sutil #16 - 2nd edition

issue sixteen DIGITAL MAGAZINE ABOUT LOVE,ART,CULTURE TECHNOLOGY,FASHION & STYLE,TRENDS ETC

DON'T MAKE WHAT I DID / THE REAL HISTORY OF POSE & EFFECT PROD IS ALMOST LIKE A MOVIE / A AUTO­ BIOGRAPHY ABOUT THE BACKSTAGE AND CURIOSITIES OF THE LABEL DEDICATED TO DIVULGATION AND THE EXCHANGE OF THE MODERN MUSIC PROJECTS FROM THE LUSOPHONES NATIONS / 2006­2009

COPYRIGHTS TO PURI PRODUCTIONS 2019.

EDITION & DESIGN

M . I . K . A.

PUBLISHER

ISSUU [ h t t p s : / / i s s u u . c o m / s u t i l m a g a z i n e ]

DISTRIBUTION

FACEBOOK [ h t t p s : / / f a c e b o o k . c o m / s u t i l d i g i t a l m a g a z i n e ]

sutil é um magazine digital mensal e sem formato pré-definido sobre Amor, Arte, Cultura, Tecnologia, Moda & Estilo e Tendências, editado pela Puri Produções Número 16 sutil is a digital magazine released monthly without any pre-format defined about Love, Art, Culture, Technology, Fashion & Style, Trends, published by Puri Productions #16

pose & effect's world wide web/ the @Dubstereo's band members formed by some musicians of @MinistereoPúblico, a Reggae soundsystem from Salvador da Bahia that was changing the local scene with your underground parties

pose & effect's world wide web/ 1999-2009

CITIES WHERE THE OFFICE OPERATED DURING THAT DECADE THRU YOUR BRAZILIAN BRANCH

CITIES WHERE I OPERATED DURING THE SAME DECADE ONLY LIKE A FREELANCER

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006 came demanding changes. I was more workaholic than ever and had few physical activity, which added to the irregular hours resulted an unwanted weight gain. I

was going to be at dawn. I not meaning about 2 or 3 days a week… I stayed on all­nights­long. All. My agenda has become annual: the European summer on tour and holding events; 2 or 3 months of rest in more affection to my family, to my friends and exclusively to the Portuguese newspaper that I was directing simultaneously in a timming that coincided the arrival of the Autumn­Winter season and the celebrations of Christmas and New Year ; so remaining 7 months in frantic pre­productions.

The managment and booking works for the band Seletores de Frequência toke a preponderance

between the office's productions, and I wish to return our focus to the Lusophone cultural exchange, but betting even more on the group: I suggested to the leader MC BNegão to think about release a new album taking the opportunities conquered after those 2 tours trying to keep the same contacts as a base to broaden the horizons.

More than 3 years ago, I used my holidays in the journal to fall on the road, and when the troupe left and the rest felt I confused the state of relax with boredom and re­start again another cycle in 220w. Marito, Bruno and Carlos were always involved, to a greater or lesser extent. But perhaps from that year a figure would gain as much than these for Pose & Effect: a friend and brother of the portuguese musician Manel Cruz, Marcos.

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espite my own relationship with the musician I heard as soon as I set foot in Porto, the connection with Marcos was exclusive. Sometimes I met Manel and

often accompanied by his 'black bro' ­ as Marta, like the sister who shared the apartment with him, called him. Cruz was a reporter for the Culture section of a newspaper of the same media group of which I was acting and also adress into the same building. Besides that, it was practically on the same block as the company, and that guy is one of the city's biggest Black Music record collectors, so it was easier to get off work to dine and get together than not get together…

I was convinced of one thing: to be fulfilled our target we would have structure the scene itself as

an alternative music scene. On the one hand, there was no agenda of Portuguese artists performing outside of Portugal and the lack of knowledge abroad was almost complete ­ with exceptions for people like the @Madredeus and @Moonspell.

Otherwise, many Brazilians, Angolans, Cape Verdeans. Guineans and Mozambicans passed by, but from a short list that is asking a high level of production, so only contemplated some artists that would be able to fill your concerts to medium and large assistances after enjoying good hotels and restaurants… Nothing against it all if it's didn't causing that oceanic gap between the Portuguese­ speaking countries, when the lack of knowledge about the current effervescence in the panorama of each one was even greater than today, especially about newest projects.

These daydreams nurtured the new year of work. And while the viable solutions did not emerge, I followed producing things like the #OuroNegro party in Porto, a kind of partnership of our first #HorizonParty with the increasingly poisoned DJ set of Cruz who spent spending much of his wages with Funk and Soul CDs imported via the Internet in that post­#Napster times. Together with the same producer as @HardClub and vocalist of @Zen @Gon, a local fusion jazz band from the ESMAE sessions called @InsertCoin, plus a cool 'corner' given by the mythical @TeatroSádaBandeira and we with some friends dripped through another night proposing sonorities in the downtown.

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hat feeling would soon be confirmed.

Although @LaFabricadeChocolate went back to booking for a festival in Pontevedra ­ more to the North of Vigo and still

inside Galicia region ­ we would not be able to turn a tour in the previous punch. The Galician prod had a budget that would cover the expenses around air tickets, but with a concert already been presented and repeated in the last two seasons with the same partners, there was not enough attraction and we stretched only to 'our home' Barcelona for more act at @SalaApolo – but that time as the main artist in a pimped @CanibalSoundsystem.

In fact, the tickets from Brazil to Europe had always been our logistical and financial challenge in each tour planning. With a group of at least 5

elements, where we invariably needed to include @FlávioCanetti in the sound technique and a roadie, to turn a gig that guaranteed such cost was to consolidate the season, were it not for the lack of a new album that added to the 'Enxugando Gelo'.

But 'the ball' wasn't only on their side: Bernardo would call me soon saying that he was investing even more in the @TurboTrio project and that they were launching a debut album by @YBMusic, from São Paulo. The duplication had caused internal problems between the band members, but even fearing that the plans might conflict, I also put on a tour for the most electronic, lean and for dance group too. It was so certain that ­ without any demerit for the band ­, 2006 turned out to be the year of the Turbo Trio.

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t was at this point that our prod boomed. And, as in any explosion, there was the ever­aimed 'boom' and the unwanted damages. But til the end of

this edition you'll understand me better about it…

For now, let's go to the factor @AnoukPiket:

As I mentioned in @sutil #8, I had already tried to take the Seletores de Frequência to Netherland through her, a lit distant contact because I had not yet met her in person. However, with the announcement of Turbo Trio as part of our casting with a record out of the oven, the producer was excited by that format, with what we did until that time with the band, realized that the cost was much more feasible for the their own productions and she began to move in this direction.

And it really happened. The slim, long­haired muay­ thai fighter and former Rio resident just put us on a event called @DunyaFestival in her hometown Rotterdam, leveraging the tour where, and in addition to that show we would be giving a Hip Hop workshop run by the institution @Roots&Routes, and even co­produced another date already in Amsterdam at the @SugarFactory club.

If before I had an artist taking too much time in my office, from that moment we gained 2. I followed up the contacts to realize the tour of the band and simultaneously continue riding one of the trio.

And yes, sure… I was directing the portuguese newspaper too, which was the best seller there til today.

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he meetings with Marcos and Marito continued and the difficulties to confirm more concerts for the band too.

As you can understand, it was not a

matter of tasks, when we just could choose to do things by priorities, urgency or preferences. In managment, either you 'work' the artist or he falls off your hands. And, at the best, he fall into others hands that will help you still most.

So I kept trying. I figured if I didn't a tour that year and if the band did not release another album the whole thing would fade, and I'd probably getting out. At one night while I was walking around my living room reflecting on this subject, looking at a straw basket where I left some magazines and newspapers, I came across the issue

#1 of the brazilian magazine #OutraCoisa ­ that stamped their on the cover and that had released the CD of the band ­, and I had a 'eureca!': how about launching an portuguese edition of Outra Coisa in Portugal?! Together, we were journalists, designers, producers, musicians…

For those who accompanied and for those who did not live that time, the Outra Coisa was an editorial and cultural project [music primarily], and an record label too. This was a consequence of a hype during the 90's when the publisher @Lobão found a scheme consisted in a printed publish + one promo album or CD­ROM that filled the stands was an great way for distributing our records. A lot of people were released by the magazine, and the 'Enxugando Gelo' deb the project.

