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Why Is Soccer Played Eleven Against Eleven? : Everything You Need To Know About Soccer [PDF] [2go9fs5sobf0]
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Why Is Soccer Played Eleven Against Eleven? : Everything You Need To Know About Soccer [PDF] [2go9fs5sobf0]. ...
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https://vdoc.pub/documents/why-is-soccer-played-eleven-against-eleven-everything-you-need-to-know-about-soccer-2go9fs5sobf0
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Toc: Cover......Page 1
Copyright......Page 5
Contents......Page 6
Introduction......Page 11
1. Where Did Soccer Begin?......Page 13
2. Who Wrote the First Rules of Soccer?......Page 19
3. Did the Goal Ever Have a Different Value?......Page 22
4. What Was the First “Official” Soccer Regulation?......Page 24
5. What Was the First “Official” Match?......Page 29
6. Why Is Soccer Played Eleven Against Eleven?......Page 32
7. Why Do Soccer Matches Last 90 Minutes?......Page 36
8. When Were Goalkeepers Allowed to Use Their Hands?......Page 37
9. Who Was the First Referee?......Page 41
10. Which Is the Oldest Soccer Club?......Page 45
11. Why Do We Say “Score a Goal,” “Derby,” “League,” and “Hooligan?”......Page 47
12. What Was the First Match Played Outside of Great Britain?......Page 53
13. What Was the First International Match?......Page 55
14. What Was the First Official Soccer Tournament?......Page 57
15. What Was the Strangest Soccer Game Ever?......Page 60
16. How Were the Designs and Colors of the First T-Shirts Determined?......Page 61
17. Did a Team Ever Become Champion of a Tournament Without Playing a Single Game?......Page 64
18. What Was the First Time That a Team Included Two......Page 67
19. What Was the First Official Tournament for National......Page 69
20. What Was the Biggest Thrashing in an Official Premier Division Championship?......Page 71
21. Who Invented the Penalty Kick Shootout?......Page 76
22. Who Was the Oldest Player to Play in an Official Match?......Page 78
23. Which Team Is Considered the First Champion of the......Page 79
24. How Did the Round-Robin League System Come About in Soccer?......Page 81
25. Who Was the First Professional Soccer Player?......Page 83
26. What Is the Most Unusual Recruitment in the History of Soccer?......Page 86
27. Who Scored the First Own Goal in an Official Match?......Page 90
28. Who Was the First Goalkeeper to Score a Goal in an Official Match?......Page 92
29. Who Was the First Coach?......Page 95
30. Who Was the First Black Player to Play in an Official Match?......Page 97
31. Which Was the First Soccer Match Played Using Artificial Light?......Page 99
32. When Did the First Player Substitution in an......Page 101
33. Who Invented the Goal Net?......Page 103
34. Which Team Was the First to Be Relegated? And Which One Was the First to Be Promoted?......Page 105
35. Why Was the Penalty Kick Invented?......Page 107
36. What Was the Biggest Difference in Number of Players Between Two Teams in an Official Match?......Page 110
37. Was There Ever a Goalkeeper With Glasses?......Page 112
38. What Was the Longest Match?......Page 115
39. Who Was the First Professional Soccer Player to Cling to a Curious Superstition?......Page 117
40. Which Country Was the First to Become a “World Power” in Soccer?......Page 119
41. Who Were the Riskiest Players?......Page 121
42. Who Was the Biggest Professional Soccer Player in History?......Page 125
43. What Was the Shortest Official Tournament Ever?......Page 128
44. Can You Follow Your Favorite Team After Death?......Page 130
45. How Did the Copa America Begin?......Page 132
46. When Was the First Olympic Soccer Tournament Played?......Page 134
47. Who Was the First Goalkeeper to Wear Gloves?......Page 135
48. Which First Division Team Holds the Record for Playing With the Most Siblings?......Page 137
49. Who Invented the Red and Yellow Cards?......Page 139
50. Who Scored the First Goal of a South American Team Against a European Team?......Page 140
51. Which Official Competition Allowed Matches of 30-Minute Halves?......Page 142
52. Why Did the World Cup Start in 1930 and Not Before?......Page 144
53. Why Did Uruguay Organize the First World Cup?......Page 146
54. Who Was the Most Eccentric Goalkeeper in Soccer History?......Page 148
55. Who Was the First Team to Win Second and First Division Championships in Consecutive Seasons?......Page 150
56. Can a Referee Score a Goal?......Page 151
57. Who Was the First Player to Suffer Racist Attacks?......Page 153
58. What Was the First Game to Be Suspended Due to Fireworks?......Page 155
59. Has a Team Ever Won the League From a Country......Page 157
60. Can a Team Be a Champion of a Tournament for Which It Has Not Qualified?......Page 158
61. Which Was the First Rigged Match in History?......Page 160
62. Which Champion Waited the Longest to Receive His Trophy?......Page 163
63. What Was the Christmas Truce?......Page 165
64. Can a Referee Red-Card Himself?......Page 168
65. Has a Spectator Ever Been Invited to Play a Soccer Match Between National Teams?......Page 169
66. Did a Player Ever Expel a Referee?......Page 171
67. When Were Numbers on Soccer Jerseys First Used?......Page 172
68. What Is the “White Horse Final?”......Page 174
69. What Is the Most Heated Rivalry in the World?......Page 175
70. Did a Player Who Had Left the Field Ever Return to Play?......Page 177
71. What Was the Most Extraordinary Transfer in Soccer History?......Page 179
72. Can You Score a Goal Without Stepping on the Field?......Page 182
73. Who Invented the First Soccer Shoes?......Page 183
74. Who Developed the First Soccer Tactics?......Page 185
75. Which Match Had the Most Players Red-Carded?......Page 187
76. What Is the Highest Number of Goals Scored By a Team That Still Lost the Game?......Page 189
77. Which Player Scored the Most Goals in a Single Official Match?......Page 190
78. Who Is the Player to Score the Most Goals in an Entire Career?......Page 192
79. Which Professional Soccer Player Suffered the Most Relegations From the First Division?......Page 194
80. Who Was the Most Useless Scorer in an International Tournament?......Page 196
81. Has a Referee Ever Expelled a Line Judge?......Page 197
82. Which Is the Worst National Team in Soccer History?......Page 199
83. Can a Team Lose a Game Despite Having Scored More Goals Than Its Opponent?......Page 200
84. Can a Team Lose a Penalty Kick Shootout Without Missing a Shot?......Page 203
85. Who Invented the Penalty Kick With a Pass?......Page 204
86. Who Created the Substitutes’ Bench?......Page 206
87. Has Team Ever Played More Than One Official Match on the Same Day?......Page 207
88. When Was the Horizontal Post Added to the Goal?......Page 209
89. In Which Match Occurred the Most Suspensions Due to Bad Weather?......Page 211
90. How Did the Champions League Begin? . . . . . . . . . . . 211......Page 212
91. How Did the Copa Libertadores Begin?......Page 215
92. When Was a Whistle First Used to Referee a Match?......Page 217
93. When Did Soccer Players’ Cards First Appear?......Page 218
94. Which Goalkeeper Holds the Most Penalties in One Game?......Page 220
95. Was There Any Infallible Player in the Penalty Shootout?......Page 222
96. What Was the Biggest Comeback in an Official Competition?......Page 224
97. What Was the Most Evenly Matched Official League Tournament?......Page 228
98. What Was the Most Unusual Relegation and Which Team Was Saved in the Most Curious Way?......Page 229
99. Was There a Professional Soccer Player Who Played All Positions?......Page 231
100. Has a Tournament Ever Had More Than One Winner?......Page 233
Bibliography......Page 235
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Guyana Chronicle E-Paper 30-12-2022
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Read Guyana Chronicle E-Paper 30-12-2022 by Guyana Chronicle on Issuu and browse thousands of other publications on our platform. Start here!
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https://issuu.com/guyanachroniclee-paper/docs/guyana_chronicle_e-paper_30-12-2022
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
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About: Santos FC
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Santos Futebol Clube (Brazilian Portuguese: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]), commonly known simply as Santos or Santos FC and nicknamed the Peixe ([pejʃi], "fish"), is a Brazilian sports club based in Vila Belmiro, a bairro in the city of Santos. It is also the team with the most goals in football history. It plays in the Paulistão, the State of São Paulo's premier state league, as well as the Brasileirão, the top tier of the Brazilian football league system.
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http://dbpedia.org/resource/Santos_FC
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dbo:abstract
نادي سانتوس لكرة القدم (بالبرتغالية: Santos Futebol Clube) هو نادي كرة قدم برازيلي من مدينة سانتوس الساحلية. أسس 14 أبريل 1912 م على يد 3 أشخاص من المدينة من المتحمسين للرياضة. استطاع النادي أن يحصل على أول بطولة دوري عام 1935. أهم مرحلة في تاريخ النادي بدأت منذ عام 1956 م عندما انضم أسطورة كرة القدم ورياضي القرن الماضي (اختير من قبل اللجنة الأولمبية الدولية) بيليه للنادي وبدأ اللعب في عمر الـ15. حصل النادي على العديد من الألقاب في فترة وجود بيليه. (ar)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Macapá a l'estat d'Amapá. (ca)
Santos Futebol Clube je brazilský fotbalový tým z města Santos v aglomeraci města São Paulo ve stejnojmenném státě. Pravidelně se účastní nejvyšší brazilské národní ligové soutěže, Campeonato Brasileiro Série A, z níž nikdy nesestoupil. Obvyklý maskot je velryba a značí to, že město Santos je vlastně přístav. Fanoušek Santosu je známý jako Santista. Pruhovaný černo-bílý dres a černé trenýrky i ponožky. Klub byl založen v roce 1912, hraje na stadiónu o kapacitě 16 798 diváků. V letech 1956 až 1974 zde hrál Pelé. Přestože je přístavní město Santos oproti sousednímu São Paulu menší, zanechal Santos FC na fotbalové scéně význačnou stopu, což dokládá více než 90 akademií po světě nesoucí název Santos.Právě São Paulo a jeho aglomerace je domovem rivalů Santosu – a to trojice Corinthians, Palmeiras a São Paulo FC. Santos je trojnásobným vítězem Poháru osvoboditelů (1962, 1963, 2011) a jedním ze šesti jihoamerických klubů, co dokázaly Pohár osvoboditelů obhájit. (cs)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Santos a l'estat de São Paulo. (ca)
Der Santos Futebol Clube, im deutschsprachigen Raum allgemein bekannt als FC Santos, ist ein Fußballverein aus der brasilianischen Stadt Santos, einer Hafenstadt im Bundesstaat São Paulo. (de)
Η Σάντος (πορτογαλικά: Santos) είναι Βραζιλιάνικη επαγγελματική ποδοσφαιρική ομάδα, με έδρα την ομώνυμη περιοχή Σάντος, στο Σάο Πάολο. Συμμετέχει στο πρωτάθλημα της Πολιτείας του Σάο Πάολο και στο Πρωτάθλημα ποδοσφαίρου Βραζιλίας. Είναι η δεύτερη σε κατακτήσεις ομάδα στην Σέριε Α (8). Επίσης είναι δεύτερη σε συνολικούς τίτλους στην Βραζιλία με (17) έναν πίσω από την Σάο Πάολο (18). Κατέχει το ρεκόρ των 5 συνεχόμενων πρωταθλημάτων (1961-1965). Μεγαλύτερος ποδοσφαιριστής της είναι ο Πελέ, ο «βασιλιάς του ποδοσφαίρου». (el)
Der Santos Futebol Clube, in der Regel nur kurz Santos genannt, ist ein Fußballverein aus Macapá im brasilianischen Bundesstaat Amapá. Aktuell spielt der Verein in der Staatsmeisterschaft von Amapá. (de)
Santos Foot-ball Clube estas futbalteamo fondita en 1912 en Santos, Brazilo. Ĝi estas mondfama por diskonigi Peléon al mondo. Santos FC estis fondita en la 14-a de aprilo 1912, de tri sportistoj de Santos: , kaj , kiuj kunvokis asembleon je sidejo de Clube Concórdia (sur nuna Avenuo João Pessoa) por kreado de futbalteamo. Dum la asembleo proponis la nomon Santos Foot-Ball Clube. Unua oficiala maĉo okazis en 15-a de septembro. Santos FC venkis la teamon Santos Athletic Club (Clube dos Ingleses, "Klubo de l' Anglidoj") je 3 : 0. Antaŭ tiu, estis ankaŭ neoficiala maĉo en kiu Santos FC venkis Thereza Team je 2 : 1. La unuan oficialan faris Arnaldo Silveira. En 1913, Santos FC partoprenis san-paŭlian ĉampionadon. En unua maĉo, teamo Germania venkis ĝin je 8 : 1. Tiu jare, la teamo venkis santosan ĉampionadon, kaj tiu estas sia unua ĉampiona titolo. Nur en 1935 Santos FC venkis la san-paŭlian ĉampionadon, post denove nur en 1955. En 1956, Pelé, tiam 15-jara knabo, komencis ludi en Santos FC. Tiun tempon oni nomas em Brazilo "Era Pelé", Erao de Pelé. En tiu erao, Santos FC konkeris multajn ĉampionadojn, eĉ internaciaj, kiel la en 1962 kaj 1963. La finan maĉon de Monda Ĉampionado de 1963 de Santos FC kontraŭ Milan oni pensas la plej mirindan futbolan maĉon en historio. En 1974 finis la Erao de Pelé. Post tiu tempo, Santos FC daŭris sian gloran karieron kaj konkeris multajn ĉampionajn titolojn. En 2006 kaj 2007, ekzemple, Santos FC jam venkis la san-paŭlian ĉampionadon. Kurioze, ĝia oficiala maskoto estas baleno, sed oni nomas ĝin "O Peixe" (La Fiŝo). Jemanĵao estas ĝia protektanta diino. (eo)
El Santos Fútbol Club (en portugués, Santos Futebol Clube, pronunciado /ˈsɐ̃tus futʃiˈbɔw ˈklubi/), conocido popularmente como Santos, es un club polideportivo brasileño, con sede en la ciudad de Santos, Estado de São Paulo.También es el equipo con más goles en la historia del fútbol. Fue fundado el 14 de abril de 1912 y juega en el Campeonato Brasileño de Serie A. Santos es uno de los pocos clubes que nunca han sido relegados a la Serie B del Campeonato Brasileiro. Sus colores iniciales serían el blanco, azul y dorado, pero un año después de su fundación se decidió que los colores del club serían el blanco y el negro. Sus máximos rivales en el fútbol son el Palmeiras, con el que compiten en el Clássico da Saudade; Corinthians, con quien disputa el Alvinegro Clásico; y São Paulo, con quien compite en San-São. El Peixe juega sus partidos de local en el Estadio Urbano Caldeira, más conocido como Vila Belmiro que actualmente tiene capacidad para 20.120 espectadores. El himno santista más reconocido es el " Leão do Mar " escrito por Mangeri Neto. Santos se ha convertido en el fútbol en uno de los clubes más exitosos de Brasil y reconocido a nivel mundial. Se hizo famoso en los años 60 por los varios títulos internacionales y nacionales que ganó y por haber revelado a Pelé, considerado por muchos como el mejor jugador de la historia de este deporte, y según la FIFA, el mejor jugador del siglo XX. A lo largo de su historia, Santos ganó un gran número de títulos internacionales, entre los que destacan las Copa Intercontinentales de 1962 y 1963, la Copa Libertadores de 1962, 1963 y 2011, la Recopa de Campeones Intercontinentales de 1968, la Supercopa Sudamericana de Campeones Intercontinentales de 1968, la Copa Conmebol 1998 y la Recopa Sudamericana 2012. En el escenario nacional, fue ocho veces campeón brasileño en 1961, 1962, 1963, 1964, 1965, 1968, 2002 y 2004. También a nivel nacional, el club tiene una Copa de Brasil en 2010, totalizando nueve conquistas nacionales. Otros títulos importantes incluyen cinco Torneos Rio-São Paulo (poseedor de récord junto a Corinthians y Palmeiras), 22 Campeonatos Paulistas y la Copa Paulista 2004. En la suma de títulos oficiales de ámbito internacional y nacional, el club suma 17 logros. En total, sumando competiciones oficiales, amistosos y otras copas, el club suma 305 títulos. Santos, junto con Palmeiras, Cruzeiro e Internacional, fue uno de los pocos en ganar el Campeonato Brasileño invicto, en 1963, 1964 y 1965. Además es el único club brasileño en ser campeón estatal, nacional, continental y mundial en el mismo año, en 1962. En una encuesta en el año 2000 de parte de FIFA se le eligió, entre diez clubes latinoamericanos, como el mejor club de América del siglo XX y el quinto más grande del mundo, y también recibió en el año de su centenario en la cámara de diputados de Brasilia por la FIFA el título de "mayor club sudamericano del siglo XX". La IFFHS lo ha elegido cuatro veces como el Mejor equipo del mundo del mes. Desde el año 2000 se realiza este Ranking. Un estudio realizado en 2013 por la consultoría londinense Brand Finance muestra al Santos como el segundo club más valioso de Brasil, segundo de América Latina y 38a mayor valor de marca del mundo, con US$65 millones, al frente de otros grandes clubes del continente como Flamengo, São Paulo, Boca Juniors y River Plate. Por otro lado gracias a sus triunfos en 1962 y 1963 en la ya antigua Copa Intercontinental, forma parte del selecto grupo de los únicos 30 clubes en el mundo que han ganado el máximo campeonato de clubes de fútbol a nivel mundial, entre más de 300.000 clubes reconocidos por FIFA. Por lo que además, es el primer "Bicampeón Mundial" de la historia, al conquistar los 2 campeonatos mundiales de forma consecutiva. Santos es uno de los equipos más populares de Brasil. Según investigaciones del Instituto DataFolha, publicado el 2 de febrero de 2006, el Santos tiene la sexta mayor hinchada de Brasil con un 4% de la preferencias nacionales.[cita requerida] Se estima que el club cuenta con 8 a 10 millones de aficionados, presente en todos los estados de Brasil. Un dato curioso es que la ciudad que cuenta con el mayor número de aficionados no es Santos sino la ciudad de São Paulo y la región metropolitana de São Paulo, Gran São Paulo región cuyo club cuenta con alrededor de 1,8 millones de hinchas. En la actualidad Santos cuenta con más de 70,000 socios miembros.[cita requerida] Además cuenta con gran cantidad de filiales por todo el mundo. La más grande se encuentra en Argentina, filial que se desempeña hace más de 40 años en Parana - Entre Rios. (es)
Santos Futebol Clube Brasilgo São Pauloko estatuko Santos hiriko futbol talde ezaguna da. 1950eko eta 1960ko hamarkadetan emaitza bikainak izan zituen, Pelé jokalari izarra zuela. Bi Kontinente arteko Futbol Kopa eta hiru Libertadores Kopa irabazi ditu, azkena 2011. urtean. (eu)
El Santos - AP es un equipo brasileño de la ciudad de Macapá ubicada en el estado de Amapá. Es considerado como el equipo de mayor tradición del estado por encima de equipos como EC Macapá. Juega de local en el Zerão. Actualmente, ocupa la posición 76 del ranking de la CBF teniendo en cuenta la publicación del 2016. (es)
Le Santos Futebol Clube est un club brésilien de football fondé le 14 avril 1912 et basé dans la ville de Santos dans l'État de São Paulo. Il a été surnommé Peixe (littéralement, "Poisson") pendant des décennies, mais la mascotte du club est une baleine. Ce surnom évoque la ville de Santos qui est un port marin, contrairement aux autres clubs de São Paulo plus continentaux. Santos est devenu la première équipe dans l'histoire du football à avoir marqué, de manière accumulée, 10 000 buts en 1998 et 11 000 buts en 2004. Ils jouent habituellement avec un maillot blanc, et un maillot alternatif avec des bandes verticales noires et blanches et des shorts noirs. Toutefois, selon le statut du club, le premier choix de l'équipe est un maillot à rayures avec un short blanc et des bas blancs. Le club de Santos a été désigné 5e meilleur club de football du XXe siècle selon la FIFA. Il est notamment célèbre pour avoir compté Pelé dans son effectif pendant la majeure partie de sa carrière (1956-1974). (fr)
Le Santos Futebol Clube est un club brésilien de football basé à Macapá dans l'État de l'Amapá. (fr)
Santos Futebol Clube (bahasa Portugis Brasil:), lebih dikenal sebagai Santos dan mungkin mengarah ke Peixe (IPA: ), adalah klub sepak bola profesional yang berbasis di Santos, Sao Paulo. Mereka bermain di dan Campeonato Brasileiro Serie A, liga profesional tertinggi di provinsi Sao Paulo dan Brasil. Tim ini berdiri tahun 1912. Santos adalah juara bertahan dan Copa Libertadores. Di dalam negeri, klub telah memenangkan dua puluh , satu Copa do Brasil, dan delapan gelar juara nasional Brasil. Di kancah internasional, mereka adalah klub Brasil tersukses dengan tujuh gelar internasional, termasuk tiga Copa Libertadores dan dua Piala Interkontinental. Didirikan sebagai Santos Foot-Ball Club pada tanggal 14 April 1912 oleh inisiatif dari tiga penggemar olahraga, , , dan , klub ini telah menjadi simbol sepak bola yang indah dan menarik, yang dikenal di Brasil sebagai "Futebol-arte". Santos adalah salah satu klub terkaya Brasil dalam hal pendapatan, dengan pendapatan tahunan sebesar US $ 45.1m (€ 31,5 juta), dan salah satu klub paling berharga, bernilai lebih dari $ 86.7m (€ 60.6m) pada tahun 2011. Santos adalah anggota pendiri dari , terdiri dari tiga belas klub sepak bola elit Brasil. (in)
Santos Futebol Clube (Brazilian Portuguese: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]), commonly known simply as Santos or Santos FC and nicknamed the Peixe ([pejʃi], "fish"), is a Brazilian sports club based in Vila Belmiro, a bairro in the city of Santos. It is also the team with the most goals in football history. It plays in the Paulistão, the State of São Paulo's premier state league, as well as the Brasileirão, the top tier of the Brazilian football league system. The club was founded in 1912 by the initiative of three sports enthusiasts from Santos by Raimundo Marques, Mário Ferraz de Campos, and Argemiro de Souza Júnior as a response to the lack of representation the city had in football. Since then, Santos has become one of Brazil's most successful clubs, becoming a symbol of Jogo Bonito (English: the Beautiful Game) in football culture, hence the motto "Técnica e Disciplina" (technique and discipline). This was largely thanks to the Peixe's golden generation of the 1960s, with players like Gilmar, Mauro Ramos, Mengálvio, Coutinho, Pepe, and most notable of all, Pelé, named the "Athlete of the Century" by the International Olympic Committee, and widely regarded as the best and most accomplished footballer in the game's history. Os Santásticos, considered by some the best club team of all times, won a total of 24 titles during that decade including five consecutive Brasileirões, a feat that remains unequaled today. Os Santásticos won four competitions in 1962, thus completing a quadruple, comprising the Paulistão, the Brasileirão, the Copa Libertadores, and the European/South American Cup. Santos is one of the most successful clubs in the Brasileirão, becoming national champions on eight occasions. It has also won 22 Paulistãos, three Copa Libertadores, two Intercontinental Cups, one Supercopa de Campeones Intercontinentales, one Copa CONMEBOL (the precursor of current Copa Sudamericana), one Copa do Brasil, and one Recopa Sudamericana. On 20 January 1998, Santos became the first team, in any category in the world, to reach the milestone of 10,000 goals in the entire history of football and was voted by FIFA as one of the most successful clubs of the 20th century. The Peixe play their home games at the Vila Belmiro, which currently holds up to 20,120 spectators. Santos' regular kit is white shirts, with white shorts, accompanied by white socks. The most recognized Santista anthem is the "Leão do Mar" written by Mangeri Neto. In 2013, the club is the 2nd most valuable club in Brazil and South America, and 38th most valuable club in the world according to Brand Finance, worth over $65 million. In terms of revenue, Santos is Brazil's fourth-richest sports club and one of the biggest football clubs in the world, generating an annual turnover of over $114 million in 2012. Santos has many long-standing rivalries, most notably against Corinthians, Palmeiras, and São Paulo. (en)
Il Santos Futebol Clube, noto anche come Santos, è una società calcistica brasiliana con sede a Santos, nello stato di San Paolo. Fondata nel 1912, il club ha vinto il suo primo titolo nel 1935. Il periodo di maggior successo è databile intorno agli anni sessanta quando il Santos conquistò, tra le altre, due Coppe Libertadores (nel 1962 e nel 1963) e altrettante Coppe Intercontinentali (sempre nel 1962 e nel 1963) oltre a una Supercoppa dei Campioni Intercontinentali (nel 1968). Protagonista assoluto di questi successi fu la stella del calcio brasiliano Pelé, che esordì nel calcio professionistico proprio tra le file del Santos nel 1956 rimanendovi fino al 1974. Il club ha vinto il Campionato Brasiliano nel 2002 con Robinho e Diego e poi nuovamente nel 2004. Nel 2011 il club, guidato dal talento emergente di Neymar, è tornato a conquistare la Coppa Libertadores battendo in finale il Peñarol. La divisa per le gare casalinghe è, da statuto del club, completamente bianca, mentre l'uniforme per le trasferte è costituita da una maglia a strisce bianconere e da pantaloncini neri. Il club è soprannominato da decenni Peixe (letteralmente "pesce"), anche se la mascotte è una balena; l'appellativo deriva dal fatto che la squadra ha sede a Santos, una città portuale, al contrario delle altre squadre di San Paolo, che sorgono nell'entroterra. I tifosi sono detti Santistas. (it)
サントスFC（ポルトガル語: Santos Futebol Clube）は、ブラジル・サンパウロ州サントスをホームタウンとする、ブラジルプロサッカーリーグ（ブラジルリーグ）に加盟するプロサッカークラブ。 (ja)
Il Santos Futebol Clube, meglio noto come Santos, è una società calcistica brasiliana con sede nella città di Macapá, capitale dello stato dell'Amapá. (it)
( 마카파를 연고로 하는 축구단에 대해서는 산투스 FC (아마파주) 문서를, 여자 축구단에 대해서는 산투스 FC (여자 축구) 문서를 참고하십시오.) 산투스 FC(포르투갈어: Santos Futebol Clube)는 보통 산투스라고 알려져 있으며, 상파울루주의 산투스를 연고로 하는 브라질의 축구 클럽이다. 산투스 FC는 2018년 현재 브라질의 최상위 전국 리그인 캄페오나투 브라질레이루 세리이 A와 상파울루 주 리그 캄페오나투 파울리스타에 참가하고 있다. 이 클럽의 별칭은 수 십년 동안 Peixe (문자 그대로 "어류")였지만, 보통 이 팀을 대표하는 마스코트는 어류가 아닌 고래이다. 이 별칭은 상파울루 주를 연고로 하는 다른 클럽들이 내륙을 연고로 할 때, 항구 도시인 산투스를 되살렸으며, 팀의 팬은 "산티스타"(Santista)라는 이름으로 잘 알려져 있다. 이 클럽은 1914년, 4월 14일에 Santos Foot-Ball Club이라는 이름으로 설립되었으며, 산투스에서 하이문두 마르케스, 마리오 페하스 지 캄포스, 아르제미루 지 소우자 주니오르 등 3명의 스포츠 열광자에 의해 시작되었다. 팀이 처음으로 주 대회에서 우승한 건 1935년으로, 다시 우승한 건 20년이 지난 1955년이었다. 홈 유니폼은 모두 하얀색이고, 어웨이 유니폼은 검은색 및 흰색 수직 줄무늬 또는 검은색 반바지로 이루어져있다. 하지만 클럽의 클럽의 규칙에 의하면 팀이 처음으로 선택한 유니폼은 줄무늬가 든 셔츠와 흰색 반바지 및 흰색 양말이다. 펠레 (1999년, IOC에 의해 "세기의 운동 선수"로 뽑힘.)는 1956년에 이 팀에서 선수 생활을 시작했으며, 15살의 나이에 데뷔해, 17년간 산투스에서 선수 생활을 했다. 펠레는 이와 더불어 1962년과 1963년에 열린 인터콘티넨털컵에서 산투스의 우승을 견인했다. 1998년 1월 20일, 산투스는 축구 역사상 처음으로 10,000골을 돌파한 팀이 되었다. 최근에는, 2005년 10월 26일, 에서 펼쳐진 바스쿠 다 가마와의 원정 경기에서 제일송이 팀의 11,000번째 골이자, 경기 첫 골을 성공시켰고, 산투스는 이 골에 힘입어 경기에서 3-1로 이겼다. 산투스는 축구단 뿐만 아니라 미식축구, 서핑 그리고 e스포츠단까지 운영하고 있기도 하다. (ko)
( 비슷한 이름의 산투스 FC에 관해서는 해당 문서를 참조하십시오.) 산투스 푸치보우 클루비(포르투갈어: Santos Futebol Clube) 또는 산투스(포르투갈어: Santos)로 불리는 이 팀은 1973년 5월 11일에 창단한 브라질의 축구단으로, 아마파주의 마카파를 연고로 한다. 상파울루주의 산투스 FC와 구분짓기 위하여, 아마파 주의 머릿글자 AP를 붙여 산투스-AP라고도 표기된다. 2018년 현재 브라질 축구 4부 리그 캄페오나투 브라질레이루 세리이 D와 아마파 주 리그 에 참가하고 있다. 구단의 최대 라이벌은 이다. 구단의 별칭은 마카파의 고래(포르투갈어: Peixe de Macapá) 혹은 아마존의 고래(포르투갈어: Peixe da Amazônia)로, Peixe는 단어 자체로 사실 물고기를 뜻하지만, 산투스 FC와 마찬가지로 고래를 의미하기 위해 지어졌다. (ko)
サントスFC (ポルトガル語: Santos Futebol Clube) は、ブラジル・アマパー州マカパに本拠地を置くサッカークラブである。2016シーズンはカンピオナート・ブラジレイロ・セリエDに所属。サンパウロ州にもサントスFCがあるため、便宜上サントス-APと表記されることがある。 (ja)
Santos FC is een Braziliaanse voetbalclub uit Santos in de staat São Paulo. Thuisstadion is het Vila Belmiro, dat 16.798 plaatsen heeft. De club is het meest bekend om zijn voetbalafdeling, maar is ook in andere sporten actief. De club speelt in de hoogste klasse van zowel de staatscompetitie als de Braziliaanse hoogste klasse en is een van de drie clubs die nog nooit gedegradeerd is, naast Flamengo en São Paulo. Het aanvallersduo Pelé-Coutinho bezorgde de club een glorieperiode. Met de twee aanvallers won de club negenmaal het Campeonato Paulista, tweemaal de CONMEBOL Libertadores, zesmaal de Copa do Brasil en tweemaal de wereldbeker voor clubteams. Nadat Pelé vertrok, kwam de club in een diep dal terecht. In 2000 eindigde Santos FC tijdens de FIFA Club of the Century-verkiezing, samen met Ajax, op een gedeelde vijfde plaats van beste voetbalclubs van de twintigste eeuw. (nl)
Santos FC is een Braziliaanse voetbalclub uit Macapá in de staat Amapá. (nl)
Santos Futebol Clube – brazylijski klub piłkarski z siedzibą w mieście Santos, w stanie São Paulo. Występuje w rozgrywkach Campeonato Brasileiro Série A oraz Campeonato Paulista. Swoje domowe mecze rozgrywa na obiekcie Estádio Urbano Caldeira. Został założony w 1912 roku. (pl)
«Са́нтос» (порт.-браз. Santos Futebol Clube) — бразильский футбольный клуб представляющий город Макапа, столицу штата Амапа. В 2018 году клуб выступал в Серии D Бразилии. (ru)
Santos Futebol Clube é um clube brasileiro de futebol da cidade de Macapá, capital do estado do Amapá. Suas cores são preto e branco e foi fundado em 11 de maio de 1973. Na era profissional do futebol amapaense, é o segundo maior campeão estadual, com 7 títulos, sendo 5 dos quais conquistados em sequência (2013-14-15-16-17) e os outros 2 foram obtidos em 2000 e 2019. Também se tornou o primeiro time amapaense a chegar a semifinal da Copa Verde de Futebol na edição de 2017. (pt)
Santos Futebol Clube é um clube poliesportivo brasileiro da cidade de Santos, São Paulo. Foi fundado em 14 de abril de 1912, suas cores iniciais seriam o branco, azul e dourado, mas um ano após a sua fundação, ficou decidido que as cores do clube passariam a ser branco e preto. Manda as suas partidas no Estádio Urbano Caldeira, mais conhecido como Vila Belmiro. Seus maiores rivais no futebol são o Palmeiras, com quem disputa o Clássico da Saudade; o Corinthians, com quem disputa o Clássico Alvinegro; e o São Paulo, com quem disputa o San-São. O Santos tornou-se no futebol um dos clubes mais bem-sucedidos do Brasil e reconhecidos mundialmente. Ficou famoso na década de 60 pelos vários títulos internacionais e nacionais conquistados e por ter revelado Pelé, considerado por muitos como o maior jogador da história do esporte, e segundo a FIFA, o melhor jogador do século XX, além disso, também tem o marco de maior artilheiro da história do Santos e da Seleção Brasileira. Abaixo de Pelé com 77 gols pela seleção em jogos oficiais, está também outro jogador revelado pelo clube, Neymar. (pt)
Santos FC eller Santos Futebol Clube är en brasiliansk fotbollsklubb i Santos i delstaten São Paulo, bildad 14 april 1912. Klubben har smeknamnet Peixe, vilket betyder fisk, men deras maskot är i själva verket en val. Anledningen till detta är att Santos är en hamnstad, till skillnad från alla andra stora fotbollslag från São Paulo. En supporter till klubben kallas för Santista. Hemmaarenan heter , även känd som Vila Belmiro. Klubben bildades samma dag som Titanic träffade isberget, på initiativ av tre sportentusiaster; Raimundo Marques, Mário Ferraz de Campos och Argemiro de Souza Júnior. Klubben vann sin första delstatsturnering 1935 och sin andra 20 år senare, 1955. Pelé gick med i klubben som 17-åring, 1956, och stannade i hela 17 år och spelade sammanlagt 729 matcher för klubben, med otroliga 784 gjorda mål. Med Pelé vann Santos FC interkontinentala cupen 1962 och 1963. 20 januari 1998 blev Santos den första och enda fotbollsklubben någonsin att ha gjort över 10 000 mål. 26 oktober 2005 gjorde man sitt 11 000:e mål mot i en bortamatch mot Vasco da Gama, det första målet av tre. Santos vann matchen med 3–1. (sv)
«Са́нтос» (порт. Santos Futebol Clube, бразильский португальский: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]) — бразильский футбольный клуб из города Сантус в штате Сан-Паулу. Клуб является одним из четырёх традиционных грандов своего штата (наряду с «Сан-Паулу» (классико ), «Коринтиансом» (самое принципиальное противостояние) и «Палмейрасом») и одним из традиционно сильнейших футбольных клубов Бразилии, сооснователем Клуба Тринадцати, организации самых популярных и титулованных клубов Бразилии. В 2000 году «Сантос» занял пятое место в списке лучших футбольных клубов XX века по версии ФИФА. «Сантос» — единственный (из 12) бразильский традиционный суперклуб, базирующийся не в столице своего штата (город Сантус является морскими воротами для Сан-Паулу). Согласно решению Конфедерации футбола Бразилии от декабря 2010 года, победы в старом Кубке Бразилии (1959—1968) были приравнены к титулу чемпиона Бразилии. Таким образом, «Сантос» с восемью титулами, шесть из которых были завоёваны во времена Пеле, стал одним из самых титулованных клубов — чемпионов Бразилии (наряду с «Палмейрасом», которому были добавлены четыре титула). (ru)
Сантус (порт. Santos Futebol Clube) — бразильський футбольний клуб з однойменного міста штату Сан-Паулу. Він був прозваний Peixe (Риба) протягом десятиріч, але зазвичай талісманом є кит. Прізвисько підкреслює, що Сантус є морським портом, тоді як всі інші великі клуби від штату Сан-Паулу розташовані всередині країни. Вболівальник «Сантуса» відомий як Santista. «Сантус» є рекордсменом з кількості забитих голів в історії футболу: більш ніж 11,500. Клуб виграв свій перший турнір штату в 1935 році, а потім знову в 1955 році. Вони грають у повністю білій формі, з альтернативним комплектом з чорно-білими вертикальними смугами і чорними шортами. Однак, відповідно до статуту клубу, основною формою є смугасті футболки з білими шортами і білими гетрами. (uk)
山度士足球會（Santos Futebol Clube）是來自巴西圣保罗州海港城市桑托斯的足球會。由三名居於山度士的足球熱愛者，馬基斯（Raimundo Marques）、迪金保斯（Mário Ferraz de Campos）及祖利亞（Argemiro de Souza Júnior），於1912年4月14日成立。球隊在1935年首度奪得聖保羅省聯賽冠軍，於20年後的1955年重溫舊夢。比利（1999年獲國際奧委會選為「世紀運動員」）於1956年以15歲之齡加盟山度士，並於1962年及1963年帶領球隊兩度贏得洲際盃。 山度士在1998年1月20日成為足球歷史上首隊亦是唯一一隊射入超過10,000球的球隊。 (zh)
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نادي سانتوس لكرة القدم (بالبرتغالية: Santos Futebol Clube) هو نادي كرة قدم برازيلي من مدينة سانتوس الساحلية. أسس 14 أبريل 1912 م على يد 3 أشخاص من المدينة من المتحمسين للرياضة. استطاع النادي أن يحصل على أول بطولة دوري عام 1935. أهم مرحلة في تاريخ النادي بدأت منذ عام 1956 م عندما انضم أسطورة كرة القدم ورياضي القرن الماضي (اختير من قبل اللجنة الأولمبية الدولية) بيليه للنادي وبدأ اللعب في عمر الـ15. حصل النادي على العديد من الألقاب في فترة وجود بيليه. (ar)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Macapá a l'estat d'Amapá. (ca)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Santos a l'estat de São Paulo. (ca)
Der Santos Futebol Clube, im deutschsprachigen Raum allgemein bekannt als FC Santos, ist ein Fußballverein aus der brasilianischen Stadt Santos, einer Hafenstadt im Bundesstaat São Paulo. (de)
Η Σάντος (πορτογαλικά: Santos) είναι Βραζιλιάνικη επαγγελματική ποδοσφαιρική ομάδα, με έδρα την ομώνυμη περιοχή Σάντος, στο Σάο Πάολο. Συμμετέχει στο πρωτάθλημα της Πολιτείας του Σάο Πάολο και στο Πρωτάθλημα ποδοσφαίρου Βραζιλίας. Είναι η δεύτερη σε κατακτήσεις ομάδα στην Σέριε Α (8). Επίσης είναι δεύτερη σε συνολικούς τίτλους στην Βραζιλία με (17) έναν πίσω από την Σάο Πάολο (18). Κατέχει το ρεκόρ των 5 συνεχόμενων πρωταθλημάτων (1961-1965). Μεγαλύτερος ποδοσφαιριστής της είναι ο Πελέ, ο «βασιλιάς του ποδοσφαίρου». (el)
Der Santos Futebol Clube, in der Regel nur kurz Santos genannt, ist ein Fußballverein aus Macapá im brasilianischen Bundesstaat Amapá. Aktuell spielt der Verein in der Staatsmeisterschaft von Amapá. (de)
Santos Futebol Clube Brasilgo São Pauloko estatuko Santos hiriko futbol talde ezaguna da. 1950eko eta 1960ko hamarkadetan emaitza bikainak izan zituen, Pelé jokalari izarra zuela. Bi Kontinente arteko Futbol Kopa eta hiru Libertadores Kopa irabazi ditu, azkena 2011. urtean. (eu)
El Santos - AP es un equipo brasileño de la ciudad de Macapá ubicada en el estado de Amapá. Es considerado como el equipo de mayor tradición del estado por encima de equipos como EC Macapá. Juega de local en el Zerão. Actualmente, ocupa la posición 76 del ranking de la CBF teniendo en cuenta la publicación del 2016. (es)
Le Santos Futebol Clube est un club brésilien de football basé à Macapá dans l'État de l'Amapá. (fr)
サントスFC（ポルトガル語: Santos Futebol Clube）は、ブラジル・サンパウロ州サントスをホームタウンとする、ブラジルプロサッカーリーグ（ブラジルリーグ）に加盟するプロサッカークラブ。 (ja)
Il Santos Futebol Clube, meglio noto come Santos, è una società calcistica brasiliana con sede nella città di Macapá, capitale dello stato dell'Amapá. (it)
( 비슷한 이름의 산투스 FC에 관해서는 해당 문서를 참조하십시오.) 산투스 푸치보우 클루비(포르투갈어: Santos Futebol Clube) 또는 산투스(포르투갈어: Santos)로 불리는 이 팀은 1973년 5월 11일에 창단한 브라질의 축구단으로, 아마파주의 마카파를 연고로 한다. 상파울루주의 산투스 FC와 구분짓기 위하여, 아마파 주의 머릿글자 AP를 붙여 산투스-AP라고도 표기된다. 2018년 현재 브라질 축구 4부 리그 캄페오나투 브라질레이루 세리이 D와 아마파 주 리그 에 참가하고 있다. 구단의 최대 라이벌은 이다. 구단의 별칭은 마카파의 고래(포르투갈어: Peixe de Macapá) 혹은 아마존의 고래(포르투갈어: Peixe da Amazônia)로, Peixe는 단어 자체로 사실 물고기를 뜻하지만, 산투스 FC와 마찬가지로 고래를 의미하기 위해 지어졌다. (ko)
サントスFC (ポルトガル語: Santos Futebol Clube) は、ブラジル・アマパー州マカパに本拠地を置くサッカークラブである。2016シーズンはカンピオナート・ブラジレイロ・セリエDに所属。サンパウロ州にもサントスFCがあるため、便宜上サントス-APと表記されることがある。 (ja)
Santos FC is een Braziliaanse voetbalclub uit Macapá in de staat Amapá. (nl)
Santos Futebol Clube – brazylijski klub piłkarski z siedzibą w mieście Santos, w stanie São Paulo. Występuje w rozgrywkach Campeonato Brasileiro Série A oraz Campeonato Paulista. Swoje domowe mecze rozgrywa na obiekcie Estádio Urbano Caldeira. Został założony w 1912 roku. (pl)
«Са́нтос» (порт.-браз. Santos Futebol Clube) — бразильский футбольный клуб представляющий город Макапа, столицу штата Амапа. В 2018 году клуб выступал в Серии D Бразилии. (ru)
Santos Futebol Clube é um clube brasileiro de futebol da cidade de Macapá, capital do estado do Amapá. Suas cores são preto e branco e foi fundado em 11 de maio de 1973. Na era profissional do futebol amapaense, é o segundo maior campeão estadual, com 7 títulos, sendo 5 dos quais conquistados em sequência (2013-14-15-16-17) e os outros 2 foram obtidos em 2000 e 2019. Também se tornou o primeiro time amapaense a chegar a semifinal da Copa Verde de Futebol na edição de 2017. (pt)
山度士足球會（Santos Futebol Clube）是來自巴西圣保罗州海港城市桑托斯的足球會。由三名居於山度士的足球熱愛者，馬基斯（Raimundo Marques）、迪金保斯（Mário Ferraz de Campos）及祖利亞（Argemiro de Souza Júnior），於1912年4月14日成立。球隊在1935年首度奪得聖保羅省聯賽冠軍，於20年後的1955年重溫舊夢。比利（1999年獲國際奧委會選為「世紀運動員」）於1956年以15歲之齡加盟山度士，並於1962年及1963年帶領球隊兩度贏得洲際盃。 山度士在1998年1月20日成為足球歷史上首隊亦是唯一一隊射入超過10,000球的球隊。 (zh)
Santos Futebol Clube je brazilský fotbalový tým z města Santos v aglomeraci města São Paulo ve stejnojmenném státě. Pravidelně se účastní nejvyšší brazilské národní ligové soutěže, Campeonato Brasileiro Série A, z níž nikdy nesestoupil. Obvyklý maskot je velryba a značí to, že město Santos je vlastně přístav. Fanoušek Santosu je známý jako Santista. Pruhovaný černo-bílý dres a černé trenýrky i ponožky. Santos je trojnásobným vítězem Poháru osvoboditelů (1962, 1963, 2011) a jedním ze šesti jihoamerických klubů, co dokázaly Pohár osvoboditelů obhájit. (cs)
Santos Foot-ball Clube estas futbalteamo fondita en 1912 en Santos, Brazilo. Ĝi estas mondfama por diskonigi Peléon al mondo. Santos FC estis fondita en la 14-a de aprilo 1912, de tri sportistoj de Santos: , kaj , kiuj kunvokis asembleon je sidejo de Clube Concórdia (sur nuna Avenuo João Pessoa) por kreado de futbalteamo. Dum la asembleo proponis la nomon Santos Foot-Ball Clube. Post tiu tempo, Santos FC daŭris sian gloran karieron kaj konkeris multajn ĉampionajn titolojn. En 2006 kaj 2007, ekzemple, Santos FC jam venkis la san-paŭlian ĉampionadon. (eo)
El Santos Fútbol Club (en portugués, Santos Futebol Clube, pronunciado /ˈsɐ̃tus futʃiˈbɔw ˈklubi/), conocido popularmente como Santos, es un club polideportivo brasileño, con sede en la ciudad de Santos, Estado de São Paulo.También es el equipo con más goles en la historia del fútbol. Fue fundado el 14 de abril de 1912 y juega en el Campeonato Brasileño de Serie A. Santos es uno de los pocos clubes que nunca han sido relegados a la Serie B del Campeonato Brasileiro. Sus colores iniciales serían el blanco, azul y dorado, pero un año después de su fundación se decidió que los colores del club serían el blanco y el negro. Sus máximos rivales en el fútbol son el Palmeiras, con el que compiten en el Clássico da Saudade; Corinthians, con quien disputa el Alvinegro Clásico; y São Paulo, con (es)
Le Santos Futebol Clube est un club brésilien de football fondé le 14 avril 1912 et basé dans la ville de Santos dans l'État de São Paulo. Il a été surnommé Peixe (littéralement, "Poisson") pendant des décennies, mais la mascotte du club est une baleine. Ce surnom évoque la ville de Santos qui est un port marin, contrairement aux autres clubs de São Paulo plus continentaux. Santos est devenu la première équipe dans l'histoire du football à avoir marqué, de manière accumulée, 10 000 buts en 1998 et 11 000 buts en 2004. (fr)
Santos Futebol Clube (bahasa Portugis Brasil:), lebih dikenal sebagai Santos dan mungkin mengarah ke Peixe (IPA: ), adalah klub sepak bola profesional yang berbasis di Santos, Sao Paulo. Mereka bermain di dan Campeonato Brasileiro Serie A, liga profesional tertinggi di provinsi Sao Paulo dan Brasil. Tim ini berdiri tahun 1912. Didirikan sebagai Santos Foot-Ball Club pada tanggal 14 April 1912 oleh inisiatif dari tiga penggemar olahraga, , , dan , klub ini telah menjadi simbol sepak bola yang indah dan menarik, yang dikenal di Brasil sebagai "Futebol-arte". (in)
Santos Futebol Clube (Brazilian Portuguese: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]), commonly known simply as Santos or Santos FC and nicknamed the Peixe ([pejʃi], "fish"), is a Brazilian sports club based in Vila Belmiro, a bairro in the city of Santos. It is also the team with the most goals in football history. It plays in the Paulistão, the State of São Paulo's premier state league, as well as the Brasileirão, the top tier of the Brazilian football league system. (en)
Il Santos Futebol Clube, noto anche come Santos, è una società calcistica brasiliana con sede a Santos, nello stato di San Paolo. Fondata nel 1912, il club ha vinto il suo primo titolo nel 1935. Il periodo di maggior successo è databile intorno agli anni sessanta quando il Santos conquistò, tra le altre, due Coppe Libertadores (nel 1962 e nel 1963) e altrettante Coppe Intercontinentali (sempre nel 1962 e nel 1963) oltre a una Supercoppa dei Campioni Intercontinentali (nel 1968). Protagonista assoluto di questi successi fu la stella del calcio brasiliano Pelé, che esordì nel calcio professionistico proprio tra le file del Santos nel 1956 rimanendovi fino al 1974. Il club ha vinto il Campionato Brasiliano nel 2002 con Robinho e Diego e poi nuovamente nel 2004. Nel 2011 il club, guidato dal t (it)
( 마카파를 연고로 하는 축구단에 대해서는 산투스 FC (아마파주) 문서를, 여자 축구단에 대해서는 산투스 FC (여자 축구) 문서를 참고하십시오.) 산투스 FC(포르투갈어: Santos Futebol Clube)는 보통 산투스라고 알려져 있으며, 상파울루주의 산투스를 연고로 하는 브라질의 축구 클럽이다. 산투스 FC는 2018년 현재 브라질의 최상위 전국 리그인 캄페오나투 브라질레이루 세리이 A와 상파울루 주 리그 캄페오나투 파울리스타에 참가하고 있다. 이 클럽의 별칭은 수 십년 동안 Peixe (문자 그대로 "어류")였지만, 보통 이 팀을 대표하는 마스코트는 어류가 아닌 고래이다. 이 별칭은 상파울루 주를 연고로 하는 다른 클럽들이 내륙을 연고로 할 때, 항구 도시인 산투스를 되살렸으며, 팀의 팬은 "산티스타"(Santista)라는 이름으로 잘 알려져 있다. 홈 유니폼은 모두 하얀색이고, 어웨이 유니폼은 검은색 및 흰색 수직 줄무늬 또는 검은색 반바지로 이루어져있다. 하지만 클럽의 클럽의 규칙에 의하면 팀이 처음으로 선택한 유니폼은 줄무늬가 든 셔츠와 흰색 반바지 및 흰색 양말이다. (ko)
Santos FC is een Braziliaanse voetbalclub uit Santos in de staat São Paulo. Thuisstadion is het Vila Belmiro, dat 16.798 plaatsen heeft. De club is het meest bekend om zijn voetbalafdeling, maar is ook in andere sporten actief. De club speelt in de hoogste klasse van zowel de staatscompetitie als de Braziliaanse hoogste klasse en is een van de drie clubs die nog nooit gedegradeerd is, naast Flamengo en São Paulo. In 2000 eindigde Santos FC tijdens de FIFA Club of the Century-verkiezing, samen met Ajax, op een gedeelde vijfde plaats van beste voetbalclubs van de twintigste eeuw. (nl)
Santos Futebol Clube é um clube poliesportivo brasileiro da cidade de Santos, São Paulo. Foi fundado em 14 de abril de 1912, suas cores iniciais seriam o branco, azul e dourado, mas um ano após a sua fundação, ficou decidido que as cores do clube passariam a ser branco e preto. Manda as suas partidas no Estádio Urbano Caldeira, mais conhecido como Vila Belmiro. Seus maiores rivais no futebol são o Palmeiras, com quem disputa o Clássico da Saudade; o Corinthians, com quem disputa o Clássico Alvinegro; e o São Paulo, com quem disputa o San-São. (pt)
Santos FC eller Santos Futebol Clube är en brasiliansk fotbollsklubb i Santos i delstaten São Paulo, bildad 14 april 1912. Klubben har smeknamnet Peixe, vilket betyder fisk, men deras maskot är i själva verket en val. Anledningen till detta är att Santos är en hamnstad, till skillnad från alla andra stora fotbollslag från São Paulo. En supporter till klubben kallas för Santista. Hemmaarenan heter , även känd som Vila Belmiro. (sv)
Сантус (порт. Santos Futebol Clube) — бразильський футбольний клуб з однойменного міста штату Сан-Паулу. Він був прозваний Peixe (Риба) протягом десятиріч, але зазвичай талісманом є кит. Прізвисько підкреслює, що Сантус є морським портом, тоді як всі інші великі клуби від штату Сан-Паулу розташовані всередині країни. Вболівальник «Сантуса» відомий як Santista. «Сантус» є рекордсменом з кількості забитих голів в історії футболу: більш ніж 11,500. Клуб виграв свій перший турнір штату в 1935 році, а потім знову в 1955 році. (uk)
«Са́нтос» (порт. Santos Futebol Clube, бразильский португальский: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]) — бразильский футбольный клуб из города Сантус в штате Сан-Паулу. Клуб является одним из четырёх традиционных грандов своего штата (наряду с «Сан-Паулу» (классико ), «Коринтиансом» (самое принципиальное противостояние) и «Палмейрасом») и одним из традиционно сильнейших футбольных клубов Бразилии, сооснователем Клуба Тринадцати, организации самых популярных и титулованных клубов Бразилии. В 2000 году «Сантос» занял пятое место в списке лучших футбольных клубов XX века по версии ФИФА. (ru)
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By Yasmine Sherif
NEW YORK, Aug 12 2024 (IPS-Partners)
We live in a divided world of the haves and the have nots. The rich get richer, the poor get poorer. There is learning poverty, technology poverty, healthcare poverty, and food poverty. When you think about the dynamics of the world today, there is even empathy and humanity poverty.
This divide gets greater for young people living on the frontlines of the world’s most pressing humanitarian crises in places like the Democratic Republic of Congo, Gaza, Haiti and Sudan, where the remarkable potential of youth is eviscerated by brutal armed conflicts, forced displacement, the climate crisis and other horrific, compounding challenges.
To empower today’s youth, we must urgently address this growing divide. It starts with quality education, skills training, and a broad collection of supportive life-long learning measures fit for purpose, activating an entire generation of future leaders.
As UN Secretary-General António Guterres points out: “Achieving the Sustainable Development Goals requires a seismic shift – which can only happen if we empower young people and work with them as equals.”
This year’s International Youth Day calls for us all to look at the power of digital pathways to enhance sustainable development. Indeed, digitization, artificial intelligence and other technological advances are transforming our world and offer unprecedented opportunities to accelerate sustainable development.
But in a world where 250 million children cannot read – or do not have access to a school meal or mental health – how can we leverage the potential of technology to accelerate our efforts to deliver on the goals outlined in the 2030 Agenda for Sustainable Development?
Education Cannot Wait – the global fund for education in emergencies and protracted crises within the United Nations – puts youth first in everything we do. This starts from the highest levels of ECW’s governance, which includes two inspirational youth leaders, Mutesi Hadijah and Hector Ulloa, who are activating a global youth movement through the #Youth4ECW campaign.
Through ECW investments, we are working to bridge the digital divide, extend remote learning, enhance skills training, and provide young people with the tools, training and knowledge they need to thrive in the fast-changing world of the 21st century.
In Moldova for instance, ECW investments focused on refugee children from Ukraine and host community children – and delivered by UNICEF and the Refugee Education Working Group – have established 98 EduTech Labs across 32 regions. In countries like Burkina Faso, Central African Republic, Democratic Republic of the Congo, Niger and Nigeria, ECW supports vocational education programmes for adolescents who have been pushed out of school.
These collective actions offer an essential first step in bridging the divide for the millions of children pushed into learning poverty by emergencies and protracted crises. But more needs to be done and we urge private sector donors, high-net-worth individuals and philanthropic foundations to provide urgently needed funding as we race to mobilize an additional US$600 million to deliver on ECW’s three-year strategic programme.
Together, through the power of inclusive education, digital pathways and lifelong learning, we can bridge the divide and create a world united through a wealth of humanity.
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Excerpt:
International Youth Day Statement by Education Cannot Wait Executive Director Yasmine Sherif
By Witada Anukoonwattaka and Preety Bhogal
BANGKOK, Thailand, Aug 12 2024 (IPS)
The rapid growth of digitalization has fundamentally altered commerce, impacting production and facilitating the movement of goods. The 2023 Asia-Pacific Trade and Investment Report (APTIR), has pointed out that although digital trade revenues of Asia and the Pacific account for a significant share of global trade, this growth is uneven, with trade concentrated in a few areas, leading to disparities across the region.
Studies show a positive relationship between digital trade and progress on the Sustainable Development Goals (SDGs). These linkages among digital trade policy and the social and economic pillars of the SDGs may appear more indirect, but they do manifest through economic channels.
Various facets of the relationship between sustainable development and digital trade are evident, such as the impact of digital trade on wealth inequality in the region, the role of the Internet in export expansion, how e-commerce facilitates small and medium-sized enterprises (SMEs), and how digital trade can help achieve the ambitious agenda behind the SDGs.
However, better digital infrastructure does not necessarily engender competition and instead requires active measures from the government to promote linkages between export superstars and domestic suppliers.
Additionally, robust regulatory frameworks on digital trade can help eliminate “monopolistic and restrictive” trade policies, contributing significantly to a more equitable distribution of wealth.
Examples of good practices
Different policy measures to establish an inclusive digital trade and e-commerce landscape have been used across the region. For example, research on internet courts in China showed how such public and digitized judicial systems benefit smaller and medium-sized firms compared to private dispute resolution mechanisms, which are highly costly.
Similarly, research on the Pacific Alliance’s trade policies, particularly its binding agreements and work instruments, provided a framework to incorporate net neutrality in the promotion of equitable digital development.
Indonesia’s introduction of single submission for freight transport applications and its impact on sustainability in supply chains was another case study. This policy instrument has had significant impacts across multiple domains, such as increasing time effectiveness, reducing costs, and increasing transparency in shipping and port clearances.
Lessons learned and the way forward
There is a need to understand the specific digital trade policy instruments that promote sustainable development. It is critical to acknowledge key differences and similarities between trade and digital trade policy to strategically leverage their interlinkage to achieve the SDGs. Social development works in tandem with economic progress.
A key concern is the lack of data on cross-border e-commerce in the Asia-Pacific and Latin America regions, which hinders the implementation and evaluation of programs designed to promote the participation and productivity of small and medium enterprises (SMEs).
More concerted efforts to improve data measurement through private-public partnerships could be a possible policy intervention to address this issue. States should establish effective monitoring systems by improving the availability of economic statistics and third-party evaluations for measuring the progress and impact of SME support programs.
However, given the diversity in operations of SMEs across sectors, it is essential to devise and tailor policies that cater to their specific needs and realities.
There is also a need for sharing real-world examples of successful government initiatives and SME support programs so neighboring countries can draw lessons from them. There are doubts about the long-term usefulness of stand-alone Digital Economy Agreements (DEAs) due to the lack of stringent legal provisions for possible breaches, unlike market-access free trade agreements (FTAs).
Lastly, the United States, which has played a pivotal role in advocating for an open global trade environment, gradually step back from its position, it is time to rethink the leadership that would guide the establishment of digital trade provisions in the future.
This involves showcasing how digital trade rules will be established and enforced moving forward. Who will provide such public goods for digital trade is a major question facing the global economy.
Given its rapid digital-economy growth, significant market size, and increasing influence in global digital trade, should that leadership come from the Asia-Pacific region?
Witada Anukoonwattaka is Economic Affairs Officer, Trade Investment and Innovation Division, ESCAP; Preety Bhogal is Consultant, Trade Investment and Innovation Division, ESCAP.
IPS UN Bureau
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By Thalif Deen
UNITED NATIONS, Aug 12 2024 (IPS)
The growing number of killings of Palestinian journalists in Gaza has triggered a demand for a cut-off in US arms supplies to Israel.
A letter addressed to US Secretary of State Antony Blinken—and signed by scores of reporters, news outlets and journalist unions— says Israel has killed more than 165 Palestinian journalists since October 7 last year.
Initiated by three international organizations — Defending Rights & Dissent, the Courage Foundation, and Roots Action— the letter says: “This is the largest recorded number of journalists killed in any war.”
While Israel’s indiscriminate bombing of the densely populated Gaza means no civilians are safe, Israel has also been repeatedly documented deliberately targeting journalists, says the letter.
“Israel’s military actions are not possible without U.S. weapons, U.S. military aid, and U.S. diplomatic support. By providing the weapons being used to deliberately kill journalists, you are complicit in one of the gravest affronts to press freedom today”, says the letter, currently in circulation, and addressed to Blinken.
Sarah Leah Whitson, Executive Director, Democracy for the Arab World Now (DAWN), told IPS despite pleas of the international community to suspend arms to Israel in the face of its unprecedented atrocities against Palestinians in Gaza, including the killing of over 165 Palestinian journalists, it beggars the imagination that Biden is now seeking to sell Israel new weaponry to facilitate even more slaughter.
On August 9, the U.S. State Department officially notified Congress of its intent to proceed with a new authorization for weapons to Israel, including 6,500 Joint Direct Attack Munitions (JDAMs) guidance kits to Israel, despite extensive evidence documenting the Israel Defense Force’s (IDF) use of U.S. weapons to carry out war crimes and crimes against humanity, said DAWN, in a press release Friday.
This “is a slap in the face of humanity and all the values we hold dear,” Whitson said.
Blinken also announced his decision not to sanction the IDF’s notorious Netzah Yehuda battalion, despite credible evidence of its systematic and gross human rights violations in the occupied West Bank, in violation of strict U.S. laws requiring the imposition of such sanctions.
“It is mind-boggling that despite the overwhelming evidence of the IDF’s unprecedented crimes in Gaza that has shocked the conscience of the entire world, the Biden administration is greenlighting the transfer of additional lethal weapons to Israel,” said Whitson.
“It is hard to comprehend how the Biden administration can justify rewarding Israel with new weapons, despite Israel’s persistent defiance of every single plea the Biden administration has made urging a modicum of restraint, and despite the very apparent fact that such sales violate black letter U.S. laws prohibiting weapons to gross abusers like Israel,” she pointed out.
Meanwhile, as of August 9, 2024, preliminary investigations by the Committee to Protect Journalists (CPJ) showed at least 113 journalists and media workers were among the more than 40,000 killed since the war began, making it the deadliest period for journalists since CPJ began gathering data in 1992.
Journalists in Gaza face particularly high risks as they try to cover the conflict during the Israeli ground assault, including devastating Israeli airstrikes, disrupted communications, supply shortages, and extensive power outages, CPJ said.
This has meant that it is becoming increasingly hard to document the situation, and CPJ is investigating almost 350 additional cases of potential killings, arrests and injuries.
Dr Ramzy Baroud, a journalist and the Editor of The Palestine Chronicle, told IPS Israel has killed, as of last week, 168 Palestinian journalists, the same way it has killed over 200 aid workers, hundreds of doctors, medics and people from every category and background. None of this is coincidental.
A simple proof that Israel deliberately targets journalists is the fact that it habitually produces and promotes stories that justify their murder, often accusing them of terrorism. Israel is yet to provide a single set of credible evidence against any of the killed journalists, he said.
On October 11, Israeli President Yitzhak Herzog had said “there are no innocent civilians in Gaza”. This disturbing Israeli logic applies to all Palestinians in the Strip, including journalists.
“Israel must be held accountable to its ongoing murder of journalists. But a huge responsibility falls on the shoulders of journalists and media organizations around the world, who often ignore the very murder of their colleagues in Gaza, let alone circulate Israeli’s unfounded accusations often without questioning its credibility or merit,” he said.
The fact that Gazans continue to report on their own genocide by Israel is heroic beyond words. But they must not be disowned, and must not continue to report and die alone without a true international solidarity that could hold their murderers to account, said Dr. Baroud, who is also a Non-resident Senior Research Fellow at the Center for Islam and Global Affairs (CIGA).
Dr. James Jennings, President, Conscience International, told IPS the heroic martyrs of the free press in Gaza deserve to be honored by all humanity, at the very least with the Nobel Peace Prize. Standing under the bombs, reporting the truth, then paying with your life is a superhuman act of courage.
The job of journalists is simply to journal–to shine a light on the truth by writing down or telling what they see on the battlefield. Killing the messengers is a sign that the perpetrators fear them and their influence, he pointed out.
Deception and lies are major part of war. How else could people slaughter myriads of others and do it with impunity?, he asked.
But truth has two sides–sending and receiving. Refusing to credit honest reporters means that we really don’t want to hear what they are saying anyway. Choosing to believe lies because we want them to be true is what enables wars to continue.
“Even worse than lying to the enemy is lying to yourself. Attempting to cover the plain truth by denying facts or looking the other way is tantamount to insanity. When will Americans stop lying to themselves and start believing their own ideals?”, asked Dr Jennings.
Ibrahim Hooper, National Communication Director at the Washington-based Council on American-Islamic Relations (CAIR), the nation’s largest Muslim civil rights and advocacy organization, said: “The only thing that can explain the shocking silence of American and international media professionals about the mass killing of their Palestinian colleagues is the decades-long and systematic dehumanization of the Palestinian people, in which the lives of Palestinians have lesser or no value. Journalists worldwide must begin to speak out about these killings and about the Israeli genocide in Gaza.”
In a press release last week, the UN Educational, Scientific and Cultural Organization (UNESCO) said it is monitoring attacks and threats against journalists.
The agency noted that in recent months, multiple journalists covering protests in different parts of the world have been subjected to various forms of attacks, including killings, injuries, arbitrary detentions, and confiscation of their equipment, while exercising their rightful duties as journalists.
UNESCO recalls “that all authorities concerned have the duty and responsibility to ensure the safety of journalists covering protests around the world, in accordance with international norms and human rights obligations”.
The joint letter to Blinken says Israel has gone to great lengths to suppress media coverage of its war in Gaza, imposing military censorship on both its own journalists and international reporters operating in the country; and, with Egypt’s help, blocking all foreign journalists from Gaza. Israel shut down Al Jazeera, raided its office, seized its equipment, and blocked its broadcasts and website within Israel.
The world relies only on the Palestinian journalists in Gaza to report the truth about the war and Israel’s widespread violations of international law.
“Israel’s deliberate targeting of these journalists seems intended to impose a near blackout on coverage of its assault on Gaza. Investigations by United Nations bodies, NGOs, and media organizations, have all found instances of deliberate targeting of journalists.
In a joint statement, five UN special rapporteurs declared: “We have received disturbing reports that, despite being clearly identifiable in jackets and helmets marked “press” or traveling in well-marked press vehicles, journalists have come under attack, which would seem to indicate that the killings, injury, and detention are a deliberate strategy by Israeli forces to obstruct the media and silence critical reporting.”
Meanwhile, under international law, the intentional targeting of journalists is considered a war crime. While all governments are bound by international law protecting reporters, U.S. domestic law also prohibits the State Department from providing assistance to units of foreign security forces credibly accused of gross violations of human rights. Israel’s well-documented pattern of extrajudicial executions of journalists is a gross violation of human rights.
IPS UN Bureau Report
Follow @IPSNewsUNBureau
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3394
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2
| 61
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https://www.alamy.com/stock-photo/andre-002-jpg.html
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en
|
res stock photography and images
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Find the perfect andre 002 jpg stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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en
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Alamy
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https://www.alamy.com/stock-photo/andre-002-jpg.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 27/08/2024 Alamy Ltd. All rights reserved.
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3394
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3
| 17
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https://issuu.com/taosnews/docs/fallfestivals_17
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en
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Fall Festivals: Official Guide 2017
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2017-08-31T14:14:52+00:00
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Inside, you'll find the full information for the 43rd annual Taos Fall Arts Festival, San Geronimo Day, Taos Mountain Balloon Rally, and more!
|
en
|
/favicon.ico
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Issuu
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https://issuu.com/taosnews/docs/fallfestivals_17
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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3394
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dbpedia
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0
| 15
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https://www.cinelimite.com/post/excavations-and-recollections-around-zozimo-bulbuls-abolition
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en
|
Excavations and Recollections around Zózimo Bulbul's Abolition
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Excavations and Recollections around Zózimo Bulbul's Abolition
|
en
| null |
Written by
Marcell Carrasco
Translated by
Excavations and Recollections around Zózimo Bulbul's Abolition
PT /
ENG
Excavations and Recollections around Zózimo Bulbul's Abolition
PT /
ENG
PT /
ENG
IMAGEÂ BYÂ luiz paulo lima
Written by
Marcell Carrasco
Translated by
Abolition â A Brief Introduction to the Film
â1988 marked the 100th anniversary of the Lei Ãurea in Brazil, the legislation that officially emancipated slaves throughout the country. This anniversary sparked conversations about the historical significance of the Lei Ãurea, and provoked new criticisms about how far Brazil had come in its treatment of Black people since that historical decree. It was in light of this renewed interest in the Lei Ãurea that actor/filmmaker/activist Zózimo Bulbul debuted Abolição (Abolition), his first and only feature film as a director and the product of more than ten years of thorough research. Bulbul intended to use this anniversary as an opportunity to critically reflect on the conditions of Black Brazilians after the emancipation and to demonstrate that the abolition in fact had been a farcical scam. Notwithstanding that there were other films1 produced at that time which covered the Lei Ãurea and racism in Brazil, Bulbulâs film explored these topics in a particularly unique way - it was the first Brazilian film shot by a nearly all-Black crew to portray the reflections of Black Brazilians on their own post-abolition condition.
One of the major aspects which made Bulbulâs filmmaking process stand-out from the other works that explored the conditions of Black people in Brazil is the breadth of locations which the film covers. The crew of Abolition traveled with their camera through sites and cities that remain crucial to the development of Afro-Brazilian culture. These included Bahia and Pernambuco (Northeast), Manaus (North), Rio Grande do Sul (Deep South), and São Paulo and Rio de Janeiro (Southeast). Another of Abolitionâs achievements is the way that Bulbul managed to shed light on a diverse array of situations in which Black people were living. For example, the crew captured interviews with key icons from the Afro-Brazilian community, such as Abdias do Nascimento, Lélia Gonzalez, Carlos Medeiros, Beatriz Nascimento, Grande Otelo, Joel Rufino dos Santos and Benedita da Silva. In the film, these interviews are occasionally shown on-screen sharing perspectives informed by their own Blackness, but in other moments, voices from the interviews materialize as the camera shifts its attention to Black bodies that are, despite being part of our social urban fabric, perpetually rendered invisible throughout our history: workers, the homeless population, the impoverished living in the slums, the street artists and so on.
Why Abolition?
Iâve been involved with the work of recuperating Abolitionâs historical materials on a daily basis since I began the graduate studies program in Communications at Pontifical Catholic University of Rio de Janeiro two years ago, and I recently concluded the program with a masterâs dissertation on the film. As I began conducting research for my dissertation, I encountered a scarcity of information on Bulbulâs lone feature film. There are only a few academic works that cover the cineasteâs lifeâall of which barely discuss Abolitionâand I had not come across any work that provides it with a thorough analysis. This makes clear that despite receiving awards at Brazilian film festivals, as well as overseas,2 the documentary went on to make only a minor impact on the world of film academia. Noel dos Santos Carvalho, a film teacher and researcher from Universidade de Campinas (UNICAMP), attests to how the film was met with indifference: âWith its 150 minute duration, Abolition did not find approval with the audience. Not even among Black people. The conversation around it was limited to a small circle of intellectuals and Black activistsâ.3 Carvalhoâs testimony poses several questions: Why was Abolition seen by so few people? Why was its impact so minimal? What is the filmâs legacy among todayâs Black researchers?
Aside from investigating these questions, this article will bring together some of the memories and recollections from the Abolition film crew that I gathered while interviewing them for my masterâs thesis. These memories and recollections are vital towards gaining an updated understanding of the film today, as it is important to appreciate that Abolition was the universal effort of many forces of Black creativity. In the eyes of researcher Heitor Augusto (2018), investigating the creation of Abolition allows us to comprehend the nuances of a film that was conceived and executed by Black creators during a moment when new ideas, projects, and perspectives, both in Black Brazilian cinema and intellectual thought at large were emerging. The core crew members of Abolition were/are trailblazers in that they executed roles that were unprecedented for Black professionals. However, perhaps even more importantly, they reclaimed the legitimacy of their enunciative position and their right to tell their own stories. From behind the camera (or even because of it) this crew contributed to the theorization and structuring of Black cinema, a field that was practically nonexistent in Brazil at that time.
In conversation with the film crew
On January 28, 2020, on a hot Rio de Janeiro afternoon, I first encountered Vantoen Pereira Jr. Pereira Jr. played a decisive role as a facilitator on Abolitionâs production, and he still works to promote the film and fights to preserve its memories. In my conversation with Pereira Jr., he started off by bringing me back to the origin of Abolition, towards the earliest days when Bulbul first began developing the project.
According to Pereira Jr., Abolition began to take shape around 1977 on an immersive trip that he and Bulbul took to Búzios, a city located in Rio de Janeiroâs lake areas. He recounts that Bulbul, who had just returned from a self-imposed exile4, rented a house at Rasa beach and immediately began writing. Bulbul set out to incorporate some of the social, historical, and aesthetic investigations to be found within his previous films Alma no Olho (Soul in the Eye, 1973) and Dia de Alforria (Emancipation Day, 1981). In addition, Bulbul had gathered new ideas and information throughout his journey through Africa, Europe and the United States, and he was eager to incorporate this into a new project. While working in Búzios, Bulbul used a typewriter to register his memories and recollections from this journey.
