Rio-de-Janeiro is celebrating today it´s 444th founding anniversary. The wonder city was founded by founded by Estácio de Sá in 1565, its name comes from an earlier comment made by André Gonçalves, commander of the expedition responsible for surveying the land discovered by Cabral. On January1, 1502 he discovered an estuary that he thought must be the mouth of a great river, and called it Rio-de-Janeiro January River.

Paying a tribute to this special date, Belavista-Rio will publish a special report about “Aguas de Março” – “Waters of March”, one of Tom Jobim´s favorite songs. Tom Jobim was a true Carioca.



Waters of March" (Portuguese: "Águas de Março") is a Brazilian song composed by Antonio Carlos Jobim who write the famous The Girl from Ipanema, wrote both the English and Portuguese lyrics. When writing the English lyrics, Jobim endeavoured to avoid words with Latin roots resulting in the English version having more verses than the Portuguese. Another way in which the English lyrics differ from the Portuguese is that the English version treats March from the perspective of an observer in the northern hemisphere. In this context, the waters are the "waters of defrost" in contrast to the rains referenced in the original Portuguese, marking the end of summer and the beginning of the colder season in the southern hemisphere

In 2001, "Águas de Março" was named as the all-time best Brazilian song in a poll of more than 200 Brazilian journalists, musicians and other artists conducted by Brazil's leading daily newspaper, Folha de São Paulo.

Below, a photo of Frank Sinatra and Tom Jobim:



The song lyrics, originally written in Portuguese, do not tell a story, but rather present a series of images that form a collage; nearly every line starts with "É..." ("[It] is...").

In both the Portuguese and English versions aquas de marco antonio carlos jobim lyrics "it" is a stick, a stone, a sliver of glass, a scratch, a cliff, a knot in the wood, a fish, a pin, the end of the road," and many other things, although some specific references to Brazilian culture (festa da cumeeira, garrafa de cana), flora (peroba do campo) and folklore (Matita Pereira) were intentionally omitted from the English version, perhaps with the goal of providing a more universal perspective. All these details swirling around the central metaphor of "the waters of March" can give the impression of the passing of daily life and its continual, inevitable progression towards death, just as the rains of March mark the end of a Brazilian summer. Both sets of lyrics speak of the water being "the promise of life," perhaps allowing for other, more life-affirming interpretations, and the English contains the additional phrases "the joy in your heart" and the "promise of spring," a seasonal reference that would be more relevant to most of the English-speaking world.

Aquas de Marco Antonio Carlos Jobim TABS:




The inspiration for aquas de marco antonio carlos jobim lyrics comes from Rio-de-Janeiro s rainiest month. March is typically marked by sudden storms with heavy rains and strong winds that cause flooding in many places around the city. The lyrics and the music have a constant downward progression much like the water torrent from those rains flowing in the gutters, which typically would carry sticks, stones, bits of glass, and almost everything and anything. The orchestration creates the illusion of the constant descending of notes much like Shepard tones.

Free MP3 Download of: "Aquas de Março - Tom Jobim Song"

The song was used by Coca-Cola for a jingle in the mid-1980s concurrent with the "Coke is it!" campaign, which run until 1988, and is currently the track for a 2008 British Gas advert in the UK and in Italy. In the Philippines, it was also used in the early 90s as the soundtrack for an advertising campaign for the newly developed Ayala Center

Composer-guitarist Oscar Castro-Neves relates that Jobim told him that writing in this kind of stream of consciousness was his version of therapy and saved him thousands in psychoanalysis bills.

Prof. Charles A. Perrone, an authority on contemporary Brazilian popular music (MPB), wrote about the song in his doctoral dissertation (1985), an abridged version of which was published in Brazil as Letras e Letras da MPB (1988). He notes such sources for the song as the folkloric samba-de-matuto and a classic poem of pre-Modernist Brazilian literature.



Above, nice picture from Camafunga - Flickr

Below, aquas de marco antonio carlos jobim lyrics in Portuguese:

Águas de Março - Letra - TOM JOBIM

É pau, é pedra, é o fim do caminho
é um resto de toco, é um pouco sozinho
é um caco de vidro, é a vida, é o sol
é a noite, é a morte, é um laco, é o anzol
é peroba do campo, é o nó da madeira
cainga, candeia, é o Matita Pereira
É madeira de vento, tombo da ribanceira
é o mistério profundo
é o queira ou nao queira
é o vento ventando, é o fim da ladeira
é a viga, é o vao, festa da cumeeira
é a chuva chovendo, é conversa ribeira
das aguas de marco, é o fim da canseira
é o pé, é o chao, é a marcha estradeira
passarinho na mao, pedra de atiradeira

Uma ave no céu, uma ave no chao
é um regato, é uma fonte
é um pedaco de pao
é o fundo do poco, é o fim do caminho
no rosto o desgosto, é um pouco sozinho

É um estrepe, é um prego
é uma ponta, é um ponto
é um pingo pingando
é uma conta, é um conto
é um peixe, é um gesto
é uma prata brilhando
é a luz da manha, é o tijolo chegando
é a lenha, é o dia, é o fim da picada
é a garrafa de cana, o estilhaco na estrada
é o projeto da casa, é o corpo na cama
é o carro enguicado, é a lama, é a lama
é um passo, é uma ponte
é um sapo, é uma ra
é um resto de mato, na luz da manha
sao as aguas de marco fechando o verao
é a promessa de vida no teu coracao

É pau, é pedra, é o fim do caminho
é um resto de toco, é um pouco sozinho
é uma cobra, é um pau, é Joao, é José
é um espinho na mao, é um corte no pé
sao as aguas de marco fechando o verao
é a promessa de vida no teu coracao

É pau, é pedra, é o fim do caminho
é um resto de toco, é um pouco sozinho
é um passo, é uma ponte
é um sapo, é uma ra
é um belo horizonte, é uma febre terca
sao as aguas de marco fechando o verao
é a promessa de vida no teu coracao

É pau, é pedra, é o fim do caminho
é um resto de toco, é um pouco sozinho

É pau, é pedra, é o fim do caminho
é um resto de toco, é um pouco sozinho

Pau, pedra, fim do caminho
resto de toco, pouco sozinho

Pau, pedra, fim do caminho,
resto de toco, pouco sozinho.





