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Axé: Multiple Meanings with a Sole Essence Found in the Unity of Body, Nature and Spirit
Axé: Multiple Meanings with a Sole Essence Found in the Unity of Body, Nature and Spirit PLÍNIO TADEU DE GÓES, JR. hat does the word axé signify? Is there a way to create one Wdefinition for the word? The term is capable of multiple meanings. How do we unite all of these unique meanings within a single conceptual framework in order to better grasp each distinct understanding of the term? Can we reach a totalizing understanding of axé? Over the course of this paper, I will discuss the various meanings of the term in the hopes that this will add to our understanding of the complex relationships between religion, music, popular culture, and politics in the context of the African diaspora in the Americas. As opposed to discussing how some popular music finds its origin within Candomblé rituals, however, I go beyond such well-known histories and seek to explain how the theology of Candomblé manifests itself in ritual and popular music. Avoiding generalizations, I believe that African religious philosophies have played a primary role in generating a way of life in Northeastern South America and the Caribbean. I use the term axé to explore the above-mentioned relationships because the term appears simultaneously in Candomblé theology, Afro-Brazilian religious practices, and popular music. This article represents the first attempt to explicitly place this central facet of Candomblé theology as a crucial element at the heart of Afro-Brazilian culture. To some Brazilians, the term connotes a sort of upbeat reggae- infused dance music genre, danced at a frighteningly exhausting aerobic pace, from the Northeastern region of the country. -
Appendix 25 Box 31/3 Airline Codes
March 2021 APPENDIX 25 BOX 31/3 AIRLINE CODES The information in this document is provided as a guide only and is not professional advice, including legal advice. It should not be assumed that the guidance is comprehensive or that it provides a definitive answer in every case. Appendix 25 - SAD Box 31/3 Airline Codes March 2021 Airline code Code description 000 ANTONOV DESIGN BUREAU 001 AMERICAN AIRLINES 005 CONTINENTAL AIRLINES 006 DELTA AIR LINES 012 NORTHWEST AIRLINES 014 AIR CANADA 015 TRANS WORLD AIRLINES 016 UNITED AIRLINES 018 CANADIAN AIRLINES INT 020 LUFTHANSA 023 FEDERAL EXPRESS CORP. (CARGO) 027 ALASKA AIRLINES 029 LINEAS AER DEL CARIBE (CARGO) 034 MILLON AIR (CARGO) 037 USAIR 042 VARIG BRAZILIAN AIRLINES 043 DRAGONAIR 044 AEROLINEAS ARGENTINAS 045 LAN-CHILE 046 LAV LINEA AERO VENEZOLANA 047 TAP AIR PORTUGAL 048 CYPRUS AIRWAYS 049 CRUZEIRO DO SUL 050 OLYMPIC AIRWAYS 051 LLOYD AEREO BOLIVIANO 053 AER LINGUS 055 ALITALIA 056 CYPRUS TURKISH AIRLINES 057 AIR FRANCE 058 INDIAN AIRLINES 060 FLIGHT WEST AIRLINES 061 AIR SEYCHELLES 062 DAN-AIR SERVICES 063 AIR CALEDONIE INTERNATIONAL 064 CSA CZECHOSLOVAK AIRLINES 065 SAUDI ARABIAN 066 NORONTAIR 067 AIR MOOREA 068 LAM-LINHAS AEREAS MOCAMBIQUE Page 2 of 19 Appendix 25 - SAD Box 31/3 Airline Codes March 2021 Airline code Code description 069 LAPA 070 SYRIAN ARAB AIRLINES 071 ETHIOPIAN AIRLINES 072 GULF AIR 073 IRAQI AIRWAYS 074 KLM ROYAL DUTCH AIRLINES 075 IBERIA 076 MIDDLE EAST AIRLINES 077 EGYPTAIR 078 AERO CALIFORNIA 079 PHILIPPINE AIRLINES 080 LOT POLISH AIRLINES 081 QANTAS AIRWAYS -
RETRATOS DA MÚSICA BRASILEIRA 14 Anos No Palco Do Programa Sr.Brasil Da TV Cultura FOTOGRAFIAS: PIERRE YVES REFALO TEXTOS: KATIA SANSON SUMÁRIO