It was not a only a trip [ or was, maybe it ended up being… ]. But in those 3 or 4 o'clock let the Outra Coisa to Portugal with Marcos Cruz editing the magazine with me was so obviously promising to finally consolidate the back­and­forth between the 2 countries that on the same day we had other meeting – okay… without great efforts.

pose & effect's world wide web/ the trumpetist @PedroSelector in a champagneria in Barcelona during a day­off. This kind of pub would be one of the inspirations of the @TetoSolar brewery opened by Flávio Canetti in Rio some years later

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long with Marcos and Bernardo and they both came up with that idea. That was quickly burned in the following days with the 'black brother' revealing that

Manel had been producing for years a solo album full for special guest appearances in his own home studio, even though he had a long and recognized career inside Portugal as @OrnatosVioleta member and in a parallel group recently released and also contracted by a record company ­ @Pluto. BNegão was giving back that Lobão had also been interested in the proposal and we started to organize a meeting with all those involved in Rio de Janeiro.

The news about Manel Cruz was gestating a other work 'fell me like sour cherries', as they say in Portugal… I visited him in his home to talk and he

was excited about that few roughs that he showed me. That was interesting. He was neglecting the band ways to arrange his songs using more keyboards and percussions than guitars and drums, but all more restrained. Some noises, pianos almost sounding as toys, incidental sound effects… But it were also songs and kept Manel's style. It seemed very accurate to bet on that project to inaugurate an Outra Coisa portuguese edition, and to be the 1st deb album of a Portuguese artist in the Brazilian edition, thus consolidating our agenda for such an encounter.

As I still had some few days for vacations from the newspaper in the drawer April ­ already Spring in Europe and a mild Autumn in Rio ­ me, Marcos and Manel, would departuring to try intervene in a

considerable and pragmatic way in the musical relationship into the Lusophone. But not before a morphine injection…

pose & effect's world wide web/ blatant by @ChucruteComFeijão during the presentation of @SonicJunior at #Popkomm 2006 in Berlin. The guy from Alagoas was one of the liners in an edition that was dedicated to Brazilian music, and that showed the band BNegão & os Seletores de Frequência, @NanáVasconcelos and @ChicoCésar as guests

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ne day, in the midst of all that movement, I began to feel a strange uneasiness. It was nothing like what I had felt at any time in my life before

and wasn't localized. Today, I know it was something sensory, but that week I might not even be comfortable.

The Saturday came and I went for a walk on the beach because it was getting worse. The wind was still cool, but the afternoons were already sunny.

I knew that I had to take care of my physical training… Something was happening.

Then another sooner day, almost at the end of the day, I left the journal and went directly to #HospitaldeSãoJoão. There, after a dozen questions

and exams, the doctor said that I should be a lit stressed, and prescribed me an anceolitic. I do not remember if I left the hospital already medicated, but the package would be little consumed…

Maybe 48 hours later, at my home, talking to Xmiz on the mobile phone [Carlos 'Camisas', as we later called him], the malaise worsened and somatized on the back. He had had problems in the region after the 2005 Seletores tour and an acupuncture session had resolved, but the pains returned and that were not the same. We ran to #HospitaldeVNGaia with him at the wheel. As we entered through the door of urgency, I approached a team of nurses who, when they saw me, must have noticed that I was cramped and immediately put me on a stretcher. One pulled out those 2 or 3 basic questions while he tied me

in there and left me staring at the ceiling and listening to the zum­zum­zum environment increasingly tucked between echoes of voices, ambulance sirens outside and conversations between the staff.

Suddenly, she returned with a huge syringe. The nurse said me as usual that the medicine would relieve the pain while already injecting it into my vein. At that moment, I asked her if she knew what I suffered, when replied me that it appeared to be a renal crisis. “Damn”, I thought. “Of course!”. I had a kidney attack when I was a child and I hadn't thought about this hypothesis during the symptoms.

But the content of the ampoule began to take effect and I couldn't proceed with those findings… I just remember that in a wonderful sensation of relief I

grabbed her wrist with the last strength that I still had before leaving me there hallucinating to know what was had injected me, to which she replied that it was a morphine cocktail.

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y first exit from home after that health situation couldn't hardly have been better, but firstly I need to contextualize it:

Sometimes I would also go to a studio to rehearse.

I mean, it was not a real rehearsal because there wasn't a set list… There was me and the other Bruno ­ other than Yoga ­, a drummer who had a copy of the key to Manel's rehearsal room adressed inside a semi mall abandoned in the center of the city, where several other bands occupied stores with the same purpose, being known like one of the points of Porto more frequented only by musicians. We simply combined, locked up and improvised for hours while drinking some bocks. The hobby almost became more serious when Edgar bought a saxophone and a friend

journalist and presenter on a local TV called Jorge went there one night with a bass, but Bruno was already on another level and everything ended in more beers and other freestyle sessions to two.

Hereupon because I was recovering from that crisis when Xmiz warned that a band called @Mosh formed by bass player @MiguelRamos of Pluto and guitarist @MiguelAzevedo was going to launch his 1st. album in a place in Aveiro city. They were both Bruno's friends and we would all go together include their girlfriends.

I would not drive, but the night was far from soft: the group was practically stoner, and live, in a bar made of the stony construction typical of the north of the country, under a temperature still low

and serenading on the outside, I was binary: I would resist or would go back to the hospital in that same morning.

But it was one of the best shows that I ever watched in Portugal. 'The Damage Done' was produced between October and November 2005 by the renowned @MarioBarreiros and I concluded at that moment that we were really ready for what was to come.

pose & effect's world wide web/ with @GabrielMuzak and a friend into the dressing room of the Sala Apolo in 2006, when the Seletores de Frequência acted for the 2nd. time at the catalan Canibal Soundsystem with participation of the band @Macaco

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he reunion in Rio was schedule at a restaurant in Leblon at lunchtime. Lobão arrived a little after us. Further back, @Pitty shared the table with his manager

@MarcelloLobato, from @NaMoralProduções. The first big news was that the manager of the publisher and rocker who accompanied him was a Portuguese girl from Figueira da Foz beach. The meeting was productive and our proposals approved, including the launch of Manel Cruz here in Brazil.

The scheme was consolidated: the portuguese edition would be completely independent of the brazilian one, leaving only the assignment of use of the mark in exchange for the divulgation and the interchange between the essays and the launched artists. Nobody would be forced to throw anyone in the magazine of

each other, but there would be this ping­pong to enable the import and export of the albums of bands and some related subjects.

That same week @Mombojo would act in @CircoVoador, and they made the invitation to get there and get to know one of the magazine's relevancies. We added it. And as much as Manel had gotten used to the stages and spent most of the day inside the hotel room because the sun, I realized that both the concert and the venue impressed him…

Mombojo was in fact one of the best things that emerged from Recife in the last decade, and sincerely thanks to that 'NadadeNovo'. The guys were very excited and sounded noisier than the CD, with considerable gain of hard rock and punch on

the guitar and bass. At the end there was that fraternization in the backstage but we did not even imagine that almost 2 years later the group would be with us working in Portugal.

Manel never said this, but I felt that a part of his later album dubbed 'Foge, Foge, Bandido!' was written here during those hours inside the hotel and inspired by the few beaches in Rio that he knew with us. In one of them, in Ipanema beach, in the day­after Circo Voador, we were a counter­time: when I was parking the car in a street near of the beach ­ I can not remember which one it was ­, a guy ask me to take a look while we're outside. Ok.

'Nn­hún­ò', the boy said something like this trying to match the cost of the parking lot. I looked at

the two brothers and no one wiggled. I thought maybe it was just me who had not understood what him had said and asked for his name. 'Ornildo', he mumbled.

Ok, I get it. I said something more to confirm if he was going to stay there for a while and he came back to speak in strange monosyllables…

Before I warned Muzak that I would take the guys in Ipanema to meet another beach than Barra da Tijuca, and he would meet us in a few minutes, so I left the misunderstanding there, put the key in my shorts and went.

The problem was that distraction made me reach the beach to dive directly with the key still in my

pocket, and the car was rented. We spend a late afternoon there, til the sunset etc and when we get up to get out where was the key?!…

Muzak accompanied us even to the car and the situation, he was introduced to Ornildo too and, after a few mobile calls, we returned to the hotel towing.

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hen comes the Summer of 2016 the prod's calendar was more hectic than ever.

There was no such tour for the Seletores de Frequência, but we had confirmed

those 2 dates in July in Spain. In the magazine job, we were able to put together all the logistics that involved graphic and editorial design, guidelines, collaborators, artists to launch, printer, distribution, legal and commercial topics [and almost everything would be completed til the end of that year]. But to get started on the road, the tour of Turbo Trio, passing through Rotterdam, Amsterdam, Porto and Vigo.

There were 7 days in Netherland. From the airport in the capital to the hometown of Anouk the journey is not so long, and seeing through the window those

typical black and white spotted Dutch kitties on the roadside pastures as they appear on the cartons of milk and yogurt is funny. There, we would stay in one of the best hotels that I have ever been stayed in Europe, so much that as we entered the lobby and after the check­in, in the elevator hall and when the doors were opened, there was the official football team of the Republic of Cameroon, who would make a friendly match at the local stadium later in that evening.

