Tracklist: 01. Wookie - Get Enuff 02. MJ Cole - Wondering Why (Zero Three Dub) 03. Brotherz In Law - Underground 04. The Gruffians - The Fear 05. Strictly Dubz - Got It Going On 06. DFRNT - Headspace (Scuba Remix) 07. Jeremy P. Caulfield - Licorice Pipe 08. SBTRKT - Jamlock 09. SBTRKT - One Week Over 10. 2562 vs Pattie Blingh - Brother (2562 Remix) 11. Mala - Unexpected 12. F - The Untitled Dub 13. Unknown - No No No 14. Disrupt - Bomb 20 15. Mad Professor - Plantain and Cassava
Tracklist:
01. Scary Sounds Soundtrack - Track 4
02. Architeq - We should light a fire
03. Kien Ra - Ghana Condor
04. Free The Robots - Turkish Voodoo
05. James Pants - New Tropical
06. Darkhouse Family - Mein Atari (Dibiase Lofi Reflip)
07. Danny Breaks - Windscreen Wiper
08. Roxanne Shanté - Pay Back
09. Shlohmo - Teeth
>> Satanic Chants
10. Kidkut - Lilt
11. Von d - Berlin Call
12. Gemmy - Rainbow Road
13. Débruit - K.O. Debout
14. Plan B - Prayin' (Breakage's Bad Week Remix)
15. Flying Lotus - Kill your co-workers
16. Paul White - Every Breath
17. Ruckus Roboticus - The Birth of Ruckus
The smiley face. It was first used in the UK as symbol of the Acid House movement, and later was also adopted by the first Hardcore Ravers. What does it mean? It's simply a representation of what people should feel (and even look like) in a party. A smile. It's simple and universal. Not a revolutionary idea by itself, but it's still a powerful image when used in the context of Rave music. The essence of Rave should always be about happiness!
But let's not be entirely naive about this concept. Let's not forget that, associated with this Rave culture and symbology we have a long tradition of drug usage. Even before House music, Disco culture was already associated with the usage of MDMA. Later on, just like in LSD influenced Psychadelic age of the 60's, MDMA was responsible for a Second Summer of Love.
Other than drug usage, and free love, the 60's psych culture has a lot of similarities with acid-house/rave thing. I will focus on a very specific one: The music in both ages was the result of a contrast between hard and soft, butch and femme, ying and yang.
There was a balance.
I think that's the reason why even after all these decades, music from both periods is still relevant for most of the contemporary youth sub-cultures. Both ages represent an ideal moment, musically and culturally, that was highly influential for subsequent movements, and whose creations are still regarded as Classic.
Neither of the two ages lasted very long. Both cultures would soon ramify. The ramifications, as it would be expected, didn't have the same balanced attitude towards music. As always happens, the ramifications would only focus on a specific side of the original idea, and thus, losing the original balance. Some of the new music would be too heavy, some of it too soft. Some of it too sophisticated, some of it too simple.
In the UK, Acid-House from Chicago grew to become a incredibly influential musical form, and would later on form the basis of the UK Rave culture. Unlike Acid-House, this new music was no longer based on a Four-to-the-floor template, it was based on funk breaks. Thus it was called Breakbeat, the bastard child of House. The harder, most extreme forms of this music were to be called Hardcore Breakbeat, and it represented the beginning of a new age for UK music.
Just like in the US, where there is a continuum that stretches from Blues to Hip Hop (and beyond), in the UK they now had their own musical tradition, rooted in both the US electronic music, and the already existing UK Soundsystem Culture (that derived from the music brought to Europe by Caribbean immigrants).
Like in the 60's, this music was the result of a cultural crossroad. As such, it contained a lot of different elements, often in the same track. The production style was always sample based (unlike what happened in US House and Techno scenes). In that aspect, UK Rave was closer to Hip Hop.
Some of the seminal tracks of this genre, like this one by The House Crew, featured a cut-up style, as if the track was a DJ Mix by itself. The same elements would go back and fourth. The energy of these tracks came from the fact that this music was both hard/heavy and mellow/soft. On these tracks that dichotomy was extremly clear. Some parts were based on Piano samples, and featured mellow soulful vocals. Other parts rescued the darkness of the Acid-house, but taken to psychadelic extremes. These music was effective on the dancefloor because it would provide the Ravers with emotial extremes. Sometimes it felt like a kick and a punch. Other times it felt like kisses and hugs.