Below the English Version: “aquas de marco antonio carlos jobim lyrics”

Waters of March : English Version: “Aquas de Marco Antonio Carlos Jbim Lyrics”

A stick, a stone,
It's the end of the road,
It's the rest of a stump,
It's a little alone
It's a sliver of glass,
It is life, it's the sun,
It is night, it is death,
It's a trap, it's a gun
The oak when it blooms,
A fox in the brush,
A knot in the wood,
The song of a thrush
The wood of the wind,
A cliff, a fall,
A scratch, a lump,
It is nothing at all
It's the wind blowing free,
It's the end of the slope,
It's a beam, it's a void,
It's a hunch, it's a hope
And the river bank talks
of the waters of March,
It's the end of the strain,
The joy in your heart
The foot, the ground,
The flesh and the bone,
The beat of the road,
A slingshot's stone
A fish, a flash,
A silvery glow,
A fight, a bet,
The range of a bow
The bed of the well,
The end of the line,
The dismay in the face,
It's a loss, it's a find
A spear, a spike,
A point, a nail,
A drip, a drop,
The end of the tale
A truckload of bricks
in the soft morning light,
The shot of a gun
in the dead of the night
A mile, a must,
A thrust, a bump,
It's a girl, it's a rhyme,
It's a cold, it's the mumps
The plan of the house,
The body in bed,
And the car that got stuck,
It's the mud, it's the mud
Afloat, adrift,
A flight, a wing,
A hawk, a quail,
The promise of spring
And the riverbank talks
of the waters of March,
It's the promise of life
It's the joy in your heart
A stick, a stone,
It's the end of the road
It's the rest of a stump,
It's a little alone
A snake, a stick,
It is John, it is Joe,
It's a thorn in your hand
and a cut in your toe
A point, a grain,
A bee, a bite,
A blink, a buzzard,
A sudden stroke of night
A pin, a needle,
A sting, a pain,
A snail, a riddle,
A wasp, a stain
A pass in the mountains,
A horse and a mule,
In the distance the shelves
rode three shadows of blue
And the riverbank talks
of the waters of March,
It's the promise of life
in your heart, in your heart
A stick, a stone,
The end of the road,
The rest of a stump,
A lonesome road
A sliver of glass,
A life, the sun,
A knife, a death,
The end of the run
And the riverbank talks
of the waters of March,
It's the end of all strain,
It's the joy in your heart.

Note: You will note that the English translation of Aquas de Marco antonio carlos jobim lyrics” is longer than the original Portuguese version. Jobim added lyrics to the song when it made the transition to English. If you speak Portuguese, you will also notice that some of the English lyrics bear no resemblance to the original lyrics. For example, the beautiful fourth stanza more properly translates to "It is wood that resists the wind, the falls of the riverbank, it's the profound mystery, it's wanting or not wanting." You can find more faithful (but perhaps less lyrical) translations, such as this one or this one. In each case, however, both the original lyrics and translations are flawed. Regarding the original lyrics, trust those offered at the Jobim fan site (which are the ones offered on this page).

This translation is a little better, (and you can read about the results of selecting the best Brazilian song of all time ... guess first, of course). Regrettably, no translation can do justice to the original lyrics. You've just got to learn Portuquese

In Rio-de-Janeiro, if you think of the Flamengo district, you immediately associate the neighborhood with its famous Flamengo-Park that could be considered as one of the historic landmarks of Brazil. The park features gardens designed by well-known Brazilian landscape designer Roberto Burle Marx..Officially named as Eduardo Gomes Park, it has 1.2 million m² of lawns, flowering shrubs and trees is one of the loveliest and most important landscape areas in the city. Its creation is credited to Lota Macedo Soares descendant from an elite family of Rio de Janeiro State.



She did not have a degree in urbanism or architecture but was a pupil of the Brazilian painter Candido Portinari and acquired by herself knowledge of architectural aesthetics and botany. To fill the area with dirt, the Santo Antonio hill, in the center of Rio, was taken down with water jets. The same machine that dredged the Panama Canal took sand from the sea to create Botafogo Beach.. Lota had the idea to illuminate the landfill at night to allow night walks throughout the park. The sports courts were also her idea. They are in use every day and night of the year; by teams of all sorts of associations.



With the support of the Rio-de-Janeiro governor Carlos Lacerda she summoned a group of distinguished friends, the landscaper Roberto Burle Marx, the botanist Luiz Emigdio de Mello Filho, and the architects Affonso Eduardo Reidy. Sérgio Bernardes and Jorge Moreira. They formed a work group under her leadership. The green carpet that covers this immense area led to many disagreements among the members of the group and also with the urban officials of the time who fought with her about the freeways crossing the park. In the end, she won the argument, as she believed 2 freeways were most suitable for the park. From the rubble came 11.600 trees of 190 species, native and exotic.




Among the 4.400 palm trees of 50 species are the rare “talipot” (Corypha umbraculifera) that flourishes only once during its lifetime and dies right after. Besides being this giant urban park, it has special characteristics, like hosting groups of plants of the same species and the use of Brazilian plants that were not usually employed in landscaping - like the “abricó-macaco” and the “pau-mulato” . The Eduardo Gomes Park has several species that are considered to be “wildlife in Rio de Janeiro and was informally inaugurated on the 12th of October of 1965, Children’s Day in Brazil.



That occasion marked the birth of one of the most popular leisure areas in the wonder city; with 4 all sports courts, soccer fields, playgrounds, an amphitheater and a skate track. There is also a restaurant and kiosks, the Marina da Glória and the Rio Museum of Modern Arts-MAM which we will describe later. The park was merged into the city landscape, and has become surely one of the most famous landmarks of Brazil, like the Sugar Loaf and the Corcovado Mountain.

Below, great shot of Leonardo Martins of World War II monument at the Flamengo_Park:



That was Lota’s dream. Running along the shoreline from the Rio´s airport Santos Dumont to Botafogo Bay, the Flameng-Park offers a wide array of attractions, including Carmen Miranda Museum, Monument to Estácio de Sá, and several other sculptures and structures all the way to the Marina. An interesting spectacle on the first Sunday of each month is the changing of the guard by all three Armed Forces, at the Monument to World War II Soldiers. On Sundays and holidays, this park is closed to traffic, offering the public numerous recreation options.

