domingo, 2 de outubro de 2011
POESIA DE António Franco Alexandre
He is very beautiful my newly acquired friend;
É muito bonito o meu amigo de agora;
he has the shiniest fur in the whole forest,
tem o mais belo pelo da floresta,
and eyes that in the dark of night
e olhos onde brilha, em noite escura,
flash like ice from on high.
o faiscar do gelo nas alturas.
He takes his time talking on the phone
Demora-se a falar ao telefone
to his girlfriend, as the days slowly pass;
com a namorada, no vagar dos dias;
he tells her all that he does, and thinks, and feels,
diz-lhe tudo o que faz, e pensa, e sente,
and he also listens, intelligently,
e ouve também, com ar inteligente,
to the amusing stories she has to tell.
as divertidas vidas que ela conta.
And so many are the episodes,
E há tantos episódios, desde o baile
from the mosquitoes’ ball last summer,
dos mosquitos, no verão passado,
to the recent soirée of sticky leeches,
à recente soirée das sanguessugas,
that he is fully entertained and slowly stretches
que se distrai, e lento se espreguiça
in the sun, which tends to accentuate his wrinkles.
ao sol, que lhe acentua as rugas.
Then I climb up through his wooliness, and stay
Então eu subo pelo pêlo, e fico
there in admiration of such silken harmonies;
a admirar tão sedosas harmonias;
in the wire-less whisperings, that I hardly follow,
no sussurro sem fios, que mal entendo,
I collect my little honey, and I’m happy.
colho um pouco do meu mel, e sou feliz.
in Aracne, 2004
© Translation by Ana Hudson, 2010
É muito bonito o meu amigo de agora;
he has the shiniest fur in the whole forest,
tem o mais belo pelo da floresta,
and eyes that in the dark of night
e olhos onde brilha, em noite escura,
flash like ice from on high.
o faiscar do gelo nas alturas.
He takes his time talking on the phone
Demora-se a falar ao telefone
to his girlfriend, as the days slowly pass;
com a namorada, no vagar dos dias;
he tells her all that he does, and thinks, and feels,
diz-lhe tudo o que faz, e pensa, e sente,
and he also listens, intelligently,
e ouve também, com ar inteligente,
to the amusing stories she has to tell.
as divertidas vidas que ela conta.
And so many are the episodes,
E há tantos episódios, desde o baile
from the mosquitoes’ ball last summer,
dos mosquitos, no verão passado,
to the recent soirée of sticky leeches,
à recente soirée das sanguessugas,
that he is fully entertained and slowly stretches
que se distrai, e lento se espreguiça
in the sun, which tends to accentuate his wrinkles.
ao sol, que lhe acentua as rugas.
Then I climb up through his wooliness, and stay
Então eu subo pelo pêlo, e fico
there in admiration of such silken harmonies;
a admirar tão sedosas harmonias;
in the wire-less whisperings, that I hardly follow,
no sussurro sem fios, que mal entendo,
I collect my little honey, and I’m happy.
colho um pouco do meu mel, e sou feliz.
in Aracne, 2004
© Translation by Ana Hudson, 2010
“God created a circle of love so vast that no one can stand outside”
Carlos Santana interview
You’re Rolling Stone’s 15th greatest guitarist of all time, but is there any other instrument you’d like to master?
That’s a good question. Probably the piano. But I like strings better because they pull your heart strings a little faster. Bending them is kinda – don’t take this the wrong way – but when you bend your notes it’s kinda like someone licking your face. I get chills just talking about it [we can confirm that, at this point, he got goosebumps]. But the piano is just dink, dink, dink. It’s beautiful, but there’s something about bending a note that’s very, very intimate, very personal, and very present. You can’t ignore it.
That’s a good question. Probably the piano. But I like strings better because they pull your heart strings a little faster. Bending them is kinda – don’t take this the wrong way – but when you bend your notes it’s kinda like someone licking your face. I get chills just talking about it [we can confirm that, at this point, he got goosebumps]. But the piano is just dink, dink, dink. It’s beautiful, but there’s something about bending a note that’s very, very intimate, very personal, and very present. You can’t ignore it.