Balance.
The UK Rave culture, from 1993 on, would be essentially divided in two sides: The darker side would develop into Jungle music. The other side would develop into Happy Hardcore. The balance had been lost.
That said, however, don't get me wrong. I'm not trying to state that music from 1992 was better than music made afterwards. But when it comes to pure Rave and party, I still believe that in many ways, and in it's essential values, original Rave music is superior.
Then again, I believe this is unavoidable. Times must change.
That kind of balance is always hard to mantain. I believe that, while times may change, they are also cyclic. And I believe that after that moment in 1992, we stilll had ocasional, short lived, periods that were in many aspects similar to the Second Summer of Love. I believe that the genetic code of Rave music still contains all the necessary elements to revive that moment.
The proof, I believe, it's visible in the suceeding rave forms that appeared from 1992 onward.
I personally cannot speak for the Jungle and Drum & Bass times, since I did not experience those in first hand. Nor can I speak for UK Garage/2-Step times either. Even dubstep, since I caught it in a age where it was almost passing. I can probably speak for UK Funky one day, but it's still too soon.
The only thing that always lasts it's the music. The records. I can speak for those that I have heard from past times.
I still think that the best music of those genres is the one that, just like the original Hardcore, has a balance between the lightness and darkness. The best Drum & Bass it's the one that it's both sophisticated and primal (see Goldie and the Metalheadz). The best UK Garage in the one that oscilates beween the rainy darkness and almost kitchy R&B samples (see Wookie). The best Dubstep is, undoubetly the one that carries a mighty punch (even if a wobble synth) and then carries you into soul land (see Mala and the DMZ). A more current example would be what the guys at Night Slugs are releasing (see Jam City).
From a empirical point of view, I think it's fair to conclude that this might be a sucessful formula. The best rave music should always have this very same tension.
The essence of Rave is somewhere between the agressive punch and the loveable kiss.
This is big news for us! The good people at RBMA have made an article about our latest podcast, a live recording of Infestus' live act with Fidbek of Nave Mãe at Boom Festival. This is what they had to say:
"London alumnus Infestus has been busy prepping his live show, which he debuted at Portugal's Boom Festival back in August, on the edge of the picturesque Idanha-a-Nova Lake. Lisbon's Circus Maximus crew bring you the podcast via Mixcloud, with value-added narratives from Fidbek on the mic, as well as a quick video taster of the beach rave. Boom!"
The bass brothers, Octa Push have just released "Baluba EP", on Henrique Amaro's label/project, "Optimus Discos". It's a six track EP of the fastest, grittiest and heaviest Afro-Garage!
With the exception of the fifth track (which features MC Zulu), all the tracks are original and previously unreleased. The fourth track also features our boy Infestus playing keyboards.
The EP is available physically in a limited CD edition in Portugal. It's also available as a free download at the Optimus Discos website: http://www.optimusdiscos.com/discos/baluba
Our boy Rastronaut has his very own podcast series that has just released its second episode.
This time around he offers us a recording of his back-to-back dj set with Infestus at Gare, in Oporto, warming up the crowd for the amazing set by the one, the only, Mala from DMZ.
Supra1 - Ghoster Endgames - Ecstasy (Jam City Refix) Velour - Kick It Till It Breaks Braiden - The Alps Machinedrum - Carry The Weight (Bok Bok Remix) Ikonika - Shouldn't Be Here Sentinels - Maji Zinc - Nexx Dark Sky - Leave Dorian Concept - Her Tears Taste Like Pears Zomby - Fuck Mixing, Let's Dance Surkin - Kid Gloves Scratcha DVA - Schizophrenic High Powered Boys - Highway High Powered Boys - Hoes Get Down Hot City - Another Girl The Qemists Feat. Jenna G - Hurt Less (Hot City's Cheer Point Dub) Unknown Artist - Unknown Track Corvo Mukulu - Cesária Sweat Mr Mageeka - Different Lekstrix (L-Vis 1990 Remix) Poirier - Marathon Zinc - My DJ Feat. Benga & Ms Dynamite Roulet - Dongo Roulet - Leg & Ligament
This is a promotional video of Infestus performing his first ever live-act, featuring Fidbek on vocal duties. The upcoming podcast episode will feature the recorded audio material of this performance. Hold tight!