Inside the rooms, as soon as someone turned on the television came the @NaçãoZumbi live on a British TV channel. That was a different feeling to feel at ease in Rotterdam. The city is known for being a flat place, for having being bombed on the II World War and have resurfaced with its traditional

architecture of low and medium height constructions interspersed with ultra­modern spikes, and this is perceptible in a certain way… It is an adaptation when you arrive in the Netherlands ­ because there is below the sea level.

From there, we had a better understanding of the guide: before the concert, two days for the workshop by Roots & Routes with young rappers, both girls and boys, from diferent countries like Suriname, Ethiopia and Eritrea, in a cultural center with a kind of Mexican decoration…

Ok.

pose & effect's world wide web/ #Rumble5 flyer, a party produced along with the Portuguese collective @hardlinerz in the boat­club @PortoRio, aligning BNegão and Bob Figurante during a day­off in the tour 2004

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hat's clear about the experience of the trio made the workshop more productive than formal, but the good thing that gave it surpassed any expectation if

someone present there had previously. In the first day was totally dedicated to freestyle, exchange of ideas for the elaboration of the parts by each MC, prod of the beats… We spent hours there locked inside that room of the cultural center more near of a jam session vibe than a theoretical explanation about what is rap?

A reference to that work organized by the Dunya Festival are the current TV shows for new singers.

Plenty of rack, arrangements, corrections and incentives up the stage for the execution, which, in our case, was soon the next day.

The result that I and Anouk could saw from the audience of the amphitheater was still only a beginning. Revelations like @Zillion and @Balance were not just friendship but became part of one of the most interesting hip hop projects with a brazilian musician that I've ever heard, the @Wallbangaz. And this thanks to the subsequent investment of Alexandre Basa, who continued the work after that tour, bringing together the guys and producing the 1st. album 'Dirt From the Streets', with concerts there and here in Brazil.

And, on the top, the crowd formed a crew before we even stepped on the area where the World Music festival was held, which was packed when we went onstage to assemble the equipment and a quick sound pass.

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t's a shame. I don't remember his name, but when the guy from Myanmar ­ or would him be from Thailand? ­ stood out of the group that was in the right side on the

stage to announce the European debut of Turbo Trio was difficult to predict that bid: 'Rio 50 grau / Quem não aguenta passa mal…' started bombing the PA and was not much as the line­up of the event, but this is predicted at a multi­ethnic festival so heterogeneous in styles like Dunya as. After checking to see if everything was going smoothly, I went down and felt the pressure from below, from the grid, and the Dutch people were enjoying the concert. Point for all in a great move by Anouk.

The environment was changing in a ambient dance even though it was realized almost in a clearing in

the middle of a forest. The Roots & Routes staff also participated in the mics on some themes, making the public join in once.

We stayed there after our concert and all programm for the night and according to what some of the audience said us, one of the colateral effects was that they were curious also the Seletores concert, because they had read something about it in the disclosure and could being imagine how it would be what they watched in the big band format…

We left later and the crew was going down together to Amsterdam.

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n Amsterdam the level of surreality increased considerably. Anouk had reserve for us a hotel­boat docked on one of the many waterway that cross the

city, anchored a few meters of the Van Gogh Museum ­ one of the busiest areas. In a Popeye scenario where the crew were only us, I had one of my few days­off when both I and Bernardo went to the same side: since the museum was crowded and something stupidly seemed to me accessible at another time, we entry in an exhibition of @WorldPressPhoto, which brings together the published and elected images as the best of each year by category.

It was worth the trip as well as the return. The Dutch capital is bustling but by people walking or using bikes, such as exceptions of surface trans

that move at low speed and a few internal avenues where it is allowed to travel by car. We sort of lose ourselves and find each other again using the channels as a reference between countless attractive showcases and hundreds of coffee shops.

The cafes aren't equals as we might imagine. In fact, it's precisely the search for the personality that makes it the most famous circuit in the world.

In general, there are the teas and drinks that do not give malaise along with the consumption of cannabis and derivatives. Most also have so­called 'space cakes', which are cakes and pies prepared with the plant, but these know that many people have troubles only for eating them even without consuming liquids, as they act directly through the digestive system.

The menus are varied as in restaurants and neither the decor nor the surroundings are freaks. This is more like pub; from the simplest to the most exquisite. Of course there always having the typical themes [like the award­winning white widow], but the tables are set according to the vintages, post­productions and after undergoing strict quality controls and election through international contests like @CannabisCup. “Papers” are free and arranged in containers on the tables and counters for compliance with the law: in Netherlands, marijuana can only be consumed in coffee shops or in their own homes, not on public roads.

From coffee shop to coffee shop – something that maybe only the deb tourists do ­, and after that

pot tour that not all local people ran, when I'm back to what I had called mentally “the little boat of love” I could saw that was creating ­ or highlighted ­, a very particular collective state in that new Amsterdam post­siglo XX.

When I re­boarded at the hotel, there are a friend from São Paulo, an prod­assistant of Anouk with Tejo and Basa seated on the deck table sustaining a huge sunflower in a vase filled with water, when the “Popeye” who owned the boat asking for the crew something like “is everything okay here?”.

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n Sugar Factory the plan was a lit different and confirmed what it had felt when comparing the Turbo Trio with the other artists in the festival of

Rotterdam. The medium­sized club between European standards is dedicated to the dance floor, with a big screen behind the stage for veejaying ­ even if it was someone from the own staff playing the pics ­, and shared the street with other venues for dance or concerts, such a night club area.

The job that the club's team performed seemed even the work of our staff such personalization. Calling this by the name: pro. The lighting was very low with occasional bundles of white, green or violet light 'tracking' the crowd announcing a drum n'bass mood; the projections was much more played with the

lighting than stealing the attention for the stage, favoring triangular figures in slow movements and soft tones… That was the proposal of the guys who had heard for the first time through a mp3 that BNegão had filed on your iPod just before the bombs exploded in London during the Selectore's tour in 2005, and it rolled around with aesthetic sampling.

I haven't seen many of them, but now, as I describe that concert, I'm thinking that maybe that was the best of them…

In the end, already in the backpacking street and under a queer but peaceful serenity, someone suggested crossing the Red Light District as an option to return to Popeye's boat… And this is the problem on a tour: anybody wanna stop.

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left Amsterdam as a place where it would be difficult not to return… It's because when you go to live on another continent there is a compulsion, a desire to know

as many cities and countries as possible during that time that is not known until when it will last, and that so it always gives a sense of waste to return to one already visited rather than to another.

In our case the return to home also amplified that moment. The next stop would be Porto and things were planned to be very different of the previous gigs. Firstly because the venue, as we would attend the annual #40Horas party of the modern @MuseudeSerralves, which made the Turbo Trio stamp every cultural newspaper and magazines and various

muppies during those days alongside artists like @Supernada; then, because the lodging would not be in the phostel way of Cedofeita, but in a camping park a lit near ­ about 1km ­, from my house, in the south coast of Porto, where I already living about 1 year ago and that was also the residencial area of Xmiz. This would make everything easier, since I could continue taking the children to the school in Porto city at lunchtime to be with them when I returned from the newspaper if necessary, as well as for Carlos on the tour. If it was to get together, good, it was only go to the campsite; to grind or roll, had the beach bars or the places where we were used to frequent. But despite the plan having worked under such assumptions, we were not able to completely post the team in Gaia, mainly due to invitations from some friends, such

as Nuno's group, who was a neighbor of the campground but who had gone to divide an apartmente in front of the Manel.

The campsite was about as different as the boat in Amsterdam because it occupies a huge forest area

along the coastline of Gaia, with square benches, a playground, a barbecue and plenty of space for tourists with trailers, but the fixed dormitories are real huts adapted with adequate lining, beds, office tables and private bathroom, as in a tour bus. My friend from São Paulo just did not stay there because she had gone to Europe to search in loco the Portuguese blue and white tiles that decorate some churches and facade in the downtown, só preferring the hostel.

pose & effect's world wide web/ with Xmiz in the 1st. album release by the Portuguese band @Mosh 'The Damage Done', in Aveiro city, Portugal, my 1st. following a kidney crisis in early 2006.

Beside, the camping park in Gaia that hosted the Turbo Trio

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he presentation at the Serralves Museum was part of the dawn schedule in those 40 uninterrupted hours of party, in a stage of the meadow, with concerts

between midnight and 4am. It isn't só easy to describe although are common outdoor and indoor events with a directive space around which the things happen… Trying establish some reference, as if the #CentralPark with several activities happening both, like exhibitions, cinema, dance groups, circus, puppets and music, with the singularity that Serralves is a park and garden located in the most noble area of Porto city, between the coast and the mouth of the Douro river.