You’re a living legend, but did you always want to be famous?
I wanted to be on stage with Eric Clapton, BB King, Miles Davis – but I never really cared about awards, money or fame. I’ve walked the red carpet only two times out of however long I’ve been doing this. I always go through the kitchen. I love validating the invisible ones who serve and clean toilets and clean sheets.
I wanted to be on stage with Eric Clapton, BB King, Miles Davis – but I never really cared about awards, money or fame. I’ve walked the red carpet only two times out of however long I’ve been doing this. I always go through the kitchen. I love validating the invisible ones who serve and clean toilets and clean sheets.
You’ve collaborated with a lot of artists. Who would you like to work with next?
I’d love to collaborate with Andrea Bocelli and Metallica. I have a vision of doing songs with them that take them outside their comfort zone.
I’d love to collaborate with Andrea Bocelli and Metallica. I have a vision of doing songs with them that take them outside their comfort zone.
We like that.
Yeah, me too. Don’t get too comfortable. You have to become authentic and real and the only way you can do that is by being vulnerable and going after something that you don’t think you can do. Brutal, huh? [Laughs]
Yeah, me too. Don’t get too comfortable. You have to become authentic and real and the only way you can do that is by being vulnerable and going after something that you don’t think you can do. Brutal, huh? [Laughs]
Did you ever live the rock ’n’ roll cliché?
No. ‘Groupies’ and ‘rock stars’ – other people give us those names. It’s not fair or ethical to tag people, because we’re all unique. I’ve never known one person to be the same, ever. Even twins. ‘Rock star’ isn’t a validation, that’s a put-down. Call me a child of God… with really sparky eyes.
No. ‘Groupies’ and ‘rock stars’ – other people give us those names. It’s not fair or ethical to tag people, because we’re all unique. I’ve never known one person to be the same, ever. Even twins. ‘Rock star’ isn’t a validation, that’s a put-down. Call me a child of God… with really sparky eyes.
What about the 15th greatest guitar player tag?
God made the world round so we can all have centre stage. We’re all number one, we’re all significant and meaningful. God created a circle of love so vast that no one can stand outside. So why do I need to be labelled or categorised? It’s so subjective, it’s ridiculous. We’re all right here [indicates one level with his hand]. Nelson Mandela, Desmond Tutu, the Pope, Mother Theresa. We’re all right here. Don’t look up and don’t look down.
God made the world round so we can all have centre stage. We’re all number one, we’re all significant and meaningful. God created a circle of love so vast that no one can stand outside. So why do I need to be labelled or categorised? It’s so subjective, it’s ridiculous. We’re all right here [indicates one level with his hand]. Nelson Mandela, Desmond Tutu, the Pope, Mother Theresa. We’re all right here. Don’t look up and don’t look down.
How important is playing guitar to you? What if you woke up one day and had lost the ability to play?
I’d be better at something else, immediately. This is not who I am. I’m not a guitar player. I’m a child of God and what I have is more than just fingers. I have imagination. I trust God implicitly and I know that if I lose my fingers, it’s not over. It’s one chapter.
I’d be better at something else, immediately. This is not who I am. I’m not a guitar player. I’m a child of God and what I have is more than just fingers. I have imagination. I trust God implicitly and I know that if I lose my fingers, it’s not over. It’s one chapter.
