husband or a good father. I wasted my life with unionism and women. He died poor, leaving to his family not more than a modest house and a little ranch. Among his most famous utterings are: "Whoever goes out in the rain gets burned", "SOcrates a soccer player is unsalable, unnegotiable, and useless," and "I thank Antarctica for the braminhas it sent us.
Braminha means a little beer. The sentence is the equivalent to saying, "I thank Pepsi for sending us some cokes. But at his funeral on February 10 the only player present was Neto. The present board of directors seem to have forgotten the popular leader. It was under his helm that the team ended a fast of 23 years for a title and became Sao Paulo's champion in It was again during his presidency that Corinthians won in its only nationwide championship ever.
F7j f Jur p re. The new Constitution gave special emphasis to human rights and instituted very positive policies, such as the guarantee of indigenous people's rights. Article , specially, recognized both the cultural and territorial rights of indigenous peoples based on their traditional heritage.
It acknowledged and established their right to permanently live on their traditional territories, including the exclusive use of the natural resources necessary for securing their cultural integrity and welfare. The formal protection against the invasion of their territories was also inscribed in the new Constitution. To the enthusiasm of indigenous peoples and sectors of Brazilian society in solidarity with their cause, article 67 of the new Constitution ordered the demarcation of all indigenous territories in Brazil within the following five years.
Brazil was applauded internationally and it was hoped that its historic debt to the indigenous peoples living within its national borders was going to be resolved. Five years later, however, less than half of all indigenous territories had been demarcated. The Brazilian government failed to uphold its constitutional decision: demarcate all indigenous territories by October Today, almost ten years after the constitutional revision, indigenous territories out of the total still await formal demarcation.
Brazil has had four presidents in these past ten years. Ironically, most demarcations occurred under President Collor who was impeached in In only two years of government, Collor delineated the boundaries of 58 territories and finalized the demarcation of another , including the Yanomami territory, totaling more than million acres. President Itamar Franco legalized 55 territories in two years of government.
A general optimism followed the victory of President Fernando Henrique Cardoso given his political history and academic profile. This slow irogress in demarcating indigenous lands was further aggrav ted in January when President Cardoso signed Deere into law. Written and proposed by Minister ofJu tice, Nelson Jobim, the decree introduced the so-called prin iple of contradictory within the administrative procedure for demarcating indigenous lands.
It provides a legal mech nism for those who also claimed access to indigenous la ds to appeal against their demarcation, giving a chance for c immercial interests, such as ranchers, miners, and loggers, t present their case. Despite strong opposition both in Brazil nd abroad, Nelson Jobim defended the decree as necessary ti adjust and expedite the demarcation process and Fernando Henrique Cardoso guaranteed that no reduction of indige ous lands was going to take place. In a speech before the Un'ted Nations Commission on Human Rights, Jobim announced that the government's intent was to implement "without obstacles our objective of regularizing all indigenous lands in Brazil.
Contrary 10 expediting the demarcation of indigenous territories, th introduction of Decree has delayed it even further. Adding the number of indigenous areas that were not contested to those contested but rejected by Jobim gives a total of indigenous areas that technically should be ready for final demarcation, However, This has created a serious obstacle within the demarcation process and opened a dangerous potential for the reduction of indigenous territories throughout the country.
Since Decree was implemented, no new indigenous area has been identified or demarcated. His decision favored the interests of local ranchers and miners who have illegally invaded this indigenous area. It sets a very dangerous precedent by allowing commercial interests to invade indigenous lands that have been guaranteed under Article of the Brazilian Constitution.
If his decision goes into effect, it may lead to the reduction of other indigenous areas in Brazil. After the end of the military dictatorship, this is the first time that the government orders an indigenous territory to be reduced. This overall stagnation and potential for the reduction of indigenous lands only accentuates the already pitiful reality of indigenous peoples in Brazil. Invasions of indigenous lands continue to increase, causing the destruction and pollution of the natural resource base on which they rely for physical and cultural survival.
Invasions also continue to spread infectious diseases and generate violence. In and alone, there were 75 reported cases of indigenous people murdered, mostly as a result ofland conflicts. The federal government has done little to curtail these invasions and FUNAI is incapable ofdelivering much needed assistance for indigenous communities.