Recorded Live @ Boom Festival, 19/08/2010, Idanha-a-Nova, Portugal.
Written & Performed by Infestus Vocals by Fidbek Camera by Cristina & Sandrine Editing by JP Graphics by Tokyo'clock Studio Logo Design by Wag
MONDAY SANDY’S STEP PARTY – 4 de Outubro / CLUBE GARE
Notícia de última hora! Mala (Digital Mystikz/Deep Medhi) está de volta ao Porto no próximo dia 4 de Outubro, precisamente um ano depois de ter espalhado as suas boas vibrações na cidade invicta!!!
Mala é, neste momento, o Dj mais requisitado no universo do dubstep. Como fundador dos Digital Mystikz, colectivo londrino mundialmente conhecido, foi determinante na definição do que hoje em dia chamamos de dubstep, género musical que vive de misturas de dub, reggae, roots, garage e house, criando um estilo próprio, fresco e atraente. Para esta festa traz na sua "mala" o novo álbum do seu colectivo Digital Mystikz, "Return II Space", a compilação “Future Bass” em que participou este ano, lançada pela Soul Jazz Records e, como é costume, os habituais dubplates que ditam o futuro da música electrónica.
A fazer a festa com ele estarão presentes Filipe Saraiva, , Infestus&Rastronaut e NaveMãe da recém criada editora Circus Maximus; MenaceFm e Octopussy Crew no "bassy" e renovado Clube Gare.
LET’S STEP IN TO THE DUB!!!
Abertura de portas: 23.59
Entrada: 7 dubs sem guest list e 5 dubs com guest list.
Para a guest list enviar e-mail com o primeiro e o último nome para mondaysandy@hotmail.com ou mensagem para o +351913653539.
Clube Gare
Rua da Madeira, 182 (junto à Estação de S. Bento)
4000-330 - PORTO
It seems that here, at the Circus Maximus HQ, we are getting used to not updating the blog regularly. From time to time someone says: "Man, we should, like, put something on the blog" and then we write a post, saying that we are busy working on things, that for some reason are currently secret.
This is one of those posts.
First of all, there is a project, codenamed "MEGA-SECRET PROJECT", that is envolving a lot of people. We invited a lot of talents from outside the nuclear Circus Maximus family and are preparing something huge! Like really huge!
As usual, that is not very revealing, I know. Sorry.
In order to compensate for the lack of content on this post, we are going to reveal something else. As you probably know, we are finishing the editing on the footage we collected at Boom Festival.
It's raining in Lisbon, and it's dark. Summer is over. Alot of us are still in vacation mode and it hasn't been easy returning to our routines. That's the reason why the monthly podcast is late, but rest assured it will be out by the end of the month.
Meanwhile, we have been working on material we collected on my gig at Boom Festival (which was my live-act debut), including audio and video recordings that need editing. We're hoping to have something to show people very soon.
There's other projects aswell! But we can't reveal anything just yet.
That's it for today.
Here's a picture of Tyrone, the Junkie, and his brother Cera, the Prancer. Fits the mood of this post I think. Have a good day.
The most important thing is the name. Back in the days if it came from Chicago it was House, from Detroit it was Techno, from New York it was Garage. I don't want to be a Portuguese guy doing foreign music. We need our own names. Don't just call it "something foreign" made in Portugal.
We should be able to sucessufly apropriate outside influence (like any sophisticated country) and make it our own, or else, I will always need an Adufe to make Portuguese music and I don't want that.
The Portuguese musical continuum has been broken for more than a century now. Even now, thirty years after the end of half a century of dictatorship, we haven't been able to restablish it yet.
This musical instrument pictured below is the perfect example of our inability to name things, to create things. We invented it but we weren't able to find a name for it, we had to simply call it "Portuguese Guitar".