Come visit this lovely Park in Rio!

Ipanema may be for Rio de Janeiro what Tribeca or Soho represents for Manhattan, guarded, obvious geographic and cultural differences. Even within Brazil, the neighborhood famed by the lovely song "The Girl from Ipanema", is a synonym for new trends, fashion, and eclecticism. To a certain extent, Ipanema-District may be microcosm of the colorful Rio character itself. Although the district is a relatively small district, being the strip of land between the Ipanema-Beach and the Rodrigo De Freitas Lagoon, the neighborhood and world famous beach also show diverse identities. The district is home to several tribes that live in a harmony: the tourists, the surf crowd, the rich and famous, the new hippies, the jocks, the gay friendly, and the typical local resident. Anthropological analysis apart, the Ipanema-neighborhood hosts some of the most exotic and sophisticated restaurants in Rio de Janeiro.

Within a few blocks, one can try the Latin taste of the trendy Pecado, which literally means Sin, in the heart of the distict or decide for a softer tone at the seafood specialist Satyricon. Ipanema-District has more than fifty fine restaurants, bars, "botecos", coffee shops, juice bars and ice cream parlors. We reproduced below a few restaurant reviews so that the international tourists will have an idea of what to expect. Please read below some of the options we prepared for you:



Doce Delícia

Make your own dish by choosing from 5 to 15 of the 42 combinations of vegetables, side dishes, hot dishes, and fruit at Doce Delícia. Quiche, salmon, grilled tenderloin, chicken, and cold pasta are some of the choices. Dressings range from the light and yogurt based to innovative creations combining mustard and lemon. There are plenty of vegetarian options. The slick decor and fresh ingredients make this a popular choice for a regular clientele in the trendy area neighborhood. For a reasonable price you can also pick main dishes from the menu -- for example, the chicken breast with honey and rosemary sauce for R$17. Another hit at Doce Delícia is its rich pre-beach breakfast.



Above, a picture of the tredy Pecado restaurant.

Esplanada Grill

The Scene

On a well-manicured shopping street in central area, four short blocks from the beach, this impeccable Brazilian steakhouse is a magnet for celebrity diners and highbrow carnivores. Known for its distinguished patrons and prized kitchen, the dining room features wall-to-wall photographs of semi-famous patrons and the bewildered Hollywood celebrity inundated by flashbulbs. The dark-paneled main room features tightly arranged wood tables with leather-cushioned club chairs surrounded by picture windows overlooking the surrounding neighborhood. Esplanada Grill is surprisingly formal given the more casual nature of Rio. Patrons should expect a dress code of long pants and sleeved shirts in the evening, with slightly more liberal requirements for afternoon lunch.


The Food:

A prompt waiter welcomes diners with a two-handed selection of complimentary appetizers including warm breads, artisan cheeses and traditional yucca flour. The menu at Esplanada Grill features Brazilian steakhouse specialties and hearty appetizers perfect for sharing. Meals begin with market fresh salads as well as small-plate seafood specialties like grilled octopus and calamari or jumbo shrimp cocktail. If you're a vegetarian you're probably in the wrong place, as main courses are a meaty symphony of kilo-sized fillets, porterhouses and double T-bones. Meats are presented on a signature iron grill, seared to perfection and normally on the rare side of medium. Esplanada Grill ´s desserts are a more predictable presentation of house cakes, ice creams and baked goods.


Gero-Ipanema

Rogerio Fasano, one of Sao Paulo's gastronomic legends, opened this Italian eatery—his first restaurant in Rio. Socialites, artists and political bigwigs flock to Gero, to savor such specialties as partridge and radicchio risotto or white polenta with squid. Daily for lunch and dinner. Vegetarian options are plentiful. Typical Italian desserts served include gelato and profiteroles. Gero is located at the more expensive end in this part of town but justified entirely

Below we see a shot of Gero, close to the Beach.



Guimas

Guimas is restaurant where real Cariocas hang out. Guimas opened their original restaurant at the Gávea district, which became a reference for Rio gourmet fans in terms of quality and style. Later, the owners opened another unit at the district, maintaining the Rio´s lassie-faire culture. Guimas´s most successful dishes are the trout with leeks and the honey-roast duck with pear rice. Both move smoothly with the superfine caipivodcas (caipirinhas made with vodka instead of cachaça). The small but cozy open-air restaurant attracts a more colorful mix of diners as the night progresses.

Gula-Gula

For a lighter and healthier meal or snack, stop in at Gula-Gula. The menu includes delicious fresh salads such as the caprese -- a layered tower of sliced tomatoes, basil, and mozzarella – “the salada da casa” with mixed greens, pumpkin, goat cheese, and crisp bits of Parma ham, or the more Brazilian palm-heart salad with turkey and pineapple. Gula-Gula also serves a variety of grilled meats, chicken, and fish. Each selection of meat comes with a choice of sauce and two side dishes (vegetables, potatoes, or salad). Other lunch or light dinner options include pasta, quiches, and sandwiches. For dessert, you can try some of the low-cal options, but to live up to the name (gula means gluttony in Portuguese) it behooves you to try a “banana crème brûlée” or fruit strudel. Please note that Gula-Gula is a chain and there are several restaurants spread out over Rio de Janeiro. By Frommer´s Review.




Madame Butterfly

Considered one of the most sophisticated and expensive Japanese restaurant in Rio, Madame Butterfly is a must for Japanese food lovers, and was elected best in its category by gourmet specialists, rivaling with Sushi Leblon. Located at the heart of Ipanema-District, the food in Madame Butterfly is superb, and the highlights are the fish with shimeji mushrooms in ginger and sake sauce, the many different types of sushi and rolls with unusual shapes. Main dishes include grilled salmon with honey and miso, and the best sukiyaki in Rio. The restaurant occupies two floors, with a dining room located in the first floor and reserved booths upstairs. Valet parking is provided.



Above, the modern facace of the seafood master restaurant in Satyricon.