Carlos Augusto Alves Santana
Santana was born in Autlán de Navarro, Jalisco, Mexico. His father was a mariachi violinist, and Carlos learned to play the violin at age five and the guitar at age eight. His younger brother, Jorge Santana, would also become a professional guitarist. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana, the city on Mexico's border with California, and then San Francisco. Carlos stayed in Tijuana but joined his family in San Francisco later and graduated from James Lick Middle School and Mission High School there. He graduated from Mission High in 1965. Javier Bátiz, a famous guitarist from Tijuana, said to have been Carlos's guitar teacher who taught him to play a different style of guitar soloing.[4] After learning Javier Batiz's techniques, Santana would make them his own as well.[5]
Early career
"The '60s were a leap in human consciousness. Mahatma Gandhi, Malcolm X, Martin Luther King, Che Guevara, Mother Teresa, they led a revolution of conscience. The Beatles, The Doors, Jimi Hendrix created revolution and evolution themes. The music was like Dalí, with many colors and revolutionary ways. The youth of today must go there to find themselves."
— Carlos Santana [6]
In San Francisco, he got the chance to see his idols, most notably B.B. King, perform live. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician. In 1966, he gained prominence by a series of accidental events all happening on the same day. Santana was a frequent spectator at Bill Graham's Fillmore West. During a Sunday matinee show, Paul Butterfield was slated to perform there but was unable to do so as a result of being intoxicated. Bill Graham assembled an impromptu band of musicians he knew primarily through his connections with the Grateful Dead, Butterfield's own band and Jefferson Airplane, but he had not yet picked all of the guitarists at the time. Santana's manager, Stan Marcum, immediately suggested to Graham that Santana join the impromptu band and Graham assented. During the jam session, Santana's guitar playing and solo gained the notice of both the audience and Graham.[7] During the same year, Santana formed the Santana Blues Band, with fellow street musicians, David Brown and Gregg Rolie (bassist and keyboard player, respectively).[5]
With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly adapted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to a recording contract with Columbia Records, then run by Clive Davis.
Santana's Supernatural Career
Mission Park Dolores in San Francisco
Mission Dolores Park (commonly called Dolores Park; formerly known as Mission Park) is a San Francisco, California, city park located in the neighborhood of Mission Dolores, at the western edge of the Mission District, which lies to the east of the park. To the west of the park is a hillside referred to as "Dolores Heights" or considered a part of the Castro neighborhood. Dolores Park is two blocks tall by one block wide, based on the configuration of north-south and east-west blocks in that part of San Francisco. It is bounded by 18th Street on the north, 20th Street to the south, Dolores Street to the east and Church Street to the west. The northern end of Dolores Park is located directly across the street from Mission High School.
The Fillmore
In the mid-1960s, The Fillmore Auditorium became the focal point for psychedelic music and counterculture in general, with such acts as The Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, The Doors, Jimi Hendrix Experience, Big Brother and the Holding Company, Carlos Santana, The Allman Brothers Band, Creedence Clearwater Revival, Miles Davis, and British acts The Who, Pink Floyd, Elton John, and Cream all performing at the venue.[2] Besides rock, Graham also featured non-rock acts such as Lenny Bruce, Miles Davis, Rahsaan Roland Kirk, Charles Lloyd, Aretha Franklin, and Otis Redding as well as poetry readings.
Santana's Supernatural Career:
Carlos first began playing the strip in Tijuana at age of 11. But it was when he joined his family in San Francisco's Mission District at the age of 16 that he became truly inspired.
In San Francisco he discovered a thriving cultural scene with a diversity of musical styles, including jazz, blues, international folk music, and classical salsa by the likes of Tito Puente and Eddie Palmieri. He began emulating the sounds of artists like B.B. King, T.Bone Walker and John Lee Hooker. Santana had a musical revelation at the Fillmore West in San Francisco in 1966, where he saw B.B. King for the first time. This experience would inspire his own famous guitar tone.
"It was B.B.'s first time at the Fillmore, and he got a standing ovation before he even began playing," Santana told Guitar.World's Alan DiPerna. "He was so moved that he started crying. And I remember, because of the way the light was hitting him, all you could see was the glitter of tears in his eyes and the diamonds on his rings when he put his hand up to his face. And when you were a kid who'd just come up from Tijuana and felt like you didn't know anything, that kind of thing really hit you. B.B. King hit the note and it changed everything for me. I said, `That's it. There's the sound I've been searching for.' I felt like a kid chasing the circus." Santana added that part of what King's playing taught him was to think in terms of the individual note. "A note is like a rose," he said. "It can be closed, or halfway open, or all the way in bloom. You have to know when to hit that note the right way-choose how each note is going to be. It's like being a gardener. You want to present the best possible bouquet."