Then, in 1986, after nearly a decade of research during which he was working towards a final draft of the screenplay, Bulbul put together the crew that would bring Abolition to life. From the very beginning, Bulbul expressed his predilection for having an all-Black crew since he believed that only professionals from the Black community would be able to bring the specific perspectives needed to make the film. However, though the race criteria was important to Bulbul, it was not the determining factor as to who would get hired to work on Abolition. While I will touch on this point further on, I find it imperative to now introduce eight crew members from Aboliton and explain the important role they played in its production. But before delving into these testimonies, I must stress the importance of analyzing Abolition through the point of view of the professionals whose jobs arenât typically perceived with the same level of prestige enjoyed by screenwriters and directors (both roles personified by Bulbul in the case of Abolition). The conception and the construction of a work of cinema such as Abolition is necessarily based on the input of a collective, and by bringing to light the voices and experiences of the crew members on this predominantly Black film set, we are able to delve deeper into the film, following the tracks left by their accounts and collective memories. We can then begin to comprehend how the need for collectivity, or âaquilombamentoâ5 stems from the desire to forge a space where people can show each other affection, actively listen to one another, forge new connections, and discover identities.
Deusa Dineris
The first crew member that I would like to highlight was the only Black woman to be a part of the making of Abolition, Deusa Dineris. Dineris was one of the filmâs most important contributors and she was invited to join the project in 1986, right before shooting started. At the time, she had been working as an advertising executive for the advertising company Momento Filmes.6 During the filmâs funding stage, the producers identified the need to create a co-production in order to compete for a grant from Embrafilme, and therefore Momento Filmes acted as the co-producer. Through this co-production, Dineris got involved with the film; but she explains that her involvement only happened by chance, since she wasnât working in cinema at that time.
Dineris and Bulbulâs first encounter took place at Momentoâs headquarters. She knew very little about Abolition, only that the crew was made of eleven men and one Black woman, Anya Sartor, who was expected to work as the continuity supervisor despite having a previous career in acting. Just before shooting began, Sartor had to withdraw from the project for personal reasons. This left a major gap within the production crew, and there was now the challenge to find another Black woman who could fill in for Sartor. Bulbul believed it was necessary to have a racialized feminine perspective as part of the crew and to the surprise of Dineris, Bulbul and owner of Momento Filmes (Jerônimo César) decided to invite her to fill the position vacated by Sartos. Although Dineris initially showed reluctance in accepting this offer due to her lack of experience in the film industry, in the end, Bulbul managed to convince her to work on the film.
Dineris on the the set
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Image From the collection of Deusa Dineris
In our interview, Dineris recollected that being the only Black woman on the crew was not a challenge for her, as she had three prior experiences working for publicity agencies where there were no other racialized women on staff. However, the real challenge for her was accepting a job that she had no previous experience in. By working on the documentary, she likely became the first Black woman to serve as a continuity supervisor on a Brazilian film. The fact that it took so long for a female to fill this role may come as a shock to many. But it is important to keep in mind that it was only in 1984 â 4 years before Abolition â that the first feature length film directed by a Black Brazilian woman hit the theaters. This was Adélia Sampaioâs Amor Maldito.
In a film industry dominated by white men, the presence of Dineris was of fundamental importance to Abolition. Throughout the interviews I conducted with the filmâs eight crew members, each emphasized that the presence of Dineris on the predominantly male film set allowed the film to be less oriented towards the male-gaze. However, during the production of Abolition, there remained the all too common gender-oriented working dynamic that privileged men. Dineris recounts that because the crew was so small, she accumulated new tasks beyond her initial role as the continuity supervisor, becoming actively engaged as assistant director and producer. âWhile the crew would go to the bar after the shooting, Iâd stay indoors working and getting everything ready for the next morningâ, she recalls. Such unbalanced divisions of labor reveal that there was still gender stereotyping throughout the making of Abolition.
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Despite these obstacles, Dineris reveals that being part of the film had a direct influence on the growth of her own budding racial identity. It is no coincidence that, after working on the documentary, Dineris decided to quit the advertising business and become engaged with the Black struggle, eventually launching an event-production company7Â solely dedicated to promoting Black artists.
Deusa Dineris during the shooting of Abolition at the Pelourinho square in Salvador, Bahia
Image From the collection of Deusa Dineris
Dineris has preserved both her personal memories and memorabilia from the period of making Abolition. On the day of our interview, she brought pictures, a book autographed to her by the journalist Edmar Morel (who is featured in the film), and a publicity folder produced for the release of the movie. She passed that folder onto me as a gift, remarking on the importance of sharing it with future generations in order to show the ways in which Brazilian films were advertised during the pre-Internet era.
My conversation with Dineris and the act of investigating her role in the film was one of the most thought-provoking parts of my research, and her narrative is crucial towards understanding what working dynamics were like on the film set of Abolition. A Black cinema â that is, a cinema made by Black creators â must be mindful of intersectionality. In its efforts toward building a nearly all-Black crew, Abolition contributed to larger efforts of inserting Black professionals in the film industry, all the while reproducing gender stereotypes and sexist microaggressions in its division of labor.
Vantoen Pereira Jr.
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Vantoen Pereira Jr. and Zózimo Bulbull
Coming from a career in photography, Vantoen Pereira Jr. joined the crew of Abolition with former experiences in the arts. But it was through Bulbul, who was like an uncle and godfather, that he first began to learn about cinema. Since Bulbul never had children, he and Pereira Jr. were able to forge something like a father-son relationship. I would like to stress that this close relationship, as well as Pereira Jr.âs previous experience as a still photographer for well-regarded directors such as Nelson Pereira dos Santos, José Medeiros and Roberto Farias, helped create a familial atmosphere on the set of Abolition.
The official role that Periera Jr. had on Abolition was assistant cinematographer alongside DP Miguel Rio Branco, but his involvement in making the film went beyond thatâhe witnessed and contributed to early research in Búzios, and he read over Bulbulâs initial screenplay drafts. Bulbul also had a profound influence on Periera Jr., as he was able to develop his photographerâs eye while working on the set of Abolition. Bulbul changed my "understandings around image-making, visual poetics and working practicesâ, Pereira Jr. said. During our conversation, Pereira Jr. walked me through each step of Abolitionâs filmmaking process. He made sure to reiterate that Abolition is a very meaningful film, and insisted that we can glean much more from it than what was initially grasped during the time of its release.According to him, it was a film for the future, to be explored by generations to come.
Pereira Jr. is not merely a source for valuable archival material related to the film (as he has preserved photographs and documents from the film sets), but he also serves as a precious carrier of memories related to Abolitionâs production previously known only to him. Of these memories, Pereira Jr. recollects that Bulbul often stressed the âimportance of familyâ throughout the filmmaking process; according to him, Bulbul emphasized this idea because he believed that it was an important force in providing a reconnection and reconstruction for Black families who were torn apart as a result of centuries of slavery. Pereira Jr. also discussed how community building and the power of encounter were key ideas that influenced Bulbul throughout his career, even claiming that one of Bulbulâs intentions with Abolition was to explain why thousands of Black families were separated and decimated since the Lei Ãurea.
Pereira Jr. was instrumental to both Abolition and to my research. In our conversations he shared fresh information and diligently helped me contact the rest of the crew. As I look back at those moments when I held my interview with seven of the crew members, sharing the same space for the first time in years, I realize how important it was to have them all together in a friendly environment.
Severino Dadá
Severino Dadá worked as the editor for Bulbulâs second film, the documentary Aniceto do Império em dia de Alforria? (1981). In our conversation, Dadá recalled that he was first to be formally invited by Bulbulâwith whom he had been friends since the 1970sâto work on Abolition. The two shared thoughts throughout the entire pre-production process, from providing input on the screenplay to helping Bulbul choose the interviewees. Every member of the crew who worked on Abolition is reverent towards Dadá, who is famous for his encyclopedic knowledge, and recognized for his fundamental contributions to Brazilian cinema. Dadá is one of the most active film editors within the history of Brazilian Cinema, his credits amounting to more than 300 films. His fondness for Bulbul was visible when he spoke about Abolition, as he emotionally recalled the intimate friendship which he had with the filmmaker that contributed to this crucial chapter in Brazilian cinema history.
Before working on Abolition, Dadá had already enjoyed a prolific career as an editor, having worked with prominent Brazilian directors such as NelsonPereira dos Santos and Rogério Sganzerla. A native of Pedra, a small city located in the backcountry of Pernambuco state in the Northeastern Coast of Brazil, Dadá began his career as a radio announcer. However, he soon migrated to cinema once he joined the independent film club circuit. His life-trajectory soon intersected with Brazilâs immediate political history as he was incarcerated and tortured by the military during Brazilâs military dictatorship8. Both Dadáâs background as a native of Pernambuco and his political activism were vital to the ways in which he contributed to Abolition. Also, as one of the few white crew members, his political convictions and perspectives as a nordestino9 offered a fresh perspective to the film.
One of the many stories Dadá told me recounts the day that Bulbul was informed of Embrafilmeâs decision to fund Abolition. The director invited the editor to São João Batista Cemetery in Botafogo on the South Side of Rio de Janeiro, in order to deliver an ebó, which is a type of offering that is part of the tradition of various Afro-Brazilian religions. The ebó was being delivered by Bulbul to express his thankfulness for receiving the awarded grant that would make the production of the film possible. As they entered the cemetery, a police car that was circling in the vicinity approached them. One of the officers stepped out the vehicle, and he recognized both Dadá and Bulbul. That officer was Paulo Copacabana, who had worked as an actor in some films, including Roberto Fariasâs O Assalto ao Trem Pagador (Assault on the Pay Train, 1962) and J.B. Tankoâs Bom Mesmo é Carnaval (Carnival is Truly Good, 1962). As he questioned them for their reasons of being in front of the cemetery late at night, Dadá and Bulbul explained they were about to execute a thanking ritual. Copacabana then proceeded to put them both inside the police vehicle and drove them to a nearby bar in order to celebrate the film grant; they all sat togetherâDadá, Bulbul, Copacabana and another cop, who eventually paid the bill.
Another less humorous anecdote recounted by Dadá involved Pelé, elected in 1980 as the Athlete of the Century by the French paper LâEquipe. As an international superstar and the Black symbol of soccer at the time, Pelé was invited to be interviewed and share his thoughts on racism in sports. Pelé declined the invitation, explaining that he believed racism did not exist in Brazil. Disappointed with his stance, Bulbul and Dadá were forced to look for another figure to be interviewed in the film, someone who had a more critical perspective on racial issues in sports, especially in soccer. They ultimately invited Paulo Cézar Caju, who was known throughout his career as a lone critical voice of racism in soccer. Caju promptly accepted being interviewed for the documentary, where he devoted harsh criticisms towards Pelé due to his lack of engagement in the Black struggle. The response to this was immediate: Peléâs lawyer contacted Bulbul to communicate the athlete's wishes to have the interview removed from the film, as it tarnished his image. Despite such extreme pressure, Cajuâs opinions remained in the final cut.
This situation illuminates the difficulties one faces when trying to begin a conversation about racism in Brazil. What Bulbul encountered with Pelé is a common situation in Brazil: eitherBlack figures refuse to acknowledge structural racism or they give the packaged, standardized answer that, despite the existence of prejudice in society, they themselves were never the target of it. Iâm left to wonder how painful it must have been forBulbul to hear from Brazilâs most important athlete that racism is a fiction by which he was never hurt. The episode serves as a clear testament to the obstacles that the film had to overcome in providing a more truthful representation of Black life in Brazil.
Alexandre Tadeu, Edson Alves, and Biza Vianna
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Alexandre Tadeu, a film electrician, met Vantoen Pereira Jr. when they worked together on Roberto Fariasâs Pra Frente Brasil (1982) and they quickly became friends. Soon thereafter, Tadeu met and became friends with Bulbul, as they both frequently attended the bars and night life of Lapa, a historic neighborhood in downtown Rio de Janeiro. Their favorite place to meet became âTangaráâ, a tavern where they would exchange new ideas about cinema. Tadeu recalls that they never directly talked about Abolition during those encounters and that he only became familiar with the project when editor Severino Dadá took Bulbul to the offices of Memento Filmes. As a staff member of Memento Filmes, Tadeu naturally became involved with the production of Abolition, offering the crew support with company rental equipment. Tadeu also remembers that during post-production, he would accompany Dadá and Bulbul in the cutting room, and after a long shift of work they would head to São Salvador square, in Laranjeiras, to discuss all of the editing choices of the day.
Edson Alves, aka âEdinhoâ, was a professional lighting technician and electrician who had a brief stint working on the set of Abolition for ten days. His work can be prominently seen in the fictional sequences in early half of the film.10 However, despite the fact that Ediho only worked on the set for a short period, his presence was very important to Deusa Dineris, who recounted in our interview that she learned many of the ins and outs of a film set from Edinho. I would like to emphasize this relationship between Edson and Dineris it reflects the importance of aquilombamento on the making of Abolition. It was made evident throughout the interviews I conducted that the sense of shared identity and communion that Abolitionâs production offered the crew was a respite from the previous experiences that they had in white-dominated working environments which precluded this form of collectivity.
Bulbulâs widow, Biza Vianna, shared with me that the couple were forced to break the agreement they had made to never work together, especially on film shoots. She joined the project at the last minute because it urgently needed a costume designer for the aforementioned fictional sequence in which Princess Isabel reads the proclamation of emancipation. Vianna had a career working in fashion and theater, so she joined the crew and was responsible for both the costume of the fictional characters and the clothing of the crew members who would eventually be shown on-screen in key sequences. Vianna used Zapatistas Army of National Liberation as an inspiration for dressing the crew as a way to suggest an image of a Latin-American resistance. She considers her role on the film to have been small, but other members of the team such as Pereira Jr. and Flávio Leandro think otherwise, stressing the importance of Vianna as both a professional and Bulbulâs partner, whose legacy she oversees today.
Alexandre Tadeu, Fernando Spencer, Severino Dadá e Zózimo Bulbul, during the film editing
Miguel Rio Branco
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Lastly, it is paramount to explore the role of cinematographer Miguel Rio Branco, the only white man on the Abolition shooting crew. Prior to joining the production, his work as a photographer had shown a predilection for popular culture, as can be seen in the series Maciel (1979). Maciel documents the precarious conditions in the oldest areas of Pelourinho, a historic neighborhood in Salvador, Bahia. Years later, Rio Branco directed Nada levarei quando morrer, Aqueles que mim deve cobrarei no inferno (1985), a key short film in his career.11 By the time he worked on Bulbulâs documentary he already was a nationally and internationally acclaimed artist, especially praised for his photography. In August of 2019 I travelled to Araras, a city on the mountains of Rio de Janeiro, to interview Rio Branco and record his memories from working on Abolition. Rio Branco did not maintain close contact with Bulbul and the rest of the crew after shooting completed, and therefore his thoughts on the final version of the film are enigmatic. According to Biza Vianna, Rio Branco distanced himself from the documentary upon its completion, ânever [making] any effort to learn about the filmâ.
Although Bulbul had wanted to assemble an all-Black crew, he faced challenges when it came to choosing a DP, since, according to Dadá and Flavio Leandro, there were very few Black cinematographers in Brazil. Bulbul believed that Rio Brancoâs vast oeuvre12 of photographing Black bodies would provide him with the necessary experience to shoot Abolition. When I brought this up to Rio Branco during our conversation, he disagreed that this was the reason that had led Bulbul to choose him as DP. According to him, âAs long as you have the ability to gaze and possess technical knowledge, you can photograph any type of body, black or whiteâ. I believe that this statement deserves further scrutiny.
Rio Brancoâs understanding is opposite to that of Eustáquio Neves, another well-regarded Brazilian photographer who has discussed his struggles during the 1980s to find the right camera equipment appropriate for capturing different shades of dark skin. Neves became known for having developed alternative and multidisciplinary techniques to manipulate film negatives and positives to suit this purpose. According to Neves:
Lighting standards werenât developed having darker skins in mind, but rather to the Caucasiansâ. It used to be very difficult to photograph a Black woman in a white wedding dress. One ended up having to lighten the skin instead of portraying the color as it was originally. I used to believe that I didnât know how to photograph, until I realized the issue wasnât me, but the standards.13
âNevesâs statement reveals that it wasnât just a matter of having a pure ability to take good photographs, since properly photographing Black bodies involved overcoming different technological factors and social norms that were created by the photographic industry and which went unchallenged for many years. As Abolition would be a film that mostly rendered Black bodies, the aesthetic choices behind the filmâs cinematography was a matter taken into serious consideration by Bulbul. Not only was Bulbul forced to reckon with the technical limitations of producing an authentic image of Black bodies, but he also had to consider the cinematographerâs subjective gaze. It was therefore necessary to count on a DP who could be sensitive to these issues. Despite his declared indifference to the systemic prejudices of technical cinematography at the time, Rio Brancoâs success with Maciel led Bulbul to believe that the photographer could deliver an image similar to what he had in mind. Despite the disparate choice, the partnership between Bulbul and Rio Branco yielded beautiful results, as the film went on to win the Best Cinematography award at the Festival de BrasÃlia. Rio Branco revealed that he was surprised to receive this award, since he believed that the filmâs strengths were its research and screenplay, particularly the unprecedented coverage of the emancipation of slavery by Black creators.
There was also a disagreement between Bulbul and Rio Branco over Bulbulâs decision to pre-conceive the form in which the film would take, as this implied that there would be very little room for debate and experimentation in the film's mode of visuality. Of course, this âpreconceived formâ was in fact a reflection of Bulbulâs clarity of vision for Abolition. The film was the very definition of a passion project for Bulbul, who therefore knew how he wanted the film to look and what form of construction it should take. For a white cinematographer such as Rio Branco who was used to having greater autonomy in the decision-making process on the set of a film, being relegated to the role of an observer felt like a disappointment. The friction between Rio Branco and Bulbul, of which remnants can still be felt today, reveals the social hierarchy of race within working relationships, and how it was and still is difficult for white people to take directions from Black professionals.
In fact, as a white man, Rio Branco was amazed that he was even invited to work on Abolition.14 During our conversation he expressed that: âIn the United States they would never cast me as the DP of a film like this, and my presence in it shows that we Brazilians enjoy the possibility of a bigger interracial relationship than other countriesâ. However, when we look at the history of racial disparities within the Brazilian film industry, they reveal that Brazilian cinema has always been a predominantly white industry. A thorough examination of the Brazilian film industry sponsored in 2017 by GEMAA (Study Group for Affirmative Action)15 revealed a severely segregated landscape throughout the history of Brazilian cinema. GEMAAâs study looked at the highest grossing Brazilian films between 1970 and 2016. Their findings revealed that gender and racial inequality have always been the norm within the Brazilian film industry. The study claims:
Between 1970 and 2016, the highest grossing films (works seen by more than 500 thousand people) were predominantly directed by white men (98%). We couldnât identify a single director who was a person of color, though we must state that 13% of the titles couldnât be analyzed due to lack of data. When it comes to gender, we noticed a very low number of women working as directors: only 2%. And none of them were Black.16
When analyzing the screenwriters of those titles, âonly 8% were women and the only Black woman we could identify in the sample was Julciléa Telles, who was the co-writer of the sex comedy A Gostosa da Gafieiraâ.17 Despite the fact that GEMAAâs study only took into consideration feature-length fiction films, I believe the landscape wouldnât be much different had other modes or formats of filmmaking been considered.
There is one final element related to Bulbul hiring Rio Branco that is important to note. In my conversations with the film crew, they revealed that Bulbul saw this hiring as a strategic decision: by inviting in a member of the Brazilian elite,18 Bulbul was inverting the common social hierarchy in which white men had all of the decision-making power on a film set. When we consider the hiring from this perspective, we see the irony in Bulbulâs choice. Itâs surely no accident that Rio Branco is the only crew member that is never featured on-screen throughout the film. This indicates that the self-reflexivity of Abolition was not intended to include the position of its own DP.
In concluding my analyses of the roles that each crew member had on Abolition, I would like to highlight one last component related to the personal dynamics of the crew. Throughout the interviews I conducted, each crew member mentioned the importance of âtavern talkâ, an expression of Bulbulâs that was meant to be applied and understood as an ethical value. Cultivating a bohemian lifestyle was seen by Bulbul as an important ritual that one must always engage in, and even include it within work processes. Upon listening to the crewâs memories of working on the film, I soon realized that many decisions that went into the construction of the film were made during encounters at bars and taverns. It is worth noting here that the word âbohemiaâ, beyond its connotations of pleasure and entertainment, also connotes a social-cultural practice that takes into account lived experiences from different subjectivities. There are political implications to be gleaned when considering that a nearly all-Black crew was circulating and, to a certain extent, occupying areas of Rio de Janeiro, a city that still to this day disguises its hostility towards Black bodies. Congregating within these spaces and sharing discussions among one another certainly played a significant role in the filmâs construction and in the way that the crew bonded throughout the filmmaking process.
The Commercial Distribution and Further Legacy of Abolition
Abolition was finished in 1988 after extensive periods of research, production, and post-production. Bulbulâs expectations for the film were high, as he had just completed a work of unprecedented depth that was to be released in the same year that marked the centennial of the Lei Ãurea, one of the most important moments for Brazilian Black activism in the 20th century. This was a period of intense conversations and debates around many topics involving racial issues, and the representation of Black people in film and television was among the most discussed. Bulbulâs goal was to make a major contribution to that conversation.
Everyone involved with the film hoped Abolition would spark a meaningful and broad conversation around these issues, and they all hoped that the film would be released in the commercial circuit and screened at various film festivals. One of the reasons that the crew hoped the film would achieve this success is summarized by researcher Noel dos Santos Carvalho, as he claims the documentary âobjectively manifests the political stances taken by Black activism since the 1970sâ.19 Bulbul believed Abolition would also serve as a counternarrative to other contemporary productions around the centennial celebration of the emancipation. Bulbul made sure to detach himself from any production that he believed posed an opposition to his political values, which, according to Carvalho, led him to refuse taking part in a special production by Rede Globo, Brazilâs biggest communications conglomerate, that would celebrate the anniversary. He claimed, âThere were artists and Black activists who pressed me to be there. But I donât work for free for [Globoâs founder] Roberto Marinho. And besides, I found their show a demagogic pieceâ.20
Bulbul was completely engaged in securing a commercial run for his film, and his widow Biza Vianna recalls how releasing the documentary became one of the biggest frustrations of his life. Abolition did not resonate with the public nearly to the extent he had hoped for. When I asked the crew and Vianna about why the film was received so poorly, they all referred to a boycott coming from certain players and intelligentsia within Brazilâs film circles, and within Embrafilme, the state-owned company responsible for distributing the documentary.
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The topic of Brazilian commercial film distribution was analyzed by researcher PatrÃcia Selonk, who highlighted the role played by Embrafilme as the main sponsor of our films since the companyâs conception in 1969 until its implosion in 1990. According to Selonk, Embrafilme provided a certain level of infrastructure and helped forge a new public interest in Brazilian cinema despite the fact that the market was dominated by foreign studios. However, Embrafilmeâs practices were also met with criticism from filmmakers who made the accusation that they prioritized certain films while delaying the commercial release of others:
Júlio Bressane and Rogério Sganzerla were critical of Embrafilme for its close ties with specific producers, such as Luis Carlos Barreto. The companyâs chief of distribution, Marco Aurélio Marcondes, would justify his practices on the basis that these filmmakersâ works were underground, therefore wouldnât be the recipient of a major financial injection by any distributor.21
Although the fundamental role of Embrafilme was to sponsor new works of Brazilian cinema, they often made insufficient efforts to distribute the films that they had funded to make. When analyzing Abolitionâs commercial run â or lack thereof â the mindset of those at the head of Embrafilme becomes evident. The crew members Iâve interviewed assert that the documentary was never officially released, and its distribution was limited to screenings at film festivals in 1988, among which were the Festival de BrasÃlia and the Cine Rio Festival.22 During the latter festival, Vianna recollects that the film was not programmed as part of the main section, in which films were projected within an actual film theater. On the contrary, Abolition was only programmed in a sidebar of outdoor screenings. Similarly, the first showing of Abolition was at an outdoor screening in Bulbulâs hometown, the affluent neighborhood of Ipanema. The screening took place at Nossa Senhora da Paz square and was packed with many viewers and guests. One of them, according to Vantoen Pereira Jr., was a young Spike Lee, who was in Brazil promoting his second feature, Sheâs Gotta Have It.
Edinho Alves and Alexandre Tadeu explain that the film crew ended up taking the task of distributing the documentary into their own hands. They improvised a communications strategy, which included spreading posters around the city and booking screenings outside of Rio de Janeiro. Regardless of their initial success in attracting a large crowd to the filmâs premiere, Abolition would go on to barely make an impact on the national film market, never enjoying an official commercial run.
Beyond Embrafilmeâs active disengagement from helping to distribute Abolition, another factor that contributed to the filmâs poor reception is its duration. The current cut of Abolition is two hours and thirty minutes long, and according to Flávio Leandro, this negatively influenced the audienceâs ability to embrace the work. The length of the film proved to become a point of contention between Bulbul and his crew. The first cut was over four hours long, and it required a strenuous effort on the part of the film crew to convince him to acquiesce to a shorter version.
Therefore, without adequate institutional support or the financial means to distribute Abolition independently, the documentary was only shown overseas years after its completion:
Abolition was awarded at Festival de BrasÃlia â88 and it also won something in Cuba and while I was at a film festival there, I was invited to show the film in New York. I was also awarded there, but in my country not even a line was written on the papers on the film and on the awards. I came back to Brazil profoundly sad with the international recognition the film enjoyed, while here nothing happened, neither with the film, nor with me. I expected to be known, to show the film, I wanted to be out there talking about it, discussing both Brazilian film history and the topics touched by my documentary, but in the end it felt like âshut up, nigger, thereâs no racism in Brazil! Youâre making these things up!â That brought a great deal of frustration.22
The lack of acknowledgement and financial support for Black filmmakers, even those with proven abilities such as Bulbul, caused the cineaste to take a long hiatus as a director. Only in 2001, when he received a grant from Rio de Janeiroâs state production fund dedicated to short films, did he produce and direct another film, the documentary Pequena Ãfrica (2001).23 In the same year he also finished Samba no trem (2001).24 Despite not working as a director between 1988 and the early 2000s, Bulbulâs life was filled with remarkable experiences. He would go on to cement his important legacy with the creation of the Centro Afro-Carioca de Cinema (Afro-Carioca Center for Cinema). The frustrations that Bulbul experienced throughout the release of Abolition drove him to take a personal journey that resulted in the idea to create a space where he could show his films as well those of other Black filmmakers.
In 1997, when he had the opportunity to travel to Burkina Faso to participate in the 15th Panafrican Film and Television Festival of Ouagadougou,25 he realized how much his work was recognized and appreciated.
(...) They gave me warm reception. From the airport to the hotel and throughout the duration of the festival, I was respected as a Black Brazilian, as a filmmaker and as a guest. When I saw all those people at the opening ceremony, more than 20 thousand people gathered at a track field, it moved me. The difference between âFESPACOâ and other film festivals around the world is that over there regular people from Burkina and the neighboring countries engage with the event, while âCannesâ or even âFestival do Rioâ are held to the elite, not to the people. 26
Experiences such as those at FESPACO helped to forge Bulbulâs conviction that a new landscape for Brazilian cinema needed to be established. It wasnât enough to just make films, there was also an urgency to create a circuit for the screening of Black-directed films. As Abolitionâs distribution saga illustrates, Black creators faced a double impediment: even when they were able to overcome the difficulties in completing their films, they still had to fight a distribution and exhibition system that was specifically designed to exclude them from theater screens.
Team photo with Edmar Morel
Final considerations
In conclusion, I wish to share with you my individual trajectory throughout the course of conducting research for my Masterâs thesis. I consider myself a member of a generation of Black youth that have been promoting long-silenced conversations and reclaiming the memories of those who have paved the way for us to finally occupy spaces to which we have been historically denied. The very possibility of being able to conduct my research was the result of those who have paved the way before me. In my eyes this is the true legacy of Abolition: providing greater esteem for Black culture, giving it the regard and study it deserves, and scrutinizing history for the purposes of making intellectual contributions to society at large. As an art form, cinema is a tool that has the power to affect, to move and to create new ways of seeing and understanding. To be able to watch and identify myself in a documentary made 32 years ago illustrates how cinema can be timeless.
This change was made possible by the social policies implemented throughout Luiz Inácio Lula da Silvaâs and Dilma Rousseffâs administrations, as they pushed for programs aiming to fight for equal access to education. The implementation of race-based affirmative actions and the establishment of programs such as Universidade Para Todos (PROUNI, University for All,)27 provided an important aid that allowed a younger Black and unprivileged generation to go to college, graduate and find better opportunities within the job market. My own trajectory intersects with these policies: as a recipient of a scholarship from PROUNI, I managed to finish college and subsequently enroll in an advanced studies program. At that program, I was inspired to conduct the research from which this article stems.
Itâs also important to highlight the expansion of broadband internet throughout new territories in Brazil, as well as the arrival of cheaper technological devices that enabled the rising of new voices from underprivileged areas of Brazilian society. These voices are now creating radical works of art that continue to push forward the conversations kept alive by Bulbul and others. I would also like to take the opportunity to acknowledge that I was only able to start my research on Abolition due to an unofficial, sole hyperlink that is available on a Facebook page devoted to the film (@AbolicaoZozimoBulbul). In the early stages of my research, before I was provided with an official link to the film, that page allowed me to re-watch the documentary multiple times, thus structuring the analysis Iâve developed during my masterâs thesis. That same hyperlink, and , and the film available on Cinelimite, makes it possible for Abolition to be seen by a wider range of people. Â Bulbulâs accomplishment is a work that must be revisited today so that we can finally acknowledge it as an important and unique historical documentation of our country and a pioneering work of Black cinema throughout the world.
REFERENCES
AUGUSTO, Heitor. Past,Present and Future: Cinema, Black Cinema and Short Films. In: Catálogo do 20o FestivalInternacional de Curtas de Belo Horizonte, Belo Horizonte, Fundação Clóvis Salgado, 2018.Â
CARVALHO, Noel dosSantos. Cinema e representação racial: o cinema negro de Zózimo Bulbul. São Paulo, 2006. Tese (Doutorado) â Faculdade de Filosofia, Letras e Ciências Humanas.Universidade de São Paulo. São Paulo, 2006.Â
_____. O Produtor e o cineasta Zózimo Bulbul â o inventor do Cinema Negro Brasileiro. Revista Crioula, São Paulo, n. 12, nov. 2012. Â
DE Jefferson e VIANNA, Biza. Zózimo Bulbul: uma alma carioca. Rio de Janeiro: Centro Afro Carioca de Cinema, 2014.Â
NASCIMENTO, Beatriz. O conceito de quilombo ea resistência afro-brasileira. In: Nascimento, Elisa Larkin (Org.). Cultura emmovimento: matrizes africanas e ativismo negro no Brasil. São Paulo: Selo Negro,2008. p. 71 -91.Â
SELONK, PatrÃcia. Distribuição Cinematográfica no Brasil e suasRepercussões. PontifÃcia Universidade do Rio Grande do Sul, Porto Alegre, 2004. Â
VELASCO, Suzana. Sob a luz tropical: racismo e padrões de cor da indústria fotográfica no Brasil. Revista Zum, São Paulo: Instituto xMoreira Salles (IMS), n. 10, 2016. DisponÃvel em:< https://revistazum.com.br/revista-zum-10/racismo-padroes-industria-brasil/> Acesso em 14/03/2020
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Universal Exhibition or the Worldâs Fair were large events designed to showcase international achievements that were very important in the late 19th and early 20th centuries. Terra Encantada was shot during the Independence Centenary International Exposition, held from 1922 to 1923 in Rio de Janeiro.
Chanchada was the term given to the Brazilian popular musical comedies of the 1940s and 1950s by critics of the time. These critics considered these films to be simply bad copies of Hollywood features of the same genre. Atlântida was the most famous, but not the only, studio to produce chanchadas.
Iâm referring here to Christensenâs films Rei Pelé (1961), a biopic, and Cronica da Cidade Amada (1964), a widescreen film that can currently only be seen in a horribly cropped digital copy taken from a VHS tape.
â
1. For example, Eduardo Coutinhoâs documentary Fio da Memória (1988) and Abolição, a miniseries written by Wilson Aguiar Filho for TV Globo.
2. Best Historical Research and Best Cinematography at the 21st Festival de BrasÃlia do Cinema Brasileiro in 1988; Best Documentary at the New York Latino Film Festival in 1989; and Best Poster at the 11th Festival Internacional del Nuevo Cine Latinoamericano, in 1989, Havana, Cuba.
3. Noel dos Santos Carvalho,. âO Produtor e o cineasta Zózimo Bulbul â o inventor do CinemaNegro Brasileiroâ. Revista Crioula, São Paulo, n. 12, nov. 2012,p. 18.
4. In 1974, Bulbul attempted to obtain permission from Brazilâs censorship bureau that would allow him to screen his latest film, âAlma no Olhoâ. However, he was called upon by the military to be interrogated. âThey were suspicious about the film and its authorship, so they requested Bulbul to decode the images, since they thought there was some implicit subversive leftist message. After this event, which lasted for days, feeling psychologically pressured by the general political atmosphere, and fearful of the repressive state forces that were then persecuting artists, he traveled to New York intending to remain away from Brazil for a while.â (CARVALHO, 2012, p. 14)
5. The âquilombosâ (âmaroon communitiesâ) were constituted, according toBeatriz Nascimento, as spaces for resistance, for political organization and for reframing cultural and social values for Black people and their descendants. âAquilombarâ, which in English could be interpreted as âgathering ourselves as a quilomboâ, is a political and epistemological notion that hase merged specifically out of the cultural-historical Afro-Brazilian process. SeeAnother Gazeâs discussion of the concept here.
6. Momento Filmes is a production company located at Laranjeiras, a neighborhood at the South Side of Rio de Janeiro. The business operations of Momento Filmes were mostly focused towards advertisements, but they also partnered in the production of several short films and some feature films, particularly from independent filmmakers. Additionally, Momento Filmes rented out film equipment.
7. Among the events produced by her company, Dineris emphasizes a party called â100% afrobrasileiroâ (â100% Afro-Brazilianâ), which was dedicated to promoting Black artists who werenât part of the mainstream Rio de Janeiro cultural circuit.
8. Brazil was being ruled under a military dictatorship between 1964 -1985 Â
9. Besides serving as a geographical marker, âNordestinoâ also represents a specific cultural and sociali dentity that relates to characteristics specific to the Northeast side ofBrazil. Abolition documents some of the cultural expressions of the ânordestinoâ identity, such as the âTeatro de Mamulengo and the âEmboladoresde Recifeâ.
10. These fictional scenes took place at the house of the Marquess of Santos in São Cristóvão neighborhood, located on the North Side of Rio deJaneiro.
11. This film belongs to the Inhotim Museumâs collection in the state Minas Gerais.
â
12. Miguel Rio Branco is a photographer who documented areas marked by violence, degradation and neglection by the state. The majority of the population in these areas, due to reasons made explicit by this article, were Black.
13. Velasco, 2016, n.p
14. Rio Branco was with the crew members for the majority of the shooting, but had to withdraw from the film when they were shooting the scenes at the Palace of the Marquess of Santos, due to health complications related to hepatitis that was aggravated by his heavy alcohol consumption during the filming. Â
15. The full report can be read at: http://gemaa.iesp.uerj.br/boletins/boletim-gemaa-2-raca-e-genero-no-cinema-brasileiro-1970-2016/ (only in Portuguese) Â
16. Ibid.
17. Ibid.
â
18. Miguel Rio Branco is the great-grandson of the Baron of Rio Branco and the great-great-grandson of the Viscount of Rio Branco, besides being the son of a diplomat.
19. Noel dos Santos Carvalho,. âO Produtor e o cineasta Zózimo Bulbul â o inventor do Cinema Negro Brasileiroâ. Revista Crioula, São Paulo, n. 12, nov. 2012, p. 17.
20. Ibid 19.
21. Selonk, 2004, p. 98
22. The Rio Cine Festival was launched in 1984. After a fusion with the Mostra Banco Nacional de Cinema, it became, in1999, the Festival do Rio, as itâs known today.
23. Bulbul, 2007 apud DE; Vianna, 2014
24. Noeldos Santos Carvalho,. âO Produtor e o cineasta Zózimo Bulbul â o inventor do Cinema Negro Brasileiroâ. Revista Crioula, São Paulo, n. 12, nov. 2012, p. 19.
25. The Panafrican Film and Television Festival of Ouagadougou is the largest African film festival. Itâs a biennial event held at Ouagadougou, Burkina Fasoâs capital, where the headquarters are located.
26. Bulbul, 2007 apud, DE; Vianna, 2014
27. Established by the Law nº 11.096, officialized in January 13, 2005, the Programa Universidade Para Todos (PROUNI, University for All) offers scholarships for students who have enrolled in private universities, since in Brazil only the State and Federal universities are tuition-free. The program, which also sponsors students interested in further specialization, is funded through a system of tax-exemption organized by the national government.
In 2007, I worked as a cataloguer at the Cinemateca Brasileira, Brazil's largest film archive.  A major part of the job was analyzing materials that had recently been donated to the archive and it was not uncommon to run into large collections of 16mm films, still kept in Kodak and Ansco film boxes, complete with nicely handwritten notes displaying what they contained. Despite the quantity of home movies that arrived at the archive, prior to this moment I had rarely heard or read about Brazilian home movies and amateur films. After having the opportunity to view some of these films, I quickly became fascinated with them. It was surprising to me that they provided a chance to see life in Brazil in the 1920s and 1930s from a different point of view, meaning not only a glimpse into the lives of amateur filmmakers and their common aesthetics â trembling cameras, faces directly gazing into the camera, jump cuts and discontinuity â but also images of city life that were made from an unofficial perspective. Despite the fact that home movies of this period were produced by bourgeois families, they remain extremely valuable historical documents because they provide us with a closer look at elements that went beyond the middle class home, such as images of  historical events, people enjoying leisure time and living within public spaces. In my young cataloguerâs mind, it was obvious that this topic needed further research.
My first encounter with home movies became the starting point of a long path of research that began with a project that focused on the collection of home movies that are deposited at Cinemateca Brasileira. Working on this collection resulted in my dissertation, "Filmes domésticos, uma abordagem a partir da Cinemateca Brasileiraâ, the research for which was undertaken at the Federal University of São Carlos. My goal in this project was to build further knowledge about this collection of home movies and to bring more visibility to what was an emerging field in Brazilian film historiography. My research focused on establishing the historical roots underlying the arrival of amateur film equipment in Brazil. Later, my aforementioned path of research led me towards learning about the amateur cinema clubs and festivals throughout the 1920s and 1950s that formed in Rio de Janeiro and São Paulo. As Brazilian home movies remain a field with numerous research possibilities, I am currently studying one of the most important film festivals of the 1960s, the "Festival de Cinema Amador JB/Mesbla" organized by the Jornal do Brasil newspaper, which screened the first short films of filmmakers such as Rogério Sganzerla, Andrea Tonacci, Neville D'Almeida, and many other important filmmakers, editors, producers, actresses and actors who were amongst its participants.
I begin with this personal note because more than ten years ago, home movies and amateur films were not a common topic of discussion among those working in the fields of audiovisual preservation and academia in Brazil. But since then, many âHome Movie Dayâ events have been organized in film archives and festivals across the country. As a field of research in Brazil, the history of domestic filmmaking once mainly relied on foreign references, but over the past few decades numerous dissertations and theses have been written about the national history of home movies. In this regard, I wish to highlight the recent publication of the book Cinema doméstico brasileiro (1920-1965) by researcher and professor ThaÃs Blank, a pioneer work within our field. Blankâs work focuses on a wide-ranging field of research that begins with  examining the historical roots of home movies and its different genres, taking different collections deposited in Brazilian archives as primary sources. The book provides close investigation of films and contains thorough archival research. The author delineates the process of patrimonialization of domestic cinema and the increasing interest held by national and regional archives in preserving an area of film production (home and amateur movies) that allows different perspectives regarding film history and a deeper understanding of local and regional histories.
The last part of Blank's book is dedicated to the migration of raw material in home movies from their original state to their incorporation into documentary films. The archival fever that has overtaken contemporary cinema has also given a new centrality to home movies and amateur films, materials often used in weaving a personal and experimental cinema. Here I mention some Brazilian short and feature films derived from a much more extensive list that prominently utilize or incorporate home movies:
Supermemórias (Danilo Carvalho, 2013), an experimental film using Super 8mm film from the city of Fortaleza that has been screened in numerous film festivals and has received academic attention.
Já Visto, Jamais Visto (Andrea Tonacci, 2013), an intricate montage film made with Andrea Tonacciâs personal archive and "left overs" from his lifelong career in filmmaking.
Extratos (Sinai Sganzerla, 2019), a short-film made with 16mm footage shot by Rogério Sganzerla and Helena Ignez (the directorâs parents as well as the major figures of Brazilian underground experimental filmmaking in the late 60s and 70s) during their years in exile, as they escaped the Brazilian dictatorship installed in 1964.
Fartura (Yasmin Thayná, 2019), a collage film with photographs and home videos of  Black families and their affective bonding through the sharing of food and common festivities.
Academic research and contemporary cinema has evidently played a pivotal role in the discovery of home movies as a valuable source for history and artistic creation. What also stands as one of the most important conquests of the field is the launch of LUPA - Laboratório Universitário de Preservação Audiovisual, a university film archive dedicated to film preservation education and collecting amateur films from the State of Rio de Janeiro. Part of the Department of Cinema and Video Studies of UFF - Universidade Federal Fluminense, one of the only films schools in the country with a mandatory course on film preservation integrated in the curriculum, LUPA began operating in 2017. Guided by the energy of coordinator Rafael de Luna Freire, film preservationist and professor of the same department, the initial LUPA project nurtured the desire to create a space where the work of researchers and film preservationists could walk hand in hand, shortening the gap between universities and film archives.
Another one of LUPAâs foremost prerogatives is to contribute to the preservation of those film materials that still receive little attention from film archives: amateur films and the wide array of orphan films from the state of Rio de Janeiro. As the concept indicates, orphan films are those which do not possess a clear status of authorship or legal right holdings. They can also be understood as film materials that don't belong in the traditional cinematic dispositif (a narrative feature screened in a movie theater), as they have different functionalities: educational, scientific, nostalgic, along with the myriad other forms of appreciation the moving image can assume. What Iâve learned from my experience with these kinds of materials is that, rather frequently, people are not aware of the historical research value they hold and are unsure where to take these artifacts when practical help in film conservation is needed. As the only film archive dedicated to this kind of production in Rio de Janeiro, LUPA soon received its first donation: The J. Nunes Collection. The J. Nunes Collection holds nine reels of 9.5mm film shot in the 1930s and 1940s. Digitized at the laboratory of Cinemateca Brasileira, these images are now available on LUPA's website.
The J. Nunes Collection gives us an interesting look at amateur film culture and how the production and consumption of moving images worked in the 1930s and 1940s. During this time period, amateur films were often produced by Pathé and many portrayed quotidian life in the streets. The images within the J. Nunes Collection provide insights into how leisure time was enjoyed by a middle-class family in Rio de Janeiro: bullfights, religious festivities, trips to the country and a day at the beach. Carnaval was definitely the favorite pastime of this particular family. The films dedicated to this national festivity also show different forms of capturing the extremely popular celebration, each one with a particular aesthetics.
âPathé Baby apresenta: O Carnaval de 1936 was most likely made by hired professionals who sold images to Pathé or produced films exclusively in the 9.5mm format. The film is introduced with steady titles (âPathé Baby presentsâ) and serves as news coverage of the parades and street festivities taking place on the Avenida Rio Branco. The corsos,1 with people parading in cars (at the time a very important indicator of social status), the "ranchosâ2 and the "sociedades carnavalescas"3, which paraded with large, ornamented cars and gentlemen riding horses: all these can be seen in the six minute reel. These professional reels were sold by Pathé, the French giant that served as the main supplier in feeding a demand for cinematic home viewing in Brazil, while also offering film projectors and accessories. Pathé maintained a consumer market the company had inaugurated in 1912 with the 28mm Pathé-KOK system, known as "Cinematographe du Salon", or âcinema in the living roomâ. In 1913 this French system was already sold in Rio de Janeiro by Companhia Cinematographica Brasileira. In 1922, Pathé launched its most successful system for domestic cinema, the 9.5mm Pathé-Baby, and in September of 1923 the company established the Societé Franco-Bresilienne du Pathé-Baby, a branch for the Brazilian market. Two months later, the company was permitted by Brazilian authorities to start its commercial activities in Rio de Janeiro. Understanding that the history and preservation of film technology and equipment is a crucial aspect of film history, LUPA has acquired and organized a collection of film cameras and equipment, part of which have been made available to different exhibitions.
In O Carnaval de 1936 and Tourada, Festa da Igreja da Penha e Carnaval, images of carnaval are captured by amateur hands, noticeable through the shots in which the camera comes in close proximity to the dressed up âfoliões".4 Even though some of the locations in these films are the same as those that were captured in the more professional cinematic productions of Rio, here we find a rarer depiction of these areas, with spontaneous street celebrations, followed by the adults and children of the Nunes family playing and singing while dressed up as Chinese dancers. The beauty and the energy of the crowded streets, the body movements, the joy of a group of children; this spontaneity gives the spectator a very intense feeling of the cultural and existential meaning of carnaval, a feeling of rare translation. Expressions of joy can also be found in the core images of Festa da Penha, a religious celebration in a traditional neighborhood of Zona Norte, and in the scenes of the bathers in Balneário da Urca. The film displays a day spent at the beach and views of the Urca Casino and the Sugar Loaf, both famous sites for tourists. In a different film, Amador J.Nunes saúda todos os amigos e presentes, amateur dexterity can be seen in nicely shot intertitles, as the film begins as a sort of reflexive home movie: a woman holds an amateur 16mm camera and points it directly at the main camera which is shooting.  This reflexive gesture denotes the popular interest in cameras and in the act of filming itself, and we understand from the film that amateurism is about the sheer love of image making and the subjective cinematic experience.
The process of safekeeping these images and making them accessible are gestures of extreme importance towards building the perception that home movies and amateur films are vital materials to be studied and preserved. As a regional film archive, LUPA has amassed different collections in the past few years, including important personal archives such as documentation regarding Carlos Fonseca, film critic and producer with a long career in cultural management at institutions such as Instituto Nacional de Cinema (INC), as well as the materials of many other amateur filmmakers and collectors. Â These new collections have been revised and organized by students, and the documentation is made available through LUPA's website even while the cataloguing work is still in process, making LUPA an indispensable space for practice and experimentation with strategies for granting access to archival collections. Decentralizing preservation efforts is an urgent issue in Brazil and LUPA is an example of how we can observe that home movies and amateur films are important sources for local histories. The maturation of what was a new field of study ten years ago is a cause for celebration, as amateur and orphan films solidify their place as one of the central initiatives in contemporary film preservation.
1. A parade of cars, very common in Carnaval celebrations of the first decades of the 20th century. Â
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2. A group of costumed Carnaval goers playing musical instruments, singing and celebrating in the streets. Â
3. Associations dedicated to promoting parades and competitions during Carnaval. Some researchers indicate that they were the inspiration for the Samba schools.
4. Foliões are people who participate in the Carnaval parties.
1. Attraction and Retraction
Usually, we would begin an analysis of black representation in Brazilian cinema by listing a group of films associated with the Cinema Novo movement: Aruanda (Linduarte Noronha, 1960), The Turning Wind (Barravento, Glauber Rocha, 1962), Five Times Favela (Cinco vezes favela, Carlos Diegues, Leon Hirszman, Marcos Farias, Miguel Borges and Joaquim Pedro de Andrade, 1962), Bahia of All Saints (Bahia de todos os santos, Trigueirinho Neto, 1961), The Big Market (A grande feira, Roberto Pires, 1961), Ganga Zumba (Carlos Diegues, 1964). One can disrupt this corpus by offering an expanded view, mentioning two films that do not adhere to the stereotypical, paternalistic or submissive portrayals of black people often found throughout Brazilian cinema. Closer to the filmic language of Cinema Novo, we have Compasso de Espera (Marking Time, Antunes Filho, 1972). Compasso is linked to the movement's second phase where urban themes and the contradictions of the middle class are present in films such as The Dare (O Desafio, Paulo César Saraceni, 1965) and Bebel, Advertisement Girl (Bebel, garota propaganda, Maurice Capovilla, 1968). Soul in the Eye (Alma no Olho, Zózimo Bulbul, 1973), on the other hand, the first film by black filmmaker Zózimo Bulbul (made with leftover film stock from Compasso de Espera), distances itself from the Cinema Novo films, finding its strength in John Coltraneâs jazz and performance elements. Zózimo Bulbul stars in Compasso and directs Soul, so these films form a diptych via an umbilical relationship. Inspired by Eldridge Cleaverâs book Soul on Ice (1968),1 Soul in the Eye is Bulbulâs seminal work. It was made in the context of Cinema Novo but marks itself right from the start with an ambiguous distancing, an oscillation which would accompany the filmmaker throughout his oeuvre, both aesthetically and politically. Consequently, the films of Antunes Filho and Bulbul are simultaneously close and distant from the priorities that the Cinema Novo movement had delineated in the 1960s.
âDespite eventual criticism towards black representation in the films of the Cinema Novo movement, Noel dos Santos Carvalho points out that the movement marked an important change of attitude in that respect:
Cinema Novo put black people front and center, away from the stereotypes spread in the past by the chanchadas, the films of the Vera Cruz Company and such. Its anti-racism was based on: 1) condemning racial stereotypes; 2) ignoring the concept of race in favor of the generalistic concept of people; 3) dealing with aspects of black history, religiosity and culture. (...) However, we want to emphasize the change of attitude, the disruption represented by a group of films that took black people away from stereotypical roles and made them the protagonists of their own stories.2
Applying cinema as a tool for thought and anti-racist political practice marks the common ground among Cinema Novo films. However, when considering the form and approach of the films, particularly those associated with black matters, Bulbulâs films appear distant from the Cinema Novo movement. In 1982, amid obscure transactions by Embrafilme,3 Bulbul harshly criticized Carlos Diegues and Walter Lima Jr., and even turned down an offer to work on King Chico (Chico Rei, Walter Lima Jr., 1985), because he considered it âhistorically abhorrentâ, and âmildâ, made to be shown âon Globoâ.4 He opposed the filmâs representation of black people but also the kind of filmic experience it provided, which to Zózimo was innocuous and lacking invention.
The plot thickens. Years later, in the epigraph of his first feature film, Abolition (Abolição, 1988), Bulbul inserts a dedication to two members of the Cinema Novo movement, Glauber Rocha and Leon Hirszman. It was a controversial move because, upon returning to Brazil after a self-imposed exile in Europe,5 it was noticeable how his relationship of attraction-retraction to Cinema Novo remained intact. In fact, today, it seems more accurate to evoke Bulbul as the filmmaker who worked with forms and themes that required an experimental style that no other Cinema Novo filmmaker had the tools to create. This dichotomy offers us a way to determine just how much of an alien Abolition is, be it in relation to Brazilian documentaries, to Cinema Novo or even to Bulbulâs own oeuvre. When considering the relations between cinema, Blackness and racism in Brazil, we identify in Abolition a sort of forcefield which indicates that, rather than integrating or not integrating hegemonic movements, Zózimo chose to follow his own path.
2. Atlantic Cinema
Abolition deals with filmic language within a specific technical and aesthetic dimension by extrapolating its documentary values and proposing a singular experience. Abolition is therefore linked to a group of films that deal with the relationship between documentary and fiction. It is organized in registers, interviews, archive footage and staged scenes in order to expose the opportunistic articulation between the historical lie of the abolition of slavery and the lived reality of black people in contemporary Brazil. Today, more than thirty years after its debut, Abolition seems less like âan expanded Alma no Olhoâ6 and more like an experience which resonates with these formally exploratory documentary and fiction works. It can accordingly be seen as an âAtlanticâ film, i.e., a film made to bring forth a cosmos of free associations. Other examples include films such as The Age of Earth (A Idade da Terra, Glauber Rocha, 1980), Twenty Years Later (Cabra Marcado para Morrer, Eduardo Coutinho, 1984), Ãrà (Raquel Gerber, 1989), and The Thread of Memory (O Fio da Memória, Eduardo Coutinho, 1991). Atlantic Cinema is a cinema of crossing, a cinema pervaded by colonial and racial themes that are at the same time direct and indirect, objective and subjective. Atlantic Cinema contains a myriad of signs in movement through historical ages and facts, with a broad and dilated referential, in an audio-logo-visual polyphony embedded in the filmâs form.
The film, with its unique approach, was not well-received by black filmmakers, black researchers or the black public â who, frankly, donât usually have access to movie theaters. In a later essay on Bulbul, Noel dos Santos Carvalho reinforces the perception that Abolitionâs experimentalism could not accomplish its intended effect, as it constituted âan inventory of speeches, performances and lectures regarding the abolition of slavery, which in part accounts for its irregular nature, its repetitions and excessesâ. Carvalho also points out that âfrom the perspective of narrative structure, itâs the most didactic of these films, which adds to its irregular natureâ and he adds: âAbolition, with a running time of 150 minutes, couldn't find acceptance from the audience. Not even among the black population. It was restricted to a small circle of intellectuals and activists of the black movementâ. In his essay âEsboço para uma História do Negro no Cinema Brasileiro"7 Carvalho calls attention to the fact that the crew of the film was composed almost exclusively of black men and women (the exceptions being Miguel Rio Branco with his experimental cinematography and Severino Dadá with his precise editing), noting that âwhat we see is mediated by the gaze of this crew. So, itâs not only about telling the history of black people in Brazil, but having a black perspective of historyâ. In both cases, there seems to be a consensus that the eventual qualities of the film are present on a purely symbolic level, i.e., âoutâ of the film itself, whether due to the initial effort to try and problematize the abolition of slavery from a black gaze, or due to the representation of the ethnic composition of the crew. Ahead, I will propose some ideas based on the internal structure of the film, to affirm it as a major representation of Atlantic Cinema, the group of films that have formed a singular trajectory in Brazilian film.
3. Material and Treatment
In an interview with Peter Hessli in February 1994, American cinematographer Arthur Jafa makes a distinction between material and treatment. Not being able to choose the material with which to work, African diasporic creativity, self-affirmed by finding new uses, appropriates and deeply transforms the materials at hand: âSo a lot of our creativity coalesced around the notion of treatment, that is, transforming in some meaningful fashion, given materials. (...)â Unlike photography and painting, in which the image, as a material product, is the point of arrival, the image produced by cinema is merely a point of departure. The equipment and materials needed to make a film are even more inaccessible to black populations, and so when black people appropriate it, itâs noticeable in very subtle ways. Jafa gives this example: John Coltrane taking My Favorite Things away from its original territory and, with a particular treatment, creating openings which were unthinkable until then, âAfrican-American creativity has been shaped by the specific circumstances Black people found themselves in; we werenât generally able to dictate the materials we were given to work withâ. What makes Abolition extremely exceptional is that, unlike Bulbulâs first film, made with leftover film from Compasso de Espera, unlike the Cuban âarchive cinemaâ of Nicolas Landrián and Santiago Ãlvarez or even Jafa himself, this film seems to be controlled both ways: in the style of its production and approach, there is a complete ownership of the creation and transformation of the material and the treatment. Said material and this treatment, coupled with the choice of a predominately black crew, indicate conscious aesthetic choices.Â
Besides all this, Abolition holds its place in the realm of âAtlantic Cinemaâ for the cosmic quality it possesses. In the film, a linear narrative and a propagandistic representation of reality give way to a field in which Bulbul articulates interviews, archive recordings and photos. Organized in a non-linear way, the film is an ample space without a center, a work in favor of orality, a trancelike sequence of shots, staged interviews, rhythmic editing and local energy. Abolition cannot be simply reduced to a film that features a black gaze on black history, because history for the diasporic is never an ends but a means, a strategy always aimed at the future, for survival in a tough environment. This strategy has one purpose: to make life in the present possible. This seems to me to be he most potent definition of âancestryâ: the ability to tell oneâs own history with enough power to break it apart and retell it, to build a singular historicity. So, this is not about an absent or idealized blackness, nor an integrated and coherent resistance movement which unravels in the light of mistakes and conflict. This is about a black manâs gaze encompassed by a black and non-black cosmos which involves him and with which he negotiates his very existence.
Abolition cannot be simply reduced to a film that features a black gaze on black history, because history for the diasporic is never an ends but a means, a strategy always aimed at the future, for survival in a tough environment. This strategy has one purpose: to make life in the present possible. This seems to me to be he most potent definition of âancestryâ: the ability to tell oneâs own history with enough power to break it apart and retell it, to build a singular historicity.
4. âWhat about May 14th, 1888?â
The opening minutes of Abolition are crucial to understanding the way the film moves and develops. An intertitle with an historical marker exemplifies critical irreverence: May 12th, the day before the signing of the Lei Ãurea, the documentation of Brazilâs official abolition of slavery. Further ahead, another intertitle: May 14th, 1888. In a text about the film, Bulbul asks: âhow was May 14th, 1888?â Playing around with the dates moves the historical axis from the abolition as key event, in favor of relating its causes and consequences to the brutal, incomprehensible present, far from the grasp of history. Every image in the opening of the film is accompanied by the sound of the shutter cracking like a whip. We hear the voices of Clementina de Jesus, Tia Doca and Geraldo Filme singing "Canto I", from the 1982 album O Canto dos Escravos, part of the repertoire of work songs collected by philologist Aires da Mata Machado Filho in the late 1920s, in São João da Chapada, Diamantina, Minas Gerais. The shutter/whip accentuates each change of image â ultimately amassing a collection of photos and paintings that depict the horrors of slavery â in cuts that sometimes follow the rhythm perfectly and other times in a syncopated manner. The association between the shutter and the whip is meant to be in understood critically, signaling new and unexpected ways to think about racial issues in Brazil.
Finally, a third intertitle indicates: May 13th. âDia de brancoâ (âday of the white [person]â), a once-common racist saying that was used to refer to the days of the work week in Brazil. A storm hits the city as the Abolition film crew arrives at the Imperial Palace, in Rio de Janeiro, where the shooting will take place. The key grip, a young black man, sets up a light. The lights are for the behind the scenes, there is no interview or any other reason for them. The film then proceeds to show a Congada8 coming into a church with banners. This elliptical manner of free associations, without explicit reason, is a prevalent structural element of the whole film. The variations in rhythm of editing and the interior lighting in the shot indicates a free conception of film form. All of the interviews in the film suggest a dramatic staging, contrary to the historical staging of the signing of the Lei Ãurea. The über-fake feeling of this fictional signing of the Lei Ãurea conveys to us that the law that freed the slaves was all an act. The purposefully idiotic intonation of actress Camila Amado, playing Princess Isabel, contrasts with the following scene, a long Carnaval parade in the Sambódromo,9 intercut with hilarious shots of the delirious Princess screaming from the balcony of her palace. From the portrayal of the colonial Princess who believed she was playing a key historical role, to the complex expression of Carnaval one hundred years later, an uncertain feeling stands out - something between beauty, discomfort and irony. In the Carnaval of Rio, Black bodies play instruments, dance, sing and work by pushing allegorical vehicles in the procession.10
The sequence of dedications which come soon after is peculiar: âto the master Glauber Rochaâ, to Leon Hirszman and "to black filmmaker HermÃnio de Oliveira", followed by a mention of the Movimento Negro Unificado (Unified Black Movement) over the images of carnavalgoers leaving the Sambódromo and heading to the Central do Brasil station. This station is where people usually take the train to the Zona Norte and Zona Oeste neighborhoods, as well as to the municipalities in Baixada Fluminense. At this moment in the film, we spot the great samba composer Catoni among the passerbys. We leave the harmonious sounds and dancing bodies of the Carnaval for the Central do Brasil station, and then move into the trains that take the black carnivalgoers to their homes in the Rio suburbs. Cut to a puppet theater show for children which deals directly with racism. Then, shots of the crowded Rio-Niterói ferry feature a synthesizer-heavy soundtrack reminiscent of Krautrock. Black construction workers and shoeshiners, a dog taking a dump, a woman at work, as we go into her house. A baby, a birth certificate dated 1868, and, then we stumble upon an impressive interview with Mr. Manoel, a former slave who, at 120 years of age, gives the following statement: âtoday we live in bitterness, we didnât get paid but we had satisfaction. We were satisfied with the food, everyone was satisfiedâ.
A tone of subtle irony can be detected when we cut from the interview with the grandson of Princess Isabel, João de Orleans e Bragança, to the crew of black technicians with their equipment in hand leaving the Imperial Palace in a hurry. Then, with a single statement, Maria Beatriz do Nascimento dismantles the official truths of the Royal family by demonstrating how the political pact which culminated in the abolition of slavery threw the lives of the black population into precariousness. The passage from a Monarchy to a Republic:11 âblack people stopped obeying their masters and started being controlled by the Stateâ.
Joel Rufino sitting on a curb on the idyllic Pedra do Sal, the original stronghold of Rioâs urban samba. Bulbul and his editor, Severino Dadá, make use of an Eisensteinian montage, intercutting the Rufino interview with shots of waves hitting rocks. The sound design allows the urban soundscape and the musical soundtrack to coexist within the interview. Joel Rufino presents Aunt Carmen as a bastion of the Praça Onze, a location in Rio which at the start of the 20th century was known as Little Africa. Writer and actress Thereza Santos makes the assertion, while standing in a storm, that after the abolition the living conditions of black women grew worse.
Abolition, in effect, sets itself far from Cinema Novo by posing a different set of questions. The film relates to Brazilian history by parodying its sociological rules, and its style is similar to that of Frederick Wisemanâs in its use of cinema to apprehend reality by capturing objective information as well as fragmentary and temporary aspects. Such seemingly random displacements accentuate the polyphony and allow for an ambiguous relationship, either emphasizing Bulbulâs very presence, or sharing a space with the spectator, the crew, and the characters. It is not just about black gaze or Bulbulâs gaze; he captures a reality in the film that extrapolates subjectivity, organizing it by fields of action: modulation, intersections, fragments, rhythm and cutting, symbols, posters and words shown on screen.
5. Atlantic Trance
In Abolition, Bulbul allows for sections of the film to modulate through and from subtle changes in themes, signs and elements. One example of this is the samba and the various forms in which it is presented. There are sections in crossing, marked by intersections of the central issue with other âpresencesâ, fragments and details which make it unstable: Native Brazilians, Northeasterners,12 and even white people, aiming at a tridimensional black gaze, i.e., opening up to a cosmological and sociological assimilation that is broader than what white hegemony allows. There is a fragmented and incomplete field intercut by shining presences. This field is marked by a very peculiar use of talking heads, shaped by the interaction of the camera with the interviewee: the theatrically beat-down presence of Benedita da Silva; Lélia Gonzalez talking and gesticulating in the sunlight. The bishop Dom Hélder Câmara providing a critical analysis of beaches overflowing with white bodies while Jards Macalé sings Rio sem tom, a song he wrote to criticize the fact that Tom Jobim had sold a song to Coca-Cola.13 Perhaps due to the influence of orthodox Marxism, Zózimo noticeably devoted very little time to Afro-Brazilian religions, favoring Dom Hélderâs strange interview. Even so, there is a precious interview with Mãe Filhinha, the founder of the IIê Axé Itayle terreiro14, in Cachoeira, Bahia.
Some critics and researchers have commented that Abolition is repetitive. I think this repetition is a necessary asset in the filmâs structure, organized by intertwining themes and treatments. There is a trace of repetition which, like the absence of a narrator, can be understood as an aesthetic choice. And, like in The Age of the Earth, the repetition aims to provoke a state of trance, of hallucination. To repeat in order to hallucinate. Repetition brings forth the Atlantic trance. The consensus regarding Glauberian expression as an allegory begets very particular ways of exploring dynamic stasis, the static progression of the dispute between antagonistic forces, which indicates that, when it comes to Brazilian racism, everything is transformed in order to keep the status quo intact. As a complement to that field, there is the written word, posters, watchwords, and intertitles to rectify and break open the shots.
Some critics and researchers have commented that Abolition is repetitive. I think this repetition is a necessary asset in the filmâs structure, organized by intertwining themes and treatments. There is a trace of repetition which, like the absence of a narrator, can be understood as an aesthetic choice. And, like in The Age of the Earth, the repetition aims to provoke a state of trance, of hallucination. To repeat in order to hallucinate. Repetition brings forth the Atlantic trance.
A particularly dark moment in the film is that of the anti-interview with anthropologist Gilberto Freyre, author of the classic study Casa Grande & Senzala.15 Unable to speak due to his poor health condition, Freyre is represented by hisson, who limits himself to repeating platitudes from Freyreâs work regarding the value of the âafroblackâ element (his words). The camera moves slowly out of the room, as if to indicate an abandonment, which is reinforced by the underexposed cinematography. Other particularly interesting moments: the presence of communist politician LuÃs Carlos Prestes just twenty minutes into the film indicates a movement towards the unexpected, as it allows for a white political leader to speak in its first few minutes. Black sociologist and journalist Muniz Sodré walks through the corridors of the Federal University of Rio de Janeiro (I have to note how weird it is to see black people inside a Brazilian university in 1988). Francisco Lucrécio and Correia Leite tell the story of how the Frente Negra16  was founded in the 1930s. The Revolt of the Lash gets a special mention in the interviews of historian Edmar Morel and of the daughter of João Cândido.17 Two repentistas18 sing about the Abolition and the situation of black people in the history of Brazil.The widow of black poet and cultural agitator Solano Trindade complains that her husbandâs memory is being erased. Abdias do Nascimento, a playwright, activist and politician, talks about his experience with the Black Experimental Theater.19 Reminiscent of Kanye West, a current icon who has blamed black people for slavery, singer Agnaldo Timóteo insists that first and foremost black people have to change their mentality. Composer Nei Lopes drinks beer while Paulo Moura plays his saxophone, in contrast with the part of São Paulo which is inhabited by people from the Northeast, cornered between misery and the commodification of life itself. Then, Zózimo exposes the violence of the Military Regime on black bodies. Despite the reflexive tone usually attributed to this film, Abolição doesnât only express the vision of its author. Simultaneously close and away from Bulbul, a cinema with a collective soul is born, in a panel of diffuse presences, always elusive.
6. The Party is Over
The price paid for being black in Brazil is huge. Zózimo Bulbulâs trajectory in Brazilian cinema is linked to a personal effort to conquer his own ground to work in, and to make it possible for a black filmography to arise. The generosity of Bulbulâs Atlantic aesthetics is contrasted at times by a collective tendency to reinforce militant watchwords and the demand for basic rights. When a black person fails to correspond to what minority groups, society and even his brothers and sistas expect of him, his walk is even harder. Just ask Albert Ayler, John Coltrane or Itamar Assumpção. The list of black men and women who were misunderstood by the black movement because they failed to follow what the community considered appropriate is a long one. These black people are usually unlucky. Bulbulâs name is on that list, and so Abolition might have been a huge disappointment to those who followed his work. Either way, the film bets on collective experimentalism as a way to survive, even though it doesnât end on an optimistic note.
Amid images of streets filled with trash and the luxury of show houses, Grande Otelo calls on the black âtaskforceâ: âNothing was ever abolished and today we have it even worse, because now black and white people are slaves.â Next, black street children impress us with their direct, political discourse: âWe are still slaves. No work, no healthcare, no educationâ¦â The tragic symbolism is exacerbated. These crescendo signals the end is near, just as the mamulengo doll announces: âAnd thus, ladies and gentlemen, we end our tragicomedy in various acts, without ever reaching the ending! The abolition of slavery in Brazil. Or, to put it bluntly: black people can go fuck themselves.â An intertitle announces the ending: âthe party is overâ. The camera is pointed at the Central do Brasil station, then moves slowly down behind the grates of Campo de Santana. The last shot is the Central do Brasil station seen from behind iron bars, materializing, with the camera movement, the mutual imprisonment and the thin dialectics of oppression.
1. Published in Brazil in 1971 under the title Alma no ExÃlio.
2. Carvalho, 2005
3. Embrafilme is the main producer of Brazilian films since the companyâs conception in 1969 until its implosion in 1990. Embrafilme provided a certain level of infrastructure and helped forge a new public interest in Brazilian cinema despite the fact that the market was dominated by foreign studios. However, Embrafilmeâs practices were also met with criticism from filmmakers who made the accusation that they prioritized certain films while delaying the commercial release of others.
4. Rede Globo is Brazilâs largest TV network and the largest media conglomerate in Latin America.
5. Carvalho, 2005
6. Ibid.
â
7. Draft for a History of Black People in Brazilian Cinema, translated freely, 2005.
â
8. A popular street procession with song and dance that reenacts the coronation of a king in Congo.
9. A large construction in Rio de Janeiro where the samba school parades take place during Carnaval.
10. Tall vehicles designed in accordance with the theme of that yearâs parade.
11. The Republic was installed on November 15th, 1889.
â
12. People from the Northeast of Brazil are historically subjected to prejudice from the richer regions of Brazil. Especially the South and Southeast.
â
13. The song was Ãguas de Março, which was used with new lyrics in many Coca-Cola TV spots during the 1980s.
14. Terreiros are the houses in which the Candomblé religion is practiced.
15. Published in English under the title The Masters and the Slaves.
16. Frente Negra Brasileira, or Brazilian Black Front, was the first black political party in Brazil.
17. The Revolt of the Lash (Revolta da Chibata) was a naval mutiny which took place in Rio de Janeiro in November, 1910. It was a response to the frequent whipping of black sailors by white naval officers. The Revolt was led by João Cândido Felisberto.
â
18. Repente is a kind of improvised poetry typical of the Northeast.
â
19. Teatro Experimental do Negro was a theater company founded in 1944 and ended in 1961.
REFERENCES
CARVALHO, Noel dos Santos. âEsboço para uma história do negro no cinema Brasileiroâ. In: De, Jeferson. Dogma feijoada, o cinema negro brasileiro. São Paulo: Imprensa Oficial, 2005.
_____. O Produtor e Cineasta Zózimo Bulbul â O Inventor do Cinema Negro Brasileiro. Revista Crioula (USP), v. 12, p. 1-21, 2012.
DAVID, Marcell Carrasco. Abolição: escavações e memórias sobre o Cinema Negro de Zózimo Bulbul. Dissertação de Mestrado, PUC-Rio, 2020.
JAFA, Arthur. âThe Notion of Treatment: Black Aesthetics and Filmâ. In Pearl Bowser, Jane Gaines and Charles Musser (eds.): Oscar Micheaux and His Circle, Bloomington: Indiana University Press, 2001, pp. 11-17.
A Social Lyricism
Menino da Calça Branca (Boy in the White Pants), Sérgio Ricardoâs first movie,1 is a 1962 short film made while the Brazilian Cinema Novo movement was still consolidating itself. The film tells the story of a boy from a favela who receives white pants as a gift, and proud of this symbol of social status, wears his white pants while walking through the city of Rio de Janeiro. Sérgio Ricardoâs first film reveals his desire to call attention to Brazilâs lower social classes, something that will become a common theme throughout his filmography (as noted by Gustavo Menezes de Andrade in his 2017 dissertation). Looking at his career as a whole, this wasn't the first time that an interest in exploring the lives of the lower classes manifested itself. For example, besides working as an actor, Sérgio Ricardo began his career as a musician and composer. In his song âZelãoâ, made one year prior to Menino da Calça Branca, he sings about a favela musician who lost his home to a flood.
Multi-talented, Sérgio Ricardo both directs Menino da Calça Branca and composes its soundtrack, on which he explores the sonorities of Bossa Nova using only his voice, guitar and flute. In this article, we aim to highlight the major themes of this short film about a favela child in the city of Rio de Janeiro, analyzing the way the plot develops alongside the music in the film, while also taking into account the larger context of music in Brazilian cinema at that time.