Satyricon

Famous for being international celebrities’ choice like Madonna and Sting, Satyricon is considered one of the top sea-food restaurants in Rio, if not number 1. The pargo (fish baked in a thick layer of rock salt) is the house specialty, and the sushi and sashimi are also well loved. Satyricon´s menu features were recently expanded offering several fish capriccios. When the season is right, try the fresh lobster with tagliatell. The service in Satyricon is usually excellent and it has a nice ambience. Although the restaurant has a reputation for being expensive, try to waive off the couvert and don't order drinks or desert and you'll get out of there for a reasonable price. Valet parking is provided.

We hope our readers we able to have a taste of the districts spice and charm. The neighborhood has the true essence of Rio, and unquestionably, several flavors to choose from. So next time visiting Rio, relax and cool down in some of Rio ´s fanciest restaurants.

The Objective of this post is to describe the first Flags of Brazil, during its colonial days:

Order of Christ

Would you be kind enough to translate the following statement? "...1320, da Ordem de Cristo 1ª hasteada em solo brasileiro." The 1320 here apparently refers to a year, as all the other flags have dates of use listed. If that is so, how could this flag have been in Brazil at that time when, if I recall correctly, Portugal first arrived in Brazil in 1500? If I understand correctly, and please comment if you have other thoughts, the web site is trying to state that the "Order of Christ" flag [which was adopted in the year of 1320] was the first flag of Portugal raised over Brazil in the 1500s. That being the case, I could understand that the Order of Christ banner that was 180 years old at the time Brazil was colonized became the first flag in Brazil. Secondly, the flag shown is a red Order of Christ and to my memory all (or most) first flags of Brazil have been golden Order of Christ. Just by reference to later flags of Brazil, the Order of Christ is red, and I believe red is correct. However, there seem to be many golden flags shown in books.



The inscription indeed means "1320, of the Order of Christ. [adding a period, without which this makes no sense] First to be hoisted on Brazilian soil." I think there is some confusion here: Portugal only arrived in Brazil in 1500, but the Order of Christ was founded in 1320 (or something like that). So 1320 doesn't refer to the first time the flag was hoisted in Brazil, but when it was adopted.

The Order of Christ was the main financer and "pusher" of the Portuguese discoveries, the man behind them, Infante Dom Henrique [Prince Henry the Navigator] being a member of the order. Most if not all the ships that sailed to find new lands had members of the order in the crew and sailed under the flag of the order. In fact, the various banners of the order that are mentioned by António Martins were, at the time, nearly the equivalent of what would today be called naval flags or ensigns of Portugal. Therefore, as the British did with their ensigns, it was the banner of the order that was hoisted in the territories claimed for the Portuguese crown. This happened not only in Brazil, but also in the other territories in Africa and Asia. The usual thing, as far as I know, was for the captain of the ship to claim the territory for the King of Portugal and for Christianity--Christianity, naturally, being represented by the Order of Christ. The monuments the Portuguese left in the lands where they landed (called padrões) are a good example of this: they were topped by a cube containing four Portuguese escutcheons with the bezants (quinas) and atop the cube a cross of the Order of Christ.

As far as I know, there is no proper color to the Cross of Christ, but it is usually represented in red.

The Iberian Union, 1580-1640

Between the years 1580 and 1640 was the time know historically as "The Iberian Union". Brazil, was, of course, a Portuguese colony, but in 1580, the Portuguese King Sebastian I died (in a battle in Alcazar-Quebir, Morocco) without leaving children and his closest relative was his cousin Phillip II, the King of Spain, who become king of both Iberian Kingdoms. The Iberian Union lasted until 1640 when the Portuguese finally won a 18 year-long rebellion against Madrid and regained their independence.


From 1624 to 1661, part of northwest Brazil was Dutch Brazil. With the Spanish occupation of Portugal, the Netherlands, traditional commercial partner of Portugal but enemy of Spain, and with interests in Brazilian sugar cane, occupied the provinces of Pernambuco, Paraíba, Ceará, Alagoas, and, in the year 1641, Maranhão. The government of Dutch Brazil was administed by the Dutch West India Company (GWC). The flag used as the local flag of this period was the flag of the company (with the monogram). Today we can seen some Dutch descendants in the Northwest, which is in general a mixed Dutch and Indian people. The presence is noticeable in Paraíba and Ceará.

I am quite curious where you found this image; it differs quite a lot from the flag normally attributed to the Dutch West India Company.
Jarig Bakker, 14 June 2003

The Flag of the GWC was used during the Dutch occupation as the flag of Dutch Brazil and is shown in Clóvis Ribeiro's Bandeiras e Brasões as well as in various Brazilian history books as the "Dutch Brazilian flag."
André Pires Godinho, 15 June 2003

In Vexilla Nostra of March 1973, Karl Fachinger writes that the monogram might stand for CDIM (Companhia das Indias Meridionais), the Portuguese name for the Dutch VOC (East India Company), although he clearly states it isn't more then just a guess. In Vexilla Nostra of October 1973 an anonymous article contends that the monogram could show IMNCVD for Iohan Maurits van Nassau Catzelnbogen Vianden en Dietz. Johan Maurits van Nassau was governor-general of Dutch Brazil (also known as Nieuw Holland) and nicknamed "the Brazilian." Personally I find both guesses not very convincing.



Most histories that I have read give the dates of Dutch control as 1630-1654. See for example this very comprehensive account. (I think the flag image shown on that page is intended only as a generic West India Company flag and not as necessarily depicting what was flown in Brazil.)
Ned Smith, 14 June 2003

1624 is the year Salvador was taken by the Dutch, but the occupation lasted only one year. In 1630 the Dutch came back and conquered the coastal area of Pernambuco. The colony now lasted langer, until 1654 when Recife was taken by the Portuguese without a shot. In 1661 the Dutch rights were sold to Portugal for 8 million guilders.

Principality of Brazil


While Dom João IV was the King of Portugal, his son Teodósio [but see below--ed.], the heir to the throne, received the title of Prince of Brazil. So after 1645, every heir to the Portuguese throne was called "Prince of Brazil" (like the Prince of Wales in the United Kingdom). Thus Brazil became a principality and had its own flag. This flag can be interpreted as a personal ensign of the prince, but nevertheless it is a flag to represent the Brazilian Principality.