Tracklist: 01. The Herbaliser - Kittynaper - Ninja Tune
02. Chris Joss - Shellah V - Eighteenth Street Lounge Music
03. Billie Holiday - Billie´s Blues(Daniel Y Remix) - Legacy
04. Mr Scruff - Music Takes Me Up - Ninja Tune
05. Tenorio Jr - Nebulosa(JC Remix) - CDR
06. The Bamboos - On The Sly - Tru Toughts
07. Lo-Fidelity Jet Set Orchestra - The Amplifier - Irma Records
08. Grandmaster Flash/Quantic - Message from Panama (Grooveservice Mashup) - CDR
09. Quantic - Blow your horn (feat. Ohmega Watts) - Tru Thoughts
10. Sleep Walker - Brotherhood (Marc Mac Dirty Jazz Remix) - Jazzmin Records
11. The Herbaliser - Gadget Funk - Ninja Tune
12. The Apples - Kidney Stone, Audio - Montage Entertainment
13. Cookin on 3 Burners - Settle the Score - Freestyle Records
14. The Juju Orchestra - What is Hip - Agogo Records
15. Fila Brazillia - New Cannonball - Twentythree
16. Lettuce - Dizzer - Velour Records
Tracklist: 01. Mosca - Nike (Club Edit) 02. Sully - Phonebox (Point B Remix) 03. Girl Unit - Shade On 04. Bok Bok - Dance Report 05. Bok Bok - Ripe Banana 06. Jinder - Youth Blood (Rico Tubbs Remix) 07. Curses! - What I Need (Dexplicit Remix) 08. Dj Madd - Detroit Skank 09. Hackman - Always (Brackles Remix) 10. Infestus - Eu e Tu (Ela) 11. Baobinga & I.D. - Tongue Riddim 12. Crystal Fighters - I Love London (Brackles Remix) 13. Kingdom feat. Shyvonne - Mind Reader (Dub)
>>>Lil Silva - Golds To Get
14. Octa Push - Ai Nadia 15. Benga - Little Bits 16. Drop The Lime - Hear Me (Buraka Som Sistema Remix) 17. Drop The Lime - I Love NY 18. Herve - Blaze It (Reset! Remix) 19. Mr Oizo - Flat Beat (16bit Remix) 20. Drop The Lime - Howling 21. Mikix The Cat - Movin' Around 22. Kanji Kinetic - Scientist 23. L-Vis 1990 - Compass (Christian Martin Remix) 24. Mr Mageeka - Different Lekstrix (L-Vis 1990 Remix) 25. Boxcutter - Mya Rave v2
Hello everyone! We are experiencing a heatwave in Portugal right now. Yesterday there were temperatures around 50 degrees celsius in the south. Luckily I spent most of the day up north, travelling in a car with air conditioner. Heh!
Last weekend, Circus Maximus DJs took over Oporto for one night, playing in two separate events, one of them with Nave Mãe in Plano B, and the other one T-Party with Infestus and Rastronaut.
Here's the flyer for the T-Party event: Rastronaut tore down the venue with his massive "hard-trance". At least that's what a couple Canadians that were attending the event told him after his set, and who am I to deny it. Rastronaut is the Portuguese Master of Hard-Trance!
Big up Phatic and Ocke for inviting me and Rastronaut to play at the T-Party event. Also big up DJ Spot, who invited Nave Mãe to play at Plano B that night, and who will be supporting Hudson Mohawke in Oporto in a few days.
That said, let's now focus on the subject of this post, yes?
We have a new designer working with us. He is responsible for the Wag project, and is also a DJ, member of Nave Mãe.
He has just finished the new logo that you can see at the top of the blog. Wag will also be taking care of the podcast cover design and all.
I think it's beautiful. Wait until you see the podcast covers. Uuuhh!
Tracklist: Grand Puba - Get It (Caspa's 80eighties Remix) Egyptrixx - The Only Way Up (Ikonika Remix) Brackles - Get A Job Gemmy - Dolla Digital Ikonika - Fish Ital Tek - Giga Kuoyáh - Angels Dub (Sully Remix) Liondub ft. Jah Dan & Sotto Bless - Heartbroken (Noah D Remix) Rob Sparx - Arcade Sully - Phonebox (Point B Remix) Ikonika - Psoriasis Girl Unit - Shade On Mensah - 1986 Was The Future Baobinga & I.D. - Tongue Riddim Bok Bok - Ripe Banana Hackman - Always (Brackles Remix) Infestus - Eu e Tu (Ela) La Roux - In 4 The Kill (L-Vis 1990 RIP Hyper Bass Remix) Mr Mageeka - Different Lekstrix (L-Vis 1990 Remix) Lil Silva - Golds To Get Bok Bok - Dance Report L-Vis 1990 - Hide La Methode and Dj Vadim - Maximum (Bassnectar & Ill.Gates Remix)
Personnel: Rosie - Vocals Richards - Guitar Lou - Bass Lewis - Keyboards Ferro - Drums Alex - Saxophone
Tracklist: All songs written by The Ramblers, except where noted. 01. "Blues Nest" 02. "Fire" 03. "You Done Lost Your Good Thing Now" (B.B. King) 04. "Chico Fininho" (Rui Veloso) 05. "New Orleans" Incl. "Little Red Rooster" (Willie Dixon) 06. "Devil's Gospel" 07. "Midnight Rambler" (Rolling Stones) 08. "Got My Mojo Working" (Preston Foster) 09. "Bad Luck Soul" 10. "She's Always Naked" 11. "54-46 (That's My Number)" (Toots & the Maytals) This work is licenced under a Creative Commons Licence.