Menino da Calça Branca is not the first occasion that a Brazilian film showed images of a favela in Rio de Janeiro. For example, there is the case of a lost 1935 film by Humberto Mauro, Favela dos meus amores. But it was Rio, 40 Graus (Rio 100 Degrees F.) by Nelson Pereira dos Santos which would become an important reference for filmmakers of the 1960s who were looking to film in favelas. This 1955 film portrays the lives of five children from the favela in their daily struggle for survival. Nelson Pereiraâs film is considered by many researchers, such as Mariarosaria Fabris (2007), as having been influenced by Italian Neorealism in its compassionately humanist way of looking at the lower classes (holding an âethical postureâ, as Cesare Zavattini recommended). The film is similar to the films of the Neorealists that often have sad endings, where characters have no hope for a better future.2
Rio, 40 Graus contains images made in favelas such as Morro do Cabuçu, and we can even see and hear the samba school Unidos da Cabuçu rehearsing in the favela in the filmâs final sequence. It is worth mentioning that Nelson Pereira dos Santos decided to edit Menino da Calça Branca for free because he got excited when he saw Sérgio Ricardoâs initial material. In fact, while Sérgio Ricardo was finishing up edits of Menino da Calça Branca, the Centro Popular de Cultura (CPC)3 put together the collective film project titled (Five Times Favela). This work would be composed of five short films by directors of the emerging Brazilian Cinema Novo movement: Leon Hirzsmanâs Pedreira de São Diogo, Cacá Dieguesâ Escola de Samba, Alegria de viver, Miguel Borgesâ Zé da Cachorra, Marcos Fariasâ Um favelado and Joaquim Pedro de Andradeâs Couro de gato (Cat Skin).4
â
Sérgio Ricardo said in an interview that Menino da Calça Branca was considered to be included in Cinco Vezes Favela, but it ended up being denied for its âexcessive lyricismâ.5 He added in the interview that maybe the film didn't have the didacticism intended by the CPC. It is coincidental that, among the five films chosen for Cinco Vezes Favela, Cat Skin is also a story about favela children. As the themes of Menino da Calça Branca and Cat Skin are similar, this article will compare both films, while taking into account their influential predecessor, Nelson Pereira dos Santosâs Rio, 40 Graus.
To begin, what could this accusation of excessive lyricism be referring to in Ricardoâs film? Like Nelson Pereira and Joaquim Pedro, Sérgio Ricardo filmed on location in a favela (the now extinct Macedo Sobrinho). In the first shot of Menino da Calça Branca we see slum shacks with shabby rooftops, and as the opening titles run, we hear the song âEnquanto a tristeza não vemâ (âWhile the Sadness Doesn't Comeâ). Then a boy appears (played by Zezinho Gama), playing games such as hopscotch and hide-and-go-seek alone and with his friends. No details of the favela setting are spared, as we can see an open-air sewage ditch that runs through an alley. Menino da Calça Branca does not beautify any aspects of favela life.
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https://www.thedailystar.net/sports/football/news/peles-gilded-turf-lined-tomb-opens-public-brazil-3321356
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Pele's gilded, turf-lined tomb opens to public in Brazil
|
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[
"Pele",
"football",
"Brazil",
"Brazil world cup",
"Santos",
"The King",
""
] | null |
[
"Santos"
] |
2023-05-16T06:23:23+06:00
|
It is a final resting place fit for "The King": six months after the death of the man widely considered the greatest footballer of all time, Brazil opened Pele's gilded, football-turfed tomb to the public Monday.
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en
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https://www.thedailystar.net/sites/all/themes/sloth/favicon.ico
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The Daily Star
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https://www.thedailystar.net/sports/football/news/peles-gilded-turf-lined-tomb-opens-public-brazil-3321356
|
It is a final resting place fit for "The King": six months after the death of the man widely considered the greatest footballer of all time, Brazil opened Pele's gilded, football-turfed tomb to the public Monday.
Pele, who died on December 29 at age 82 after a battle with cancer, was laid to rest at the Ecumenical Memorial Cemetery in Santos, Brazil. It is a high-rise, 14-story mausoleum that holds the Guinness world record for the tallest cemetery on Earth.
Fans were greeted by two life-size golden statues of the player nicknamed "O Rei" -- The King -- whose remains rest inside a large golden vault displayed in the middle of a 200-square-meter (more than 2,000-square-foot) room carpeted in artificial turf.
"It surpassed my expectations. It's a really beautiful place," said Ronaldo Rodrigues, 44, a businessman who was first in line to visit the tomb, along with his wife.
"I hope lots of tourists will come visit and get to know a little about Pele's story, what he represented for Santos, Brazil and the entire world."
Born Edson Arantes do Nascimento, Pele is the only player in history to win three World Cups (1958, 1962 and 1970).
He scored a world record 1,281 goals during his more than two-decade career with Santos (1956-74), the New York Cosmos (1975-77) and the Brazilian national team.
In tears, Pele's son Edinho told reporters who flocked to the southeastern port city that the family was still struggling to cope with their loss.
"But we're also very proud and happy at all the affection and reverence that's kept pouring in," he said.
For now, entries to the tomb are limited to 60 people a day, via a sign-up form on the cemetery's website.
Topped with a cross, Pele's golden vault has black etchings on its sides depicting his 1,000th goal and his famous raised-fist goal celebration. The room is wallpapered with images of fans in a football stadium.
The resort-like cemetery also features an auto museum that now includes the Mercedes Benz S-280 the company gave Pele in 1974 to commemorate his 1,000th goal.
"It's a place that's rich in detail, all lovingly assembled in tribute, as the 'King' deserves," cemetery manager Paulo Campos told AFP.
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https://reliablesourceng.com/qatar-2022-senegal-first-african-team-to-qualify-for-round-of-16/
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Qatar 2022: Senegal, first African team to qualify for round of 16
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[] |
[
""
] | null |
[
"Kazie Uko"
] |
2022-11-29T22:42:00+00:00
|
Nigeria
|
en
|
Reliable Source NG
|
https://reliablesourceng.com/qatar-2022-senegal-first-african-team-to-qualify-for-round-of-16/
|
Senegal on Tuesday became the first African country to qualify for the round of 16 knockout stage in the on-going World Cup, Qatar 2022.
The francophone African country defeated Ecuador 2-1 at the Khalifa International Stadium, Qatar, to book a place in the round of 16.
Ismaila Sarr fired the opener for Senegal with a penalty in the 44th-minute, and Kalidou Koulibaly sealed the game with his beautiful finish in the 70th.
Ecuador would have advanced with a win or a draw. Senegal, however, made sure the South American country took no point from the game and advanced with their win.
READ: Qatar 2022: Riots break out in Belgium after loss to Morocco
In February, Senegal’s coach, Aliou Cissé, became the first manager to lead Senegal to the Africa Cup of Nations title.
Tuesday, he also became the first Senegal manager, since Bruno Metsu in 2002, to make the World Cup round of 16. Cissé was the Senegalese captain back in 2002, when the Lions qualified for their first World Cup quarter-final.
Senegal finished second in Group A with six points behind Netherlands with seven points.
|
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3394
|
dbpedia
|
1
| 6
|
https://www.dubai92.com/news/sports-news/soccer-legend-pele-dies-at-82/
|
en
|
Soccer legend Pele dies at 82
|
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[] |
2022-12-30T02:20:24+00:00
|
Pele, the legendary Brazilian football player who rose from barefoot poverty to become one of the greatest and best-known athletes in modern history, died on Thursday at the age of 82.
|
en
|
Dubai 92
|
https://www.dubai92.com/news/sports-news/soccer-legend-pele-dies-at-82/
|
Pele, the legendary Brazilian football player who rose from barefoot poverty to become one of the greatest and best-known athletes in modern history, died on Thursday at the age of 82.
Sao Paulo's Albert Einstein hospital, where Pele was undergoing treatment, said he died at 3:27 p.m. "due to multiple organ failures resulting from the progression of colon cancer associated with his previous medical condition."
The death of the only man to win the World Cup three times as a player was confirmed on his Instagram account.
"Inspiration and love marked the journey of King Pele, who peacefully passed away today," it read, adding he had "enchanted the world with his genius in sport, stopped a war, carried out social works all over the world and spread what he most believed to be the cure for all our problems: love."
Tributes poured in from across the worlds of sport, politics and popular culture for a figure who epitomized Brazil's dominance of the beautiful game.
The government of President Jair Bolsonaro, who leaves office on Sunday, declared three days of mourning, and said in a statement that Pele was "a great citizen and patriot, raising the name of Brazil wherever he went."
Bolsonaro's successor, President-elect Luiz Inacio Lula da Silva, wrote on Twitter that "few Brazilians carried the name of our country as far as he did."
French President Emmanuel Macron said Pele's legacy would live forever. "The game. The king. Eternity," Macron tweeted.
Pele had been undergoing chemotherapy since he had a tumor removed from his colon in September 2021.
He also had difficulty walking unaided since an unsuccessful hip operation in 2012. In February 2020, on the eve of the coronavirus pandemic, his son Edinho said Pele's ailing physical state had left him depressed.
On Monday, a 24-hour wake will be held for Pele in the center of the field at the stadium of Santos, his hometown club where he started playing as a teenager and quickly rose to fame.
The next day, a procession carrying his coffin will pass through the streets of Santos, passing the neighborhood where his 100-year-old mother lives, and ending at the Ecumenical Memorial Necropolis cemetery, where he will be buried in a private ceremony.
'WHAT IS POSSIBLE'
U.S. President Joe Biden said on his Twitter that Pele's rise from humble beginnings to soccer legend was a story of "what is possible."
Pele, whose given name was Edson Arantes do Nascimento, joined Santos in 1956 and turned the small coastal club into one of the most famous names in football.
In addition to a host of regional and national titles, Pele won two Copa Libertadores, the South American equivalent of the Champions League, and two Intercontinental Cups, the annual tournament held between the best teams in Europe and South America.
He took home three World Cup winner's medals, the first time as a 17-year-old in Sweden in 1958, the second in Chile four years later - even though he missed most of the tournament through injury - and the third in Mexico in 1970, when he led what is considered to be one of the greatest sides ever to play the game.
He retired from Santos in 1974 but a year later made a surprise comeback by signing a lucrative deal to join the New York Cosmos in the then nascent North American Soccer League.
In a glorious 21-year career he scored between 1,281 and 1,283 goals, depending on how matches are counted.
Pele, though, transcended soccer, like no player before or since, and he became one of the first global icons of the 20th century.
With his winning smile and an aw-shucks humility that charmed legions of fans, he was better known than many Hollywood stars, popes or presidents – many if not most of whom he met during a six-decade-long career as player and corporate pitchman.
"I am sad, but I am also proud to be Brazilian, to be from Pele's country, a guy who was a great athlete," said Ciro Campos, a 49-year-old biologist in Rio de Janeiro. "And also off the field, he was a cool person, not an arrogant athlete."
Pele credited his one-of-a-kind mix of talent, creative genius and technical skill to a youth spent playing pick-up games in small-town Brazil, often using grapefruit or wadded-up rags because his family could not afford a real ball.
Pele was named "Athlete of the Century" by the International Olympic Committee, co-"Football Player of the Century" by world soccer body FIFA, and a "national treasure" by Brazil's government.
His celebrity was often overwhelming. Grown adults broke down crying in his presence with regularity. When he was a player, souvenir-seeking fans rushed the field following games and tore off his shorts, socks and even underwear.
His house in Brazil was less than a mile from a beach, but he didn't go there for some two decades because of fear of crowds.
Yet even in unguarded moments among friends, he rarely complained. He believed that his talent was a divine gift, and he spoke movingly about how soccer allowed him to travel the world, bring cheer to cancer patients and survivors of wars and famine, and provide for a family that, growing up, often did not know the source of their next meal.
Brazil's CBF soccer federation said "Pele was much more than the greatest sportsman of all time... The King of Soccer was the ultimate exponent of a victorious Brazil."
Kylian Mbappé, the French star many view as the current best soccer player in the world, also offered his condolences.
"The king of football has left us but his legacy will never be forgotten," he wrote on Twitter. "RIP KING."
|
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3394
|
dbpedia
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2
| 11
|
https://www.facebook.com/omuseudapelada/videos/maior-artilheiro-de-mo%25C3%25A7a-bonita-o-atacante-luis%25C3%25A3o-bateu-um-papo-com-a-equipe-do-/758430815400511/
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en
|
Maior artilheiro de Moça Bonita, o atacante Luisão bateu um papo com a equipe do Museu da Pelada para relembrar sua trajetória nos gramados!
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Maior artilheiro de Moça Bonita, o atacante Luisão bateu um papo com a equipe do Museu da Pelada para relembrar sua trajetória nos gramados!
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/omuseudapelada/videos/maior-artilheiro-de-mo%C3%A7a-bonita-o-atacante-luis%C3%A3o-bateu-um-papo-com-a-equipe-do-/758430815400511/
| ||||||
3394
|
dbpedia
|
1
| 29
|
https://dokumen.pub/becoming-brazilians-race-and-national-identity-in-twentieth-century-brazil-1107175763-9781107175761.html
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en
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Becoming Brazilians: Race and National Identity in Twentieth
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[
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This book traces the rise and decline of Gilberto Freyre's vision of racial and cultural mixture (mestiçagem - or r...
|
en
|
dokumen.pub
|
https://dokumen.pub/becoming-brazilians-race-and-national-identity-in-twentieth-century-brazil-1107175763-9781107175761.html
|
Table of contents :
Cover
Half-title page
Series page
Title page
Copyright page
Dedication
Epigraph
Contents
List of Figures
Acknowledgments
Introduction: Creating a People and a Nation
Gilberto Freyre and the Myth of Mestiçagem
Gilberto Freyre and Casa-grande e senzala
Constructing Myths, Rituals, and Symbols
Key Themes
Modernism
Decline of the Freyrean Vision
An Overview of the Book
1 From the “Spectacle of Races” to “Luso-Tropical Civilization”
Constructing State and Nation
Race and National Identity
Modernism and Modernity
Gilberto Freyre and the Creation of the Myth of Mestiçagem
2 Communicating and Understanding Mestiçagem: Radio, Samba, and Carnaval
The State, Media, and Popular Culture
Radio and the Creation of Samba
Samba, Carnaval, and Getúlio Vargas
Carnaval, Gender, the Malandro, and the Mulata
The Malandro
3 Visualizing Mestiçagem: Literature, Film, and the Mulata
A New Visual Culture and the Freyrean Mulata
Carmen Miranda: An Iconic Cinematic Mulata?
Carnaval and Cinema
Mestiço Nationalism, Cinema Novo, and Bossa Nova
Creating the Iconic Mulata: Jorge Amado and Sonia Braga
4 “Globo-lizing” Brazil: Televising Identity
The Television Revolution and the Rise of the Globo Empire
Modernity, Identity, and the Jornal Nacional
Telenovelas and National Identity
Broadcasting Carnaval and Futebol
5 The Beautiful Game: Performing the Freyrean Vision
Creating the Myth of Futebol-Mulato
From English Sport to Jogo do Povo
Futebol-mestiço, Futebol-mulato, Futebol-arte
Identity and the End of Futebol-arte?
Gilberto Freyre, Mário Filho, Mestiçagem, and Citizenship
6 The Sounds of Cultural Citizenship
Cultural Citizenship and Cultural Nationalism
Music, Region, Nation
Música Popular Brasileira and Cultural Nationalism
Popular Music, Nationalism, Citizenship
7 Culture, Identity, and Citizenship
Civic and Cultural Nationalisms
Citizenships
The Diretas Já Campaign
Impeachment, Citizenship, and Nationalism
Challenges to the Freyrean Vision
Epilogue: Nation and Identity in the Twentieth and the Twenty-First Centuries
The Return of Gilberto Freyre
Technology: Forging and Eroding Narratives
Modernity, Post Modernity, and the Creation of Identities
Back to Race and Identity
Nation, Regions, Nationalism, and National Identity
Brazilian Exceptionalism?
Bibliography
Index
Citation preview
|
|||||
3394
|
dbpedia
|
2
| 1
|
https://en.wikipedia.org/wiki/List_of_goalscoring_goalkeepers
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en
|
List of goalscoring goalkeepers
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2008-11-08T10:54:16+00:00
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https://en.wikipedia.org/wiki/List_of_goalscoring_goalkeepers
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Player Nation Years Team(s) Goals Notes Brazil 1990–2015 São Paulo 129 Record for a goalkeeper,[1][10] record number of free kicks (59), record number of penalties (69), record number of official goals (129). Scored 14 goals (six free kicks and eight penalties) in Copa Libertadores and 65 (26 free kicks, one indirect free kick[11] and 38 penalties) in Brazilian League.[12] Had five matches with two goals. Paraguay 1982–2004 Paraguay, Sportivo Luqueno, Guaraní, San Lorenzo, Zaragoza, Vélez Sársfield, Strasbourg, Peñarol 67 Record number of international goals (8), first goalkeeper to score a hat trick (3 goals in a single game). 62 goals considered by IFFHS and more 5 goals scored at the Paraguayan Primera División.[13][14][10] Mexico 1988–2004 Pumas UNAM, Atlante, L. A. Galaxy 46 Scored 28 goals[15][16][17] for Pumas playing as striker while Adolfo Ríos is the goalkeeper (1989–1991).[18] In the most of his goals, he played outfield while another goalkeeper entered as a substitute.[19][20] 44 goals scored for Pumas,[21] 1 for Atlante[22] and 1 for LA Galaxy.[23] Peru 1997–2017 Sport Boys, Union Huaral, Universidad San Martín de Porres, FBC Melgar, Sport Ancash, Cienciano, Alianza Atlético, Club Deportivo Pacífico FC, Defensor San Alejandro, Los Caimanes 45 Forty goals in first division, one goal in Copa Sudamericana and four goals in second division[24][25] Colombia 1985–2009 Colombia, Atlético Nacional, Veracruz, Independiente Medellín, Real Cartagena, Bajo Cauca FC, Deportivo Rionegro 43 Bulgaria 1996–2012 Levski Sofia, Kayserispor, Bursaspor 42 [26] Brazil 2002–2019 Atlético Goianiense, Goiás, Goiânia 40 37 goals for Atlético Goianiense (2007–2015), one for Goiás (2016) and two for Goiânia (2019)[27][28][29][12] Costa Rica 1989–2013 Xelajú, Cobán Imperial, Puntarenas, Ramonense 35 [1][30][31] Brazil 2008– Cruzeiro-RS, São José-RS 35 2 goals for Cruzeiro-RS (2011), 33 goals for São José-RS (2015–2023). Goals scored at Campeonato Brasileiro Série C, Campeonato Brasileiro Série D, Campeonato Gaúcho and Copa FGF.[32][33] Germany 1994–2012 VfB Oldenburg, Hamburger SV, Bayer Leverkusen, Bayern Munich, Bayern Munich II 33 Record number of penalty goals in a single professional league of Europe (26 in 1. Bundesliga); includes three goals in UEFA Champions League (record for a goalkeeper), one in the German League Cup, one in the 2. Bundesliga, one in the 2. Bundesliga play-off, and one in the 3. Liga.[34][35] El Salvador 1988–2010 Luis Ángel Firpo, San Salvador, Águila, Alianza, Metapán 31 [1] Yugoslavia 1971–1985 Yugoslavia, Radnički Niš, Bordeaux 29 24 for Radnički Niš, 3 for Bordeaux, 2 for Yugoslavia.[1][36][37] Peru 2003–2021 Los Caimanes, Atlético Minero, Deportivo Municipal, Comerciantes Unidos, Juan Aurich 26 [38][39] Serbia and Montenegro
Montenegro 1992–2008 Rudar Pljevlja, Budućnost Podgorica, Kom Podgorica, Mladost Podgorica 25 [1][40][41] Chile 1982–1995 Palestino 24 Most goals by a goalkeeper in Chile[1] Nigeria 1999–2018 Ibom Stars, Enyimba, Hapoel Tel Aviv 24 Was the main penalty taker for Hapoel Tel Aviv[1] Venezuela 1989–2010 Venezuela, Santa Fe, Zulia, Quilmes, Deportivo Cali, Unión Maracaíbo, Estudiantes de Mérida 22 [42][43][44][45] Vietnam 1997–2014 Đồng Tâm Long An, Navibank Saigon 22 Highest-scoring goalkeeper in all of Asia. First goalkeeper to score in an AFC Champions League match.[46][47] Azerbaijan Turan Tovuz 21 [1] Argentina 1995–2023 Banfield, Atlético Tucumán 20 19 for Banfield, 1 for Atlético Tucumán.[48] Argentina 2000–2017 San Lorenzo, Grêmio, Racing 20 12 for San Lorenzo, 7 for Racing, 1 for Grêmio.[49][12] Brazil 2005–2024 Figueirense, Coritiba 19 17 penalties, 1 free kick and 1 header.[50] 8 for Figueirense, 11 for Coritiba[51][52][53][12] Brazil 2003–2016 Portuguesa, Vasco da Gama 18 [54] Argentina 1965–1979 Montevideo Wanderers, Atlético Mineiro, Comercial 17 All penalties. 9 for Montevideo Wanderers,[55] 7 for Atlético Mineiro,[56] and 1 for Comercial.[57][12] Argentina 1997–2019 Patronato 16 [58][59] Yugoslavia 1958–1978 Rijeka, Borac Banja Luka, Metalac Sisak 16 [60][61] Argentina 2001–2023 San Martín de San Juan 15 All penalties[62] Brazil 2010– Deporvito Toluca F.C. 15 Yugoslavia 1951–1962 Hajduk Split 15 All penalties. In addition to official goals, he also scored 14 goals in friendly matches.[63][64] Zambia 2003–2023 Zambia, Free State Stars 14 Twelve penalties, as well as an equalizing goal against Nigeria in an Africa Cup of Nations group stage match on 25 January 2013. He scored another goal in the Africa Cup of Nations qualifiers against Niger Zambia won 3–0 on 15 October 2014, Kennedy Mweene scoring a late penalty in the 90 minute. Belgium 1981–2002 Standard Liège 14 [65][66] Argentina 1991–2008 Racing, Las Palmas 14 Joint-highest scoring goalkeeper in La Liga history with six goals (all penalties for Las Palmas)[67] Czechoslovakia 1959–1975 VSS Košice 13 11 league penalties,[68] one UEFA Cup penalty,[69] 1 goal for Czechoslovakia B[70] Romania 1999–2017 Extensiv Craiova, Universitatea Craiova 13 All penalties[71][72][73] Soviet Union
Ukraine 1977–2002 Volyn Lutsk, Veres Rivne, Sokil Zolochiv 13 All penalties[74][75] Colombia 2003–2013 Unión Magdalena, Valledupar 13 All penalties[76] Argentina 2012– Banfield, Independiente Rivadavia, Guaraní, Rosario Central 13 1 goal for Banfield, 1 for Independiente Rivadavia, 7 for Guaraní, 4 for Rosario Central.[77][78] Colombia 1961–1971 Cúcuta Deportivo, Bucaramanga, Deportivo Cali 13 [42] Belgium 1979–2000 Germinal Ekeren 13 [79] Uruguay 2003–2023 Junior 13 Nine free kicks and two penalties. 11 league goals and 2 international goals.[80][81] Paraguay 1994–2007 Cerro Porteño, Ñublense 12 8 for Cerro Porteño,[82] 4 for Ñublense.[83][84][85][86] Albania 2003–2022 Skrapari, Kamza, Butrinti Sarandë, Mamurras, Bylis Ballsh 12 All penalties[87] Albania 1998–2023 Olympiakos Nicosia, Bylis Ballsh, Erzeni 12 1 for Olympiakos Nicosia, 8 for Bylis, 3 for Erzeni[88][89][90] England 1964–1972 Luton Town 12 Scored whilst playing as a striker, including one hat-trick[91] Argentina 2011– Independiente, Gooy Cruz 12 All penalties[92] Bolivia 2001–2020 Jorge Wilstermann, Real Potosí, Blooming 12 [93][94][95][96] Ukraine 1995–2016 Avanhard Rovenky, SKA-Energiya Khabarovsk 11 Two goals scored as an outfield player for Avanhard, nine penalty goals for SKA-Energiya[97] Greece 1974–1989 Panetolikos 11 Eleven penalties scored during the 1983–84 season of the Greek second division[98] Colombia 2011–2022 Deportivo Pasto, Millonarios, América de Cali, Boca Juniors de Cali 11 Scored from a free kick and had one assist on 17 September 2016[99] In 2021, Ramos set a record after being the first goalkeeper to score goals from free kicks in three consecutive matches.[100] Denmark 1981–2003 Denmark, Hvidovre, Brøndby, Manchester United, Aston Villa 11 [101] Czechoslovakia 1947–1966
Czechoslovakia, Spartak Trnava 11 Scored the first international goal by a goalkeeper. All penalties[68] Colombia 1996–2013 América de Cali, Vitória, Deportes Quindío 11 [102][12] Argentina 1997–2018 Deportes La Serena, All Boys 10 9 goals for La Serena, 1 goal for All Boys.[103][104] Belgium 1966–1978
Belgium, Standard Liège 10 [101] Paraguay 2003–2019 Ayacucho 10 [105][106][107][108] Turkey Sivasspor, D.Ç. Divriğispor, Tokatspor, Aksarayspor 9 All penalties[109] Argentina 2004– Cruz del Sur, Petrolero, Mushuc Runa, Universitario de Sucre 9 [110] Peru 1983–1997 Alianza Atlético, Atlético Torino 9 [108][25] Brazil 1990–2000 Avaí 9 [111] Uruguay 1995–2015 América de Cali 9 [112] Brazil 1995–2015 Horizonte, Maracanã 8 Goals scored at Campeonato Cearense and Campeonato Cearense Série B.[113] Romania 1989–2004 Baia Mare 8 [114] England 1907–1925 Derby County, Bradford Park Avenue 8 [115] Ukraine Dnister Ovidiopol 8 All penalties[75][116] Brazil 2001–2022 Atlético de Alagoinhas 8 [117] Romania 1978–1991
Înfrățirea Oradea, Bihor Oradea, Jiul Petroșani, Progresul Timișoara 7 All penalties[118] Argentina 2003– Banfield, Alianza Lima, Unión de Santa Fe 7 Scored four goals for Alianza, two goals for Unión and one goal for Banfield, all from the penalty spot (including one scored from a penalty rebound)[25] Brazil 2002–2023 Flamengo, Rio Branco, Atlético Carioca 7 Three free kicks and four penalties[119][120][121][122][12] Ukraine Desna Chernihiv, Slavutych 7 All penalties[75] Australia 2015– Canberra Olympic 7 Five goals scored in the National Premier Leagues,[123] two goals scored in the FFA Cup[124][125][47] Romania 1965–1982
Rapid București 7 [71][72] Yugoslavia 1961–1977 Vojvodina 7 Scored at least 7 goals.[126][127] Soviet Union
Ukraine Dynamo Stavropol, Kavkaztransgaz Ryzdvyany 7 All penalties[128] Yugoslavia
Bosnia and Herzegovina 1991–2005 Olimpija Ljubljana 7 [129] Yugoslavia 1967–1978 Red Star Belgrade
Bastia 7 Scored at least 7 goals, one of them scored in the 1974–75 European Cup Winners' Cup[130] Serbia and Montenegro
Montenegro 2001–2017 Rudar Pljevlja 7 All penalties Bahrain 1974–1998 Muharraq 7 Scored at least 7 goals, all of them penalties[131] Switzerland 1907–1916 Basel 7 Scored seven goals, four of which in test games and three in the domestic league during the FC Basel 1912–13 season.[132] Colombia 1998–2020 Real Cartagena, América de Cali, Santa Fe 7 Netherlands 1960–1979 Go Ahead Eagles, DOS 7 Sweden 1984–2013 Brage, Örgryte 6 [133] Uruguay 2003–2022 Danubio 6 Colombia 2001–2021 Millonarios, Águilas Doradas 6 All goals scored from free kicks[134] Argentina 2007– Bolívar, Antofagasta, Jorge Wilstermann 6 Scored six professional goals. Four were penalty kicks, one a long kick from his own penalty area, and the sixth a header.[135] Argentina 1970–1988 Celta Vigo, Valladolid 6 Joint-highest scoring goalkeeper in La Liga history with six goals (five for Celta Vigo and one for Valladolid, all penalties)[136] Chile 1999–2020 Universidad de Chile, Everton 6 All penalties[137][138][139] Costa Rica 2001–2007 Puntarenas, Brujas 6 Scored four penalties and two free kicks[30] Brazil 2015– Atlético Goianiense 6 [140][141][12] England 1897–1914? West Ham United 6 All penalties[142] Yugoslavia
Croatia 1980–2000 Dinamo Zagreb, Iskra Bugojno 6 1 goal for Dinamo Zagreb, 5 goals for Iskra Bugojno.[143] Faroe Islands 1991–2014 KÍ Klaksvík, Herfølge Boldklub 6 All penalties (four for Klaksvík, two for Herfølge)[144] Australia 1994–2019 Wollongong Wolves 6 [145][47] Greece 1978–1993 Olympiacos, Panathinaikos 6 Netherlands 1970–1988 NEC, Groningen 6 All penalties[146] Brazil 2012– Riopardense, Jabaquara 6 1 free kick and 2 penalties scored at Campeonato Paulista Segunda Divisão.[147] Scored another 3 goals for Riopardense in 2013 Campeonato Gaúcho Série B.[148] Uruguay 1985–2009 Independiente Medellín, Tolima, América de Cali 5 [42] England 1918–1929 Chesterfield 5 [149] Romania 2003– Baia Mare, Maramureș 5 [150] Colombia 2003–2016 Patriotas, Atlético Bucaramanga 5 All penalties[151] Costa Rica 1981–1997 Ramonense 5 All penalties and free kicks[30] Scotland 1912?–1930? Plymouth Argyle 5 All penalties[152][153] Argentina 1976–1991 América de Cali 5 [42] Argentina 1978–1997 Lleida 5 [154] Brazil 2006–2022 Desportiva Guarabira, Força e Luz, Potiguar de Mossoró, Olímpico 5 Goals scored at the Campeonato Paraibano, Campeonato Potiguar and Campeonato Brasileiro Série D.[155][156][157] Akram El Hadi Salim Sudan 2004– Kober, Alamal Atbara 5 He scored at least five goals, four penalties with Kober, and a direct free kick with Alamal Atbara.[158][159] Curaçao 1946–1958 Curaçao 5 Two penalties and three goals while playing as a forward at 1953 CCCF Championship.[160][161] Possibly scored more goals playing for CRKSV Jong Holland. Hungary 2010– Nyíregyháza 5 [162] Albania 1996–2018 Elbasani 5 All penalties Chile 2001–2011 Santiago Morning 5 Scored as a forward in Chilean play-offs Latvia 1992–2010 Amstrig 5 [163] Poland 1934–1956 Lechia Gdańsk 5 Scored penalties against PTC Pabianice, Skra Częstochowa, Gwardia Olsztyn, Bzura Chodaków and Gedania Gdańsk. All five goals came in divisional playoff matches.[164] Argentina 1995–2014 Godoy Cruz 5 Saudi Arabia 2002–2017 Al-Khaleej 5 [165] Italy 1940–1959 Modena, Juventus, Lazio 5 [42] Hungary 1994–2016 Ferencváros, Újpest 5 All penalties Romania 1926–1947 Ripensia Timişoara 5 [71][72] Libya 1991–2013 Al-Ittihad 4 Scored four goals in his career, all penalties.[166] Suriname 2002–2017 Suriname 4 [167] Ecuador 2004– Barcelona SC 4 [168] England 1982–2003 Woking 4 [169] Albania 2008– Kalmar FF 4 Took penalties while at Kalmar FF[170] Colombia 1988–2011 Deportivo Cali, Pachuca 4 [42] Uruguay 1997–2017 Danubio, Standard Liège, Juventud de Las Piedras 4 [171] Brazil 1988–2007 Caxias 4 All penalties[172] Peru 1994–2016 Universitario, Cienciano, Atlético Minero 4 [25][173] Chile 2000–2018 Chile U-20, Colo-Colo, Unión Española 4 One goal scored playing as a forward Turkey 1972?–1984 Bursaspor, Beşiktaş 4 All penalties[174] Ukraine Metalurh Nikopol 4 All penalties[75][175] Scotland 1966–1989 Dundee United, Raith Rovers 4 [176] Paraguay 2006– General Díaz 4 All penalties, scored in 2016 Paraguayan Primera División season.[82] Uruguay 2008– Cerro, Libertad 4 3 goals for Cerro, 1 for Libertad.[177][178] Mexico 1993–2019 Mexico U-23, Cruz Azul, Pachuca 4 Scored one goal for Mexico-U23,[179][180] two goals for Cruz Azul (both from last minute corner headers) and one goal for Pachuca (also a last minute header). He is only 1.71 m (5 ft 7 1⁄2 in) tall. Croatia 1996–2016 Hajduk Split 4 All penalties[181] Serbia and Montenegro
Montenegro 1999–2017 Grbalj, Petrovac 4 All penalties Brazil 2001– Ceres, Império Serrano 4 Header against Independente, 24 september 2008, at Campeonato Carioca Série B,[182] Penalty kick against Serrano, 27 september 2008, at Campeonato Carioca Série B,[183] Penalty kick against Queimados, 24 september 2014, at Copa Rio,[184] Free kick scored against Vera Cruz, 5 June 2022, at Campeonato Carioca Série C.[185] Iraq 1988–2002 Salahaddin, Al-Karkh 4 All penalties[186] Brazil 2005– CRB 4 Scored two penalties goals against Grêmio, 13 August 2022, at 2022 Campeonato Brasileiro Série B.[187] Scored also at Campeonato Alagoano and Copa do Nordeste.[188] Sweden Landskrona 4 [189] Bolivia 1984–2005 Jorge Wilstermann 4 [190] Brazil 2013– Ferroviária, Goiás 4 Penalty kick scored against Red Bull Brasil, 24 March 2018, at Troféu do Interior.[191] and two more scored against Ceará, 12 August 2024.[192][193] Argentina 2000–2016 Atlante 4 [194][195] Includes one goal scored in CONCACAF Champions League[196] China 2004–2011 Nanchang Hengyuan 4 All penalties[197][47] Brazil 2004– Criciúma, Paraná 4 [198] Greece 2003– Pavlos Melas Stavroupoli 3 Third known goalkeeper to have scored a hat-trick, 12 February 2022, at the Greek fourth division.[199] Ukraine 1992–2005 Antratsyt Kirovske, CSKA Kyiv 3 Scored two free kicks for Antratsyt and one last minute header for CSKA Kyiv[75][200] Argentina 2001–2021 Argentino de Rosario, Tigre 3 [201] United States 2013– Socrates Valencia 3 Scored three goals (penalty kicks) during the 2017 season.[202][203] United States 1995–2001 Tulsa Roughnecks 3 Scored three goals as a forward during the 1999 USISL season Saudi Arabia 1989–2010 Al Hilal 3 [47] Brazil 2008–2016 Santos do Amapá 3 [204] Nicaragua 2002– Nicaragua, Walter Ferretti 3 Penalty at 2011 Copa Centroamericana[205] Wales 1986–2004 Swansea City, Chelsea, Newport County 3 Colombia 1992–2010 Deportivo Pasto 3 [42] England 1895–1902 Burton Swifts 3 [206] Poland 1995–2016 Bałtyk Gdynia 3 [207] Playing as a striker Brazil 1990–2014 Comercial 3 Scored 3 goals, all penalties, during 1998 Campeonato Paulista Série A2 (against Ponte Preta, América and Sãocarlense).[208] Brazil 1993–2017 Guarani, Santo André, Linhares 3 Scored two headers, against Palmeiras (1997) and Juventus (1999). After returning from retirement, he scored one last penalty goal (2011).[209][53][210] Czechoslovakia
Czech Republic 1988–1999 Jablonec, Slavia Prague 3 All penalties (two for Jablonec and one for Slavia Prague)[211] Most goals by a goalkeeper in Czech First League history. South Korea 1992–2015 Ulsan Hyundai Horang-i 3 First goalkeeper to score in a K League match[212][47] Serbia 2012– Brodarac 1947, Radnički Beograd 3 [213] Costa Rica 1985–2003 Saprissa 3 [214] England 1923–1934 Newport County 3 [215] Brazil 1955–1982 Sport Recife, Nacional, Internacional 3 Scored three goals. First a penalty kick in your farewell game by Sport Recife, 1959,[216] the second scored directly from his area against Racing Montevideo in 1973,[217] and the last converted a penalty against Gaúcho de Passo Fundo, at 1974 Campeonato Gaúcho[218] Albania 2007– Flamurtari Vlorë, Kastrioti Krujë, Teuta Durrës 3 Two penalties (against Dinamo Tirana and Apolonia Fier on 20 April 2011 and 10 February 2013, respectively) and a last-minute headed equaliser[219] Uruguay 1997–2015 Nacional, Deportivo La Coruña, Málaga 3 France 1989–2010 Beira-Mar, Vitória de Guimarães 3 [220][221] Colombia 1993–2011 Millonarios 3 Ecuador 2008– Deportivo Quevedo 3 [222] Scotland Bury 3 [223] Chile 2004–2021 Santiago Morning 3 [224] Italy 1967–1986 Como 3 [225] Paraguay 1979–1997 Sport Boys 3 [25] Sweden 1996–2009 Umeå 3 Scored one goal for Sweden U-20,[226] a last minute goal in open play for Umeå[227] and a penalty against Arsenal in the UEFA Women's Champions League.[228] Honduras 1996–2016 Motagua 3 Colombia 2009– Santa Fe, Deportivo Cali 3 Two headers and one penalty.[229] East Germany
Germany 1975–1998 BSG Wismut Aue 3 A 90th-minute equaliser from open play against Carl Zeiss Jena in 1986 and two penalties against FC Karl-Marx-Stadt and Bischofswerdaer FV in 1986 and 1994 respectively.[230][231] Brazil 2008– Criciúma 2 Both penalties at 2020 Campeonato Brasileiro Série C.[232][233] China 1999–2010 Dalian Changbo 2 Penalties scored at the 2005 China League One.[234] Uruguay Cúcuta Deportivo, Unión Magdalena 2 [42] Soviet Union 1972–1980 Sudnobudivnyk Mykolayiv 2 [235] Palestine
Israel 1925–1950 Hapoel Tel Aviv, Maccabi Tel Aviv 2 Scored penalty kicks in 1929[236] and 1934 cup finals. Scotland 1968–1989 Washington Diplomats, Chesterfield 2 [237] Scotland 1902–1926 Third Lanark 2 Scored a goal at least twice for Third Lanark, the first a rebound from a penalty kick he had taken against Motherwell in 1911[238][239] and the other during the 1914–15 season.[240] England 2000–2021 Aldershot Town, Margate 2 Colombia Atlético Nacional 2 [42] Argentina 2007– Gimnasia y Esgrima de Jujuy 2 Scored two goals. The first came in March 2015 as he scored a 91st-minute consolation in a 2–3 defeat to Atlético Paraná, before converting a penalty three months later in a 3–2 win over Chacarita Juniors.[241] Algeria 2003– JS Kabylie, ES Sétif 2 [242][243] Colombia 2011– Alianza Petrolera 2 Scored in two different Alianza Petrolera matches in March 2022.[244] Brazil 1987–2009 Portuguesa, Internacional 2 [245][246] England 1911–1929 Rochdale 2 [247] Argentina 1995–2009 Arsenal de Sarandi 2 [248] Senegal 2010– Whitehawk, Queens Park Rangers 2 [249][250] Brazil 1998–2011 Bangu, Atlético Mineiro 2 [251][53][12] Brazil 2003–2021 Guarani 2 [252][253] Brazil 2011– Confiança, Ceará 2 Penalty kick against Estanciano, 24 April 2015, at Campeonato Sergipano,[254] and a free kick scored against Corinthians, 5 September 2018, at Campeonato Brasileiro.[255][12] Colombia 2002 Junior 2 [256] South Africa 1996–2014 Kaizer Chiefs 2 [257] Northern Ireland 1988?–2007 Hull City 2 [258] Playing as a striker Andorra 2004– Fortuna, ES Pennoise 2 [259] China 2003–2020 Shijiazhuang Ever Bright 2 Penalties scored against Shanghai SIPG and Beijing Guoan in Chinese Super League matches played on 8 and 22 May 2016, respectively[260][261] Egypt 1993–2020 Al Ahly, Al-Taawoun 2 Scored an 80-metre indirect free kick that hit the bar, the opponent goalkeeper and then crossed the line in the CAF Super Cup, He also scored a penalty kick in the Saudi Professional League for Al-Taawoun[262] Iraq 1972–1987 Al-Shorta 2 Both penalties[186] Belgium 1993–2010 Gent 2 [263] Gibraltar 2008–2019 Dartford 2 [264] Yugoslavia
Croatia 1978–1998 Dinamo Zagreb, Tirol Innsbruck 2 [265] Brunei 2009–2021 Menglait, MS PDB 2 [266] Ghana 2010– Cape Coast Ebusua Dwarfs 2 Free kick against Liberty Professionals on 3 April 2019. The second goal scored a last-minute winning goal from a direct free-kick against Elmina Sharks in a 2020–21 Ghana Premier League match[267][268] Portugal 2012– Portugal U-17, Porto B 2 [269] Brazil 1999–2017 Paraná 2 Both penalties[270] Croatia 1994–2016 Hajduk Split, Hapoel Be'er Sheva 2 [271][272] Denmark 1983–2002 Silkeborg 2 [273] Austria 1981–2003 Sturm Graz, Austria Salzburg 2 [274] West Germany
Germany 1979–2001 1. FC Nürnberg 2 Both penalties[275] West Germany
Germany 1969–1993 Arminia Bielefeld 2 [276] France 1981–2001 Lille, Lens 2 Both penalties[277] Brazil 2001–2019 Ponte Preta, Portuguesa 2 Both in headers in the stoppages time. The second goal was scored 10 years after the first, and against the same opponent (Flamengo)[278][279][53][12] Romania 1973–1991 Universitatea Cluj 2 [280] West Germany
Germany 1988–2011 Schalke 04, Arsenal 2 [281] First ever goal keeper to score in open play in the Bundesliga[282] England 1900–1913 Brentford 2 [283] Poland 2009– Polonia Środa Wielkopolska, Warta Poznań 2 A free-kick from his own half against Warta Poznań in 2015[284] and a last-minute header against Górnik Łęczna in 2021.[285] Colombia 2017– Orsomarso 2 Both goals scored from free kicks[286] Brazil 2010– Campinense 2 Both penalties. First against Sousa at 2022 Copa do Nordeste,[287] second against Atlético Cerarense at 2022 Campeonato Brasileiro Série C.[288][289] Saudi Arabia 2004– Al-Ahli, Al-Hilal 2 Both penalties[290][291] England 1897–1919 Brentford 2 [283] Dominican Republic 1999–2010 Dominican Republic 2 [292] Scored twice playing as striker in Gold Cup 2003 qualifying Maldives 1999–2019 New Radiant, VB Sports Club 2 [293] Scotland 1981–1996 St Mirren 2 [294][295] Albania 1979–1996 Partizani Tirana 2 South Africa 2009– Platinum Stars 2 Both penalties against Vipers SC, March 18, at the 2017 CAF Confederation Cup.[296] Yugoslavia 1974–1989 Footscray JUST 2 [297] Soviet Union
Russia 1989–2006 Torpedo Moscow 2 Both penalties[298][299] Macedonia 1999–2017 Vardar 2 [300] India 2004– Pune 2 I-League Daniel Peretz Israel 2019– Beitar Tel Aviv Bat Yam 2 Scored two penalties in the Liga Leumit at the 2019–20 season.[301][302] Spain 1991–2008 Real Betis 2 Romania 1932–1936 Unirea Tricolor București 2 [71][72] Iran 2000–2020 Fajr Sepasi Shiraz F.C., Paykan F.C. 2 Portugal 2001– Varzim 2 Both goals scored from goal kicks[303][304] Jamaica 2002–2017 Village United 2 England 1998–2017 Leeds United, Tottenham Hotspur 2 Header for Leeds from a corner, free kick for Tottenham from inside his own half.[305] Argentina 2013– Agropecuario 2 [306] Jordan 1999–2021 Jordan, Al-Wehdat 2 Greece 1972–1973 Trikala F.C. 2 Penalty kicks. Against Panathinaikos in 1972 and against Panionios in 1973. Poland 1970–1986 Lechia Gdańsk 2 Penalties against Warta Poznań and Olimpia Poznań.[307] Poland 1945–1965 Garbarnia Kraków 2 Penalties in 1950[308] England 1961–1982 Manchester United 2 [309] Yugoslavia 1945–1969 Partizan, Wormatia Worms 2 [310] Sweden 2009– Varberg, Kongsvinger 2 [311] Soviet Union
Ukraine 1986–2002 Chornomorets Odesa 2 Both penalties[74] Ukraine 2003–2013 Obolon Kyiv 2 [312] Hong Kong 2009– Fourway Rangers 2 Scored a goal and had an assist in his professional debut in the league[313] Netherlands 1959–1971 GVAV Rapiditas 2 Both penalties[146] Mexico 2002– Necaxa 2 Goals scored from free kicks El Salvador 2004– Águila 2 [314] Brazil 2019– Manthiqueira, Arauco Prado 2 Penalty kick scored against Paulista, 9 July 2022, at the Campeonato Paulista Segunda Divisão.[315] and in 2023 Copa Simón Bolívar. Poland 1998–2018 Olimpia Grudziądz 2 [316] Albania 2006– Besëlidhja Lezhë 2 Both penalties[317] Saudi Arabia 1998–2014 Al-Ittihad 2 Both penalties[318] Iran 1985–2001 Persepolis 2 Italy 2013– Juve Stabia, Lazio 2 Scored two last-minute goals (both is draw equaliser at minute 90+5' injury time). First goal, at Serie B match against Ascoli in 2020, ending the game 2–2.[319] Second goal with a header, at UEFA Champions League group stage match against Atlético Madrid in 2023, ending the game 1–1.[320] Iraq Al-Ramadi 1 He scored at least a penalty kick.[186][321][322] Argentina 2004–2019 San Telmo 1 Scored a last-minute winning goal from a header, which turned out to be crucial in his side avoiding relegation[323] Mexico 2016– Santos Laguna 1 Scored one goal on Matchday 14 on the last minute vs. Querétaro.[324] Portugal 1955–1961 Porto 1 [325] Russia 2016– FC Krasnodar-3 1 Injury time header against FC Inter Cherkessk, 4 October 2019, at Russian Football National League 2.[326] Scotland 2018– Arbroath 1 [327] Brazil 1964–1981 Bragantino 1 Scored from his own area against Palmeiras (São João da Boa Vista), at Campeonato Paulista Série A2.[328] Brazil 2002–2017 Remo 1 Scored against Tiradentes, at 2008 Campeonato Paraense.[329] Comoros 2010– Toulouse 1 Equalized with a header in the 95th minute against Rennes on 22 September 2012[330] Turkey 1961–1978 Beykoz 1 [331] Iran 2010– Iran U-23 1 Costa Rica Municipal Puntarenas 1 Scored from a free kick[30] Brazil 2013– Liverpool 1 Scored a last-minute winning goal from a header against West Bromwich Albion in a 2020–21 Premier League match[332][53] Paraguay 1967–1991 Olimpia 1 [333] Argentina ?–1931–? Chacarita Juniors 1 Scored a penalty in 1931, with no opposition from the other goalkeeper; the first goalkeeper goal in professional football in Argentina[334] Argentina 2005– Zaragoza 1 Scored an equaliser in the 97th minute of a 2–2 away draw with Lugo[335] Costa Rica 2010– Escazuceña 1 Scored from a free kick on 3 June 2020, to equalize for Escazuceña in their Segunda División de Costa Rica playoff match against Consultants Moravia. His side would go on to win the match on penalties.[336] Italy 2001–2017 Livorno 1 His goal came in Belgrade, Serbia and would prove to be crucial as Livorno made its first ever trip in European competition. Livorno would go to reach the Round of 32 at the 2006–07 UEFA Cup.[337] Brazil 1988–2000 Ceará 1 Penalty kick scored against Desportiva, at 1995 Campeonato Brasileiro Série B.[338] Romania 1933–1944 Gloria CFR Galați 1 [71][72] Spain 1996–2015 Deportivo La Coruña 1 Scored with his head from a 95th minute corner kick, as his team managed a 1–1 draw at Almería on 20 February 2011[339] Argentina 2010– San Martín de Tucumán 1 Injury time header against Instituto de Córdoba, 24 November 2019, at the 2019–20 Primera Nacional.[340] Brazil 2018– Feirense 1 Scored from a free kick from his own half, against Moreirense, 19 October 2022, at 2022–23 Liga Portugal 2.[341] Brazil 2008–2023 Resende 1 Injury time header against Madureira, 30 November 2014, at 2014 Copa Rio final.[342] Sweden 1993–2015 Mjällby AIF 1 Scored a header from a 93rd minute free kick, as his team managed a 2–2 draw at Häcken on 15 September 2010[343] Greece 1989–2005 AEK Athens 1 Penalty[344] Colombia Independiente Medellín 1 [42] Hungary 1995–2000 MTK 1 Penalty Poland 2000–2017 Lechia Gdańsk 1 Penalty in stoppage time, scoring the last goal of a 15–0 win. Albania 2004–2023 Laçi 1 Scored a penalty in a league match against Kastrioti Krujë on 5 May 2014.[345] England 1913–1929 Chelsea 1 [346] Turkey 2016– Manisaspor 1 Scored a game-tying goal in the 90th minute against Denizlispor, 3 March 2018, at the TFF First League.[347] Norway Molde 1 League goal in 2000.[348] Spain 2013– Alcúdia 1 Scored a last-minute equalizer with an overhead kick.[349] Qatar 2007– Al Rayyan 1 Scored in the 93rd minute in Qatar Stars League to equalize against Al Sadd in the 2013–14 league season.[350][351] England 1983–2005 Colchester United 1 Scored a goal for Colchester United which proved crucial in their battle with Wycombe Wanderers for the 1991/92 GM Vauxhall Conference title. He booted a long range goal kick which looped over Wycombe goalkeeper Paul Hyde and into his goal. Ivory Coast 1999–2019 Lokeren 1 Russia 2009– Dynamo Stavropol 1 Scored a late equalizer, 31 March 2018, against FC Afips Afipsky, at the Russian PFL.[352] England 1990–2015 Grays Athletic 1 Scored against Havant & Waterlooville, April 2005, in the club's final league game of the season.[353] Bosnia and Herzegovina 2005– Stoke City 1 His 91.9-meter-long clearance bounced over the opponent's goalkeeper (Artur Boruc). Fastest goal by a goalkeeper, at thirteen seconds.[354] Equatorial Guinea 2007– Árabe Unido 1 [355][356] Switzerland 1996–2014 Aarau 1 Scored against Young Boys, 24 October 2008, at the 2008–09 Swiss Super League.[357] Albania 1992–2011 OFI Crete 1 First goalkeeper to score with header in the Super League Greece (11 February 2001, OFI – Paniliakos 2–2)[358] Switzerland 1971–1984 Grasshopper 1 [359] Argentina Atenas de Río Cuarto 1 [360] Luxembourg 1994–2004 Union Luxembourg 1 [361] France 2007– US Avranches 1 Injury time header against GOAL FC on 29 September 2023, valid for the 2023–24 Championnat National. United States 2018– Portland Thorns 1 Portland Thorns were down a goal in stoppage time of their NWSL league match against Angel City FC on 29 April 2023. Bixby equalized with a back heel, when the opposing keeper did not fully capture.[362] United States 2013– Portland Thorns 1 Portland Thorns were down a player and down a goal in stoppage time of their NWSL league match against FC Kansas City on 19 June 2015. Unmarked on a corner kick, Betos equalized by scoring a diving header.[363] England 1899–1920 Watford 1 Penalty kick scored against Coventry City, 20 February 1909, at the Southern Football League.[364] Scotland 1944–1964 Fulham 1 [365] Kosovo Ulpiana 1 Scored a penalty in a 2020–21 Kosovar Cup round of 16 match against Liria[366] Belgium 2017– Standard Liège 1 Injury time goal against K.A.S. Eupen, 21 November 2020, at 2020–21 Belgian First Division A.[367][368] Belgium 2007– Eskişehirspor 1 Scored from a direct free kick from his own half Turkey 2005– Standard Liège 1 His goal saved Standard Liege from being eliminated from European football altogether and in the process eliminated Dutch champions AZ Alkmaar.[369][370] Argentina 1991–2008 River Plate 1 [6] England 1988–2012 Mangotsfield United 1 [371] Canada 2008– Red Star Belgrade 1 Scored a penalty kick for 3–1 win against Voždovac in the final game of 2021–22 Serbian SuperLiga season.[372] Switzerland Switzerland U-17 1 Borkovic scored the only goal of the match three minutes into stoppage time to give Switzerland its first UEFA U-17 berth since 2005.[373] Denmark 2019– Akademisk Boldklub 1 Long range free kick[374] Ukraine 2003–2019 Kryvbas Kryvyi Rih 1 Scored at last minute of game against Arsenal Kyiv after corner kick[375] Poland 1998–2022 Legia Warsaw 1 Penalty against Widzew Łódź[376] Australia 1989–2009 Australia 1 Scored penalty for Australia in a 13–0 win over the Solomon Islands with the last kick of the game.[377] Argentina 1993–2013 Estudiantes La Plata 1 [378] France 1999–2016 Hayes 1 Injury time scoring against Boston United, 2 December 2000, at the 2000–01 Football Conference.[379] France 2003– Lyon 1 Penalty scored in a 14–0 home victory against Albi.[380] Morocco 2010– Sevilla 1 Scored an equalizer in the 94th minute of a 1–1 away draw with Valladolid[381] England Halifax Town 1 [382] England 1903–1911? Burslem Port Vale 1 [382] Serbia and Montenegro
Montenegro 1996–2015 Bežanija 1 An injury-time equalizing header in a league game against Voždovac[383] Belgium J.V. De Pinte 1 Scotland 2012– Walthamstow 1 [384] Chile 2002– Real Sociedad 1 Scored from a free kick Northern Ireland 2021– Ballyclare Comrades 1 Scored from his own box in a 6-3 win over Ards in the NIFL Championship in October 2023.[385] Italy 2009– Benevento 1 Scored a second-half stoppage time equalizer against Milan to earn Benevento their first ever Serie A point[386] Argentina 2005– Rosario Central 1 Penalty kick scored against Independiente, 23 October 2009, at the Argentine Primera División.[387] United States 2000–2011 Aalesunds FK 1 Scored from a throw-in during extra time[388] Chile Fernández Vial 1 [83] Russia 2002–2019 Kuban Krasnodar 1 [389] Croatia 2016– FC Ingolstadt 1 Scored a volley from a corner in second-half stoppage time to equalize for Ingolstadt in a German 3. Liga match; they would go on to score a winner a minute later[390] West Germany
Germany 1969–1991 Werder Bremen 1 Penalty[391] Switzerland 1969–1987 Lausanne 1 [392] Brazil 2005–2022 Jabaquara 1 Penalty kick scored against Portuguesa Santista, 2 June 2013, at the Campeonato Paulista Segunda Divisão.[393] Romania 1976–1994 Oțelul Galați 1 Scored a penalty against CF Brăila in 1992[71][72] Brazil 1974–1995 Coritiba 1 Penalty kick scored against Operário Ferroviário, 30 August 1992, at Campeonato Paranaense.[50] Armenia 2006– Noah 1 From a goal kick in a 2024–25 UEFA Conference League third qualifying phase match against AEK Athens. Costa Rica San Carlos 1 Penalty[30] Spain 2014– Santa Coloma 1 With his club trailing 3–2 on aggregate in the first qualifying round of the UEFA Champions League, Casals scored four minutes into stoppage time to send FC Santa Coloma into the next round by virtue of away goals.[394] England 1970–1986? Bristol City 1 [239] Belgium 2000–2022 Roda JC 1 Scored the equalizer (2–2) in the dying seconds of the KNVB Cup 2007-08 third round tie against De Graafschap.[395] Australia 1984–2004 APIA Leichhardt 1 [396] Argentina 1994–2011 Ascoli 1 Penalty kick scored against Catania, 5 April 2003, at the 2002–03 Serie B.[397] Paraguay 2005–2021 Guaraní 1 [398][399] United States 2007–2010 New York Red Bulls 1 First MLS goalkeeper to score a goal.[400] His goal also came on the same day he made his Red Bulls debut, as first choice goalkeeper Jon Conway would serve a 10-game suspension for using illegal substances. The goal came at Giants Stadium in East Rutherford, New Jersey and the goal would eventually help the Red Bulls secure the last playoff spot in 2008 and reach the 2008 MLS Cup. Czech Republic 1995–2014 Slavia Prague 1 Scored the last goal in a 4–0 victory against FK Jablonec in a 1999–2000 season league match.[401] Benin 2002–2011 Benin 1 Scored against Sierra Leone, 10 August 2006, at the 2008 Africa Cup of Nations qualification.[402] South Korea 1997–2014 Daejeon Citizen 1 Free kick. Only goalkeeper to score in AFC Champions League match to date[403] Republic of Ireland 2003– St Patrick's Athletic 1 [404] Belgium 1970–1983 Aberdeen 1 [405] Spain 2000–2016 Rayo Vallecano 1 Switzerland 1999–2018 RB Leipzig 1 Scored a goal in the 90th minute in a 2–1 home victory over SV Darmstadt 98.[406] Mexico Monterrey 1 [407] Belgium 2008– Carl Zeiss Jena 1 Kick off hit from a distance of 85 meters in a 3. Liga match in 2017[408] Brazil 2012– Torquay United 1 Injury time header against Hartlepool United in 2021 National League play-off final.[409][410] Argentina 1941–1961 Millonarios 1 [42] Scotland 2003–2017 Arbroath 1 [411] Romania 1950–1962 Jiul Petroșani 1 [71][72] Romania 1933–1937 Juventus București 1 [71][72] Brazil 2009– Pacajus 1 Injury time header against Icasa, 23 February 2021, at Campeonato Cearense.[412] Argentina 1993–2012 Deporvito Toluca F.C. 1 Scored in the 54th minute from a penalty kick Norway 2019– Lillestrøm SK 1 Injury time goal against Tromsø IL, 7 August 2022, in the 2022 Eliteserien. Equalising for the team.[413] Wales 1989–2013 Sheffield Wednesday 1 [414] Colombia 2005–2021 Deportivo Pasto 1 Netherlands 2014– Go Ahead Eagles 1 [415] Yugoslavia
Serbia and Montenegro
Serbia 1989–2010 ČSK Čelarevo 1 [416] Germany 1994–2011 Mainz 05 II 1 On 11 April 2018, scored in the second minute of second-half stoppage time against VfB Stuttgart II to secure a 1–1 draw, having scored with a backheel after coming forward for a Mainz free kick.[417] Ukraine 2002–2015 Dnipro Cherkasy 1 Scored goal from a distance of 80 metres inside his own penalty area.[75] Colombia Unión Magdalena 1 [42] Netherlands Cambuur 1 Penalty[418] Brazil 1924–1939 Vitória 1 Penalty kick scored at 1926 Campeonato Baiano. First Brazilian-born goalkeeper to score a goal.[419] Serbia 2010– Eibar 1 Scored a first half penalty against Atlético Madrid in a 2020–21 La Liga match[420] Albania 1930–194? Teuta Durrës 1 [421] England 1961–1974 Manchester City 1 [422] Romania 1982–1986 Steaua București 1 Penalty kick against AFC Progresul București in the Cupa României.[71][72] Netherlands 1987–2006 MVV 1 Goal kick. Helped by the wind, the ball bounced over the outcoming opposite goalkeeper Jan van Grinsven of FC Den Bosch, a goalscorer once himself.[423] France 2010– Sint-Truiden 1 Scored a goal against Lokeren in November 2015.[424] Poland 1945–1963 Zagłębie Sosnowiec 1 Penalty[308] Brazil 2000–2013 Anapolina 1 Injury time header against Tupi, 28 August 2011, at the Campeonato Brasileiro Série D.[425][426] Mexico 2007– Cimarrones de Sonora 1 Injury time header against Pumas Tabasco, 22 March 2022, at the Liga de Expansión MX.[427] Brazil 2010– Rio Branco 1 Injury time header against Amazonas, 21 May 2022, at the Campeonato Brasileiro Série D.[428] Brazil 1999–2015 Castanhal 1 Penalty kick scored against Tuna Luso, 29 August 2004, at the Campeonato Brasileiro Série C.[329] Kuwait 1991–2012 Kuwait SC 1 Scored in the 94th minute with a header to equalize against Al Salmiya in the 2005–06 league season.[429][430] Guinea-Bissau 2008–2015 Union Meppen 1 [431] Venezuela 2014– Venezuela U-20 1 Penalty at 2017 FIFA U-20 World Cup[432] Scotland 1947–1964 Blackpool 1 [433] Senegal 1991–2007 Felgueiras 1 [434] Sweden 1986–2006 Malmö FF 1 Australia 2003–2021 Reading 1 [435] Grenada Grenada 1 Scored against Saint Vincent and the Grenadines, 18 March 2001, in a friendly match.[436] Algeria 2005–2016 CR Belouizdad 1 [437] Haiti 2002– Montréal-Nord 1 [438] Brazil 2000–2018 Oeste 1 Injury time header against Avaí, 24 May 2013, at Campeonato Brasileiro Série B.[439][440] Portugal 1990–2012 Amora 1 [269] Soviet Union
Russia 1990–2018 Druzhba Yoshkar-Ola 1 [441] Cyprus 1960–1975 Olympiakos Nicosia 1 On 28 January 1968 he scored a penalty against Panserraikos. This was the first ever goal scored by a goalkeeper in Greek football. Netherlands 2016– MSV Duisburg 1 Scored a backheel goal for Duisburg in injury time in a 1–1 draw with VfL Osnabrück.[442] England 2004– Hartlepool United 1 Scored a headed goal for Hartlepool in the third minute of injury time in a 2–2 draw with Bournemouth.[443] Morocco 1991–2010 Dinamo București 1 Penalty[71][72] Uruguay Deportivo Táchira 1 [444] Mexico 2003–2016 Dorados de Sinaloa 1 Equalized in the 90th minute of the Apertura 2012 Copa MX Final against Correcaminos UAT, taking the match to a penalty shoot-out, where Frausto also scored the decisive penalty, and thus won Dorados their first title.[445] Slovenia 2015– Inter Zaprešić 1 Scored in a 2–2 draw with Istra, on 4 October 2019, in the 92nd minute of the game.[446] United States 1994–2015 Blackburn Rovers 1 Equalised for Blackburn Rovers in the 90th minute of a Premier League match against Charlton Athletic on a corner kick to bring the score to 2-2, but allowed Charlton to score the winning goal in stoppage time.[447] Brazil 2015–2022 Vasco do Acre 1 Free kick scored against Andirá, 28 August 2021, at Campeonato Acreano.[448] Brazil 2006– Luverdense 1 Penalty kick scored against Rio Branco, 3 July 2013, at Campeonato Brasileiro Série C.[449] Italy 2013– Modena 1 During injury time, scored from his own area against Imolese, at the 2021–22 Serie C[450] Bolivia 1997–2014 Guabirá 1 [451] Ecuador 2008– Universidad Católica 1 Penalty kick scored against C.D. Clan Juvenil, 29 October 2017, at the 2017 Ecuadorian Serie A.[452] Bulgaria 1984–2000 Bursaspor 1 [453] Spain 2001– Llanera 1 Injury time equalizer goal against CD Tuilla, 31 August 2018, at the 2018–19 Tercera División.[454] Spain 1979–1998 Eibar 1 Scored from his own area against Pontevedra CF, 17 April 1988, at the 1987–88 Segunda División B.[455] Brazil 2011– CTE Colatina 1 Injury time header against Pinheiros, 4 October 2021, at the Copa ES.[456] Macedonia 2003–2013 Teteks Tetovo 1 Penalty[457] Rafał Gikiewicz Poland 2004– Union Berlin 1 Headed stoppage time equalizer against 1. FC Heidenheim. Union Berlin went on to qualify for the 2019–20 Bundesliga via the promotion play-off ahead of Hamburger SV by a single point.[458][459] Norway 1983–2005 MSV Duisburg 1 Penalty kick goal scored against Dynamo Moscow, 30 July 1997, at the UEFA Intertoto Cup.[460] England 1991–2001 Carlisle United 1 Famous for scoring a last-minute goal to save Carlisle United from relegation from the Football League[461] England 1997–2017 St Johnstone 1 [462] England 1967–1981 Greenock Morton 1 [463] Brazil 1997–2016 Inter de Santa Maria 1 Injury time bicycle kick against Engenheiro Beltrão, 17 August 2008, at Campeonato Brasileiro Série C.[464][465] Portugal 2002– Penafiel 1 Scored from his own area against Santa Clara, 6 December 2015, at the 2015–16 LigaPro.[466] Costa Rica 1975–1990 Alajuelense 1 Penalty[30] Mexico 2008– Pumas UNAM 1 Costa Rica Ramonense 1 [30] Scotland 1981–2004 Hibernian 1 [467] Serbia and Montenegro
Serbia 2000–2017 Borac Čačak 1 [468] Norway 2018– Sotra 1 Injury time bicycle kick against Ullern IF, 26 June 2022, at 2022 Norwegian Second Division.[469] England 1995–2011 University College Dublin 1 [470] Netherlands 1986–2002 Cambuur 1 [471] Netherlands 1981–1999 Den Bosch 1 Scored a legendary late equalising goal against Roda JC in 1985.[472][473] Rhodesia
Zimbabwe 1973–2007 Crewe Alexandra 1 Penalty against York City in Grobbelaar's final game for Crewe.[474] Norway Lillestrøm 1 League goal in 1991.[475] West Germany 1967–1983 Tennis Borussia Berlin 1 Penalty[476] Iceland 1995–2020 HK Kópavogs 1 [477] Argentina 2005– Tigres UANL 1 In 2020, Guzmán scored an injury time header from a set piece in Tigres' CONCACAF Champions League round of 16 match against Alianza, putting his team into a 4–2 lead at home and allowing them to advance to the quarter-finals. Tigres had lost 2–1 in the away leg and would have been eliminated on away goals if not for Guzmán's goal. They went on to win the tournament.[478] United States 2006–2016 Houston Dynamo 1 Scored in 2009–10 CONCACAF Champions League match against Isidro Metapán on 23 October 2009. Denmark 2010– ADO Den Haag 1 Backheel goal in stoppage time against PSV Eindhoven to earn his team a draw (2–2).[479] Sweden 2005–2019 Helsingborg 1 Penalty in 9–0 victory over Askeröds IF.[480] Canada 1985–2000 Buffalo Blizzard 1 [481] England 2000–2012 Lincoln Ladies 1 [482] Hungary 2006– Puskás Akadémia 1 [483] Brazil 2011– Cuiabá 1 During injury time, after miss a header, scored in the rebound against América de Natal, at 2016 Campeonato Brasileiro Série C.[484][485][53] England 1940–1954 Stoke City 1 In an away match at Aston Villa on 16 February 1952, Herod broke his arm and spent the rest of the match at right wing with Stoke defending a 2–1 lead. Not considered a threat by Villa's defence, Herod was left unmarked and found himself one on one with keeper Con Martin before slotting the ball past him.[486][487] England 1977–1998 Maidstone United 1 [488] United States 2004–2012 Columbus Crew 1 Came forward and scored in second half stoppage time to help Columbus draw 2–2 against rivals Toronto FC[489] Argentina 2012– Talleres 1 Penalty kick scored against Olimpo, 12 May 2018, at the 2017–18 Argentine Primera División.[490] Spain 2006– Atlético Madrid B 1 Scored the winning goal in a 3–2 victory for his team against Getafe B on 8 January 2011[491] Brazil 1997–2018 Vila Aurora 1 Free kick scored against Cuiabá on 28 August 2011, valid for the 2011 Campeonato Brasileiro Série D Poland 2016– Miedź Legnica 1 Scored a last-minute equalizer in a I liga match against Chrobry Głogów on 3 October 2020.[492] Switzerland 2005– FC Augsburg 1 Scored a stoppage time equalizer in a league match against Bayer Leverkusen on 21 February 2015 (2–2).[493] Iran 2011– Esteghlal FC 1 Iran Pro league 2022–23 Netherlands 1973–1985 Volendam 1 [146] Cayman Islands 2018– Cayman Islands U-20 1 Penalty[494] Norway Moss 1 League goal in 2006.[495] Czech Republic 1955–1959 Baník Ostrava 1 [68] Iran 2006–2020 Fajr Sepasi Shiraz F.C. 1 Iran Pro league 2007–08 Croatia 1994–2013 Hallescher FC 1 [496] United States 1997–2020 Everton 1 Scored a goal from open play inside own penalty box against Bolton Wanderers, helped by a strong gust of wind, making Howard only the fourth keeper since the Premier League's 1992 inception to score a goal.[497] Brazil 2002–2023 São Bernardo FC 1 Penalty kick scored against São José, 8 April 2006, at Campeonato Paulista Série A3[498][499] Belgium 1979–1997 Estrela da Amadora 1 On 29 December 1994, scored an equalizer goal in a league match against GD Chaves.[500] Finland 2006–2012? Soccer Club Riverball 1 [501] West Germany
Germany 1984–1992 SV Darmstadt 98 1 Kick off hit from a distance of 103 meters (world record) in a 2. Bundesliga match in 1985[408] Paraguay Once Caldas 1 [42] United States 2008– Capital City 1 [502] Brazil 1928–1940 Olympique de Marseille 1 Penalty kick scored against Sète, 1 May 1938, at 1937–38 French Division 1[503] Switzerland 2004– Grasshopper 1 [504] Serbia and Montenegro
Montenegro 2004– Sutjeska Nikšić 1 [505] Kuwait 1992–2006 Kuwait 1 Scored a late penalty in a 20-0 win in a 2000 Asian Cup qualifying match against Bhutan, and was the first Kuwaiti goalkeeper to score in an international competition[506] Northern Ireland 1963–1986 Tottenham Hotspur 1 Against Manchester United in the 1967 FA Charity Shield.[507] Brazil 2010– Operário Ferroviário 1 Scored from his own area against Nacional de Rolândia, 9 March 2015, at Campeonato Paranaense.[508] Serbia and Montenegro
Serbia 2002–2017 Gent 1 [509] Finland 2009– Stevenage 1 Long-range clearance against Wycombe Wanderers in the League Two match.[510] England 1896–1920 Tottenham Hotspur 1 Penalty[511] Juan Carlos Spain 2005– Lugo 1 Scored from 65 metres against Sporting Gijón[512] South Korea 2003– South Korea U-23 1 Scored from 85 metres against Ivory Coast[513] Czechoslovakia
Slovakia 1988–2000 Dukla Banská Bystrica 1 [68] Soviet Union
Kazakhstan
Turkmenistan 1980–1996 FK Köpetdag Aşgabat 1 [514] Oman Sohar 1 Scored a goal from open play inside his own penalty area against Saham, helped by a strong gust of wind. Scored in a round of 32 match in the Sultan Qaboos Cup during the 2018–19 season.[515][516] Switzerland 1935–1947 Cantonal Neuchatel 1 [517] United States 2013– Baltimore Bohemians 1 Scored the match winner against Ocean City Nor'easters on 21 July 2013[518] Albania 1991–2008 Teuta Durrës 1 [519] Greece 2006– Asteras Magoula 1 Last minute header goal against Levadiakos in a Greek Football Cup match. Norway Norway 1 Penalty kick against Thailand on 19 May 1965. Kaspersen became the first and so far only goalkeeper to score for Norway men's national team.[520] Tunisia 2002–2018 Espérance de Tunis 1 England 1995–2009 Carlisle United 1 [521] Slovakia 1999–2019 Śląsk Wrocław 1 Scored the final goal for Śląsk Wrocław in the last round of the Polish Ekstraklasa from the penalty spot, securing the runner-up position for the club for the 2010–11 season.[522] Scotland East Stirlingshire 1 [523] Iraq Iraq 1 He scored a penalty kick in the 1972 AFC Asian Cup qualification.[186] Saudi Arabia 1998–2015 Al Nassr 1 [524] Wales 2014– Newport County 1 Scored from a goal kick against Cheltenham Town on 19 January 2021, breaking the world record for longest goal scored in a competitive football match at 96.01 metres (105 yards)[525] Ghana 1995–2015 Ghana 1 [526] United States 2008–2013 Rochester Rhinos 1 Scored a 90th-minute equalizer goal in a 2–2 tie with Antigua Barracuda FC on June 5, 2011.[527] Bosnia and Herzegovina 2013– Željezničar 1 [528] Poland 2018– Radomiak Radom 1 Scored an equalizer from outside his box in the 66th minute of a 1–1 league draw against Puszcza Niepołomice on 1 April 2024.[529] Poland 1928–1939 Podgórze Kraków 1 Penalty[308] Denmark Boldklubben Frem 1 Bicycle kick in the last minute.[530] Czech Republic 2013– Slavia Prague 1 Last minute penalty kick.[531] Albania 2006– Gjilani 1 Headed in a 1–1 equalizer after a corner kick in 90+5 minute against Ballkani,[532] and after scoring the goal, the match was interrupted after local fans entered the field.[533] After this incident, Gjilan lost the match with an official result of 3–0,[534] but Koliqi's goal remained in force.[535] Norway 2009– Vålerenga 1 Headed in a 2–2 equalizer after a corner kick in injury time against Viking FK[536] South Korea 2014– Ulsan Mipo 1 Belarus 2007– Krumkachy Minsk 1 [537] Czechoslovakia
Czech Republic 1988–2005 Sparta Prague 1 Scored the 4th goal from penalty kick in national league match against SK České Budějovice in season 1994–95.[401] Norway Haugesund 1 League goal in 2008.[538] Denmark 1981–2002 Brøndby 1 [539] Serbia and Montenegro
Serbia 1996–2019 Lierse 1 [540] Albania 2007– Tërbuni Pukë 1 Scored a goal with a shot inside own penalty box against Kukësi[541] South Korea 2001–2017 Incheon United 1 [542] France 1997–2015 Charleroi 1 Scored from his own area against Mons, 21 December 2003.[543] Bolivia 2013– San José 1 Ecuador 2002– Deportivo Cuenca 1 Kick from the goal[544] Jamaica 1997–2005 Jamaica 1 Penalty in a 3–0 win against India in 2002[545] Scotland 1946–1959 Partick Thistle 1 [546] South Korea 2019– Ulsan Citizen FC 1 Goalkeeper goal on the team's first league match ever[547] South Korea 1994–2006 Bucheon SK 1 Penalty kick[548] Croatia 2015– Hajduk Split 1 [549] Poland 2012– Messina 1 Scored from his own area against Monterosi, 6 November 2022, at the 2022–23 Serie C.[550] Costa Rica 2000–2021 Alajuelense 1 [551][552] Denmark 2003–2022 Helsingborg 1 Scored against Falkenbergs FF, 18 July 2020, at the 2020 Allsvenskan.[553] England Merthyr Town 1 [554] Yugoslavia 1975–1990 Budućnost Titograd 1 [555] Argentina Atlanta 1 Penalty[556] Wales 1967–1985 Stockport County 1 [557] England 2000– Preston North End 1 [558] Poland 1938–1948 Lechia Gdańsk 1 Scored against Bałtyk Gdańsk in 1946 England 2015– Maidenhead United 1 On the final day of the 2020–21 season, he came off the bench against Boreham Wood in the 87th minute to play as a forward, and scored in the 93rd minute.[559] Brazil 2011– Friburguense 1 Injury time header against Portuguesa, 22 October 2016, at 2016 Copa Rio final.[560] England 1993–2012 Hereford United 1 [561] Scotland 1967–1982 Motherwell 1 [562] Mexico 1981–1991 Monarcas Morelia 1 Macedonia 2003–2012 Rabotnički Kometal 1 Scored a last minute league goal against Sileks Kratovo.[563] Brunei 2004–2018 MS ABDB 1 Free kick scored against MS PDB.[564] Georgia 2006– Feirense 1 [565] Saudi Arabia 2004– Al Faisaly 1 Scored a stoppage time equalizer against Al-Fateh when he headed from a corner kick.[566] Latvia 2009– Skonto 1 Scored in 94th minute from a corner kick.[567] West Germany 1961–1971 MSV Duisburg 1 [568] Northern Ireland 2000– Linfield 1 [569] Brazil 2010– Globo 1 Scored from his own penalty area against Guarany de Sobral on 30 July 2017, valid for the 2017 Campeonato Brasileiro Série D.[570] Yugoslavia 1967–1985 Velež Mostar 1 England 1997–2014 Mansfield Town 1 Scored from inside his own penalty area with a drop kick against Wrexham on 20 April 2012. The pitch was very wet and it allowed the ball to bounce over the Wrexham goalkeeper and into the net. Scotland 1980–2001 Airdrieonians 1 [571] Colombia 2001–2017 Colombia 1 [572] Brazil 2000–2017 Avaí 1 [573][53] Sweden 2006–2018 Falkenbergs 1 [574] South Africa 2015– Baroka 1 Scored a last minute overhead kick goal against Orlando Pirates.[575] The goal was nominated for the 2017 FIFA Puskás Award.[576] England 1998–2020 Weymouth 1 [577] Scotland 1880–1887 Scotland 1 McAulay played for Scotland as a goalkeeper in most of his international appearances, but also played as a forward.[578] Scored a goal against Wales, 25 March 1882, playing as centre-forward.[1] Northern Ireland Cliftonville 1 Goal kick against Linfield at Windsor Park Republic of Ireland 1970–1988 Bolton Wanderers 1 [579] Scotland 1988–2010 Stranraer 1 [580] Guyana 2016– Guyana 1 Headed a last-minute goal on his international debut in a Gold Cup qualification match.[581] Scotland Bournemouth 1 [582] Argentina 2001–2017 Cobresal 1 [citation needed] Northern Ireland New Brighton 1 [583] Costa Rica 1992–2010 Alajuelense 1 Penalty[30] Poland TS Parzyce 1 Penalty[584] Belgium 2006– Sint-Truiden 1 Scored a penalty in the Belgian Second Division in 2009 for Sint-Truiden England 1995–2017 Notts County 1 Long range free kick Iran 1997–2011 Foolad FC 1 Iran Pro league 2003–04 Poland 1971–1989 Odra Opole 1 Penalty[585] Norway 2000–2010 Hødd 1 Sweden 1971–1993 Malmö FF 1 Möller scored on a penalty in a 5–0 victory over Hammarby in 1986.[189] Colombia 1990–2014 Independiente 1 [586] Costa Rica Cartaginés 1 Penalty[30] Argentina 2010– Liniers 1 [587] Spain 2003–2014 Guijuelo 1 Scored from a goal kick, 9 May 2009, against Real Unión.[588] Argentina 2008–2020 Deportivo Morón 1 Penalty kick scored against Defensores de Belgrano, 15 August 2015.[589] Northern Ireland 1999–2022 Glentoran 1 Scored against Institute, 12 January 2019, on his 723rd appearance for Glentoran.[590] Brazil 1991–1997 São Paulo 1 Penalty scored against Uberlândia at Torneio Rei Dadá[591][592] Gabon 2008– Gabon 1 Scored against Zambia, 8 September 2015, in a friendly match.[593] Congo 1999–2015 Congo 1 Penalty scored against Swaziland during 2012 Africa Cup of Nations qualification[594] Malaysia 2002–2009 Malaysia U-23 1 Scored a long range goal with a drop kick from his own penalty area in Malaysia's 3–4 defeat against host country Vietnam.[595] England 1928–1937 Arsenal 1 [596] Germany 2009– Hallescher FC 1 Injury time header against Rot-Weiß Erfurt, 21 October 2017, at the 2017–18 3. Liga.[597] Germany 2018– MSV Duisburg 1 Free-kick from his own half against SV Meppen.[598] Mexico 1999–2018 América 1 Scored in the 92nd minute with a header to equalize for América at the 2013 Liga MX Clausura Liguilla. América went on to win on penalties.[599] Argentina Deportivo Cali 1 [42] Uruguay 2004– Galatasaray 1 Penalty scored against Manisaspor.[600] Albania 1986–2010 Tirana 1 Scored a last minute penalty in a league match against Skënderbeu Korçë on 29 August 2009.[601] Spain 2002– Fuerteventura 1 [602] England 1912–1924 Croydon Common 1 [603] Sweden 2007– IFK Värnamo 1 Scored a penalty in a 5–0 victory over Kristianstads FF.[604] Portugal 1992–2010 Porto 1 [605] Netherlands 1962 Sportclub Enschede 1 [146] Norway 2011–2021 Trondheims-Ørn 1 League goal in 2012.[606] Poland 2002–2018 Termalica Bruk-Bet 1 Scored in the 93rd minute.[607] Germany 1995–2014 Carl Zeiss Jena 1 Scored against VfL Osnabrück on 20 February 2010.[608] Chile 2000–2017 Fernández Vial 1 Free kick goal scored against Unión San Felipe.[609] Iraq Al-Karkh 1 Scored a goal from open play inside his own penalty area against Al-Sulaikh, helped by a strong gust of wind. Scored in 1996–97 Iraqi Premier League.[186] Brazil 1950–1968 Juventus 1 First goalkeeper goal scored during a professional match in Brazil.[610][53] Colombia 1949–1955 Millonarios 1 Scored as a striker. England 1977–2000 Coventry City 1 [611] Norway 1986–2013 Lyn 1 Penalty kick goal scored in 1994.[612] Chile 2006– Jorge Wilstermann 1 [613] Brazil 2004– Desportivo Brasil 1 Penalty kick scored against Primavera, 6 August 2022, at the Copa Paulista.[614] Sweden Sandvikens IF 1 Scored a penalty in a match against Malmö FF in 1961. He was the first goalkeeper to score in the Allsvenskan.[189][615] Uganda 2004– Supersport United 1 Norway 2001–2021 Start 1 Free kick scored from the halfway line.[616] Albania 2000–2015 Dinamo Tirana 1 Scored a stoppage time equalizer from the penalty spot to earn his team a point in a league match against Bylis.[617] England 2007– Hibernian 1 Scored in his first domestic league appearance for Hibernian.[618] Spain 1993–2014 Sevilla 1 In 2007, he scored an injury time equalising goal in a UEFA Cup round of 16 match against Shakhtar Donetsk, forcing extra time as a result. Sevilla had drawn 2–2 at home in the first leg and went on to win the second leg 3–2. They then went on to win the competition for a second consecutive year.[377] Yugoslavia