It seems to me that this is really a Portuguese flag, not a Brazilian one. F. Pereira Lessa points out in Bandeiras Históricas do Brasil (Rio de Janeiro: Gráfica Guarany, 1940) on page 45 that this was essentially a personal flag of the heir apparent to the Portuguese throne, not a flag to represent Brazil itself--just as the flag of the Spanish Prince of the Asturias is not the Asturian flag and the standard of the Prince of Wales is not the Welsh flag. In addition, as I understand it, designating Brazil a principality did not change the way it was governed, and it would seem this flag probably never flew there.




The Principality of Brazil was created for Teodósio (1634-53), Duke of Barcellos and Bragança and Prince of Portugal, elder son of Joao IV, but he died before his father. So, the Portuguese crown went to his second living brother Affonso, Affonso VI of Portugal.

Cont. This is Part II of the History of Rio-de-Janeiro Post.

Rio-de-Janeiro history was marked by great progression after the finding of gold in Minas Gerais 1693. The gold route went through the port of Rio-de- Janeiro and made Portugal one of the richest countries in Europe.

The goldstream made Rio even more attractive to the rivalling countries france and the dutch, and the city is attacked and defeated by the French admiral Duguay – Trouin with approximately 6000 men in 1711. To redeem it Portugal pays a huge ransome.

By 1763 the population of Rio de Janeiro exceeds 50,000 and is declared the capitol of Brazil.

Napoleon of France also has an important part in the development of Brazil. As he took on war in Europe, the seat of all Portuguese regency court fled to Brazil in 1808. 15,000 of the aristocracy, led by the regent Dom Joao VI, moved to Rio-de-Janeiro and resulted in a massive expansion of Rio´s streets, schools, banks, newspapers and so on.

Dom Joao made an important decision which made the economy boom; he opened the harbours to free trade with everyone, which had earlier been restricted to Portugal. The beginning of independence for Brazil.



Above, a picture of 19th century famous painter Jean Baptiste Debret of the court in Rio.

In 1821 Dom Joao returns to Portugal to fight an uprising revolution, but leaves his son Dom Pedro behind to govern the colony. Rio ´s population has grown rapidly and now exceeds over 100,000 residents.

Influenced by brazilian nationalists, Dom Pedro declares independence one year later, in 1822. Dom Joao, unable to fight his own son, accepts Brazil independence and Dom Pedro is named Emperor Pedro I.

By 1826 Dom Pedro’s father dies in Lisbon making Dom Pedro the natural overtaker of Portugal. Dom Pedro abdicates as emperor and his son aged 15, assumes the throne; Emperor Betrau II

Rio-de-Janeiro continues to grow. In 1854 streets of Rio are lit by gas lamps and in 1874 the city is connected to London with a telegraph cable. Slavery which has influenced so many of Brazilian culture and tradition like Brazil’s national dish, feijoada and the ever so famous carnival with rhythms, feathers and dance is abolished in 1888.

In 1889 rich landowners take over control of the political power in Brazil by demanding a republic. The emperor abdicates to prevent a revolution and a bloodbath. The landowners divide the revenues between themselves. The differences between poor and rich increase. Presidents of Brazil are controlled by the landlords, and new presidents come and go.

Below, a vision of slavery in Rio by the 19th century famous painter Jean Baptiste Debret.



Passing into the 1900 century, tunnels are built to connect the south zone of Rio with the centre of the city. The world opens it’s eyes for Brazil and Rio de Janeiro in 1920, with the opening of the great Copacabana Palace. Brazil and Rio is considered exotic and several films brings samba to Europe and the states.

What is the history of Rio de Janeiro, in Brazil? It seems like there is a fascination upon this subject, so we will be posting a series of articles related to the history of Rio de Janeiro, history of the coffee planatations, Portuguese Crown and Rio ´s importance in the world´s scenario.

The Rio de Janeiro history starts with the Portuguese claims on Brazil with the discovery of Porto Seguro by Pedro Alvares Cabral in 1500. Two years later on New Years day,1502, the inlet of Guanabara bay marked by the characteristic Sugarloaf is mistakenly assumed a river and called “Rio de Janeiro” which means “the January River” in English. Exactly who in Rio de Janeiro history is responsible for the discovery is unclear, but it is assumed that it’s either Andre Goncalves or the Florentine Amerigo Vespucci.

Below, a picture of Rio, 19th century by famous painter Jean Baptiste Debret.



In 1533, Brazil history continues by being divided into 12 capitanias (“Captaincies”). The Rio de Janeiro area of Guanabara bay is appointed to the Espirito Santo capitana. Rio de Janeiro history shows the area populated by the local Tamoio tribe which is curious about the new strangers from abroad. An expression which still remains in Rio even today has it’s origin from the natives; “Cari-oca”, which meant “house of the whites”. Today a Carioca represent a Rio inhabitant who is born and raised in Rio de Janeiro with parents from Rio.

At first the Portuguese took little interest in the southern areas of Porto Seguro and focused on extracting sugar in the north. The area of Rio de Janeiro was left for the French and renamed “La France Antartique” in 1555 by Nicholas de Villegagnon, a French knight of St.John.

The Rio de Janeiro history shows the first serious settlement called Sao Sebastiao founded in 1565 by Estacio de Sa, after the French are defeated and thrown out by governor-general mem de Sa. The early settlement developed slowly, located at the foot of today’s famous sugarloaf mountains for better defence possibilities.

Below, one of the first Flags of the Brazilian Colony.



1580 – 1640 in Rio de Janeiro history is marked by slow progression and continued attacks by the French and the Dutch across all of Brasil. After 1640, begins a time of missionary both to the north and south of Rio.

The year of 1693 is an important year for Brazil history; gold is found in Minas Gerais, just north of Rio de Janeiro and the time of the gold rush started!

Roads where built from Rio and out to the gold mines, and Rio de Janeiro became the primary shipping harbour of gold to Portugal. All kinds of fortune hunters immigrated to Brazil and Rio de Janeiro grew to become an economic sentre of the huge country Brazil.

Continued at Part II of "What is the history of Rio de Janeiro Brazil" post.

APOLOGIZE TO THE PURIST among Brazilian history scholars and to manuscript collectors, but Pero Vaz de Caminha's letter in 1500 was the first advertising poster to depict our homeland. Don Manuel, king of Portugal at the time, never published the letter perhaps to ward off the greed of other nations...