We started the work around the scheduled time of 2am for the Turbo Trio concert and the end of the

festival scheduled for 6am, when #Xoan should still be present to take the group to Vigo in their smoked van, where we would close the tour [I could not go to this presentation at La Fabrica de Chocolate and we didn't have enough accurate information to integrate it into this bio].

The place was crowded. The order was that Supernada with Manel Cruz would open the night at 12pm and that was what happened. There formed a group of narrative scattered but totally spontaneous gargling that we mixed Pose & Effect, Xoan the agent for Galicia, Manel, Marcos and the passerby friends corresponding to each. The band added all the rest of the people with songs like “Novos Planos Para Fugir” reinforcing once again that guy like the figure of the area and to bet in any bid

that cites the Portuguese music and to outside of the country.

An hour later, both before and after the Brazilian trio, @DirtySoundSystem made his performance calling the vibe. But when BNegão reached the mic the impact was more meaningful than the more informed audience could assume… For their that Funk style from Rio which had a lit notion and that merged with the imaginary together Luso­African projects in the Kuduro, began to show the strength and identity from the first beats, also surprising the lyrical distance of the sexist appeal of which they had heard about it.

The public was accustomed to the wave and enjoyed it. The three were very comfortable on a huge stage

like those of festivals but of average height in relation to the ground, and in the North of Portugal there is one of the most interesting alternative culture scenes of Europe, played basically by collectives and underground producers.

When the French DJ @Pilooski finished his set early in the morning around 7 in the morning, Xoan fulfilled the match and dragged the guys into the van. Bernardo would still be waiting for the Seletores de Frequência for the 2 concert in 2 weeks. And the party of the museum, which was fairly recent, was so certain that it now lasts 50 hours.

pose & effect's world wide web/ The @SugarFactory club in Amsterdam already closed for bankdisrupt. @TurboTrio at @StudioSP [São Paulo], after a presentation in 2008 shortly before embarking for the 2nd. European tour of the group. Between the release of Wallbangaz's album with Alexandre Basa and the fling of MC BNegão with the underground Reggae scene from Salvador, the trio fulfilled 4 dates, being 2 in the Netherlands, 1 in Portugal and another in Spain

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n the middle of that Summer and with my daughters on school holidays, a pause between the tour and the concerts of the Seletores de Frequência in Spain would

be short, but essential to the office. It would still be possible to do things like go with B to a party in another city towards the Central region of Portugal where Marcos was deejaying.

The decision was a lit 'frau' but funny at the final… The streets of Ovar at night and under thin rain are empty. It had an address that was pointed to a neighborhood called Picoto where the Funk was celebrating, and after a few laps we began to find hesitation that exit. Until the humor came and relieved us by calling each other a 'picoto' as a synonymous adjectivation of “pierced; stolen”, we

were left running half lost. But we found the place, and there was 'Fela' on a table of a house playing black music CDs with a crowd taking a few degrees to warm up. These meetings before, during and after the trips became routine in the various cities where we had already been. Most of the situations were advantages, from telling stories for friends and family for years, but in others was possible another 'picoto' situation, which does not making the whole story much more real.

It was time to shake. In Barcelona would be managing the whole scheme and we would be stuck in Place Catalunya, the busiest and referential point of the city for those who are from outside. From there, as on other occasions, we would have access to almost everything going down and up the Ramblas,

including the Sala Apolo where we would introduce ourselves. Xmiz, Canetti and Tiago also fell along with the team and we scheduled a BNegão participation in a concert of the band @Macaco at @FestivalMataró before to go to Canibal party.

After the check in at the hotel, we were just starting walk and stumbled upon #Sandro, a resident brazilian percussionist who would later join the group. As it was high season, dozens of different flyers were distributed on the way, most of which were for bars for free entrance, which made us disperse to meet ourselves again later in the Plaza Real, Gothic Quarter of the old city.

From hip hop/garage to champagneria, when we ended up in the square we already felt reintegrated. We found Marise before stopped in a bar where is

having a small stage for concerts and Muzak took the opportunity to propose your showcase trying that formation with Pedrão on the bass and Pedrinho on the drums as they did in Berlin 2004. Pedrinho was happy too but advertised me about how hard can be the way of musicians life to be carrying instruments in the middle of the crowd, mounting and dismounting the backline while everybody drink.

After the gates around the square began to be lowered, the city's water­jet­hired carts arrived to wash the floor and drive away the more resistant night­owls. In Brazil it would be called a official “foot­dirty”, that bucket the owners throw to the ground at the end of the day for cleaning and that only catches the feet of the barflies, assimilated by the government like a action of public utility.

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taying at Plaza Catalunya also had your note of surreality, as neither in metropolises like London and Paris we had slept and woke up in the midst of so much

frenzy outside the hotel. Just open the curtain and leave the room to be kind in the middle of the Oxford Street at 9am. Germinated at the building, coffee, lan house, megastores, double­way bus stops, subway station, taxi park, skaters and punks, outdoor screens, motocycles ways… When we stopped on the sidewalk in front of the built to take a coffee someone remembered #Nobru during the call thru the team presence list, to which he appeared distracted only in underwear after waking up scared with the hypothesis of being left behind, as if he were still in his bucolic neighboorhood from Rio.

The day was long. They finally managed to get out of the old quarter for the first time and up Passeig de Gracia to #CasaBatló. Always on the job, we got in and out of record or street wear stores when it seemed to be possible to leave some CDs or T­shirts of the band for sale on consignment. We're already to maintain the procedure of fragmenting and regrouping and we were to meet again after searching for such a '@ManuChao bar', a vegetarian restaurant near the Raval area where we had a lunch on the previous tours, go to the Barceloneta beach, go to Marise's house , finally… Until we went into mode concert, and while the band went to Sala Apolo to the PA assembly and make the soundcheck, Bernardo and I would accompany Macaco til the festival where the band would play the song 'Brasil 3000' for an audience more than 5 thousand people.

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nce again the gig in Barcelona was sold out. We can relate to the fact that the Canibal party will always fill up during the Summer and that Daniel Mono Loco

singer of Macaco will have strengthened while also participating in the concert, but that wasnt the first and would not be the last successful show.

This time I'd invited some local friends since I'd been there to work in a media office, and only #Caco showed up, staying a long time looking for me in the crowd. This kind of feedback reveal a precise notion of what was happening… About 1500 people dancing and enjoying the event in one of the most well­known places of the Catalan clubs circuit where only the terms were missing the album distributed to consolidate a career in Spain of a independent Brazilian band, because between Galicia

and Catalonia it would still be necessary to reach Madrid to achieve these objectives.

Otherwise, it was a remission about our 1st. concert at Apolo when we opened one of the parties in 2004 and that only filled when the BSF was already finalizing your set­list before the entrance of @Afu­Ha.

Toward the last song I went to the galleries left of the stage to check out the ambience and for some shots. Daniel was still on the stage. He watched when I was positioning myself for the clicks and looked directly at me smiling before turn back to the farewell of the audience and leaving. I didn't know yet, but that would also be our farewell, because it was my last production there by P&F.

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ack to Porto, and back to the same hostel in Cedofeita, we remembered the funniest cases that occured in Barcelona, as the mustachioed owner of a

restaurant in the Raval area of typical food and more day­to­day as the Brazilians 'PFs', who walked behind the counter with several smoked pork legs hanging from hooks like in a butcher, wearing a white apron and holding a cleaver. We did not have any dates that time and the next thing to do was wait for the next day to fall on the road to Pontevedra, in Galicia.

But we had a good program with a mission included: one of the city's most vaunted projects still under the election to European Capital of Culture in 2001, @CasadaMúsica by the Dutch architect

@RenKoolhas, had been inaugurated and was in full swing. However, with the delay in completing the works and the internal political agitation the queue in the agenda was already extensive and had not managed to 'stick' in time to close for the 2006 tour, so we would go just to know that and the programmer for future incursions.

Who was on that night was @Lenine accompanied by the band members of @VulgueTolstoi from Rio and the New York Afro­beat orchestra @Antibalas, whose name someone in our group already knew. We came to the soundcheck of the singer from Pernambuco and, after the greetings and presentations, we agreed to go back later to the concerts, because all of us were very impressed with the Porto's new cultural center.

The Boavista neighborhood was where I lived in our first 5 years in the city and where my daughters were still studying. I know well the area, being so much of a passage to several directions of the Porto, marked by the Boavista Square, as it is one of the commercial areas of the city, boemia and the bank branch where I have my account. As soon as the agreed­upon suggestion that we go 'to lunch' and then be quiet about food was easily solved, as there are innumerable restaurants on the other side of the avenue with a variety of menus and price ranges.