Currently, several indigenous groups face serious threats. Guarani-Kaiowa: Despair and Suicide Perhaps the starkest example of the crisis of Indian lands in Brazil is the case of the Guarani-Kaiowa territory in the southern state of Mato Grosso do Sul, where over the past decade, over Indians have taken their own lives in despair. Poverty, expulsion from traditional territories in recurrent disputes with wealthy ranchers, and the overpopulation of the remaining lands are the main factors leading this unique people to slow extinction.
In one village called Bororo, 3, are packed into 3, hectares, a veritable death sentence for a people accustomed to utilizing vast expanses of land for their sustenance. Several areas of the Guarani-Kaiowa territory have been the site of intense and at times lethal struggles for land. The area of Sete Cerros, for example, was heavily contested by an agro-industrial company by the name of Sattin Agropecuaria S.
A, which has made full use of Decree and sued the state, claiming title to the land. As a result, Minister of Justice Jobim has targeted the area for revision, along with seven other indigenous areas. In another village known as Jarara, the Guarani-Kaiowa reoccupied their lands in March , stating that "We are returning to our Jarara village because we Indians cannot live anymore on the periphery of the city because we cannot even practice our cultural traditions.
But, in , Miguel Subtil de Oliveira, a rancher who also claimed the area, succeeded in having a judge issue a restraining order forbidding the Indians from occupying their own land. After a campaign of support from Brazilian entities and international NGOs combined with the threat of more suicides, Judge Theot6nio Costa, of the Regional Federal Court in Sao Paulo, revoked his previous ruling authorizing the eviction. Recently, in another village known as Sucuriy, 53 Guarani-Kaiowas were illegally evicted by armed civilians.
The 14 Guarani-Kaiowa families are now camped on the roadside about two kilometers outside Maracaju, and awaiting a judicial decision that would allow them to return to the area, which ironically has already been demarcated. Yanomami: Invasions and Death Brazil's government suspended its helicopter surveillance operation of the Yanomami area on March 6, , and as a result, thousands of gold prospectors have reinvaded Yanomami territory in Northern Brazil.
Thirty five clandestine airstrips have been chopped out of the forest. There is fear that at any moment, Venezuela will also expel several thousand more Brazilian gold miners who crossed the border as the result of earlier operations; many would simply resettle in Yanomami territory in Brazil. On June 5, , frustrated with government inaction towards the invasion of his people's territory, Yanomami leader Davi Kopenawa sent a letter across the world opening with: "We Yanomami send a message to you.
We are very worried that our Yanomami area is being again invaded by gold miners The dimension of the problem caused by the illegal presence of prospectors in Yanomami lands can be better understood from the indigenous people's perspective: the mere presence of a single foreigner can mean the spread of plague, and widespread death.
For the Yanomami, the lack of immunity to ailments introduced by miners, the rise in cases of malaria, and their dependence on natural resources poisoned by mining activities has predictably resulted in numerous deaths. In April alone, 12 Yanomami died from malaria. In addition, the lawless atmosphere of the mining camps has been characterized by prostitution and gun violence.
In November of , three Yanomami and one miner died following a conflict in Erico village, in Roraima state. In this case, the information got out. Many more conflicts end in death and are never investigated. The Commissao Pro-Yanomami, a Brazilian NGO that works closely with the Yanomami, had managed to achieve good results in improving health through its work in the area throughout the last two decades. These good results will be completely undermined if the invasion is allowed to continue.
In other areas, various NGOs and government programs are running into similar difficulties. At this point, however, it would be accurate to say that the Yanomami and indigenist forces internationally are losing faith in government promises. What is needed is concrete action. In November, a group of miners and loggers ambushed, tied up, and beat at least 14 people. This occurred inside the Sarare indigenous area.
The village was looted, money was taken, even the school was ransacked. People who support the Nambikwara have received death threats. The Nambikwara people became known internationally. Yet again, uncontrolled colonization brought epidemics, vioBrazilian Indians Who le rned the Portuguese.