Luckily the twentieth century international travel businesmen did not share his views and called on a number of designers to produce some unforgettable, brightly-colorede, striking images. In a straight-forward language or in dreamlike settings of breathless wonder, they conveyed the idea that coming to Rio-de-Janeiro was like living out a fairy tale...

Though they cannot be considered a contemporary novelty (the first newspapers published in France back in 1631 already displayed advertisement), billboards did not develop fully until the late nineteenth century. Employing lithography and off-set techniques, they were so sophisticated that often six or seven colors were used.

"Ridding the streets of the gray and dark monotony of buildings aligned as if by a ruler: splashing them with colorful fireworks, spreading joy; turning walls into adornable surfaces, and extracting from this outdoor museum the true nature of a people while at the same time educating the taste of the collective unconscious." This was Roger Marx"s introduction to the exhibit of one of the earliest geniuses of billboard art, Jules Chéret, in 1889.




Both during the art nouveau (1880-1914) and art déco (1920-1950) eras bustled with finely crafted samples of this art, and the posters of those days are the most sought-after by museums and collectors alike. Testimonials of a country"s artistic and economic history, they went from just mere advertising media to become aesthetic and profitable printed treasures. The nostalgia they evoke, aside from their decorative appeal, stimulates the booming collectionism we see today. In nearly thirty years of pursuit, with Paris as a starting pont (where more museums, art dealers and experts devoted to the subject are found than anywhere else in the world), I have just recently managed to gather ten samples...

Vistas are never the same in any two posters about Rio-de-Janeiro. There is a clear concern with capturing the nuances of sunlight at a unique point in time. Often a wild sunrise lights up the entire poster. Dreamlike images. These are pre-globalization moments, though.The written language is not always the same spoken by the cruise ship or airline owners. There are several several examples of this. KLM (Dutch) using French; PanAM (American) writing in German anout the wonder city...





It is intriguing to find that the name of the city (Rio-de-Janeiro) is absent in most of the surviving posters. As if everybody knew that those beaches, those mountains, that bay are Rio-de-Janeiro . We simply read South America. Designers apparently assumed that the vistas were so well known that it would be enough to mention the continent. The loveliest city in the world, as foreign magazines and newspapers described it, became an icon for the whole continent.

One of the most remarkable affiches, the 1946 "Air France" poster designed by Victor Vasarely - the founding father of Op-Art - shows a far-off and vague landscape. All that stands out are silhouetes of Sugar Loaf and Corcovado. A huge rising sun reflecting on the Atlantic Ocean waters, where waves and shadows interwine top duplicate the black-and-white design of the famous Copacabana sidewalks takes up most of the poster area. This "road toward the sun",hopes of a new beginning, is the message conveyed by many of the best known posters made to draw both tourists and immigrants weary of the wars of the Old World.




Going back to Pero Vaz de Caminha"s letter to His Majesty; we are surprised by the statement that the art of prints, of drawings, of engravings, of posters - in short, anything on paper cannot survive because the medium will not last. These advertising posters, some nearly a century old, prove otherwise. After all, what medium was used to write the very first inventory of the Brazilian wealth five hundred years ago?

Rio-de-Janeiro is definately the Famous Places in Brazil to visit ! Don´t miss this chance!

Rio Vintage Posters

Yesterday, September 7th, Brazil celebrated the 186th anniversary of its independence day. Paying homage to the Brazilian culture, Belavista-Rio decided to briefly describe the origins, history, symbolism and pantone of the Official Brazil Flag. The flag of Brazil has a green field on which a large yellow rhombus is centered. A blue circle is placed within the rhombus, with white stars of five different sizes and a curved white band running through it. The motto “Ordem e Progresso” ("Order and Progress") is inscribed in capital letters (of the same shade of green as the field) inside the band. It is one of the few national flags that don’t have the generally blood-and-war-related colors red or black in any part of their composition.

The modern flag was officially adopted on November 19, 1889. The concept was the work of Raimundo Teixeira Mendes, with the collaboration of Miguel Lemos and Manuel Pereira Reis. The design was executed by Décio Vilares. The current national flag and ensign maintains the same design with some minor changes.

History of the Brazilian Flag: Upon the proclamation of the First Republic, one of the leading figures in the process, lawyer and recently-appointed Minister of Finances and Taxation Ruy Barbosa, proposed a design for the national flag that was strongly inspired by the flag of the United States. This flag was used only for 4 days beginning November 15, 1889. See the image of this version of the Brazilian Flag at Belavista-Rio Blog.




On November 19, 1889 the "Father of the Republic" and an acting president, field marshal Deodoro da Fonseca, vetoed the design, claiming that it was too much of a copy of another country's flag. Fonseca, who had been a royalist all his life and only led the coup that resulted in the proclamation of the Republic because he felt that the Emperor's actions were putting the country's stability in jeopardy, then suggested that the new Republican Flag should resemble the Imperial Flag. The decision was then made to replace only the royal crest with a new design (eventually decided to be the blue globe with the stars and the positivist motto). The objective in doing so was to reassert the continuity of the national unity during the transition from a Constitutional Monarchy to the Republican model. Raimundo Teixeira Mendes' design was presented to president Fonseca and promptly accepted.

Brazil's current flag was inspired by the flag of the former Brazilian Empire. On the imperial flag, the green represented the Imperial House of Braganza of Pedro I, the first Emperor of Brazil, and the yellow represented the Habsburg Imperial Family of Empress Leopoldina, Pedro I's first wife. Thus, green and yellow are the colours of the Families of origin of the first imperial couple, founders of the Brazilian monarchy. The centre of the old imperial flag bore the Imperial Coat of Arms. See the image of this version of the Brazilian Flag at Belavista-Rio Blog.



On the modern republican flag, the green background represents the forests, the yellow rhombus stands for the mineral wealth, and the blue circle, which replaced the coat of arms of the original flag, depicts the sky over Rio-de-Janeiro on the morning of November 15, 1889 – the day the Republic of Brazil was declared.

It is shown as seen from outside of the celestial sphere (i.e. the view is mirrored).

The stars, whose positions in the flag reflect the sky above Rio-de-Janeiro on November 15, 1889, represent the union's member-states - each star representing a specific state (which is not the case of the stars in the flag of the United States). The number of stars changes with the creation of new states and, since the early days of the republic, has risen from an original 21 stars to the current 27, standing for the 26 states and the Federal District.