Yugoslavia 1985–1998 Partizan 1 [619] Paraguay 2016– Independiente de Campo Grande 1 Injury time goal against Trinidense, 6 May 2022, at the Paraguayan División Intermedia.[620] Spain 2010– Levante 1 Match-winning 87th-minute free kick from midfield, 4 June 2015.[621][622] Greece 2010– Asteras Tripolis 1 On 21 March 2021, he scored an injury time equalising goal with a close range shot against Panathinaikos in the 2020–21 Super League Greece season. Italy 2008– Virtus Entella 1 [623][624] Brazil 2011– Guarulhos 1 Long-range free-kick against União Suzano, 14 May 2011, at the Campeonato Paulista Segunda Divisão.[625] Switzerland 1986–2003 Sion 1 Scored against FC Aarau, 4 December 1988, at the 1988–89 Nationalliga A.[626] Northern Ireland 1972–1995 Glentoran 1 Winning goal in 1988–89 Irish League Cup Final against Linfield. The goal was scored in Patterson's home stadium, the Oval in Belfast.[627] Australia 1995–2011 Sivasspor 1 [633] Bulgaria 1992–2009 CSKA Sofia 1 [634] Norway 2008– Piteå 1 Scored in open play. Won the Goal of the Year award in the 2021 Damallsvenskan.[635] Botswana 2012– Botswana 1 Scored a penalty against Angola at the 2022 COSAFA Cup.[636] Germany 1991–2011 Heracles 1 [637] Italy 2012– Universitatea Craiova 1 Penalty kick.[638][72] Poland 1999–2020 Pogoń Szczecin 1 Penalty scored in Polish Cup[639] Spain 1998–2017 Celta de Vigo B 1 Scored through a goal kick in a 2–2 home draw against Rayo Vallecano B, 15 April 2012.[640] Portugal 2011– Oliveirense 1 [641] Poland 2012– Lewart Lubartów 1 Scored an injury-time equalizing header in a 2–2 home draw against Start Krasnystaw on 9 June 2023.[642][643] Serbia and Montenegro
Montenegro 1993–2013 Hajduk Beograd 1 Serbia and Montenegro
Montenegro 1999–2017 Debrecen 1 Soviet Union
Estonia 1988–2009 Sunderland 1 Scored a 90th-minute header against his former team Derby County to salvage a 1–1 draw.[644] The game was also Poom's first trip to Derby since leaving the team to play for Sunderland. Papua New Guinea 2002–? Papua New Guinea 1 Scored against American Samoa, 18 March 2002, at the 2002 OFC Nations Cup qualification.[645][646] Belgium 1999–2021 Germinal Beerschot 1 [647] Paraguay 2008– Sport Colombia 1 Scored from 83 meters out with a free kick, against Cerro Porteño, considered one of the longest free kicks ever scored in FIFA history.[648] Russia 2013– Chertanovo Moscow 1 [649] Mexico 2015– Atlético Morelia 1 Scored from his own penalty area against Celaya, at 2022–23 Liga de Expansión MX season[650] Italy 1979–2002 Cremonese 1 [377] Kuwait 2005– Al-Arabi 1 Headed in a 1–1 equalizer from a corner kick in stoppage time against Kuwait SC in a 2011–12 league match.[651][652] Brazil 2018– Tianguá 1 Injury time goal scored against Maracanã, 16 February 2021, at the Campeonato Cearense Série C.[653] Spain 2002–2013 Palencia 1 [654] West Germany
Germany 1983–2005 Schalke 04 1 Penalty[655] Brazil 1985–1998 Paraná 1 Penalty kick scored against Santos, 20 November 1996, at Campeonato Brasileiro.[656][12] Germany 2001–2009 Wormatia Worms 1 [657] East Germany
Germany 1987–2007 Real Murcia 1 [658] Argentina 2006– Cobresal 1 He scored on 13 March 2023 against Colo-Colo in 2023 Chilean Primera División, when his kick from his goal sent the ball all the way to the opposing side’s goal without assistance, the ball bouncing once before flying over the head of the opposing goalkeeper, who was forwardly positioned and could not then stop it.[659][660] Portugal Vizela 1 [661] Sweden IFK Sundsvall 1 Scored a penalty in a match against Landskrona in 1980.[615] Sweden Örebro 1 Scored a header from a corner kick in the 91st minute, as his team managed a 1–1 draw at Malmö FF in 2007.[189][662] Portugal 1993–2014 Boavista 1 Canada 2011– Canada U-17 1 First goalkeeper goal in a traditional FIFA tournament. Scored in the 2011 FIFA U-17 World Cup in a 2–2 draw with England.[663] Wales 1987–2012 Dagenham & Redbridge 1 [664] Republic of Ireland 2001–2020 Morecambe 1 Scored a header from a corner in a 1–1 draw against Portsmouth in the 93rd minute of a League Two match.[665] Mexico 2011– Chivas Guadalajara 1 [666] Colombia 1992 Deportivo Pereira 1 [42] Costa Rica Alajuelense 1 Scored from a free kick[30] Japan 2006– Shimizu S-Pulse 1 Header scored in a J.League match against Vissel Kobe Latvia 1996–2019 Pro Duta 1 Penalty kick goal against Bontang, 24 October 2013, at the Indonesian Premier League.[667] Scotland 1909–1915 Bristol Rovers 1 Scored a penalty in the final game of the 1909–10 league season Romania 1990–2015 Chimia Râmnicu Vâlcea 1 Scored in the Liga I.[668] Italy 2009– Lupa Roma 1 [669] Germany 1991–2011 Werder Bremen 1 Scored an equalizer goal against Hansa Rostock (3–3) Finland KuPS 1 [670] Brazil 1958–1977 Avaí 1 [671][111] Kosovo Ballkani 1 Scored a penalty in a 2019–20 league match against Ferizaj[672] Nigeria 1980–2000 Nigeria 1 Penalty scored during 1994 African Cup of Nations qualification match against Ethiopia[673] Russia 2006–2017 Energomash Belgorod 1 [674] Sweden 2013– Halmstads BK 1 Injury time header against Västerås SK, 28 May 2022, at 2022 Superettan.[675] Argentina 1994–2010 Deportivo Cali 1 Scored in 2003 Spain 2009– Guadalajara 1 Scored a last-minute equalizer in a 1–1 away draw against UD Almansa through a header.[676] Mexico 1993–2014 Chivas Guadalajara 1 [677] Colombia 2014 Jaguares de Córdoba 1 Goal scored from free kick[678] Cuba 2012– Cuba 1 Penalty[679] Spain 1968–1981 Racing Santander 1 Penalty[680][681] Argentina Atlanta 1 Netherlands 1948–1958 BVV 1 First goalkeeper to score in the Eredivisie[146] Brazil 2007– Sport Recife 1 On 31 January 2011, against Vitória-PE during a 2011 Campeonato Pernambucano match, Saulo went forward and headed in a goal from a free kick in the final minute of the game. While celebrating the goal, he suffered a rupture in the anterior cruciate ligament that would prevent him from playing for several months.[682][53] Albania 2014– Laçi 1 [683] South Korea 1996–2008 Jeonbuk Hyundai Motors 1 Header[684] Romania 1932–1940 Universitatea Cluj 1 [71][72] Brazil 1975–1991 Vila Nova 1 Scored against Fluminense, at 1979 Campeonato Brasileiro.[685][12] Albania 1994–2018 Skënderbeu Korçë 1 Scored a penalty in a league match against Teuta Durrës on 6 December 2014.[686] England 1971–1997 Watford 1 [687] England 1966–1997 Leicester City 1 [687] Russia 2005– Dynamo Kirov 1 On 3 October 2015, he scored for Dynamk Kirov against FC Zenit-Izhevsk Izhevsk.[688] Poland 1985–2006 Kapfenberger SV 1 A drop kick goal in Austrian Second League scored on 22 July 2003[689] Austria 2007– Wiener Neustadt 1 Scored from a direct free kick inside his own penalty area, 81 seconds into his top flight debut. This was the first goal scored in the 2011–12 Austrian Bundesliga season by any player for any team.[690] Uruguay 2002– Olimpia 1 Penalty scored against Sol de América, 9 December 2012, at the Paraguayan Primera División.[691] Yugoslavia 1975–1990 Napredak Kruševac 1 Wales 1962–1969 Hartlepool United 1 Scored while playing as a centre forward[239] Yugoslavia 1960–1976 Olimpija Ljubljana 1 England 1998–2016 Nottingham Forest 1 As their initial League Cup tie against Leicester City was abandoned at half time with Nottingham Forest 1–0 up, both teams agreed to reinstate Forest's goal advantage in the rearranged fixture. Goalkeeper Paul Smith was allowed to walk the ball into the net unchallenged, straight from the kick-off.[692] Scotland 2014– Partick Thistle 1 Scored an injury-time equaliser against Cove Rangers.[693] Czech Republic 1993–2013 Bohemians 1905 1 Opened the scoring from the penalty spot in the 6th minute of a 1–2 national league home loss against FC Tescoma Zlín in November 2007.[68] Costa Rica San Carlos 1 [30] Russia 2013– SKA Rostov 1 Scored from his own penalty box, 30 October 2016, against FC Chayka Peschanokopskoye.[694] Croatia 1991–2004 Varteks Varaždin 1 Penalty Croatia 2003–2023 Monaco 1 Scored a free kick in the 57th minute of a 2–1 away victory over Boulogne.[695] Netherlands 2010– Dewa United 1 First goalkeeper to score in a Liga 1 (Indonesia) match[696] Costa Rica Limonense 1 [30] Brazil 2003–2016 CTE Colatina 1 Free kick scored against Serra, 24 April 2005, at the Campeonato Capixaba.[456] Serbia and Montenegro
Serbia 2001– Partizan 1 Scored from the penalty spot during a match against BSK Borča on 11 August 2012 Spain 1988–2006 Burgos 1 Penalty kick goal scored against Badajoz.[697] Italy 1987–2009 Reggina 1 [698] Japan 1990–2000 Urawa Red Diamonds 1 Penalty scored against Yokohama Flügels on 9 November 1996, becoming the first goalkeeper to score in a J.League match. Mexico 2013– Deporvito Toluca F.C. 1 Scored in the 89th minute from a penalty Fiji 2004– Rewa 1 Scored against Suva, 19 October 2016, at the National Football League.[699] England Barnsley 1 [700] Brazil 1967–1986 Guarani 1 Penalty kick scored against Santa Cruz, at 1973 Campeonato Brasileiro.[701][12] Poland 1968–1982 ŁKS Łódź 1 Penalty scored in Polish Ekstraklasa against Odra Opole on 30 September 1973 England 2008– HKFC 1 Scored a bicycle kick in the 6th minute of second-half stoppage time to level the score at 1–1.[702] Gambia 2000–2015 Djurgårdens IF 1 Scored a penalty in the 82nd minute in an 8–1 victory over Elfsborg[703][704] Republic of Ireland 2017– Weymouth 1 [705] England 2017– Farsley Celtic 1 Scored from his own area against Curzon Ashton, 20 March 2022, at the 2021–22 National League.[706][707] Argentina 2002– C.A.I. 1 [708] Romania 1993–2012 Videoton 1 [709] Germany 2004– St. Pauli 1 [710] Scotland 2002–2019 Preston North End 1 Scored from his own penalty area in a 2–0 win against Notts County in a League One match.[711] Brazil 1959–1982 Flamengo 1 Scored from a goal kick in a match against Madureira, 19 September 1970,[712] becoming the second goalkeeper to score in a Brazilian professional match.[713][53] Poland Widzew Łódź 1 Penalty[308] Argentina 2005– Independiente 1 Penalty kick goal scored against Quilmes, 10 June 2007. Leaves the pitch injured after the goal.[714][715] South Africa 1947–1968 Charlton Athletic 1 [716] Netherlands 1985–2007 AGOVV 1 Scored a penalty in the last minute of the last match of his 23-year career. Van der Gouw was 44 years of age at the time. Netherlands 1990–2011 Ajax 1 Penalty[717] Brazil Roma Apucarana 1 Free kick[718] Paraguay 2009– Capiatá 1 [719] Spain 2004– Pobla de Mafumet 1 On 6 September, he saved a penalty and also scored the equalizer in a 1–1 draw against CF Badalona.[720] Russia 2012– FC Lahti 1 Scored a last minute equalizer goal against PK-35 Vantaa, 13 August 2016.[721] Netherlands 1986–2006 Gent 1 Viscaal was a striker who replaced the goalkeeper who had received a red card. First Viscaal stopped a penalty and one minute later, as a goalkeeper, scored a penalty himself[722] Australia 2002– Wellington Phoenix 1 Scored a 94th-minute penalty against North Queensland Fury on 13 February 2011. This came only a week after the previous match, in which Vukovic had hit the opposing team's crossbar after making a long clearance that bounced over the head of the opposing goalkeeper.[723] England 1987–2011 Tranmere Rovers 1 [724] Papua New Guinea 2008– Lae City Dwellers 1 [725] Poland 1990–2002 Górnik Zabrze 1 Penalty scored in league cup[726] England 1906–1910 Fluminense 1 Penalty kick scored against Riachuelo at 1908 Campeonato Carioca. Riachuelo lost the game by 11–0 in protest against the referee's performance. Subsequently, the club withdrew from the championship and the result was considered W/O. Is the first goal scored by a goalkeeper in Brazilian football.[727] England 2000–2019 Yeovil Town 1 [728] Brazil 2015– Atlético Cearense 1 Injury time bicycle kick against Potiguar de Mossoró, 21 July 2024, at 2024 Campeonato Brasileiro Série D.[729] England 1891–1905 Manchester City 1 First goalkeeper ever to score from open play in a competitive match, scored against Bolton Wanderers on 18 April 1900.[239] Bermuda 2001–2009 North Village Rams 1 Match winning goal scored directly from a goal kick in 2011[730] England 2011– Coventry City 1 Scored an injury-time equaliser in an EFL Championship match against Blackburn Rovers in 2023.[731] France 1992–2011 Nancy 1 [732] Denmark 1989–2000 AGF 1 Scored against Odense Boldklub, commonly known as OB, in the Danish Superliga in 1995.[733] Poland 2009– Bytovia Bytów 1 Scored a last-minute winning goal from a header against GKS Katowice in the last matchday of the 2019–20 I liga season. Despite this, both teams would be relegated.[734] Scotland 1970–1997 East Stirlingshire 1 Scored against Queen of the South on 9 January 1971[735] Greece 2006– AEL 1 Scored last-minute header against Panachaiki in a Greek Football Cup match on 28 November 2015. Japan 2001–2018 Montedio Yamagata 1 Scored a header in a J2 League match against Júbilo Iwata. Chinese Taipei Chinese Taipei 1 Scored a penalty in a 2003 East Asian Cup qualifying match against Mongolia, and was the first Taiwanese goalkeeper to score in an international competition. Turkey 1984–1996 Kemerspor 1 Scored his only career goal in a TFF Third League 2–1 loss to Antalya Köy Hizmetlerispor on 12 August 1991.[736] Brazil 1983–2000 Flamengo 1 [737] Algeria 2010– Damac 1 Scored a goal from open play inside his own penalty area against Al-Tai in the 2022–23 Saudi Professional League season.[738] Algeria 2004– MC Alger 1 Penalty kick[739] Belarus 1996–2016 BATE Borisov 1 [citation needed] Netherlands 1979–1987 Cambuur 1 Scored from a goal kick helped by a strong wind. The ball bounced in front of and then over opposite goalkeeper Ton Verkerk of Willem II.[740] Serbia and Montenegro
Serbia 1992–2019 Rijeka 1 Injury time header against Konavljanin, 29 November 2006, at the 2006–07 Croatian Cup semi-finals.[741] Czech Republic 2002–2021 Bohemians 1905 1 First goalkeeper to score a non-penalty goal in the Czech First League Brunei 2009–2017 Brunei Youth Team 1 First goalkeeper to score in the Brunei leagues, a penalty against LLRC FT.[742]
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https://www.academia.edu/75176028/A_diversidade_e_estrutura_de_assembleias_de_morcegos_Chiroptera_na_Caatinga_do_Rio_Grande_do_Norte_Brasil
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en
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A diversidade e estrutura de assembleias de morcegos (Chiroptera) na Caatinga do Rio Grande do Norte, Brasil
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[
"Juan Carlos Vargas Mena",
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2022-04-01T00:00:00
|
Na Caatinga a heterogeneidade espacial das diferentes ecorregioes e fitofisionomias, bem como a sazonalidade das chuvas e os pulsos dos recursos alimentares, foram atribuidos como fatores chaves no controle da estrutura e a dinâmica das assembleias
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https://www.academia.edu/75176028/A_diversidade_e_estrutura_de_assembleias_de_morcegos_Chiroptera_na_Caatinga_do_Rio_Grande_do_Norte_Brasil
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Rio Grande do Norte is one of the smallest states in Brazil but has a rich diversity of ecosystems, including Caatinga vegetation, remnants of Atlantic Forest, coastal habitats, mangroves and large karstic areas with caves. However, its chiropteran fauna is little known, and the state contains conspicuous gaps of information on the occurrence and distribution of bats in Brazil. In order to reduce this information gap, based on a review of scientific literature and regional mammal collections, we list 42 species of bats, including new occurrences for 13 species and discussion on their conservation status. Results show that more than half (54%) of the recorded species are phyllostomid bats, and about one third of the bats in the state roosts in underground cavities. The Caatinga harbored the highest bat richness in the state, including the occurrence of four vulnerable species (Furipterus horrens, Lonchorhina aurita, Natalus macrourus and Xeronycteris vieirai). The Atlantic Forest nee...
Caves are important roosts for bats in karstic areas and play a critical role in the protection of bat populations. In the state of Rio Grande do Norte, in northeastern Brazil, cave-dwelling bats are poorly studied. Moreover, the state contains more than 900 caves, mainly in the Caatinga biome, that may offer important roosts for local bat populations. Thus, to gain a first insight into the richness, diversity, and colony size of cave-bats in the state, we sampled 13 caves through active search and captures with mist nets. Sixteen species from five families were recorded, and the biggest colonies belonged to Pteronotus gymnonotus and Phyllostomus discolor. Furna Feia cave was the richest, with 10 species. Our results showed that Rio Grande do Norte is home to a rich and abundant diversity of cave bats, including vulnerable species like Furipterus horrens, Natalus macrourus, and Lonchorhina aurita. This study is the first to determine the diversity of RN cave bats, providing useful fundamental data for future conservation actions. RESUMO. Morcegos cavernícolas na Caatinga do Rio Grande do Norte. As cavernas são abrigos importantes para morcegos em ambientes cársticos e desempenham um papel fundamental para a proteção de suas populações. No estado do Rio Grande do Norte, os morcegos cavernícolas têm sido pouco estudos, no entanto, o estado contém um grande número de cavernas (~ 900) que poderiam abrigar uma grande diversidade de morcegos. A fim de determinar a riqueza, diversidade e tamanhos de colônias de morcegos cavernícolas no estado, foram amostradas 13 cavernas durante três dias consecutivos por cada caverna mediante busca ativa e capturas com redes de neblina. Foram capturadas 16 espécies pertencentes a cinco famílias onde as maiores colônias achadas pertenceram às espécies Pteronotus gymnonotus e Phyllostomus discolor. A caverna Furna Feia abrigou a maior riqueza com 10 espécies. Nossos resultados mostraram que o Rio Grande do Norte abriga uma rica e abundante diversidade de morcegos cavernícolas, incluindo espécies vulneráveis como Furipterus horrens, Natalus macrourus e Lonchorhina aurita. Este estudo é o primeiro a determinar a diversidade de morcegos cavernícolas no RN a fim de fornecer dados úteis para futuras ações de conservação.
Cave bats have an intimate association with their roosts. Size, structural heterogeneity, and microclimatic conditions are traits of caves known to affect the structure of these assemblages. The effects of the natural and anthropogenic landscape factors around caves on the structure of these assemblages are poorly known, especially in areas with large cave clusters. We assessed the effects of cave size and surrounding landscape attributes on the richness and species composition of cave-roosting bats in 13 caves distributed in two landscapes with large cave clusters in Caatinga dry forests, Brazil. In a 1-km buffer around caves, we obtained 13 internal cave and external landscape variables. Candidate univariate models using generalized linear models were constructed and the Akaike information criterion was used for model selection. The cave size model explained richness and variance in the species composition; larger caves tended to have greater richness and assemblage composition varied depending on the cave size, hence affecting the occurrence of certain species, some of conservation concern (Natalus macrourus, Furipterus horrens). The cave connectivity model affected only the richness; caves located in denser cave clusters had higher richness likely attributed to movement of bats among caves by a more diverse array of species. Both environmental and anthropic variables affected species composition, but differently depending of the landscape context of cave location (protected versus nonprotected area). The extent these landscape variables affected the species composition was due to species-specific responses, and observed in the mean colony sizes of the species shared between the cave systems. All the landscape variables that we tested affected the structuring process of cave-roosting bats assemblages, and evidences that variables found in disturbed karstic landscapes also affect the structure of the assemblage (e.g., large colonies of vampire bats). However, the ubiquitous effect of cave size on both richness and species composition reinforces the critical importance of the roost in the life of these flying mammals. Os morcegos que se abrigam em cavernas têm uma associação muito íntima com seus abrigos. Sabe-se que as características de caverna, como o tamanho, heterogeneidade estrutural e condições microclimáticas estáveis, afetam a estrutura das assembleias dos morcegos cavernícolas. No entanto, os efeitos dos fatores externos naturais e antrópicos da paisagem em torno de cavernas na estrutura das assembleias destes morcegos são pouco conhecidos, especialmente em paisagens cársticas com grandes aglomerados de cavernas. Assim, avaliamos os efeitos do tamanho da caverna e dos atributos da paisagem circundante na riqueza e composição de espécies de morcegos em 13 cavernas distribuídas em duas paisagens de Caatinga com grandes aglomerados de cavernas no Rio Grande do Norte. Em um buffer de 1 km ao redor de cada caverna, obtivemos 13 variáveis de paisagem interna (tamanho da caverna) e externa (número de cavernas circundantes, variáveis antropogênicas e ambientais); Modelos candidatos univariados usando GLM foram construídos e o Critério de Informação de Akaike foi usado para a seleção dos modelos. O modelo de tamanho das cavernas explicou a riqueza e a variação na composição
Folivory can be defined as the consumption of foliage, including leaves, stems and leaf content. This trophic strategy has been documented in two families of bats, Pteropodidae (Old World fruit bats) and Phyllostomidae (New World leaf-nosed bats). Existing folivory hypotheses for bats suggest this behavior provides a dietary supplement of protein and other essential minerals due to a deficiency of these in a frugivorous diet. The Caatinga is a seasonally deciduous tropical dry forest where most of the vegetation is leafless and dormant during the extended dry season. Here we present the first evidence of folivory in bats from the Brazilian Caatinga, with evidence for the phyllostomid Artibeus planirostris ingesting the leaves of at least 16 species of plants. We include a bibliographic review of bat folivory in the tropics. Additionally, we propose a new hypothesis on folivory in bats for this semiarid environment.
The Caatinga biome is restricted to Brazil, and its bat fauna is among the least studied in South America, with scarce information on species occurrence, distributions, and structure of assemblages. Moreover, most of the information available on bats from this biome comes from relicts of other ecosystem formations. From 2010 to 2012 we conducted bat surveys in different sites along the Serra da Jitirana, a xerophytic locality in the Caatinga of Piauí state, northeastern Brazil. We recorded 20 species in six families. Representatives of animalivorous guilds predominated in both the number of individuals and species. We speculate that the low numbers of frugivores is a response to the environmental constraints imposed by the drought. Along with an analysis of this assemblage, we also report here new information on roosts, behavior, and feeding items for several species about which little is yet known.
Whereas surveys of the bat fauna are available for some localities in the Brazilian Northeast, studies in the caatinga scrublands are still limited. The aim of this study was to survey the bat fauna in an area of caatinga scrublands in the Private Natural Heritage Reserve (RPPN Serra das Almas), which is located on the Ibiapaba Plateau, State of Ceará. The bat assemblage of the reserve was surveyed in July 2012 (rainy season), and January 2013 (dry season), with a total of 19 sampling nights. We captured 347 individuals of 23 species representing six families. The bat fauna was characterized by the predominance of a few abundant species, in particular phyllostomid frugivores, and many rare species, which is frequent in studies based on mist nets at ground level. The first records of Tonatia saurophila and Chiroderma vizottoi (recently described and known only from its type locality) are reported for the State of Ceará, where 66 bat species are now known to occur. RESUMO. Morcegos de uma área de Caatinga arbustiva na região de Crateús, nordeste do Brasil (Mammalia: Chiroptera), com novos registros para o estado do Ceará. Embora inventários da quiropterofauna estejam disponíveis para algumas localidades do Nordeste brasileiro, os estudos em área de caatinga arbustiva ainda são escassos. O objetivo deste estudo foi realizar um levantamento e atualização da quiropterofauna em uma área de caatinga arbustiva na Reserva Particular do Patrimônio Natural (RPPN Serra das Almas), localizada no Planalto da Ibiapaba, estado do Ceará. A assembleia de morcegos da Reserva foi inventariada em julho de 2012 (período chuvoso) e janeiro de 2013 (período seco), totalizando 19 noites de amostragem. Um total de 347 indivíduos de 23 espécies e seis famílias foi capturado. A quiropterofauna é caracterizada por uma dominância de poucas espécies mais abundantes, particularmente filostomídeos frugívoros, e várias outras menos abundantes,
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When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
â
âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
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âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
Introdução
Minha inserção profissional em preservação audiovisual coincide com o inÃcio da utilização das ferramentas digitais na área de restauração de filmes no Brasil. A experiência prática nos arquivos audiovisuais e em restauração, iniciada justamente no perÃodo de transição para o digital, em 2000, permitiu um olhar a partir de uma perspectiva privilegiada, ao possibilitar acompanhar de perto, na lida cotidiana, a transformação da área. O desejo de investigar essas experiências, sistematizá-las e transformá-las em objeto de estudo, a fim de tentar contribuir para a reflexão sobre o campo no Brasil, desembocou na minha pesquisa de doutorado iniciada na Universidade de São Paulo em 2016. A pesquisa foi finalizada em dezembro de 2020,1 e o foco foi a restauração de filmes no Brasil e a incorporação da tecnologia digital no século XXI, realizada na Universidade de São Paulo. Esta investigação incorpora uma dupla dimensão: por um lado, minha experiência profissional e, por outro, o interesse em refletir sobre esses processos sob uma perspectiva histórica, incluindo os aspectos técnicos, estéticos e éticos da restauração de obras brasileiras. Um pequeno recorte deste trabalho será abordado nesse artigo, onde apresentarei, em linhas gerais, um olhar histórico sobre a restauração de filmes no Brasil, um breve panorama da trajetória do campo da restauração digital desde o ano 2000 e alguns marcos históricos desde seus primórdios.
A Importância do Ano 2000
Nas últimas duas décadas, o campo da preservação audiovisual passou por profundas transformações. Uma das evidências dessa transformação pode ser encontrada na crescente quantidade de pesquisas conduzidas sobre o tema da preservação de filmes e seus diversos aspectos. A incorporação da tecnologia digital no processo de restauração de filmes permitiu que o campo ganhasse mais destaque tanto em termos de habilidades práticas quanto como disciplina acadêmica. Como resultado, os estudiosos tentaram defini-lo teoricamente por meio de uma análise mais profunda de seus muitos complexos elementos. A bibliografia internacional também cresceu consideravelmente desde os anos 2000, incluindo bem-vindas contribuições de pesquisadores e estudiosos brasileiros. Embora pesquisas aprofundadas sobre restauração de filmes ainda não sejam muito comuns no Brasil, o surgimento de trabalhos recentes com destaque sobre o tema e questões relacionadas prova que há interesse no assunto e na preservação audiovisual como disciplina acadêmica.
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Do final dos anos 1990 até meados dos anos 2000, as ferramentas digitais de restauração foram introduzidas e disseminadas entre os principais arquivos de filmes, com o apoio financeiro de grandes companhias produtoras.2 No inÃcio, devido aos custos proibitivos para a maioria das instituições e arquivos, essas ferramentas eram utilizadas apenas ocasionalmente. No entanto, os avanços tecnológicos permitiram que se tornassem mais acessÃveis para projetos não comerciais e mais amplamente adotadas no processo de restauração de filme ao longo da primeira década de 2000.
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A tecnologia digital foi incorporada ao fluxo de trabalho de restauração no Brasil no inÃcio do século XXI, a exemplo do que acontecia em alguns paÃses da Europa e nos Estados Unidos. Até aquele momento, cada etapa do processo de restauração era fotoquÃmica. Os restauradores de filmes utilizavam equipamentos analógicos que haviam sido usados por anos em laboratórios cinematográficos comerciais e a equipe técnica da maioria dos projetos de restauração foi treinada, principalmente, enquanto trabalhava para esses laboratórios. Com o advento das ferramentas digitais, as intervenções no processo de restauração passaram a ser realizadas por computadores e profissionais com novas competências. Esses novos restauradores tinham conhecimento dos softwares de restauração digital e da tecnologia computacional, experiências profissionais diferentes dos técnicos que haviam trabalhado apenas em laboratórios de cinema. Antes de elaborar uma análise mais aprofundada do campo da restauração digital no Brasil, é necessário, primeiramente, apresentar um panorama histórico resumido dos laboratórios cinematográficos brasileiros.
Nas primeiras décadas da realização cinematográfica no paÃs, a maior parte das pequenas companhias produtoras possuÃam seus próprios laboratórios, valendo-se, provavelmente, de instrumental semelhante ao que era utilizado para a revelação fotográfica de imagens fixas, sendo a própria câmera de filmar o copiador, caracterÃstica presente nos modelos da época. Na cadeia de processamento de material fotoquÃmico, o primeiro passo é a revelação do material negativo para então sua posterior copiagem para o material positivo, isto é, as cópias de projeção. Será na década de 1910 que o laboratório da Botelho Film, de Alberto Botelho, consegue dar os primeiros passos rumo à alguma padronização dos procedimentos realizados, obtendo resultados acima da média e, por conseguinte, a confecção de cópias melhores até então produzidas no Brasil. Localizamos referências sobre alguns outros laboratórios do perÃodo. Por exemplo, companhias como a Independência Film, de José e Victor del Picchia, e a Benedetti Film, de Paulo Benedetti, possuÃam laboratórios, onde teria sido realizado o processamento de tÃtulos como Braza dormida (Mauro, 1928), Barro humano (Gonzaga, 1929) e Limite (Peixoto, 1931). Um marco importante acontecerá próximo ao final da década de 1920, com a chegada dos fotógrafos e laboratoristas húngaros Adalberto Kemeny e Rudolf Lustig,3 que compram o laboratório da Independência Film e o transformam nos Laboratórios Rex, que funcionará até a década de 1970. Os conhecimentos técnicos dos imigrantes húngaros permitiram um maior controle dos parâmetros necessários para o melhor processamento dos materiais, como o controle da temperatura e do tempo, sendo responsáveis por melhorias na qualidade técnica dos materiais brasileiros.Â
A passagem para o cinema sonoro nos anos 1930 vai tornar o processamento laboratorial ainda mais complexo e irá provocar o progressivo fechamento dos laboratórios de pequeno porte oriundos do perÃodo silencioso. Na contramão dessa tendência, a companhia produtora Cinédia, fundada em 1930 por Adhemar Gonzaga, irá constituir seu próprio laboratório ainda nessa década.
O laboratório da Cinédia funcionou com muitos contratempos até ao final da década de 1940, perÃodo particularmente difÃcil para a empresa. O contexto da Segunda Guerra Mundial apenas agravou as dificuldades da Cinédia, chegando mesmo a fazer com que encerrasse momentaneamente as suas operações no final de 1941. Em março de 1942, os estúdios da Cinédia reabriram para as filmagens de à tudo verdade, de Orson Welles, mas só retomaram totalmente as produções no ano seguinte. Os efeitos desastrosos causados pela guerra, como a falta de estoque de filme virgem e produtos quÃmicos para o seu processamento, foram sentidos pela Cinédia ao longo da década. O impacto da guerra, entre outros fatores, culminou com o seu desmantelamento em 1949, quando Adhemar Gonzaga decidiu se desfazer dos equipamentos cinematográficos do laboratório. Em 1951, Gonzaga interrompeu as atividades da Cinédia e alienou parte do terreno dos estúdios para liquidar todos os compromissos financeiros da empresa. O laboratório foi posteriormente desmontado e sua produção foi definitivamente interrompida.
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Outro marco importante para o restauro de filmes no Brasil foi a criação do único laboratório de restauração existente em um arquivo audiovisual brasileiro: o da Cinemateca Brasileira. Criado em 1976 a partir de aquisição de equipamentos e peças descartadas pela então chamada LÃder Cinelaboratórios,4 empresa carioca que havia recém adquirido os laboratórios Rex com a finalidade de expandir seus negócios para São Paulo. A aquisição se iniciou após convencê-los de que a Cinemateca não se constituiria como concorrente de mercado, o que não seria mesmo possÃvel, visto o caráter cultural da instituição. A partir daÃ, uma parceria informal se estabelece, e a empresa passa a comunicar a Cinemateca periodicamente quando do descarte de algum equipamento antigo.Â
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Carlos Augusto Calil, responsável pelo Departamento de Preservação da Cinemateca Brasileira à época, foi quem esteve à frente desse processo. Seu senso de oportunidade foi essencial para que a empreitada fosse bem-sucedida, já que teve a perspicácia de perceber e tirar proveito de um momento singular â ou seja, o momento de descarte do maquinário antigo dos laboratórios Rex por conta da modernização tecnológica empreendida pelos novos donos â para adquirir a infraestrutura básica necessária, e, o mais importante, a preços acessÃveis, para a implementação de um laboratório na instituição.
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Durante o perÃodo de implementação do laboratório na Cinemateca Brasileira, Calil teve a oportunidade de realizar o II Curso de Verão organizado pela FIAF (Federação Internacional de Arquivos de Filme) no Staatlichesfilmarchiv (Arquivo de Filmes da República Democrática Alemã). O curso abordou, sobretudo, questões relacionadas à conservação e restauração de filmes e acabou sendo muito importante para os profissionais brasileiros. Ao longo do curso, Calil teve acesso a publicações sobre documentação e catalogação de filmes ainda não publicadas no Brasil, materiais que ele compartilharia com os técnicos da Cinemateca Brasileira. Isso garantiu que o conhecimento dos métodos de preservação de filmes em uso em instituições estrangeiras fosse compartilhado e aplicado pelos profissionais brasileiros em seus próprios trabalhos. No entanto, uma das principais lições que Calil aprendeu foi que a solução para os problemas de preservação dos filmes brasileiros teria que ser inventada e desenvolvida por brasileiros. Essa conclusão se deve ao que hoje é uma história bem conhecida na comunidade de preservação audiovisual brasileira. Calil conta que Hans Karnstädt, responsável pelo laboratório de conservação e restauração de Staatlichesfilmarchiv, foi questionado sobre o tratamento adequado para filmes de nitrato melados. Karnstädt ficou surpreso com a pergunta e respondeu que nunca havia visto nenhum material em tais condições. Algumas razões para tal fato podem ser apontadas: como a Alemanha tem um clima frio e suas instituições culturais são financeiramente estáveis ââ(permitindo a manutenção dos nÃveis adequados de temperatura e umidade dos depósitos), eles nunca tiveram que se preocupar com cenários em que grande parte de suas coleções encontram-se em estágios avançados de degradação. Mas no Brasil, devido ao clima quente e a instabilidade crônica da área, filmes de nitrato e acetato melados eram (e ainda são) uma ocorrência muito mais comum. Embora essa situação tenha acontecido há quatro décadas, os problemas enfrentados pelos arquivos e profissionais brasileiros não mudaram substancialmente. As condições de conservação da maior parte do patrimônio audiovisual do paÃs apresentam problemas especÃficos que somente a experiência de trabalho no Brasil local pode resolver.
A Restauração Digital de Filmes no Brasil: O Nascimento e a Rápida Decadência de um Campo
Mas será efetivamente no final de maio de 1977 que o Laboratório de Restauração da Cinemateca Brasileira passará a operar realizando atividades de copiagem e revelação. Uma das figuras centrais para tal fato será João Sócrates de Oliveira,5 arquiteto de formação que entra na instituição sem ter tido experiência prévia na área de cinema e se tornará um restaurador de filmes de renome internacional.
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Entre as décadas de 1970 e 2000, as restaurações de filmes no Brasil foram capitaneadas, sobretudo, pelos arquivos audiovisuais, e realizadas em parceria com laboratórios comerciais ou pelo laboratório da Cinemateca Brasileira. A chegada da primeira década de 2000 representou o crescimento dos aportes públicos em preservação audiovisual e o inÃcio da realização um significativo número de projetos de restauração de filmes brasileiros. Nesse perÃodo, se destacaram o restauro de tÃtulos de diretores integrantes do Cinema Novo, através de projetos liderados por suas herdeiras. Alguns poucos anos depois, em 2007 e 2009, a Petrobras investirá em dois editais públicos de restauro coordenados pela Cinemateca Brasileira, atestando que, ainda que momentaneamente, um papel mais ativo do Estado no fomento da atividade.Será na virada do milênio, mais exatamente em 1996, que será utilizada pela primeira vez no Brasil a tecnologia digital durante o processo de restauro de um filme. Foi em O ébrio (Abreu, 1946), uma produção da Cinédia. Apesar de ter tido a imagem restaurada fotoquimicamente, se utilizou de um procedimento hÃbrido para o som, mesclando etapas fotoquÃmicas e digitais. O relançamento de O ébrio estava sendo pensado desde meados dos anos 1990, por conta do aniversário de cinquenta anos da primeira exibição do filme em 1996. Em março daquele ano, a Cinédia propõe a Riofilme6,um projeto de restauração do que teria sido a versão original da obra, incluÃdo seu relançamento comercial ao final do processo. Uma das prioridades era o retorno do filme aos cinemas, talvez por conta disso o projeto tenha sido apresentado à uma distribuidora. Nesse sentido, ele parece ter fomentado possibilidades de atuação que inclusive tiveram outros frutos, visto que em 2002 é levado a cabo, também pela Riofilme, a reformatação digital e o relançamento de outro tÃtulo do passado, Deus e diabo na terra do sol (Rocha, 1964).
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Mas será em 2003 que terá inÃcio um projeto que efetivamente pode ser considerado um marco para a restauração digital de filmes no Brasil: o restauro da obra completa de Joaquim Pedro de Andrade, idealizado pelos filhos do cineasta, Alice, Maria e Antonio de Andrade, iniciativa pioneira na utilização da tecnologia digital de 2K de resolução no paÃs. Nesse momento, na área audiovisual, esse tipo de tecnologia era utilizado, sobretudo, para as etapas de intermediação digital realizadas durante o processo de finalização de um filme. à a primeira vez, portanto, que um projeto de restauração brasileiro emprega essa ferramenta, o que representou um marco decisivo para o desenvolvimento do campo no paÃs, tendo sido um dos fatores responsáveis pela atualização tecnológica do Laboratório de Restauração da Cinemateca Brasileira, além de propiciar a criação de um Núcleo de Restauração na empresa de pós-produção audiovisual Teleimage, em São Paulo.
O pioneirismo e a envergadura do projeto (restaurar digitalmente a obra completa de um cineasta) fez com que a metodologia de trabalho, as escolhas técnicas e éticas fossem descobertas e aperfeiçoadas ao longo do processo. Como ainda era um campo emergente, a necessidade de os profissionais envolvidos ganharem experiência com ferramentas de restauração digital era essencial. Afinal, a realização de um projeto de restauro em 2K no Brasil era novidade para todos os envolvidos, o que representou um grande desafio. Será neste perÃodo, justamente por conta de projetos como o de Joaquim Pedro, que acontecerá a abertura de departamentos dedicados à restauração digital de filmes dentro de laboratórios comerciais de pós-produção, como é o caso dos Estúdios Mega e da Teleimage, ambos em São Paulo, e da Labocine, no Rio de Janeiro.Â
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Desde 2000, os Estúdios Mega7 vinham investindo em seu parque tecnológico, com direcionamento para a aquisição de equipamentos de intermediação digital. Em 2001 foi adquirida uma estação de trabalho chamada Restore, que consistia de um software acompanhado de um computador exclusivo. Esse equipamento, fabricado pela empresa norte-americana Da Vinci Systems, pioneira na produção de equipamentos para pós-produção digital, teve um custo de 380 mil dólares (cerca de 760 mil reais à época). A estação não tinha a capacidade de digitalizar, sendo que os materiais tinham que ser digitalizados previamente em outra máquina, como, por exemplo, um telecine. Ainda assim, o custo era bem alto, se mostrando proibitivo para praticamente a totalidade dos arquivos audiovisuais brasileiros nesse momento. Por conta disso, os responsáveis pela introdução dessa tecnologia no Brasil foram as empresas de pós-produção e finalização audiovisual, que tinham que se adaptar rapidamente à s tendências de mercado, sobretudo ao lucrativo mercado publicitário.Â
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A Teleimage iniciou seu Departamento de Restauração com o filme Pelé eterno (AnÃbal Massaini Neto, 2004), para a correção digital de parte das imagens de arquivo que integram o documentário, que levou cerca de cinco anos para ser concluÃdo por conta do volume do trabalho de pesquisa. Após esse trabalho, a empresa decidiu expandir o setor com o projeto de restauração digital da obra completa de Joaquim Pedro de Andrade.Â
O caso da Labocine foi um pouco diferente em alguns aspectos. Como os dois exemplos citados, o setor de Restauração também se iniciou a partir dos serviços de intermediação digital já oferecidos por essas empresas, que se utilizavam da estrutura existente para servir de base para a inclusão da tecnologia destinada para o restauro digital de filmes. Isto é, softwares especÃficos, computadores com maior capacidade de processamento e servidores com capacidade de armazenamento adequada. Entretanto, ao invés de renomados cineastas do Cinema Novo, cujos filmes foram realizados a partir da década de 1960, a Labocine decide investir na restauração digital de Bonequinha de seda, obra realizada em 1936 por Oduvaldo Viana. O fato é que o filme foi produzido pela Cinédia, parceira de longa data do laboratório, e este talvez tenha sido o motivo principal para que o laboratório tenha assumido tal empreitada. Além, é claro, da possibilidade de adentrar em um mercado em expansão e com um diferencial em relação à s outras empresas: ter como trabalho inaugural a restauração de um filme realizado na década de 1930, ou seja, há quase 80 anos atrás. Mas esse caso modelo levou muito mais tempo que se esperava. A restauração do tÃtulo, que contou com uma etapa fotoquÃmica e outra digital, se iniciou em 2006 e levou cerca de sete anos para ser concluÃda, tanto por conta das interrupções provocadas pelas dificuldades técnicas encontradas quanto pelo aporte de investimentos efetuados ao longo do processo.8 Diferente dos Estúdios Mega e da Teleimage, a Labocine não contou com a garantia e o volume de recursos de um projeto de restauração composto por vários tÃtulos ou de uma obra completa, como foi com a Coleção Glauber Rocha e com o projeto do Joaquim Pedro, mas sim o restauro de um único tÃtulo, o que fez com que a empresa contasse com um montante de investimentos menor do que suas congêneres9  O que, por fim, representou menos profissionais exclusivamente dedicados ao projeto, menos equipamentos e, por conseguinte, menor velocidade na execução do trabalho. Apesar dos inúmeros desafios enfrentados, o esforço foi em certa medida recompensado devido à inestimável experiência acumulada pelos técnicos ao longo do processo.Â
Além disso, uma questão importante merece ser ressaltada: o restauro de Bonequinha de seda acabou por revelar limitações intrÃnsecas das ferramentas digitais em relação a um dos grandes problemas apresentados pelos materiais remanescentes: a profusão de riscos e abrasões incorporadas fotograficamente à imagem (conforme figura abaixo). A resposta diante das primeiras etapas de tratamento do material no software de restauração Diamant, tanto na modalidade automática quanto semiautomática, foi mÃnima, visto que a ferramenta não conseguia localizar os problemas pois já faziam parte da imagem, revelando uma limitação inerente a estas formas de dano. Tentou-se interferir de maneira mais drástica e o resultado foi ainda pior, com a criação de inúmeros artefatos e a acentuação de algumas deformações na tentativa de estabilização geral ou parcial dos quadros.
Ou seja, no geral, a atuação da ferramenta digital não trouxe resultados significativos para os problemas considerados mais graves e de maior intensidade. Após a exibição de algumas amostras do trabalho e consultas a especialistas em eventos internacionais, comprovou-se que os procedimentos adotados estavam, a princÃpio, corretos, e que, infelizmente, a atuação dos softwares de restauração nos danos apresentados pelo filme não teria a repercussão desejada, ao menos não na versão em que se encontravam. Dada a particularidade dos danos, se estabeleceu um canal de comunicação permanente entre o laboratório e a empresa desenvolvedora do software, a HS-Art, o que viabilizou aperfeiçoamentos especÃficos para a limpeza dos riscos e arranhões incorporados fotograficamente na imagem.10
O que podemos notar através desse exemplo é que as ferramentas estrangeiras, mesmo as desenvolvidas especificamente para a restauração de filmes, como é o caso do software austrÃaco Diamant, não respondem de forma completamente satisfatória, dada a especificidade dos problemas de deterioração apresentados pelos filmes brasileiros, ainda que riscos e outros danos não sejam exclusividade de nossos materiais.11 Por conta disso, parcerias com laboratórios de restauração e fabricantes de softwares são importantes, sobretudo para projetos de pequeno porte e com materiais que estejam bastante comprometidos. Neste sentido, a ideia de se investir em um laboratório de restauração de um arquivo de filmes (como o da Cinemateca Brasileira) é uma opção estratégica, visto que a ótica de um laboratório comercial sempre será direcionada para projetos financeiramente lucrativos.Â
A consolidação da intermediação digital como etapa integrante da produção audiovisual em meados da primeira década do século XXI parecia trazer consequências bastante benéficas para a área de restauração de filmes. Com o barateamento desse tipo de serviço, a tecnologia digital passou a ser adotada amplamente nos procedimentos de restauração e proporcionou o desenvolvimento das ferramentas e da própria área. Visto os projetos de restauro realizados desde a virada do milênio, o Brasil aparentava seguir por um caminho de desenvolvimento semelhante ao restante do mundo. No entanto, infelizmente, o campo da restauração digital de filmes no paÃs começou a regredir em 2010. Neste ano, por falta de financiamento para projetos de restauro, os departamentos de restauração como o da Mega Studios começaram a fechar. O que antes era considerado um mercado em expansão, com o inÃcio do fechamento de Departamentos de Restauração nas empresas de finalização, logo se tornou um serviço de nicho. Â
A partir de meados de 2010, a ampla adoção da tecnologia digital em todas as etapas da cadeira audiovisual â produção, distribuição e exibição â fez com que uma grande entrada de recursos nos laboratórios cinematográficos brasileiros, oriunda da confecção de cópias em pelÃcula de filmes estrangeiros distribuÃdos no paÃs, cessasse. Funcionava como uma reserva de mercado: era obrigatório que os filmes estrangeiros lançados nos cinemas brasileiros confeccionassem seus materiais de difusão em pelÃcula no paÃs. Apesar de empresas como Labocine, Teleimage e Estúdios Mega terem se mostrado parceiras importantes dos projetos de restauro citados, todas eram, afinal, empresas comerciais que visavam lucro. As que possuÃam laboratórios fÃlmicos, como a Labocine, reduziram bastante sua margem de lucro com a diminuição e posterior interrupção de produção de cópias em pelÃcula 35mm ao longo de 2010.Â
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O volume de investimentos públicos em restauração de filmes (e em preservação audiovisual em geral) reduziu drasticamente a partir de 2011, o que gerou consequências nefastas para o campo. Uma das primeiras consequências mais notáveis aconteceu em 2015, com a extinção do Núcleo de Restauração da Teleimage e a demissão da equipe do setor. Para completar o cenário de decadência, a consolidação da projeção digital no circuito exibidor e a redução substancial do volume de processamento de cópias 35mm, maior fonte de renda da Labocine, inviabilizou a continuidade da empresa a longo prazo, o que culminou com seu fechamento definitivo em março de 2015. Desde então, a área de restauração de filmes no Brasil retraiu-se vertiginosamente, o que demonstra que apesar dos aportes iniciais realizados pelas empresas privadas, o setor era dependente dos recursos oriundos do Estado e de medidas de proteção de mercado. Com exceção do Laboratório de Restauração da Cinemateca Brasileira, que passou a operar sobretudo para demandas internas desde 2016, mas que está com suas atividades paralisadas desde março de 2020,12 e a empresa Afinal Filmes, que passou a oferecer serviços de restauração digital por volta de 2017, não há outras opções.Â
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Existem projetos e filmes a serem restaurados, mas não há recursos ou polÃticas públicas de financiamento para esse tipo de atividade. Na verdade, nesse momento, quase não existem polÃticas públicas para a preservação audiovisual (ou para o setor audiovisual como um todo) no Brasil: o campo cultural, em geral, tem sido muito afetado pelo atual governo. Entretanto, em uma área historicamente ignorada em termos de investimentos e marcada pela instabilidade, como a área de patrimônio audiovisual no Brasil, é ainda mais grave. De mercado promissor à decadência em pouco mais de uma década, esse é o estado atual da restauração de filmes no Brasil.
Laboratórios Cinematográficos no Brasil
Introduction
My professional entry into the field of film preservation coincided with the emergence of digital restoration in Brazil. I began working within film archives in the year 2000. Being around archives at that time allowed me to witness the impact that digital technology was having on the still nascent field of digital film restoration. It was my desire to investigate my own early experiences as a film preservationist, systematize them, turn them into an object of study, and to contribute to a wider discussion on film restoration, that prompted me to begin doctoral research at the University of São Paulo in 2016. I finished this research at the end of 2020,1 focusing my dissertation on film restoration in Brazil and the incorporation of digital restoration technology in the 21st century. The research I conducted had two dimensions: on one hand, it included my professional experiences, and on the other, my interest in considering the historical process of film restoration in Brazil from technical, aesthetic and ethical perspectives. A small excerpt from this work will be addressed in this article, where I will present, in general terms, a historical background of film restoration in Brazil, a brief overview on the trajectory of the digital restoration field since the year 2000 and highlight some historical milestones since its early beginnings.Â
Significance of the Year 2000
Over the last two decades, the field of audiovisual preservation has undergone profound changes. One of the evidences of this transformation can be found in the increasing amount of research being conducted on the topic of film preservation and its various aspects. The incorporation of digital technology within the film restoration process allowed the field to gain more prominence both in terms of practical skills and as an academic discipline. As a result, scholars have attempted to theoretically define it through deeper analysis of its many complex elements. The international bibliography on film preservation has also grown considerably since the 2000s, including welcome contributions from Brazilian researchers and scholars. Although in-depth film restoration research is still not very common in Brazil, the emergence of recent prominent writings on this topic and related issues proves that there is serious interest in the topic and in audiovisual preservation as an academic discipline. Â
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From the late 1990s to the mid 2000s, digital film restoration tools were introduced and disseminated among major film archives, with financial support from big film production companies.2 Â At first, due to the prohibitive costs for most institutions and archives, these tools were only utilized occasionally. However, technological advancements allowed them to become more affordable for non-commercial projects and more widely adopted into the film restoration process along the first decade of 2000s.Â
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Digital technology was incorporated into the restoration workflow in Brazil in the early 21st century, similar to what was taking place in some European countries and in the United States. Up until that point in time, each stage of the restoration process was photochemical. Film restorers were utilizing analog machines that had been used for years in commercial film laboratories and the technical staff behind most restoration projects were predominantly trained while working for these laboratories. With the arrival of digital tools, interventions into the restoration process began to be carried out by computers and professionals with new skills. These new restorers were well versed in digital restoration software and computer-based technology and had different professional backgrounds than the technicians who had only previously worked in film laboratories. Before providing a further analysis of the digital restoration field in Brazil, it is first necessary to present an overview of the history of Brazilian film laboratories.
Film Laboratories in Brazil
During the first few decades of filmmaking in Brazil, most of the small film production companies had their own laboratories. It is likely that these laboratories used similar tools to still photography laboratories. In the chain of processing photochemical material, the negative is first developed and then copied to a positive print, resulting in projection prints. In the 1910s, Alberto Botelhoâs film laboratory took the first steps toward standardizing these procedures with above-average results. Consequently, their lab managed to create better film prints than what had previously been possible in Brazil. There are references to other laboratories of the time. For example, companies such as José and Victor del Picchiaâs Independência Film and Paulo Benedetti Filmes had laboratories and processed titles such as Braza Dormida (Mauro, 1928), Barro Humano (Gonzaga, 1929) and Limite (Peixoto, 1931). A landmark moment for the film processing field occurred in the late 1920s, when Hungarian photographers and laboratory professionals Adalberto Kemeny and Rudolf Lustig relocated to Brazil.3 Kemeny and Lustig would go on to buy the Independência Film Laboratory and turn it into Rex Laboratories, which remained active until the 1970s. The technical knowledge that these Hungarian immigrants brought to Brazil allowed greater general control of the necessary parameters for processing film, such as temperature and time control, being responsible for improvements in the technical quality of Brazilian materials.
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The transition to sound cinema in the 1930s made laboratory processing even more complex and progressively caused the closure of small laboratories from the silent period. Regardless of these newfound challenges in film processing, the production company Cinédia, founded in 1930 by Adhemar Gonzaga, built its own laboratory in that decade.Â
The Cinédia laboratory operated with many setbacks until the end of the 1940s, a particularly difficult period for the company. The context of World War II only exacerbated Cinédia's difficulties, even causing them to momentarily shut down their operations at the end of 1941. In March 1942, the Cinédia studios reopened for the filming of Orson Wellesâs It's All True, but only fully resumed productions the following year. The disastrous effects caused by the war, such as the lack of film stock and chemicals for processing films, was felt by Cinédia throughout the decade. The toll of the war on Cinédia culminated in their dismantling in 1949, when Adhemar Gonzaga decided to dispose of the laboratory film equipment. In 1951, Gonzaga interrupted Cinédia's activities and sold part of the studio grounds in order to liquidate all the company's financial commitments. The laboratory was subsequently disassembled and its productions halted.Â
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A historical milestone for film restoration in Brazil particularly relevant to this discussion was the creation of the only existing restoration laboratory in a Brazilian film archive. The Cinemateca Brasileira Film Laboratory was created in 1976 from the acquisition of equipment and parts discarded by the formerly-named LÃder Cinelaboratórios,4 a company from Rio de Janeiro that had recently acquired Rex Laboratories with the purpose of expanding its business to São Paulo. This acquisition began after LÃder Cinelaboratórios was convinced that the Cinemateca Brasileira would not be a market competitor for them given their non-profit cultural mission. From then on, an informal partnership was established, and LÃder began to periodically notify the archive whenever old equipment was discarded.Â
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Carlos Augusto Calil, who was leading the Preservation Department of the Cinemateca Brasileira at the time, managed this acquisition process. His sense of opportunity was essential to the success of the undertaking. Calil had the insight to take advantage of a singular moment - the discarding of the old Rex laboratories machinery. Once the new owners of Rex laboratories began to modernize their lab with new technology, they decided to dispose of their older (but still functional) machinery. Calil was then able to purchase this machinery at discounted prices as a means of bolstering the infrastructure of the Cinemateca's laboratory.
While the old laboratory machinery was being implemented at the Cinemateca Brasileira, Calil had the opportunity to attend the second Summer course organized by FIAF (International Federation of Film Archives) at the Staatlichesfilmarchiv (Film Archive of the German Democratic Republic). This course mainly addressed issues related to the conservation and restoration of films and it was very important for Brazilian professionals. During this course, Calil had access to publications on film documentation and cataloguing which had not yet been published in Brazil, materials that he would go on to share with his colleagues at the Cinemateca Brasileira. This ensured that the knowledge of the film preservation methods being used in foreign institutions would be shared and applied by Brazilian film preservationists in their own work. However, one of the major lessons that Calil learned was that the solution to Brazilâs film preservation problems would have to be invented and developed by Brazilians. This newfound understanding came to Calil from what is now a well-known story in the Brazilian audiovisual preservation community. Calil recounts that Hans Karnstädt, the person in charge of the conservation and restoration laboratory of Staatlichesfilmarchiv, was asked about proper treatment for nitrate films that have become sticky. Karnstädt was surprised with the question and answered that he had never seen any material in such condition. There are reasons for this can be pointed out: as Germany has a cold climate, and because their cultural institutions are financially stable (allowing the maintenance of adequate levels of temperature and humidity in the vaults), they never had to worry about scenarios where a large portion of their collections had undergone severe stages of degradation. But in Brazil, due to the hot climate and the chronic financial instability, sticky nitrate and acetate films were (and still are) a far more common occurrence. Although this situation happened four decades ago, the problems faced by Brazilian film archives and film preservationists have not changed substantially. The conservation conditions of most of the country's audiovisual heritage pose specific problems that only preservationists who have experience working in Brazil can solve.
Digital Film Restoration in Brazil: The Birth and the Rapid Decay of a Field
It was effectively at the end of May 1977 that the Cinemateca Brasileira Restoration Laboratory began duplication and restoration activities. One of the central figures for this was João Sócrates de Oliveira,5 a trained architect who entered the institution without previous experience in cinema, who went on to become an internationally renowned film restorer.Â
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Between the 1970s and 2000s, film restoration projects in Brazil were mainly headed by film archives and carried out in partnership with commercial laboratories or by the Cinemateca Brasileira laboratory. The 2000s represented the growth of public investments in film preservation and the realization of a significant number of Brazilian film restoration projects. During this period, specific emphasis was given to the restoration of the titles of Cinema Novo filmmakers through projects led by their heirs. A few years later, in 2007 and 2009, Petrobras invested in two public calls for restoration coordinated by the Cinemateca Brasileira, attesting, albeit fleetingly, a more active role of the State in promoting and sponsoring film preservation.
At the turn of the millennium, in 1996, digital technology was used for the first time in Brazil during the restoration process of O ébrio (Gilda de Abreu, 1946), a Cinédia production. Despite the fact that O ébrio had its image photochemically restored, the restoration process included a hybrid procedure for sound, mixing photochemical and digital elements. The re-release of O ébrio had been considered since the mid-1990s, as 1996 marked the fifty-year anniversary of its first screening. In March of that year, Cinédia proposed the restoration project of what would have been the original version of the film to Riofilme,6 including its commercial re-release at the end of the process. One of the priorities of this project was ensuring that the film would return to the cinemas, which may be why this restoration project was presented to a distributor. By establishing a process where a newly restored film would be attached to a distributor, the restoration and exhibition of O Ãbrio would impact other restoration projects that followed a similar path. In 2002, Riofilme also carried out the digital reformatting and the re-release of another classic Brazilian title, Black God, White Devil (Rocha, 1964).
It was in 2003 that a project which can effectively be considered a milestone for digital film restoration in Brazil began: the restoration of the complete works of Joaquim Pedro de Andrade. This restoration project was realized by his daughters Alice and Maria, and his son Antonio de Andrade. The restoration of Joaquim Pedro de Andradeâs complete filmography was a pioneering initiative in the use of 2K digital resolution technology in Brazil. At that time, this kind of technology was mainly being used for the digital intermediation stages performed during post-production for contemporary films. Therefore, this was the first time that a Brazilian restoration project employed this tool. The restoration of Andradeâs filmography represents a definitive milestone for the preservation field in Brazil, as it led to a major technological update for the Restoration Laboratory of the Cinemateca Brasileira. In addition to this update of the Cinemateca lab, the Joaquim Pedro project led to the creation of the Restoration Center at Teleimage, an audiovisual post-production company in São Paulo.
The pioneering initiative of using 2K resolution, and the scope of the project (to digitally restore the complete works of a filmmaker), made it possible for film restoration methodology to be practiced and improved by the archivists and technicians who were working on the project. As it was still an emerging field, the need for preservationists to gain experience with digital restoration tools was essential. After all, making a 2K digital restoration in Brazil was new for everyone involved, so this project represented a great challenge. It was around this time, precisely because of projects like Joaquim Pedro's, that many departments inside commercial post-production and finishing companies were created to exclusively focus on digitally restoring films. Mega Studios and Teleimage, both in São Paulo, and Labocine in Rio de Janeiro were the major companies that were concentrating on digital restoration during that time.Â
Since 2000, Mega Studios7 has been investing in technological machinery, focusing on the acquisition of digital intermediation equipment. In 2001, they acquired a workstation called Restore, which consisted of a film restoration software built into an exclusive computer for the restoration process. This equipment, manufactured by the North-American company Da Vinci Systems (a pioneer in digital post-production equipment), cost $ 380,000 (about R$ 760,000 at the time). The station did not have the capacity to digitize. Instead, the materials had to be previously digitized by another machine (such as a telecine) in order to be used at the station. Because of this need for previous digitization, the cost of the entire restoration process was very high for Brazilian film archives at that time, leading to a situation where the post-production companies with larger budgets became primarily responsible for introducing restoration technology in Brazil.Â
â
Teleimage debuted its Restoration Department with the film Pelé Eterno (AnÃbal Massaini Neto, 2004), digitally correcting part of the archival footage in the documentary. This project took about five years to be completed and demanded a lot of work from the restorers. It was only after completing their first restoration that Teleimage decided to expand their restoration division with the digital restoration of Joaquim Pedro de Andrade's films.
â
Overall, Labocineâs experience with digital preservation was different to that of Teleimage and Mega Studios. However, it was similar in the sense that its restoration sector began by offering digital intermediation services. Labocine, Teleimage and Mega Studios used their existing structure as a basis for the inclusion of technology destined for the digital restoration of films. That is, they bought specific restoration software, computers with greater processing capacity, and servers with adequate storage capacity. However, instead of investing its time in restoring the works of renowned Cinema Novo filmmakers, Labocine decided to digitally restore Bonequinha de seda, a film made in 1936 by Oduvaldo Viana. Bonequinha de seda was produced by Cinédia, a long-time partner of Labocine, which may have been the main reason why Labocine was interested in restoring the film. Restoring Bonequinha de seda presented the opportunity for Labocine to join an expanding national film restoration market. Also, restoring Bonequinha de seda as their first project, a work made almost 80 years ago, would allow them to stand out from other companies. However, the Bonequinha de seda restoration took much more time than what was initially expected. The restoration of the film, which included photochemical and digital tools, began in 2006 and took about seven years to be completed. The protracted length of the process was due to work interruptions which were caused by technical difficulties and the limited amount of funds available for the project.8 Unlike Mega Studios and Teleimage, Labocine did not have the volume of financial resources that a restoration project composed of several titles would have.9 While the restorations of the Glauber Rocha Collection and Joaquim Pedroâs filmography were well funded, the restoration of a single title made Labocine count on smaller investments. This meant that there were fewer professionals who were exclusively dedicated to the project, less equipment, and slower speed in the execution of the work. Despite the many challenges that this project faced, the effort to restore Bonequinha de seda was worthwhile due to the invaluable digital restoration experience that the technicians accumulated throughout the process.Â
â
The restoration of Bonequinha de seda ended up revealing the intrinsic limitations of new digital tools when dealing with scratches and abrasions that were incorporated photographically into the image (as shown below). The effectiveness of the Diamant restoration software (used in this process) during the first stages of digital treatment was minimal. This was because the tool could not locate the photographically incorporated scratches and abrasions that had become part of the image. Therefore, the first stages of digitally treating Bonequinha de seda revealed the inherent limitations of digital tools in fixing this type of damage. Also, after an attempt to use these digital tools to partially stabilize frames, the end product was even worse. The resulting creation presented numerous artifacts and the worsening of some of the photographically incorporated deformations.