The few forced to live in servitude closer o the cities in the South of that remained fought to return to their tradiBrazil. Rernoving invaders from indigenous lands In theoretical history, the o e you learn in school, African slavery was in Brazil is a lesson in bureaucracy, and at times abolished in Brazil on May 13, 18 8, by a law of the Chamber of Deputies of the even corruption. The Nambikwara are a case in Empire of Brazil. Thus were s e , lack Brazilians, most of them point. In the Nucleus for Indigenous Rights illiterate and unskilled, thrown tit f th miserable senzalas slave quarters NDI , a Brazilian NGO, sued the government where they had been lodged by thei political r-rio,atri5es slave owners and joined the arm on behalf of the Nambikwara for failing to of jobless in that still g country of 14 million inhabitants.
In addithe, thirty-two e 1 nuyears hieny' tu' tion, the mining camps had spread venereal from can rtUglie country blaekthe efriinter as claimed intro zil had the l colony land after diseases and malaria throughout the area. The NDI ccer piayers s lottery becomerobie grea soccer f theplayers sUa g long succession and various other Brazilian NGOs notified the afBrozead of solving the si seeo the Poor and popular he i n I B u es to generals the blacke bl Brazilian: governments have, World Bank of this, since it followed a policy of inimeldrsatR s and r seem smaller the numbers aeruallstrata.
It then became clear that state of m. The World Bank then condi- the a white man s were d at learning and ,re flora. In , even W h colonists, I guig an received some learned on earn fl t forced though invasions were still continuing, the Bank are being expelled from their land. At least, the Northern Ind'ans fBrazi. There too, They live in state of sliveryi l'h ' the integration that the whites offer us. There are Guaranys also fiving.
Then, backed by ay as the big trees arebeing decimated state government leaders, the invaders of Raposa losing the right of calling itself t tirribermen and 0, the Brazilian Indian ProtectiveServicbe ; Serra do Sol voted to form a new municipality BPI had th rauellerS.
Indi an Foundation, FUNAI, that superseded me any id timber aaingle Serra do Sol became one of the most heavily he ,nrest and rivers for hunting and fishing, the pepftvedsuof the use contested instances of Indian land. Its location on the Venezuelan border makes it strategic Kafowas have been fcli. IFInore w eat' to than 70 ejehthieemunera, theSe Indl theritia. On thlit. CpitiltZte: Fernando Henrique Cardoso, ordered Funai to cut a chunk out digenous territories not yet demarcated.
As time goes by, the of Raposa Serra do Sol the size of Rhode Island , violation of indigenous rights increases this gap between hectares of Indian land for some 14 ranchers to whom the apathy and justice, giving way to sad statistics, which seem to National Institute for Colonization and Agrarian Reform perpetuate the historic debt towards the first inhabitants of INCRA has been issuing titles since It also calls for Brazil.
This decision sends a clear stacle. Knowing Fax: E-mail: brazilpro ran. For page: www. Box Oakland CA, Phone: area in southern Para state, particularly for youths, contact Fax: Email: saiic igc. The situation of the Parakana was denounced by Rio's daily 0 Globo. Dwellers of the municipality of Sao Felix do Xingu spoke with reporters. In the exploitation scheme, the Parakana get food and alcoholic beverages to locate stands of mahogany. Funai doesn't have the staff or resources necessary to do anything about the situation.
In , they destroyed machines and other tools of the Perachi timber company as a means to intimidate invaders. The longer it takes for all indigenous territories to be demarcated, the situation of indigenous communities deteriorates and Brazil gets farther away from upholding its Constitution. The delay in securing the human and traditional rights of indigenous peoples aggravates their problems and continues to encourage the pillage of their territories by the usual bunch of criminal cartels that operate throughout the country.
Controversial policies like Decree intensify a political impasse, which discredits the federal government and may cost the reduction of in-. Box Denver CO fAilk t it. Made in Brazil Firing people is always unpleasant But the company is bloated The crisis is worse than we thought.