RETRATOS DA MÚSICA BRASILEIRA 14 anos no palco do programa Sr.Brasil da TV Cultura FOTOGRAFIAS: PIERRE YVES REFALO TEXTOS: KATIA SANSON SUMÁRIO PREFÁCIO 5 JAMELÃO 37 NEY MATOGROSSO 63 MARQUINHO MENDONÇA 89 APRESENTAÇÃO 7 PEDRO MIRANDA 37 PAULINHO PEDRA AZUL 64 ANTONIO NÓBREGA 91 ARRIGO BARNABÉ 9 BILLY BLANCO 38 DIANA PEQUENO 64 GENÉSIO TOCANTINS 91 HAMILTON DE HOLANDA 10 LUIZ VIEIRA 39 CHAMBINHO 65 FREI CHICO 92 HERALDO DO MONTE 11 WAGNER TISO 41 LUCY ALVES 65 RUBINHO DO VALE 93 RAUL DE SOUZA 13 LÔ BORGES 41 LEILA PINHEIRO 66 CIDA MOREIRA 94 PAULO MOURA 14 FÁTIMA GUEDES 42 MARCOS SACRAMENTO 67 NANA CAYMMI 95 PAULINHO DA VIOLA 15 LULA BARBOSA 42 CLAUDETTE SOARES 68 PERY RIBEIRO 96 MARIANA BALTAR 16 LUIZ MELODIA 43 JAIR RODRIGUES 69 EMÍLIO SANTIAGO 96 DAÍRA 16 SEBASTIÃO TAPAJÓS 44 MILTON NASCIMENTO 71 DORI CAYMMI 98 CHICO CÉSAR 17 BADI ASSAD 45 CARLINHOS VERGUEIRO 72 PAULO CÉSAR PINHEIRO 98 ZÉ RENATO 18 MARCEL POWELL 46 TOQUINHO 73 HERMÍNIO B. DE CARVALHO 99 CLAUDIO NUCCI 19 YAMANDU COSTA 47 ALMIR SATER 74 ÁUREA MARTINS 99 SAULO LARANJEIRA 20 RENATO BRAZ 48 RENATO TEIXEIRA 75 MILTINHO EDILBERTO 100 GERMANO MATHIAS 21 MÔNICA SALMASO 49 PAIXÃO CÔRTES 76 PAULO FREIRE 101 PAULO BELLINATI 22 CONSUELO DE PAULA 50 LUIZ CARLOS BORGES 76 ARTHUR NESTROVSKI 102 TONINHO FERRAGUTTI 23 DÉRCIO MARQUES 51 RENATO BORGHETTI 78 JÚLIO MEDAGLIA 103 CHICO MARANHÃO 24 SUZANA SALLES 52 TANGOS &TRAGEDIAS 78 SANTANNA, O Cantador 104 Dados Internacionais de Catalogação na Publicação (CIP) PAPETE 25 NÁ OZETTI 52 ROBSON MIGUEL 79 FAGNER 105 (Câmara Brasileira do Livro, SP, Brasil) ANASTÁCIA 26 ELZA SOARES 53 JORGE MAUTNER 80 OSWALDO MONTENEGRO 106 Refalo, Pierre Yves Retratos da música brasileira : 14 anos no palco AMELINHA 26 DELCIO CARVALHO 54 RICARDO HERZ 80 VÂNIA BASTOS 106 do programa Sr. -
Facetas Da Canção De Aldir Blanc, O “Ourives Do Palavreado” Luis Eduardo Veloso Garcia*
Facetas da canção de Aldir Blanc, o “ourives do palavreado” Luis Eduardo Veloso Garcia* Resumo: O artigo em questão objetiva refletir a produção de canções do “Ourives do Palavreado” Aldir Blanc através de diversas opiniões teóricas referentes a sua obra. Levantando, portanto, a visão de grandes nomes de nossa cultura como Dorival Caymmi, Roberto M. Moura, Sérgio Alcides, Sérgio Cabral e muitos outros buscaremos não somente definir a obra deste compositor, mas também compreender o valor que esta carrega para a canção nacional. Palavras-chave: Música popular brasileira – Século XX – canção – crítica musical. Abstract: This article aims to reflect the production of songs the “Goldsmith’s of Verbiage” Aldir Blanc through several theoretical opinions regarding of the work. Presenting, therefore, the vision of the great names from our culture such as Dorival Caymmi, Roberto M. Moura, Sergio Alcides and many others, we will seek not only define the work of this composer, but also understand the value that this carries for the national song. Keywords: Brazilian popular music – 20th century – song – music criticism. Aldir Blanc é uma glória das letras cariocas. Bom de se ler e de se ouvir, bom de se esbaldar de rir, bom de se Aldir. — Chico Buarque. Veremos diversas opiniões referentes à produção cancionística de Aldir Blanc para que através delas cheguemos ao saldo comum dessa obra que é tão rica e va- riada. Considerado um dos maiores letristas de nossa canção nacional, Aldir Blanc tem em sua obra cerca de 450 canções compostas, registradas em parceria com grandes nomes como Mauricio Tapajós, Guinga, Moacyr Luz, Djavan, Cristóvão Bas- tos, Ivan Lins e, a mais conhecida de todas, com João Bosco. -
