TV
We Love that Shape
For some time it seemed as if the female buttocks, that longtime Brazilian male preference, were losing their prestige in Brazil. Globalization and Yankee cultural neo-colonialism made a dent in that tradition and some people believed that, influenced by lascivious Americans, boobies had become the new national sexual fetish.
It was just a fad and quite an ephemeral one. As weekly newsmagazine Veja—the most read and most respected Brazilian mainstream publication, which often poses as the nation's conscience—has shown in (mind you) two consecutive issues in August: buns are still kings. On its August 23 issue, the national magazine of record in an article entitled "Sábado Popozudo" (Big-buttock Saturday) illustrated with five pictures of women in different phases of undress, revealed not without a hint of disgust that "we've never seen so many derrières and braless boobs."
According to Veja, TV stations have been trying to get some extra ratings on Saturday nights—traditionally a slow period for TV networks—saturating the airwaves with overcharged fannies. Every commercial network presents its own concoction of bare big buns and/or naked breasts.
At 10 PM, Globo, the almost monopolistic TV network, which prides itself on what it calls "the Globo standard of quality", starts the lurid festival in Zorra Total (Total Chaos). This is a reincarnation of Escolinha do Professor Raimundo (Professor Raimundo's Little School), a not-so-funny decades old show. The buttock highlight happens when one of the students, Dona Rosinha, a bikini-clad young blonde beauty steps up to the blackboard to clean it. She drives her fellow students and the home audience into a delirium gyrating her powerful buttocks while cleaning the board.
At 10:15 PM it is time for A Praça É Nossa at SBT (Sistema Brasileiro de Televisão—Brazilian System of Television). The show, which consists of a man sitting on a park bench while several comical characters pass by and stop for a little chat with him, has been on the air for about 40 years. While the basic formula hasn't changed and some characters are interpreted by the same people who created them decades ago, there are today some appealing additions: female models with big butts.
In Escolinha do Barulho (Little School of Disorder), a shameless downgraded carbon copy of Globo's Zorra Total, at 10:45 PM, it's time for Fifi de Assis to show how generous nature was with her derrière. Fifi comes to school in a skimpy bikini. The show is presented by Record, a TV network owned by Igreja Universal, an evangelical church.
Low-rated and low-class Gazeta TV uses one of its star hosts, Sérgio Mallandro, to show the well-endowed girls. Mallandro has introduced a mechanical bull in his program. To tame the beast, girls with the most generous fannies mount them, while the cameras zoom in on their heinies and their genitalia.
Veja cites Alexandre Gama, president of ad agency Neogama, saying that these shows in which butts are the main dish are not just for the guys anymore. "Nowadays, women are also interested in these attractions, even if it is just to badmouth the girls who show their attributes on TV."
The same Veja had revealed the week before that popozuda (big-buttock woman) has become not only a fashionable word but also one that's bringing money to those who know how to use it. The term popozuda is not new. Valmir Roque dos Santos, the Rio's rapper who is credited with bringing back the word, says that he used to hear comedian Renato Aragão refer to women with ample derrières as popozudas in his long-gone show Os Trapalhões (The Stooges).
The term has gained even broader acceptance when TV hostess and singer Xuxa started to use it in her children's shows. She has also adopted Popozuda do Planeta (Planet's Big Butt Woman), a song made especially for her, as one of her themes in the program Planeta da Xuxa (Xuxa's Planet).
There are today at least a dozen bands in Brazil singing tunes that mention popozuda or popozão (big butt) in their title. The rock group De Falla, for example, boasts of having sold more copies of their Popuzuda Rock'n'Roll than all of their previous records put together. Their song was made to serve as theme for Feiticeira, a TV beauty better known for her voluminous and tempting popozão.