The only way is to dry up the excess work force. I want you to talk to them. Wagner is too uncouth to deal with this stuff. Moreover, the company doesn't have to justify the firings. All you have to do is to pay and send away. You'd better start getting used to this. Part 1 of 2. Deixa ele Poise, naquele almoco voce prometeu quinze por cento do lucro liquid da empresa pro Wagner se ele continuasse corn a gente. A Souza Cruz estava bancando a transferencia dele pra Ia, lembra? A gente nao tinha saida.
A empresa no podia nem de longe cobrir a proposta da Souza Cruz. Al voce perguntou o que que ele queria pra ficar. Ele falou ern vinte por cento. Ficou por quinze. La fora voce ainda me disse que tinha ficado barato. Ficou apalavrado contigo. E ele esta ate agora esperando os quinze por cento dele Digo que nao teve lucro. Que o lucro esta sendo reinvestido na empresa, mostro uns niimeros la Tern medo de sair de la agora.
Pra nos, nao altera nada. Nao mexendo no bolso, esta born. A empresa cresceu. Os tempos so outros. A gente tern que cortar as asas do Wagner. A qualquer hora ele pode querer contestar uma decisao nossa, e al? Ele pode ate ser insuflado por urn concorrente.
Mas eu em ordem, funcionando. Se ele se fico corn vergonha de pedir. E o aborrecer e sair, voce vai fazer o trabalho dele, ndo e? Alem disso, eu trabalho dele? Nao vai, ne? Entdo, deixa ele minha situacdo to cedo. NA fede — Vai te fazer muita falta a andlise? E ate — Vai. No moos outros funciomento vai Tern alndrios respeitam guns n6s que eu precimais Cara feia aquele — Que tipo de sacana sabe fazer Por exemplo Ha muitos desgosto pro cara?
De "dar murro em ponta de — Derrame E resolvi deixar o cara de derrame Resolvi apostar na — Deixa o cara pensar o que sabedoria da propria vida. Mas eu ando quiser No fundo ele sabe que aquela muito angustiado porque eu nao conversa ndo valeu. Tudo me parece erratico, porque ele tambem e vascaino, ndo sem direcdo.
Tudo nao? Sdo boa gente So empregos mal achar E custa caro. Ele custa barato Tudo demitido por "contencdo de gastos", bem, vamos deixar como esta pra ver ou sem explicacdo nenhuma. Mas eu estou se eu estivesse sempre comecando do confiando em voce que ele no vai zero e parando antes de contar ate tres. Cada evento e isolado dos outros, e os — Deixa comigo. Eu you nessa. Eu sou ocupada? Vamos Todos n6s somos. Todos dancamos a almocar juntos? Vou pedir pro boy — Eu gostaria de pensar como buscar urn sanduiche pra mim.
Estou voce. Me facilitaria as coisas. Mas eu cheio de servico Se voc'e deixar, lugar, em qualquer tempo. Mas depois da bronca lOgica? Aparentemente, eu tenho — E born ir se acostumando. Mas talvez o o domingo comigo. Talvez esse — Mas voce nao tern andlise aos conjunto de fracassos e de frustracoes domingos? A grana esta algum tipo de conhecimento, de curta. Ndo deu mais. Por que o destino tern Talvez seja se isso mesmo: uma sequencia de acontecimentos banais, ilogicos, irrelevantes e irracionais.
Talvez a sua vida seja feita de espasmos, no de gestos. A iddia de "destino" deve ter servido muito bem para os gregos quando eles a inventaram, mas nao serve mais pra n6s. Olhe em volta, Alexandre. Voce ye algum sentido? Axila em cobra Eu vim apanhar o grampeador Vou mandar passar mais trabalho pra voce Vai la fazer o seu servico.
No final do mes voce vai querer o seu safari bonitinho Estou cansado de alimentar vagabundo E voce, mocinha? Por qu'd no esta trabalhando? Tern gente assim querendo trabalhar Quer conversar, conversa la. Se nao tiver trabalho, finja que trabalha, que e pra nao atrapalhar os outros E quern nao estiver satisfeito, que peca as contas Como que voce fala uma coisa dessas dentro do elevador?