Vinícius De Moraes: Da Literatura À Letra Vinícius De Moraes: from Literature to Lyrics
Vinícius de Moraes: da literatura à letra Vinícius de Moraes: from literature to lyrics André Domingues dos Santos 1 Resumo: O presente estudo analisa historicamente o estabelecimento do poeta Vinícius de Moraes no meio da música popular em meados da década de 1950, época em que iniciou sua famosa parceria com Antônio Carlos Jobim. A argumentação aqui desenvolvida discorre sobre a formação, as contingências biográficas e o ambiente cultural em que desenvolveu sua obra musical, chegando até as vésperas da eclosão do movimento da bossa nova, em que teve grande influência. Palavras-chave: Vinícius de Moraes, cultura erudita, musica popular, nacionalismo, Antônio Carlos Jobim. Abstract:This study analyzes historically the entrance of the poet Vinícius de Moraes in popular music in the mid-1950s, when he begun his famous partnership with Antônio Carlos Jobim. Its argument developed combines the personal formation, biographical contingencies and particularities of the cultural environment in which he developed his musical work, having as limit the outbreak of the bossa nova movement, in which he had great influence. Keywords: Vinícius de Moraes, high culture, popular music, nationalism, Antônio Carlos Jobim Vinícius de Moraes: da literatura à letra Numa mesa do bar Villarino, na região central do Rio de Janeiro, o poeta Vinícius de Moraes contava ao amigo e jornalista Lúcio Rangel que procurava um pianista “moderno” para dividir a criação das canções da peça Orfeu da Conceição . Este sugeriu- lhe o pianista e compositor Tom Jobim, que, por acaso, estava na mesa ao lado. Pronto! Iniciou-se, ali, uma colaboração entre um artista erudito e um popular de fertilidade, profundidade e repercussão jamais vistas no Brasil. -
“O Que É Que a Bahiana Tem”--Carmen Miranda (1939) Added to the National Registry: 2008 Essay by Katherine Bishop-Sanchez (Guest Post)*
“O Que é que a Bahiana tem”--Carmen Miranda (1939) Added to the National Registry: 2008 Essay by Katherine Bishop-Sanchez (guest post)* Carmen Miranda Early label In 1938, the Brazilian actress and popular singer Carmen Miranda (1909-1955) starred in her fifth Brazilian produced film, “Banana da Terra” (Sonofilms) and performed, among several musical numbers, the samba “O que é que a baiana tem?” composed by Dorival Caymmi. This samba would become Miranda’s signature song, indelibly connecting the Brazilian singer to the figure of the baiana or Afro-Brazilian woman from Bahia. In Brazil, Miranda recorded the song with Dorival Caymmi at Odeon Records in 1938, and then again with her band, Bando da Lua, at Decca USA, in December 1939. The title of this song can be translated as “What does the girl from Bahia have?” making reference to the Afro-Brazilian women from Bahia who can be seen in urban centers throughout Brazil selling their savory dishes on street corners. Their typical dress includes a wide, often white, hooped skirt, a loose-fitting cotton blouse trimmed with wide lace, a striped shawl draped over the shoulder or around the waist, a turban, sandals, and numerous necklaces and bracelets. The typical baiana dress is a staple of Carnival festivities, candomblé religious ceremonies and other religious festivities throughout Brazil such as the popular festivals of Bonfim in Salvador, Bahia. A large ensemble of women dressed as baianas has been one of the most important wings of official samba school Carnival parades since the early 1930s. Carmen Miranda’s performance of “O que é que a baiana tem?” in “Banana da Terra” became memorable because of the synergy between her costume and the lyrics of the song. -
