(26-II-2001) television images of last night's tribute to Dorival Caymmi. In an electric trio are Gilberto Gil, Maria Bethania, Gal Costa and Caetano Veloso. We went to see them Campo Grande, but the crowd was too virulent and retired before they passed. On the screen they see something aged and decadent, but I get excited like, well, as I'm reading these days Tropicália history, I feel that vulgar surprise then that they were there yesterday. A Gal and Bethânia definitely lost to me, but then we were able to follow Gil and Caetano, who were in the Expresso 2222 with the great Ney Matogrosso. Just today I read also how it was changed to life on TV to see Caetano, because at that time decided to become an artist. We joined from the bar and was a repeat of the happiness of the other night, with the addition of a magical moment : when Caetano sang "Chuva, Suor e cerveja" and just then it started raining. hours in bed, reading. What I want is to leave the city, but collapsed carnival has it all. I've had enough (and good times, like last night, that seemed perfect for me to be the final) but it seems that there's nothing else to do. I was already looking forward to Ash Wednesday, but has now come the heavy Carlinhos Brown with the drivel that's out that day also the center in plan offender. Has a strict mentality rascal. The Shopping
Aeroclube. Here life goes on normally, including tacky decorations. Mist of
Armação sunset. Platform extensions and sky Azulea to Patinir, without ever (without being Styx). Reading
brief historical touches on Bahia. The characters who appear before me for the first time in two strokes: Diogo Alvares Correa, Caramuru , castaway who was the first to marry an Indian, Tomé de Souza, Duarte da Costa, Mem de Sá, former governors, Maria Quitéria and Joana Angelica, heroine and martyr of independence, respectively, the known and the father Antônio Conselheiro Antônio Vieira (who I stood here) ... Struck me how recently the conclusion Carnival. And how its creation was an operation to remove a previous party, the Entrudo , brought to Brazil from India in the seventeenth century. After multiple attempts by the authorities to end the Entrudo, which apparently was a real despipote, it was possible to do merge with the carnival in 1884: year of the first carnival in Bahia. The "throw-perfume," I come from hearing about these days, comes from France in 1910. And the electric trios that are practically the foundation of the carnival today, originated in 1950 when they first came out in a car with speakers Dodo and Osmar (accompanied by a third party who was alternating).
Trio
elétrico : like a throne of Holy Week, the clothing and hair of the singer moved by the breeze, as the Christs and Virgins; throne with some parade-float is actually a huge baffle, the size of a trailer, with the top musicians, waiting for the trio, as expected from their seats, to "see how they come", etc. And between the trios, "penitents", and revelers dancing show. Also, in a sense, the "penance" for fun. A little, yes, "the joke of obligation" of the tuna. It is "hold." Today I fought back, because no one has fallen asleep. On TV, the carnival in Salvador and Rio-how posh it looks from here. I have thought a comparison: Rio and Salvador in Seville Málaga, though here too there are boring "saviors" as in Malaga there that estomagante subspecies of Malaguena. Indeed, the tone of the speakers is idéndico : the same hysterical overacting here and there.
The "penitents of fun." There is talk of the carnival as marathon, how enduring, and so on. And it boasts one day to be recovering, then the rest of the laces, restoratives that will make.
Terms: bloco, Adabas, pipoca, afoxé, axé, Cordão, Cordeiro, cabin. Folia.
Torpes log pseudo-anthropologist.
Rosa Passos Listening to dark, half awake. Suddenly, an expression revealing: from past experiences are said that are no longer one, but the time . And the song that produces happiness, "Essas coisas são do tempo / Não matter or já fiz / Sinto or gosto do time / Ouço a chuva e sou happy."
(27-II-2001) Itapoã Tomorrow. Bright light in the room: it was six and a half. Shower, breakfast; out at eight. The bus left us in the promenade of the town. We walked the beach to the Lighthouse, white and red. Here, at a table with umbrella: chopps acarajé and listening to the walkman . Stunning for beer, spicy and music ("Surpresa" by Caetano Veloso, I've spent over and over again). Vision of the waves. When we were on the beach did not want to take my shirt off, but no one has convinced (by the grace with which he has said, especially): "Here to belly é chique, européia."
At times, tears as impending dot-something.
The wide horizon, the clouds away. (This dilapidated miles from here.)
Sentimentality caused by alcohol and music. Easy-to Whining, however, fails to appear. Three
acarajé and six bottles of Brahma after: the biggest waves.
Epilogue: scorching in Itapoã. ("Caranguejo vermelho.)
(28-II-2001) Ash Wednesday. Tropical melancholy. Late in the Jardim de Alah beach. Facing the ocean, on a stool, João Donato's songs over the headphones (right now "Surpresa", this time by Adriana Calcanhotto). Horizon clouds, the waves that break strong and calm in the rocks are as outposts (liquid) of the same clouds. Hot sun (and declining) and cool breeze. Uneasiness about the fate-ending history of Tropicalia. At this moment in the Songbook : "meus Brinquedos, so many esquece ...". Forgotten toys. What to do. For when something great or small but beautiful. Life. And the fruits. In this loose phrases, which are an indication. Much light, and an itch for the joy hidden. (Close this notebook, keep walking.)
(1-III-2001) Showers summer, we wake up intermittently. We leave Sleep and out pours. After sleeping over with us just as we awoke to the sound of falling water.
[Next: trip to Brazil (5) ]
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