Voce quer me comprometer? Quer que eu seja demitida? A ruim assim Ela acabou ate se — Se o Flamengo nao contratar ele empresa toda vai pensar que eu estou apaixonando pelo chines rico Tern urn monte de funciondrias ate gandula Daqueles bem safados, que ainda fizesse? Uma careta? Alem disso, eu daqui eras dele, sabia?
Nem daqui detesto ser espionada Acho que voce a vinte anos o Flamengo vai ter bala na anda confundindo as coisas. Esta empresa Voce agulha pra comprar ninguem. Isso me enjoa. Assim voce me atrapalha a vida E Agora volta pra sua mesa, pelo amor de e trouxe o Zico, lembra?
Alem disso, aquilo foi em outra que a gente anda se encontrando Ia epoca Ninguem, ouviu? Tudo bem. Eu nao you mais pegar no seu pe. A Tesouraria paga em dinheiro viv , — Quer urn chopp tambem? Voce paga pra mim? Quando o time do Vasco — Ern que sentido, Ramiro? Pelo menos por enquanto. Sabe, aquela vence, ele entra aqui gritando: Vasco! Em que sentido conversa que a gente teve hoje de Vasco! Eu — Mais ou menos Sao todos uns essa histeria do Doutor Ramiro.
Nao nuncapensei que voce fosse ter acessos folgadOes Que ideia! Eu nao de clime S6 urn pouquinho. Agora, escute contratos cornas mineradoras. A bem! Eu preciso sozinha Alem disso, a empresa e0td quero falar. E sobre voce. Voce tern desse saldrio, senao eu nao tenho como precisando dar urn suporte melhor as inteligencia, sensibilidade, cultura, principios eticos E de repente voce sobreviver.
E estd dificilimo arranjar clientes grandes. Eu dei a major sorte em conseguir este aqui e nao estou do que essa mop pra fazer isso. Tern o "sobrevivente", fazendo quase um elogio da prostituicao. Mulher e melhor pra esIse causa. Agora, volte para a sua mesa antes que apareca alguem. Tenho muito negOcio. Mando largo voce sozinho aqui na mesa Eu nunca pensei em velho nojento so pra manter o seu transferir a moca amanha mesmo para a sua secao.
Mas ela vai precisar ser ofender voce E que voce citou como emprego? Duras, a menina francesa em Saigon, completamente diferente da Pelo menos — Nao sei, Alexandre. Quer que eu seja sincera? Acho que se for preciso, oriento, Wagner. Diz so pra Faco qualquer coisa. Eu sou nao e Vou colocar ate uma que eu chegar. E nao diga mais nada. Eu citei aquela bandeirinha do Vasco na minha mesa Deixa ela num sentido simbOlificartensa um pouempresa.
Vamos fazer bastante mento inevitdvel numa fonte de prazer. Aquela menina era uma da Espanha pro Vascao, hein? Como eu. Eta jamais menciona qualquer sofrimento. Acho que voce entao 6scolheu o exemplo errado. E, pode ser Urn lapso literario Urn ato falho. Esta bem Desculpe novamente.
Eu prometo que no toco mais nesse assunto. E que eu estou tentando te conhecer melhor. Vamos falar de outra coisa. Voce foi a esposicao do Krajcberg no MAM? Tenho ficado em casa lendo e acompanhando a "novela" da queda do Collor pela televisao. Acho que ele cai. Mas eu estou torcendo para que dez milhaes de pequenos "collors" caiam corn ele. Mas eu acho dificil que opals mude tao profundamente. Eu cheguei a conclusao de que eu estou apaixonado por voce.
Que coisa bonita Porque eu nao estou apaixonada por voce E mesmo se estivesse, tenho que ser franca: este seria o pior momento para me apaixonar por urn homem na sua situacao.. Nao dd Seria o roto namorando o esfarrapado Eu fico muito perturbado. Estou pensando em largar esse emprego e vender o carro. Eu quase nao uso, porque eu nao posso botar gasolina Quando o dinheiro do carro acabar?
Deixo por conta do destino. Da uma olhada nos classificados de empregos dos jornais La esta cheio de "destinos" empilhados em tijolinhos. Use a sua razao. Nao largue o emprego agora. Nos dois podemos ficar amigos e logo tudo vai ficar mais facil pra voce.