I Knew That Music Was My Language, That Music Would Take Me to See the World, Would Take Me to Other Lands
"I knew that music was my language, that music would take me to see the world, would take me to other lands. For I thought there was the music of the earth and the music from heaven." Gil, about his childhood in the city where he lived, in Bahia, where he used to race to the first clarinet sound of the band, which started the religious celebrations, and seemed to invade everything. His career began with the accordion, still in the 50s, inspired by Luiz Gonzaga, the sound of the radio and the religious parades in town. Within the Northeast he explored a folk country sound, until Joao Gilberto emerges, the bossa nova, as well as Dorival Caymmi, with its coastal beach sound, so different from that world of wilderness he was used to. Influenced, Gil leaves aside the accordion and holds the guitar, then the electric guitar, which harbors the particular harmonies of his work until today. Since his early songs he portrayed his country, and his musicianship took very personal rhythmic and melodic forms. His first LP, “Louvação” (Worship) , released in 1967, concentrated his particular ways of translating regional components into music, as seen in the renown songs Louvação, Procissão, Roda and Viramundo. In 1963 after meeting his friend Caetano Veloso at the University of Bahia, Gil begins with Caetano a partnership and a movement that contemplated and internationalized music, theater, visual arts, cinema and all of Brazilian art. The so-called Tropicália or Tropicalist movement, involves talented and plural artists such as Gal Costa, Tom Ze, Duprat, José Capinam, Torquato Neto, Rogério Duarte, Nara Leão and others. -
Airlines Codes
Airlines codes Sorted by Airlines Sorted by Code Airline Code Airline Code Aces VX Deutsche Bahn AG 2A Action Airlines XQ Aerocondor Trans Aereos 2B Acvilla Air WZ Denim Air 2D ADA Air ZY Ireland Airways 2E Adria Airways JP Frontier Flying Service 2F Aea International Pte 7X Debonair Airways 2G AER Lingus Limited EI European Airlines 2H Aero Asia International E4 Air Burkina 2J Aero California JR Kitty Hawk Airlines Inc 2K Aero Continente N6 Karlog Air 2L Aero Costa Rica Acori ML Moldavian Airlines 2M Aero Lineas Sosa P4 Haiti Aviation 2N Aero Lloyd Flugreisen YP Air Philippines Corp 2P Aero Service 5R Millenium Air Corp 2Q Aero Services Executive W4 Island Express 2S Aero Zambia Z9 Canada Three Thousand 2T Aerocaribe QA Western Pacific Air 2U Aerocondor Trans Aereos 2B Amtrak 2V Aeroejecutivo SA de CV SX Pacific Midland Airlines 2W Aeroflot Russian SU Helenair Corporation Ltd 2Y Aeroleasing SA FP Changan Airlines 2Z Aeroline Gmbh 7E Mafira Air 3A Aerolineas Argentinas AR Avior 3B Aerolineas Dominicanas YU Corporate Express Airline 3C Aerolineas Internacional N2 Palair Macedonian Air 3D Aerolineas Paraguayas A8 Northwestern Air Lease 3E Aerolineas Santo Domingo EX Air Inuit Ltd 3H Aeromar Airlines VW Air Alliance 3J Aeromexico AM Tatonduk Flying Service 3K Aeromexpress QO Gulfstream International 3M Aeronautica de Cancun RE Air Urga 3N Aeroperlas WL Georgian Airlines 3P Aeroperu PL China Yunnan Airlines 3Q Aeropostal Alas VH Avia Air Nv 3R Aerorepublica P5 Shuswap Air 3S Aerosanta Airlines UJ Turan Air Airline Company 3T Aeroservicios -
Rreformulación De La Política Aeronáutica En El Uruguay