Exhibiting samples of the work and consulting with specialists at international events revealed that the initially adopted procedures by the technicians in digitally restoring Bonequinha de seda were correct. However, the ability of the restoration software to deal with the damage presented on the film was not satisfactory. As a result, permanent communication was established between Labocine and the Diamant software developer company, HS-Art. Communicating the problems experienced in the Bonequinha de seda restoration made it possible for HS-Art to develop specific improvements to the software that would allow it to clean up the scratches and abrasions on the digital images.10
This story11 demonstrates that foreign digital restoration tools such as Diamant cannot completely respond to the specificity of the deterioration problems presented within Brazilian films.12 Because of this, establishing partnerships with restoration laboratories and software manufacturers is especially important for small projects that deal with materials in advanced stages of deterioration. In this sense, the idea of having a restoration laboratory in a film archive (such as at the Cinemateca Brasileira) is a strategic option, since a commercial laboratory will always aim at projects that are financially profitable.
â
The global incorporation of digital intermediation as part of the audiovisual post-production process in the mid-2000s seemed to bring enormous benefits for the field of film restoration. As digital intermediation became less expensive, it was widely adopted in the restoration procedures and subsequently lead to the development of new digital restoration tools and the area itself. Given the restoration projects that were being carried out since the turn of the millennium, Brazil appeared to be following a similar path of development in the restoration field to the rest of the world. However, unfortunately, the field of digital film restoration started to regress in 2010. In that year, due to a lack of funding to restoration projects, restoration departments such as the one at Mega Studios began to close. What was once considered a widening market soon became a niche service.Â
â
From mid-2010, the widespread adoption of digital technology in film production, distribution, and exhibition has led to a decrease of financial resources being invested into Brazilian film laboratories. Prior to that point, the major sources of income for these film laboratories had been making prints of foreign films to be distributed throughout Brazil. This is because it was mandatory that foreign films being released in Brazilian movie theaters produced their 35mm projection prints in Brazil. There is no denying that companies such as Labocine, Teleimage and Mega Studios have shown to be important partners of the previously mentioned restoration projects. But they were also commercial companies, primarily interested in maintaining a profit. The companies which had film laboratories, such as Labocine, severely diminished its profit margins with the decrease and later interruption in the production of 35mm film prints throughout the 2010s.Â
â
The volume of public investments in film restoration (and in audiovisual preservation in general) drastically reduced from 2011 onwards, and this has generated harmful consequences for the field. The first notable consequence occurred in 2015 after the Teleimage Restoration Center closed and the company dismissed its staff. Further, the consolidation of digital projection in the commercial exhibition circuit and the substantial reduction in the processing of 35mm prints (Labocineâs largest source of income) made it impossible for the company to continue in the long term. Since the closure of the Teleimage Restoration Center and Labocine in 2015, the film restoration field in Brazil has shrunk vertiginously, revealing that despite the initial contributions made by private companies, the sector was dependent on State resources and measures of market protection. With the exception of the Cinemateca Brasileira Restoration Laboratory, which has mainly focused on its own internal needs since 201613, the only option to digitally restore a film in Brazil today is the company Afinal Filmes, which started offering digital restoration services in 2017. There are projects and films to be restored, but there are no resources or public funding policies for this type of work. In fact, today, there are almost no public policies for film preservation (or for the audiovisual sector at large) in Brazil: the cultural field, in general, has been greatly affected by the government. However, in an area such as the audiovisual heritage field in Brazil, which has been historically ignored in terms of investments and marked by instability, the repercussions have been even worse. From a promising market to a struggling one in just over a decade, such is the current state of film restoration in Brazil.
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Full text of "Cash Box"
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See other formats
DECEMBER 30, 1961 For tlie thirleciilli coii^eriitivr year Perry (ajino lielps Cash Box wish a Merry (Christinas anil a Hajuiy New ^ ear to all its readers throughout the worhi. Above, the K(CA \ ietor rerordinp star, in his typiealiv relaxeil manner, paints a jolly picture of the Christmas season during a rehearsal for his annual Kraft Theatre ^ uletide show. Perry’s latest single is “^oiTre Following .Me." TOPS IK SnOLES THROmillOUT THE WOKU WHO'S SORRY NOW I'M SORRY I MAOE YOU CRY CAROLINA MOON STUPIO CUPIO PALLIN' MY HAPPINESS IF I OIDN'T CARE LIPSTICK ON YOUR COLLAR FRANKIE YOU'RE GONNA MISS ME PLENTY GOOO LOVIN' AMONG MY SOUVENIRS MAMA TEOOY JEALOUS OF YOU EVERYBOOY'S SOMEBOOY'S FOOL MY HEART HAS A MIND OF ITS OWN MANY TEARS AGO WHERE THE BOYS AREgHT NO ONE BREAKING IN A BRAND NEW BROKEN HEART SOMEONE ELSE'S BOY TOGETHER TOO MANY RULES DREAMBOAT HOLLYWOOD WHEN THE BOY IN YOUR ARMS (Is The Boy In Your Heart) BABY'S FIRST CHRISTMAS Current fill Single WHEN THE BOY IN YOUR A (Is Tire Boy In Your Heart) and BABY'S FIRST CHRISTM K-13051 ..i '■ 1 I iin j m {No. J in OoitnUifn} (No. T In itofltfn) (No. t Sn Spanish) (No. I in Japano*a} (No. I In ridfllslij DIE ERSHTEH 13 RELEASES 14 HITS oCinda Scott Santo ^olinn^ Site Seimonti ^anie ^rant She .>^n^eii Ranted l^a^ . “I'VE TOLD EVERY LIHLE STAR” “DON'T BET MONEY HONEY” “STARLIGHT STARBRIGHT” “IT'S ALL BECAUSE” “I DON'T KNOW WHY” . “TWISTIN' BELLS” “HOP SCOTCH” “TELL ME WHY” “DON'T GET AROUND MUCH ANYMORE” “I NEED SOMEONE” , “TRIANGLE” “ROMEO” “IF YOU GOTTA MAKE A FOOL OF SOMEBODY” Album releases: STARLIGHT STARBRIGHT, Linda Scott/ENCORE, Santo & Johnny/HAWAII, Santo & Johnny Chart albums: STARLIGHT STARBRIGHT, Linda Scott/ENCORE, Santo & Johnny/HAWAII, Santo & Johnny Best Wishes! CAPRICE RECORD CORP. RECORD.4. Ltd 150 WMf 55ih Sirctt N«W York 19, N. Y. SABINA RECORD CORP. fJeiiQJii i^an ciuie i^ernie cjCt awrence Cash Box — December 30, 1961 by New Musical Express "THE GOLDEN LION AWARD” Radio Luxembourg L-'.: FEMALE VOCALIST in The Cash Box Year End Survey 7961 ^^ereonol Mofloi GEORGE 161 W. 54 St.t N»w i'ork, N. Y. THE STARPOWER LABEL I I I 1 I I I ’ I ( i i I I I I I i I I I .1 1 1 i I I i I I I j I I I I I I I I I < I I I I I I I . 1 ‘3 i Cash Box (Publication Office) 1721 Broadway New York 19, N. Y. (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOB OBLECK, President and Publisher NORSIAN OBLECK, VP and Managing Director GEOBGE ALBEBT, VP and Treasurer EDITORIAL — Music MABTY OSTBOW. Editor-in-Chief IBA HOWABD, Editor IBV LICHTMAN, Associate Editor TED WILLIAMS, Statistical Editor MIKE MABTUCCI, Statistical Assistant POPSIE, Staff Photographer ADVEBTISING BOB AUSTIN, National Director, Music JEBBY SHIFEIN, N.Y.C. office. Music LEE BBOOKS, Manager Chicago JACK DEVANEY, Manager Los Angeles MABTY TOOHEY, National — Coin Machine NEVILLE MAETEN, London, Eng. PAUL ACKET, The Hague, Holland MAL SONDOCK, Munich, Germany BON TUDOE, Heathmont, Victoria, Aust. VITTOBIO de MICHELI, Milano. Italy SVEN G. WINQUIST, Stockholm, Sweden EOGEB SELLAM, Paris, France ENEIQUE OETIZ, Mexico 7, D.F. DENIS PANTIS, Quebec, Canada MIQUEL SMIENOFF, Buenos Aires, Argentina BICAEDO & BENATO MACEDO, Sao Paulo, Brazil HIKAEU SUGIUEA, Tokyo, Japan BBUNO DUTKOWSKI, Art Director MANAGERS MABTY TOOHEY, Coin Machine Dept. T. TOETOSA, Circulation NEVILLE MARTEN, European Director CHICAGO LEE BROOKS 29 E. Madison St., Chicago 2, 111. (All Phones: Financial 6-7272) HOLLYWOOD JACK DEVANEY Erv Malec 6272 Sunset Blvd., Hollywood 28, Cal. (Phone. Hollywood 5-2129) f ENGLAND i NEVILLE MARTEN I Dorris Land 9a New Bond St. , London, Wl, Eng. ' Tel: Hyde Park 2868 4 I BENELUX: PAUL ACKET, Theresiastraat 81a, I The Hague, Holland, Tel. 070-722546 I GERMANY: MAL SONDOCK, Amalienstrasse ,1 28, Munich, Germany, Tel: 220197 , ITALY, VITTORIO de MICHELI, Via Dell’Orso ‘ 4, Milan, Italy, Tel. 86 43 66 ' SCANDINAVIA: SVEN G. WINQUIST, Kagge- i holmsvagen 48. Stockholm-Enskede, Sweden, Tel: 69-46-86 <1 PRANCE: ROGER SELLAM, 24 Rue de Lenin- grad, Paris, France, Tel: Europe 6308 AUSTRALIA: RON TUDOR, 8 Francis St., Heathmont, Victoria, Tel: 87-5677 ' MEXICO: ENRIQUE ORTIZ, Monterrey 81, Col. J Roma, Mexico 7, D.F. Tel: 12-10-00 10-10-01 ,1 CANADA: DENIS PANTIS, 996 Decarie Blvd., ,1 Ville St. Laurent, Quebec, Canada ' ARGENTINA: MIGUEL SMIRNOFF, Rafaela 8978, Buenos Aires, Argentina, Tel: 69-1638 I' BRAZIL: RICARDO & BENATO MACEDO, Rua Joao Ramalho 1324, Sao Paulo, Brazil, Tel: •;! 62-6188 ,i TOKYO: HIKARU SUGIUBA 2, Takada-Oimatau ii Bunkyo-Ku, Tokyo, Japan il SUBSCRIPTION RATES $16 per year any- ,1 where in the U. S. A. Published weekly. Second- 'l class postage paid at Bristol, Conn, j Copyright © 1961 by The Cash Box Publishing I Co., Inc. All rights reserved. Copyright under Universal Copsnright Convention. !l <1 Gdsh Box TOP 100 BEST SELLING TUNES ON RECORDS COMPILED BY CASH BOX FROM LEADING RETAIL OUTLETS— -DECEMBER 30, 1961 Position 12/23 12/16 1— THE LION SLEEPS TONIGHT ★TOKENS-RCA-7954 1 1 ERNIE WILKINS-Riverside-4508 THE TWIST -ACHUBBY CHECKER-Parkway-811 5 7 ERNIE FREEMAN-lmperiol-5793 HANK BALLARD & MIDNIGHTERS-KInQ-5171 BILLY WADE-Operators-2003 3— WALK ON BY ★LEROY VAN DYKE-Mercury-71834 3 5 4— RUN TO HIM ★BOBBY VEE-Liberty-55388 4 6 5^ PLEASE MR. POSTMAN ★MARVELLETTES-Tamla-54046 2 3 6— CANT HELP FALLING IN LOVE ★ELVIS PRESLEY-RCA-7968 7 21 KEELY SMITH-Dot-16298 FOUR ESQUIRES-Terraee-7502 7— THE PEPPERMINT TWIST ★JOEY DEE & STARLITERS-Roulette-4401 8 10 8— . MOON RIVER ★HENRY MANClNI-RCA-7916 9 8 ★JERRY BUTLER-Vee-Jay-405 FULLER BROTHERS-Challenge-9119 CALVIN JACKSON-Reprise-20022 CARMEN CAVALLARO-Decco-31304 RICHARD HAYMAN-Mercury-71869 . HOLLYRIDGE STRINGS 8i CHORUS-Capitol-4631 MANTOVANI-London-2021 JANE MORGAN-Kapp-431 EDDIE HARRIS-VeeJay-420 AKI ALEONG-Reprise-20,042 9_HAPPY BIRTHDAY, SWEET SIXTEEN ★NEIL SEDAKA-RCA-7957 11 14 A- WHEN THE BOY IN YOUR ARMS ★CONNIE FRANCIS-MGM-13051 14 20 11— GOODBYE CRUEL WORLD JIMMY DARREN-Colpix-609 6 2 A-l KNOW ★BARBARA GEORGE-A.F.O.-302 23 34 13_WHEN I FALL IN LOVE ★LETTERMEN-Capitol-4658 15 22 MILES DAVIS-Prestige-195 TONY LAWRENCE-Jude-131 14—1 DON'T KNOW WHY ★LINDA SCOTT-Canodian-Ameriean-129 13 11 15— UNCHAIN MY HEART ★RAY CHARLES-ABC-10266 18 32 16— 'TIL ★ANGELS-Caprice-107 16 16 17— REVENGE ★BROOK BENTON-Mercury-71903 21 30 18— LET THERE BE DRUMS ★SANDY NELSON-lmperial-5775 10 9 19— THERE'S NO OTHER (LIKE MY BABY) ★CRYSTALS-Philles-lOO 20 23 20— BIG BAD JOHN ★JIMMY DEAN-Columbia-42175 12 4 21— GYPSY WOMAN ★ilMPRESSIONS-ABC-10241 17 19 22— TONIGHT ★FERRANTE & TEICHER-United Artists-372 19 12 * EDDIE FISHER-7 Arts-719 *JAY & THE AMERICANS-United Artlsts-353 RALPH MARTERIE-United Artists-352 FELICIA SANDERS-Decca-31335 JESSIE POWELL-Tru-Sound-407 AKI ALEONG-Reprise- 20,042 A-SMALL sad SAM ★PHIL McLEAN-Versatile-107 42 65 BOB KAYLI-Tamla-54051 24— RUNAROUND SUE ★DION-Laurie-3110 22 13 P^IF YOU GOTTA MAKE A FOOL ^ OF SOMEBODY ★JAMES RAY-Cgpriee-IIO 35 40 VAUGHN MONROE-Det-16308 26— TOWN WITHOUT PITY ★GENE PITNEY-Musicor-1009 31 37 27— JUST OUT OF REACH ★SOLOMON BURKE-Atlantic-2114 26 26 28— CRAZY ★PATSY CLINE-Decca-31317 25 17 29— ROCK-A-HULA BABY ★ELVIS PRESLEY-RCA-7968 28 36 P^BABY IT'S YOU ★SHIRELLES-Scepter-1227 48 71 31— WELL 1 TOLD YOU ★CHANTELS-Carlton-564 34 28 i^THE WANDERER ★DION-Laurle-3115 50 79 Position 12/23 12/16 33- -LET'S TWIST AGAIN ★CHUBBY CHECKER-Parl(way-824 A LITTLE BITTY TEAR ★BURL IVES-Decca-31330 JOEY BROOKS-Columbia-42251 CROSBY BROS.-Dot-16300 WANDA JACKSON-Capitol-4681 37 44 70 88 FOOL #1 ★BRENDA LEE-Decca-31309 35 36— JOHNNY WILL ★PAT BOON E-Dot-1 6284 MIMI ROMAN-Warner Bros.-5245 37_FUNNY how time SLIPS AWAY ★JIMMY ELLEDGE-RCA-7946 44 56 BILLY WALKER-Columbia-42050 24 15 38 42 40- 41- 42- NORMAN ★SUE THOMPSON-Hickory-1159 COTTONFIELDS ★HIGHWAYMEN-United Artists-370 -POOR FOOL ★ IKE & TINA TURNER-Sue-753 -YOU'RE THE REASON ★BOBBY EDWARDS-Crest-1075 JOE SOUTH-Fairlane-21006 HANK LOCKLIN-RCA-7921 53 77 57 70 45 53 30 25 -YOUR MA SAID YOU CRIED IN YOUR SLEEP LAST NIGHT ★ KENNY DINO-Musicor-1013 39 43— THE MAJESTIC ★DION-Laurie-3115 44— MARIA 41 46 59 51 61 55 67 52 63 61 87 ★ROGER WILLIAMS-Kapp-437 * CLEBANOFF-Mercury-71905 * JOHNNY MATHIS-Columbia-41684 PETER NERO-RCA-7956 SALEMS-Epic-9480 PEPE LA STARZA-Everest-19423 DAVID WHITFIELD-London-9506 -JAMBALAYA ★FATS DOMINO-lmperial-5796 46— LITTLE ALTAR BOY ★VIC DANA-Dolton-48 -JINGLE BELL ROCK ★CHUBBY CHECKERS, BOBBY RYDELL- Cameo-205 * BOBBY HELMS-Decca-30513 CHET ATKINS-RCA-7971 48— 1 UNDERSTAND JUST HOW YOU FEEL ★G-CLEFS-Terrace-7500 RICK PAGE-Dot-16261 49— BRISTOL STOMP ★DOVELLS-Parkway-827 50— DREAMY EYES ★JOHNNY TILLOTSON-Cadence-1409 51— TURN AROUND, LOOK AT ME ★GLEN CAMPBELL-Crest-1087 TOMMY BUTLER-Roulette-4399 -TURN ON YOUR LOVE LIGHT ★BOBBY BLAND-Duke-344 -FLYING CIRCLE ★FRANK SLAY-Swan-4085 -TWIST-HER ★BILL BLACK'S COMBO-Hi-2042 55— SEPTEMBER IN THE RAIN ★DINAH WASHINGTON-Mercury-71876 56— SOOTHE ME ★SIMS TWINS-Sar-117 57— IN THE MIDDI^ OF A HEARTACHE ★WANDA JACKSON-Cafclol-4635 32 29 -LETTER FULL OF TEARS ★GLADYS KNIGHT 8, PIPS-Fury-1054 71 89 -LANGUAGE OF LOVE ★JOHN D. LOUDERMILK-RCA-7938 33 31 -BABY'S FIRST CHRISTMAS ★CONNIE FRANCIS-MGM-130S1 85 100 -IRRESISTIBLE YOU ★BOBBY DARIN-Atco-6214 76 — -DEAR LADY TWIST ★GARY U.S. BONDS-Legrand-1015 72 94 63— THE FLY ★CHUBBY CHECKER-Parkway-830 40 33 RAY GARNETT-Operators-2002 64— IT WILL STAND ★SHOWMEN-Minit-632 58 58 65— HEARTACHES ★MARCELS-Colpix-612 41 35 66— HEY! LITTLE GIRL ★DEL SHANNON-Bigtop-3091 47 54 29 18 36 27 54 57 49 52 66 80 63 75 64 74 27 24 56 64 59- 67- 69- 71- 72- 77 78 79 80 81 82 83 84- 85- 86- Position 12/23 12/16 -I NEED SOMEONE ★ BELMONTS-Sabina-502 -SHE'S EVERYTHING ★RAL DONNER-Gone-5121 -GYPSY ROVER ★HIGHWAYMEN-United Artists-370 MULTIPLICATION ★BOBBY DARIN-Atco-6214 -UP A LAZY RIVER ★SI ZENTNER-Liberty-55374 TONI HARPER-RCA-7976 -FOOT STOMPIN' (Port 1) ★FLARES-Felsted-8624 DO-RE-MI ★LEE DORSEY-Fury-1056 LITTLE DRUMMER BOY ★HARRY SIMEONE CHORALE-20th-Fox-121 ROCKIN' AROUND THE CHRISTMAS TREE ★BRENDA LEE-Decca-30776 POCKETFUL OF MIRACLES ★FRANK SINATRA-Reprise-20,040 -TOWER OF STRENGTH ★GENE McDANIELS-Liberty-55371 -A WONDER LIKE YOU ★RICK NELSON-lniperial-5770 -TUFF ACE CANNON-Hi-2040 -GO ON HOME ★PATTI PAGE-Mercury-71906 -IT'S TOO SOON TO KNOW ★ ETTA JAMES-Argo-5402 -SEARCH IN' ★JACK EUBANKS-Monoument-451 —I COULD HAVE LOVED YOU SO WELL 69 72 78 90 60 49 80 — 43 38 59 46 93 — 100 — 100 — 92 — 62 39 65 43 82 86 86 100 74 60 83 83 ★RAY PETERSON-Dunes-2009 89 100 -THE COMANCHEROS ★CLAUDE KING-Columbio-42196 94 76 HOLLYRIDGE STRINGS-Capitol-4664 -WHITE CHRISTMAS ★ BING CROSBY-Decca-23778 DRIFTERS-Atlontlc-1048 -ROCK-A-BYE YOUR BABY WITH A DIXIE MELODY ★ARETHA FRANKLIN-Columbia-42157 77 51 JUDY GARLAND-Capitol-4624 87— YOU'RE RUNNING OUT OF KISSES ★CHUCK FOOTE-Soncraft-401 88 91 88— LET'S GO TRIPPIN' ★DICK DALE-DeItone-5017 84 85 MILT ROGERS-Dot-16279 -JUST GOT TO KNOW ★JIMMY McCRACKLIN-Art-Tone-825 — — -LOST SOMEONE ★JAMES BROWN-King-5573 — — -RUDOLPH THE RED-NOSED REINDEER ★DAVID SEVILLE & CHIPMUNKS-Liberty-55289 — — MELODEERS-Studio-9908 -POP GOES THE WEASEL ★ANTHONY NEWLEY-London-9501 87 55 89- 90- 91- 92- 93- 94- 95- 96- 97- 98- 99- 100- 100- 100- -THE CHIPMUNK SONG ★DAVID SEVILLE & CHIPMUNKS-Liberty-55250 ■PUSHIN' YOUR LUCK ★SLEEPY KING-Joy-257 97 84 ■THAT'S MY PA ★SHEB WOOLEY-MGM-13046 — — I'M BLUE ★IKETTES-Atco-6212 — — LONESOME NUMBER ONE ★DON GIBSON-RCA-7959 91 99 FEVER ★PETE BENNETT-Sunset-1002 — — BUT ON THE OTHER HAND, BABY ★RAY CHARLES-ABC-10266 100 — -WALKIN' WITH MY ANGEL ★BOBBY VEE-Liberty-55388 98 — -IT'S ALL BECAUSE ★LINDA SCOTT-Canadian-American-129 90 92 -I TOLD THE BROOK ★MARTY ROBBINS-Columbla-42246 — — • WASP UPWAM MOVI ^ BEST SELUNO lECOIDS • OTHK VOSIONS STRONGLY REPORTED PUIUSHEI UOT— INTaMATIONAL SECTION Cash Box — December 30, 1961 7 8 Cash Box — December 30, 1961 Cash Box — December 30, 1961 9 First Time In The History Of The Record Industry . . . 4 SINGLES AND 4 ALBUMS CURRENTLY ON THE CHARTS FOUR GREAT CHUBBY CHECKER ALBUMS . TWIST WITH CHUBBY CHECKER (Parkway-7001) FOR TWISTERS ONLY (Parkway-7002) CAMEO/PARKWAY 1405 Locust Street, Phila., Pa. 10 Cash Box — December 30, 1961 Cosi TOP lOO CHART HITS OF 1961 A TABULATION OF THE RECORDS WHICH ACHIEVED GREATEST SUCCESS ON THE WEEKLY CASH BOX TOP 100 BEST SELLER LIST. THE RECORDS LISTED BELOW ARE IN ORDER OF STRENGTH BASED ON A WEIGHTED POINT SYSTEM WHICH GIVES CREDIT FOR LONGEVITY ON THE TOP WO AS WELL AS HEIGHT ATTAINED ON THE CHART. ONLY SONGS WHICH WERE TOP 40 OR BETTER WERE INCLUDED AND SURVEY COVERS TWELVE MONTH PERIOD ENDING NOVEMBER 1961. 1. EXODUS — Ferrante & Teicher (United Artists) Pub: Chappell — ASCAP — Gold 2. CALCUTTA — Lawrence Welk — (Dot) Pub: Pincus-Symphony House — BMI — Gaze 3. WILL YOU LOVE ME TOMORROW— Shirelles (Scepter) Pub: Aldon— BMI— King, GoflFin 4. TOSSIN’ & TURNIN' — Bobby Lewis — (Beltone) Pub: Steven — BMI — Adams, Rene 5. WONDERLAND BY NIGHT — Bert Kaempfert — (Decca) Pub: Roosevelt — BMI — Newman, Klaus, Gunter 6. ARE YOU LONESOME TONIGHT — Elvis Presley (RCA) Pub: Bourne, Cromwell — ASCAP — Turk, Handman 7. TRAVELIN’ MAN — Ricky Nelson (Imperial) Pub: Four Star — BMI — Fuller 8. MICHAEL — Highwaymen (United Artists) Pub: Unart — BMI — Fisher 9. RUNAWAY — Del Shannon (Bigtop) Pub: Vicki, McLaughlin — BMI — Shannon, Crook 10. LAST DATE — Floyd Cramer — (RCA) Pub: Cigma — BMI — Cramer 11. BLUE MOON — Marcels (Colpix) Pub: Robbins — ASCAP — Rodgers, Hart 12. BOLL-WEEVIL SONG — Brook Benton (Mercury) Pub: Play — BMI — Benton, Otis 13. NORTH TO ALASKA — Johnny Horton — (Columbia) Pub: Robbins — ASCAP — Phillips 14. PONY TIME — Chubby Checker — (Parkway) Pub: Alan K. — BMI — Covay, Berry 15. 100 LBS. OF CLAY — Gene McDaniels (Liberty) Pub: Gil — BMI — Pick Elgin, Dixon, Rogers 16. MOTHER-IN-LOW — Ernie K-Doe (Minit) Pub: Minit Music — BMI — Toussaint 17. RAINDROPS — Dee Clark (Veejay) Pub: Conrad — BMI — Clark 18. HE WILL BREAK YOUR HEART-^ — Jerry Butler — (Vee Jay) Pub: Pamco — BMI — Butler, Mayfield, Carter 19. QUARTER TO THREE — U.S. Bonds — (Legrand) Pub: Pepe — BMI — Barge, Guida, Anderson, Royster 20. A THOUSAND STARS — Kathy Young (Indigo) Pub: Dare — BMI — Pearson 21. RUNNING SCARED — Roy Orbison (Monument) Pub: AcuflF-Rose — BMI — Orbison, Melson 22. WOODEN HEART — Joe Dowell — (Smash) Pub: Gladys — ASCAP — Kempfert, Toomey, Wiseman 23. TAKE GOOD CARE OF MY BABY— Bobby Vee (Liberty) Pub: Aldon— BMI— King, Goffin 24. WHEELS — Billy Vaughn (Dot) Pub: Dundee — BMI — Torres, Stephens 25. SHOP AROUND — Miracles (Tamla) Pub: Jobette — BMI — Gordy, Robinson 26. LAST NIGHT — Mar-Keys (Satellite) Pub: East Publications — BMI — Mar-keys 27. DADDY’S HOME — Shep & Limelites (Hull) Pub: Keel — BMI — Sheppard, Bassett, Baskerville 28. CRYIN’ — Roy Orbison (Monument) Pub: Acuff-Rose — BMI — Orbison, Melson 29. WHERE THE BOYS ARE — C. Francis (MGMI Pub: Aldon — BMI — Green Field — Sedaka 30. APACHE — Jorgen Ingmann (Atco) Pub: Regent — BMI — Lordan 31. DON’T WORRY — Marty Robbins (Columbia) Pub: Marty’s — BMI 32. SURRENDER — Elvis Presley — (RCA) Pub. E. Presley — BMI — Pomus, Shuman 33. I’VE TOLD EVERY LITTLE STAR — Linda Scott — (Canadian American) Pub: T. B. Harms — ASCAP — Hammerstein, Kern 34. MOUNTAIN’S HIGH— Dick & Deedee (Liberty) Pub: Odin— ASCAP— St. John 35. HATS OFF TO LARRY — Del Shannon — (Big Top) Pub: Vicki, McLaughlin — BMI — Shannon 36. MOODY RIVER — Pat Boone — (Dot) Pub: Keva — BMI — Bruce 37. STAY — Maurice Williams — (Herald) Pub: Windsong — BMI — Williams 38. CALENDAR GIRL — Neil Sedaka — (RCA) Pub: Aldon — BMI — Sedaka, Greenfield 39. BUT I DO — Clarence Henry — (Argo) Pub: Arc — BMI — Guidry, Gayten 40. DEDICATED TO THE ONE I LOVE — Shirelles (Scepter) Pub: Armo— BMI— Pauling, Bass 41. POETRY IN MOTION — Johnny Tillotson — (Cadence) Pub: Meridian — BMI — Kaufman, Anthony 42. YELLOW BIRD — Lawrence Welk — (Dot) Pub: Frank — ASCAP — Keith, Bergman, Luboff 43. STAND BY ME — Ben E. King (Atco) Pub: Progessive Trio — BMI — King, Glick 44. NEW ORLEANS — U.S. Bonds (Legrand) Pub: Pepe — BMI — Guida, Royster 45. YOU’RE SIXTEEN — Johnny Burnette — (Liberty) Pub: Blue Brass — BMI — Sherman, Sherman 46. ANGEL BABY — Rosie & The Originals (Decca) Pub: Figure — BMI — Ponci 47. SAILOR — Lolita (Kapp) Pub: Biem — Scharfen Berger — Busch 48. DUM-DUM — Brenda Lee (Decca) Pub: Metric — BMI — Sheeley, Deshannon 49. I LIKE IT LIKE THAT — Chris Kenner — (Instant) Pub: Tune-Kel — BMI — Kenner, Toussaint 50. RUBBER BALL — Bobby Vee — (Liberty) Pub: Arch — ASCAP — Orlowski, Schroeder 51. THERE’S A MOON OUT TONIGHT — Capris (Old Town) Pub: Rob — Ann — BMI — Striano, Lucciano, Gentile 52. LITTLE SISTER — Elvis Presley — (RCA) Pub: E. Presley — BMI — Pomus, Shuman 53. HELLO MARY LOU — Ricky Nelson — (Imperial) Pub: January — BMI — Pitney 54. HURT — Timi Yuro (Liberty) Pub: Miller — ASCAP — Crane, Jacobs 55. HOW MANY TEARS — Connie Francis (MGM) Pub: Roosevelt — BMI — Scott 56. PRETTY LITTLE ANGEL EYES— Curtis Lee— (Dunes) Pub: S-P-R— BMI— Lee, Boyce 57. MAMA SAID — Shirelles — (Scepter) Pub: Ludix — BMI — Dickson, Denson 58. SCHOOL’S OUT — Gary (U.S.) Bonds — (Legrand) Pub: Pepe — BMI — Anderson, Barge 59. LET’S GO, LET’S GO, LET’S GO — Hank Ballard & Midnighters (King) Pub: Lois — BMI — Ballard 60. THINK TWICE — Brook Benton — (Mercury) Pub: Play — BMI — Shapiro, Williams, Otis (:^61 through #100 continued on next page) Cash Box — December 30, 1961 11 TOP lOO CHART HITS OF 1961 61. GEORGIA ON MY MIND — Ray Charles — (ABC Paramount) Pub: Peer Int’l — Carmichael, Gorrell 62. LET’S TWIST AGAIN— Chubby Checker (Parkway) Pub: Kalmann— ASCAP— Mann, Appell 63. ON THE REBOUND — Floyd Cramer (RCA Victor) Pub: Cigma — BMI — Cramer 64. CORRINA, CORRINA — Ray Peterson — (Dunes) Pub: Mills — ^ASCAP — Parish, Chapman, Williams 65. BREAKIN’ IN A BRAND NEW BROKEN HEART— Connie Francis— (MGM) Pub: Aldon— BMI— Greenfield, Keller 66. MY TRUE STORY — Jive Five (Beltone) Pub: Stenen — BMI — Waltzer 67. TOGETHER — Connie Francis (MGM) Pub: De Sylva, Brown & Henderson — ASCAP — Writers same as publisher 68. HELLO WALLS — Faron Young — (Capitol) Pub: Pamper — BMI — Nelson 69. BABY SITTIN’ BOOGIE — Buzz Clifford — (Columbia) Pub: Reis — BMI — Parker 70. EMOTIONS — Brenda Lee — (Decca) Pub: Cedarwood — BMI — Tillis, Kearney 1' 71 . YOU TALK TOO MUCH— Joe Jones (Ric) Pub: Ron— BMI— Jones, Hall 72. SAVE THE LAST DANCE FOR ME — Drifters — (Atlantic) Pub: Rumalero — Progressive — BMI — Pomus, Shuman 73. LONELY TEENAGER — Dion — (Laurie) Pub: Lola — BMI — Pippa, Dipaola, Faraci 74. YOU CAN DEPEND ON ME — Brenda Lee — (Decca) Pub: Peer Int’l — BMI — Carpenter, Dunlap, Hines 75. EBONY EYES — Everly Bros — (Warner Bros) Pub: Acuff-Rose — BMI — Loudermilk 76. DON’T BET MONEY HONEY — Linda Scott — (Canadian American) Pub: Figure — BMI — Scott ^ 77. WINGS OF A DOVE — Ferlin Husky — (Capitol) Pub: Bee Gee — BMI — Ferguson 78. WHO PUT THE BOMP — Barry Mann (ABC Paramount) Pub: Aldon — BMI — Mann, Guffin 79. MEXICO — Bob Moore — (Monument) Pub: Acuff Rose — BMI — Bryant 80. YOU CAN HAVE HER— Roy Hamilton (Epic) Pub: Big Billy— BMI— Cock 81. PORTRAIT OF LOVE — Steve Lawrence (United Artists) Pub: Piccadilly — BMI — Ornadel 82. I FEEL SO BAD — Elvis Presley — (RCA Victor) Pub: Berkshire — BMI — Willis 83. GEE WHIZ (LOOK AT HIS EYES) — Carla Thomas — (Atlantic) — East, Bais — BMI — Thomas >r 84. TAKE GOOD CARE OF HER — Adam Wade — (Coed) Pub: Paxton — ASCAP — Lorenzo, Whiting, Egan, Alden 85. DOES YOUR CHEWING GUM LOSE ITS FLAVOR— Lonnie Donegan— (Dot) Pub; Mills & Double A— ASCAP— Rose, Bloom, Breuer 86. SWAY — Bobby Rydell — (Cameo) Pub: Peer Int’l — BMI — Gimble, Ruiz 87. HIT THE ROAD JACK — Ray Charles (ABC) Pub: Tangerine — BMI — Mcyfield 88. PLEASE LOVE ME FOREVER — Cathy Jean (Valmor) Pub: Tricky — BMI — Malone, Blanchard 89. ALONE AT LAST — Jackie Wilson — (Bruswick) Pub: Pal — BMI — Hilliard 90. SPANISH HARLEM — Ben E. King — (Atco) Pub: Progressive — Trio — BMI — Leiber, Stoller ^ 91. I’M GONNA KNOCK ON YOUR DOOR— Eddie Hodges— (Cadence) Pub: Sigma— ASCAP— Schroeder, Wayne 92. THOSE OLDIES BUT GOODIES — Caesar & Romans (Del-Fi) Pub: Maraville — BMI — Politi, Euringa 93. GOOD TIME BABY — Bobby Rydell — (Cameo) Pub: Lowe — ASCAP — Mann, Lowe, Appell 94. YOU MUST HAVE BEEN A BEAUTIFUL BABY— Bobby Darin (Atco) Pub: Remick— ASCAP— Warren, Mercer 95. YOU DON’T KNOW WHAT YOU’VE GOT — Ral Donner — (Gone) Pub: Sequence — ASCAP — Hampton, Burton 96. I FALL TO PIECES — Patsy Cline (Decca) Pub: Pamper — BMI — Cochran, Howard 97. LITTLE DEVIL — Neil Sedaka — (RCA) Pub: Aldon — BMI — Sedaka, Greenfield 98. ONE MINT JULEP — Ray Charles — (Impulse) Pub: Progressive — BMI — Toombs 99. RUNAROUND SUE — Dion — (Laurie) Pub: Just, Mubon — BMI — Mareska, DiMucci 100. EVERY BEAT OF MY HEART— Gladys Knight (Fury) Pub: Lois— BMI— Otis BIIBV LEWIS WHO HAD THE YEAR'S BIGGEST RECORD! TOSSIN' AKD TURNIH' HIS NEW SMASH RELEASE: THE TWIST DANCE FROM BROADWAY'S NEWEST MUSICAL, "A FAMILY AFFAIR" MAMIE IN THE AFTERNOON Beltone 1016 A' >- I >1 12 Cash Box — December 30, 1961 The SOUND for '62 on DECCA CORAL BRUNSWICK THERE'LL BE NO NEXT TIME cAv THE GREATEST HDRT BRUNSWICK 55221 JACKIE WILSON so DEEP cAv BREAK IT TO ME GENTLY DECCA 31348 BRENDA LEE ' aiiert II Be Ito Next Time ® Biim RECORDS 1 lb Greatest Hurt ^21 Jackie Wilson"! INEWHIT! ! in/ ieaui^// of/eene mme SEll-IIIUK SO DEER and BREAK IT TO ME OERTL.Y 3134a BRENDA L.EE i!7(/// o/iewe SEIL-ABILITV /n4^£ Cash Box — December 30, 1961 13 The SOUNDfor’62 r ( on DECCA CORAL BRUNSWICK ECHO IN THE NIGHT c/w AFRIKAANBEAT DECCA 31350 BERT KAEMPFERT WHILE WE DANCED AT THE MARDI GRAS c/w YES INDEED CORAL 65549 PETE FRRNTAI N Co! 4 Cash Box — December 30, 1961 The SOUND for '62 on DECCA CORAL BRUNSWICK YOU ARE MY LIFE c/w ALLA MY LOVE DEGGA 31347 WEBB PIEBGE AU RE VOIR c/w UNLOVED UNWANTED DECCA 31349 KITTY WEILS Cash Box — December 30, 1961 A TABULATION OF ARTISTS WHO ACHIEVED GREATEST SUCCESS IN THE FIELD OF SINGLE RECORDS ACCORDING TO THE WEEKLY CASH BOX TOP 100 BEST SELL- ER LIST. NAMES LISTED BELOW ARE IN ORDER OF STRENGTH IN THEIR VARIOUS CATEGORIES BASED ON A WEIGHTED POINT SYSTEM WHICH GIVES CREDIT FOR LONGEVITY ON TOP 100 AS WELL AS HEIGHT ATTAINED ON CHART. ONLY TITLES WHICH WERE TOP 40 OR BETTER WERE USED FOR AN ARTIST'S TOTAL. THE SUM TOTAL OF ALL OF AN ARTIST'S HITS RESULTED IN THE POSITIONING OF A NAME. SURVEY COVERS 12 MOS. ENDING NOV. 1961. W/ i W/ V/ ^ V < •- ' BEST MALE VOCALISTS (SINGLES) 1. ELVIS PRESLEY 2. CHUBBY CHECKER 3. BROOK BENTON 4. ROY ORBISON 5. RICKY NELSON 6. BOBBY VEE 7. RAY CHARLES 8. PAUL ANKA 9. JERRY BUTLER 10. JACKIE WILSON 11. NEIL SEDAKA 12. BOBBY RYDELL 13. CLARENCE HENRY 14. ADAM WADE 15. DION 16. SAM COOKE 17. DEE CLARK 18. JOHNNY BURNETTE 19. JOHNNY TILLOTSON 20. MARTY ROBBINS 21. PAT BOONE 22. BOBBY DARIN 23. FATS DOMINO 24. JOHNNY HORTON 25. RAY PETERSON 26. FARON YOUNG 27. FERLIN HUSKY 28. ROY HAMILTON 29. STEVE LAWRENCE 30. LONNIE DONEGAN 31. JERRY WALLACE 32. JIMMY DEAN 33. FRANK SINATRA 34. ANDY WILLIAMS 35. BRIAN HYLAND 36. JOSE JIMINEZ 37. DON GIBSON 38. FRANKIE AVALON 39. CONWAY TWITTY 40. JIM REEVES BEST NEWCOMERS — MALE VOCALISTS (SINGLES) 1. GARY U.S. BONDS 2. DEL SHANNON 3. BEN E. KING 4. BOBBY LEWIS 5. GENE McDaniels 6. ERNIE K-DOE 7. JOE DOWELL 8. CHRIS KENNER 9. TONY ORLANDO 10. CURTIS LEE 11. RAL DONNER 12. BUZZ CLIFFORD 13. BARRY MANN 14. EDDIE HODGES 15. LEE DORSEY 16. JOE BARRY 17. TORY SHONDELL 18. BOB LUMAN 19. GENE PITNEY 20. CHUCK JACKSON 21. SLIM HARPO 22. BOBBY EDWARDS 23. JIMMY CHARLES 24. FRANK GARI 25. JOHNNY MAESTRO BEST FEMALE VOCALISTS (SINGLES) 1. CONNIE FRANCIS 2. BRENDA LEE 3. PATSY CLINE 4. DAMITA JO 5. ETTA JAMES 6. DINAH WASHINGTON 7. ETTA JONES 8. WANDA JACKSON 9. PATTI PAGE 10. LAVERN BAKER BEST NEWCOMERS — FEMALE VOCALISTS (SINGLES) 1. LINDA SCOTT 2. KATHY YOUNG 3. MAXINE BROWN 4. ROSIE 5. LOLITA 6. TIMI YURO 7. CARLA THOMAS 8. CATHY JEAN 9. GLADYS KNIGHT 10. HAYLEY MILLS 11. SUE THOMPSON 12. ANN-MARGRET BEST INSTRUMENTALISTS & COMBOS (SINGLES) 1. FLOYD CRAMER 2. FERRANTE & TEICHER 3. BILL BLACK’S COMBO 4. ARTHUR LYMAN 5. RAY CHARLES 6. VENTURES 7. DUANE EDDY 8. AL CAIOLA 9. DAVE BRUBECK 10. JERRY MURAD’S HARMONICATS 11. SANTO & JOHNNY BEST NEWCOMERS — INSTRUMENTALISTS (SINGLES) 1. MAR-KEYS 2. JORGEN INGMANN 3. STRING-A-LONGS 4. KOKOMO 5. DUALS 6. JAMES BOOKER 7. B. BUMBLE & STINGERS 8. PAUL REVERE & RAIDERS BEST VOCAL GROUPS (SINGLES) 1. SHIRELLES 2. DRIFTERS 3. EVERLY BROS. 4. HANK BALLARD & MIDNIGHTERS 5. PLATTERS 6. CHORDETTES 7. McGUIRE SISTERS 8. OLYMPICS 9. CHANTELS 10. FOUR PREPS 11. JAN & DEAN 12. CLEFTONES 13. PLAYMATES 14. BELMONTS 15. COASTERS 16. G-CLEFS BEST NEWCOMERS — VOCAL GROUPS (SINGLES) 1. HIGHWAYMEN 2. MARCELS 3. MIRACLES 4. SHEP & LIMELIGHTS 5. DICK & DEEDEE 6. CAPRIS 7. JIVE FIVE 8. CAESAR & ROMANS 9. DOVELLS 10. CHIMES 11. ECHOES 12. LETTERMEN 13. REGENTS 14. TOKENS 15. PARIS SISTERS 16. VELVETS 17. IKE & TINA TURNER 18. DREAMLOVERS 19. MARATHONS 20. CASTELLS 21. MARVELETTES 22. ROOMATES 23. PIPS 24. EDSELS 25. ROCHELLE & CANDLES FOREIGN RECORDS TO HIT TOP 100 IN 1961 ANNA — Jorgen Ingmann (Atco) APACHE — Jorgen Ingmann (Atco) A SCOTTISH SOLDIER — Andy Stewart (Warwick) CERVEZA — Bert Kaempfert (Decca) COWBOY JIMMIE JOE— Lolita (Kapp) DOES YOUR CHEWING GUM LOSE ITS FLAVOR— Lonnie Donegan (Dot) MY KIND OF GIRL — Matt Monro (Warwick) NOW AND FOREVER— Bert Kaempfert (Decca) SAILOR— Lolita (Kapp) SUCU SUCU— Ping Ping (Kapp) TENDERLY — Bert Kaempfert (Decca) TUNES OF GLORY — Cambridge Strings (Top Rank) FOREIGN TUNES RECORDED BY AMERICAN ARTISTS WHICH HIT TOP 100 IN 1961 AFRICAN WALTZ — Cannonball Adderly/Johnny Dankworth (River- I side)/(London) BERLIN MELODY— Billy Vaughn (Dot) CALCUTTA — Lawrence Welk (Dot) PORTRAIT OF MY LOVE — Steve Lawrence (United Artists) NEVER ON SUNDAY — Don Costa/Chordettes (United Artists)/(Ca- dence) VOLARE— Bobby Rydell (Cameo) BEST ORCHESTRAS (SINGLES) 1. LAWRENCE WELK 2. BERT KAEMPFERT 3. BILLY VAUGHN 4. BOB MOORE 16 Cash Box — December 30, 1961 i^OLLOW YOUg "SEE CflH GO^ - jr LAURIE ^16 V ANOTHER SWASH FROM LAURIE PERSONAL MANAGER SAL B 0 N A F E D E LAURIE RECORDS ■ NEW YORK CITY FOR A HAPPY HOLIDAY SEASON ciii al Cash Box — December 30, 1961 17 TOP / VLBUMS & ALBUIV 1 ARTISTS Of 1S61 MONAURAL STEREO CAMELOT I r (TIE) EXODUS J 3. GREAT MOTION PICTURE THEMES 4. G. I. BLUES 5. SOUND OF MUSIC 6. NEVER ON SUNDAY 7. CALCUTTA 8. KNOCKERS UP 9. BUTTON DOWN MIND STRIKES BACK 10. ENCORE OF GOLDEN HITS 11. BUTTON DOWN MIND 12. NICE & EASY 13. MAKE WAY 14. T.V. SING ALONG WITH MITCH 15. ALL THE WAY 16. SOMETHING FOR EVERYBODY 17. EXODUS 18. STRING ALONG 19. SINATRA’S SWINGIN’ SESSION 20. GOIN’ PLACES 21. GENIUS + SOUL = JAZZ 22. JOHNNY’S MOODS 23. WONDERLAND BY NIGHT 24. BRENDA LEE 25. HAPPY TIMES SING-A-LONG 26. RING-A-DING-DING 27. LAST DATE 28. JUDY AT CARNEGIE HALL 29. TONIGHT IN PERSON 30. CARNIVAL 31. YELLOW BIRD 32. STARS FOR A SUMMER NIGHT 33. PORTRAIT OF JOHNNY 34. MEMORIES ARE MADE OF THIS 35. RICK IS 21 36. SINATRA SWINGS 37. SOLID & RAUNCHY 38. BELAFONTE RETURNS TO CARNEGIE HALL 39. THIS IS BRENDA 40. GENIUS HITS THE ROAD 41. EXODUS TO JAZZ 42. BOBBY DARIN STORY 43. QUARTER TO THREE 44. 60 YEARS OF MUSIC — VOL. II 45. COME SWING WITH ME 46. DARIN AT THE COPA 47. THE ASTRONAUT 48. UNSINKABLE MOLLY BROWN 49. PAUL ANKA’S BIG 15 50. I’LL BUY YOU A STAR 51. JUMP UP CALYPSO ORIGINAL B’WAY CAST — COLUMBIA FILM TRACK — RCA VICTOR VARIOUS ARTISTS — UNITED ARTISTS ELVIS PRESLEY — RCA VICTOR ORIGINAL B’WAY CAST — COLUMBIA FILM TRACK — UNITED ARTISTS LAWRENCE WELK — DOT RUSTY WARREN— JUBILEE BOB NEWHART — WARNER BROS. PLATTERS — MERCURY BOB NEWHART — WARNER BROS FRANK SINATRA — CAPITOL KINGSTON TRIO CAPITOL MITCH MILLER — COLUMBIA FRANK SINATRA — CAPITOL ELVIS PRESLEY — RCA VICTOR MANTOVANI — LONDON KINGSTON TRIO — CAPITOL FRANK SINATRA — CAPITOL KINGSTON TRIO — CAPITOL RAY CHARLES — IMPULSE JOHNNY MATHIS — COLUMBIA BERT KAEMPFERT — DECCA BRENDA LEE — DECCA MITCH MILLER — COLUMBIA FRANK SINATRA — REPRISE LAWRENCE WELK — DOT JUDY GARLAND — CAPITOL LIMELIGHTERS — RCA VICTOR ORIGINAL B’WAY CAST — MGM LAWRENCE WELK — DOT VARIOUS ARTISTS — COLUMBIA JOHNNY MATHIS — COLUMBIA RAY CONNIFF — COLUMBIA RICK NELSON — IMPERIAL FRANK SINATRA — REPRISE BILL BLACK — HI HARRY BELAFONTE — RCA VICTOR BRENDA LEE — DECCA RAY CHARLES — ABC PARAMOUNT EDDIE HARRIS — VEE JAY BOBBY DARIN — ATCO U.S. BONDS — LEGRAND VARIOUS ARTISTS — RCA VICTOR FRANK SINATRA — CAPITOL BOBBY DARIN — ATCO BILL DANA (JOSE JIMINEZ) — KAPP ORIG. B’WAY CAST — CAPITOL PAUL ANKA — ABC PARAMOUNT JOHNNY MATHIS — COLUMBIA HARRY BELAFONTE — RCA VICTOR 1. SOUND OF MUSIC 2. EXODUS 3. GREAT MOTION PICTURE THEMES 4. CAMELOT 5. CALCUTTA 6. NEVER ON SUNDAY 7. PERSUASIVE PERCUSSION 8. G. I. BLUES 9. SOUTH PACIFIC 10. EXODUS 11. NICE & EASY 12. MAKE WAY 13. ALL THE WAY 14. STRING ALONG 15. SINATRAS SWINGIN’ SESSION 16. T.V. SING-A-LONG WITH MITCH 17. WONDERLAND BY NIGHT 18. JOHNNY’S MOODS 19. HAPPY TIMES SING-A-LONG WITH MITCH 20. MEMORIES ARE MAKE OF THIS 21. LAST DATE 22. GOIN’ PLACES 23. PROVOCATIVE PERCUSSION 24. GENIUS + SOUL = JAZZ 25. SAY IT WITH MUSIC 26. BEN-HUR 27. STARS FOR A SUMMER NIGHT 28. JUDY AT CARNEGIE HALL 29. BELAFONTE RETURNS TO CARNEGIE 30. EXODUS TO JAZZ 31. RING-A-DING-DING 32. BONGOS 33. CARNIVAL 34. YELLOW BIRD 35. YELLOW BIRD 36. PERSUASIVE PERCUSSION VOL. II 37. UNSINKABLE MOLLY BROWN 38. PORTRAIT OF JOHNNY 39. ORANGE BLOSSOM SPECIAL — WHEELS 40. WILD IS LOVE 41. SOMETHING FOR EVERYBODY 42. SINATRA SWINGS 43. LOOK FOR A STAR 44. YOUNG AT HEART 45. TONIGHT IN PERSON 46. COME SWING WITH ME 47. MR. LUCKY GOES LATIN 48. JUMP UP CALYPSO 49. ITALIA MIA 50. WILDCAT ORIGINAL B’WAY CAST — COLUMBIA FILM SOUND TRACK — RCA VICTOR VARIOUS ARTISTS — UNITED ARTISTS ORIGINAL CAST — COLUMBIA LAWRENCE WELK — DOT SOUND TRACK — UNITED ARTISTS TERRY SNYDER — COMMAND ELVIS PRESLEY — RCA VICTOR SOUND TRACK — RCA VICTOR MANTOVANI — LONDON FRANK SINATRA — CAPITOL KINGSTON TRIO — CAPITOL FRANK SINATRA — CAPITOL KINGSTON TRIO CAPITOL FRANK SINATRA — CAPITOL MITCH MILLER — COLUMBIA BERT KAEMPFERT— DECCA JOHNNY MATHIS COLUMBIA MITCH MILLER — COLUMBIA RAY CONNIFF — COLUMBIA LAWRENCE WELK — DOT KINGSTON TRIO — CAPITOL ENOCH LIGHT — COMMAND RAY CHARLES COLUMBIA RAY CONNIFF — COLUMBIA MOVIE SOUNDTRACK — MGM VARIOUS ARTISTS — COLUMBIA JUDY GARLAND — CAPITOL HARRY BELAFONTE — RCA VICTOR EDDIE HARRIS — VEE JAY FRANK SINATRA — CAPITOL LOS ADMIRADORIN — COMMAND ORIGINAL CAST — MGM LAWRENCE WELK — DOT ARTHUR LYMAN — HI-FI TERRY SNYDER — COMMAND ORIGINAL CAST — CAPITOL JOHNNY MATHIS — COLUMBIA BILLY VAUGHN — DOT NAT “KING” COLE — CAPITOL ELVIS PRESLEY — RCA VICTOR FRANK SINATRA — REPRISE BILLY VAUGHN — DOT RAY CONNIFF — COLUMBIA LIMELITERS RCA VICTOR FRANK SINATRA — CAPITOL HENRY MANCINI — RCA VICTOR HARRY BELAFONTE — RCA VICTOR MANTOVANI — LONDON ORIGINAL CAST — RCA VICTOR y 7 -t BEST MALE VOCALISTS (LP’S) 1. FRANK SINATRA 2. ELVIS PRESLEY 3. JOHNNY MATHIS 4. RAY CHARLES 5. BOBBY DARIN 6. HARRY BELAFONTE 7. PAUL ANKA 8. RICKY NELSON 9. U. S. BONDS 10. CHUBBY CHECKER 11. NAT KING COLE 12. PAT BOONE 13. JOHNNY HORTON 14. BROOK BENTON 15. MARTY ROBBINS BEST VOCAL GROUPS (LP’S) 1. KINGSTON TRIO 2. PLATTERS 3. LIMELIGHTERS 4. FOUR PREPS 5. EVERLY BROS. BEST ORCHESTRAS (LP’S) 1. LAWRENCE WELK 2. MANTOVANI 3. RAY CONNIFF 4. BERT KAEMPFERT 5. BILL BLACK 6. ARTHUR LYMAN 7. BILLY VAUGHN 8. HENRY MANCINI ORCHS (STEREO ONLY) 1. TERRY SNYDER (Command) 2. ENOCH LIGHT (Command) BEST CHORUSES (LP’S) 1. MITCH MILLER 2. RAY CONNIFF BEST FEMALE VOCALISTS (LP’S) 1. BRENDA LEE 2. JUDY GARLAND 3. CONNIE FRANCIS 4. ELLA FITZGERALD BEST JAZZ COMBOS (LP’S) 1. EDDIE HARRIS 2. DAVE BRUBECK 3. PETE FOUNTAIN 4. AL HIRT BEST FILM TRACKS (LP’S) 1. EXODUS— Ernest Gold (RCA Victor) 2. GREAT MOTION PICTURE THEMES — Various Artists (United Artists 3. G. I. BLUES— ELVIS PRESLEY (RCA-Victor) 4. NEVER ON SUNDAY (United Artists) BEST INSTRUMENTALISTS & COMBOS (LP’S) 1. BILL BLACK 2. EDDIE HARRIS 3. VENTURES 4. EARL GRANT 5. DAVE BRUBECK 6. PETE FOUNTAIN 7. SANTO & JOHNNY 8. AL HIRT BEST COMEDY ARTISTS (LP’S) 1. BOB NEWHART 2. RUSTY WARREN 3. DAVE GARDNER 4. BILL DANA 5. JONATHAN WINTERS 6. SHELLEY BERMAN 7. JUSTIN WILSON 8. MOMS MABLEY 9. STAN FREBERG TOP B’WAY CAST LP’S 1. CAMELOT (Columbia) 2. SOUND OF MUSIC (Columbia) 3. CARNIVAL (MGM) 4. UNSINKABLE MOLLY BROWN (Capitol) YEAR’S LEADING ALBUMS IN STEREO NOT IN TOP 50 MONAURAL LP LISTING 1. PERSUASIVE PERCUSSION— Terry Snyder (Command) 2. SOUTH PACIFIC— Film Track— (RCA) 3. PROVOCATIVE PERCUSSION— Enoch Light (Command) 4. SAY IT WITH MUSIC— Ray Conniff (Columbia) 5. BEN HUR— Film Track (MGM) 6. BONGOS — Los Admirados (Command) 7. PERSUASIVE PERCUSSION VOL. II — -Terry Snyder (Command) 8. ORANGE BLOSSOM SPECIAL/ WHEELS— Billy Vaughn (Dot) 9. WILD IS LOVE— Nat Cole (Capitol) 10. SOMETHING FOR EVERYBODY — Elvis Presley (RCA) 11. LOOK FOR A STAR— Billy Vaughan (Dot) 12. YOUNG AT HEART— Ray Conniff (Columbia) 13. MR. LUCKY GOES LATIN— Henry Mancini (RCA) 14. ITALIA MIA — Mantovani (London) 15. WILDCAT— Original Cast (RCA) THE ABOVE DATA IS THE RESULT OF A TABULATION OF THE WEEKLY CASH BOX MONAURAL & STEREO BEST SELLING ALBUM CHART. NAMES LISTED ABOVE ARE IN ORDER OF STRENGTH IN THEIR VARIOUS CATEGORIES BASED ON A WEIGHTED POINT SYSTEM WHICH GIVES CREDIT FOR LONGEVITY ON CHARTS AS WELL AS HEIGHT AT- TAINED ON CHART. ONLY TITLES WHICH WERE TOP 30 OR BETTER WERE USED FOR TOTALS. SURVEY COVERS 12 MOS. ENDING NOV. 1961. y T 4 18 Cash Box — December 30, 1961 C ^DIVIDENDS PAID TO DATE • NEW ORLEANS • QUARTER TO THREE • SCHOOL IS mi • SCHOOL IS IN EXCLUSIVELY ON 817 CHURCH STREET • NORFOLK, VIRGINIA DISTRIBUTED NATIONALLY BY RUST RECORDS INC, NEW YORK CITY 817 CHURCH ST. NORFOLK, VA. MERRY CHRISTMAS & HAPPY NEW YEAR O Cash Box — December 30, 1961 T9 Best Wishes for A Happy Prosperous and Twistin’ New Year BILL BLACK COMBO and THANKS for the award #1 INSTRUMENTAL COMBO (Albums) (in the year-end Cash Box Poll) current HIT single “TWIST- HER” Hi 2042 current HIT album Let’s TWIST HER Hi-HL 12006 SHL 32006 (stereo) personal management PETER PAUL 1270— 6th Are. N.Y. Bookings CONTINENTAL BOOKING 1270— 6th Ave. N.Y. Cosh Box m JUKE BOX OPS' RECORD GUIDE ACTIVE with OPS (Selections NOT on Cosh Box Top 100 reported going strongly with opt.) BELLS AT MY WEDDING LOVELAND Paul Anka (ABC Paramount 10279) WHITE CHRISTMAS Drifters (Atlantic 1048) MIDNIGHT SPECIAL Jimmy Smith (Blue Note 1819) THE EXODUS SONG Chordettes (Cadence 1412) BIRMINGHAM Santo & Johnny (Canadian-American 131) STEP RIGHT UP Not "King" Cole (Capitol 4672) WHERE HAVE ALL THE FLOWERS GONE Kingston Trio (Capitol 4671) PARDON/ANOTHER TIME, ANOTHER PLACE Al Martino (Capitol 4643) DEAR IVAN Jimmy Dean (Columbia 42259) PLAY THE THING Marlowe Morris Quint. (Columbia 42218) MITCH MILLER CHRISTMAS PACK (5 Singles) (Columbia MM-3) MITCH MILLER PACK (5 singles) (Columbia MM 1&2) ORGAN PACK (5 singles) Ken Griffin (Columbia KG 1 8. 2) JAZZ PACK (5 singles) Various Artists (Columbia HIP 1 & 2) MARIA Johnny Mathis (Columbia 41684) STEP RIGHT UP Teresa Brewer (Coral 62299) DEAR GESU BAMBINO Christian Marandi (Decca 31343) SILENT NIGHT Bing Crosby (Decca 23777) WHITE CHRISTMAS Bing Crosby (Decca 23778) EVERYBODY'S TWISTING DOWN IN MEXICO Billy Vaughn (Dot 76295) ROSES OF PICARDY/HALLELUJAH, I LOVE HER SO Buddy Greco (Cpic 9472) I'M GLAD THERE IS YOU (5 singles) Gloria Lynne (Iverest 5 74) I WILL FOLLOW YOU/YOU DON'T HAVE TO BE A TOWER OF STRENGTH Gloria Lynne (Everest 19428) IF I HAD YOU/WHEN DAY IS DONE Seymour & His Trumpet (Heartbeat H-2) OPERATORS' SPECIAL (5 Singles) Seymour & His Magic Trumpet (Heartbeat) I BELIEVE Timi Yuro & Johnnie Ray (Liberty 55400) TEARS FROM AN ANGEL Troy Shondell (Liberty 55398) YOU'LL NEVER KNOW Platters (Mercury 71904) MARIA Clebanoff (Mercury 71905) LOST PENNY/SHADRACK Brook Benton (Mercury 71912) I REMEMBER TOMMY (5 Singles) Frank Sinatra Pack (Reprise PP-1) BASIE TWIST Count Basie (Roulette 4403) DUKE'S PLACE Duke Ellington (Roulette 4390) GOD BLESS THE CHILD Eddie Harris (Vee Jay 407) CLAP HANDS, HERE COMES CHARLIE Ella Fitzgerald (Verve 10241) IMAGINATION Quotations (Verve 10245) NEW ADDITIONS to TOP 100 85— WHITE CHRISTMAS Bing Crosby (Decca 23778) 89— JUST GOT TO KNOW Jimmy McCracklin (Art-Tone 825) 90— LOST SOMEONE James Brown (King 5573) 91 — RUDOLPH THE RED-NOSED REINDEER David Seville & Chipmunks (Liberty 55289) 95 — THAT'S MY PA Sheb Wooley (MGM 13046) 96 — I'M BLUE Ikettes (Atco 6212) 98— FEVER Pete Bennett (Sunset 1002) 100—1 TOLD THE BROOK Marty Robbins (Columbia 42246) Hof as a Twist-oU 5 IRVING FIELDS ORCH I New Everest Album ^ “TWIST-ING” j THE HULA HUU TWIST | I LATIN QUARTER TWIST ^ ^ SOCIETY TWIST \ \ INTERNATIONAL TWIST \ \ IRISH TWIST I Mills Music, 1619 B’way, N. Y. 19 { The World's First STEREO-SCORED Orchestra 20 Cash Box — December 30, 1961 Cash Box — December 30, 1961 21 RECORDS OF THE PAST 15 YEARS* ‘The Top lO Records of 1947 thru 1961 As Compiled by CASH BOX in its Annuel Year-End Poll 1947 : I 1. Peg O’ My Heart — The Harmonicats 2. Near You — Francis Craig 3. Heartaches — Ted Weems 4. Anniversary Song — A1 Jolson 5. That’s My Desire — Frankie Laine 6. Mamselle — Art Lund 7. Linda — Charlie Spivak 8. I Wonder Who’s Kissing Her Now — Perry Como 9. Anniversary Song — Guy Lombardo 10. That’s My Desire — Sammy Kaye 1948 1952 1 1. Cry — Johnnie Ray 2. Blue Tango — Leroy Anderson 3. Anytime — Eddie Fisher 4. Delicado — Percy Faith 5. Kiss Of Fire — Georgia Gibbs 6. Wheel Of Fortune — Kay Starr 7. Tell Me Why — Four Aces 8. Pm Yours — Don Cornel 9. Here In My Heart — A1 Martino 10. Auf Wiedersehn Sweetheart — Vera Lynn 1953 1957 1. Tammy — Debbie Reynolds 2. Love Letters In The Sand — Pat Boone 3. Bye Bye Love — Everly Brothers 4. It’s Not For Me To Say — Johnny Mathis 5. Young Love — Sonny James — Tab Hunter 6. All Shook Up — Elvis Presley 7. So Rare — Jimmy Dorsey 8. Little Darlin’ — Diamonds 9. Round And Round — Perry Como 10. Diana — Paul Anka 1958 1. My Happiness — Jon & Sondra Steele 2. Manana — Peggy Lee 3. Ballerina — Vaughn Monroe 4. Four Leaf Clover — Art Mooney 5. You Can’t Be True, Dear — Ken Griffin — Jerry Wayne 6. Nature Boy — King Cole 7. Little White Lies — Dick Haymes 8. It’s Magic — Doris Day 9. You Call Everybody Darling — A1 Trace 10. Mickey — Ted Weems 1. Song From Moulin Rouge — Percy Faith I 2. Till I Waltz Again With You— [ Tie Teresa Brewer | 3. April In Portugal — Les Baxter 4. Vaya Con Dios — Les Paul & Mary Ford 5. I’m Walking Behind You — Eddie Fisher 6. I Believe — Frankie Laine 7. You, You, You — Ames Bros. 8. Doggie In The Window — Patti Page 9. Why Don’t You Believe Me — Joni James 10. Pretend — Nat “King” Cole 1. Nel Blue Dipinto Di Blu — Domenico Modugno 2. It’s All In The Game — Tommy Edwards 3. Patricia — Perez Prado 4. All I Have To Do Is Dream— Everly Brothers 5. Bird Dog/Devoted To You— Everly Brothers 6. Little Star — Elegants 7. Witch Doctor — David Seville 8. Twilight Time — Platters 9. Tequila — Champs 10. At The Hop— Danny & The Juniors 1949 Silii 1. Forever And Ever — Russ Morgan Orch. 2. Riders In The Sky — Vaughn Monroe 3. Again — Gordon Jenkins Orch. 4. Forever And Ever — Perry Como 5. Cruising Down The River — Blue Barron Orch. 6. Cruising Down The River — Russ Morgan Orch. 7. Again — Vic Damone 8. So Tired — Russ Morgan Orch. 9. Lavender Blue — Dinah Shore 10. Buttons And Bows — Dinah Shore 1954 *•< .. 1 1. Little Things Mean A Lot — Kitty Kallen 2. Hey There — Rosemary Clooney 3. Wanted — Perry Como 4. Young At Heart — Frank Sinatra 5. Sh-Boom — Crewcuts 6. Three Coins In The Fountain — Four Aces 7. Little Shoemaker — Gaylords 8. Oh, My Papa — Eddie Fisher 9. Secret Love — Doris Day 10. Happy Wanderer — Frank Weir 1959 I ^ 1. Mack The Knife — Bobby Darin '2. Battle Of New Orleans— Johnny Horton 3. There Goes My Baby— Drifters 4. Venus — Frankie Avalon 5. Lonely Boy — Paul Anka 6. Personality — Lloyd Price 7. Three Bells — Browns 8. Put Your Head On My Shoulder — Paul Anka 9. Sleepwalk — Santo & Johnny 10. Come Softly To Me— Fleetwoods 1950 1. Goodnight Irene — Gordon Jenkins & The Weavers 2. It Isn’t Fair — Sammy Kaye 3. Third Man Theme — Anton Karas 4. Mule Train — Frankie Laine 5. Mona Lisa — King Cole 6. Music, Music, Music — Teresa Brewer 7. I Wanna Be Loved — Andrew Sisters 8- I’d’ve Baked A Cake — Eileen Barton 9. I Can Dream Can’t I — Andrew Sisters 10. That Lucky Old Sun — Frankie Laine 1951 1. Tennessee Waltz — Patti Page 2. How High The Moon— Les Paul & Mary Ford 3. Too Young — Nat “King” Cole 4. Be My Love — Mario Lanza 5. Because Of You — Tony Bennett 6. On Top Of Old Smoky — Weavers & Terry Gilkyson 7. If — Perry Como 8. Sin — Four Aces 9. Come On-A My House — Rosemary Clooney 10. Mockin’ Bird Hill— Les Paul & Mary Ford 1955 I 1. Rock Around The Clock — Bill Haley & Comets 2. Davy Crockett — Bill Hayes 3. Cherry Pink And Apple Blossom White — Perez Prado 4. Melody Of Love — Billy Vaughn 5. Yellow Rose Of Texas — Mitch Miller 6. Ain’t That A Shame — Pat Boone 7. Sincerely — McGuire Sisters 8. Unchained Melody — A1 Hibbler 9. Crazy Otto — Johnny Maddox 10. Mr. Sandman — Chordettes 1956 1. Don’t Be Cruel — Elvis Presley 2. The Great Pretender — Platters 3. My Prayer — Platters 4. The Wayward Wind — Gogi Grant 5. Whatever Will Be, Will Be — Doris Day 6. Heartbreak Hotel — Elvis Presley 7. Lisbon Antigua — Nelson Riddle 8. Canadian Sunset — Hugo Winterhalter 9. Moonglow & Picnic — Morris Stoloff 10. Honky Tonk — Bill Doggett 1960 I ; 1. Theme From A Summer Place — Percy Faith 2. It’s Now Or Never— Elvis Presley 3. Save The Last Dance For me — Drifters 4. The Twist — Chubby Checker '5. Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini — Brian Hyland 6. I’m Sorry — Brenda Lee 7. Stuck On You — Elvis Presley 8. He’ll Have To Go— Jim Reeves 9. Cathy’s Clown— Everly Brothers 10. Running Bear— Johnny Preston 1961 1. Exodus — Ferrante & Teicher 2. Calcutta — Lawrence Welk 3. Will You Love Me Tomorrow — Shirelles 4. Tossin’ And Turnin' — Bobby Lewis 5. Wonderland By Night — Bert Kaempfert 6. Are You Lonesome Tonight — Elvis Presle> 7. Travelin’ Man — Ricky Nelson 8. Michael — Highwaymen 9. Runaway — Del Shannon 10. Last Date — Floyd Cramer 22 Cash Box — December 30, 1961 *? ' i ■ *■* *■’^■*"^*2^^ « ♦ 3 y^y^-fen.^ it^tjii »*« V ijt-<^e # ^ *-v ^ :^<*1P’Jf3M».«4»« I ^ii<'«4««4 c > (i<«’r4<- Lj44*<jf* tii l>>i»<M|»4f><jf ► M - V « m Si #" ■* /♦>» Current Smash Single: “HAPPY BIRTHDAY SWEET SIXTEEN ’ RCA Vicfor 7957 Exclusively: mca Personal Management BENJAMIN L. SUHER Cash Box — December 30, 1961 23 Cash Box RECORD REVIEWS B+ very good B good C+ fair C only those records best suited for commercial use are reviewed by Cash Box AARON NEVILLE (Minit 639) Pick of the Week “A LITTLE BITTY TEAR” (2:16) [Pamper-Cochran] “I DON’T WANTA GO” (2:14) [Ridgeway-Glasser] WANDA JACKSON (Capitol 4681) Thrush should make more big pop-country chart news with “A Little Bitty Tear,” which is a femme version of the current click by Burl Ives (Decca). Her stint is backed by an infectious middle-beat string-included ork-chanting arrangement. A strong follow-up to the performer’s chart effort, “In The Middle Of A Heartache.” (B-f ) “HOW MANY TIMES” (2:40) [Minit BMI — Neville] An ap- pealing medium-beat Latin-blues bal- lad sound from the songster and his musical accompaniment. Track that could develop into something. (B) “I’M WAITIN’ AT THE STA- TION” (2:21) [Minit BMI — Neville] Catchy easy-beat rock-a-cha affectionate. “MARIA” (2:30) [G. Schirmer ASCAP — Bernstein, Sondheim] “I BELIEVE” (2:15) [Cromwell BMI — Drake, Graham, Shirl, Stillman] DAVID WHITFIELD (London 9506) “Maria.” the beautiful ballad from “West Side Story,” is currently rid- ing high on the charts with Roger Williams Kapp version leading the instrumental way. Look for London songster David Whitfield to cop vocal honors with his wonderfully rich, big-voiced performance. The lovely inspirational is treated to a superb job on the excellent companion por- tion. Stellar choral ork showcases. “SHAKE SHAKE SHERRY” (2:15) [Trinity BMI— Barry] “IF YOUR PILLOW COULD TALK” (2:26) [Robert Mellin BMI — Russell] THE EDSELS (Capitol 4675) The “Rama Lama Ding Dong” boys can come through with a smash Top 100 disking in the wildly portrayed “Shake Shake Sherry,” which was also cut a short while-back on Epic. Backed by an all-out ork attack, the boys offer an uninhibited belt, including “Rama Lama” chants. “Pil- low” has interesting upbeat Latinish remarks from the string-filled ork. “WHAT’S THE REASON” (2:04) [Bourne ASCAP — Tomlin, Hatch, Poe, Grier] “WALK AWAY SLOWLY” (2:34) [Pamper BMI— Sharp, Brown] BOBBY EDWARDS (Capitol 4674) Edwards, who still has a big pop-country hit with his Crest disking of “You’re The Reason,” is now on the Capitol label, and is in a strong position to make-the-grade again with “What’s The Reason,” the oldie done in bouncy manner of the first “Reason” session. The artist offers a wistful light-beat country waltzer on the under cut. Pick of the Week Newcomers In an effort to call DJ. attention to Pick records by “Newcomers’' (artists never before on the Top 100) the editorial staff of Cash Box will list such records under this special heading. “SOMEBODY’S SMILING (WHILE I’M CRYING)” (2:16) [Acuff-Rose BMI — Day, Holbert, Loveday] “JUST TO BE LOVED” (2:09) [Combine BMI— Walker] CURTIS & DEL (Monument 455) Curtis & Del could be up among the front runners in the weeks to come with their Monument bow, “Somebody’s Smiling (While I’m Crying).” Side features a most attractive medium-beat ballad blend (with a catchy background thump) by the songsters, who have an Everly Bros.-like approach. Splendid programming item that should really please the teeners. The feelingful pose, on the other hand, sports a soft-spoken sur- vey by the boys. “NO WORD FROM BETTY” “WE GONNA” (2:20) (2:20) [Tobi-Ann [Tobi-Ann BMI— BMI — Burton, Simmons] Burton, Simmons] JIMMY PARKER (Diamond 104) Newcomer Jimmy Parker is a good bet to score with either end, or both, of his debut on the N.Y.-based Diamond label. One half, “No Word From Betty,” is a heartfelt rock-a-cha-cha about a gal who didn’t show for the wedding. The infectious pairing, “We Gonna,” sports a happy fla- voring of two while-back hits, “My Babe” and “Little Bitty Pretty One.” Potent ork-chorus support on both ends. “WALKING CANE” (2:40) [Russ Will ASCAP — Tesone, Romano, Catrombone] “AMEN” (2:10) [Kaycee BMI — Segure, Hardy, Schoen] BILLY DUKE (20th-Fox 296) Duke can head into the new year with his first big one on the 20th-Fox label. It’s the oldie, “Walking Cane,” that’s treated to a bright new rhythm-swing performance. Side builds along the way a la Bobby Darin’s “Mack The Knife.” Sock support from Jimmy Wisner’s crew. The spir- itual, on the flip, is taken for an inviting handclapping ride. TONI ARDEN (Mercury 71885) (B+) “YOU FOOL” (2:45) [Rags BMI — Elias, Reid] Longtime thrush is backed by an interesting teen-directed ork-chorus rhythm. She adapts herself well to the rockin’- style idiom. Can get action. (B) “SIGNS OF THE TIMES” (3:09) [Vogue BMI — Kauf- man, Anthony] Funky sound, includ- ing an harmonica, supports the per- former’s fine wistful chirping. TOMMY BOYCE (RCA Victor 7975) (B-h) “YOU LOOK SO LONELY” (1:50) [Calboy BMI — Boyce] Boyce, a writer of teen ditties, bows as a songster on Victor with a pro rock-a-cha lovey-dovey. Ray Ellis di- rects the solid teen-beat setting. Can make noise. (B-f) “ALONG CAME LINDA” (2:10) [Calboy BMI — Boyce] A love-found affair with a bright, catchy way. Can also be very big. JACK COLLIER ORCH.