Paixao da e passa. E como uma intoxicacao Tudo o que a gente acredita que 6, 6 colocado em xeque. A pessoa perde o respeito e a estima por si mesma. Voce comeca a se achar repugnante, e acaba por encarnar o personagem ease tornar realmente repugnante. Eu nao quero isso pra mim Mas tenha um pouco de paciencia. Tudo vai se ajeitar. Voce vai ver. As coisas vao mudar.
Eu so sei que etas vao mudar, e que nao vai demorar. E uma intuicao As minhas intuicties nao falham. Tenha paciencia. Voce promete? Agora eu preciso ir pra casa. Nao precisa voce me acompanhar. Fica mais por aqui, se quiser. Preciso pensar uma coisas. Eu adoro voce, meu amigo Nunca se esqueca disso, td? Vou falar agora.
Eta anda de caso corn urn funcionario novo la do Processamento. Urn tat de Alexandre. Achei que voce devia saber disso antes E dal? E muito jovem esse Alexandre? Tern uns trinta e poucos. Quem te contou? Eu tenho olho treinado pra essas coisas. Mas a gente vai dar urn jeitinho nisso. Boa bola, Wagner. Alias, por falar em bola, ontem a noite estive numa reuniao corn a diretoria do Vasco.
Voce falou disso pessoalmente corn o Calcada? Falei: olha o Dinamite ja queimou o filme dele. Se sentir firmeza do pessoal, ele tira. Al muda tudo no time. E isso al, estou torcendo por voces. Vou te apresentar ao Calcada. Ai voce nos da uma forca la. Agora manda a menina vir aqui. E lembre-se, nao faca nenhum comentario.
Vamos dar um sustinho nela, depois um cha de cadeira, e ela entra aqui mansinha Se ela perguntar pra que, eu digo: ele tern uma comunicacao a fazer a senhorita. Ela vai se borrar nas calcas Traz a ficha dela tambem, curiculum, dados pessoais, essas coisas Impeachment nele! Conto contigo la. Camped do Brasil ano que vem. Vou lancar a campanha. Mas a hora vai chegar Deixa cornigo. Que saco! A16, Alemdo. Sao tres horas da tarde. Eu estou telefonando do servico. Tenho que falar rapid antes que me peguem no telefone.
E o seguinte: eu estou precisando conversar corn urn amigo. Ndo da pra voce me pagar urn chopp hoje a noite? E que eu estou duro. Te ligo de novo do orelhao as sete horas, td? Eu pedi pro Wagner te transferir pro meu setor, porque eu estou sobrecarregado aqui. A firma esta corn algumas dificuldades, e nOs estamos precisando fazer um remanejamento no quadro de funcionarios.
Vou precisar que voce me ajude nisso, por enquanto. Pode ficar tranqiiila que por enquanto voce nao esta na lista. Depois eu you te passar a lista e quero que voce calcule os dias que a firma deve a cada urn, converse com eles, pague e despache. Enquanto isso eu you te treinando como contato da empresa corn as mineradoras.
Pra fazer um acompanhamento. Sao clientes importantes, voce sabe E claro que se voce se adaptar a esse tipo de tarefa, eu you providenciar um aumento no seu salario, porque a responsabilidade tambem vai ser maior. Isso e justo. Vou pedir pro Wagner providenciar uma mesa aqui pra voce. Nao se esqueca de descontar as faltas. Not all Whites are the same. I think you have surpassed many obstacles in your stay there. I believe you are now much more able to take new challenges than before.
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Logic Posted on Ar fi cazul ca justitia sa descalceasca aceasta talpa a gastei tesute cu abilitate de un interlop de anvergura mondiala,numit SOV,caruia i s-a permis constructia unui sistem mediatic international pentru a pune la adapost marile afaceri oneroase alaturi de o larga retea de interlopi de acelas calibru prin santaj politic,inselaciune si eludarea legii.
Si sa fie demascati si adusi in fata justitiei si oamenii politici care i-au facilitat loi SOV matrapazlacurile prin care si-a creat ilicit un intreg imperiu de huzur,de care ei insisi au profitat. You want to capture the old school conservatives like myself.