Análisis de reformulación Informe: Rreformulación de la política aeronáutica en el Uruguay Los accidentes reducen la confianza en el sistema de transporte, causan pérdida de vidas, daño material, económico y consecuencias al medio ambiente. Por ello, es necesario tener la mirada puesta en las políticas aeronáuticas, la regulación, la cultura organizacional de los explotadores aéreos, la asignación de recursos, y hasta la metodología de investigación de accidentes. Resumen ejecutivo El presente informe de PDA Media & Consulting pretende abordar profundamente la temática de la política aeronáutica en el Uruguay, el contexto de las aerolíneas comerciales, el marco institucional, la investigación de accidentes aéreos en el Uruguay y en el mundo, el caso Air Class y la teoría de James Reason, como modelo a seguir. Nuestro equipo de profesionales realizará recomendaciones orientadas a elevar el nivel de seguridad operacional desde el marco estratégico, institucional y operativo. I. El contexto actual de la aerolíneas comerciales en el Uruguay La aviación comercial en el Uruguay ha sido fruto de esfuerzos permanentes para el Estado. Desde una mirada puesta sobre las finanzas y rentabilidad en lugar de considerar el papel estratégico que representa el sector para la economía, turismo y sociedad, los principales errores cometidos con PLUNA, la apuesta privada deficitaria por parte de BQB Líneas Aéreas, el fracaso de UAir y el resultado luego de 3 años de intento para la recomposición de la conectividad perdida, ha dejado al descubierto un sistema acartonado, duro y frágil. En 2012, PLUNA operaba 16 destinos en la región sudamericana. Desde el Aeropuerto Internacional de Carrasco, se sumaban al menos media docena de otros puntos disponibles por parte de operadores aéreos extranjeros. -
Foro Latinoamericano De Competencia
Foro Latinoamericano de Competencia Bogotá, 13 y 14 de septiembre Sesión IV: Asuntos de Competencia en el Sector de Transporte Aéreo Contribución de Comisión de Promoción y Defensa de la Competencia, Uruguay. Marco Regulatorio • Dirección Nacional de Aviación Civil e Infraestructura Aeronáutica: controla que las operaciones aéreas civiles se desarrollen de modo seguro y eficiente, tramita las autorizaciones a los operadores, realiza controles, realiza acuerdos bilaterales o multilaterales. • Junta Nacional de Aeronáutica Civil: órgano asesor del Poder Ejecutivo en servicios de transporte aéreo público. • Marco normativo: Ley de Aviación Civil, Código Aeronáutico, Reglamentos Aeronáuticos Uruguayos (RAU´s). • La explotación de toda actividad comercial aérea requiere concesión o autorización. Los servicios aéreos internos se realizan por empresas nacionales, ya sea directamente por el Estado o por concesionarios. Política de Cielos Abiertos • Tendencia a la liberalización. • Acuerdos de cielos abiertos con Chile (incluye vuelos de cabotaje), con Paraguay. • Mercosur: Acuerdo de Fortaleza de 2002 por el cual se habilita la explotación de líneas no troncales pero ha habido problemas en la implementación. • Libertad de precios para los operadores de transporte aéreo. Estructura de la industria • Sector muy concentrado a nivel nacional. Existen dos líneas de bandera nacional: PLUNA y BQB de reciente ingreso. • PLUNA es actualmente una S.A. con 25%participación del Estado y 75% de grupo inversor privado. • PLUNA concentra sus rutas en la región con su Hub en Montevideo. • PLUNA firmó acuerdos con: American Airlines en 2007 y con Iberia alcanzó un acuerdo de código compartido en 2008. Luego, PLUNA suspendió sus vuelos propios a Madrid. • En 2010 ingresó un nuevo competidor: BQB Líneas Aéreas, dueño de la empresa naviera Buquebus, siendo su Hub Punta del Este. -