-CHORUS/ JOHN VAN HORN ORCH. (Moonglow 207) (B-f) “HAPPY JOSE” (Ching- Ching)” (2:20) [Landsdowne ASCAP — Malin, Gonzales] The hot instrumental is presented with a pro sunny rock beat by the Collier ork- chorus. A worthy entry in the race for Top 100 honors for the tune. Label is based in Hollywood. (B) “OCTOPUS TANGO” (2:23) [Ray Maxwell BMI — Max- well] The John Van Horn ork is heard in a lush tango arrangement. Attrac- tive programming. CLAY COLE (Imperial 5804) (B-f) “TWIST AROUND THE CLOCK” (2:17) [Columbia ASCAP — Kaye, Springer, Cole] The deejay heads a happy Twist date on the main-title from the Twist pic. Pic exposure can get this end around. (B) “DON’T TWIST (With Any- one Else But Me)” (2:27) [Post ASCAP — Kaye, Springer, Cole] Another Twist number included in the flick. LULU REED (Federal 12440) (B) “WHAT MAKES YOU SO COLD” (2:02) [Sonlo BMI — Reed, Thompson] Blues thrush and combo make infectious music mostly for the R&B market, which should take to the sound. (B) “AIN’T NO COTTON PICK- IN’ CHICKEN (Gonna Break This Chicken Heart of Mine)” (2:20) [Sonlo BMI — Thompson, Williams] More upbeat blueser with a good- natured way. mediocre THE IMPRESSIONS (Swirl 107) (B-f) “DON’T LEAVE ME” (1:46) [Wemar BMI — Brooks] Effec- tive blues rhythmic from the lead and his chanting companions. Combo has a good bounce touch. Grow-on-you ef- fort from the New York-based wax- ery. (B) “I NEED YOUR LOVE” (1:50) [Wemar BMI— Brooks] Somewhat of a low-down blues approach here. THE CRAZY KATS (Deauville 1005) (B+) “MAKIN’ WHOOPEE” (2:20) [BVC ASCAP— Kahn, Don- aldson ]The oldie goes Twist-beat in this combo go, which features a growl- ing sax. Good-sounding session for the Twist crowd. Label headquarters in Miami Beach, Fla. (C-f) “THE CANDY STIK TWIST” (2:28) [Carnival BMI — Lin- ale] Guitars pound here. BERNA-DEAN (Imperial 5792) (B) “LITTLE WILLIE” (2:45) [Travis BMI — Bartholomew, King] Infectiously displayed blues novelty about Little Willie and his 6' gal friend flirt. The fine lark talent is supported by a choice combo-male chorus set-up. (B) “I WALK IN MY SLEEP” (2:32) [Commodore BMI — Bartholomew, King] Nice intimate moody. TEDDY RANDAZZO (ABC-Paramount 10287) (B-f) “MOTHER GOOSE TWIST” (2:35) [South Mountain BMI — Randazzo, Barberis, Weinstein] Vet teen songster tops a wild Twist date that’s included the Twist flick, “Hey, Let’s Twist,” which includes the per- former. Good Twist punch. (B) “IT’S A PITY TO SAY GOODNIGHT” (2:30) [Leeds ASCAP — Reid] The fine oldie is also done in the flick, and Randazzo does a pleasing stint against a lush, moody full ork backdrop. CATHY MOORE (Majesty 302) (B) “DREAM LOVER” (2:29) [Adaris — Progressive-Fern BMI — Darin] The old Bobby Darin click is revived with a busy teen sound. A s-wingin’ organ is part of the setting for the lark. Diskery is based in Hollywood. (C-f) “I’LL WAIT” (2:35) [Trinity BMI — Klein, Ebb] Slow-beat plaintive. DONNIE ELBERT (Jalynne 110) (B-f) “WHAT YOU’RE DOING TO ME” (2:22) [Jot BMI— El- bert] This catchy blueser features songster Elbert, who has a distinctive, falsetto-type voice. Muted trumpet is part of the backdrop proceedings. (B) “LUCILLE (I’ve Done You No Wrong)” [Jot BMI— El- bert] Deliberately-paced, sometimes wailing blues cut. 24 Cash Box — December 30, 1961 Marcas Reg. Printed In U. S. A Once in a great while, a new performer come along who is spe- cial. He will be endowed with talent, presence, youth and a rare, elusive factor that can only be called "star quality." To- day, such a performer is proudly spotlighted by Columbia Records. His name is Kenny Karen. His first record, produced by Nevins-Kirshner, is Oh.SusieForgiveMe," coupled with "The Light in Your Window" (4-42264). It is a great record. Cash Box — December 30, 1961 25 Gdsh Box RECORD REVIEWS B+ very good B good C+ fair C mediocre only those records best suited for commercial use are reviewed by Cash Box AKI ALEONG (Reprise 20,042) (B+) “TONIGHT” (Twist) (1:53) [G. Schirmer ASCAP— Bern- stein, Sondheim] The current hit tune is done to a polished Twist beat by Aleong’ and his Licorice Twisters. Aleong recently made a Top 100 ap- pearance with “Trade Winds”; there can be a similar reaction here. (B-h) “MOON RIVER” (Twist) (2:25) [Famous ASCAP — Mancini, Mercer] Same go for an- other top click. EDDIE LAAVRENCE (Coral 62298) (B+) “THE PHILOSOPHER TWIST” (2:27) [Warwick ASCAP — Lawrence] Lawi'ence’s pop- ular Philosopher character has some hilarious comments to make on the Twist, as viewed at the famed Twist haven. The Peppermint Lounge. Deck can be a comedy sleeper. (B) “THE D. J. PHILOSOPHER RETURNS” (2:53) [Warwick ASCAP — Lawrence] Funny stuff about the trials and tribulations of the modern-day deejay. BOBBY BARE (Fraternity 890) (B+) “BROOKLYN BRIDGE” (2:20) [Harry Bare BMI — Bare, Guynes] This rib-tickling, oft- told tale of the sale of the famous landmark is told in the delightful, talk-sing manner of the years-back success, “All American Boy.” Side has that big hit outlook. Stick with it. (B) “ZIG-ZAG TWIST” (1:52) [Sherman, DeVorzon BMI — Bare] On this end Bare gives out with a fetching finger-snapping, string- backed set of instructions to the dance. LITTLE NAT (Pik 242) (B-h) “DO THIS DO THAT” (2:28) [Lonnie BMI — Verroca] Little Nat, former lead with the Shells of “Baby Oh Baby” fame, can nail down chart honors with this Pik debut. It’s a captivating, chorus-backed rock-a- rhythm cha cha session that has loads of money-making potential. (B) “TALLY WALLY” (2:15) [Lonnie BMI — Bouknight] Colorful rock-a-jumper on this end. KENNY BALL (Kapp 442) (B-h) “MIDNIGHT IN MOSCOW” (2:58) [Melody Trails BMI — Arr. Ball] Ball and His Jazzmen, a leading exponent of the Trad (or Dixielandish) style now very popular in England, is hitting big in England with this infectious reading of the fine Russian tune, which has been released here in many vocal-instrumental ver- sions. This could be the outing that catches on. (B) “AMERICAN PATROL” [Traditional-Meacham] More sunny Trad, doings. LITTLE RICHARD (Mercury 71911) (B-f) “RIDE ON KING JESUS” (2:53) [Woodman BMI — Penniman, Jones] The label has again culled a single from the performer’s Gospel LP, “It’s Real,” which was the source of his recent chart-maker, “He’s Not Just A Soldier.” The dy- namic Richard delivery is heard against a bright Quincy Jones-di- rected ork-chorus. Can also succeed. (B) “DO YOU CARE” (2:48) [Peer Int’l BMI — Dell] A sensitive side from the album. JOE PUMA & THE AUDIOBON ALL-STARS (Columbia 42254) (B+) “NOAH’S ARK (Redwinged Blackbird)” (2:45) [Juma BMI — Puma, Hall, Sher] Here’s an original-sounding gospel-type .jazz- rock stint from the Puma that could take-off. It’s from an LP tag'ged “Like Tweet” and should be eyed closely. (B) “PANIC IN THE BIRD- CAGE” (2:20) [Davimar BMI — Macero] This selection from the LP is clever jazz swinging. KEITH COLLEY (Era 3067) (B-|-) “(And Her Name Is) SCAR- LET” (2:15) [Pattern ASCAP — Howard] Cheerful march-beat rock- a-string affair on a tuneful folkish ditty. Colley’s pro teen vocal is sup- ported by a full-blown ork-chorus ef- fort, including- a whistling stint by the chorus. Might step out. (B-h) “PUT EM DOWN” (2:18) [Bamboo & Burdett BMI — Colley] An interesting gospel-flavored stint about losing-the-blues. Also worth attention. DONNIE CHARLES (Smash 1725) (B-f-) “JUMPSVILLE, U.S.A.” (2:20) [Fame BMI — Thomp- son] Here’s an effective Twister from the songster and his busy-beat, sax- led combo-shout chorus backing. Deck’s right in the current upbeat teen groove and could go places. (B) “STAY WITH ME” (2:00) [MRC & Fame BMI— Thomp- son] Intriguing rock-a-cha sound supports the performer’s cozy multi- tracked ballad reading. DEL RICHARDSON (Stellar 1729) (B-p) “LOVER MINE” (2:20) [Mar- lene ASCAP — Buchanan, Gottfried] The deck, acquired for dis- tribution by Mercury’s Smash affiliate, could develop into a click session. Richardson understandingly offers a heartfelt affectionate against a very interesting combo-chorus stand that recalls the backing on Ben E. King’s awhile-back click, “Stand By Me.” Should be eyed closely. (B) “DON’T CRY LINDA’’ [Arch & Willow ASCAP— Buchanan, Gottfried] A folkish qual- ity to this good-sounding romantic bouncer. TEXAS-RAY (Kaydee 3001) (B-p) “MARY ANN” (2:17) [Pro- gressive BMI — Charles] A Ray Charles number is done with a busy blues-beat sound from the song- ster and combo. Mostly R&B-market doings. Diskery works-out of N.Y. (B) “WHAT’S COME OVER YOU?” (3:30) [Savoy BMI— Brown] Some unusual wailing from the performer. JULES BLATTNER (Norman 512) (B) “ST. JAMES INFIRMARY” (2:10) [BMI — Primrose] The familiar PD gets a partytime blues- rock attack, including Cab Calloway- like chant bits. Teeners will be in- terested in the sound. (C-P) “DO YOU LOVE ME” (2:15) [Missouri BMI — Blattner] Easy-beat wistful essay. VAUGHN MONROE (Dot 16308) (B) “IF YOU GOTTA MAKE A FOOL OF SOMEBODY” (2:13) [Good Songs BMI— Clark] The longtime songster-maestro offers a teen-beat version of the blues hit by James Ray on the Caprice label. (B) “MR. MOTTO” (1:36) [Arvee BMI — Johnson, Delvy] The Monroe ork solos in a catchy upbeat blueser. Side is also a cover. JOHNNY (Guitar) WATSON (King 5579) (B-p) “BROKE AND LONELY” (2:50) [0-Cal BMI — Otis, Watson] Strong R&B-directed pose by the blues songster, who is backed by a potent band-styled sound. Could also get pop action. (B) “CUTTIN’ IN” (3:03) [Valjo BMI — Watson] Strings are in- cluded in this touching blueser. COSMO (Tilt 787) (B-p) “YOU CAN’T GET KISSED (When You Twist)” (2:04) [Tree BMI — Spence] The Twist-mar- ket novelty is presented with lots of teen verve by the songster and his rompin’, sax-led combo support. Lon- don handles this very reliable Twist affair. (B) “PM A LITTLE MIXED UP” (2:44) [Sunflower & Garnet ASCAP — James, Johnson] Funky up- beat vocal by the talent. FRANK VERNA (Jubilee 5414) (B) “FACIME LA TWIST” (2:11) [Benell BMI — Como, Verna, Baker] “O Sole Mio” becomes a cheer- ful Italian-styled Twist novelty. Ver- na’s likeable vocal is supported by a busy combo-choi’us chore. (B) “TWISTIN’ BABY” (2:20) [Southern ASCAP ■ — • Baker, Verna] Made-in-U.S.A. Twistin’ here. THE WOBBLERS (King 5585) (B) “THE WOBBLE” (2:08) [0- Cal — Briarcliff BMI — Stryker, Hall, Otis] A “bubbly” gimmick is in- cluded in this infectious teen-beat out- ing b.v the combo. Sax and keyboard are rockin’ highlights. Deserves teen programming. (B) “BLOW OUT” (2:15) [0- Cal — Foi’e-site BMI — Stryker, Hall, Otis] Similar good-sounding stuff from the crew. ROBIN WILSON (Monument 452) (B-p) “THE BLACK EYED GYPSY” (2:13) [Acuff-Rose BMI — Bryant] Happy country-flav- ored stint by the songster and combo- chorus on an engaging number. A con- tagious cut that can move. (B) “I WANTA HANG MY HAT IN HEAVEN” (2:02) [Target BMI — Wilson] Snappy item mostly for the country trade. CHARLES LYNTON/KEITH DAVIS (Broadway 101) (C) “PM DISILLUSIONED” [ASCAP— Pinkard] Old-fash- ioned tenor crooning here. (C) “SWEET SUBURBAN SUE” [ASCAP — Pinkard] Keith heads another years-back sound. THE JAGS (London 9507) (B-p) “CRY WOLF” (2:12) [Hollis BMI — Vandyke] Musicians put across an exciting Latin-styled rock sound. A refreshing ork outing that can have a Top 100 career. (B) “THE HUNCH” (2:12) [Hol- lis BMI — Vandyke] Cute and original-sounding rock-a-cha stint. BILL REEDER (Hi 2041) (B-p) “SECRET LOVE” (2:13) [Remick ASCAP — Fain, Web- ster] Country songster does an upbeat reading of the oldie against a bouncy rock beat from the combo. Off-beat reading of the opus that could get solid exposure. (B) “JUDY” (2:20) [Progressive BMI — Redell] Another bouncy sound backs the performer’s portrayal of the lovey-dovey ditty. THE GAY JAYS (Josie 8931 (B-p) “CHICKEN BACK”— Part 1 (2:25) [Straight Ahead BMI — Dickens, Grace, Rice, Gamble] R&B songsters perform the dance- novelty with a pro blend, while the Dales Dickens ork supplies a highly Twist-able sound. (B-p) “CHICKEN BACK”— Part 2 (2:20) [Straight Ahead BMI — Dickens, Grace, Rice, Gamble] The solid-sounding session is continued. JIMMY SOUL (S.P.Q.R. 3300) (B-p) “TWISTIN’ MATILDA” (2:33) [Pepe BMI—] Old calypso favorite is done as a Twist in an original-sounding R&B-fiavored manner. Soul’s survey is backed by solid remarks by the combo-fenune chorus. London distributes the outing. Could score. (B) “I CAN’T HOLD OUT ANY LONGER” (2:34) [Progres- sive BMI — Baker, (jalhoun, Wexler] Bluesy plaintive from the performer. BRYAN JOHNSON (London 9509) (B) “LOVE THEME FROM ‘EL CID’” (2:25) [Robbins AS- CAP— Webster, Rozsa] Big-voiced English singer offers a vocal version of the main-theme from the just-re- leased epic flick. A lush ork-chorus arrangement backs-up. (B) “TENNESSEE WALTZ” (2:25) [Acuff-Rose BMI— Stewart, King] Soft-spoken reading of the oldie. 26 Cash Box — December 30, 1961 best wishes for a happy holiday season! Direction RCA\iCTOR GENERAL ARTISTS CORPORATION NEW YORK • CHICAGO BEVERLY HILLS • CINCINNATI • DALLAS • LONDON Cash Box — December 30, 1961 27 Cdsh Box LESLIE UGGAMS (Columbia 42255) (B+) “GET HAPPY” (2:53) [Rem- ick ASCAP — Koehler, Arlen] Talented thrush, featured on the Mitch Miller sing-along TV’er, is backed by the Miller’s male chorus in this solid jukebox-sounding survey of the sturdy. Side is from an LP, “Les- lie Uggams on TV.” (B) “BIRTH OF THE BLUES” (3:33) [Harms ASCAP— De- Sylva, Brown, Henderson] Relaxed reading of another evergreen. Also from the LP. JOHNNY COOPER (Ermine 37) (B) “I FOUND LOVE WITH YOU” (2:07) [Venetia BMI— Erman] Coy-voiced songster pleas- ingly recites the nice lovey-dovey against a sax-led teen-beat ork-chorus ork stand. Label hails from Chicago. (C-f) “RIVALRY” (2:32) [Venetia BMI — Cooper, Blair] Brighter teen-market approach. THE NOBLES (Stacy 926) (B+) “SERENADE” (2:12) [Harms ASCAP — Romberg] The gem from “Student Prince” goes-in for a soft-beat teen reading, with the lead mostly turning-in teen-market off-the- tune phrasing. Lots of teeners will dig the approach. (B) “YOU AIN’T RIGHT” (1:41) [Lucky Eight BMI — Jones] Rich Latinish, Twist-able touch to this rhythmic upbeat entry. Firm is from Chicago. WAILING BETHEA (Hawkeye 0430) (B) “ANNIE PENGUIN” (1:55) [Claiborne BMI — Bethea, Clairborne] The novelty ditty gets a Coasters-like attack from Bethea and The Captans. Good laff stuff. (B) “ROCKIN’ IN THE JUNGLE” (2:11) [Claiborne BMI — Bethea] More humorous, blues- styled attack. MARGARITA “CHA-CHA” SIERRA (Warner Bros. 5248) (B) “CHA CHA TWIST” (2:20) [American BMI — Fayne, Bowen, Paladino] The performer, fea- tured as Cha-Cha O’Brien in the TV’er, “Surfside 6,” heads a lively Latin angle to the Twist. (B) “PRETTY BABY” (1:53) [Remick ASCAP — Kahn, Jack- son, VanAlstyne] Cute easy-beat turn for the oldie. ROSS TALBOT (Bobbie 222) (B) “(Calypso Twist) SHORT SKIRTS & POLLY PANTS” (2:26) [BMI— Talbot] Calypso per- former reads his own calypso novelty against a calypso combo chore that, true to its title, can be easily Twisted to. Diskery is based in Philly. (C) “TEN MILLION STARS” (2:24) [BMI— Talbot, Joel] Artist goes strictly teen-beat in this softie display. RECORD REVIEWS B+ very good B good C+ fair C mediocre only those records best suited for commercial use are reviewed by Cash Box THE PASTEL SIX (Downey 101) (B) “WIMO STOMP” (2:13) [Downey BMI — Wenzel] “Wi- moweh,” the source of The Tokens’ smash, “The Lion Sleeps Tonight,” is displayed in exciting, funky har- monica-led fashion by the instrumen- talists. Worthy teen work. Original Sound handles the diskery. (B) “TWITCHIN” (1:57) [Dow- ney BMI — Toten] Good, steady-beat pounder for the Twist crowd. PAUL DE NOIA (Kenco 5020) (B) “DEAR ABBY” (2:36) [Kenco Enterprises ASCAP — Durante, Durant] Songster and combo-chorus offer a wistful teen-beat reading of tune that ties-in with the popular let- ter-to-the-lovelorn columnist. (C-f) “MAUREEN” (1:40) [Kenco Enterprises ASCAP — Durante, Durant] Name-song affectionate for the kids. THE TRAVELERS (Don Ray 5965) (B) “TRAVELER” (1:54) [Don Bennett BMI — Self] Good- sounding combo rockin’, headed by sound-wise guitarist Alvie Self. Chor- us offers jungle-like chants. Label is based in Phoenix. (B) “SEVEN MINUTES TILL FOUR” (2:04) [Don Bennett BMI — Self, Wilcox] Latinish way to another colorful affair headed by Self. THE FORTUNES (Queen 24010) (B) “UGLY DUCKLING” (1:48) [Scepter BMI — Crawford, Starr, Smith] Pleasant easy rock-a- cha date about a gal who blossoms out into one of the town’s top lookers. Label is the King Records’ affiliate. (B) “NOTHING MATTERS ANY- MORE” (2:44) [Lois BMI — Ashcroft, Spoke] Nicely rendered teen-beat tale of a disenchanted love affair. FRIEDEL WENDE (Cadence 1413) (B-h) “LIEBCHEN” (2:35) [E. H. Morris ASCAP— Wende] At- tractive import instrumental display, with lead saxes offering a Billy Vaughn-type sound. Trombone is also featured along with a chanting chorus. Solid programming entry. (B) “ALL MY PRETTY ONES” (2:35) [E. H. Morris ASCAP -—Neumann, Stanke] Chorus has a bigger chant role in a faster-moving affair. MARK MURPHY (Riverside 4511) (B) “ANGEL EYES” (2:58) [Bradshaw BMI — Brent, Den- nis] The fine jazz songster gives a distinctive account of the great Matt Dennis standby. There’s a haunting cornbo backdrop. Should be included in jazz jukebox programming. (B) “STOPPIN’ THE CLOCK” (2:10) [Charles Street BMI— Landesman, Krai] Lighter, swingin’ blues-flavored entry. Both sides stem from an LP, “Rah-Mark Murphy.” CALVIN CARTER (VeeJay 419) (B-h) “THE ROACH” (2:39) [Las- tar-Bloor & H.H. BMI— Wil- lis, Venetoulis] The current dance noise-maker, via Gene & Wendell on Ray Star, is presented with solid rockin’ band verve. Swingin’ keyboard and organ are included. Strong cover outing. (B) “WHAT’D I SAY” (2:31) [Progressive BMI — Charles] The Ray Charles standard is infec- tiously portrayed (string comments are included). FATHER RALPH (Jo-Dan 1002) (B) “ZIM BOOM BA” (2:32) [Lighthouse BMI — Attanasio] Father Ralph (Attanasio), known as the “Hoodlum Priest,” heads an at- tractive outing on a lovely Mexican folk-song. He’s supported by an ef- fective ork-chorus sound. Father Ralph opens the deck with an English narrative. Off-beat affair. (B) “MAMA” (2:26) [Southern ASCAP] — The Italian fav- orite is warmly sung by Father Ralph. THE DEL-PHIS (Check-Mate 1005) (B-f-) “I’LL LET YOU KNOW” (2:50) [Kapa — Brohun BMI — Jean, Hunter] Lass song team, sport- ing a solid lead voice, offer an infec- tious blueser about a gal who’s dish- ing out a wait-and-see attitude to the guy who wants to come back. Can get R&B-pop recognition. (B) “IT TAKES TWO” (3:15) [Kapa — Brohun BMI — Jean, Hunter] Expressive blues moody from the same upfront lark. BLAZER BOY (Imperial 5801) (B) “NEW ORLEANS TWIST” (1:59) [Travis BMI — King, Bartholomew, Quezergue] Deft Twist- ing, vocally and instrumentally, as the songster notes that the dance has won favor with all age groups. Gal chorus assists the performer. (B) “THAT’S WHERE IT’S AT” (2:24) [Travis BMI— King, Quezergue, Stevenson] Blueser and infectious medium-beat attitude. TOMMY MARIS (World-Wide 8506) (B) “STRANGE AS IT SEEMS” (2:16) [Doral BMI — Burnette] This soft, Latin beat romantic weeper has an ear-appealing quality that should attract a heap of airplay. Pleasant, choral backed vocal stint by Maris. (B) “GONNA BE LOVED BY YOU” (2:07) [Doral BMI— Burnette] Complete change-of-pace on this colorful rock ’n roller. Sock musical assist. Dorsey Burnette penned ’em both. BEN DiTOSTI (World Pacific 1410) (B-t-) “LET’S GET TOGETHER” (2:27) [Wonderland BMI— Sherman, Sherman] The big rock ’n roll hit by Haley Mills is surprisingly done to an infectious jazz-oriented, gospel-type beat by the pianist and his rhythm accompaniment. Interest- ing project that can come-up with strong airplay. (B) “THEME FROM CARNI- VAL” (2:35) [Robbins ASCAP — Merrill] Cool jazz approach to the pretty waltzer from the hit musical. Track is from an LP on the score. CARMEN McRAE (Columbia 42245) (B) “I CRIED FOR YOU” (2:52) [Miller ASCAP — Freed, Arn- heim, Lyman] Stylist does a bright, fast-paced reading of the oldie against a classy jazz romp from the combo. Swingin’ stuff that will be played by the hip jocks. (B) “MISS BROWN TO YOU” (2:28) [Famous ASCAP — Robin, Whiting, Rainger] Easier swingin’ on another oldtimer. THE MARC-ANTONIANS (Dot 16294) (B) “CLEOPATRA’S THEME” (2:24) [Campbell-Connelly ASCAP — Manners] Musicians supply an interesting rock-inclined hoochy- coochy sound to capture the ditty’s exotic title. Off-beat issue. (B) “MOSHI, MOSHI, ANONE” (2:12) [Campbell - Connelly ASCAP — Manners, Watson] This is a rockin’ Japanese-lyric version of “Lon- don Bridge Is Falling Down” that met with big success in Japan about 10 years ago. Dot purchased both ends from the So Deska label of Long Island. RAY CORBIN (Trend ’61 104) (B) “THE WHOLE NIGHT LONG” (1:59) [Talent Town BMI — Corbin, Corbin] Country-fla- vored songster heads a colorful dis- play of a dramatic plaintive. Guitars make the top commercial sounds in the setting. (B) “JUST FOR TONIGHT” (2:38) [Talent Town BMI — Corbin, Corbin] Strings are included in this country waltz wistful. JOE MARINO (Electro-Vox 2173) (C) “SOME DAY I’LL FIND YOU” (2:12) [Thelma Hester Jones BMI — Jones] Bobby Bell takes the vocal spotlite as he cries over a romantic sentimental. Joe Marino & his group lend a soft swing musical backdrop. (C) “TRYING SO HARD TO FORGET YOU” (2:38) [Thel- ma Hester Jones BMI — Jones] Here the artists warmly etch a slow paced lover’s lament. Label’s based in Ful- lerton, Calif. POLKA LI’L WALLY (Jay Jay 254) “Li’l Wally Polka Twist”/“Twistin’ And Turning Polka” PAUL WEINGARDT (Cuca 1057) “Sweet Marguerite”/“Sweet Potato Polka” JAZZ DAVE BAILEY TRIO (Jazz Line 4501) “Just Friends”/“Should Support” DADDY GOODLOWE (Vee Jay 421) “Jamil — parts I & 11” RELIGIOUS DIXIE HUMMINGBIRDS (Peacock 1844) “Have A Talk With Jesus”/‘Tn The Morning” WANDERING TRAVELERS (Pea- cock 1843) “Jeusus Is The Heavyweight Champ”/ “I Would Like To Have Been With Him” 28 Cash Box — December 30, 1961 7 THANKS DJ'S, DEALERS AND OPS For The Azvard of NO. 1 NEW VOCAL GROUP (In The CASH BOX Year-End Poll) .’’V, .♦s »■' ' * f- r- f; m 1 ■c ‘v -T^ - ‘ j tt'’ .’7, 4,'^''y *;* Tt •**« ♦“ JR *^r i * ♦ -*• ^ I '• »\ '•’*** *. «Oesa ««. ■A^- HIGHWAYMEN Exclusively: INI TED ARTISTS E C O R O S Personal Management: KEN GREENGRASS Public Relations: MARVIN DRAGER 161 ash Box — December 30, 1961 29 Cash Box LOOKING AHEAD 5 6 10 A compilation, in order of strength, breaking into The Cash Box Top of up and 100. List coming records showing signs of is compiled from retail outlets. DEAR IVAN limmy Deart (Columbia 42259) 11 A KISS FOR CHRISTMAS (0 Tonnenbaum) Joe Dowell (Smash 1728) ROOM FULL OF TEARS Drifters (Atlantic 2127) HAPPY JOSE Jack Ross (Dot 16302) Daye Appell (Cameo 207) 12 13 WALKIN' BACK TO HAPPINESS Helen Shapiro (Capitol 4662) GREETINGS (This Is Uncle Sam) Valadiers (Miracle 6) BELLS AT MY WEDDING/ LOVELAND Paul Anka (ABC Paramount 10279) 14 YOU DON'T HAVE TO BE A TOWER OF STRENGTH Gloria Lynne (Everest 19428) IMAGINATION Quotations (Verve 10245) 15 JINGLE BELL TWIST U.S.A. Johnny Mendell (Jamie 1708) CAN'T TAKE THE HEARTACHES Mary Ann Fisher (Seg-Way 1007) 16 LOSING YOUR LOVE/ WHAT 1 FEEL IN MY HEART Jim Reeves (RCA Victor 7950) MY BOOMERANG WON'T COME BACK Charles Drake (United Artists 398) 17 LOST PENNY SHADRACK Brook Benfon (Mercury 71912) THE DOOR IS OPEN Tommy Hunt (Scepter 1226) 18 TWISTIN' ALL NIGHT LONG Danny & Juniors (Swan 4092) UNSQUARE DANCE Dave Brubeck (Columbia 42228) 19 HOLLER HEY Jimmy Jones (Cub 9102) FREE ME Johnny Preston (Mercury 23017) 20 1 HEAR YOU KNOCKIN' Fats Domino (Imperial 5796) 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 TEARS FROM AN ANGEL/ ISLAND IN THE SKY Troy Shondell (Liberty 55398) 36 PLEASE COME HOME FOR CHRISTMAS Charles Brown (King 5405) MOTORCYCLE 37 SWEETWATER Tico & Triumpets (Amy 835) Stereos (Cub 9103) SANTA & THE TOUCHABLES 38 SOMETHING YOU GOT Dickie Goodman (Rori 701) Chris Kenner (Instant 3237) DREAMIN' ABOUT YOU 39 SHIMMY SHIMMY WALK Annette (Vista 388) Megatons (Dodge 808) DEAR GESU BAMBINO 40 YOU DON'T HAVE TO BE Christian Morandi (Decca 31343) A BABY TO CRY Joe Barry (Smash 1727) FLYING BLUE ANGELS George, Johnny & Pilots (Coed 555) 41 ONE DEGREE NORTH Mar-Keys (Stax 115) THE THINGS 1 WANT 42 PLAY THE THING TO HEAR Marlowe Morris Quintet Shirelles (Scepter 1227) (Columbia 42218) OLD ENOUGH TO KNOW BETTER Crickets (Liberty 55392J 43 PORTRAIT OF A FOOL Conway Twitty (MGM 13050 DUKE OF EARL Gene Chandler (Vee Jay 416 44 A SUNDAY KIND OF LOVE Jan & Dean (Liberty 55397) 45 BABY DON'T LEAVE ME Joe Henderson (Todd 1066) LET ME IN Sensations (Argo 5405) 46 JAMIE Eddie Holland (Motown 1021) SMOKEY PLACES Corsairs (Tuff 1808) 47 SITTIN' AND DRINKIN' Christine Kittrell (Vee Jay 399) NEIN NEIN FRAULEIN Cathy Carr (Smash 1726) 48 BOMBAY Mike Clifford (Columbia 42226) EVERYBODY'S CRYIN' Jimmy Beaumont (May 112) 49 WHAT'S SO GOOD ABOUT GOODBYE IN THE SAME OLD WAY Tommy Ridgely (Ric 984) Miracles (Tamla 54053) EVERYBODY'S TWISTIN' 50 TWISTIN' BELLS CHRISTMAS DAY DOWN IN MEXICO Santo & Johnny Linda Scott Billy Vaughn (Dot 16295) (Canadian American 132) .E ! I i I Erma Franklin IT'S OVER and HELLO AGAIN Ce3f>ic5 5-9488 rhE eventuaIs chARliE chAN (OiifeA) 30 Cash Box — December 30, 1961 )MPILED BY CASH BOX FROM LEADI NG RETAIL OUTLETS^DEC 30, 1 961 MONAURAL 1 •BLUE HAWAII BMt PresSef (RCA Victor LPM 2426; LSP 2426) 2 • BREAKFAST AT TIFFANY'S Henry Mancinl (RCA Victor LPM 2S62; LSP 2362) 3 •HOLIDAY SING ALONG WITH MITCH (Columbia CL 1701; CS 1501) 4 •! REMEMBER TOMMY frank Sinatra (Reprise R-1003; R9-I003I Pos. Lost WMk 1 5 •JUDY AT CARNEGIE HALL 5 Judy Garland (Capitol BO 1569; 5WBO 1969) 6 THE TWIST 13 Chubby Chockor (Parkway P 7001) 7 YOUR TWIST PARTY 15 Chubby Checker (Parkway 7007) 8 •CAMELOT 8 Orig. B'way Cast (Columbia KOL-S620; KOS-3021) 9 •WEST SIDE STORY 11 film Soundtrack (Columbia OL 5670; OS 2070) 10 •TIME OUT 9 Dare Brubeck (Columbia CL 1397; CS S192) 11 •PORTRAIT OF JOHNNY 6 Johnny Mathis (Columbia CL 1644; CS 8444) 12 •never on SUNDAY 10 Connie fronds (MGM f 3965; Sf 3965; 13 •CLOSE-UP 7 Kingston Trio (Capitol T 1642; ST 1642) 14 •BEHIND THE BUTTON- DOWN MIND 12 Bob Newhart (Warner Bros. W 1417; WS 1417) 15 •WEST SIDE STORY 14 Original B'way Cast (Columbia OL 5230; OS 2001) 16 CHUBBY CHECKER & BOBBY RYDELL 23 (Cameo C 1013) 17 •DOIN' THE TWIST AT THE PEPPERMINT LOUNGE 19 Joey Dee & Starlites (Roulette R 25166; SR 25166) 18 RUNAROUND SUE 17 Dion (Laurie 2009) 19 •WEST SIDE STORY 21 ferrante & Telcher (United Artists UAL 3166; UAS 6166) 20 •YOUR REQUEST SING ALONG WITH MITCH 18 Mitch Miller & The Com (Columbia CL 1671; CS $471) 21 •KING OF KINGS Soundtrack (MGM 1E2; S 112) 20 22 •THE SOUND OF MUSIC 22 Original Cast (Columbia KOL 5450; KOS-2020) 23 •GREAT MOTION PICTURE THEMES 16 Various Artists (United Artists UAL 3122; UAS 61220) 24 •CHRISTMAS SING ALONG WITH MITCH 29 (Columbia CL 1205; CS 8027) 25 •THE SLIGHTLY FABULOUS LIMELITERS 25 (RCA Victor IPM 2392; ISP 2393) Pos. Last Pos. Lost Week Week 26 • MILK & HONEY B'way Cast (RCA Victor LX 1065; tSO 1065) 28 1 STEREO 35/mm Enoch Light 4 Orcb. (Command RS 826 SD) 1 27 • NEVER ON SUNDAY 24 2 BLUE HAWAII 2 Movie Soundtrack Ehrls Presley (United Artists UAL 4070; UAS $070) (RCA Victor LSP 2426) 28 RUSTY WARREN BOUNCES 3 BREAKFAST AT TIFFANY'S 3 BACK 31 Henry Maadnl (RCA Victor LSP 2302) (Jubilee JGM 2039) 4 HOLIDAY SING ALONG 29 KNOCKERS UP 27 WITH MITCH 7 Rusty Warren (Jubilee 2029) Mitch Miller (Columbia CS 8501) 30 • THE ASTRONAUT 26 5 JUDY AT CARNEGIE HALL 4 Bill Dana Judy Garland (Capital SWBO 1549) (Kapp KL 1238; KS 3238) 6 CAMELOT 6 31 • JUMP UP CALYPSO Harry Belalotrte (RCA Victor LPM 2388; LSP 2388) 30 Orta. B'way Cast (Columbia KOS-3021) 7 WEST SIDE STORY 8 32 • PERSONAL APPEARANCE 34 Sound Track Shelly Berman (Vorye V6-15027; Y-1$027) (Columbia OS-2070) 33 LET'S TWIST AGAIIN 36 8 1 REMEMBER TOMMY 5 Chubby Checker (Parkway 7004) frank Sinatra (Reprise R9-1003) 34 • MEXICO 33 9 THE SOUND OF MUSIC 10 Bob Moore Original Cast (Columbia KOS-2020) (Monument M 4005; SM 14005) 10 TIME OUT 9 35 LET THERE BE DRUMS Sandy Nelson (Imperial 9159) 38 Dave Brubeck (Columbia CS 8192) 36 • EBB TIDE Earl Grant (Decca DL 4165; DL 74165) 32 11 KING OF KINGS Soundtrack (MGM SI E-2) 13 37 • JOAN BAEZ VOL II (Vanguard VRS 9094; VSD 297) 40 12 WEST SIDE STORY Ortglaal B'way Cast (Columbia OS 2001) 11 38 • FOUR PREPS ON CAMPUS 35 13 GREAT MOTION PICTURE (Capitol T 1566; ST 1566) THEMES Various Artists 12 39 • BIG BAD JOHN Jimmy Dean (Columbia CL 1735; CS 8535) 43 14 (United Artists UAS 61220) WEST SIDE STORY ferrante 4 Telcher (United Artists UAS 6166) 14 40 • MERRY CHRISTMAS 46 Bing Crosby (Decca DL 8128; DL 78128) 41 • TIME FURTHER OUT Dave Brubeck 41 15 CLOSE-UP Kingston Trio (Capital ST 1642) 16 (Columbia CL 1690; CS 8490) 16 YOUR REQUEST SING 42 DO THE TWIST WITH ALONG WITH MITCH 15 RAY CHARLES (Atlantic 8054) 48 Mitch Miller & The Gattg (Columbia CS 8471) 43 • YELLOW BIRD 37 17 PORTRAIT OF JOHNNY 17 Lawrence Welk (Dot DLP 3389; 253*9; Johnny Mathis (Columbia CS 8444) 44 • SONGS OF PRAISE Mantovani (London LL 3251; PS 245) 45 18 MILK 8> HONEY B'way Cast (RCA Victor LSO 1865) 20 45 • MERRY CHRISTMAS 19 JUMP UP CALYPSO 18 Johnny Mathis Harry Belafeote (RCA Victor LSP 2388) (Columbia CL 1195; CS 8021) 20 MELODY & PERCUSSION FOR 46 • HOW TO SUCCEED IN TWO PIANOS 21 BUSINESS WITHOUT REALLY Ronnie Aldrich (Loadoa SP 40807) TRYING B'way Cost (RCA Victor LOC 1066; LSO 1066) 49 21 EBB TIDE Earl Grant (Decca DL 74165) 23 47 • MESSIAH Mormon Tabernacle Choir — 22 THE SLIGHTLY FABULOUS (Columbia M2L 264; M2S 607) LIMELITERS (RCA Victor LSP 2393) 24 48 • ELLA IN HOLLYWOOD Ella fttxgerald (Verve V 4052; V 64052) 42 23 PASS IN REVIEW Boh Sbarpha 0. (UmOem SP 40001) 25 49 FOR TWISTERS ONLY 47 24 NEVER ON SUNDAY 19 Chubby Checker (Parkway 7002) Connie f rands (MGM Si S96S) 50 • SILENT NIGHT 25 BEST OF THE DUKES OF 30 Lawrence Welk DIXIELAND (Dot DLP 3397; 25397; (Aadle fidelity A/SD $9S6) 26 YELLOW BIRD Lawrence Welk (Dot 25389) Pos. Lost Week 22 27 VICTORY AT SEA Vol III 27 Robert Russeit Besiaatt (RCA Victor IX 2523) 28 NEVER ON SUNDAY Sound Track (United Artists UAS 5070) 29 YELLOW BIRD Arthur Lyman (HifI 1004) 26 28 30 SOMEBODY LOVES ME 29 Ray Conniff Singers (Columbia CS 85442) 31 new piano in town 32 Peter Nero (RCA Victor LSP 23$3) 32 BIG BAND PERCUSSION 31 Ted Heath (London SP 44002) 33 CHRISTMAS SING ALONG WITH MITCH 41 (Columbia CS 8027) 34 MEXICO 33 Bob Moore (Memuateat SM 1409$) 35 time FURTHER OUT 37 Dove Brubeck (Columbia CS 8490) 36 merry CHRISTMAS 40 Johnny Mathis (Columbia CS 8021) 37 PERCUSSION AROUND THE WORLD 34 Infl Pop AH Stars (Loadoa SP 44010) 38 BERLIN MELODY Billy Vaughn (Dot 25396) 35 39 EXOTIC PERCUSSION 39 Stanley Black (London SP 4«)04) 40 PERSUASIVE PERCUSSION 36 Terry Snyder (Command RS 800 SD) 41 GOLDEN PIANO HITS ferrante & Teicher (United Artists WWS 8505) 42 SILENT NIGHT Lawrence Welk (Dot 25397; 42 43 43 SEPTEMBER IN THE RAIN 44 Dinah Washington (Mercury SR 60638) 44 SINATRA SWINGS 38 (formerty SWING JUjOHG Wmt Ml) frank Sinatra (Reprhe R9 1002) 45 MOON RIVER Lawrence Welk (Dot 25412) 46 46 BROTHERS FOUR SONG BOOK 47 (Columbia CS 8497) 47 HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING 48 B'way Cast (RCA Victor LSO 1066) 48 BIG BAD JOHN — Jimmy Dean (Columbia CS 8535) 49 MESSIAH — Mormon Tabernacle Choir (Columbia M25 607) 50 WEST SIDE STORY Stan Kenton (CapHW ST 1600) 45 • Alto oronoMo hi Storoo A* Alto avoHoblo hi EF I I CosiiJIflm ALOUM mmmm. POPULAI t PICKS 0 F THE WEEK TWIST wrm BOBBY DARIN & e n-,' 'i;t fmmmf ddahI Comedy Night atjhe, Apollo "StfOMS^saABLBY BBORm mm “TWIST WITH BOBBY DARIN”— Atco 33 138 Cashing in on the twist craze, Atco has come up with an album of some big Darin hits delivered with an effective dancing b^eat. Young songster’s performance is professional and mature as he reads “Early In The Morning,” “Queen Of The Hop,” and “You Must Have Been A Beautiful Baby.” Set includes two new Darin single hits in “Multiplication” and “Irresistible You.” Disk looms as a sure-fire chart item. “$1,000,000 WORTH OF TWANG, VOL. 11”— Duane Eddy — Jamie JLP 70 3021 Coming back with plenty of zip, Duane Eddy shows that he still has the same success ingred- ients that helped his first “Twang” session score in the coin department. Eddy reads a group of his previous hits including “Pepe,” “Gidet Goes Ha- waiian,” and “Theme From Dixie,” with his dis- tinctive. original style. LP seems a sales natural. “WOODY WOODBURY’S SALOONATICS”— Steroddities MW 4 Laughman Woodbury offers more of his usual gags and stories in this disk recorded live in Fort Lauderdale’s Bahama Hotel. Comic’s risque humor has had a large audience in the past and this new edition should prove equally successfuL A plus factor here are the sounds of Woodbury’s admiring audience. LP looms as a top-drawer seller. “THE ANDREWS SISTERS GREATEST HITS” —Dot DLP 3406 The Andrews Sisters offer a package of sturdies that were the biggest hits of their career. These are the tunes that one automatically associates with them. Their clear, bell-like voices are top form as they read “Beer Barrel Polka,” “Hold Tight,” and “Bei Mir Dist Du Schon.” Billy Vaughn has added modern instrumental back- grounds to the old, familiar vocal arrangements. Set should attract the trio’s fans in droves. “THE COLORFUL PERCUSSIONS OF AR- THUR LYMAN”— Hifirecords L 1005 Arthur Lyman shows his stuff in this potent fol- low-up disk to “Yellow Bird,” his recent hit LP. Lyman and his boys kick off with a dramatic ver- sion of “Exodus” and move quickly into other favorites such as “Blue Hawaii” and “Never On Sunday.” An interesting band contains the group’s jazz version of “Moanin’.” Disk should score on the charts. “COMEDY NIGHT AT THE APOLLO”— “Moms” Mabley and George Kirby — Vanguard VRS 9093 The Mabley humor is beautifully showcased in this album recorded live at New York’s Apollo Theatre. Moms display superior material and a first-rate delivery. George Kirby is also on hand as are the Keynotes, a group of singers who premiered the Theatre the night this disk was cut. Kirby’s bits are filled with yocks and a per- fect match to the Mabley wit. Unfortunately, much of the humor here is visual and lost on the record. However, the infectious spirit of this Vanguard offering makes it a sure noise-maker. “TRIBUTE TO 6”— Ray Allen— Blast BLP 6804 Ray Allen and the Upbeats have come up with a musical tribute to six late r&r stars in this at- tractive package from Blast. The boys shine as they render superb interpretations of Ritchie Valen’s “La Bamba” and “Donna.” Their form is tops as they read Johnny Horton’s “Battle Of New Orleans” and “North To Alaska.” Other artists given musical eulogies are Buddy Holl^ Jesse Belvin, Big Bopper and Eddie Conhran. LP has plenty of built-in sales appeal and should score in the coin department. 1 < M’THE MKwr illil SAM BUTB«* ANO THE WITHS6SES T8E TWBT • TSST TWiSTif 081B m waEsm twist* war twist TTIE ‘Lirs TWIST km MftlBE>*LS8S1,8IST.y(i Wi-WE ffl mi nusis * gi8w woiM . mi bt m LEO FUCKS rntmm sciif S88 Mfmmmmmmm MCSTTtX A. “BALLET WITH A BEAT” — Hal Mooney — Mer- cury PPS 6017 The swinging sounds of Hal Mooney skillfully at- tack a group of classical, semi-classical and popu- lar ballet themes. Mooney and his ork put an exciting, electric flavor into the standard pieces that they read. Orkster turns in excellent rendi- tions of “An American In Paris,” “March Of The Toys” and “Sleeping Beauty Waltz.” LP’s original arrangements make it first-rate listening fare. “DOIN’ THE TWIST WITH LOUIS PRIMA”— Dot DLP 25410 Jumping feet first on the twist bandwagon Louis Prima teams up with Sam Butera and the Wit- nesses for a swinging disk geared for dancing pleasure. The Prima sound is as distinctive as ever as he reads “The Twist,” “Marie,” and “Side By Side.” The Horace Ott arrangements seem perfectly suited for the rockin’ Prima voice. LP should score with both teens and their parents. ■KWAMINA” — Original Cast Capitol W 1645 Cut by Capitol after the show failed, African- based “Kwamina” had many Richard Adler num- bers well-worth an original-cast LP. The most noteworthy are the lovely, folkish “Nothing More To L(mk Forward To,” the “The Sun Is Begin- ning To Crow,” the comic “One Wife” and the strictly Schubert Row ballad, “What’s Wrong topped by Sally Ann Howes (Adlers wife), Terry Carter and Brock Peters. “BEI MIR BISTU SCHOEN”— Original Cast— Decca 79115 The sound of Second Avenue refuses to give in to the hard-boiled economics of today’s theatre. One 01 the biggest Yiddish musical successes of re- cent years is “Bei Mir Bistu Schoen,” whose original-caster will delight many a Yiddish mu- sical fan whose heart is still in the right senti- men^l and nostalgic place. Sholom Secunda, the vet, deft hand at Yiddish musical scores, has writ- ten a number of varied, tuneful numbers (mostly sung in Yiddish) — and included, of course, is oecunda s title favorite. Leo Fuchs, Jacob Jacobs, who also wrote the lyrics, Miriam Kressyn and Leon Liebgold head the reliable cast. DANCING THE BIG TWIST” — Ray Bryant and His Combo — Columbia CL 1746 Ray Bryant has come up with an unusual LP that combines both good jazz and music for twist- ing. The 88’er plays with dexterity as does his ac- complished crew. The boys turn in rousing ver- “Twist City,” “Big Susie,” and “Twist On. There s enough here to attract both twist- ers and jazz buffs. “SING SING SING-ALONG”— A1 Alberts Jubi- lee JGM 2040 Jubilee dishes up an extremely funny collection of evergreen melodies with new satirical l3ndcs. The whole thing is a take-off on sing-along disks. A1 Alberts and the Lifers Chorus read prison- oriented lyrics with style and charm. Half the fun, is the absurdity of the words set to tune of standard melodies. Many laughs to be had here. “STRING BAND STRUM-ALONG”— Tony Mot- tola — Command RS 828 SD Tony Mottola, on the electric guitar, heads up a hand-picked group of string musicians in this excellent collection of evergreens from Command The arrangements here are fresh, exciting, and vibrant. The band starts things off with a rousing version of “Happy Days,” and launches into equally swinging renditions of “Carolina In The Morning” and “Twelfth Street Rag.” Disk pro- vides first-rate listening pleasure. ... To All of You . . . From All of Us . . . For A F ^ry Successful Year LAWRENCE And The Champagne Music Makers Current Albums: “MOON RIVER" Dot DLP 3472 “NORMA ZIMMER SINGS TRUE LOVE” / Dot DLP 25404 Cash Box — December 30, 1961 33 ALBUM REVIEWS mmn enTOTait alls “HAVE A GOOD TIME WITH JOE WILLIAMS” — Roulette R52071 Joe Williams is in his usual top form as he reads a group of Ernie Wilkins-arranged sturdies in this Birdland series LP from Roulette. The re- laxed, easy Williams style perfectly captures the mood of “Old Folks,” “A Blues Serenade,” and “Moonlight In Vermont.” Harry “Sweets” Edison and his ork provide a well-molded musical back- ground for the songster’s vocal talents. Disk should attract attention with Williams’ fans. “MARTYN GREEN SIGNS THE GILBERT & SULLIVAN SONG BOOK”— MGM E 3980 The magnificent impish quality of Martyn Green brings a touch of genius to this fine collection of melodies from the light operas of Gilbert & Sul- livan. Perhaps no other singer in the world today is more closely associated with G & S than Green. His steadfast devotion to his craft has earned him an endless string of laurels and this disk must rank as still another honor for the talented Britisher. The Green reading of “I Am The Very Modern Of Modern Major General” is the high- point of the album and must be classed as super- lative lung work. Jane Bronhill and Andrew Gold assist in other selections. Disk should attract mobs of Green and Gilbert & Sullivan fans. “15 COUNTRY GREATS BY 8 GREAT ART- ISTS”—Hickory LP M 105 Hickory has, in this album, a first-rate group of favorite tunes that should appeal to all appreci- ators of country music. The cast is all-star includ- ing Margie Bowes, Roy Acuff, and Rusty & Doug. The tunes are sturdies with proven records of pub- lic acceptance. LP should draw attention in coun- try circles. “THE SOUND OF FOLK MUSIC”— Various Art- ists— SRV 125 Vanguard has produced a splendid album that will delight all folk tune fans. Disk offers a taste of the top folk stars including Odetta, the Weav- ers, Leon Bibb, Joan Baez and Ronnie Gilbert. The songs come from a worldwide catalog of folk favorites with “Michael Row The Boat,” “East Virginia,” and “Down On Me,” standing out as highlights. LP could become hot item with folk music followers. “JUSTIN TUBB”— Starday SLP 160 Justin Tubb comes through on this Starday offer- ing with a fine collection of his past hits. The Grand Ole Opry chanter displays an original style and professional delivery as he reads “I’d Know You Anywhere,” and “One For You — One For Me.” Songster has more than enough coun- try authority and sincerity to attract a slew of his fans to the LP. “THE GOLDEN COUNTRY HITS”— Warner Mack— Kapp KL 1255 For his first Kapp album Warner Mack offers a fine collection of country winners tastefully ar- ranged and read. The sincere Mack voice has plenty of hillbilly authority as he delivers “A Sat- isfied Mind,” “Don’t Worry,” and “Room Full Of Roses.” LP should catch on with all of Mack’s admirers and win him a new flock of devotees. “PLAY AND SING ALONG TOO!”— Clyde Sech- ler — Ad Lib A224 Ad Lib has a clever idea in this kiddie album that is being released with three tinfoil hand wind instruments for the children to play along as well as sing. Clyde Sechler leads a children’s chorus through the paces of some popular folk songs in- cluding “Who Put The Farmer In The Dell” and “I’ve Been Working On The Railroad.” Set seems a perfect way to introduce kids to music. JAZZ PICK OF THE WEE K “SE'TTIN’ THE PACE”— John Coltrane— Pres- tige 7213 Cut during his exclusive days with Prestige, this disk provides a superb portrait of the swinging brand of jazz associated with John Coltrane. The selections here are extremely varied including “I See Your Face Before Me,” “Little Melonae,” and “Rise And Shine.” Kudos also go to Red Garland, who turns in a first rate job on the piano. Disk has strong sales potential. a “BASH” — Dave Bailey Sextet — Jazz Line JAZ 33-01 Starting off with an impressive version of Sonny Rollins’ “Grand Street” Dave Bailey and his boys give proof positive of their stature as noteworthy jazz artists. The group turns in admirable jobs on “Like Someone In Love” and “Just Friends.” This Rudy Stevenson arranged disk could make some noise with Bailey devotees. “LET ME TELL YOU ’BOUT IT”— Leo Parker- Blue Note 4087 For his first Blue Note disk Leo Parker’s bari- tone sax is teamed up with a fine group of musi- cians with John Burks on trumpet. Bill Swidell on tenor sax, Yusef Salim on piano, Stan Conover on bass, and Purnell Rice on drums. All the tunes here are originals and delivered with professional artistry and control. Notable selections are “Glad Lad,” a catchy uptempo number with Parker tak- ing the opening solo, and “Vi,” a swinging, free- flowing thing with the group turning in a top- notch performance. LP rates as excellent jazz listening. “WHITE GARDENIA” — Johnny Griffin — River- side RLP 387 Johnny Griffin offers his personal tribute to Billj Holiday in this album of tunes that the late thrush made famous. There is one Griffin original in “White Gardenia,” a Holiday-like tune that could well have been one of the lark’s songs. An accomplished group of jazz musicians accompany the Griffin tenor sax in readings of “Gloomy Sun- day,” “No More,” and “Don’t Explain.” Top-flight arrangements by Melba Liston and Norman Sim- mons give the set a polished free-flowung touch. CLASSICAL PICK OF THE WEEK CHOPIN: Sonata in B-Flat Minor, Op. 35; Sonata in B-Minor, Op. 58 — Artur Rubinstein, pianist — RCA Victor LD 2554 The nimble fingers of Artur Rubinstein treat Chopin as an old friend in this brilliant disk from Victor. Pianist has put exactly the right amount of expression into the ‘Funeral March’ to appeal to even the most discriminating audiences. The Rubinstein approach to the “Sonata In B-Minor” comes from a firm understanding of the music coupled wdth superb artistry and skill. Set should make some noise with classical collectors. TCHAIKOVSKY: The Nutcracker, Op. 71 Utah Symphony Orchestra conducted by 3Iaurice Ab- ravnel — V'anguard SRV 123 4 SD Maurice Abravanel and the Utah Symphony Or- chestra have turned in an adroit, beautifully-read performance of the complete “Nutcracker Ballet” in this two-record set from Vanguard. Conductor has captured the bright, lyrical spirit of the im- portant interwoven rhythms of this most difficult piece. All the color and festiveness that the music demands is reproduced. The Chorus of Utah adds an extra charming touch. Disk ranks as a superb rendition of “The Nutcracker.” “KEYBOARD GIANTS OF THE PAST"— Vari- ous Artists — RCA Victor LM 2585 Reaching as far back as 1923, Victor has produced a varied collection of some outstanding piano pieces. Although this album only gives a taste of the various artists, and at times the fidelity is only passable, it ranks as a truly remarkable etching. Here the genius of Paderewski, Pach- mann and Lhevine are preserved for music lovers to appreciate and marvel at. The technical faults are completely overlooked in this memorable LP. ! t ; 1 34 RECORDS is proud to congratulate LAWRENCE THE NATION S NUMBER T and THE NATION S NUMBER T ORCHESTRA (IP S) (from the CASH BOX Year-End Survey) Casli Box — December 30, 1961 35 BIOS OF 1961'S LEADING ARTISTS r-, Bill Anderson — Decca Born in Columbia, S.C. and bred In Decatur, Ga. Bill Anderson completed his B.A. in Journal- ism, from the School of Journalism of the Uni- versity of Georgia. His first success in the music business was early in his high school career, when, as leader of his own high school band, he won the Avondale High School Talent Show, the band of course playing a song that Bill had writ- ten. He has a considerable amount of radio credits, on such stations as WBGE in Atlanta, WEAS in Decatur, and WQXI television in Atlanta. He has played many one night stands and dances throughout the country, and has been met every- where with tremendous enthusiasm. He has, in addition, been a DJ on various southern stations, and worked os sports writer for the DeKalb New Era, in Decatur and the Atlanta Constitution. His success as a songwriter was cemented when four different recording artists all had notable success with a Bill Anderson original, "Xity Lights," and when, in 1958 the same song re- ceived the BMI award for the best song in the C&W field for 1958. As a recording artist, he has been enjoying hit after hit, starting with his first Decca release, "That' What It’s Like To Be Lonesome." Others include "Ninety Nine,** "Walk Out Backwards," and "Po’ Folks." His hobbies include song-writing, baseball, foot- ball and collecting records. Paul Anka — ABC-Paramount In 1960, when Paul Anka turned 18 and was of legal age to appear in nightclubs, an exciting and most important new phase of his young but sensational career was launched. Debuting his act at Las Vegas' Sahara to tumultuous acclaim, he moved on to New York’s Copa and came away with a record-breaking engagement. Dates In a Miami Beach hotel and other famed niteries are now permanent stops in his constant travels. Born on July 30, 1941 in Ottawa, Paul's big break came when he approached Don Costa, then A&R head for ABC-Paramount Records, with four songs he had written. Among them was "Diana," which Costa and other AmPar execs felt Anka should record for them himself. It became a mil- lion-seller and launched the career of the young- ster. He has composed almost all of his hit sin- gles, is o solid LP seller and has an international acceptance with his recordings second to none. Ernest Ashworth — Decca Ernest Ashworth, made his first personal pro- fessional appearance in 1948 on Radio Station WLAC in Nashville, and has been going strong ever since. Born in Huntsville, Alabama, Ernest is one of five children. He decided on a musical career early in life, and taught himself to play the guitar at fifteen. He has appeared on practically all the major radio and TV stations in the South, and has made many appearances on the "Grand Ole Opry" and Ernest Tubb’s "Midnight Jamboree." Besides sing- ing, Ernest is a prolific song writter, and his songs have been recorded by such top country artists os Carl Smith, Jimmy Dickens and Wilma Lee Cooper. The artist lives happily with his wife Elizabeth and three children in Huntsville, where he also works for Redstone Arsenal, in missile develop- ment work. He hopes someday to devote all his time to music and to become a regular member of the "Opry.** In his spare time he enjoys hunting and fishing especially, and is constantly writing new songs. His Decca chart credits include "You Can’t Pick A Rose In December," "Forever Gone" and "Be Mine Again.** Hank Ballard & Midnighters — King The Midnighters, featuring Hank Ballard in the lead slot, rank as one of the most consistent, long- running hit-makers on the wax scene today. The fellas, who began as favorites in the rhythm & blues dept., have become equally as important in the pop category. Their fantastic string of King dual-mart chart winners includes "Work With Me Annie,** "Finger Poppin* Time," "Sexy Ways," "Annie Hod A Baby," "Let’s Go Again," "Let’s Go, Let’s Go, Let’s Co," "Hoochie Coochle Coo," "Teardrops On Your Letter" and the coupler which was the very first version of today's dance sensation, "The Twist." In addition, the fellas have turned out a host of money-making LP’s. Ballard, who makes Detroit his home town, is a baseball enthusiast and is quite prolific as a songwriter and arranger. Personal manager for the group is Ben Bart while the booking office is Universal Attractions. Harry Belafonte — RCA Victor Horry Belofonte has become one of the world’s best known artists as well as one of the world’s most dynomic and magnetic entertainers. He has that something extra that makes him a favorite of the masses. Born in N.Y.C., Harry moved to Jamaica, B.W.I., while a young boy. Then he returned to N.Y. to attend George Washington High School. After his discharge from the Navy he became a member of the American Negro The- atre Workshop and later joined the Dramatic Workshop where he developed his acting talents. Monte Kay heard Belafonte sing at a Workshop meeting and asked him if he would do the same “just for laughs" at the Royal Roost, a club which Kay owned. Belafonte did and Kay signed him to a contract which ran 20 weeks. From this engagement, Harry went on to become a fairly successful pop singer. But not satisfied with crooning he quit the field and opened a restau- rant in N.Y.’s Greenwich Village. During informal songfests at his eatery, Harry discovered a love for folk songs, sought out his friend Millard Thomas (now his accompanist) and together they built a repertoire of folk songs and ballads. He signed a Victor contract and has since had one success after another. In films he starred in "Bright Road," "Carmen Jones" and "Island In The Sun." In 1955 he took Broadway by storm with "Three For Tonight." His albums are con- tinually programmed by jockeys around the world. He has set attendance records everywhere and his TV appearances attract the highest ratings. There are few recording artists who rank with Bela- fonte. Brook Benton — Mercury To songster Brook Benton belongs the invalu- able asset of versatility. He can express himself with equal authority on material ranging from rhythmic teen-market numbers to ligit ballads, and, recently proven, to folk-like items (e.g. "Boll Weevil"). Benton’s career, two years as o hitmaker began in Camden, South Carolina, in a church choir di- rected by his father, and today he declares: ". . . of all the songs I’ve written and recorded, I’ve derived the most satisfaction from my album of spirituals, ‘If You Believe’.’’ At 17, he came to New York to seek his fortune as a songwriter, not a singer. Though success wasn’t sudden in story-book fashion, he eventually clicked through his association with publisher- writer Dave Dreyer, now Benton’s manager. To- gether, they wrote "Looking Back,"
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The Country of Football: Soccer and the Making of Modern Brazil 9780520958258
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Soccer is the world’s most popular sport, and the Brazilian national team is beloved around the planet for its beautiful...