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Aber auch so ist dein Blog einer der Besten! Weiter so! Fantastic maxi! I love that coronation program. It's funny that royalty actually exists, living here in the colonies as I do. They are mythical creatures that drop in from time to time, smile, wave, and sometimes wear feather headdresses at First Nations gatherings, which I find very odd. Hi Marybelle,I agree. Stuff happens.
Good for you for handling it and moving on. That's really all anyone can do. Thanks for stopping by! Hi Vanessa,Glad you liked the excerpt! Sounds like fun being able to travel and meet new family members. I'll bet that's bringing all kinds of new relationships into your life! Thanks for commenting! Someone in my Facebook group shared this site with us so I came to look it over.
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Those are awesome! Congrats on the win Maggi…. Thanks for a brilliant day today; I had such fun. Plus it was good to see all your amazing work in real life Linda xx. Caro Jorge, Laudetur Dominus! You can make lots of different style of beads other than the pillow bead shape with a kaleidoscope cane. Pretty much anything you would make with another cane you can make with one of these canes.
I am hoping to get a kaleidoscope cane video made soon… only so many hours in the day! Thank you for your comments Lupe! Bruce, you wuss. When Sam Abbott was around we fought boundary changes and efforts to close local schools. It included talking to officials, but a whole lot more.
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Please let me know if this okay with you. I have to second Marsupialus' thoughts. Oliver mentoined that bin Laden was a criminal. In that, he is correct. But you don't just shoot criminals, you try to bring them in to put them to trial. Also, I think it was a mistake to kill him. He's a martyr now, a hero of the jihad that future generations of terrorists will whack off to. Oh wow!!! Finally we can rave about it! Congatulations to all of the winners!!! And congrats on the win!
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My sisters and I picked up Tales of Graces f yesterday. All three of us play together once the particular characters we want to play as join the party. You daughter is so lucky to have a Mom who is willing to follow her own instincts.
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He at least publicly has to support gay marriage on the state level. Simply a smiling visitant here to share the love :, btw outstanding pattern. I know of several Christian women who met their husbands on the internet.
I do not believe that there is no accountability when you are dating someone from the internet, they were accountable to other Christian women in their lives. You cannot put God in a box, if he leads someone to the internet to date, that is their personal choice and to say it is wrong for everyone is very judgmental!
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The two are frequently of an entirely different species. Well balanced answer…quite true for the most part. Just that these waves come and go…earlier it was about engineering, now about an MBA, and once the market gets saturated with them, some other thing will catch up the imagination of people.
I think your key point is that there's a semantic shift going on, and what people mean when they've been saying ego is in fact Id. I think to better understand the banana smokers, you could consider "death of the ego" to mean "death of the id". I'm a little variant on the people I think you're talking about — but not a major variant. Vadim spune:Nu ati spus, sau nu ati vrut sa spunetin despre faptul ca marinarul a luat bani frumosi de pe la firme mari.
Luxten si Rosia Montana Gold Corporation. Hi Ido very inspiring and thought stimulating, i totally agree… It is very easy to blame others, I have been guilty of doing that countless times, however I have learned that it is essential to emotionally let go of the situation and act to correct it by learning to forgive irregardless of who may be right or wrong.
I find that when one holds on to the rope, it indefinitely consumes your entire being and diminishes your energy and vitality. It is the only way forward and it is truly liberating… ;D Cheers!! Dianna, You've summed it up nicely, and hit all the 'pain' points along the way.
Seems like there are ever-changing protocols on all of these communciation channels. Just noticed and it is well-deserved. Robin…this is truly wonderful to hear! But I completely understand your hesitancy because being in a larger group setting will be much different. But…hopefully she has grown a lot in many ways and she will just continue to blossom! I wonder if we have any of those Communications Kindergartens around here? I have never heard of them before.
Have a wonderful week-end!! I am going to my first blog conference, ShesConnected, here in Canada this October. I am thrilled at the prospect of a grand adventure……and scared nigh to death because I Just Have No Clue. And I only know 1 person who is also attending.
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