Pluna C/ Los Cipreses
República Oriental del Uruguay Ministerio de Economía y Finanzas Informe Nº 7/012 Montevideo, 28 de febrero de 2012 ASUNTO: PLUNA C/ LOS CIPRESES Viene el expediente para informe económico a efectos de determinar el o los mercados relevantes en los que se pueda ver afectada la competencia. Tanto el análisis como las conclusiones que se presentan en este informe son sobre aspectos económicos y no hacen ni pretenden hacer ningún otro tipo de valoración. 1. ANTECEDENTES Con fecha 21 de julio de 2010 la empresa PLUNA S.A. (PLUNA) presenta escrito denunciando que la empresa Los Cipreses S.A. (BQB) pretende apropiarse del mercado de transporte de pasajeros y carga sobre el Río de la Plata. Se denuncian distintas prácticas, como la de publicidad engañosa (fs. 14); la venta por debajo de los costos (fs. 15); ofrecimiento de servicios complementarios (fs. 17). Dentro del mismo escrito y como anexos se presentan informe económico respecto al Mercado de transporte Montevideo- Buenos Aires (fs. 40) y análisis de Rentabilidad (fs. 62). Con fecha 10 de agosto PLUNA presenta escrito donde expone en mayor detalle aspectos de la denuncia realizada a fs. 1. En el mismo documento y como Anexo C presenta una comparación de Ingresos netos y costos variables directos de operación entre aeronaves de Juncal 1355 Of 802 – Montevideo - Uruguay – 598 - 29153202 – [email protected] 1 la propia empresa y aeronaves de otro tipo. En Anexo D presenta un análisis de rentabilidad para la empresa BQB respecto a distintas rutas aéreas. Respecto a la política de precios predatorios la empresa BQB manifiesta (fs. -
Junta Nacional De Aeronautica Civil
JUNTA NACIONAL DE AERONAUTICA CIVIL MEMORIA ANUAL EJERCICIO 2011 Secretaría Técnica. 1 AÑO 2011 SESION 46 (17 de febrero de 2011) Se consideró: 11/03/041/107 PLUNA S.A. solicita operar vuelos exploratorios con una frecuencia semanal en la ruta Montevideo- Bariloche. (Se recomendó autorizar). 10/03/041/20646 PLUNA S.A. solicita operar servicios de transporte aéreo público regular internacional de pasajeros, correo y carga en la ruta Montevideo-Antofagasta con 5 frecuencias. (Se recomendó autorizar). 10/03/041/20460 PLUNA S.A. solicita autorización para operar servicios de transporte aéreo público regular internacional de pasajeros, correo y carga en las rutas Montevideo- Santiago de Chile-Florianópolis, Montevideo-Asunción- Florianópolis con derechos de quinta en Asunción y Santiago. (Se recomendó autorizar). 10/03/041/20792 PLUNA S.A. solicita aumento de frecuencias en la ruta Montevideo-Florianópolis con hasta 8 frecuencias semanales. (Se recomendó autorizar). 11/03/041/99 PLUNA S.A. Proceso revocatorio rutas Montevideo- Mendoza-Montevideo; Montevideo-Bello Horizonte- Montevideo y Montevideo-Brasilia-Montevideo. Comunica las fechas en que retomará las operaciones. (Se recomendó autorizar dispensa hasta retomar servicios). 2 10/03/041/20253 Empresa PLUNA S.A. se opone a la autorización otorgada a la Empresa BQB para operar la ruta Punta del Este-Aeroparque-Florianópolis y Punta del Este- Porto Alegre. (Oposición rechazada). 11/03/041/76 PLUNA S.A. solicita prórroga de dispensa en la ruta Montevideo-Ezeiza-Montevideo y comunica reinicio de operaciones el día 14/3/2011. (Se recomendó autorizar dispensa, debiendo la DINACIA informar de la situación). 10/10/001/3490 BQB Líneas Aéreas solicita ampliación de frecuencias de 5 a 21, en la ruta Montevideo-Ezeiza-Montevideo.