|
en
|
dokumen.pub
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https://dokumen.pub/the-country-of-football-soccer-and-the-making-of-modern-brazil-9780520958258.html
|
Table of contents :
Contents
List of Illustrations
Acknowledgments
Introduction: Serious Play
1. A National Game: Futebol Made Popular, Professional, and Afro-Brazilian
2. When It was Good to be Brazilian: Tropical Modernity Affirmed, 1958–70
3. Playing Modern: Efficiency over Art, 1971–80
4. Risky Beauty: Art and the Opening of Brazil in the 1980s
5. The Business of Winning: Brand Brazil and the New Globalism, 1990–2010
Conclusion: Mega-Brazil
Notes
Works Cited
Index
Citation preview
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https://exclusive712.rssing.com/chan-15881014/all_p76.html
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en
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【独家私货】TrapTwerk+Dubstep.Breaks风格私货包[8.3G]
Trap+Twerk+Breaks+Dubstep
Genre: Trap / Twerk / Future Bass / Moombahton / Dubstep / Breaks
Release: 2017.09.19
Audio codec : MP3
Bitrate: 320 kbpsSize: 8.3GB
部分Trap和Dubstep可用作开场，Breaks (Bpm128-135) 可供DS街舞表演或者调节曲风
【[09.19] Trap+Twerk】
>
$MGGLR & Woogie ft. Keno - T.P.S. (Dirty)
2 Chainz ft. Travis Scott - 4 AM (DJ Valid Remix Dirty)
21 Savage x Nonsens - Gotta Flex On My Ex Bitch (Flosstradamus Trap Bootleg Dirty)
3ELOUD! - Pop That Woo (DJ Konflikt Edit) (Clean)
50 Cent - In Da Club (Delirious & Alex K Puro Pari Remix)
5ENTAVE - Qu (Original Mix)
5napback ft. Laurell Barker - Waste My Time (Intro)
5napback ft. Laurell Barker - Waste My Time (Original Mix)
A Boogie Wit da Hoodie x Jack U - My Shit Febreze OG (Flosstradamus Trap Bootleg Dirty)
A$AP Ferg x Skrillex x Rick Ross - New Level Purple Lamborghini (Flosstradamus Trap Bootleg Dirty)
Aazar - Different (Original Mix)
Adhitya Rizky - Hanuman (Original Mix)
Adian Coker - Anywhere (Watgood Remix)
Aerial - Alive (Original Mix)
Alice Deejay x Crank Dat x Gravez - Better Off Alone 2 Say Things (Flosstradamus Trap Bootleg)
Almighty - Adderall (DJ Blade Remix)
Alyx Ander feat. Caroline Pennell - Wake Up for the Night (Medii x BEAUZ Extended Remix)
Andromulus - Loud In The Streets (Original Mix)
APEK & MAXR feat Denny White - Crawl (Extended Mix)
Artistic Raw - Blah Blah Blah (Original Mix)
ASAP Rocky - Lord Pretty Flacko (Flosstradamus Edit)
Ashley Apollodor, Beatcore - Alive (Original Mix)
Ashtn - Breathe (Original Mix)
ATLiens - Alchemy (Clips X Ahoy Remix)
ATLiens - Alchemy (MineSweepa Remix)
ATLiens - Alchemy (Pierce Remix)
ATLiens - Alchemy (TYNVN Remix)
Audien x 3LAU feat. Victoria Zaro - Hot Water (Two Friends Remix)
Audien, 3LAU, Victoria Zaro - Hot Water (YOOKiE Remix)
Avicii - Without You (Audiohaulix Remix)
Avicii ft. Sandro Cavazza - Without You (Kameo Remix)
AvidBlu - Unleashed (Original Mix)
AXSHN feat. Sofia Reyes - Tell Me (Sak Noel Remix)
Ayo & Teo vs Steve Aoki - Rolex (DJ Baysik PrimeTime Edit) (Clean)
Baauer - GoGo! (Awoltalk Remix)
Bad Decisions feat. Blake Rose - Skins (Original Mix)
Bailo - Bring It Back (Original Mix)
Bandlez - Keep It Trill (Original Mix)
Bashment Yc - Still In It (Original Mix)
Bassjackers & Crisis Era - Nasty (Original Mix)
Bassjackers - Fireflies feat Luciana (Crossnaders Remix)
Bassjackers x Lucas & Steve featuring Caroline Pennell - These Heights (Crossnaders Remix)
Bassnectar & ATLiens - Interlock (Arvoplex Remix)
Beauty Brain & Michael White - Alarma (Original Mix)
BEAUZ feat Aaron Lindt - Away (Original Mix)
Beenie Man - Who Am I (Furo & No Saints Remix)
Ben Biray - Sun of Love (Extended Mix)
Ben Steele - Take Me Away (Original Mix)
Bergwall - Legend (Original Mix)
Big Gigantic - All of Me (Naderi Remix)
Big Gigantic - Brighter Future (Win and Woo Remix)
Big Gigantic - Got The Love (The Funk Hunters Remix)
Big Gigantic - Long Time Coming (Sweater Beats Remix)
Big Gigantic - Odyssey, Pt. 1 (KRANE Remix)
Big Gigantic - The Little Things (Luca Lush Remix)
Big Tymers x Nonsens - Get Ur Roll On U Should Know (Flosstradamus Trap Bootleg Dirty Super Short Edit)
Biicla x Yin G - Lit (Original Mix)
Bivius - Just Go (Original Mix)
Biz Markie - Just A Friend (Flosstradamus Twerk Mix Clean Super Short Edit)
Bizzey, Jozo, Kraantje Pappie - Traag (Daisy Remix)
Blaine Stranger - Into You (Original Mix)
Blink 182 - Adam's Song (Corrupt Remix)
Blink 182 - What's My Age Again (Reed Streets Remix Dirty)
Bone Crusher - Never Scared (Wellman Remix Dirty)
Bonnie x Clyde - Bass Jam (Convex Remix)
Bonnie x Clyde - Bass Jam (Jameston Thieves Remix)
Bonnie X Clyde - Hooked (Tule Remix)
Bonnie x Clyde - Hooked On You (Jupe Remix)
Boombox Cartel - Jefe (VIP)
BOOSTEDKIDS, Deborah Lee, Chris Tyrone - Dangle (Michael Prado Remix)
BOOSTEDKIDS, Deborah Lee, Chris Tyrone - Dangle (Original Mix)
Borgore x G-Eazy - Forbes (Wildfellaz & ASUHRUH Remix)
Boye & Sigvardt x MAGNS feat UHRE - Astronauts (TANG Remix)
Bright Lights - Billion Dollar Love (Original Mix)
BRKLYN feat. Jocelyn Alice - I'm On Somethin' (Extended Mix)
Bro Safari feat. Dillon Francis & Salvatore Ganacci - XL (MineSweepa Remix)
Bro Safari feat. Dillon Francis & Salvatore Ganacci - XL (Tascione Remix)
Bro Safari feat. Dillon Francis & Salvatore Ganacci - XL (Tisoki Remix)
Bronze Whale & Popeska - Imagine (Proppa Remix)
Buku - Align (Original Mix)
Cadence - Chasing (Original Mix)
Calvin Harris - Thinking About You (Fransis Derelle & Coolights Remix)
Calvin Harris Ft. Florence Welch - Sweet Chapters (Marc Stout XS Las Vegas Mashup)
Cannibal Y Aaar ft Robin Kid - Subeme La Nalga (Jstjr X Zoobeatz Refix) (Dirty) (Extended)
Cappa, BISHU, Quix - Skin To Skin (Extended Mix)
Cardi B - Bodak Yellow (BabeyDrew Remix Dirty)
Cardi B - Bodak Yellow (SABER Remix)
Cardi B - Bodak Yellow (Tascione & Sharps Re-Sauce)
Cardi B - Bodak Yellow (Twalle & Vinny Vibe Trap Remix Dirty)
Cardi B - Bodak Yellow (Y2K Remix Dirty) (Extended)
Cardi B - Bodak Yellow (Y2K Remix Dirty)
Cardi B x Vlien Boy - Bodak Yellow (BENZI x CHUWE EDIT)
Carta - Kartel (Original Mix)
Charli XCX - Boys (DROELOE Remix)
Charli XCX - Boys (Nevada Remix)
Charlie Puth - Attention (NiO Remix)
Charlotte Devaney & Riff Raff - Lemon Latte (Intro - Dirty)
Cheat Codes ft. Demi Lovato - No Promise (Leowi & NGO Remix)
Chelsea Cutler - You Make Me (Original Mix)
Chilling Spree - Gizmo (Original Mix)
Chime & Holly feat. LoneMoon - Chronoception (Original Mix)
Chris Brown - Questions (Dibs & MGM Caskets Bootleg)
Chris Brown - Questions (Nikko Calor Puro Pari Remix)
Chris Brown ft. Yo Gotti, A Boogie Wit Da Hoodie, & Kodak Black - Pills & Automobiles (Tall Boys Cold Skin Bootleg Dirty)
Chuck Upbeat - Babylon Zone (Original Mix)
Chuka Royalty - What Do I Do (Sidelmann & Northland Remix)
Clean Bandit ft. Zara Larsson - Symphony (YUDA Remix)
CMC$, Stevie Appleton - Those Lights (Original Mix)
Corporate Slackrs, Emma Zander - Electric Sky (Original Mix)
Cosma - Burn (Original Mix)
CrankDat - Dollars (Original Mix)
Creaky Jackals - High Frequency (Original Mix)
Crizzy & Cursor - H.I.T.S. (Original Mix)
Crystal Skies, Aeryn - Something New (Original Mix)
Culpriit - Driveway (Extended Mix)
Curtis Alto - Akilah (Extended Mix)
Curtis Alto - Woma (Extended Mix)
Curtis Alto feat. Julia Anrather - You Might (Extended Mix)
CVRTOON x Onur Koc - AK47 (Original Mix)
D-DOTs ft Snappy Jit - Swangin' Waist (Dos Flakos Moombahton RMX Super Short Edit)
D-Rashid & Deadly Zoo ft Raquel Sofia - Donde Vas (Latin Village 2017 Anthem Moombahton Spanish Super Short Edit)
Daddy Yankee Feat Luis Fonsi Y Justin Bieber - Despacito (Dunci Remix)
Daft Punk x Marshmello - One More Time Alone (Benzi Edit - VIP)
Dani 3palacios, Destorm - Tsunami (Remix)
Danny Ocean - Me Rehuso (Exile Bootleg)
David Guetta, Justin Bieber - 2U (FRNDS Remix)
David Guetta, Justin Bieber - 2U (Nate C. The Chief Remix Clean)
David Guetta, Justin Bieber - 2U (Tom Martin Remix)
Dead Battery - Indian Red (Original Mix)
Decky Reza - Trippy (Original Mix)
DeFreight - Lazy Bitch (Original Mix)
Demi Lovato - Sorry Not Sorry (Tall Boys Alone Bootleg)
Denis Phenomen, Potrykus - Damn Damn Damn (Original Mix)
Devarra & Aydra - I Wanna Be (Original Mix)
dEVOLVE feat. Keno - Break Down (Original Mix)
Dewian Gross - One For The Money (Original Mix)
Dex Arson - Rampage (Heartful Remix)
Diamond Pistols feat LX & Reese - Gold Rush (Ideas) (Original Mix)
Dillon Francis & G-Eazy ft. Galiv - Say Less (SLAVA CHORD Remix)
Dirtcaps & Mightfools - Put Ya Hands Up (Moombahton Super Short Edit)
Dirtcaps, Jantine - Need A Friend (Original Mix)
Disclosure vs Reece Low vs Ummet Ozcan - Latch (DJ Scene 2017 Rework)
Disto & Noizekid feat. Vindon - Bruk Wild (Original Mix)
Disto - Visions feat Omar Varela (Original Mix)
DJ DimixeR feat. Max Vertigo - Sambala (Original Mix)
DJ Khaled ft Justin Bieber, Quavo, Chance The Rapper & Lil Wayne - Im The One (Yk Jersey Club Twerk Remix)
DJ Khaled x Badrapper - All I Do Is Win (Ookay x Benzi VIP Edit)
DJ Khaled x Bieber x Olmos x Somlo - I'm The One (BENZI EDIT)
Dj Khalid Vs Magnifico & Sweet Teeth - All I Do is Win (Flipside Edit)
DJ Snake & Lil Jon vs Quintino - Get Low For What (Roger Mashup)
DJ Snake Ft. Bipolar Sunshine - Middle (Mark Anthony Edit)
DJ Territo - My Love (Paranoid Remix)
Donald Bucks - Pampit (Original Mix)
DOOBAC - T R D S N L (Original Mix)
Dragonette - Body 2 Body (Bro Code Remix)
Drake x Breaux - Jumpman The End (Flosstradamus Trap Bootleg Clean Super Short Edit)
DROELOE - Homebound (Original Mix)
Droeloe - Sunburn (Original Mix)
Dropgun & XORR feat Elle Vee - All I Want (Original Club Mix)
Dropgun - Little Drop (Original Mix)
Dua Lipa - New Rules (Alison Wonderland Remix)
Dual Gravity, DUALL, Ghost Dragon - Talking To A Wall (Original Mix)
DVBBS x Ido B & Zooki - Drop It (Original Mix)
DVRKNK - Beyond Life (Original Mix)
Dysphemic - The Hunted (Original Mix)
Dzeko feat. TOKA-J - Heart Speak (Extended Mix)
E.P.O - Pressure (Original Mix)
Ed Sheeran - Shape Of You (Nolo Aguilar Y Tonny Serra Dj Wissyn Edit)
Ed Sheeran X Juve X Awoltak - Shape Of You (Zetabeme Intro Edit)
Egzod, Chris Linton - Wake Up (Original Mix)
Eiffel 65 - Blue (Psychic Type Remix)
Ekali & Denzel Curry - Babylon (Havok Roth, Pierce & Blacklist Remix)
El General - Tu Pum Pum (Steve Smooth 2017 Remix)
Elephante, Deb's Daughter - Troubled (Haides Remix)
Eliminate & Mine Sweepa - Hotel Trash (Original Mix)
Eliminate - Champagne (Original Mix)
Eliminate - Detox (Original Mix)
Eliminate - No Sleep (Original Mix)
Eliminate - Tipsy (Original Mix)
Elk Road - Come Down (Goldtryck Bootleg)
Ember Island X Radiohead - Creep (Thoreau Remix)
Eminem x Lady Bee x Floss - Forgot About Dre Run Off (Flosstradamus Trap Bootleg Dirty)
Enferno & Shiftee (E.A.S.Y.) - Naked (Original Mix)
Enur vs Scooter vs JD Live vs Skrillex & Dillon Francis - Calabria vs Bun Up The Dance (DJ Baysik Bootleg) (Clean)
Era Istrefi & Felix Snow - Redrum (What So Not Remix)
ERBS - Connection (Original Mix)
Esther Dean X Bro Safari, Dillon Francis & Salvatore Gannaci X Tall Boys & Puro Pari - Drop It Low Xl (Jpan Bootleg)
ETC!ETC, Bro Safari - Not My Tempo (Original Mix)
Evalyn - Filthy Rich (Neutral. Remix)
Evanescence - Bring Me To Life (Pat C's Moombahton Bootleg)
Eve - Tambourine (DJ Poun X Ty Adams Remix Dirty)
Excision, Dion Timmer - Final Boss (Dillon Francis Remix)
Fabian Mazur & UNKWN - Firestarter (Original Mix)
Fall Out Boy - Sugar, We're Goin Down (Adam Jasim & HEXX Bootleg)
Far Out - Contact (Original Mix)
Felix Cartal - Get What You Give (Ship Wrek & Part Native Remix)
Fenix Ft. Lisa Williams - California Sun (Fenix Remix)
Fetty Wap x Lil Jon - $ave Dat Money Bend Ova (Flosstradamus Twerk Bootleg Dirty)
FLOSSTRADAMUS & DJ SNAKE - Pop Dat Pussy (Dirty)
Flosstradamus, GTA & Lil Jon x Drowning Pool - Prison Riot Bodies (Flosstradamus Trap Bootleg Dirty)
Flux Pavilion x Funtcase - I Can't Stop Funtcase (Flosstradamus Trap Bootleg)
Flyke - Beyond The Horizon (Original Mix)
Frank Walker - Less Lonely (Young Bombs Trap Remix)
Frank Walker - Less Lonely (Young Bombs Trap RMX - Short Edit)
French Montana - Unforgettable (Slushii Remix)
French Montana ft Sway Lee - Unforgettable (RICO Remix)
Froidz feat. Ria - Deja Vu (Extended Mix)
FTampa - Light Me Up (Original Mix)
Funky House Brothers - I Wish (Alcatrapz Remix)
Future ft. Nicki Minaj - You Da Baddest (Benzi & Nitti Gritti Came Up Bootleg Dirty)
Future x NGHTMRE - Commas Dum Dum (Flosstradamus Trap Bootleg Clean)
Future x Rickyxsan - Commas Gettin That (Flosstradamus Trap Bootleg Dirty)
G-Eazy ft. A$AP Rocky & Cardi B - No Limit (RVNSOM Alamo Bootleg Dirty)
Galantis & ROZES - Girls On Boys (Original Mix)
Galantis x Joe Maz - Hunter (Mark Anthony Bootleg)
Galavant feat. Max S & Dafina - Never Gonna Let You (Extended Mix)
Galavant, Kheela - Good Love (Original Mix)
Gareth Emery & Standerwick feat. Haliene - Saving Light (Decoy! Remix)
GIDEXEN - Reload (Original Mix)
Glacier feat. Brenna Myers - Nurture (Original Mix)
Grant, Anevo & Conro feat. Victoria Zaro - Without You (Original Mix)
Greg Gatsby, J Allen - I Got You (Original Mix)
Grey, Skott - Crime (Original Mix)
Griz feat. Eric Krasno - Wicked (Dirty Audio Remix)
GTA ft Iamsu! - Contract (NXSTY VIP) (Kid Conrad Club Edit) (Dirty)
Gucci Mane - PILLZ (foxsky's ALL CLAWS NO PAUSE bootleg)
Gucci Mane ft. Migos - I Get The Bag (Tall Boys Alchemy Bootleg Dirty)
Halsey - Now Or Never (Wide Awake Remix) (Extended)
Halsey - Now Or Never (Wide Awake Remix)
Hardwell & Henry Fong feat. Mr. Vegas - Badam (Extended Mix)
Hardwell & Henry Fong feat. Mr. Vegas - Badam (Karioko Extended Mix)
Henry Fong Ft. Nyla & Stylo G - Young Hearts (Lady Bee Remix)
HIDDN feat. Julia Ross - Carbon Monoxide (Original Mix)
Holly X CMRN - Ambedo (Original Mix)
Honey Badjah - It Took Too Long (Original Mix)
HOPEX - Gem (Original Mix)
Hottub, Badrapper - King (Original Mix)
Hudson Mohawke - Cbat (Boombox Cartel Remix)
Huey vs Steve Aoki & Yellow Claw - Pop Lock & Drop Lit (Danny Diggz Trap Bootleg Clean)
Ian Munro & Yvng Jalapeno - I Don't Need You feat. Culpra (Original Mix)
Iggy Azalea - Bounce (Spryte Hype Moombahton Trap Party Break Dirty)
Illenium feat. Annika Wells - Crawl Outta Love (Intro - Dirty)
Imagine Dragons - Believer (Kaskade Remix)
INKYZ x Dubskie - Make It Wobble (Original Mix)
Inquisitive feat. Abbey & Ronin - Two of Us (VINAI Edit)
IZII - Birds (WRECKVGE Remix)
J Balvin ft Willy William - Mi Gente (Deville Moombahton Remix Spanish Clean)
J Young & Caston - Close (Original Mix)
J. Bernardt - On Fire (Pomrad Remix)
J.Views - We Moved (Bad Royale Remix)
Jan Leyk, Jakub Ondra - It's Wrong (Original Mix)
Jantsen & Dirt Monkey - Wicked (Original Mix)
Jarina De Marco ft. GTA - STFU (Dirty)
Jay-Z x Kanye West x Aazar x Ookay - Paris (Benzi Edit)
JayKode feat. Marco Foster - Wasted (Original Mix)
Jennifer Lopez - Jenny From The Block (Pink Panda Moombahton Remix)
Jinco - Tokyo (Original Mix)
Jo. Cohen, Becca Krueger - Don't Look Back (Original Mix)
Joan Jett - I Love Rock 'N' Roll (MAKJ RMX Hype Intro Super Short Edit)
Joan Jett vs Jay-Z vs MAKJ vs Bro Safari, Dillon Francis & Salvatore Ganacci - I Love Rock XL (Gamble Mashup) (Clean) (Extende
JoJo - FAB feat. Remy Ma (Johnny Beast Remix)
Jon Casey - Geneva (Original Mix)
Jordan Comolli feat. Lil Traffic - Clash (Original Mix)
Julian Calor - Night Shade (Original Mix)
Justin Bieber & BloodPop - Friends (DJ Stevie Beats Remix)
Justin Bieber & BloodPop - Friends (H3RDELL & KYZO Remix)
Justin Bieber & BloodPop - Friends (Splyce & 2Way Remix)
Justin Levai - Last Fight (Original Mix)
Justin Timberlake ft The Clipse - Like I Love You (BASOMATIK Moombahton RMX Super Short Edit)
Juyen Sebulba - Tongue Roll (Kovalenco Gennadi Remix)
JVST SAY YES - Jumping (Original Mix)
Kamaura ft. The Fever - Pretty Green Eyes (Original Mix)
Karol Tip - Drift (Original Mix)
Kayoh - Flex (Original Mix)
Kayoh - Gone feat Bri Tolani (Original Mix)
Kayoh - Muse (Original Mix)
Kazlo ft. Helen Tess - Young Together (Original Mix)
Kelis - Milkshake (Tim Hox Remix)
Kelis - Milkshake (Tuner Remix)
Kesha - Praying (Jack Walker Remix)
Kevin Lyttle - Turn Me On (Staysick Edit)
Kevin Rudolf - Nobody Gets Out Alive (Original Mix)
Khalid - Young Dumb & Broke (Pat C Vs. Joe MazTrap Bootleg)
Kiesza x Crankdat - The Moment Say Things (Flosstradamus Trap Booteg)
Kloake - Bridges (Original Mix)
KODEK - Voices (KODEK Remix)
Krajno - Saxoton (Original Mix)
KRANE & MYRNE - Monarch (Extended Mix)
KRANE - Nobody But You (Original Mix)
Krewella - Be There (VICE CITY Remix)
Krewella - Love Outta Me (Pierce Remix)
Kris Kross - Jump (Greg Lopez Remix)
KURA - Sedated (Extended Mix)
Kyco - Little Bit Closer (VIP)
Kyral x Banko - Bend It (Original Mix)
Kyral x Banko - Focus (Original Mix)
Kyral x Banko - Matrix feat. Matty Did That (Original Mix)
L D R U - The Calling (Original Mix)
LA Tronic - Follow Me (Rhy Dah Remix)
Lady Bee feat. Tropkillaz & Oktavian - Murder (Extended Mix)
Lash - I'm Gonna Be There (Extended Mix)
Lauv - I Like Me Better (NU-WAVE Remix)
Lema - King (Extended Mix)
Lennart Schroot, Unknown Brain, Sru - Kuyenda (Original Mix)
LEVV - Collateral Damage (Anki Remix)
LEVV - Collateral Damage (Danny Olson Remix)
LICK DA CAT - Jason (Original Mix)
Lil Boosie - Crazy (Original Mix)
Lil Jon x Command Q - Monkey (Flosstradamus Twerk Bootleg Clean)
Lil Uzi Vert - Sauce It Up (Dibs & MGM Alarma Bootleg Dirty)
Lil Uzi Vert - XO TOUR Llif3 (CYBRPNK Remix)
Lil Uzi Vert - XO tour llif3 (DISTO REMIX)
Lil Uzi Vert x Drake x Lil Wayne x B-Side - XO Tour Forever Llif3 (KUR3 Trap Bootleg Dirty)
Linkin Park - In The End (Jaydon Lewis Remix)
Linkin Park - Roads Untraveled (CRaymak Remix)
Linkin Park ft. Kiiara - Heavy (Averous Remix)
Logue4 - Disco (Original Mix)
Loosid - No Gravity (Original Mix)
Lost Kings - Look At Us Now (Justin Caruso Remix)
Lost Stories - Paradise (Extended Mix)
Loud N' Killer - Dazed (Original Mix)
Louis Tomlinson Ft. Bebe Rexha & Digital Farm Animals - Back To You (Cabuizee x Flrivn & Nikki X Remix)
Luca Rezza & Fintan Vais - Messing Widda (Original Mix)
Ludacris Vs. Flo Rida - How Low Can You GDFR (CL Edit)
MadRats - Black Queen (Original Mix)
Major Lazer ft. Busy Signal - Jump (404 Remix)
Marble - Steinway Street (Original Mix)
Marc Madness - Mean (Original Mix)
Maroon 5 ft SZA - What Lovers Do (Slushii Remix) (Extended)
Marshmello Ft. Khalid - Silence (Cabuizee & Nikki X Remix)
Max Styler - Gold (Awoltalk Remix)
Max Styler - Secrets (feat. CXLOE) (Extended Mix)
Max Styler, GOldn - Promises (Original Mix)
MaX WaXman - Scratch (Original Mix)
Meek Mill vs Skrillex & Valentino Khan (SickStrophe Remix) - Check (DJ Baysik Bootleg) (Dirty)
Meroshi - Erase (Original Mix)
Mervin Mowlley - Loyalty (Original Mix)
Migos x TYNVN - Hannah Montana (BENZI x FAED EDIT)
MIJAST - Shake It (Original Mix)
Milano the Don x TWOFACE! - FWTHS (Original Mix)
Mr. Ours - Space Travelers (Original Mix)
Mt Eden - Sierra Leone (TWO OWLS Remix)
N.O.R.E. ft. Nina Sky & Big Mateo - Oye Mi Canto (Dibs & MGM OMG Bootleg Clean)
Nato Feelz - Moonwalk (Original Mix)
Nefroo - Bring In It Back (Original Mix)
NGHTMRE & Carmada feat. Xavier Dunn - Embrace (Original Mix)
NGHTMRE & Slander x Van Halen - Panama (DJ Scene Bootleg)
Niko The Kid - On The Run (Extended Mix)
No Riddim & Megan Lee - Young & Broken (Original Mix)
Not Your Dope - Indestructible (feat MAX) (Extended Mix)
Noxah - Worth It (Original Mix)
Nylez - Come Back (Original Mix)
Off Bloom - Shut Up And Let Me Walk (Dirty)
Okiba - Through The Night (Original Mix)
Ookay & Fox Stevenson - Lighthouse (Original Mix)
Oolacile, Popsikl - Cliq (Original Mix)
OutKast - Ms. Jackson (San Holo Remix)
OXXID & Tvvice ft. Harley Bird - Lighthouse (Original Mix)
P-Lo vs Diplo - Put Me On Something (DJ Baysik Bootleg) (Dirty)
Party Favor - WAWA (KRNGLE Remix)
Party Thieves & Flosstradamus - Tick Tock (Original Mix)
Party Thieves, Avance - Froth (Original Mix)
PLVTINUM - If You're Gonna Leave (BVRNOUT Remix)
Portugal The Man - Feel It Still (dEVOLVE Remix)
PRMITV x ANXIRE - Crimson Moon (Original Mix)
Psymbionic & Cloudchord - Vision (Unlimited Gravity Remix)
Pyrodox - Never Gonna Leave My Mind (feat. Martyn Ell) (Original Mix)
Quintino, R3hab - I Just Can't (Original Mix)
QUIX - Riot Call (Russnfrnd Remix)
Qulinez - World Gone Crazy (Original Mix)
Qulinez, Kyle Reynolds - Moving Pieces (Extended Mix)
R3hab & Khrebto - You Could Be (Original Mix)
R3HAB & Waysons - Shanghai (Original Mix)
R3Ne - Clowns (Original Mix)
R3Ne - Freak (Original Mix)
Rabvit - La Danza (Original Mix)
Rae Sremmurd x Slumberjack - No Type (Benzi Edit)
Rat N FrikK - Mindcloud (Original Mix)
Rawtek & Nonsens - Muzzle (DJ Konflikt Edit)
Rawtek & Nonsens - Muzzle (Original Mix)
Rawtek & Stoltenhoff - Tacos In LA (Original Mix)
Razihel & Drama B - Celebrate (Original Mix)
Reach - Nobushi (Original Mix)
REGI - Where Did You Go (Summer Love) (Nico Nobels & Venemy Remix)
Rhannes - Pulling Me Down (Extended Mix)
Ricky Remedy & JOHN.k - Gold (Original Mix)
Ricky Remedy ft Lil Jon & Krumm vs Yo Gotti - Ratchet Rake It Up (DJ J Bray Edit Dirty)
Rickyxsan & Hydraulix - Sleep (Original Mix)
Rico & Miella - Forever (Disco's Over Extended Mix)
Rihanna ft. JAY-Z - Umbrella (Gama Moombahton Remix)
RL Grime - Core (Far x Few Flip)
RMR - Lights (Original Mix)
Robin Schulz & HUGEL - I Believe I'm Fine (Original Mix)
Romeo Santos ft Daddy Yankee, Nicky Jam - Bella Y Sensual (Tek One & Alex Dynamix Bootleg) (Clean)
Rude Boy feat. Nami - Illusion (A. R. M. O. S. Remix)
RudeLies & Shiv feat. Rosendale - Salt (Original Mix)
Rudimental ft. James Arthur - Sun Comes Up (Leon Lour Remix)
Run The Jewels - Oh My Darling (Don't Cry) (Flosstradamus Trap Remix Dirty Unmastered)
SAINT WKND ft. MAX - Survive (Original Mix)
Salvi & Aarpa ft. Kelson La Bestia - Tornao (Original Mix)
San Holo - The Future (Jupe Remix)
San Holo - The Future (Taska Black Remix)
Savi feat. Ida da Silva - Losin' Myself (Extended Mix)
Say My Name, Kevin Flum - Get On My Level (ETC!ETC! Remix)
Say My Name, Kevin Flum - Get On My Level (HVRCRFT Remix)
SAYMYNAME, Protohype, Crichy Crich, DJ Paul - Run This (Original Mix)
Scorsi - So Simple (Extended Mix)
Sean Paul - Get Busy (Marc Stout MashUp)
Selena Gomez & Gucci Mane - Fetish (Galantis Remix)
Seven Lions & Trivecta - Rush Over Me vs Shatterpoint (Seven Lions Mashup)
Seven Lions & Unlike Pluto - Rescue Me (Original Mix)
Shaun Frank - No Future (Boxinlion Remix)
Shaun Frank - No Future (Spirix Remix)
Sheiny x Qwant x Shapi - The Other Side (Original Mix)
Showtek & GC - Don't Shoot (Hopsteady Remix)
SKAN feat. M.I.M.E - Mia Khalifa (Original Mix)
Skan x Krale - No Glory (LBLVNC Remix)
SKG - Like Nobody (Original Mix)
Skrillex & Diplo feat. Fly Boi Keno - Beats Knockin [Demo]
Skrillex - Scary Monsters & Nice Sprites (KREACH Remix)
Skrillex x Poo Bear x Max Styler - Would You Ever (Benzi X Kayzo Edit)
Slips & Slurs feat. Harry Shotta - Moving Hectic (Original Mix)
Sluggo x We Bang & Mister Black - Lighta (Original Mix)
Snails feat. Sarah Hudson - Into the Light (Original Mix)
Snoop Dogg - Next Episode (Staysick Twerk Edit)
Sophie Francis - Lovedrunk (TV Noise Extended Remix)
Spock feat. Nah Mean - Floating (Original Mix)
Spray - Front To Back (Original Mix)
Statik Link - It's A Sure Funkin' Thang (Original Mix)
Statik Link - We Came To Party (Original Mix)
Statik Link ft. Lapse & Chuck Bedlam - Desirable (Original Mix)
Statik Link ft. Mane Course & Chuck Bedlam - Actin' Rude (Original Mix)
Steve Aoki & Yellow Claw ft T-Pain x Queen - Lit (Fuseamania Rock You Wordplay Trap Bootleg Clean)
Stuk & Tony Junior - Badman (Original Mix)
Stuk & Tony Junior - Bump It Up (Original Mix)
Stuk & Tony Junior - Smoke (Original Mix)
Swedish House Mafia x Skrillex - One Killa (Flosstradamus Trap Bootleg)
System Of A Down x GTA x Skrillex - Chop Suey Red Lips (Flosstradamus Trap Bootleg)
T-Mass & Maori feat. Aviella Winder - Find Me (Original Mix)
T.I. - What You Know (KidCutUp What You Know Bootleg Dirty)
Taryn Manning - Gltchlfe (Original Mix)
Tascione - Baile (Original Mix)
Taylor Swift - Look What You Made Me Do (Cabuizee & Nikki X Remix)
Tekraw x Mad Blow - Wakiza (Original Mix)
TELYKast ft Ian Gott - Stay Friends (Intro Cold Out)
The Buildzer, The DropStarz, Vic Kenders - Goals (Original Mix)
The Chainsmokers & Coldplay - Something Just Like This (Dion Timmer Remix)
The Chainsmokers - Dont Let Me Down (DJ J Bray Bootleg Clean)
The Chainsmokers - Honest (Rave Radio & BEAUZ Remix)
The Chainsmokers - Honest (Tritonal Remix)
The Galaxy - Blaze (Original Mix)
The Galaxy - Neenjah (Original Mix)
The Galaxy - Shake It (Original Mix)
THEY. - Silence (Naderi Remix)
Tisoki feat. Joegarratt - Want U 2 Know (Original Mix)
TOFU ft Joe Jordan - Body Like A Back Road (Sam Hunt Cover)
Tommy Driker - Ppap (DJ Blade Edit)
Tony T, Maison & Dragen - Party In Rio (Extended Mix)
TOP $HELF - FLEX (Original Mix)
Torro Torro x Smalltown DJs - House Shake (2SCOOPS Remix)
Tory Lanez - Luv Shake Drop Repeat (DJ Emagen Remix)
TraiBing - Falling (Original Mix)
Travis Porter x Laxx x Flosstradamus - Swag Surf Threat (Flosstradamus Trap Bootleg Clean)
Travis Scott x Oski - Antidote Squats (Flosstradamus Trap Bootleg Clean)
Trias - Step Back (Original Mix)
TULE - Everybody (Original Mix)
Tut Tut Child feat. Beth Cole - If I Could (Original Mix)
Twerl - Stay (Original Mix)
TYNAN & DISTO - Rover (Original Mix)
TYNAN - Duality (Original Mix)
TYNAN - Heretics (Original Mix)
TYNAN feat. Sam King - Doppelganger (Original Mix)
Tyranix - Nusantara (Original Mix)
UFO Project - Shorty Come My Way (Original Mix)
Ummet Ozcan - Showdown (DJ Dexterous Funky Beat Hype Intro Trap Dirty)
UnicornDie - Birds (Original Mix)
UnicornDie - For A Day (Original Mix)
Unlike Pluto feat. Joanna Jones - No Scrubs (Original Mix)
Urbanstep & Micah Martin - Burn The City Down (LENNY & JNNY Remix)
Urbanstep & Micah Martin - Burn The City Down (Marin Hoxha Remix)
Valence, Sefaro - Empire (Original Mix)
Vice Feat. Jon Bellion and Kyle - Obsession (Joe Maz Remix) (Dirty)
Vice Ft Jon Bellion - Obsession (Deorro Remix)
Vigiland - Friday Night (Tropkillaz Remix)
VINAI, Anjulie - Where the Water Ends (Original Mix)
VINAI, Carnage - Time For The Techno (Original Mix)
Virtual Riot, Tribes. - Kingdoms & Castles (Original Mix)
Vybz Kartel - Fever (Major Lazer Remix)
Waka Flocka Flame and Dj Whoo Kid Feat. The Runners - Rock Paper Scissors (Dirty)
Waka Flocka Flame vs YOOKiE - Grove St. Chango (J Rythm Mashup) (Dirty)
Waka Flocka Flame x Boombox Cartel x Quix - Hard In The Pain (Flosstradamus Supernatural Trap Bootleg Dirty)
Warpsize - Drink (Original Mix)
Wax Motif & ANGELZ - Five Alarm (Original Mix)
Waysons - Illusions (Original Mix)
What So Not & LPX - Better (Original Mix)
Whethan - Love Gang (Candyland & Filip Remix)
Wide Awake ft. Wiley - Down Up (PartySquad Remix)
Wise & Young feat Fanny Leeb - Awake (Kevin da Silva & Calvin Clerc Extended Remix)
Wiwek - Savage feat Finess (Original Mix)
WOLF - How High Are You (Original Mix)
Woodpile - Dissolute (Original Mix)
X-Change, Alina Renae, Ultimate Rejects - Want You Still (Original Mix)
Xan Griffin feat. NEONHEART - Leo (Original Mix)
XYLO - What We Are Looking For (Original Mix)
Yahtzel feat. Savo - Someone Else (Original Mix)
Yandel - Mi Religion (Santarosa vs Delirious & Alex K Bootleg)
Yasutaka Nakata feat. ROSII - Love Don't Lie (Ultra Music Festival Anthem)
Yeah Yeah Yeahs - Heads Will Roll (Jaydon Lewis Trap RMX Short Edit)
Yellow Claw, Juyen Sebulba - DO YOU LIKE BASS (Original Mix)
Yfn Lucci x Slander x Stoltenhoff - Everyday We Lit (Benzi Edit)
Yo Gotti & Mike Will Made-It Ft. Nicki Minaj Vs. BoomBox Cartel - Rake It Up (Fuseamania Bootleg)(Dirty)
Yo Gotti - Rake It Up (Lemi Vice & Action Jackson Remix Dirty)
Yultron feat. Jay Park & Bone Thugs-N-Harmony - Thuggin 4 My Baby (Extended Mix)
Yume & Indra - Fusion (Original Mix)
Yung Joc x Lionsize - Its Goin Down (Flosstradamus Twerk Mix Dirty)
Z Box - Nepangkeun Kami (Original Mix)
Zeds Dead, Diskord, & Reija Lee - Blood Brother (Original Mix)
Zenon - Take Them (Original Mix)
Zhu - Chasing Marrakech (Original Mix)
Zhu - Exhale (Original Mix)
Zomboy - Like A Bitch (Slushii x Volt Edit)
ZwiReK - Heat (Original Mix)
>
【[09.19] Dubstep+Breaks】
>
12th Planet & GG Magree - No Other (Original Mix)
12th Planet & Virtual Riot & Lumberjack - Sooo Sick (Original Mix)
12th Planet - Jah Light feat. Jah Mikey (Original Mix)
12th Planet - Knight Gloom (Original Mix)
12th Planet - Let Us Prey (Original Mix)
3DEEPMusic - Aint About That Life (Sub Truama Remix)
4Poles - Keep On (Original Mix)
4Poles - Make Your Move (Original Mix)
7 Electronics - Attacked (Original Mix)
7 Electronics - Cosmic (Original Mix)
7 Electronics - Killer (Original Mix)
Abdomen Burst - Funky Police (Guau Remix)
Abdomen Burst - White Ellusion (David Salgado Remix)
Ablaze - Fresh Jam (Kanevsky Remix)
Ablaze - Thunder Hawk (VIP Mix)
Ablaze, The DropStarz - Take A Breath (Original Mix)
Ace Aura - Diversion (Original Mix)
Ace Aura - Royalty (Original Mix)
Adair, Kompany - Getcho (Original Mix)
ADI - Eastern Theme (Original Mix)
Aero Zoo - Everybody (Original Mix)
Aero Zoo - Everytime (Original Mix)
AFK & Wooli feat. Jay Fresh - WDGAF (Original Mix)
Afrika Bambaataa & The Soul Sonic Force - Planet Rock (DJ Kontrol & Gettright Remix)
Aggresivnes - Go Shake It (Mafia Kiss Remix)
Alan Walker - Faded (synx remix)
Alberto Fiteni - Broken Love (Original Mix)
Alex Wicked - For The Moment (Under Break Remix)
Alex Wicked - Millenium (Original Mix)
Algorithmic Funk - Eazy (Original Mix)
Algorithmic Funk - Filters (Original Mix)
Andrey Sher - Unity (Original Mix)
Andromulus - On The Road To Hell (Original Mix)
Andromulus - Phantom (Original Mix)
Andromulus - Seismic (Original Mix)
Animal Music - I've Got You (Virtual Riot Remix)
AnswerD - Scissors (Original Mix)
AnswerD - The Godfather (Original Mix)
AnswerD - War (Original Mix)
Antima & View - The Dungeon (Original Mix)
Architekt & Frosti feat. Aaron Ruxbin - The Rail (Original Mix)
Architekt - Deadly Styles (Phenom Remix)
Arkasia - Reboot (Original Mix)
Aryaxz & Flakzz ft. Paix - Word N (Original Mix)
AstralOnE & TenGraphs - Spectre (Original Mix)
ATLiens - Alchemy (Dapp Remix)
ATLiens - Alchemy (Stratus Remix)
Atside - Dolpatsea (Original Mix)
Au5 - Blossom (VIP)
Autodrive - Admiral Shark (Original Mix)
Autodrive - Murky Mermaids (Original Mix)
Autodrive - Ultimate Driver (Original Mix)
Axen - Rude Boy Soulja (Original Mix)
B-Phreak - M.F.B.F.B (Original Mix)
B-Phreak - Vibrate (Original Mix)
BAAD - Cannon Jack (Original Mix)
Bad District - Sierra One (Original Mix)
Badklaat - Spooky Specs (Original Mix)
Bandlez - Bing Bong (Original Mix)
Bandlez - Run That Shit (Original Mix)
Bandlez - The Anthem (Original Mix)
Bare & Sluggo - Adios (Original Mix)
Barely Alive & Virtual Riot - Basement Dwellers (Original Mix)
Barely Nerdy - Sundae Suspenders (Original Mix)
Basis - Crazy Stuff (Original Mix)
BassCrime - Space Hit (Original Mix)
Basstrick - Ghost Buster (Zblu Remix)
Batsy - Los Pollos Hermanos (Original Mix)
Beat Fatigue - Audaciousness (Original Mix)
Beat-Breaker, The DropStarz - Hit It (Original Mix)
Beatcore - Shadeless (Original Mix)
Belly - P.O.P. (Damaged Goods Remix)
Benasis feat. Rico Act - Booty Snap (Original Mix)
Berrix - Out Of Control (Vip)
Bevild - Back5 (Original Mix)
Bezwun - Funk Safari (Original Mix)
Big Gigantic, Kill the Noise & Mat Zo feat. Jennifer Hartswick - Got the Love (Kill the Zo Remix)
Black Tiger Sex Machine - Rezorecta (VIP)
Blankface - Shockwave (Original Mix)
Blue Stahli - Sunset Neon (Original Mix)
Bok Nero & Jahlil Beats - No Problems (Architekt Remix)
Bones Noize - Affection (Original Mix)
Bones Noize - Fire Against Fire (Original Mix)
Bonnie x Clyde - Hooked (Pixel Terror Remix)
Boogie T. & STRIX - Arcade Riddim (Original Mix)
Boombox Cartel - Dem Fraid (Reach Remix)
Borgore - Unicorn Zombie Apocalypse (Sikdope Dubstep Flip)
Boxnoster - Warriors (Original Mix)
BVSIS - Oh No (Original Mix)
Calvin Harris - Summer (Jpan Remix)
Captive Logic - Glass Ceiling (DRKWTR Remix)
Cardi B ft. Messiah - Bodak Yellow (DJ Kazzanova Remix Dirty)
Chamberlain - Banana Funk (Original Mix)
Cherney - Bloodshot (Original Mix)
Chime & Teminite - The Big Crunch (Original Mix)
Chime - Curls (Original Mix)
Chime - Wait For Me (Volterix Remix)
Cloud 9+ - Take Me feat Peter Jabin, Mc Kemon (Kid Panel Remix)
Code Pandorum & Nimda - Atheist's Cookbook (Original Mix)
Code Pandorum - The Lurking Fear (Original Mix)
Cookie Monsta - Monster (Original Mix)
CoolTasty - Gangsta (Original Mix)
Cover Blank - Crazy Moon (Original Mix)
Cover Blank - Mr. Jazz (Original Mix)
CRaymak & Apriskah - Arrival (Original Mix)
Crossmoth - No Regret (Original Mix)
Crowell & Bommer - Yasuo (Grime Tribe & Calcium Bootleg)
Cuncic, Malcevic - Superstar (FM-3 Remix)
Cuncic, Malcevic - Superstar (Original Mix)
Cuncic, Malcevic - The City Of Sin (MIAU Remix)
Cuncic, Malcevic - Venture To The Unknown (Original Mix)
Curly-Stache - Trill Shit (VIP Remix)
Cyazon - Ancients (Original Mix)
CYBRPNK feat. Olah - Straight Ghoulin' (Original Mix)
D-Funk - Bigger Than Bassline (Original Mix)
Dack Janiels - Dackwoods (Original Mix)
Dack Janiels - Extra Power (Original Mix)
Dack Janiels - Slaughter (Original Mix)
Daelanum - Weed & Sexx (Original Mix)
Danny Dee - Bon Voyage Remix Part 2 (Disperto Certain Remix)
Danny Dee - Revelations (Original Mix)
Datsik, 1000volts, Redman, Jayceeoh - Monster (Original Mix)
David Dewey - OverWhen (MOFX Remix)
Daze Prism - Time (Original Mix)
deadmau5 & Shotty Horroh - Legendary (Original Mix)
deadmau5 - Ghosts N Stuff (CRaymak Remix)
Decibel(USA) - Push 'Em Back (Original Mix)
Dee - Generation Men (Original Mix)
Deks - Future (Original Mix)
Deks - Overcast (Original Mix)
Delicvent - Alien (Original Mix)
Deskem - Command (Original Mix)
DestiluX - Everybody go to work (Original Mix)
Destroid - Machina (Original Mix)
Dillon Francis - Say Less (EH!DE Bootleg)
Dirt Monkey - Warning (Original Mix)
Dirt Monkey - Wonky Kong (Original Mix)
DirtySnatcha & Rico Act - Bad Bitch (Original Mix)
DirtySnatcha - Witchu (Original Mix)
DirtySnatcha feat. Boogie T. - Cum Wid Da Spoon (Original Mix)
Diseased Angels - Mischievous Meteorites (Original Mix)
Diskirz - Battle of Gods (Original Mix)
Diskirz - Corrupt Souls (Original Mix)
Disperto Certain - Caramel Crash (Original Mix)
Disto & JustSick - F.I.R.E. (Original Mix)
DJ EKL - Arriba Arriba (Original Mix)
DJ EKL, BBK - Stars (Original Mix)
DJ Fixx, Keith Mackenzie, Whiskey Pete - Blazing (Original Mix)
DJ Fresh - Gold Dust (Autodidakt Remix)
DJ Hero - Do Right Here (Original Mix)
DJ Icey - Stacked (Original Mix)
DJ Ignacio - Have To Get Back (Original Mix)
DJ Jay-T - Bounce and Shake (David Jedom Remix)
DJ Self - The Club (Original Mix)
DM - Any Record (Original Mix)
DM - Finish Line (Original)
DM - Tear-Out Odyssey (Original)
DM - Wanted (Original)
DM, Davip - Extremely Grateful (Original)
DM, Davip - Tonight (Original)
DMVU - Bloccd (Truth Remix)
Dog Blood - Shred or Die (Hex Cougar Remix)
Doublefast, DJ Solntce & Max Landry - Lost In Time (A Boy & A Girl & Pixel Terror Remix)
Downlink - Bass War (Original Mix)
Dr. Ozi - HartyHar (Flusk Remix)
Dr. Ozi - High Pulse (Original Mix)
Drippy - Already Dead (Original Mix)
Drippy - Wario The Wicked (Original Mix)
Dubscribe - Countdown (Original Mix)
Duke Skellington feat. Alanna Lyes - Swing The Party Out (Original Mix)
Duplikit - Realize (Original Mix)
DUSK (IS) - R Amazing (Original Mix)
DYSDA - The Return (Original Mix)
Dysphemic feat. Yiani Treweeke - 8 Bit Yogi (Original Mix)
Dysphemic feat. Yiani Treweeke - Phoenix (Original Mix)
Ecraze - Collapse (Original Mix)
Ecraze - Dopamine (Original Mix)
Ecraze - Splash (Original Mix)
Ecraze - Strike Down (Original Mix)
Ed Solo feat. MC Spyda - Soundsystem Entertainter (Original Mix)
EH!DE & Spag Heddy - Selecta (Original Mix)
Electric Draft - I Am The Rave (Original Mix)
Eleni - Creatures (Original Mix)
EllarSound - Save Me (Original Mix)
Excision & Dion Timmer - Final Boss (Wavedash Remix)
Excision - G Shit (Badklaat Remix)
Excision - Generator (Eliminate Remix)
Excision - Neck Brace feat Messinian (AFK Remix)
Excision - Rave Thing (Crizzly Remix)
Excision - With You feat Madi (Sullivan King Remix)
Excision, Datsik, Dion Timmer - Harambe (Barely Alive Remix)
Excision, Dion Timmer - Her (Wooli Remix)
Excision, Space Laces - Throwin' Elbows (Getter & Virtual Riot Remix)
Exclusion & PsoGnar - Intruder (Original Mix)
EXSSV - Never Say Goodbye (feat. Pixel Terror) (Original Mix)
Extra Terra & Urbanstep - Lost In Time (Original Mix)
Extra Terra - Origins (Original Mix)
Face & Book - Colorado (Original Mix)
Face & Book - Jail (Original Mix)
Face & Book - Titus Canyon (Original Mix)
Far Out (UA) - Break Beat Time (Original Mix)
Fed-Up - Showdem (Original Mix)
Figure & Bare - Hellraiser (Tempest Remix)
Figure - Phantasm (Original Mix)
Flakzz & Aryaxz - Bad Render (Original Mix)
Flakzz - Regardless (Original Mix)
Flash Cats - Don't Scandalize Mine (ORIGINAL)
Flusk & Sisay - Hold On (Original Mix)
Freq Boutique - Go Deeper (Original Mix)
Ganon - Keep On Rocking (Original Mix)
Gayvarovsky - So What (Original Mix)
Gayvarovsky - Taken (Original Mix)
Getter - Rip N Dip (Kill The Noise Remix)
Ghastly & Barely Alive - Fake U Out (Original Mix)
Ghostek - Dark Games (Original Mix)
Goku - Protective Machine (Original Mix)
Gosize - Damage (Original Mix)
Gramatik feat. ProbCause & Adrian Lau - Satoshi Nakamoto (Beat Fatigue Remix)
Green Gnome - Seven Nation Army (Original Mix)
Greg Gatsby, J Allen - I Got You (Kue Remix)
GRiZ - My Friends & I (Dusty Bits Remix)
Griz feat. Eric Krasno - Wicked (Megalodon Remix)
GRiZ ft. Cherub - PS GFY (Opiuo Remix)
Groove Mind & Lore - The Green Lion (FarfetchD Remix)
GroundsKore - Get This Bass Pumpin (Original Mix)
GroundsKore - Hype The Breaks (Original Mix)
Guau - Poison (Original Mix)
Halogen - U Got That (Original Mix)
Hc.Sound - Sube Que Te llevo (Original Mix)
Herobust & MONXX - Giant Squiddim (Ookay Remix)
HeRobust - First Person Shooter (Original Mix)
Herobust - Heavy Meddle (Original Mix)
Hinatar - Epitome (Original Mix)
HOSTL - Want U 2 Kno (Original Mix)
Huda Hudia, Goldillox, The DropStarz - Goodbye (Original Mix)
Hugeative feat. Messinian - States Of Destruction (Original Mix)
Hydrize - Exception (Original Mix)
HypheX - Intergalactic (Original Mix)
Icehunt - Paint The Sky (Original Mix)
Issa - Black Moon (Original Mix)
Ivory - Hacking Time (Original Mix)
Ivory - No Regrets (Original Mix)
Ivory - Pulse Rate (Original Mix)
Izzy Vadim - Dance On The Mountain (Original Mix)
Jenske - Frenzy (Original Mix)
Jessica Audiffred - Oh Shit (Original Mix)
JFB - BBQ (Original Mix)
JustS!ck - Over Charged (Original Mix)
JVST SAY YES - Do That Shit (Original Mix)
K.L.O - Down Like (Original Mix)
Kadaver & Squnto - Salazar (Original Mix)
Kadaver - Prey (Original Mix)
Kadaver - Relic (Original Mix)
Kanevsky - Crumpled Looseleaf (Original Mix)
KANGAL - The One (Original Mix)
Kariya - Baby Let Me Love You (RadiokillaZ Remix)
Karlixx - Kings of Kings (Original Mix)
Kayzo & RIOT - Wake Up (A Boy & A Girl Remix)
Kendrick Lamar - Humble (Code Pandorum & Mits Bootleg)
Kernkraft 400 - Zombie Nation (Slushii Edit - Benzi Reflip)
Kompany, YOOKIE - GENOCiDE (Original Mix)
Krafty Kuts & Dynamite MC - Boom Bangin' (Badjokes Remix)
Kraneal, The DropStarz - Set In Stone Flip (Original Mix)
Krewella - Be There (EXSSV Remix)
Krewella - Be There (Spag Heddy Remix)
Kryptomedic, AKOV - Deus Ex (Original Mix)
Kryptomedic, Disphonia - All Ears (Original Mix)
Kryptomedic, State Of Mind - Time Slip (Original Mix)
KYRO! - Arcane (Original Mix)
KYRO! - Arcane (Riоt Теn Rеmiх)
LANESANE - Bad Hombres (Original Mix)
Lethal - Getta Fuk (Original Mix)
Linkin Park - Numb (Rekoil Remix)
Loadstar - Run Down (Control) (Original Mix)
Logue4 & ZEOL - Renegade (Original Mix)
LoneMoon & Chime - Celestial (Bullseye Remix)
LoneMoon - Lullaby (Chime Remix)
Lord Swan3x - Code Red (Sudden Death Remix)
Lost Control - Witch Hunt (Original Mix)
LUZCID - Microphone Check (Original Mix)
Madadrive - The Shadow (Original Mix)
MadRats - Mashup (Original Mix)
Mafia Kiss - Think (Original Mix)
Marshmello - LoVe U (Wubbaduck Remix)
Martin Garrix x Dimitri Vegas & Like Mike - Tremor (Sullivan King & Riot Ten Bootleg)
Mask Yo! - Really Funk (Original Mix)
MCVC & Tekaaa.Y - Symptoms (Original Mix)
MCVC - Optic Wired Nerves (Original Mix)
Megahurtz, Sages of Sound - Blackout (Original Mix)
Michael White - Angel's Anthem (Original Mix)
Mighty Duck - BSOD (Original Mix)
MineSweepa - Copycat (Original Mix)
Misfit Massacre - Disobedience (Original Mix)
Mits - Aggressor (VIP)
Mob Tactics - Now Is The Time (Original Mix)
Monista - Movement (Original Mix)
MONXX & Boogie T. - Savage (Original Mix)
Moovin - Breaking (Original Mix)
Moovin - Get Down (Aero Zoo Remix)
Moovin - Get Down (Livistona Remix)
Moovin - Get Down (Ob-Ject Remix)
Moovin - Ignition (Original Mix)
Moovin - Let's Go (Original Mix)
Moovin - Roll Up (Original Mix)
Moovin - The Only (Original Mix)
Myro & Bar9 - Take Me Up (Original Mix)
Myro & Bar9 - Take Me Up (Tantrum Desire Remix)
Nasko - Break Through (Original Mix)
Neon Steve - Turbo Rave (Original Mix)
NeuroziZ - City Bass Line (2017 Remaster) (Original Mix)
NeuroziZ, G$Montana, GN - In Your Face (FM-3 x Slip187 Remix)
Next Supreme - Lets K Down (Original Mix)
Next Supreme - Party Jump (Original Mix)
Nima G - 2CPU (Original Mix)
Ninjula - Bang Street Groove (Original Mix)
No Identity - Trippin Cafe (Original Mix)
Notixx - Make 'Em All Rock (Original Mix)
Nowa - Other (Original Mix)
noxah - Are We (Original Mix)
noxah - Saying (Original Mix)
Noya - Just Say Yes (Original Mix)
Ob-Ject - Bounce (Original Mix)
OCCULT - KINGS (Original Mix)
Omega Squad - Every Move I Make (Original Mix)
OMFG - Nope (Dex Arson Remix)
OneLessProducer - When Time Flies ft. Matevz Kovac ic (Original Mix)
Ookay - Thief (Flux Pavilion Remix)
Orby - Tonight's The Night (Original Mix)
Original Sin vs. Jaguar Skills feat. ELE - Vandals Back (Original Mix)
P.A.Y.T.O.N - Moonlight (Original Mix)
Panda Eyes - Apocalypse (Original Mix)
Pandan - Something (Original Mix)
PhaseOne - Six Feet Under (Flusk Remix)
Phat Kidz - F.U.B.A.R. (GN, G$Montana & NeuroziZ Remix)
Phibes - N.E.X.T E.P.I.S.O.D.E (Original Mix)
Phiso - Perish Song (Original Mix)
Pierce - Ducati (Original Mix)
Pilocka Krach, The Lost Amigos - Ay caramba (Original Mix)
Polarr - Our World (Kotori Remix)
Prismatic - Shredder (Original Mix)
Protohype & Dack Janiels - Savage (Original Mix)
Protohype & Kezwik feat. Aislinn Martin - Blink (Original Mix)
Psychopaths - Heavy Shaker (Original Mix)
Psychopaths - Ravers (Original Mix)
Punky Donch - Under Arrest (Mystic Pulse Remix)
Qoiet feat. Patrik Finhagen - Autumn's Solitude (Original Mix)
Rabbit In The Moon - I Am The Future (Original Mix)
Rabbit In The Moon - In My Brain (Original Mix)
Rabbit In The Moon - Seven Loves Electro (Original Mix)
Ray Volpe - Mind Games (Original Mix)
Rekore - Play Hard (Original Mix)
Resistor, Resonant Status - Interfuse (ALT-A Remix)
Rick Tedesco - UP & UP (Broken Mix)
Rico Tubbs - Total Recall (Chris Royal Remix)
Rico Tubbs - Total Recall (Original Mix)
Rico Tubbs - Total Recall (Skool of Thought Remix)
Riot Ten, Rico Act - Rail Breaker (Original Mix)
Riptydez x Sage Art - Bring It Back (Original Mix)
Rix Cena - Siren Alert (Original Mix)
Robert Falcon - F2DB (Extended Mix)
Rotan - You Love To (Rotan Remix)
Rudimental feat. James Arthur - Sun Comes Up (Murdock Remix)
Ryahn Mills - Moments feat Kimmi Mac (DIEDIEDIE Remix)
RYVI - The Woods (Original Mix)
Ryza - Turn Around (Original Mix)
Say My Name, Kevin Flum - Get On My Level (Dack Janiels Remix)
SAYMYNAME feat. Kevin Flum - Get on My Level (Swage Remix)
Sayruss - Funk Stream (Original Mix)
Secure Unit - Cat & Dog (Original Mix)
Seif & Paula - Fayrouz (Original Mix)
Sekai - Pixel (Original Mix)
Sergey Ilyaskin - Sonority (Kazancev Remix)
Sex Whales & Roee Yeger - Escape (Original Mix)
Shade k - Funk The Police (Original Mix)
Shade k, Hysterism, The DropStarz - Bang My Drum (DJ EKL Remix)
SIMO & Mancub - Proper Job feat Atiim Chenzira (B. Smiley's Golden State Remix)
SIOK x Sky Kind - Dead Roses (Original Mix)
SLANDER & Stoltenhoff - We Out (Dr. Ozi Remix)
SLANDER & Stoltenhoff - We Out (Megalodon Remix)
SLANDER & Stoltenhoff - We Out (PhaseOne Remix)
Slushii & Marshmello - Twinbow (Jauz Remix)
Soltan - Sahara (Original Mix)
Spag Heddy - Freak It (VIP)
Squnto - Deth Bounce (Original Mix)
Stabby & Dr. Ozi - Command Execution (Original Mix)
Staxia, The DropStarz - Set In Stone (Original Mix)
STEEZ - Grimey (Original Mix)
Steez - Midnight (Original Mix)
Stonewash, Vanilla Skillz - Lose Control (BreakID Remix)
Stonewash, Vanilla Skillz - Lose Control (Ostap Moskalenko Remix)
Stonewash, Vanilla Skillz - Lose Control (Stonewash My B-ass Mix)
Stonewash, Vanilla Skillz - Lose Control (VIP Mix)
SUAHN - Coast (Original Mix)
Subceptron & Roto - Shiver (Original Mix)
Subfiltronik - Take That (Extended Mix)
Subtronics - Liberator (VIP)
Suga7 - My Love (Original Mix)
Sunsha - Don't Beat Go (Original Mix)
Sunsha - Jacking Heat (Original Mix)
Switchkraft - Circoseismic (Original Mix)
Syndiem - Caught In The Rain (Livistona Remix)
T-Mech - Verdant Factor (Original Mix)
Tartus - 100th Idol (Original Mix)
Tedy Leon - Dark Blow (Original Mix)
Teminite & PsoGnar - Rally The Troops (Original Mix)
Terravita, Kompany - Dungeon (Original Mix)
Tetrix Bass, Ghostz - Rapture (Original Mix)
Th3 Cats - Antihero (Original Mix)
Th3 Cats - We're Gonna Rise (Original Mix)
Tha Boogie Bandit - Bad Bitches (Original Mix)
The Brainkiller - All Good (Original Mix)
The Brainkiller - Alone (Original Mix)
The Brainkiller - Baby (Original Mix)
The Brainkiller - Your Curse (Original Mix)
The Buildzer, The DropStarz, Vic Kenders - Goals (Sweet Charlie Remix)
The Clamps, A.M.C - Prince Of Darkness (Original Mix)
The DropStarz, Short Sirkit - Strange Things (B-Phreak Remix)
The DropStarz, Short Sirkit - Strange Things (Original Mix)
The DropStarz, Short Sirkit - Strange Things (Shade K Remix)
The Hiiters - 150 MPH (Original Mix)
The Hiiters - Ghost Racer (Original Mix)
The Hiiters - The Chase (Original Mix)
The Juggernaut - Contact the Castle (Original Mix)
The Nod - Exist (Original Mix)
Thisink x BOIRIA - Phantom (Original Mix)
Thomas Vent - Your Way (Original Mix)
Tokyo Machine - Bubbles (Original Mix)
Tusk - Mighty (Original Mix)
Uberjakd & Dimatik - Fighter feat Enya Angel (YOKED Remix)
Under Break - Relax (Original Mix)
Under Break - Sttuter (Original Mix)
UZZI - Bananas (Original Mix)
Vaski - Altitude (Original Mix)
Virtual Riot - Degenerates (Original Mix)
Virtual Riot - Earth & Sky (Original Mix)
VMP - All I Need (Original Mix)
VMP - JVMP (Original Mix)
We Are Alive! - Parasite (Original Mix)
Wild Boyz! & Eliminate - Skurt (A Boy & A Girl Remix)
Wild Boyz!, R3x0R - ILLEST (Original Mix)
Wing - Change My Life (Original Mix)
Wubbaduck - Monsta (Original Mix)
XaeboR - Defiant (Original Mix)
Xilent - Run (Original Mix)
Zara Larsson & MNEK - Never Forget You (DirtySnatcha Remix)
ZEOL - Matane (Original Mix)
Zixtone - Get Ready (Original Mix)
Zubin - The Perplexed (Original Mix)
ZWZ - Briefcase (Original Mix)
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【独家精选】最新国外收费8站.多风格包[13G/DJ_Tits_]
DJ City + EXG + DMS + FRP + bpm + DJ Pool + DMP Vip Pack
Genre: Hip-Hop / Pop-Top40 / Reggae / House / Mashup / Electro House
Release: 2017.09.21
Audio codec : MP3
Bitrate: 320 kbpsSize: 13GB
01. DJ City
02. DJ City UK
03. EXG
04. DMS (Direct Music Service)
05. Franchise Record Pool
06. DMP (Digital Music Pool)
07. bpmSupreme
08. Digital DJ Pool
>
[44G最新国外收费8站资料 整合+删减+精选包]
Transition 变速 0.5G
Regge / Latin 1.3G
Rock / Funk / Country 0.8G
BPM 050-119 R&B / Hip-Hop / Pop-Top40 5G
BPM 120-127 House / Deep / Club / Future House 3.5G
BPM 128-130 EDM / Electro House / Mashup 1.1G
【[09.21] BPM 050-069】
>
6IXVI ft. Clue - Doesn' (Intro - Dirty)
A$AP Twelvyy ft MD$, A$AP Ant & A$AP Nast - EasTSideGhosT (Dirty Intro)
Ace Hood - Came Wit The Posse (Intro - Dirty)
ADP, Jeremih & Ebenezer - No Good For Me (Intro Dirty)
ASAP Ferg - Nandos (Intro Dirty)
ASAP Ferg feat. Famous Dex - Coach Cartier (Intro - Dirty)
ASAP Ferg ft Lil Yachty - Aww Yeah (Intro Dirty)
ASAP Ferg ft Playboi Carti - Mad Man (Intro Dirty)
ASAP Mob feat. ASAP Rocky, ASAP Nast, Playboi Carti & Jaden Smith - Perry Aye (Intro - Dirty)
ASAP Mob feat. ASAP Rocky, Playboi Carti & Big Sean - Frat Rules (Intro - Dirty)
B.o.B ft Big K.R.I.T. - Peace Piece (Dirty Intro)
Berner & Young Dolph feat. Juicy J - Good Drugs (Intro - Dirty)
Bhad Bhabie - These Heaux (Intro Dirty)
Bhad Bhabie - These Heaux (Jordan Crisp Acap Intro Dirty)
Bobii Lewis - Watch Me (Intro - Dirty)
Brain ft The Game & Lil Dicky - How Can U Sleep (Intro Dirty)
Bridgit Mendler ft RKCB - Diving (Intro Clean)
Buddy - That Much (Intro Dirty)
Bugzy Malone - We Don't Play (Intro - Dirty)
Cali - Siempre Gano (Intro Clean)
Captain Cuts ft Rich The Kid & Daniels - Cocaina (Dirty Intro)
Captain Cuts ft Rich The Kid & Daniels - Cocaina (Dirty Short Edit)
Cardi B feat. Messiah - Bodak Yellow (Latin Trap Remix) (Intro - Dirty)
Cardi B ft Kodak Black - Bodak Yellow (Remix) (Intro Dirty)
Carnage & Young Thug ft Meek Mill - Homie (Intro Dirty)
Chance The Rapper feat. Young Thug - Big B's (Intro - Dirty)
Charlie Sloth ft 21 Savage & Hardo - Gang (Intro Dirty)
Chief Keef - Semi (Intro Dirty)
Chip ft. Giggs - Amazing Minds (Intro - Dirty)
D'banj ft Gucci Mane & Wande Coal - EL CHAPO (Intro Dirty)
DaniLeigh ft Kap G - Play (Intro Dirty)
Dave East ft Jeezy - Paranoia (Intro Dirty)
Dave-O ft. Graft - Yeah Yeah (Intro - Dirty)
Desiigner - Malibu (Intro Dirty)
DJDS ft Khalid & Empress Of - Why Don't You Come On (Intro Clean)
Dvsn - Mood (Intro Clean)
E-40 ft Youngboy Never Broke Again & Yo Gotti - Straight Out The Dirt (Intro Dirty)
Emil ft. P Money - Hero (Intro - Clean)
Farruko ft Anuel AA - Oscuridad (Intro Clean)
Fergie feat. Rick Ross - Hungry (Intro - Dirty)
Fetty Wap feat. Monty - There She Go (Intro - Dirty)
Fifth Harmony - Angel (Dirty Intro)
FKJ - Vibin' Out With (Intro Clean)
FREEWIFI - Throw It (Intro Dirty)
Gwen Stefani - Hard 2 Love (Intro Clean)
Hardo ft Wiz Khalifa & Jimmy Wopo - Today's A Good Day (Intro Dirty)
Hustle Gang ft T.I., RaRa, Brandon Rossi, Tokyo Jetz, Trae Tha Truth & Young Dro - Friends (Intro Dirty)
IAMDDB - Shade (Intro Dirty)
IHateFreco ft TheRealHasani - Angie (Intro Dirty)
Ironik ft. Snoop Dogg - Tuff (Intro - Dirty)
J King Y Maximan ft Dvice - Combi Versace (Intro Dirty)
Jazz Cartier - Nobody's Watching (Intro - Dirty)
Jazz Cartier feat. Ro Ransom - Make A Mess (Intro - Dirty)
JCY ft. Sisqo - Thong Song (Intro - Dirty)
Jessie J - Think About That (Intro Dirty)
Jessie Reyez - Blue Ribbon (Intro Dirty)
Jez Dior - Sober (Intro Dirty)
Joe Gifted ft Gucci Mane & Quavo - Water (Remix) (Intro Dirty)
Jon Z ft Baby Rasta Y Boy Wonder CF - Nunca Me Amo (Intro Dirty)
K Camp - Racks Like This (Intro Dirty)
Kevin Gates - Had To (Intro Dirty)
Keyshia Cole - Incapable (Clean - Intro)
Keyshia Cole - Incapable (Intro)
Lana Del Rey - White Mustang (Intro Clean)
Lil Baby - My Dawg (Intro Dirty)
Lil Durk feat. Future & Jeezy - Goofy (Intro - Dirty)
Lil Pump - Gucci Gang (Dirty Intro)
Lil Uzi Vert - Feelings Mutual (Intro Dirty)
Lil Uzi Vert - For Real (Dirty Intro)
Lil Uzi Vert - No Sleep Leak (Dirty Clap Intro)
Lil Uzi Vert ft Pharrell Williams - Neon Guts (Intro Dirty)
Lil Uzi Vert ft The Weeknd - UnFazed (Dirty Intro)
Lil Uzi Vert ft The Weeknd - UnFazed (Dirty No Uzi Short Edit)
Macklemore ft Lil Yachty - Marmalade (Yachty Only Dirty Super Short Edit)
MadeinTYO - Depends (Intro - Dirty)
MadeinTYO - Too Quick (Intro - Dirty)
Meek Mill & Migos - Contagious (Intro Dirty)
Meek Mill - Team Rich (Intro Dirty)
Mims x Roadman Shaq - This is Why Your Mans Not Hot (Danny Diggz Blend Clean)
Mura Masa ft. Desiigner & 67 - All Around The World - 67 Remix (Intro - Dirty)
Nave Monjo feat. Tee Grizzley - We Got It Lit (Intro - Dirty)
Nicky Ds ft Young Thug & Lil Yachty - New Day (Dirty Intro)
Noah Cyrus - Almost Famous (Intro Clean)
Noplug feat. Offset - Keys (Intro - Dirty)
Noriel feat. Yandel - Doble Personalidad (Intro)
Poo Bear ft Anitta - Will I See You (Intro Clean)
Q Money - Work (Intro Dirty)
Quality Control ft Quavo, Takeoff & Offset - Too Hotty (Dirty Intro)
Quavo - Stars In The Ceiling (Intro Dirty)
R. Kelly - Bump N Grind (Intro Clean)
R. Kelly - Ignition (KidCutUp That's What I Like Blend)
Raven Felix feat. Kap G - Phase Me (Intro - Dirty)
Red Cafe feat. Fetty Wap & Fabolous - Jackpot (Intro - Dirty)
Rich Homie Quan feat. Cyko - Safe (Intro - Dirty)
Roadman Shaq - De Ting Go (ELLiNGTONE Edit)
Roadman Shaq - Mans Not Hot (Danny Diggz Club Mix)
Roadman Shaq ft. Charlie Sloth - Fire In The Booth (The Ting Goes) (KidCutUp Club Edit)
Smokepurpp - Audi. (Intro - Dirty)
Smokepurpp - Bless Yo Trap (Intro Dirty)
Suspect - Wonder What (Intro - Clean)
Suspect ft. Giggs - Wonder What Remix (Intro - Dirty)
SZA - Quicksand (Intro Dirty)
SZA - The Weekend (Intro Clean)
T-Wayne ft Offset - Rain Drop (DJ Konflikt Acapella In Out Edit) (Dirty)
The Weeknd - Down Low (Intro Clean)
Tommy Genesis - Tommy (Intro Dirty)
Tory Lanez - Shooters (Intro Dirty)
Travis Mills feat. 24hrs - Bands Now (Intro - Dirty)
Trinidad Cardona - Jennifer (Intro Dirty)
Trippie Redd - Love Scars (Intro - Dirty)
Tyga ft Quavo - Bel Air (Intro Dirty)
Wale - Scarface Rozay Gotti (Intro - Dirty)
Why Don't We - These Girls (Intro Clean)
WillThaRapper ft Top Dolla Sweizy, Lil Nei & Gucci Mane - Pull Up Hop Out (Remix) (Intro Dirty)
Wiz Khalifa ft PartyNextDoor - Rain (Intro Dirty)
XXXTENTACION - Everybody Dies In Their Nightmare (Dirty Intro)
XXXTENTACION - Jocelyn Flores (Dirty Intro)
XXXTENTACION ft Triple Redd - Fuck Love (Dirty Intro)
Z-Ro - They Don't Understand (Intro Dirty)
>
【[09.21] BPM 070-079】
>
2 Chainz & Travis Scott - 4AM (Tek One Party Starter Edit) (Dirty)
2 Chainz - Door Swangin (Intro - Dirty)
A Boogie Wit Da Hoodie ft Young Dolph - D.A.R.E. (Intro Dirty)
A$AP Mob ft Twelvyy & Zack - Coziest (Dirty Intro)
Action Bronson ft Big Body Bes - Tank (Intro Dirty)
Action Bronson ft Rick Ross - 9-24-7000 (Intro Dirty)
ASAP Ferg feat. NAV - What Do You Do (Intro - Dirty)
ASAP Mob feat. ASAP Rocky, ASAP Ferg, ASAP Nast, ASAP Twelvyy & ASAP Ant - Feels So Good (Intro - Dirty)
ASAP Mob ft ASAP Rocky, Key! & Gucci Mane - Please Shut Up (Intro Dirty)
Ayo & Teo - Better Off Alone (Intro)
Big Freedia & Mannie Fresh - Dive (Intro - Dirty)
Blac Youngsta - Booty (Intro Dirty)
Blac Youngsta feat. Yung Money - Curry Durant (Intro - Dirty)
Branchez & Big Wet - Turn Up On The Weekend (Hook First Dirty Short Edit)
Bright Lights - Billion Dollar Love (Short Edit)
Bruno Mars - Straight Up & Down (Intro Clean)
Bruno Mars - Too Good To Say Goodbye (Intro Clean)
Buddy ft Wiz Khalifa - Type Of Shit (Intro Dirty)
Cadet - Invest (Intro Dirty)
Cardi B - Bodak Yellow (Josh Stylez Jersey Club Remix Dirty)
Cardi B - Bodak Yellow (Scooter Re-Drum Dirty)
Cardi B vs Ginuwine - Bodak Pony (LOCZI Show Edit) (Dirty)
Cassie Ft. G-Eazy - Love A Loser (Dirty Intro)
Chief Keef - How You Like Me Now (Intro - Dirty)
Christina Milian vs. TroyBoi - Bang it Low (Danny Diggz Blend)
Cianna Blaze - Cemented (Dirty)
Dave East feat. French Montana - Maneuver (Intro - Dirty)
Dave East ft Nas - The Hated (Intro Dirty)
Dave East ft Wiz Khalifa - Phone Jumpin (Intro Dirty)
Desiigner - Formula (Intro - Dirty)
Diplo & Starrah - Swerve (Intro)
DJ Envy Ft. Fetty Wap & DJ Sliink - Text Ur Number (Dirty Intro)
DJ Epps ft 2 Milly - I'm The Shit (Dirty Intro)
DJ Kay Slay ft Rick Ross, 2 Chainz, Kevin Gates & Meet Sims - Wild One (Intro Dirty)
Fabolous feat. Velous & Chris Brown - Flipmode (Intro - Dirty)
Fifth Harmony - Deliver (Intro Clean)
Fifth Harmony - He Like That (Chorus First)
Fifth Harmony - He Like That (Cutdown)
Fifth Harmony - He Like That (Intro)
Frank Ocean - Provider (Intro Clean)
G Herbo feat. Lil Uzi Vert - Everything (Intro - Dirty)
Gigolo Y La Exce ft Bad Bunny - Sexto Sentido (Intro Dirty)
Grant, Anevo & Conro feat. Victoria Zaro - Without You (Intro)
Gucci Mane feat. Migos - I Get The Bag (Intro - Dirty)
Gucci Mane ft The Weeknd - Curve (Intro Dirty)
Huntar ft Gucci Mane - Pony (Dirty Intro)
In Real Life - Eyes Closed (Clean)
J Alvarez - 6 De La Morning (Intro)
J. Avalanche - Back To The Money (Intro - Dirty)
J. Avalanche ft. Tinie Tempah & Yungen - Back 2 The Money Remix (Intro - Dirty)
Jacob Sartorius - Skateboard (Intro Clean)
Jay-Z - We Family (Intro Dirty)
Kodak Black - Black Cats (Intro Dirty)
Kodak Black - Fuck It (Intro Dirty)
Kodak Black feat. Xxxtentacion - Roll In Peace (Intro - Dirty)
Kodak Black ft Offset - Built My Legacy (Intro Dirty)
Lil Spacely - You Know It (Intro Dirty)
Lil Uzi Vert - 444 222 (Intro Dirty)
Lil Uzi Vert - Dark Queen (Dirty Intro)
Lil Uzi Vert - Two (Dirty Intro)
London On Da Track feat. Nicki Minaj, 21 Savage & Offset - No Flag (Intro - Dirty)
Lupe Fiasco ft Bianca Sings - Made In The USA (Intro Dirty)
MadeinTYO - Lose It (Intro Dirty)
Marteen - Sriracha (Intro Clean)
Max Styler Ft. CXLOE - Secrets (Intro Clean)
Miguel ft Travis Scott - Sky Walker (Dirty Intro)
Moneybagg Yo - Doin It (Intro - Dirty)
Moneybagg Yo feat. Youngboy Never Broke Again - Reckless (Intro - Dirty)
Ms. Cosmo ft. Nasty C, Rouge, & Kwesta - Connect (Intro - Dirty)
NF - Let You Down (Intro Clean)
Niall Horan - Too Much To Ask (Intro Dirty)
Ozuna ft De La Ghetto - Pide Lo Que Tu Quieras (Intro Clean)
PartyNextDoor ft Jadakiss - Cartier (Intro Dirty)
PHRESHER feat. Cardi B - Right Now (Intro - Dirty)
Playboi Carti ft Lil Uzi Vert - Woke Up Like This (Chorus First Dirty)
Rae Sremmurd - Perplexing Pegasus (Dirty Intro)
Rich Homie Quan - Gamble (Intro - Dirty)
Rich The Kid - Cookies & Sherbert (Intro Dirty)
Rick Ross feat. Meek Mill, Young Dolph & Bruno Mali - She On My Dick (Remix) (Intro - Dirty)
Russ - Maybe (Intro Dirty)
Russ - Think Twice (Intro Dirty)
Sammie feat. Rick Ross - Good Life (Intro - Dirty)
Shane Eagle ft KLY - Need Me (Intro Dirty)
Silento - Thinking About You (Intro Clean)
Smoke Dawg - Pop A Perc (Intro - Dirty)
Starrah & Diplo - Swerve (Intro)
The Americanos feat. D.R.A.M. & Kyle - Everyday (Intro)
The-Dream ft Rick Ross - Reservations (Intro Clean)
THEY. - Deep End (Intro Dirty)
Thirty Seconds To Mars - Walk On Water (Intro)
Thirty Seconds To Mars - Walk On Water (Short Edit)
UGK ft. Outkast - Int'l Players Anthem (I Choose You) (KidCutUp XO TOUR Llif3 Blend Dirty)
Velous ft Fabulous & Chris Brown - Flipmode (Remix) (Intro Dirty)
XXXTENTACION - Carry On (Dirty Intro)
YFN Lucci ft. PnB Rock - Everyday We Lit (Mark Anthony Where Are U Now Bootleg Dirty)
Yo Gotti & Mike WiLL Made-It ft Nicki Minaj - Rake It Up (Re-Drum Dirty)
Yo Gotti ft Nicki Minaj - Rake It Up (Scooter Mix Dirty Cutdown)
Yo Gotti ft Nicki Minaj - Rake It Up (Scooter Mix Dirty)
ZO ft. Kenneth Paige - Melo Ball 1 (Intro - Clean)
>
【[09.21] BPM 080-089】
>
A Boogie Wit Da Hoodie feat. PnB Rock & YoungBoy Never Broke Again - Beast Mode (Intro - Dirty)
A$AP Ferg - Plain Jane (Dirty Intro)
A$AP Ferg - Plain Jane (DJ Primetyme Hype Intro Dirty)
A$AP Ferg - Plain Jane (Hook 2x Dirty Super Short Edit)
Ace Hood - To Whom It May Concern (Dirty Intro)
Afrojack Ft. Belly, O.T. Genasis & Ricky Breaker - No Tomorrow (Dirty Intro)
Alex Wiley - Hands Clean (Intro Dirty)
Alice Glass - Without Love (Intro Clean)
ASAP Ferg - Plain Jane (Intro Dirty)
ASAP Ferg feat. MadeinTYO - One Night Savage (Intro - Dirty)
ASAP Ferg feat. Meek Mill - Trap And A Dream (Intro - Dirty)
ASAP Mob feat. ASAP Rocky, ASAP Nast, ASAP Ant, Chief Keef & Playboi Carti - Blowin' Minds (Intro - Dirty)
ASAP Mob ft Lil Yachty, Key!, ScHoolboy Q, Smooky MarGielaa & Rell - Bahamas (Intro Dirty)
ATO Worldwide ft Tha Kid Reckless - Can't Sit With Us (Intro Dirty)
Audien X 3LAU ft Victoria Zaro - Hot Water (Intro)
Audio Push - Window Seat (Intro Dirty)
Belly - Man Listen (Intro - Dirty)
Berner & Young Dolph ft Gucci Mane - Knuckles (Intro Dirty)
Cali - Secreto Formula (Intro Clean)
Chief Keef - Call'n (Intro - Dirty)
Darkiel - Mal O Peor (Intro Clean)
Demallo - Milk Man (Intro Dirty)
DJ ASAP ft. Mozzy, Mike Sherm, Symba, Omar Kadir - Dead Head Dollaz (Intro - Dirty)
DJ Kay Slay ft Kendrick Lamar, Mac Miller, Kevin Gates & Rell - Cold Summer (Intro Clean)
Drake ft Trey Songz - More Ready (Intro Dirty)
Ella Vos ft R3hab - You Dont Know About Me (Intro)
Fat Joe vs 50 Cent - All The Way Up vs P.I.M.P. (DJ Delta Tone Play Edit Dirty)
G-Eazy ft ASAP Rocky & Cardi B - No Limit (Intro Dirty)
G-Eazy ft ASAP Rocky & Cardi B - No Limit (Jordan Crisp Hype Intro Dirty)
Gabrielle Nicole ft iHeartMemphis - She Lit (Intro Dirty)
Genius feat. K Camp & Sonny Digital - One Year Later (Intro - Dirty)
Hanz On ft Method Man - Big Sky (Intro Dirty)
Heather Brave - Like A Wave (Intro Clean)