Tracklist: 01. Introdução Filmes Castelo Lopes 02. Tonicha e João Perry - Palavras 03. Simone de Oliveira - Desfolhada 04. Eduardo Nascimento - O vento mudou 05. Carlos Mendes - Verão 06. Artur Garcia - Porta secreta 07. Varios excertos da Rádio Clube L.M. 08. Os Ekos - O espelho 09. Titãs - Tema para os Titãs 10. Publicidade aos Motores Alma 11. Titãs - Mira-me Maria 12. Publicidade ao Galeto 13. Publicidade da "Planta" com o Quarteto 1111 - A fuga dos Grilos 14. Publicidade da Bosch 15. LIlly Tchiumba - Flor Bailarina 16. Discurso de Salazar no 28 de Maio em Braga 17. Maria de Lurdes Resende - Não, não e não 18. Tonicha - Fui Ter com a madrugada 19. Interp. Desc. Original do Duo Ouro negro - Quando Amanhecer 20. Alice Amaro - Simpatia 21. Publicidade ao Ajax 22. Publicidade ao B T Xis 23. Conjunto Diamantes Negros - Eu sei 24. Os Keepers - Eu me confesso 25. Os Demónios Negros - Coimbra 26. Telstars - T4 27. Henrique Mendes na RTP 28. Publicidade da "Omo" 29. Publicidade do Restaurador "Olex" 30. Publicidade das canetas "BIC" 31. Os Tubarões - Poema do Homem Rã 32. Conjunto académico João Paulo - Hully gully do Montanhês 33. Quarteto 1111 - Bissaide 34. Discurso do Eusébio 35. Conjunto Académico 36. Publicidade da Ultrabright 37. Quarteto 1111 - Pigmentação 38. Discurso de Marcelo Caetano sobre a censura This work is licenced under a Creative Commons Licence.
Tracklist: 01. Flako - Dirg Gerner - I Want You - Brownswood
02. Flying Lotus - Falling In Love (Dilla's Tribute) - Unknown 03. Slum Village - Falling In Love - Rapster 04. Slum Village - Ez Up (fLako Remix) - Kwatro 05. Dabrye - Game Over (Flying Lotus Remix) - Ghostly International 06. Flying Lotus - Tea Leaf Dancers (Damage Is Done Remix) - UpMyAlley 07. Robot Koch - Death Star Droid (fLako Remix) - Island 08. Kazi - You Wanna Take Me (fLako Remix) - Kwatro 09. Bullion - Funnybones - One Handed 10. Bullion - Rude Effort - One Handed 11. Lee "Scratch" Perry - Disco Devil - Trojan 12. DJ Shadow - This time (Infestus' Remix - Fidbek Special) - CD-R 13. Mark Pritchard - Elephant Dub - Deep Medhi 14. Gemmy - Bass Transmitter - Punch Drunk This work is licenced under a Creative Commons Licence.
I'm sorry, we've been quiet for a couple of weeks now.
The whole collective has been very busy working on new music and booking new gigs. Check the artists myspace for new show dates!
Me personally, I have been doing quite a lot of travelling in the last few days. I went to Oporto for the Monster Jinx event, and it really inspired me to start working the first Circus Maximus night (which Lou has already been planning mentally for some time). A Circus Maximus event will happen when the time is right!
We've also been contacting new musicians from all the over the country to colaborate with the Circus Maximus crew. As a result, there is going to be new additions to the artist roster very soon. Also, keep an eye on our podcast feed, a lot of new stuff is being prepared!