Everyone got into a good meal that day, complaining that they had rarely had time just to enjoy the famous Portuguese cuisine. Ok. We found a place that caught the attention of Bernardo and Gabriel

for serving fresh codfish roasted with potatoes and we entered.

Here in Brazil, cod is rare, expensive and limited.

We have a wrong idea that 'cod' is as dry and salty filet like the brazilian meat dried under the sun, and we don't know very well how the fish really is, but it exists and the Portugueses are one of your biggest fishermen and consumers, caught in the icy waters of the Nordic seas. Therefore, being described by the waiter as being a plate where the whole fish would come occupying a whole large platter, seasoned only with salt and oil and surrounded by boiled potatoes, confirmed the attention of the two as if it were a Japanese fugú that appears in a episode of @TheSimpsons animation series and the request went to the kitchen.

Fortunately, the others preferred other dishes: the original cod style that came to the table is a typical plate of the oldies­fishermen near the Arctic, who have little fire to spend to bake food in the boats and complete there with few salt because of salted sea is enough and some potatoes with oil to compose the throw. It's said lie this is still good, but the fish is giant, so it's neither raw nor cooked because it has super­fibrous flesh making each fork a muscular chewing exercise.

Ok.

As we were eating and talking at the table, Bernardo and Gabriel were getting more and more quiet and concentrated on the plates themselves.

Until I realized that there was a lot of fish still on their plate and an almost whole animal on the

platter and I asked if that was cool, and if the daily budget to food had been well invested.

For me it was a desolation. Both were sincerely sad as much about the option and tied money, cus in a tour we divided the value for food between the each one for choose what to eat ­ and if who will eat, or when each one will eat etc ­, and our prod just could try to conciliate and reserve places.

I asked their if I could try the cod. Since I was living in Portugal a few years ago, I already knew a lot about that fish and some variety among the types of preparation and it was hard to believe that simply had a 'bad taste'. But I tasted that too and that really had a bad taste. The downside is that in addition to being half insipid and bland

it was really difficult chewing and the amount was absurd, but they stared almost halfway. We rolled the broth and gave some of our accompaniments, and in the final the things got better. But my impression is that now they've a lit trauma of cod.

On the day­after Xmiz and Xoan left with the band and I went to meet them there in the night of the concert at the festival, pose & effect's world wide web/ the Argentine­Colombian band @CheSudaka who shared the stage with the Seletores de Frequência in Barcelona 2007. Recently the band recorded the song 'Menino da Rua' for your last album featuring BNegão

because Carlos was in the function of assistant for that gig. When the @CulturaQuente, finished the group returned from Lisbon [ but not for long time…].

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t could have been like that, with a single disappointing codfish in the way, but the 2nd. half of 2006 brought reverses. It was vacation time in the

office overlaping the end of the year that we had to do the magazine Outra Coisa til ready to the start in Portugal and some news as to the representation of Seletores de Frequência that would allow to continue. Family, newspaper, rest, friends, some nites… everything that allowed return to my daily life that wasn't even moved ­ even with farewells like had been that in Lisbon during one day in Rato and one night in a festival with @Strokes and @LosHermanos.

It was August and September that I was about to close the Summer when I was caught surprised by

Bernardo: the band would perform at a festival similar to the Womex in Berlin called @Popkomm. The event was big and in that edition would be dedicated to Brazilian music, almost as it had been the Year of Brazil in France, but with less German governmental participation. The problem is that I didn't know anything about til that call…

Unwinding the conversation, BNegão was in a “check time” and did not share with me what was happening before, and as things progressed, the situation became even more tangled. With institutional support from the now­defunct #MiNC [ Ministry of Culture from Brazil], they had been invited to attend the festival when their returned from the last concert in Europe, but to consolidate it he would have to register the group in a bidding

process. As the edict ran here in Brazil, put another producer from Rio to make the whole run but the move itself would be in Germany where it was my domain. When the result came out confirming the trip and the money remained the imbroglio called...

I mean… m.i.k.a.

The idea was that I would not have to go there because they knew that I had my commitments, how I was unfolding to tours, and cus they had no forecast about what was going to happen at the fair too. But as the production provided an apartment for the lodging of the band, I preferred to go to solve all things personally, but by the phone the reasons that the artist claimed as reasons for not to worry, for me were exactly the reasons that could cause concern.

In Berlin former Eastern side, the situation was mild. In fact, there was a real moment of redefinition in the group because were internal disagreements on the issues that were not apropos for me, while others were in line with what I anticipated, such as the need for renewal the repertoire if they still wanted to do others European tours together.

There was the troupe whole inthahouse: the band, the sound technician ­ who also took the sister for a spin ­, and the agent of the edict. With him I also had no problems. He was a guy with experience in production of booking and concerts for bands like @PontodeEquilíbrio. And after the introit, I went for a walk around the area with Nobru that evening to relax.

I would stay until the next day to check what it would be and return to Porto after my decisions about the artist. East Berlin is an interesting city. It's rather bauhausian and extensive, but not so oppressive as we could be described a industrial and former communist territory. We crossed a tree­ lined square where a fair of secondhands objects was on. Clothes, books, album and more til we goes back to the gunroom. When we went up, there was no one else. Everybody was moved forward to the venue, but Flavio ­ or her sister ­, had left your sunglasses that I saw she was wearing in my backpack. I was giddy about that and understood it as a kind of sign cus the context would have some purpose that I'll yet to understand still that night. So, I kept it and went to the event too.

pose & effect's world wide web / uma das tomadas da @CasadaMúsica, centro cultural dedicado à Arte que dá o seu próprio nome, inaugurado no Porto como um marco do Porto 2001 capital europeia da cultura

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s I went there I thought quickly about such glasses and one of the thoughts that I was certain was that Flávio knew that I didn't need any seconhand's

sunglasses ­ no matter how much I appreciated them…

I dismissed the bad omens and such paranoia as I could and until arriving at the room where the concerts would take place.

As much as I was forced to consider how weird this was, the vibe was not so bad. The alagoano @SonicJunior presented their one­man­show for a much smaller audience than the one that we were at Womex 2 years earlier, and where the Seletores would be re­appearing in Europe's record and concert industry. I honestly do not remember exactly who returned to the apartment with me after

all, but we made the journey on foot and wandered around the city, starting with a kind of bloc party ­ after checking what was going on in a corner from which came a loud sound and where had a crowd on the sidewalk and the entrance to the building and across the edges of an hangar area that had been neatly reclassified and occupied by nightclubs and bars.

I thought that I was going to land in Berlin, take a taxi or tourist bus to the festival and make the same way back after the concert, as usually the gigs on tour. But spending that day in East Berlin even made up for the fact that I had taken the plane to home with the idea that my work with the band had ended there. On the itinerary in Frankfurt, the passenger next door pulled a

conversation with me pointing to my iPod. He was an executive at the #CiscoSystem and was curious about what a seemingly foreigner like me was did there, what I was listening to, if I liked mp3 players, wherever… He helped to get through that less pleasant phase of our story.

And, it wasn't what was consummated. Shortly thereafter, Bernardo would call me to tell that the agent of the edict had left to California to surf after receiving the money from the government to regard that edict.

pose & effect's world wide web/ in Mexico City, the remnants of the Zapatistas in a poster denouncing how many political prisoners there were in Oaxaca region in 2007.

The place is one of the most visited spots in the country

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fter the confusion in Germany, we turned our attention entirely to the magazine.

There were innumerable fronts, and as we advanced things unfolded or new demands

arose. To release a magazine is not enough some ideas of reports and a computer… From the outline of the editorial project to the distribution thru stands is necessary to develop a whole process envolving production, fundraising, get service providers, collaborators and bureaucracies required by law to publish.

In our job, the things were almost miraculously falling into each place after so many work. While Marcos and I conceived and structured the layout, there were people who fit the profiles we were looking for, some to look for and some to chance.

For example, #JoanaFialho was one them Xmiz brought to the team, and she even attended a few meetings to find out about the legal demands [ such as registrations, copyrights, customs issues when sending or receiving foreign material… ]. About the Commercial, as I was talking with an agent of the same departmente of the newspaper only sometimes when we bumped into a cafe in front of the building and who kindly always asked how my life was in Portugal, if I was other ideas that didn't fit in our product, wherever, instead I gave him a draft of the project to guide me about fund raising and was frankly interested, to which we progressed so much in others coffee breaks that he asked me took the bill for himself… The graphic design was one more of these measures: I was quite overwhelmed both in the journal as in the prod home office with

all these tasks and was drafting the magazine while already considering delivering the drawing to anyone who would be diagramed. Then one afternoon someone from the reception call me and said there was a Brazilian boy at the door wanting to talk to me. He was @DanielStrauch. Gaúcho, recently arrived from Brazil for tourism and to try work contacts, Daniel came there to deliver me your portfolio and try an personal introducing ­ something very common but occasional. I took care of him and enjoyed his work, but the company was wiping the employers and not hiring them, which did any promise to an even more fanciful foreigners. But in thanking for the attention and before the goodbye, the designer asked me something like “but if you know anything about it…”. That's when a lit insight came on. I had not even thought of such a hypothesis, but in

view of his pro quality and unpretentiousness, I spoke fastly about the Outra Coisa to him and suggested that he could consider collaborating with us by drawing and editing the Portuguese editions if he couldn't get other best oportunity, because Me and another Brazilian designer with whom already produced a initial layout were very busy at that moment. There was a project, but with everything so forwarded and in an unfriendly trade, it could be a good solution for him to start acting there from Brazil, and later we would seeing how the things would be. Strauch met and did a very interesting job that pleased the whole team.