Not long after that life-changing night at the Fillmore, Santana formed a band with his friends Gregg Rolie, Gus Rodriguez, Michael Carabello, naming it The Santana Blues Band. The group was the last major act to emerge from the psychedelic San Francisco music scene of the 1960s, and it enjoyed massive success at the end of the decade and into the early '70s.
The group made its debut in 1968 at the Fillmore Auditorium and became a favorite of influential West Coast promoter and Fillmore owner Bill Graham, performing there regularly to packed houses. The band played a triumphant four-night stand at the venue, portions of which have been released by Legacy Recordings in a two-CD set, Live at the Fillmore West.
Meanwhile, Santana was signed to Columbia Records and recorded a self-titled debut album. At this point, the group was a sextet consisting of Carlos (guitar), Gregg Rolie (keyboards and vocals; born June 17, 1947, in Seattle, WA ), David Brown (bass; born February 15, 1947, in New York, NY), Michael Shrieve (drums), Jose "Chepito" Areas (percussion), and Michael Carabello (percussion; born November 18, 1947, in San Francisco).
"Merging it didn't happen overnight," he adds. "What happened was that we were playing blues, and we were supposed to play at the Fillmore with Howlin' Wolf and Steve Miller-I remember because that was the biggest break we were going to get-but then something happened. They took me to the hospital for tuberculosis. I was there for three-and-a-half months, and I couldn't get out. It was like being in jail. They put me in this ward, like One Flew Over the Cuckoo's Nest or something.
"And so we had to cancel. But people kept coming to see me from the band, and they would say, `Hey, just to keep the band together we hired a conga player.' I thought, `A conga player? That's different.' So when I got out, we started playing with this conga player called Marcus Malone. Before that, they played with Michael Carabella. Malone was the one who brought in `Jingo,' which of course belonged to [African drummer Babatunde] Olatunji,' and all those other songs."
... fllow on http://www.sfmission.com/santana/career.htm
Carlos Santana Feat. Rob Thomas - Smooth [Live By Request]
Man it's a hot one
Like seven inches from the midday sun
Well, I hear you whisper and the words melt everyone
But you stay so cool
My munequita, my Spanish Harlem Mona Lisa
You're my reason for reason
The step in my groove
Yeah
And if you say this life ain't good enough
I would give my world to lift you up
I could change my life to better suit your mood
'Cause you're so smooth
And just like the ocean under the moon
Well, it's the same as the emotion that I get from you
You got the kind of lovin' that can be so smooth, yeah
Gimme your heart make it real or else forget about it
I'll tell you one thing
If you would leave it would be a crying shame
In every breath and every word
I hear your name callin' me out
Well, out from the barrio
You hear my rhythm from your radio
You feel the turning of the world so soft and slow
Turning you 'round and 'round
And if you say this life ain't good enough
I would give my world to lift you up
I could change my life to better suit your mood
'Cause you're so smooth
And just like the ocean under the moon
Well, it's the same as the emotion that I get from you
You got the kind of lovin' that can be so smooth, yeah
Gimme your heart make it real or else forget about it
And just like the ocean under the moon
Well, it's the same as the emotion that I get from you
You got the kind of lovin' that can be so smooth, yeah
Gimme your heart make it real or else forget about it, yeah
Or else forget about it
Or else forget about it
Or else forget about it
(Gimme your heart make it real)
Or else forget about it
(Yeah)
Let's don' forget about it
(Oh, no no)
Let's don' forget about it
(Oh, no no)
Let's don' forget about it
(Yeah)
Let's don' forget about it
BOM DIA!!!
essa vai para meu amigo Marco Lino, na Bahia
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