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Planet's Big-butt Girl Clap your hands Clap your hands Clap your hands But moving the big butt All we have is big-butt girls, aha Move the most you can All we have is big-butt girls, aha A little jump back All we have is big-butt girls, aha Move just a little All we have is big-butt girls, aha But very softly |
Popozuda Rock'n'Roll
De Falla Quintet
Vai, popozuda
Vai descendo até o chão
Requebrando na batida
do Miami pancadão
Eu tenho a força
cavaleiro de Jeday
Então vem, popozuda
Vai, vai, vai
Vai, popozuda,
Requebra legal
Vai, popozuda
Libera geralÉ popozuda pra cá
É popozuda pra lá
É popozuda de Ipanema
Popozuda do Irajá
Rock'n'Roll Big-Butt Girl
Go, big-butt girl
Getting down to the floor
waddling under the beat
of Miami's funk sound
I have the force
Jedi's knight
So, come, big-butt girl
Go, go, go
Go, big-butt girl
Waddle cool
Go, big-butt girl
Let loose
It's big-butt girl over here
It's big-butt girl over there
It's big-butt girl from Ipanema
It's big-butt girl from Irajá
Work
With an Accent
Brazil has never seen so many foreign workers. While the amount of this overseas help is only a fraction of what the United States imports, it is still rather important for Brazil since most of these jobs are technical and managerial positions and there aren't many of such positions around.
The number of foreigners who were given authorization to work in Brazil since 1997 has increased by 56 percent, according to the Labor and Employment Ministry. While there were 24,503 foreigners working legally in Brazil in 1997 (20 percent of them were from the US), today there are 38,310 of them.
By comparison, there are 15.7 million immigrant workers in the US, the highest level in seven decades and they represent 12 percent of the American workforce. And there is pressure from software companies, farmers and hotels in order that Congress would enact legislation to admit hundreds of thousands of additional foreign workers every year. About 800,000 immigrants enter the US legally each year; another 300,000 do it illegally.
The daily average of work permits given to foreigners has increased from 34 in 1999 to 63 this year. If the same rhythm of the first semester is maintained throughout the year, Brazil will end 2000 with 23,000 new foreign workers.
The work authorizations have a two-year validity and can be renewed for a second two-year period. As in the US, the immigrant or his employer has to prove that there is no Brazilian who would be able to do the job. For being partners at the Mercosul, people from Argentina, Paraguay, and Uruguay have an advantage: they can work up to 90 days with a temporary permit.
Late August, in an effort to make it harder for a foreigner to get a permit, Brazilian House of Representative's Foreign Relations Committee passed a bill that would allow foreign workers only from countries that would also admit Brazilian to work there. The measure based on the reciprocity principle would require studies by the government. To become law the bill still has to be approved by the full senate and President Fernando Henrique Cardoso.
Curiously, 27 percent of all the work authorizations are being given to experts in underwater exploration. From the 1389 foreign workers who entered Brazil form January to March, 364 were engineers, 256 were managers and 199 were chemist and physicists.
The government doesn't seem worried with this growth of foreign workers. In an interview with Brasília's daily Correio Braziliense, Sadi Ribeiro, Labor Ministry's coordinator for immigration, declared: "The cost of a foreign worker is very high. Besides a good salary you need to give them housing, transportation and school for their children."
A Foreigner's Viewpoint
Daily Jornal do Brasil published ten essays written by foreign correspondents, writers, and scientists, all talking about their Brazilian experience. Here's what Christian Dutilleux correspondent for the French newspaper Libération had to say:
"I arrived in Brazil in 1985, with a group of young Europeans. We came over here not running away from wars and poverty like our predecessors. I wanted to understand and study new cultures and maybe start a new life here. I hoped to find a new culture and a political revolution celebrating the end of a long dictatorship, like it happened in Spain after Franco's death. The turmoil of Collor's Cruzado Plan took me by surprise. I thought: how lucky I am, I arrived just in time in the land of future! I felt euphoric!
"But many Brazilian friends did not share my feelings. They dreamed of traveling to Miami, wished for a scholarship in Canada, wanted to get a job in Milan. Our wishes went in the opposite direction. On many occasions new friends would ask: "How did you land in Brazil?" At first, not quite understanding, I would answer: "By plane of course!" After a while I managed to feel what they meant when I discovered strange expressions like "The First World."
"Quite a lot of Brazilians worship this concept. It divides the planet in two opposites. One where all is perfect, people are well bred, elegant, human rights are preserved, politicians are honest, companies are highly technical and all conversation is intelligent. The other is a poor and dim Carnaval parade displaying misery, violence, corruption and bad taste. Those who admire the first one, place the First World in the northern hemisphere. It's a large conglomerate of countries starting in western Europe and ending with Japan, including Belgium, my homeland. Belgium is used here as a parameter of prosperity when it is said that Brazil is a "Belíndia", a rich Belgium in the middle of an extremely poor India.