The Marito was listening some artists names to suggest us, such as the angolan rapper @Kacetado [ which in Portugal has several meanings, like

'plated' to the

pose & effect's world wide web/ one of the largest meteorites that have fallen on Mexican territory since ever is exposed at #PalaciodeMinerías

holder of a 'French' kind of bread], whose your 1st. album 'Yesterday, Today and Tomorrow' in 2003 brought together a crew of the national portuguese hip hop, both in prod and in mics. I dealt with the whole and the rest: guides, journalists, photographers, graphic artists, distributors, CD printers… All contacted, answered, budgeted and included in a business plan that was approaching the conclusion with a more viable total than we had expected before.

So, modestly, we entered in 2007 about to carry out one of the greatest actions for the exchange of the lusophone culture of all time.

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This called 'MinC' is f*..."

I remembered time to time a dubious slang that had been created a few weeks ago in

Berlin and that had become a competent motto in the recovery of moods. The reasons would be varied, but the fact is that since September 2006, that institution came into my life more to hinder than to contribute to the success of Pose & Effect BR.

The next 'friendly fire' move would come again through Bernardo. In the midst of all the turmoil surrounding the Portuguese Outra Coisa, we also gathered fruits from the work done with both the Seletores de Frequência and Turbo Trio, both of which were orbiting the same MC, but from then on supposedly supported by the Brazilian ministry. So

when I asign a contract between a festival for a concert of the band in Amsterdam, we wanted to have another year to come, because we would have support in those international airfares.

We schedule another gig in Barcelona in the @Salamandra club with a group of residents South Americans called @CheSudaka and I 'assist the ball' for Gianne to try something more in London with the Jungle Drums magazine staff ­ which would do it well by intermediating such #AntiWorldFestival dedicated to electronic music. Only there for a start of conversation about 2007 we're starting from 3 gigs in 3 different countries and where we would be back, still without any contact in Portugal and Galicia. It seemed to me renewing our possibilities in the face of the fact that there

was not a new record and that our horizon was spreading in that year­end after having managed it during 4 consecutive years. To complete, I

received another invitation obviously consequence of the Womex guests in 2004 looking for the lineup disclosed ­ as it contained @Niyaz [Iran] and @AMovingSound [Taiwan], who had performed there and in Dunya in 2006 respectively: the Mexican @OllinKanFest proposed to hire the band for one of the main concerts of the World Music event and for another one like a showcase to warm­up in a place located in the historical center of Mexico City.

At that point my Playstation was quiet and to supplement personal activities, it was rare that I slept before the sunrise, and I was standing just before our lunchtime to start the day taking our daughters to school. pose & effect's world wide web/ the man of #CircaBar @MidanCampal in referring to Rua Passos Manuel, in Porto city, where it host @MausHábitos and @ColiseudoPorto, among other addresses. Further to the left was Batalha, Tendinha and the bar of the angolan guy

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hen in 2007, what were only signs of confusion revealed real troubles and even deconstructive ones… Firstly the mea­culpa: the commercial contact didn't

triumph; he did not consolidate any contract of publicity, sponsorship nor something of this area.

We had the magazine ready to release but without the sum stipulated underneath enough to cover the costs and allow the longevity of the project, otherwise we would have to get out all of the pockets where haven't and, as a business logic, nor we wanted to have for that purpose. Not that it was something totally unexpected from our experience, but 'zero advertisement' ­ as we say in editorial jargon ­ and from the part of the professional who was with the wallet that he handled, was rather unexpected.

But our belief in the project was such that we decided to continue. We met a few more times, dedicating ourselves to managing the situation and creating means that would allow us to unsettle the initial and sustainable budget of the following editions. Several laps later we come to a credible exit: take advantage of the @NoitesRitual festival that happens in the end of August closing the Summer [at the Crystal Palace], and @Fnac to bring Lobão himself to Portugal and, with Manel, to discuss the central issue of the publication, also presenting itself in the event and thus publicizing the better the magazine and the label.

The “Noite” is an important event in the Portuguese music calendar and has long been coming. There are concerts only by national bands and of the most

diverse styles and levels, from new promising projects to artists already consecrated. His producer was thrilled with the proposal and immediately became one of the greatest enthusiasts of Outra Coisa, considering it almost as if it were the consequence of his own work over the years spreading Portuguese groups. For sure, Manel was agreed. As for the Fnac that we had even managed to put some albums there for sale, and names to compose a speaker roll is what we were not lacking.

We sewed everything before approaching Lobão by phone, but the answer could not have been more inconvenient… Your Luso­Brazilian manager would end the conversation saying that he would not have time for that trip because he was being hired to a tour in Brazil.

When we hung up, I only lacked the towel to fulfill the popular maxim by throwing it to the floor of the room. The project had been made unfeasible. On the one hand, Lobão was not only out of the Portuguese edition but also could not even go to Portugal for a publicity, lecture or concert initiative as he does here; on the other, the flop of the commercial contacts imposed us a condition to pay to publish a magazine that could end up in number 2 for the same reasons. In one word, filed.

Later I would know that @MTVBrasil was the Lobão's contractor for produce and release your CD/DVD in the series 'unplugged', and that the editorial and label format of the Outra Coisa would be forbidden here some editions later and after 5 years of existence.

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pril get in and the Seletores de Frequência went to Mexico. It was necessary include to get work visas, and while they would be on a Rio­São Paulo­

Buenos Aires­Mexico City route, I would go from Porto­Lisbon­Madrid­Mexico City, but everyone would stay in the same hotel. It was also the first international trip of MC Paulão.

On the plane, the weariness was so much that when we flew close to the coast of Greenland watching a movie about the immigration of penguins, I was moved and I cried copiously. This for anyone who hardly ever cries is any indication ­ I do not say with pride or regret, I just rarely cry. I expected other effects such as the respected altitude of the Mexican capital. I was embarrassed because of this

in a much lower place, when in my teenage years I made an excursion to Pico das Agulhas Negras [Rio, Brazil], and as I got off the bus I felt the thinner air and I fainted.

But it went well. The meeting was in the lobby of a gbig hotel where the bands were housed, mixing already there people of all type and appearance, provenance and procedures. The official trips were made in buses like the Bob's bus of the Simpsons.

After landing the luggage and distributing ourselves through the rooms reserved for us, we could eat some guacamoles or tacos and attend for some interviews.

The frisson was different even though we were not a band with so many presentations abroad. That's

because Mexico is really another level. Just like when a Brazilian goes to a Nordic country for the 1st time. Instead, we understand that there are many basic codes to assimilate to stay there that which people are already born knowing. For example, the earthquakes are so everyday phenomena that there are signs and recommendations for such events even in the interiors of the buildings.

Another bid is the food. While here we are looking for a sandwich or 'salgadinho' when we feel that urgent hungry on the street, in Mexico city things are recognizable but prepared in unusual mix, like avocado + pepper + meat + chocolate etc etc etc.

Our 1st. mission there was a concert in @EstaçãoIndianilla, an institution dedicated to the

visual arts that occupies a modernized shed in the historical center of the city. And as the area are many places frequented by tourists, the production itself suggested us leave early to enjoy the day.

Therefore, we were able to walk around the #GranPlaza where is the #CatedralMetropolitana and the #PalaciodeMinería.

Thanks for the tip. The square that is even wider than the Cinelândia in Rio was the place where the center of the Mayan empire of that region was also before the arrival of the Spanish. The entire district was rebuilt over the ruins of the old city, but some archaeological sites were preserved for research and visits, and one of its characteristics that has been obligatorily maintained is a natural forum, since the country

has one of the layers of more extensive metals of the planet, which until today attracts meteorites to its surface. Several stones are displayed in the palace, and they tell us a little of this history that so magnetically connects the land and the culture of those who inhabited it or still live there [ some stones weigh more than 15 tons ].