The star that represents the Federal District is Sigma Octantis, a star whose position near the south celestial pole makes it visible across almost the whole country, all year round. In addition, given its polar position, all the other stars depicted on the flag trace appear to rotate around Sigma Octantis. Choosing this star to represent Brazil's capital is therefore particularly apt (although it is a much fainter star than any of the others).

The motto Ordem e Progresso ("Order and Progress") is inspired by Auguste Comte's motto of positivism: “L’amour pour principe et l’ordre pour base; le progrès pour” but ("Love as a principle and order as the basis; progress as the goal"). It was inserted because several of the people involved in the military coup d'état that deposed the monarchy and proclaimed Brazil a republic were followers of the ideas of Comte's thought.

Stars on the Brazilian Flag: The flag of Brazil contains 27 stars. The constellation of the Southern Cross is on the meridian. To the south of it is Polaris Australis (Sigma Octantis, numbered 7), representing the Federal District. The motto appears on a band roughly coincident with the ecliptic. A single star lies above the band, representing the large northern state of Para, which straddles the Equator.



Regarding the pantone for the Brazil flag, among official sites, there are a couple that give Pantone and/or CMYK values for the "mark" of the Federal Government, used on publications and websites, stating that the colors are to be the same as those used in the national flag. These sources do not agree completely. Belavista-Rio then decided to follow the Presidency for the Pantones of the Brazilian Flag:


Green: PMS 355 and CMYK 100-0-100-0
Yellow: PMS Yellow and CMYK 0-10-100-0
Blue: PMS 280 and CMYK 100-70-0-20

We hope our readers were able to grasp a little bit more of the culture and history of Brazil. Please download the Official Brazil Flag image< at your free will and display the Brazilian flag in your office and home!

We know you have heard of the Rio beaches, but what about Rio cultural activites? If you strive for culture, your best bet is to stay in a district that has many Museums and Cultural Centers. This neighborhood is the Flamengo district ! Flamengo has become an increasingly sought-out neighborhood in Rio for several reasons, including its art deco architecture buildings, famous bars like Belmonte and ultimately its cultural centers and museums. Until the 1950s, Flamengo district and Catete were the principal residential zones of Rio's wealthier middle class and that may be the reason why some of many embassies (today consulates) were established here.

Nowadays, this charming neighborhood is a vibrant middle-class residential neighborhood, with much charm and culture to be enjoyed. In this article we will describe some of the cultural centers and museums established in the Flamengo-district including the Modern Art Museum, Oi Futuro Cultural Center, and the Catete Palace. The best thing is that most of these marvels are free.



Our first stop is the city's Modern Art Museum. It has a privileged location on Flamengo Park alongside Guanabara Bay, with the landscaping designs of Burle Marx. The Museum of Modern Art in Rio de Janeiro</b> started its construction in 1954, and is perhaps architect Affonso Eduardo Reidy´s most striking design: rows of angled concrete ribs support and enclose the gallery space. Inaugurated in 1958, has a very unusual history; after a tragic fire in 1978 burned most of its collection, and damaged the structure of the building, a tremendous reconstruction effort put the museum back on its feet, and today the permanent collection has over 2,000 pieces by Brazilian and international artists. A major contribution was made by art patron Gilberto Chateubriand, with a private collection of 4,000 pieces. It is also under the care of MAM, and can be seen in the permanent exhibition. An interesting program of art shows and exhibitions keep the museum as an excellent attraction throughout the year. An impressive collection of the works of Picasso, Max Ernst, Rodin, Brancusi and other artists from Brazil and elsewhere is housed in this concrete and glass building in Eduardo Gomes Park.



Another major attraction of the Museum of Modern Art in Rio is the film collection ("Cinemateca do MAM"), one of the best in Latin America, with over 12,000 titles including some rarities. There are sessions and festivals open for the general public, with Brazilian and foreign cult movies that are not normally shown on the commercial circuit. Art workshops are held at the Oficina da Gravura. Additional Information on the Modern Art Museum in Rio: Open from Tuesday to Sunday, from 12 noon to 6 p.m. Av. Infante Dom Henrique, 85 - Flamengo-Park.



Our next Cultural Center for Flamenngo neighborhood is OI FUTURO Cultural Center, located atRua Dois de Dezembro, 66. The Center is maintained and supported by major telecom player in Brazil OI and has been receiving since its founding grants from several foundations to enhance its cultural assets and infrastructure. OI FUTURO is housed in a building that was built in 1918 and has just been remodeled, resulting in a gain of over two thousand square meters of internal space. The building's façade was preserved. There are four floors, interposed among the building's eight levels, connected by glass stairways and elevators. Each floor presents different exhibits throughout the month. OI FUTURO´s varied program includes activities related to music, videos and plastic arts.



Visitors will also find an up-to-date library with an abundance of research material: magazines, newspapers and on-line computers as well as exhibition rooms. A full multi-use theater with 180 seats presents regular plays every week, at popular prices. A very charming Wi-Fi connected bistro is located at the upper floor of the Cultural Center, which leads to the terrace of the building. From the terrace, you can even see part of the Flamenngo Beach and Guanabara Bay. You can check OI FUTURO's monthly cultural program and schedule in English at their website.


See below photo of an exhibit at Futuro Cultural Center:



Additional Information on the OI Futuro Cutural Center: Open Hours: Tues-Sun. 11am-8pm; Address: Rua Dois de Dezembro, 63 - Flamengo-District, Phone:(21)3131-3060. Free Admission for several exhibits, with the exception of theater plays.


Our last stop is the Catete Palace. The Catete Palace - seat of Brazil's Republican Government from 1897 to 1960 and scene of activities of eighteen Presidents - has seen some of the most important events in Brazil's political life, including the Declaration of Brazil's entry into World Wars I and II and the suicide of President Getúlio Vargas in 1954. Transformed into a museum when Brasília became the nation's capital in 1960, and closed for restoration from 1983 through 1989, the Republic Museum reopened with a broad-ranging cultural program that includes exhibitions, concerts, plays, movies, videos, boutiques, restaurants and a book-store.

