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.
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