"These concepts are extremely harmful to Brazilians' state of mind, mainly because it obscures and weakens their vision of the world. The notion of First World wipes out history and geography as it stands, puts Japan and Portugal, Basques and Eskimos on the same level, is unable to notice the rich Arabs, the needy Americans, the Irish terrorism and France's strikes. Utopian Belíndia transforms Belgium into a feud of wealthy maharajas only because Belgian workers used to be the best paid in the whole world.
"Worse yet, these notions always place Brazil behind and below other countries, like a land condemned eternally to being outside this world. Unfortunately many Brazilians accept that thought. That is why I ask myself quite perplexed: why a native of the First World, a Belgian, would "land in Brazil?"
"Being here could only be a consequence of some inner problem, maybe an intimate disturbance. That was the general thought. Frequently they would try several explanations. It must be the sexual appeal of the mulatto woman, some fancied. All avoided questions concerning their belief in the existence of the First World that continued to be a near-paradise, and I who fled from earthly Eden must be some kind of oddball, maybe some degenerate...a chromatic degenerate.
"When, at any social meeting, I managed to avoid the subject of sex and mulatto, I inevitably fell into another trap: praise Brazil! Instantly answers showered. "Terrible. Insufferable." I was condemned to tiresome speeches on the country's ills. They even took turns attempting to "teach" me how awful this country is and I should really be cautious they insisted. That's how I found out that Brazilians were merciless with their own country.
"But I had to deal with the other side of the coin. Months and years gone (I do not remember how many) I found out another aspect of Brazilian patriotism. Working as correspondent, at times I started small talk by mentioning some kind of misfortune encountered while doing my job. Instantly I was flooded with harsh words. All against me. Who was I to criticize Brazil in such a manner? And in Belgium nothing unlawful happens? Pedophiles? Troublemakers? And people bathe daily? And again tiresome speeches defending the beloved homeland, which, if I understood well, is equal to the best in-the-world despite not-being-part-of-the-First-World.
"The relationship of love and hate with their country, the make believe of a better world on the outside and the permanent questioning of their national identity, are profound aspects of the Brazilian soul. Fifteen years gone, I still try to understand this country. Day after day, it fascinates me and angers me, I feel accepted and at the same time rejected; these feelings penetrate the blood in my veins permanently. I believe that somehow I became culturally... "mulatto", and I still don't know why "I landed in Brazil".
Argot
Say the Word
Funk parties, Hollywood movies, Internet games and the favelas (shantytowns), they are all fertile ground for the creation of the new terms that don't cease to enter the Portuguese language in Brazil, particularly in Rio. It's virtually impossible to maintain yourself current since the new words most of the time don't resist more than a season. It is also common to see twenty, thirty-year-old slang making a comeback as if it were brand new. That's what just happened, for example, with pela-saco (a bore) and de patrão (someone with prestige).
Rio's daily O Dia has recently compiled a little list of slang being used by Carioca (from Rio) teens:
Babou (literally, it drooled)—it was postponed
Bicho ruim (bad beast)—undesirable person
Caraca—wow
Choque de monstro (monster's shock)—very cool
Crocodilo (crocodile)—false individual
Dar linha (to give line)—to go away
Explanar (to explain)—to gossip
Fala sério (talk seriously)—don't bother me
Formou (it formed)—that's it, let's do it
Fui (I went)—I'm going
Geral foi (general went)—everyone was there
Já é (it already is)—all's well
Melzinho (little honey)—pretty girl
No talento (with talent)—perfect
Pescoçudo (big-neck guy)—fighter
Que trevas (such darkness)—the pits
Ralar peito (to grate chest)—to go away
Tá bombando (it's pumping)—it's cool
Tá de bobs—to be aimless
Tá de patrão (to act as boss)—to have prestige
Tá pegando (it's picking)—to be dating
Tá ligado (are you connected?)—dig it?