After a good walk to the Indianilla, to unload the equipment to the stage and to go down some typical delicacies with the very slight Mexican beer, we also made a roll for the dependencies of the cultural center and the tanning was in the same vibe, which provided a positive collective status for the showcase that evening, even submitted to the interventions of a creative lighting team.

pose & effect's world wide web/ the musician and publisher of the magazine #OutraCoisa @Lobão when we were designing the Portuguese edition

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he concert at the mexican festival would have something new for the group: the drummer Pedrinho could not travel and Flávio himself would take over. The

sound technician commanded drumsticks for the MC at the times of the band The Funk Fuckers and kept his #StudioCasa3, but spent the whole trip scaring us saying that he did'nt know how to play the drums.

Neither believed nor disbelieved. It was not a question of faith, but at the time of concert I sat on the edge of the platform that lifted the instrument, right next to the floor tom, and stayed inna the headbanger for most of the performance. I had braided my hair in an Afro braid that made a point on a busy Lisbon street near Praça do Comércio and this helped in the effect: Canetti was

visibly more excited and confident. No matter how much experience he had, climbing a stage with that dimension where he stood a considerable distance from the other musicians, without any similar style project being performed that night and with the weight of representing Brazilian music, was in fact somewhat insecure, and the worthy encouragement.

The stage of the event held in #BosquedeTlalpan was one of the friendliest we participated in terms of living with other groups, but one of the most tense in the framing of the line­up. There were Senegalese, Iranian, Chinese, artists from Mali, remnant Indians from the Navarro tribe… Each concert was historic with ethnic and folkloric accent of each culture represented supported and simultaneously were like from heralds.

For those who come from a more pop culture the shocks have been succeeding from theme to theme of each group. From the ancestral blues of Africans to the reverberation of Middle Eastern musical omnipresence, the festival looked to be performing more performances than concerts commonly said, but the BSF shaped it all and made the public adhere more interactively and dancing than as spectators.

I forgot to ask the production if it was customary, but in the end, the jam session that occured crowned the whole festival. Musicians from all those countries filled the wide stage and managed to bring a cohesive sound and kept the temperature of the edition, where we could even have a few beers with the Navarro in shorts and no longer tufts or tacapes.

pose & effect's world wide web/ open­air stage at #MuseudeSerralves [Porto], during the #40Horas party, where @TurboTrio performed on the 2006 tour alongside the band @Supernada, among otherso

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he next day, another gift: the festival's production team offered to take us to the city of #Teotihuacan, a ancient Mayan capital where pyramids,

archaeological sites and panels from the pre­ Columbian Mesoamerican Era can be found. On this side of the planet is what we have closest to the Egyptian pyramids and similar Asian buildings, and are only 50kms from Mexico city.

Certainly, each one of us lived those moments in a very intimate way although we walked in courtship.

The Pyramids of the Sun and the Moon, the 'Avenue of the Dead', the citadel and the onyx sculptures mined in the volcanoes of the region impress anyone, but the reading of information about a story as remote as it is distant and the

relationship established with this environment is extremely personal, so much so that even though I didn't take a position of greater reverence during the visit I had irrefutable particular sensations there, things that we only attribute or perceive in places such as churches, temples, wilderness or historical importance previously searched for.

A visit that influenced and aroused interest in my future incursions, with no pre­defined or merely rational objective, but which the calendar itself would remember and emphasize: from that time ago, according to Mayan legends, the World would end ­ precisely in 2012.

About this date the consummation of this prophecy is still to be confirmed.

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cha­p­ter67

2

007 insisted on being a 'no good' year, and even after the contract ended in Mexico, things cooperated so much for this in the general compto would

definitely affect the office. With the Outra Coisa magazine out of the loop, there was even more stretching of the Seletores de Frequência in Europe but soon also had problems falling ­ from one hour to another ­ the support of the MiNC. Without the promised seats tickets we could no longer board the whole group. Bernardo then cooked a scheme with Pedrão on the trumpet and the rest on pre­recorded bases to fulfill the commitments, but the Anti World Festival in London did not meet the project's shrinkage and sent our draft back unsigned, leaving @AmsterdamRootsFestival in the classic club @Paradiso and the gig in Barcelona with Che Sudaka.

After a few rolls the MC himself made yet another bid in Madrid with @DjKaska that even got to control such was the informality of this gig in @AreaChillout.

In the journal I would finish my directive position after 7 years leading the team and spending 1 year and a half on the art issue of a news weekly magazine inserted in the newspaper before being invited to a direction again. However, the next stop was Salvador city [ Bahia, Brazil ], in a publication that would also be reformulated by an Anglo­Hispanic consultancy and where I would take the lead in project implementation and an executive role in that new editorial organization, which would add the departments of Art and Photography.

Ok.

Parallel to these events only from my professional background, my brother who had gone to England in 2000 to study English and an MBA in Financial Analysis and that returned some time ago to Brazil had approved for public office in the federal government, and when he stopped running between Rio, Goiânia, Brasília, and Palmas de Tocantins, filled a vacancy in the department in Belo Horizonte and wanted to start a business, something that surpassed his willingness to run a small business and to do what he had done in London to earn money during your studies: gastronomy.

I've been contacting people, trying to get back to Rio, or to catalyze another challenge in journalism, because I've never considered giving up doing what I like and I know how to do. In that

movements between 2003 and 2007 had managed to secure some values in the bank. Nothing much but that converting from the euro to the real could brightness; nothing that could be called a budget to restart a new life, neither a 'game won'.

That's when my brother called me. He told me his intentions, and I, my situation, and there he decided to propose me a society. He was living and working in the Savassi neighborhood, which I already knew because we lived in that city for almost two years in our teenage years, and he was looking for a house beer whose owner wanted to pass it on. I accepted, but I warned 'the money has to come back'. I would not invest in another bid, but it was my only cash savings and I didn't know what was coming soon to give up without any attachment.

The shot would backfire. Still without the invitation from Bahia, my brother would close the bar a few months later due to the very high cost of self­service, which was the flagship of the point.

But before making this decision, when communicating to me he said that the solution to that financial problem was to take a small pub that was available in Mangabeiras, expanding and distributing the costs thru cash flows, and that I could print the schedule with my own style, because it had space for about 200 people and environment for track. I would not 'reverse' it, but I would collaborate more directly on the management so that my money would return.

Things started to balance there when one night he and his English girlfriend went into #MeetingBar

where all the customers and staff were lying on the floor and their hands over their heads, surrendered by some 3 armed boys. 'Merma, you look like a cop ...' one of the guys told him, but they did nothing more than 'clean' the box and pockets of the unwary present.

At that start of the day, the pub that we had just baptized, the soon­to­be­brewed pub, and the work­ place, would end there.

As early as the 2nd. semester I was already living in a hotel in the capital of Bahia, but not before the departure, co­producing a show from @ Mombojo and Supernada at Hard Club de Gaia with a Brazilian producer called @EronQuintiliano for ½ dozen crazy friends.

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pose & effect's world wide web/ a edition of #QuintasDancehall, in Salvador, one of the most emblematic parties of the city and that is dedicated to the slopes of Reggae.

In the detail below, the build that housed the #ZauberMulticultura seen from the street above and the top of the slope that separates the Lower part of the city from the Upper part, where is the entrance that gave on the floor in which the event took place

S

alvador was a restart in my life. My apartment was still in Porto, with everything I had locked right inside. My family was in Rio spending some time at

my in­laws house while we were rearranging things, and my brother and my mother were still in BH in the aftermath of bankruptcies because the restaurant and bar that I had not even gotten my own feet… Since I also left a car in the garage of the building in Portugal and I didn't yet know what the end would be to him, I decided not to borrow more and walk more through the city, staying there in a triangulation between Ondina, Rio Vermelho and the journal in Federação.

The hotel was not always the same. In 3 months, 3 different hotels for commercial reasons between the

contracting company. As the basis of our agreement was to act as a legal entity, I took advantage of the moment of renewal and, due to the history of the production office being more connected to events and representation of artists, I changed the fantasy name to '@PuriProduções', without this having to delete what we did as Pose & Effect.

Even before landing in the capital of Bahia I thought that would have a vacation in music research. It was not resigned. I've been doing this since I learned to change the radio tuning on my fathers turntable dial and to change the k7 and vinyl tapes on the deck and the pick­up. I only had a rancid prejudice about the modern music produced in Bahia, and at that moment it was convenient for me, because in three months I had to put on the

streets a newspaper that had been completely renovated and that I had the title near the cancel so low that its bandages were in July 2008. The company began a top­down restructuring process that was changing the composition of the chart of directors, editors, technicians, work flow, system… while the journal itself ­ both the 'old' and the the new one to be released ­ was being produced.