Below, sensational photo of Jorge Brazil ( in Flickr ) from the facade of the Palace!



The gardens of the Museum acquired new lighting, with the replacement of 71 forged iron posts - in the eclectic style - for other posts with contemporaneous designs made of steel. Today, on the ground floor, the Entrance Hall and the Ministerial Room still retain the solemn atmosphere of capital meetings and decisions regarding the nation's destiny. Two long-standing exhibits present historical information about the first occupant of the Palace and his descendants and about the inauguration of the Republic Museum. The remaining rooms hold temporary exhibits that represent varied aspects of Republican Brazil.



On the second floor, known as the "noble floor", luxury and thematic diversity stand out. The Chapel room and the Blue, Noble, Pompeian, Venetian, Moorish and Banquette rooms show off their vintage Brazilian and French furniture, paintings from artists such as Baptista da Costa, Gustavo dall'Ara, Décio Vilares, Rodolfo Amoedo, Henrique Bernardelli, besides sculptures, chandeliers and porcelain from the 19th and 20th Centuries. The third floor highlights the reconstruction of President Getúlio Vargas' room. The remaining rooms are devoted to the display of objects, text documents and photographs from the Republic Museum's own collection. The complex also hosts one of my favorite movie theaters in town. The theater is especially known for its art movies and is named "Cinema Museu da República". You can check the theater's schedule in any newspaper in town.



Above we see an amazing photo of the roof and walls of the second floor of the Catete Palace.

Additional Information on the Catete Palace: Open Hours:Tues-Thurs-Fri, noon-5pm Wed, 2pm-5pm- Sat-Sun-Holidays, 2pm-6pm. Free admission Sundays and Wednesday to the Catete Museum. Address: Rua do Catete, 153 - Catete. Phone: (21) 3235-2650 The park in the Catete Palace is opened for visits until 10 p.m.

We described in this article only some of Flamengos cultural centers and museums. There are many other Cultural Centers all within the Flamenngo-district boundaries, with many art exhibits and public libraries. We also suggest and appoint the following:

Figner Mansion Arte SESC Cultural

Julieta de Serpa House of and Culture

Cultural Center Oduvaldo Viana Filho

Carmen Miranda Museum

Telephone Museum

As we mentioned before, most of these Cultural Centers in Rio have free admittance. Other positive aspects of these cultural centers we described above, is that they are very modern and underwent major renovation efforts. If you have cultural interests, consider settling in Flamengo-neighborhood on your next trip to Rio. We are sure this district hosts one of the liveliest cultural scenarios in town.

Below, the Julieta de Serpa Cultural Center.

Darwin is back to Brazil 173 years after he wrote the famous quote "On the 19th of August we finally left the shores of Brazil, I thank God, I shall never again visit a slave-country", in a marvelous exhibit in Rio de Janeiro. Although many things still remain the same, the country has somewhat evolved since his first arrival.

Darwin is back on a lighter tone, in his own exhibit, sponsored by several financial and cultural institutions in Brazil, organized in partnership with the American Museum of Natural History . The exciting expo is unmissable and has already toured in several important cities like New York, Chicago, Toronto.

The exhibit depicts a summary of his life and theory in 7 main themes:

A Wold Before Darwin
The Yong Naturalist
A Trip Around the World
The Idea Takes Shape
A Life´s Work
Evolution Today
Endless Forms the Most Beautiful

Read below an introduction excerpt from AMNH original exhibit home-page:

Happiest at home with his notebooks and his microscope, he shunned the public eye. Controversy made him ill. This brilliant observer of nature kept his most original and revolutionary idea under wraps for decades. Yet today, two centuries after Charles Darwin's birth, nearly everyone knows his name. What did Darwin do, and why does he still matter so much?



Keenly observing nature in all its forms—from fossil sloths to mockingbirds, primroses to children—Darwin saw that we all are related. Every living thing shares an ancestry, he concluded, and the vast diversity of life on Earth results from processes at work over millions of years and still at work today. Darwin's explanation for this great unfolding of life through time—the theory of evolution by natural selection—transformed our understanding of the living world, much as the ideas of Galileo, Newton and Einstein revolutionized our understanding of the physical universe.

Darwin's theory of evolution by natural selection underlies all modern biology. It enables us to decipher our genes and fight viruses, and to understand Earth's fossil record and rich biodiversity. Simple yet at times controversial, misunderstood and misused for social goals, the theory remains unchallenged as the central concept of biology. Charles Darwin, reluctant revolutionary, profoundly altered our view of the natural world and our place in it.

Charles Darwin looked closely at life. The vast and marvelous diversity of life on Earth, from barnacles to butterflies, ostriches to orchids, made him curious. Countless species, living and extinct—why so many? Some were only slightly different from one another-what could explain that? Each organism so beautifully adapted to its environment—how could it happen?



With persistence and passion, Darwin set out to find answers. He conducted experiments. He read widely and corresponded with fellow naturalists around the world. And he studied the evidence using simple tools, at times little more than a microscope or a magnifying glass. Darwin looked closely—and we saw the world in a new way.

Darwin Exhibit in Brazil de Janeiro is presented at "Museu Historico Nacional" ( Historic National Museum ), located at Praça Marechal Ancora, at Rio ´s city Center. The Expo goes on until May 4th and entrance costs R$ 15,00.


NORMAL OPERATING HOURS:

Tuesday - Friday: 9:00 AM to 6:00 PM
Saturday , Sunday and Holidays : 10:00 AM to 6:00 PM
Monday: Closed

After you are done with Darwin´s expo, check the Museum store as well. They sell several items like T-shirts, notepads, mugs, turtle and iguana toys worthwhile checking out.

If you want to buy Darwin in Rio Exhibit produts on-line, there is also new website.

Don´t miss this great chance to visit the exhibit and stay in a apartment in Rio.

Darwin ´s expo will move on to São Paulo May 4th, where it will be presented until July 15th, at MASP Museum at the Av. Paulista, 1578, São Paulo.


Belavista Brazil Carnival is a non-commercial blog devoted to wonders of Rio de Janeiro, with a focus to the Brazilian Carnival. Our sole objective is to describe how Carnival in Rio do Janeiro is magically created, its artists, dancers and musicians that make up the world’s largest show. Please feel free to contact us if you have any questions or concerns