01. The Rolling Stones - She's Like a Rainbow - London 02. Ray Charles - What I'd Say - Atlantic 03. Gil Scott Heron - The Revolution Will Not Be Televised - Flying Dutchman 04. Fela Kuti & Africa 70 - Water No Get Enemy - Makossa 05. Miles Davis - Tomaas - Warner Bros. 06. Fausto - A Ilha - Sasseti 07. Trovante - Saudade - EMI 08. Paula Abdul - Opposites Attract - Virgin
Bernardo Soares descreve-se a sí e ao seu blog da seguinte forma: "Hype Light é um blogue onde novas e velhas bandas do underground português têm a oportunidade de obter do seu trabalho uma review séria e imparcial. Apesar de não dispor de doutoramentos em musicologia ou jornalismo musical, possuo alguns conhecimentos ao nível de música (que contudo não ultrapassam os de um ouvinte fervoroso) de todos os géneros, embora admita uma ligeira ignorância no que diz respeito ao Metal e ao Rap convencional."
Estas foram as suas reviews dos dois Extensive Plays lançados pelo Circus Maximus até agora: Infestus | Tigre
Tigre é daquelas coisas muito especiais a aparecerem por aí. Primeiro, porque é o EP mais completo que tem aparecido nos últimos tempos, se bem que os 35 minutos de duração ajudam. Segundo, porque é da melhor electrónica que tem surgido. Terceiro, porque serve um propósito de influências Dance e não só que tornam tudo isto numa mistela electronicó-cultural impressionante. Vejamos:
Uma Vida Pela Frente é um festim de electrónicas progressivas que desata a determinada altura num delírio sonoro; Eu E Tu (Ela) é música de bater o pé com uma bassline matadora e uns samples vocais bastante interessantes (a lembrar qualquer coisa muito funk); Mortalha Barato é aquela música para droga que não pode faltar num álbum que traz consigo o conceito Dubstep: uma espécie de reggae distorcido sob uma batida e um bass muito dub; Mourão Dub, por sua vez, é o mais estranho e talvez melhor momento do EP, uma música de fusão que junta uma espécie de acordeão obscuro com uma bassline e alguns arranjos muito pop/rock; Essa Cana Aí explora samples de forma excelente e fornece-lhes uma atmosfera muito Dubstep; Bitch Queen Boogie tem tudo o que o seu nome indica: anos 80, trompetes da época e ainda uma batida muito cool que parece ter saído da primeira House e descende um pouco do Disco; Amar Assim põe um fim ao muito bom EP e é também uma música muito complicada de descrever, que vejo como uma fusão da primeira e segunda faixa, com uma guitarra muito bem metida pelo meio.
E com uma descrição destas, podia este não ser um EP que vale a pena?
The Ramblers | The Ramblers
A Circus Maximus, mais jovem netlabel nacional, provou um começo interessante com o EP de música electrónica assinado por Infestus, uma das melhores cenas que ouvi este ano. A sua segunda edição (EP homónimo de 5 músicas e 23 minutos dos The Ramblers) chegou ao Hype Light e veio creditado como Blues. A sonoridade da banda assenta-se precisamente nas influências norte-americanas, seja da música negra ou do rock'n'roll. O que significa que aqui hão-de encontrar uma boa dose de ritmo, guitarras no ponto, um orgão que eu considero especialmente fantástico e ainda uma vocalista carismática. São, estes, de resto, os pontos fortes deste colectivo. E não se enganem: esta é música feita por sujeitos que, se não são profissionais, tocam como tal. E está a muitas milhas de tudo o resto que podem encontrar no netáudio; isto é música de sempre e para todos. Uma compilação sonora de muitos anos de cultura americana e do bom-fazer rock. Seja pelo solo de guitarra em Bad Luck Soul, pela voz de "Rosie" em Devil's Gospel ou pelos intrigantes 6 minutos de Blues Nest, saquem isto que não é coisa que se ofereça muitas vezes. Nota-se contudo, e mais para aqueles cultores indie que andam aí, uma falta de personalidade que pode ser preocupante e que se pode revelar um entrave no caminho de uma banda que tem a capacidade técnica de fazer música capaz de cativar Portugal inteiro e de não deixar ninguém indiferente. Mas sobre isso, esperemos. Esta ainda "só" foi uma primeira amostra.