In this turbulence, between some excited local people and the 'revolutionary outsiders', I formed with some guys and time to time we did something together besides sharing some meals outside of working hours. I started attending the highly recommended #JazznoMAM ­ which runs on Saturdays in the patio of @MuseudeArteModerna on the edge of Baía de Todos os Santos ­, the square of the

#AcarajédaDinha and the Rio Vermelho's pram, the Buracão beach… I was focused on the project and more than the fact that in such a plan whether or not to remain in the function would depend on the success of the newspaper's launch and the results on the stands, but it was going on without much adjustment efforts or considerations as to when the contract.

When I arrived I had heard about the @QuintasDancehall and the @MinistereoPúblico Sistema Perambulante de Som, which was holding the event. At the time I was a voracious consumer of tracks by @MySpace and I found the profile of the group there and enjoyed it. I waited until I got a free Thursday and, in the sullen, alone, I went to @ZauberMulticultura after the expedition to check.

I've been to countless Reggae parties. With or without my partner Bob Figurante, in or outside Brazil and Portugal, and that was a different spot.

From the roof that housed the collective to the environment on the track and in the sound, the bid was pimped up and without blinking realized that it was part of an unknown underground scene in Salvador.

I loved that night. I went back to the newspaper office the next day and requested a report about the party because the city was needing to know what was happening there between the Upper and Lower City and we needed stories that sold newspapers.

Both things worked: the publication's sales jumped 500% more than before the reformulation, and Salvador began to know better what that Reggae was,

that soon would reveal to the World the own soundsystem that produced the agito, the toaster @RussoPassapusso , the band @Dubstereo, the singer @SorayaDrummond and the consequent more experimental project @BaianaSystem [ which, as I wrote about for my blog @TraficantedaLiberdade 1 year after arriving in Salvador to detect the nuances and influences of the Bahian guitar of the 40's which was created to emphasize the roots of axé music in the electric trios ], which rescues sounds previously disseminated by names like @MoraesMoreira, @PepeuGomes, @NovosBaianos and such, but with new language and greater currentness talking so the live PA formats than bands for “trios elétricos”.

'Hello, Bernardo?'.

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cha­p­ter69

W

hen that buzz was boosted, I asked the BNegão if I had heard anything about the Soteropolitan soundsystem and the Reggae scene of the city. He responded

positively, but just after it that your exchange with the group began and resulted in a partnership that lasts until today…

We came to talk about continuing to prod by Pose & Effect, but I was really in other moment, enjoying that phase out the management and the road. I could be in a position only as a journalist, watching the unfolding of events, such as seeing the BaianaSystem born, following the line­up of @ConchaAcústica, and discovering the city and coastline where my mother's family arrived after a journey from Galicia in the early 20th century.

Even so, there was still a crush: even in 2008, when I had a week reserved to return to Portugal to change of some belongings and to resolve outstanding issues that were postponed due to the urgency of the invitation to the journal, Turbo Trio call me to embark with them on a European tour that which I started the prod, but as prod assistant. I could not be on the 4 gigs [ Paris, Brussels, Amsterdam and Rotterdam ], but I managed to integrate the tram in the first 2 and go to Amsterdam before landing again in Porto.

The troupe was bigger than us 4. In addition to TT, @MarcelinhoDaLua would also play @CabaretSauvage and the event in Brussels with @AngeloB on vocals and bass. That half of the tour was led by a group of Brazilians living in France who edited @Brazuka

magazine, similar to the Jungle Drums concept in London. Together with his editors @PauloAbatto and @ThiagoAraujo had turned a return to the French capital before coming to Bahia, his team made him rush to the Belgian festival. Of the rest it took care of Anouk. Ok.

We passed away from the Eiffel Tower, the Arcs of Triumph and the Cathedral of Notre Dame, because @ParcLaVillete where the cabaret is located is far from the most sought after tourist spots in Paris.

But as we were going to get there, pack our bags at the hotel, work, get some sleep and leave early, this was not even noticed.

And do you believe that the party in Cabaret was great?!… The house was smaller than I had imagined

since the 1st contacts for the concert of Seletores in 2005, but the audience came along confirming interest in that nomenclature 'brazilian electro', closed the track and we mark another point in our trajectory. Also performed the djs of the party #Criolina and the musician @RemyKolpaKopoul. We would be in a suburban area nearby and the road trip to Brussels would not be late, so au revoir for the french and France for me stopped at the appetizer.

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cha­p­ter70

T

he trip overland compensated. We would not have to check­in, wait for the boarding times, or do the whole reverse process after landing in Brussels until

we finally arrive at the hotel. From the van that got us in the Parisian hotel to the Belgian it was a jump, and the accommodation enlivened the staff: a pension in the style of the English and the Portuguese, but the building and the rooms were much larger. We divide ourselves between who is from Rio and from São Paulo to define who sleeps with whom and we take the rest of the day to rest.

The city was rather Amsterdam. On the way to @EspaceSenghor I felt like going down for a spin, but we would have time for it both after the party and in the morning after. It was the night of the

closing party of a film festival in that emblematic theater set in what is now the European Quarter, since a few meters away is the conglomerate that brings together offices and various institutions of the European Union. Thiago set up his #Rio50o there, thus composing a party in the editing scheme in Paris and Brussels.

And it worked. The main internal space of proportional size of a movie theater there was crowded and almost all people were belgians. The weather was even more like after­movie than a disco night, but many tried some dance. By then Bernardo saw me on the half­swaying lane when a blondie came in and came up ­ she was so blondie that it caught attention even in a place where almost everyone is blond… He looked at me rather sideways and in the

distance and gestured with a little dance like together some girl seeming to mean that I should call her on to do that, but I delayed and Angelo ­ who was coming down from the stage ­ took over the function and all right for me.

On the way out we all had a wonderful time running around the area, and it was already very late. We would still have a day­off to meet a popular Turkish restaurant specializing in fish, where we choose from the raw and unpolished fish arranged in the trays as we see in the fishmongers and only then went to the kitchen to be prepared, and to take some of the famous Belgian beers. What a peculiar city there is… Anouk was in your house waiting for us and we took a train to Amsterdam without Bernardo, who had returned to Paris for

other appointments. The story of Pose & Effect BR was coming to an end.

But I wrote 'was', right?…

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cha­p­ter71

I

t was something like dreaming of getting out of the train station in the center of the Dutch capital. Not for being the Netherlands… But for being also the

Netherlands for the 2nd. time and in that context.

It could be another of the cities I've met or the countless ones I'll never know: Amsterdam again accompanied by two recent friends, to stay in the producer's own apartment was unusual. Such a vibe was confirmed by someone else shortly afterwards when crossing the promenade in front of a coffee shop I was approached by a guy handing out flyers spreading the establishment, asking me 'what do you want to feel? Joy? Peace? Happiness?…'.

Anouk already had a guest. He was waving a big event dedicated to graffiti and housed the carioca

#Ment. We would also stay there more I'd give up the spot after just that night. As much they were occupied as the Basa and Tejo wanted to shake, we left by the city until the Dutch was despatched, because it wanted to take us personally to a special place later.

She might think it's conversation, but it was one of the most interesting peaks I've ever seen on travel. I should have been somewhat melancholy about the inner feeling of farewell, but I think even more is that she got it right. We took bikes and drove there under a drizzle until I skidded on a smooth, moist surface subway track and stood on the ground without any damage. I shook off the dust and while we were still laughing we arrived in a canteen pub and stopped.

It was such a special place. The band that was on the stage used typical instruments that resembled those that we see in some movies shot in the interior of America, such as violin stick shawls, marking drums, a few pipes… At the bar, a girl from the same family served the drinks to the 'cowboys'.

The 3 of us were left standing half displaced at the beginning but the relaxation contagious and we went to enjoy the bar, until we felt that we would still be able to return in bikes to home.

After that, I remember just being in an improvised bed in the living room and Anouk stretching me a blanket.

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pose & effect's world wide web/ the Belgian @EspaceSenghor where the party #Rio50o occur, closing one more film festival in the house of Brussels. Next, the flyer of the edition in Paris

яБо

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e­pi­lo­gue

A few months before 2010 and after concluding the contract with the journal in Salvador, we finally returned to Rio de Janeiro, and started to function definitively just like Puri Prod.

[ errata da 1a. parte na sutil digital magazine 8 de 2013 ] ─ O nome do clube onde o Turbo Trio atuou em Amsterdam em 2006 chama-se Sugar Factory, e não como foi grafado na página 3; ─ O empresário do Circa Midan Campal é angolano e não de origem guineense conforme havia nos sido informado; ─ Erro de digitação em 'telefonema' no cap. 12, pág. 92; ─ Erro de ortografia em 'disseminaram' na página 102; ─ Há algumas crases não acentuadas ao longo do texto devido ao teclado e dicionário utilizado naquela edição, mas não as citaremos aqui uma a uma.