Tô de highlander—I'm so so
Vai ralar (it's going to grate)—he is going to date
Vazar (to leak)—to go away
Vou pra guerra (I'm going to war)—I'm going to flirt
Music
Too Cutting Edge
Not since the military regime that ruled Brazil from 1964 to 1985 had a song been censored and taken off the air by the Justice Department. Not even when Gabriel o Pensador released the song "Estou Feliz, Matei o Presidente" (I'm Happy, I've Killed the President) in 1992 was there such an action. But now the rap group Facção Central earned the distinction of having their song and respective video clip banned from airtime. MTV Brazil showed the clip "Isso Aqui É uma Guerra" (What we Have Here Is War) about half a dozen times before being forced to take it off the air.
Facção Central is not a big name on the rap scene. In ten years, they have recorded only three CDs with songs that always tell the same story: violence in the slums and streets of Brazil. That's a subject they know very well. The band's members—Eduardo, 24, Dum-Dum, 30 and Erick, 24— are all from Grajaú, a poor violent neighborhood in the southeastern zone of São Paulo.
The ban started when some MTV viewers called Rio's daily newspaper O Globo to complain about the level of violence shown in the clip directed by Dino Dragone. Dragone also has made videos for Los Hermanos and Charles Brown, Jr. Some viewers seem to have been affected by realistic scenes in the "Isso Aqui É uma Guerra" clip, which include depictions of a bank robbery and the murder of two people.
Carlos Cardoso, the São Paulo prosecutor who took the case, says he doesn't feel comfortable about the task. "This is a delicate case," he said. "We don't have any knowledge of a music or video clip being forbidden for this reason. I confess that I felt troubled, afraid that my actions would be interpreted as censorship. But the clip is too violent, different from anything I have seen."
To which Fábio Macari, the band's producer, retorts: "There are thousands of films, clips, video games and many other products that display excessive violence, but when a poor rap group from the suburbs exposes the problem, it gets punished with censorship, prohibition. I'd like to see them prohibit million dollar productions."
Eduardo, the lyrics' author, concurs: "I have nothing to eat, no electricity, nothing worthwhile going on. I'm abandoned, but I've never started a life of crime. Am I going to start being a criminal now, do some stupidity only because I saw a clip from this video?"
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What we have here is a war What we have here is a war In which only those who shoot will survive He who robs mansions, he who deals drugs Unfortunately the law is useless Brazil only respects me with a gun, then The judge kneels, the executive cries So he won't feel the pistol's caliber I want clothes, food, someone has to bleed I'm gonna aim at a bourgeoisie and shoot to kill I'm gonna smoke his goods And get very high Kidnap someone at the automatic teller My 5th grade is only good If I get a hostage with a gun at his throat Then there is no cop to make a deal (Policeman voice: "Free the victim, let's talk!") You gonna have it, it's time for my revenge Hunger becomes rage and someone will have to cry I didn't want the cell or your money Nor an ox tortured in captivity I didn't want the future with comfort But a .357 Magnum is what Brazil gives me Unemployed while the idiot in the Audi passes by Press "enter", asshole, type it… and calculate, make it fast, don't scream There's neither God nor miracle Forget the crucifix It's only a whore crying for her husband It's the safe versus the school without a teacher If I have to be a beggar, doctor I'd rather have a Glock with a silencer To eat your trash is not my thing, dig it? Step out of the car or you are dead This is the law here, the devil's law WHAT WE HAVE HERE IS A WAR! Don't cry, bitch, because I've no pity In force, in moral, there is no police report Here we have another Brazilian transformed into a monster Semi-illiterate, armed and dangerous Wanting your golden chair Attacking your pulse, attacking your pocket Ready to shoot and ready to kill He's gonna get fucked! Unload this rod Kill the boy's son as Brazil wants to see Rub in his face your empty pan Demand your right with the whore's blood That's nature's law, whoever is hungry kills In the jungle is the animal, in the street is the inconsequent businessman We're sick, Brazil induces to shoot the manager This is no soap opera There's no love on the screen The scene exists, it's loneliness in the cell Not even the police can handle this Lie down, clerk; open the cell, warden; free the robber… Your big 8 is a joke, coward cop Shut your mouth and applaud the ransom Shut your mouth and applaud the ransom, ha, ha! Go and protect yourself, your police on the floor, big 8 in the head of the defenseless chief Pray for the robber to decide to have pity, what a pity! You hero begs for help in this scene. He wants his son to go to school and not return dead So get your hands on the safe and help our people Protect your wife, agonizing until death because someone needs to eat WHAT WE HAVE HERE IS A WAR! |