Ice Cube - Gangsta Rap Made Me Do It (Intro Dirty)
Jessie J - Real Deal (Intro Dirty)
Joey Badass - 500 Benz (Intro Dirty)
Kesha - Praying (KidCutUp Re-Drum)
Kodak Black - Time Never Mattered (Dirty Intro)
Leikeli47 - 2nd Fiddle (Intro Dirty)
Lil Peep ft Lil Tracy - Awful Things (Intro Dirty)
Lil Uzi Vert - Sauce It Up (Dirty Intro)
Lil Uzi Vert - The Way Life Goes (Intro - Dirty)
Lil Uzi Vert - X (Dirty Intro)
Linkin Park - One More Light (Intro)
LouGotCash - Make 10 (Dirty Intro)
Machine Gun Kelly - Let You Go (Intro Clean)
Masego - Navajo (Intro)
Mozzy feat. YFN Lucci & Kolyon - Stay Over There (Intro - Dirty)
NAV & Metro Boomin ft Offset & Playboi Carti - Minute (Dirty Intro)
Nelly - Air Force Ones (Intro Dirty)
Nivea ft Lil Jon - Okay (Intro Clean)
Omar Kadir - The Last Thing I Do (Dirty Intro)
Peewee Longway feat. PARTYNEXTDOOR - His Name Cassius (Intro - Dirty)
PnB Rock & A Boogie Wit Da Hoodie - X Factor (Intro - Dirty)
Post Malone ft. 21 Savage - Rockstar (Intro Dirty)
Rick Ross - Jumping Ship (Intro Dirty)
Rick Ross ft Anthony Hamilton & Meek Mill - Lamborghini Doors (Intro Dirty)
Roscoe Dash - Then Again (Intro - Dirty)
Russ - The Game (Intro Dirty)
Shane Eagle - Let It Flow (Intro Dirty)
Snakehips & Anne-Marie ft Joey Badass - Either Way (Dirty Intro)
Snoop Dogg - Neva Left (Intro Dirty)
Strick feat. Young Thug - 100 Degrees (Intro - Dirty)
Tay-K - The Race (Dirty Intro)
Taylor Swift - Ready For It (Intro)
Taylor Swift - Ready For It (Short Edit)
Toni Braxton - Deadwood (Intro Clean)
Tove Lo - Flashes (Intro Dirty)
Ty Dolla Sign & Skrillex ft Damian Marley - So Am I (Intro Clean)
Tyga - My Way (DJ Serg Sniper Hype Intro Dirty)
Tyga - My Way (Intro Dirty)
Warm Brew feat. Dom Kennedy - Full Effect (Intro - Dirty)
Wiz Khalifa feat. Ty Dolla Sign - Something New (Intro - Dirty)
Young Chop feat. Lil Durk - Messenger Bag (Remix) (Intro - Dirty)
YoungBloodz ft Lil Jon - Damn (Intro Dirty)
YoungBoy Never Broke Again - Untouchable (Intro Dirty)
>
【[09.21] BPM 090-099】
>
50 Cent x 2pac - Get Up (Diggz California Love Wordplay Segue Blend Dirty)
A R I Z O N A ft Kiiara - Cross My Mind Pt. 2 (Intro)
A$AP Ferg ft. Migos - Nasty (Who Dat) (KidCutUp Acap Intro Dirty)
Big French ft. Predz UK & Clue - Still Here (Intro - Dirty)
Big Sean ft E-40 vs Dr Dre - IDFWU Episode (ASIL Blend Dirty)
C-Murder ft Snoop Dogg & Magic - Down For My Ns (Intro Dirty)
Cashh - Ride Or Die (Intro Clean)
Childish Gambino - Redbone (PeteDown Bounce Mix)
Craig David ft Mos Def - 7 Days (DJ Premier Remix) (Intro Dirty)
David Guetta ft Justin Bieber - 2U (DJ Sub Zero Remix) (Clean) (Extended)
DJ Khaled - Wild Thoughts (DJ Blighty Rude Boy Intro Dirty)
DJ Khaled ft Rihanna & Bryson Tiller x Santana - Wild Thoughts (Scooter Rich Girl Blend Dirty Short Edit)
DJ Khaled ft Rihanna & Bryson Tiller x Santana - Wild Thoughts (Scooter Rich Girl Blend Dirty)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts (Chris Villa Acap Intro Dirty)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts (DJ Derezon Hype Intro Dirty)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts (Julian R Puro Pari Remix Clean)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts (KidCutUp Maria Maria Intro Edit Dirty)
DVBBS feat. Cisco Adler - Cozee (Intro)
Ed Sheeran - Castle On The Hill (Mowe RMX Cutdown)
Ed Sheeran - Castle On The Hill (Mowe RMX Intro)
Ed Sheeran X Zion & Lennox vs Stormzy - Shape Of You (DJ Chad Edit)
Ella Eyre ft. Ty Dolla $ign - Ego (Intro)
Enrique Iglesias ft. Descemer Bueno, Zion & Lennox - Subeme La Radio (Acap Out)
Enrique Iglesias ft. Sean Paul - Subeme La Radio Remix (Acap Out)
Eric Bellinger - Be The Change (Intro Clean)
Fat Joe ft. Dre - So Excited (Jordan Crisp Hype Edit Dirty)
Fat Joe x Remy Ma ft French Montana vs Bee Gees - All The Way Up (Tomcio Blend Dirty Extended)
Fergie - Clumsy (Intro Clean)
Fifth Harmony - Lonely Night (Intro - Dirty)
Fifth Harmony ft Gucci Mane - Down (MTV VMA 2017 Version Short Edit)
Fifth Harmony ft Gucci Mane - Down (MTV VMA 2017 Version)
French Montana feat. Swae Lee & Mariah Carey - Unforgettable (Remix) (Intro - Dirty)
G Yamazawa ft Joshua Gunn & Kane Smego - North Cack (Intro Dirty)
G-Eazy ft Rexx Life Raj - Wave (Intro Dirty)
Greg Street ft Nappy Roots - Good Day (Intro Clean)
Gs Boyz - Off Top (Intro Dirty)
Hey Violet - Hoodie (PeteDown Remix Clean)
Hey Violet - Hoodie (PeteDown RMX Clean Short Edit)
Iamsu! - Back 2 Basics (Intro - Dirty)
Iamsu! - I Be (Intro Dirty)
Jennifer Lopez - Love Don't Cost A Thing (Intro Clean)
JL ft Nef The Pharaoh - Out Da Hood (Intro Dirty)
K'naan ft Residente, Riz MC & Snow Tha Product - Immigrants (We Get The Job Done) (Intro Dirty)
Kali Uchis feat. Reykon - Nuestro Planeta (Intro - Dirty)
Khalid - Location (Chizzle & Rever Deep Re-Drum)
Kodak Black - Transportin' (Intro - Dirty)
Kodie Shane - Level Up (Intro Dirty)
LANY - Super Far (Intro Clean)
Linkin Park - One More Light (DMS Re-Drum)
Lost Kings - First Love f. Sabrina Carpenter (Intro Main)
Marc E. Bassy ft Hailee Steinfeld - Plot Twist (Remix) (Intro Clean)
Marley Waters feat. Kranium & Stone Bwoy - Wine Pon It (Dancehall Remix) (Intro - Dirty)
Marley Waters feat. Naldo Benny - Wine Pon It (Brazil) (Intro)
Mr Eazi & Major Lazer ft French Montana & Ty Dolla Sign - Leg Over (Remix Dirty)
Mr Eazi - Leg Over (Intro Dirty)
Musiq Soulchild - Humble Pie (Intro Clean)
Niall Horan - Slow Hands (PeteDown Flavor Remix)
Niall Horan - Slow Hands (PeteDown Flavor RMX Short Edit)
Nipsey Hussle - Grindin All My Life (Intro Dirty)
One Acen - Verified (Intro Dirty)
P Montana ft. Paigey Cakey - Loving (Intro)
Paramore - Fake Happy (Intro Clean)
Phil N Good feat. Kid Ink, C-Kan & Jus D - Juana (Remix) (Intro - Dirty)
Philthy Rich ft SOB, RBE & Ziggy - Right Now (Intro Dirty)
Positive K & Greg Nice - That's That (Intro Dirty)
Rachel Platten - Broken Glass (Intro Clean)
RDX - Shake Your Bam Bam (DJames Acap Intro Dirty)
Sabrina Carpenter - Why (Intro Clean)
Sam Martin - Bring Me Home (Papa Ya RMX Intro)
Sam Smith - Too Good At Goodbyes (Intro Clean)
Saya - Cold Fire (Intro Clean)
Shaggy - It Wasnt Me (DJ Chad Intro Clean)
Sofia Carson - Ins & Outs (Intro Clean)
Stonebwoy ft. Kojo Funds - Falling Again (Intro - Dirty)
SZA ft. Travis Scott - Love Galore (Chizzle & Rever Deep Remix Dirty)
Tech N9ne & 2 Chains vs. TroyBoi - Hood Mantra (Danny Diggz Blend Clean)
Tee Grizzley feat. Meek Mill - Beef (Intro - Dirty)
The Chainsmokers vs Anton - Paris Cortado (Danny Diggz Blend)
The Cool Kids feat. Jeremih - 915PM (Intro - Dirty)
The Weekend X Beyonce - I Feel It Coming Baby Boy (CL Reggaeton Edit)
Thomas Gold - Dreamer (Extended Mix)
Tinn - Represent (Intro - Dirty)
Tyler The Creator - Ziploc (444 Freestyle) (Intro Dirty)
Usher - You Make Me Wanna (ASIL Hype Remix Re-Drum)
Wretch 32 feat. Donae'o & Kojo Funds - Whistle (Intro - Dirty)
Wu-Tang Clan feat. Redman - People Say (Intro - Dirty)
Yellow Claw ft Yade Lauren - Love & War (Yellow Claw G-Funk Remix)
Yhung T.O. - Blame Em (Intro Dirty)
YMTK - Confetti (Intro Dirty)
Young Eiby - Wild Thoughts (Spanish Remix) (Intro)
Young RJ ft BJ The Chicago Kid - Issues (Intro Dirty)
Yungen ft Yxng Bane - Bestie (Intro Dirty)
Yungen ft. Yxng Bane - Bestie (DJ Denz I Know What You Want Edit Intro - Dirty)
Yxng Bane - Rihanna (Mista Bibs vs Satoru Diamonds Edit Dirty)
Yxng Bane - Rihanna (Satoru Club Edit Dirty)
ZAYN ft Sia - Dusk Till Dawn (Intro Clean)
Zedd & Alessia Cara vs Cam'ron - Stay Ma (DJ Scene Blend Short Edit)
>
【[09.21] BPM 100-109】
>
AJ & Deano - Coming For You (Intro - Dirty)
Anitta - Bang (Portuguese Clean)
Arcando Ft. MenEnd - Is It Possible (Intro Clean)
Avicii ft Rita Ora - Lonely Together (Short Edit)
Bebe Rexha feat. Kranium - Comfortable (Intro)
Belly Squad - Lifestyle (Intro - Dirty)
Big Wild ft Yuna - Empty Room (Intro)
Brandy Y Monica - The Boy Is Mine (Vinc Moombahton Edit)
Breathe Carolina & Flatdisk - Hotel (DJcity Club Edit)
Bruno Mars - Versace (David Guetta x Daft Punk Remix)
Bruno Mars - Versace On The Floor (Fuseamania Re-Drum Short Edit)
Bruno Mars - Versace On The Floor (Fuseamania Re-Drum)
Calvin Harris ft Pharrell Williams, Katy Perry & Big Sean - Feels (Donato Fresh Remix)
Calvin Harris ft Pharrell Williams, Katy Perry & Big Sean - Feels (J Rythm Remix) (Clean) (Extended)
Calvin Harris ft Pharrell Williams, Katy Perry & Big Sean vs Bob Marley - Feels x Could You Be Loved (Scooter Blend Clean)
Cassie - Me & You (Jose Knight Mama Bootleg)
Charlie Puth - Attention (Nick Bike Remix)
Chip - Snap Snap (Intro Clean)
Chopstix ft. Yung L, Endia, & Timaya - Intanashona Baby (Intro)
Chris Brown - Questions (Chorus First Clean)
Chris Brown - Questions (Johnny Good Re-Drum)
Chris Brown ft Nicki Minaj - Love More (DJ Ademar Remix)
Citizen Four - Want You Back (Joe Max RMX Super Short Edit)
Clue ft. Abra Cadabra - Pull Up & Skore (Intro - Dirty)
Coast Modern - Dive (Intro)
D Banj x The Fedz - Comment Ca Va (Intro Clean)
Dasu ft. Charly Black - Turn Back Time
DB Sound System - Bomboleo (Intro - Dirty)
Demi Lovato - Sexy Dirty Love (Intro Clean)
Destiny's Child - Bootylicious (Tall Boys Strip That Down Bootleg)
Dev - Come At Me (Intro Clean)
Disco Killerz Ft. Gary Nesta Pine - One Life (Intro Clean)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts (Moombahbaas & Ruud Feltkamp Bootleg)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts - DJ Stylus Spirit Edit (Intro - Dirty)
Doctor ft. KickRaux - So Wavey (Intro)
Dr. Dre ft. Snoop Dogg - Nuthin' But A G Thang (DJ Smerk Feels Bootleg Dirty)
Dragonette - Body 2 Body (2DB Remix) [Dub Mix]
Dzeko - In Too Deep (Intro Clean)
Fekky ft. Shakka - My Size (Intro - Dirty)
Fifth Harmony - Sauced Up (Intro)
French Montana ft Swae Lee & Mariah Carey - Unforgettable (Acoustic Remix) (Intro Dirty)
GFTD - Tellin (Original Mix)
Hailee Steinfeld & Alesso feat. Florida Georgia Line & watt - Let Me Go (Intro)
Hardwell & Henry Fong ft. Mr. Vegas - Badam (Jordan Crisp Hype Edit)
Hardy Caprio - Super Soaker (Intro Dirty)
Hardy Caprio ft. One Acen - Unsigned (Intro - Dirty)
Iyaz - Replay (Rizzos 2017 Moombahton Reboot)
J Balvin & Willy William - Mi Gente (Jpan Short Edit)
J Balvin & Willy William - MI Gente (SNDMN Swizz Hype Acapella Intro Spanish)
J Balvin & Willy Williams vs Selecta Mi Gente - Let Me Clear My Throat vs Mi Gente (DJ Baysik SegwayDrop First Edit) (Clean)
J Balvin - Sigo Extranandote (DJ Santarosa Policeman Bootleg)
J Hus - Spirit (Intro - Dirty)
Jasmine Thompson - Old Friends (AstroFox Remix)
Jeffrey Paradise - Dream With You (Bosq RMX Cutdown)
John Mayer - Moving On And Getting Over (Cherokee RMX Cutdown)
Julia Michaels - Worst In Me (Intro)
Justin Bieber & BloodPop - Friends (Intro)
Justin Timberlake J Blavin & Willy William - Rock Your Body Mi Gente (Fuseamania Segue x Scooter Tone Play)
Kaskade - Nobody Like You (Intro)
Kaskade - Nobody Like You (Super Short Edit)
Kat Deluna ft Jeremih - What A Night (DJ Grant Bootleg)
Kevin Lyttle - Slow Motion (Gozzi Remix)
Kongsted - Gimme Love (Few Wolves x Gaston Remix)
Konshens - Turn Me On (Intro - Dirty)
Kyla - You Ain't Mine f. Popcaan (Intro Clean)
Lady Bee ft. Tropkillaz & Oktavian - Murder (DJcity Club Edit)
Lana Del Rey & The Weeknd - Lust For Life (Bloodpop Remix)
Lana Del Rey ft The Weeknd - Lust For Life (The Avener Rework) (Clean) (Extended)
Lauv - I Like Me Better (Cheat Codes Remix)
Liam Payne & Zedd - Get Low (420 Club Mix)
Liam Payne ft Quavo - Strip That Down (Mr. Collipark Remix Clean)
Linkin Park - Roads Untraveled (DJ VoJo Remix)
Little Mix - Touch (ASIL Remix Re-Drum)
Live Evil feat. P-LO - Throw It (Intro - Dirty)
Lorde ft Khalid, Post Malone & SZA - Homemade Dynamite (Remix) (Intro Dirty)
Lotto Boyzz - No Don (ELLiNGTONE Hype Intro Dirty)
Luis Fonsi & Daddy Yankee - Despacito f. Justin Bieber (Dave Aude Remix Club Edit)
Lumidee - Lumidee Uh Oh (Dan Bravo Remix)
Lupe Fiasco - Superstar (Tall Boys No Fear Bootleg)
Mabel - Bedroom (Oliver Nelson RMX Intro)
Mabel ft. Kojo Funds, Burna Boy, & Don-E - Finders Keepers Remix (Intro)
Major Lazer feat. PARTYNEXTDOOR & Vybz Kartel - Run Up (Remix) (Intro - Dirty)
Major Lazer Ft. Anitta & Pabllo Vittar - Sua Cara (Toob's Moombahbaas Edit)
Mansionz ft G-Eazy - Wicked (Intro Dirty)
Mariahlynn - Once Upon A Time (Intro Dirty)
Miguel - Shockandawe (Intro Clean)
Mr. Probz ft Anderson Paak - Gone (Intro Clean)
N.O.R.E ft Pharrell Williams - Uno Mas (Have A Drink) (Intro Clean)
N.O.R.E. - Nothin' (DUTTY Remix)
NERVO Ft. Chief Keef - Champagne (Dirty)
Niia - Nobody (Intro Clean)
NSG ft Geko - Yo Darlin' (Intro Dirty)
Oliver ft Chromeo - Go With It (Cutdown)
P Montana ft. Sona & Baseman - Since Then (Intro)
Play-N-Skillz feat. Kirstin - Hey Guapo (Intro)
PNB Rock - Selfish (Zkosta Moombahton RMX Chorus Only Clean Super Short Edit)
Ria Mae - Bend (Intro Clean)
Rotimi feat. Kranium - Want More (Intro)
Rudimental ft James Arthur - Sun Comes Up (Intro Clean)
Sam Feldt ft. Akon - YES (DJcity Club Edit)
Sam Smith - Too Good At Goodbyes (Tall Boys Club Edit)
Sean Paul - Get Busy (Tomu Fallihauta 2k17 Edit) (Clean) (Extended)
Shakira ft Wyclef Jean X DJ Sol & Mr Butter - Hips Dont Lie (Jpan Bootleg)
SJUR - What Do I Do (Intro Clean)
Sofi Tukker Ft. NERVO, The Knocks, & Alisa Ueno - Best Friend (Intro Dirty)
Steel Banglez ft. Mostack, Mist, Haile, & Abra Cadabra - Money (ELLiNGTONE Hype Intro Dirty)
Stefflon Don ft. French Montana - Hurtin' Me (Boston Bun Remix Clean)
Stefflon Don ft. French Montana - Hurtin' Me (Intro Dirty)
Stefflon Don ft. French Montana - Hurtin' Me (Mista Bibs Hype Intro Dirty)
Stefflon Don ft. French Montana - Hurtin' Me (TeamSalut Remix)
Stylo G ft. Chip, Lisa Mercedez, & Ms Banks - Yu Zimme (All Star VIP Mix Intro - Dirty)
Tee Grizzley - No Effort (DJ Spottz Remix Dirty)
Teenear feat. Fetty Wap - Love Me Or Leave Me (Intro)
Tei Shi - Say You Do (Bee's Knees Remix) (Extended)
Tove Lo - Don't Talk About It (Intro Dirty)
Tove Lo - Imaginary Friend (Intro Clean)
Wale ft Major Lazer, Dua Lipa & Wizkid - My Love (Joe Maz RMX Cutdown)
Wizkid - Picture Perfect (Clean Intro)
Xavi, XOVOX Ft. Olivia - Yellow Brick Road (Intro Clean)
Yellow Claw ft Sody - Last Paradise (Menasa Moombahton Remix)
Yo Gotti vs Juvenile x Lil Wayne - Rake That Azz Up (Mr. Collipark Blend Dirty)
Young T & Bugsey - 4x4 (Intro - Dirty)
Yungen ft. Yxng Bane - Bestie (Mista Bibs Unforgettable Edit Dirty)
Zedd & Alessia Cara X Human League - Stay Human (DJ Scene Mashup)
Zedd & Liam Payne - Get Low (J Rythm Hype Edit) (Dirty)
>
【[09.21] BPM 110-119】
>
Adam Davenport Feat. Shanica Knowles - My Return Address Is (Original Mix)
Adam Lambert - Ghost Town (Jey Richmond & Breezwell Remix)
Alan Walker - Faded (DJ Oneon Remix)
Andrew Dum Feat. Michel Kotcha - Limoncello (Original Club Mix)
Artistic Raw - Dil Dil Dil (Original Mix)
Black Eyed Peas - Shut Up (Intro Dirty)
Camila Cabello ft Young Thug - Havana (Kay Stafford Mix Clean)
Charlie Puth - Attention (Drumcc Summer Remix)
Childish Gambino - Redbone (Mr. Collipark Remix Dirty)
Coolio ft. L.V - Gangsta's Paradise (Alex Mistery Remix Radio Edit) [2017]
Crazy Cousinz ft. Yxng Bane, Mr Eazi, & Lily McKenzie - No Way (Intro)
Dej Loaf - No Fear (Kue Remix Clean)
Disco Fries Ft. Great Good Fine OK - Moving On (Extended Mix)
DNCE - Good Day (End Of The World Remix) (Clean) (Extended)
Don Diablo feat. Holly Winter - Don't Let Go (Intro)
Duke Dumont & Gorgon City ft. NAATIONS - Real Life (Kilter Remix)
Eden Prince & Cassie - Obvious (Intro Clean)
Falcon Punch & Alexanderson - Borrowed Time (Intro)
FDVM ft. Tyler Sjostrom - Make It Right (Wankelmut Remix)
Fergie feat. Nicki Minaj - You Already Know (Intro - Dirty)
George Michael & Nile Rodgers - Fantasy (Ken Walker Remix)
Gunther - Ding Dong Song (Artem Smart Deep Remix)
High Contrast ft. Boy Matthews - The Beat Don't Feel The Same (Intro)
IOWA - Красота (Ivan Spell Remix)
J M Brothers - Disco Brasilia (Original Mix)
Jah Khalib - Лейла (Kolya Funk & Blant Remix)
Jason Derulo - If I'm Lucky (Intro)
Jessie Ware - Selfish Love (Intro Clean)
JoAnna Michelle - Too Sophisticated (Intro Clean)
Julian Perretta & FEDER - Private Dancer (Intro Clean)
Justin Bieber & Bloodpop - Friends (PeteDown Remix Short Edit)
Justin Bieber & Bloodpop - Friends (PeteDown Remix)
Kongested - Gimme Love (Le Boeuf Remix)
La Sonora Malecon - Obsecion (Vaizar Moombahton Remix)
LCAW Ft. Sophie Hintze - Staring At The Sun (Original Mix)
Lel'Mezh - Отпусти Меня (O'Neill & Direction Of Silence Official Remix)
Lethal Bizzle ft. MoStack - Hold You (Satoru Hype Intro Dirty)
Linkin Park - One More Light (U'Moon Remix)
Little Mix - Touch (Kay Stafford Mix Clean)
Major Lazer ft Travis Scott, Camila Cabello, Qavo Y Bad Bunny - Know No Better (Remix) (Intro Dirty)
Maroon 5 ft SZA - What Lovers Do (Chorus First Clean)
Maroon 5 ft SZA - What Lovers Do (Kay Stafford Mix Clean)
Maroon 5 ft SZA - What Lovers Do (Tall Boys You Remind Me Bootleg)
Maroon5 Ft. SZA - What Lovers Do (Pink Panda Remix)
Martin Jensen Feat. Loote - Wait (Original Mix)
Maty Noyes - Say It To My Face (Intro)
Michael Jackson - Blood On The Dance Floor x Dangerous (The White Panda Mash-Up) (Extended)
Nailah Blackman feat. Shenseea - Badishh (Intro)
No Way Back Ft. Sophia Black - Minute (Curt Reynolds Remix) [Intro Clean]
Oliver ft Leon Else - Love Like This (Intro)
Oliver ft Sam Sparro - Last Forever (Intro)
Pink - What About Us (Mike D Mix)
Pink - What About Us (Pink Panda Remix)
Pitbull & J Balvin ft Camila Cabello - Hey Ma (Kay Stafford Mix English)
Portugal. The Man - Feel It Still (ZHU Remix) (Intro)
PRETTYMUCH - Would You Mind (Intro Clean)
R. Kelly - I Believe I Can Fly (Ash Moombahton Edit)
Rita Ora - Your Song (Cheat Codes Extended Mix)
Rita Ora - Your Song (Cheat Codes RMX Short Edit)
Rita Ora - Your Song (Sick Individuals Remix Extended)
Rod Stewart Ft. DNCE - Da Ya Think I'm Sexy (Clean Intro)
Rudimental ft James Arthur - Sun Comes Up (Tritonal Remix) (Extended)
Sean Focus - Dhali Wangu (My Darling) (Intro)
Sean Paul ft Migos - Body (Kay Stafford Mix Dirty)
Selebobo - I Don't Care (Intro)
Sheppard ft Sebastian Yatra - Edge Of The Night (Spanish Version) (Intro Clean)
Ski Mask The Slump God - Catch Me Outside (Dirty Intro)
Superfruit - Future Friends (Intro Clean)
The Knocks - Time (Cutdown)
The Knocks - Time (Intro)
The Weeknd - In The Night (Drumcc Summer Remix)
TImbaland ft Nelly Furtado & SoShy - Morning After Dark (Intro Clean)
Tom & Hills x Leandro Da Silva Ft. Jutty Ranx - Gonna Live My Life (Intro Clean)
Tom Misch - South Of The River (Original Mix)
Tove Lo - Disco Tits (Intro Dirty)
U2 & Kygo - You're The Best Thing About Me (Intro Clean)
Usher ft Juicy J - I Don't Mind (ASIL Hype Remix Clean)
Vanotek feat. Eneli - Tell Me Who (Fisun extended mix)
Wale ft Major Lazer & Dua Lipa - My Love (Major Lazer VIP) (Extended)
ZHU - Hometown Girl (O'Neill Remix)
Кристина Геворгян - Лето зовет за собои? (Nevy Production)
Моя Мишель - Настя (Memo Remix)
Х.О.Х - АЛОХА
>
【[09.21] BPM 120-127】
>
187 Lockdown - Gunman (Est1987 Remix)
187 Lockdown - Gunman (Est1987 RMX Short Edit)
219 Boys & Panic City - Want U 2 Bounce (Dirty Cutdown)
219 Boys & Panic City - Want U 2 Bounce (Dirty)
5napback ft. Laurell Barker - Waste My Time (Robert Abigail Remix)
Adam Foster - Long Days (Original Mix)
Adina Howard - Freak Like Me (TRP Remix)
Adriana Johnson - Summer Day (Original Mix)
Aero Zoo - Everytime (Owa Remix)
Afrojack & David Guetta - Another Life (D.O.D Remix Extended)
Airy Jeanine - Everywhere (Intro Clean)
Airy Jeanine - Everywhere (My Digital DB Dub Remix)
Airy Jeanine - Everywhere (My Digital DB Remix)
Airy Jeanine - Everywhere (Toby Remix)
Ale V - Take Me Higher (Original Club Mix)
Alex Adair - Casual (Felon Mix)
Alex Seda & J8Man - Still Afraid (Original Club Mix)
Amber Mark - Heatwave (Original Mix)
Andrea Mendez - Bring Me Love (Est1987 Remix)
Angelz - So Fly (Original Mix)
Armin van Buuren ft Josh Cumbee - Sunny Days (Jay Hardway Remix) (Clean)
Armin van Buuren ft Josh Cumbee - Sunny Days (Tritonal Remix) (Clean)
Audien & 3LAU Ft. Victoria Zaro - Hot Water (Public Affair Remix)
Austin Mahone - Lady (Wideboys Screwface VIP Remix)
Avicii Ft. Rita Ora - Lonely Together (Dirty Werk & Country Club Martini Crew Remix)
Avicii Ft. Sandro Cavazza - Without You (Merk & Kremont Remix)
AXSHN ft. Sophia Reyes - Tell Me (Dirty Werk Remix)
AXSHN ft. Sophia Reyes - Tell Me (Richard Vission & Loren Moore Remix)
Bassjackers x Lucas & Steve featuring Caroline Pennell - These Heights (Jay Hardway Remix)
Bebe Rexha - Not The One (Robin Hustin Remix Clean)
Bee Gees - Stayin Alive (Marc Franco & That Bass 2017 Remix)
Bellecour - Everybody Goes (Original Mix)
Ben Lemonz - People (Original Mix)
Bingo Players Vs. Tony Arzadon & Steve Smooth - Rattle (Kastra Get Up Edit)
Blinkie - Halfway (Ben Rainey Remix)
Blinkie - Halfway (G.U.R.U vs Blinkie Remix)
Blinkie - Halfway (James Bluck Remix)
Block, Crown & Damon Grey - Dunas (Original Club Mix)
Block, Crown & Mike Ferullo - Crank Up The Volume (Original Club Mix)
Blonde ft Astrid S - Just For One Night (George Kwali RMX Cutdown)
Blonde ft. Astrid S - Just For One Night (Anton Powers Remix)
Blonde ft. Astrid S - Just For One Night (JLV Remix)
Bob Sinclar ft. Akon - Til The Sun Rise Up (Intro)
Bob Sinclar ft. Akon - Til The Sun Rise Up (RVNSOM BRUH Bootleg)
Boiler - Discotheque (Original Mix)
Brohug - Knuckles (Clap Intro - Short Edit)
Brohug - Paparazzi (Original Mix)
Bruno Mars - Versace On The Floor (Ken Walker Remix)
Caked Up - Ali Baba (Original Mix)
Calippo - What Is House (Original Mix)
Calvin Harris - Flashback (Ethan James & Myles Away Remix)
Calvin Harris ft Pharrell Williams, Katy Perry & Big Sean - Feels (Denis First Remix Dirty)
Calvin Harris ft. Florence Welch - Sweet Nothing (Craig Knight & Lewis Roper Remix)
Camelphat & Elderbrook - Cola (Craig Knight Remix)
CamelPhat & Elderbrook - Cola (Josh Hunter Remix)
Cardi B - Bodak Yellow (Barry Harris Mix) (Dirty) (Extended)
Cardi B - Bodak Yellow (Kidd Spin Blow This Club Up Bootleg Clean - Short Edit)
Cardi B - Bodak Yellow (Kidd Spin Blow This Club Up Bootleg Clean)
Cardi B - Bodak Yellow (Made Moster Remix Dirty)
Carlos Fas & Vicente Fas Vs. SDJM - I Wanna Dance With Somebody (Javi Reina Mashup)
Cash Cash Feat. Conor Maynard - All My Love (Henry Fong Remix)
Cash Cash Ft. Conor Maynard - All My Love (Marc Stout And Svejda Remix)
Cazztek Feat. Kiyoshi - LIT (Original Mix)
CeCe Peniston - Finally (Booyah Riot Remix)
CeCe Peniston - Finally (Rick Live Remix)
Cedric Gervais Vs. Kanye West - Touch The Sky (CL Mash Up)
Charli XCX - Boys (Coldabank Remix)
Charlie Puth - Attention (David Guetta Remix)
Che Chesterman - Another Man (TRP Remix)
Chris Brown - Questions (Dan Judge & Jordan King Remix)
Chris Meid ft. Tabor & Phyne - Eye Of The Tiger (Original Mix)
Clean Bandit ft Sean Paul & Anne-Marie vs Jay Hardway - Golden Rockabye Pineapple (Whaler & Richard Louis Bootleg Short Edit)
Curtis Alto & Samuel Miller - Lost Out Here (Original Mix)
Daecolm - Dancing Queen (Jerome Price Remix)
Dan Judge & Jordan King ft. Mark Borino - On My Own (Original Mix)
Danny Dove - Go Shorty (Original Mix)
Dave Winnel - Kazoo (Original Mix)
Dave Winnel vs 49Ers - I Got The Souljacker (Scotty D Mashup)
David Zowie - The Real Don (Original Club Mix)
David Zowie - The Real Don (Satoru Acap Intro)
DECCO & Leo Stannard - Sun Come Out (Original Mix)
Deepend ft Graham Candy - Waiting For The Summer (Denis First Remix)
Degrees Of Motion - Shine On (Kenny Hectyc Remix)
Deja Vu - I Cant Stop (Dan Taneff Remix)
Demi Lovato - Sorry Not Sorry (The Scene Kings Remix Dirty)
Denney & Mekon feat. Roxanne Shante - What's Going On (Original Mix)
Destinys Child - Say My Name (ASIL Bootleg Remix)
Dev - In The Dark (Lunettes Noires 2017 Remix)
Deyna Family - Monkey Business (Club Mix)
Dirty Rush & Gregor Es - Brass (Original Mix)
Dirty Rush & Gregor Es - EVRBDY (Konflikt Edit) (Clean)
Dirty Rush & Gregor Es - Take Me Off (Short Edit)
Disco Dikc - There Are Drugs (Original Mix)
Disco Killerz and Liquid Todd Feat. Hannah Rose - In The Music (Original Mix)
DJ Absinth - Revolution (Original Club Mix)
DJ Felli Fel ft. Akon - Get Buck In Here (DJ Smerk That Dance Bootleg)
DJ Khaled ft. Rihanna & Bryson Tiller - Wild Thoughts (DEAN-E-G Remix)
DJ Licious - I Can't Stop (Original Mix)
DMX - X Gon Give It To Ya (Danny Dove Remix)
DNCE ft Luis Fonsi Y Nicki Minaj - Kissing Strangers (Remix) (Intro Clean)
Doctor P & Flux Pavilion - Party Drink Smoke (Horsemen Its Too Lit Bootleg)
Dots Per Inch ft. Coral - Body Groovin' (DEAN-E-G Remix)
Dots Per Inch ft. Coral - Body Groovin' (James Bluck Remix)
Dr Dre ft Snoop Dogg - Nuthin But A G Thang (Schade Bootleg Remix Dirty)
Drezo vs Eminem vs Tiesto & Sevenn - Forgot About Boom (LOCZI Show Edit) (Dirty)
Drove Amaro - Freak Out (Original Mix)
Dua Lipa - New Rules (Blu-REY & TONE TERRA Remix)
Dua Lipa - New Rules (Charlie Lane Remix)
Dua Lipa - New Rules (Dan Judge & Jordan King Remix)
Dua Lipa - New Rules (Froglicka Remix)
Dua Lipa - New Rules (PeteDown Reggae Remix) (Dirty)
Dua Lipa - New Rules (Pink Panda Remix)
Duke Dumont & Gorgon City - Real Life (DJ Konflikt Edit) (Clean)
DVBBS & Jay Hardway - Voodoo (David Souza Bootleg Remix)
DVBBS & Jay Hardway - Voodoo (David Souza Bootleg RMX Short Edit)
Eat More Cake - Heat Of The Night (Tobtok RMX Intro)
EDX - Daybreak (Original Mix)
EDX - We Cant Give Up (Original Clean Mix)
Ella Eyre ft. Ty Dolla $ign - Ego (DJ Zinc Remix)
Ella Eyre ft. Ty Dolla $ign - Ego (Jack Wins Remix)
Emily Perry - Boom (Dave Aude Remix)
Eric Prydz - Pjanoo (Slim Tim Remix)
Erick Decks & Jay Frog Feat. Jason Anousheh - U Got Love (Original Club Mix)
eSQUIRE And Sweet Female Attitude - Everyword (eSQUIRE Remix)
eSQUIRE And Sweet Female Attitude - Everyword (Original Mix)
Est1987 & Wonder K - Fire (Original Club Mix)
Evokings - Tell Me (Original Mix)
Faith Evans - Love Like This (Freejak Voodoo Song Bootleg Dirty)
Fatboy Slim - Right Here, Right Now (Highness Remix)
Fatum - Stained Glass (Original Mix)
Fedde Le Grand & Dannic vs. Coco Star - Coco's Miracle (Cutdown)
Fedde Le Grand & Dannic vs. Coco Star - Coco's Miracle (Short Edit)
Felice & Timbo - Watcha (Original Mix)
Felix Jaehn & Mike Williams - Feel Good (Pat Benedetti Remix)
Fenix Ft. Lisa Williams - California Sun (Intro Clean)
Fergie Ft. Nicki Minaj - You Already Know (Jay Mac Clean)
Firebeatz Feat. Vertel - Till The Sun Comes (Original Club Mix)
Flux Pavilion Ft. Cammie Robinson - Pull the Trigger (DNA 92 Remix)
FooR Ft. Effie - Words (Freejak Remix)
Fraanklyn - Horn Song (Original Mix)
Fragma - Toca's Miracle (Froglicka Remix)
Freejak & Safety First! ft. BB Diamond - Closer Than Close (Satoru Acap Intro)
Freejak - Sway (Original Mix)
French Montana ft Swae Lee - Unforgettable (Tiesto vs Dzeko AFTRHRS Remix) (Dirty) (Extended)
Frey - Good Vibration (Natema Remix)
Froglicka & Arkaid - Live It Up (Original Mix)
Fubu ft. Kathy Brown - Turn Me Out (Original Mix)
Fuller Refix - No Ordinary Love (Original Mix)
Funky Truckerz - Alive (Original Club Mix)
Gandolfi B., RQntz - Drop (Original Mix)
Garreth Maher - Every Little Step (Club Edit)
Ghosted - Get Some (Danny Dove Remix Dirty)
Ghosted - Get Some (Jaded Remix)
Giacluca Viacchi - Viento (DJcity Club Edit)
Gianluca Vacchi x Tom Staar - Its A Viento Thing (Pat C Bootleg)
Gigamesh ft Kaleena Zanders - Work (No Break Short Edit)
Gigamesh ft Kaleena Zanders - Work (Original Mix)
GoldFish - If I Could Find (Original Mix)
Greg Gelis, Aexcit - See You Work (PROMI5E Remix)
GRiZ - What We've Become (Tommy Trash Remix)
GRiZ - What We've Become (Tommy Trash RMX - Short Edit)
Gromee & May-Britt Scheffer - Fearless (Intro Clean)
Hailee Steinfeld - Most Girls Parley (Felixx Edit)
Happy Clappers - I Believe (Waxon The Bomb 2K17 Bootleg)
Hard T!me & Liam Keegan Ft. Damon C Scott - Meet Somebody (Intro Clean)
Hazers - Changes (James Hype Remix)
Henry Fong Ft. Nyla & Stylo G - Young Hearts (Kue Remix)
Holl & Rush Feat. Jordan Jay - Another Day (Original Club Mix)
Hubblevision - Aftershock (Original Club Mix)
J Balvin & Willy William - Mi Gente (Digital Junkiez Remix Spanish)
J Balvin & Willy William - Mi Gente (DJ Slaving Remix Spanish)
J Balvin & Willy William - Mi Gente (Genairo Nvilla's King Of Drums Rework)
J-Trick & Jordan Magro - Funk (Original Mix)
Jacob Plant - About You (PBH & Jack Shizzle Remix)
Jake Chec - Kry (Original Mix)
James Hype Feat. Kelli-Leigh - More Than Friends (Extended Mix)
James HYPE ft. Kelli Leigh x En Vogue - More Than Friends (Don't Let Go) (Denis First Remix)
James Hype ft. Kelli-Leigh - More Than Friends (Elliott Kay Remix)
James Hype ft. Kelli-Leigh - More Than Friends (Sammy Porter Remix)
James Hype ft. Kelli-Leigh - More Than Friends (VIP Remix)
Jauz x Kendrick Lamar - Feel The Vibes (Flosstradamus x FCZ Bootleg Dirty)
Jax Jones ft. Demi Lovato & Stefflon Don - Instruction (Pink Panda Remix Clean)
Jerry Ropero, Krayzee - Stayin Alive (Original Mix)
JLV - Look Away (Original Mix)
Joel Fletcher & BIJOU - Dip (Original Mix)
Joey Foster - Summer Breeze (Original Mix)
Jonas Blue & Mark Villa vs. Sw - Drownin' In Your Arms (Peekaboo & TOSAK Mashup)
Jp Cooper Jonas Blue - Perfect Stranger (DJ Wissyn Club Mix)
Jupiter Son - Bass Detox (Original Mix)
Just Kiddin & Dirty Radio - My Life (Cutdown)
Just Kiddin - More To Life (Cutdown)
Just Us - Flirtatious (James Hype Remix)
Justin Bieber & BloodPop - Friends (J Bruus Remix)
Justin Bieber & BloodPop - Friends (Mark Jay Remix)
Justin Bieber & Bloodpop - Friends (twoDB Remix)
Justin Timberlake - My Love (Ed Marquis Remix)
Justin Timberlake x Merk & Kremont - Invisible Sexy Back (Felixx & DJ Totz Bootleg)
Kah-Lo - Fasta (Intro)
Kamaura ft. The Fever - Pretty Green Eyes (Tommy Mc Remix)
Kanye West - Love Lockdown (Moji 2017 Remix)
Kaskade - That Dance (Original Mix)
Keanu Silva & Gil Sanders Ft. Jacon Wellfair - Loud & Clear (Original Mix)
Kendrick Lamar - Humble (Ayden Harris & Otosan Remix)
Kenn Colt & Hiisak - Come On Sugar (DJcity Club Edit)
Kesha - Praying (Handbag House Remix)
Kesha - Woman (Dave Aude Pride Remix)
KIOMI - That Ass (Shake) (Dirty)
Kissy Sell Out ft. Lisa Williams - This Is Our Night (Layout Remix)
Klingande - Pumped Up (Original Mix)
Ku De Ta - Blow Ya Mind (Original Mix)
Kwanza Jones - Endless Summer (Dee Marcus Mateo Paz Remix Club Mix)
Kygo Feat. Ella Henderson - Here For You (Lefthand's McIntosh Bootleg Remix)
L'Tric - The Way You Are (Tom Budin Remix)
La Fuente x DJ BL3ND x Ido B & Zooki - Selekata (David Souza Bootleg)
La Roux - Bulletproof (Kastra vs Declain & V.Y.C. Ghetto Funk Bootleg Dirty)
Landis & Kastra ft. NISHA - About Us (Club Mix)
LAUV - I Like Me Better (TRU Concept Remix)
LDRU - To Be Free (SNBRN RMX Cutdown)
Leandro Da Silva & Prelude Ft. C-Fast - We Do It (Original Mix)
Lil Wayne x Wax Motif x AC Slater x Chris Lorenzo - A Milli Fly Kicks (KUR3 Bootleg Clean Short Edit)
Linkin Park - One More Light (Deeper Craft Remix)
Livin' Joy - Dreamer (Rick Live Remix)
Lokee, YNOT, Trilllion - Shake That (Original Mix)
Lost Kings - Look At Us Now (Dzeko Remix)
Lucas & Steve x Madison Mars - Stardust (Original Mix)
Luis Fonsi ft Daddy Yankee - Despacito (DJ Rocco Remix)
LVNDSCAPE Ft. Kaptan - Walk Away (Club Remix)
Macklemore Ft. Skylar Grey - Glorious (Komes & Jolyon Petch Remix)
Madison Mars - Atom (Original Mix)
Majestic & Tigermonkey - Naughty Sesh (Original Mix)
Major Lazer & Flosstradamus - Original Don (Horsemen Bootleg Remix)
Major Lazer - Know No Better (DJ Zinc Remix)
Major Lazer Feat. Camila Cabello, Quavo & Travis Scott - Know No Better (Lawrence James Club Mix)
Major Lazer ft Travis Scott, Camila Cabello & Quavo - Know No Better (DJ Sol Remix)
Major Lazer Ft. Anitta & Pabllo Vittar - Sua Cara (Massivedrum Remix)
Major Lazer Ft. Travis Scott, Camila Cabello And Quavo - Know No Better (Afrojack Remix)
Major Lazer ft. Travis Scott, Camila Cabello, & Quavo - Know No Better (Cabuizee Remix Clean)
Major Lazer ft. Travis Scott, Camila Cabello, & Quavo - Know No Better (Jason Reilly Remix Dirty)
Malaa & Dombresky - Hostyl (Original Mix)
Mari Ferrari - You Are The One (Original Mix)
Mark Ursa & Yuga - Say (Anzano Remix)
Marnik and Blazars - King In The North (Original Mix)
Maroon 5 Feat. SZA - What Lovers Do (PeteDown Club Mix) (Clean)
Maroon 5 Feat. SZA - What Lovers Do (PeteDown Club Mix) (Quickhit) (Clean)
Maroon 5 Ft. SZA - What Lovers Do (twoDB Remix)
Martin Garrix And Troye Sivan - There For You (King Arthur Remix)
Martin Solveig ft Alma - All Stars (BROHUG Remix)
Marvin Vogel & Feylo - Midnight City 2017 (Original Mix)
Massivedrum - The Bomb 2K17 (Original Mix)
Masterstepz - Melody (Est1987 & Wonder K Remix)
Matroda - On My Mind (Original Mix)
MDB - Fire (Original Mix)
Merk & Kremont - Sad Story (Out Of Luck) (Just Kiddin Extended Remix)
Metallica - Enter Sandman (DJ Scene Bootleg Super Short Edit)
Metallica X Skrillex & Habstrakt - Sandman Soup (DJ Scene VIP Mix)
Michael Jackson - Billie Jean (DJ Dark & MD DJ Remix)
Michael Jackson - Man In The Mirror (Slim Tim Remix)
Mil, Frey - City G's (Original Mix)
Miley Cyrus - Younger Now (Intro)
MK - 17 (Original Mix)
MOGUAI & AKA AKA - Satisfied (Me & My Toothbrush Remix)
MOGUAI & AKA AKA - Satisfied (Me & My Toothbrush RMX - Super Short Edit)
Nadine - Go To Work (CALVO Remix)
Nadine - Go To Work (Original Mix)
Ne-Yo - Closer (Nathan Jain 2017 Remix)
Nervo, Kylie Minogue, Nile Rodgers, Jake Shears - The Other Boys (Michael Mandal & Forbes Remix)
Nervo, Kylie Minogue, Nile Rodgers, Jake Shears - The Other Boys (Tom Zanetti & KO Kane Remix)
Niall Horan vs. Whiskey Dicks - Slow Hands Last Night (Danny Diggz Bootleg)
Nick Jonas - Find You (Intro Clean)
Niels Van Gogh - Yucatan (Clean Short Edit)
Odesza ft Zyra - It's Only (Bloodtone Remix) (Extended)
Offaiah ft Shenseea - Run This Town (Cutdown)
Offaiah ft Shenseea - Run This Town (Short Edit)
Oliver Heldens ft Ida Corr - Good Life (Rudi RMX Short Edit)
PBH & Jack Shizzle - Bring The House (Original Mix)
PBH & Jack Shizzle ft. Sash Sings - Deep Inside (Original Mix)
Pink - What About Us (Amice Remix)
Pink - What About Us (Cash Cash Remix Remix)
Pink - What About Us (Charlie Lane Remix)
Pink - What About Us (Gozzi Remix)
Pink - What About Us (Jacked Remix)
Pink - What About Us (Madison Mars Remix)
Pitbull ft Ty Dolla Sign - Better On Me (J Rythm Edit) (Dirty)
Pitbull ft Ty Dolla Sign - Better On Me (Satoru Re-Edit)
Plastik Funk ft. Alex Prince - Damaged Heart (Plastik Funk Club Mix)
Platinum Doug - Get High, Live Life (Dirty)
Platinum Doug - Get High, Live Life (Dirty-Short Edit)
Platinum Doug - Wild Out (Original Club Mix)
Platinum Doug - Wild Out (Super Short Edit)
Popcorn Poppers & Pete Rose - Don't Listen To The Devil (Original Mix)
Post Malone - Congratulations (Goshfather & Aylen Remix Dirty)
Post Malone - Congratulations (Zewmob Remix)
Prince - Kiss (Dr. Space Bootleg Remix)
Problem feat. Bad Lucc - Get On It (Intro)
Problem ft. Bad Lucc - Get On It (DJ Primetyme Party Break Dirty)
Purple Disco Machine - Body Funk (Original Mix)
Purple Disco Machine ft Joe Killington & Duane Harden - Devil in Me (PDM Club Dub Mix)
Ramin Djawadi - Game Of Thrones (Woo2tech & Ravage Remix)
Ray Charles - Hit The Road Jack (Reece Low 2017 Remix)
Rebound X - Rhythm & Gash (PBH & Jack Shizzle VIP)
Redondo - Instant Moments (Extended Mix)
Redondo - Instant Moments (Short Edit)
Rick Live & Shelley Nelson - Something In Your Eyes (Original Mix)
Rit. - Yeah Yeah (Original Mix)
Roger-M - Out Of Control (Original Mix)
Rudimental ft. James Arthur - Sun Comes Up (Coldabank Remix)
RUNAGROUND - I'll Be There (Intro Clean)
Ryan Blyth, Scrufizzer, & Rae Hall - You & Me (Original Mix)
Sage The Gemini - Reverse (James Hype Remix)
Sam F Ft. Sophie Rose - Limitless (Kue Remix)
Sam Feldt and Hook N Sling - Open Your Eyes (Club Mix)
Sam Smith - Too Good At Goodbyes (Jacked Remix)
Sammy Porter & George Mensah - Ain't Nobody Else (Satoru Acap Intro)
Sebastian Yatra - Traicionera (Julio Arriaga Remix)
Selena Gomez Ft. Gucci Mane - Fetish (Division 4 Remix)
Selena Gomez Vs. Roisto - Fetish Vs No Regrets (Flipside Edit)
Shakedown - At Night (BTAY & Ben Rainey Remix)
Shaun Bate & Ahsha - Fancy Things (MD Electro Remix)
Shaun Bate & Ahsha - Fancy Things (Stupid Goldfish Remix)
Shawn Mendes x Ost & Meyer & Stage Rockers x Erick T - There's Nothing Radiant Holding It High (Pat C Mashup)
Simon Pagliari Feat. Cream Sound Factory - Spirit Of Chicago (Original Mix)
Skrillex & Poo Bear ft. Kid Travis - Would You Ever (Goshfather & DJCJ Remix)
Smack - Bring Em (Original Mix)
Softmal, Rey Vercosa, Avrupts - Sexsuality (Original Mix)
Solano X Taylr Renee Vs. Jebu - Edge Of Seventeen (Kastra Go Ahead Edit)
Soul II Soul - Bumps To Life (Codes Remix)
Stefflon Don ft. French Montana - Hurtin' Me (Anton Powers Remix)
Stefflon Don ft. French Montana - Hurtin' Me (Ethan James Remix Clean)
Swanky Tunes & The Parakit - Chipa-Lipa (Original Mix)
Tag Team Vs. Moksi - Whoop Getting Higher (FRAME Edit)
Taylor Swift & Laidback Luke - Look What Paradise Made Me Do (Gozzi Bootleg)
Taylor Swift - Look What You Made Me Do (M-High Remix)
Taylor Swift - Look What You Me Do (Denis First Remix)
Tazer - Low Key Groove (Original Mix)
Tchami - Don't Let Me Down (Original Mix)
Tchami - Don't Let Me Down (Short Edit)
Tchami ft Luke James - World To Me (Original Mix)
Tchami ft Luke James - World to Me (Short Edit)
Tchami ft Taiki Nulight - Godspell (Original Mix)
Tchami ft Taiki Nulight - Godspell (Short Edit)
The Bucketheads - The Bomb (Massivedrum 2K17Remix)
The Chainsmokers - Honest (Dave Aude RMX Cutdown)
The Chainsmokers - Young (Nicky Romero Remix Dirty)
The Chemical Brothers ft Q-Tip - Galvanize (KAAZE 2017 Remix)
The Coup - Fat Cats, Bigga Fish (Cutso Bmore RMX Dirty)
The Punk & The Kingpin - Gangsta Skank (Original Mix)
The Stickmen - The Want Me Bootleg
This Diamond Life Feat Karen Harding - The Weekend (KATO Extended Remix)
Throttle - Baddest Behaviour (DJcity Club Edit)
Tiesto & KSHMR ft. Talay Riley - Harder (DJ Smerk Club Edit)
Tim Arisu ft. Sergio Mendes - Magalenha (Original Mix)
Timbaland ft. Justin Timberlake - Carry Out (Rhythm Roxx & Mister Barclay Remix)
TLC - No
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Find the perfect diego from brazil stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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Alamy
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https://www.alamy.com/stock-photo/diego-from-brazil.html
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 13/08/2024 Alamy Ltd. All rights reserved.
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https://boo.world/sw/database/profile/485078/edim-had%25C5%25BEialagi%25C4%2587-personality-type
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en
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Aina ya Haiba ya Edim Hadžialagić Imefichuliwa
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Aina gani ya utu wa 16 ni Edim Hadžialagić kutoka Yugoslavia? Tafuta aina ya Edim Hadžialagić ya 16, Enneagram, na ishara ya Zodiac katika Soulverse, hifadhidata kamili ya utu.
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Boo
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https://boo.world/database/profile/485078/edim-hadžialagić-personality-type
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Wasifu wa Edim Hadžialagić
Edim Hadžialagić, also known as Edim Mašić, is a renowned public figure and media personality from Bosnia and Herzegovina. Born on June 17th, 1974, in the city of Sarajevo, Edim has made significant contributions in various fields, earning him a prominent status in Bosnian society. His multifaceted career spans across journalism, activism, and cultural initiatives, where he has demonstrated a strong commitment to fostering positive change and promoting Bosnian heritage. Edim Hadžialagić initially gained recognition as a radio and television presenter. During the early 1990s, he worked for the renowned Bosnian radio station, Radio ZID, where he showcased his exceptional interviewing skills and charisma. His captivating style and ability to connect with his audience helped him establish a loyal fanbase and paved the way for further opportunities in the media industry. Beyond his work as a presenter, Edim has also been actively involved in advocating for human rights and social justice in Bosnia and Herzegovina. He has utilized his public platform to shed light on various issues plaguing the country, such as political corruption, discrimination, and marginalization, contributing significantly to the ongoing dialogue on these crucial matters. Edim's fearless approach in addressing contentious topics has earned him respect and admiration from his followers, who view him as a fearless voice of reason. Furthermore, Edim Hadžialagić has also played an essential role in cultural preservation and promotion projects in Bosnia and Herzegovina. With a profound love for his country's rich heritage, he has actively participated in initiatives aimed at conserving and reviving traditional Bosnian values, customs, and arts. His involvement has ranged from organizing cultural events and festivals to supporting local artists and artisans, all with the goal of preserving and celebrating Bosnia and Herzegovina's unique cultural identity. Overall, Edim Hadžialagić's name resonates not only within the realm of Bosnian celebrities but also in the hearts of many across the country. Through his prowess as a media personality, dedication to human rights, and passion for cultural preservation, Edim continues to inspire and make a positive impact on Bosnian society.
Je! Aina ya haiba 16 ya Edim Hadžialagić ni ipi?
Edim Hadžialagić, as an ENFP, tends to be very expressive and enthusiastic. They are often good at seeing both sides of a situation and can be persuasive. They like to be in the moment and go with the flow. Expectations may not be the best method to encourage their growth and maturity. ENFPs are passionate and enthusiastic. They are always looking for ways to make a difference in the world. They do not pass judgment on others based on their differences. Because of their energetic and spontaneous attitude, they may like exploring the unknown with fun-loving friends and strangers. Even the most conservative members of the organization are moved by their excitement. They would never give up the exhilarating rush of discovery. They are not scared to take on large, strange concepts and make them a reality.
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https://blackbraziltoday.com/all-hail-the-king-pele-the-greatest-soccer-player-of-all-time-turns-80/
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All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80
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2020-10-25T01:04:02+00:00
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All Hail the King of Soccer recently celebrated eight decades, but talking about Pelé offers a glipse of being a black man in Brazilian society.
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Black Brazil Today
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https://blackbraziltoday.com/all-hail-the-king-pele-the-greatest-soccer-player-of-all-time-turns-80/
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Note from BBT: I can’t say with any certainty when I first heard the name Pelé, but I do know it was some time in the late 70s. As a child, I was an avid sports fan and prided myself on being a walking sports encyclopedia. I could remember birthdates, points per game averages, batting averages and rushing yards of players in the three most popular American sports as well as any sports journalist. To keep up with stats, teams and players, I always asked my parents to buy me sports books and I remember having at least two subscriptions to Sports Illustrated magazine.
I had many favorite sports heroes, but my favorite player was the legendary Julius Erving, better known as Dr. J, the high-flying forward of the Philadelphia 76ers. The first book I remember reading in my life was about Dr.J, and like any black kid growing up in the ‘hood, I wanted to be like The Doctor. I played all three of the big three most popular team sports in the United States, basketball, football and baseball, and when I wasn’t playing, I was glued in front of the television watching the games, both professional and college. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
I also watched boxing matches and was aware of other sports such as soccer, hockey, volleyball, bowling, etc. I reguarly went bowling or watched my father’s weekly bowling events, but sports such as soccer and volleyball I would only play when I was required to participate during my school’s gym classes. I only knew one black family that advidly watched hockey and soccer just didn’t interest me.
Even not being into soccer, I still knew who Pelé was. He was the first Brazilian I ever knew of. At such a young age, I hadn’t come to understand how black people ended up in so many countries in the Americas but you didn’t have to know where they were from to recognize that non-American black people looked like people in the family and my neighborhood. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
As soccer wasn’t a sport that caught my attention, I didn’t know anything about Pelé when he began to play for the North American Soccer League with the New York Cosmos, but I couldn’t help but note all of the hoopla there was in the media about his arrival in the US. Pelé would appear on the cover of an issue of Sports Illustrated at that time wearing the green and white of the Cosmos. From the reports I read about him, he was supposed to be like Dr. J of soccer. As I had only seen photos of him and had never actually seen him play, I couldn’t develop an opinion on this.
There were at least five things that Dr. J and Pelé had in common and, if I were to really think about it, I would probably find many more. One was playing for teams located in New York. Dr.J had constructed his image as one the most exciting basketball players in history playing for the New York Nets of the old American Basketball Association, the ABA, the rival league of the NBA, the National Basketball Association. Erving’s last year with the Nets was also the ABA’s last year, the league folding in 1976 due to financial issues. Erving was in his prime at the age of 27 when he would join the 76ers for the 1976-77 season. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
On the other hand, Pelé, at age 34, had joined the Cosmos in the twilight of his career. I didn’t know it, but the man whose real name was Edson Arantes do Nascimento had already won three World Cup titles, an incredible feat for a single player. The second thing they shared was, similar to Erving joining the NBA in Philly, Pelé arrived in New York with high expectations from fans and the league. Thinking back, another thing the two had in common, at least for me, was the fact that I had missed the best years of both. Although both athletes were still great, by the time Erving had joined the NBA and Pelé had joined the NASL, I had no way of knowing their prior careers. In Doc’s case, ABA games didn’t gain television exposure and Pelé played his career up to that point in Brazil, plus soccer wasn’t very popular in the US. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
Erving had carried the declining ABA for many years and, as the ABA hadn’t received much media attention, people really hadn’t seen vintage Erving and, with his arrival, it was expected that he would not only bring a championship to Philly, but also revitalize a league whose popularity had declined in the years before he joined the 76ers. Similarly, it was hoped that Pelé could do the same for an NASL that simply couldn’t compete with the big three American sports.
This hope that Pelé could make soccer more popular in the US was matched by his salary. Joining the league in 1975, Pelé signed a deal that would pay him nearly $1.5 million per year, a staggering amount of money at the time. For the sake of comparison, consider the fact that Erving didn’t reach the seven-figure mark until sometime in the early to mid-1980s. It’s absolutely mind-boggling to realize that a current athlete like LeBron James earns Pelé’s 1975 salary, which was extremely lucrative for the time, in less than four NBA games! (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
Another similarity The Doctor and The King shared was joining star-studded teams. Erving would join a 76ers team that already had higher-scoring all-stars such as fellow ABA collegue, power forward George McGinnis, guard Doug Collins and a host of other players players who had the potential to be all-stars. Pelé’s Cosmos also featured the Italian Giorgio Chinaglia and the West German Franz Beckenbauer. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
After playing a few seasons for the Cosmos, Pelé officially ended his career in 1977. It would only be when I “discovered” Brazil at the close of the 20th century that I began to understand the magnitude of Pelé’s career. He was nicknamed “O Rei”, “The King” of soccer, and at one point or another, EVERY major soccer star, Brazilian or not, would be compared to the great in the same way that a debate rages today over the possibility of anyone unseating Michael Jordan as the “GOAT” (greatest of all-time) in basketball. Coincidentally, Pelé called it quits in 1977, a few weeks before reaching the age of 37, while Erving, 10 years younger, would retire 10 years later, also at the age of 37.
As it was the question of race and the history of black Brazilians that attracted me to Brazil in the first place, it would only be a matter of time before the race question in regards to Pelé would come up during my research. What I discovered was intriguing. While black Brazilians hailed him the one of the greatest, if not THE greatest of all-time, like Jordan, Pelé left much to be desired in terms of the race issue.
In my two decades of researching things of Brazil, I conclude that Pelé must also be THE most criticized figure in terms of racial politics. He has been criticized for his silence as well as the manner in which he has downplayed the issue for decades. Many have defined Pelé’s comments on race as truly embarrassing. In the 1960s and early 1970s, Nascimento constructed his image as a god on the field of futebol, but at a time when athletes such as Muhammad Ali, Jim Brown, Bill Russell, Kareem Abdul Jabbar, John Carlos and Tommy Smith were taking firm stances on race, society and sports, Pelé was missing in action. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
I remember sometime in the early 2000s having a conversation with a guy named Romeo that I used to work with in a retail store in Michigan. He was also black, but he clearly knew more about soccer than I did. As I had just begun my annual trips to Brazil at the time, we would frequently discuss things about the country. Speaking of Pelé, he remembered once seeing an interview with the soccer great in which a journalist asked him something about being black. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
According to Romeo, Pelé stopped the journalist, put up his index finger and said, “I am Brazilian!” I can’t confirm this statement, but considering Pelé’s non-positioning on the race factor for so many years, I could imagine him saying something like this. At that time, Brazil, was in the middle of a Military Dictatorship and not only had the country been divulging the myth that the country was a racial democracy, at one point, it could actually be considered illegal to speak out against racism. According to the wording of Law 5250/67 of 1967, speaking out on things related to race and class was a national security issue and considered a threat to the politcal and social order.
For years, I looked at Pelé as a disgrace as a black man for his silence on the clear existence of racial discrimination that had held black Brazilians in their “place” well after 350 years of slavery. A black man, arguably the most famous Brazilian in the world, had enormous influence on society and he could have used this fame and later fortune to become a voice that black Brazilians desparately needed. In the 1970s, 80s and beyond, it was very common for black Brazilians to deny even being black and believing that racism didn’t exist in their country.
There’s no way to know with any certainty how Pelé speaking out on these issues could have affected society, but I now have to see the icon as a simply a product of his time. I consider Pelé’s era, where he came from and where his position as a rich and famous black man placed him. It is a well-known fact that in Pelé’s time, black Brazilians simply didn’t speak on the race issue. Deep down, they knew it existed, but they were taught to deny it or ignore it. Unlike in the US, race wasn’t an issue that black Brazilian families would discuss at their dinner tables, and having been born in that era, in 1940, it would be unrealistic to expect that Pelé would do so.
This is yet another difference between the United States and Brazil that puts into question which society was/is better for black people. In the US, the militancy of black Americans had reached a fever pitch in the late 1960s and early 1970s with the rise of numerous exponents of civil rights and black power. There were organizations dedicated to racial equality, student groups, magazines, music featuring lyrics of protest against racism, films that approached the issue and numerous other areas of society in which people boldly spoke out. It was a time of black revolution.
In Brazil, it was a different story. The most prominent Afro-Brazilian activist of the time, Abdias do Nascimento, went into exile because of it. It was much easier for him to denounce racism in the United States than it was in his own country. To understand the lengths the Brazilian dictatorship would go to protect its image, it even censored Nascimento when he attempted to expose Brazilian racism during the 1977 Second World Black and African Festival of Arts and Culture (FESTAC) in Nigeria. In Brazil of the 1930s, black political parties were effectively prohibited during the first dictatorship and even by the 1970s, even with black people being excluded from so many areas of society, cultural groups such as Ilê Aiyê were advised not to adopt the name “Black Power”, and countless Afro-Brazilian activists were arrested and interrogated on suspicions that would create a similar black revolution in Brazil.
I’m not saying I excuse Pelé’s silence on this issue, but I do wonder how many people would have had the courage to do such a thing at the time. At that time in Brazil, anyone of Pelé stature’s would surely have had to blaze this trail alone. When Ali took a political stance at the height of his career, a number of black athletes stepped forward in support of his cause. I can’t say that at that time, Pelé would have received such support from other Afro-Brazilian athletes. Today, I think this would happen, but Afro-Brazilians have made enormous strides in terms of the race issue in the past few decades that simply wasn’t possible in Pelés time. From various videos and photos, we know that Pelé knew Ali and has to know of the things “The Champ” said in terms of the race issue. I have to wonder what Pelé thought of this in terms of his own politics. But Pelé isn’t a black American and he isn’t Ali.
Here was a black man who rose to a position that was nearly impossible for any black Brazilian. He was globally known, rich, was the pitchman for numerous products and was seen meeting various dignitaries around the world. Perhaps these are some of the very reasons that Pelé would not speak out. Like Michael Jordan, Pelé had the choice of having the world laid out at his doorstep or perhaps losing it all do a controversial political stance. If I were a betting man, I would wager that someone pulled Pelé to the side and had a talk with him about what he could say or do publicly. (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
Besides presumed pressure from Brazilian authorities authorities at the time, I also wonder what types of conversations Pelé had with the likes of American President Richard Nixon and Secretary of State Henry Kissinger. CIA notes document a possible relationship between The King of Futebol and Kissinger and I find it hard to believe that their conversations were only about soccer, even as Kissinger was apparently a key figure in convincing Pelé to take his talents to the US. People don’t like to admit this, but fame and fortune come at a high price, a price that often compromises some of our most admirable public figures.
Was Pelé bought and paid for or was he simply not the man to lead a black Brazilian revolution? I think it’s a little of both. Would he be different if he had been born in the 1970s, 80s or 90s? Possibly, but he could have easily been like current star Neymar, another star with origins on the Santos soccer team who has been criticized for his lack of racial politics. As Pelé celebrates his 80th birthday, yesterday, October 23rd, one has to wonder how the man really thinks beneath the public facade. In recent years, due to a hip problem, The King has been seen getting around in a wheelchair and is rarely seen making public appearances.
Pelé’s fame and fortune hasn’t shielded him from public scrutiny. Not only has he earned criticism for his lack of posture on racial issues, but the legend’s public image has also taken a beating do to his failure to acknowledge a woman that everyone knew was his daughter as well as accusations that he wasn’t financially supporting his grandchildren. Interestingly, in terms of an illegitimate child, this is another thing he has in common with Erving, although with a different ending. For years it wasn’t publicly known that the NBA superstar had fathered a child through an extra-marital affair. But when this daughter, Alexandra Stevenson, became a famous tennis player, the cat was out of the bag. Fortunately, Erving finally did the right thing and began to form a bound with the daughter he didn’t know for decades. I can’t say the same for Pelé. Everyone wonders why.
In the end, as O Rei reaches his eighth decade, my view on the legend is a bit complex. He did great things in the soccer field that I would only see decades after he retired. These accolades would lead to his being named the World Player of the Century by FIFA and Athlete of the Century by the International Olympic Committee and for the BBC, he was second only to Muhammad Ali. Incredible, unbelievable accomplishments for a poor black man from Minas Gerais.
But there are other things about The King that I would like to know and possibly never will. But this is also true about my own father. And similar to my father, in terms of Pelé, after many years, I’m cool with that.
All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80
Why do we celebrate so little the greatest player in the history of futebol? Talking about Pelé is also looking at the trajectory of a black man in Brazilian society
By Kamille Viola
He appears on all the lists of the best athletes of the 20th century. For many, he is the greatest of all time. He scored 1,281 goals in 21 years, was São Paulo’s top scorer for ten consecutive years and has more won more than 60 titles, among them, three-time World Cup champion for the Brazilian Seleção, the National Team. It is said that his talent with the ball was able to even stop a war. This Friday, October 23, Edson Arantes do Nascimento, Pelé, turns 80 years old. Why are the tributes not at the height of the grandeur of his career?
For journalist Angélica Basthi, author of the book Pelé: uma estrela negra em campos verdes (Pelé: a black star on green fields), some factors contributed to the fact that a negative imaginary about him is so present in Brazilian society today. One of them was the rejection of Sandra, the result of a relationship she had in 1963. She fought in court to be recognized as his daughter, but she never managed to co-exist with her father, having died in 2006, at 42, of breast cancer. “Nobody could understand why Pelé took so long to recognize this daughter. And he also had another daughter outside of marriage, Flávia, whom he recognized. What was his great difficulty? Did you think the girl wanted to take him? But then, with so much evidence that she was his daughter, why did he refuse? This was very controversial and much discussed at the time. It was a mark on his trajectory,” she observes.
Another very controversial issue was the player’s refusal to talk about racial issues for much of his life. Angélica observes that, in recent years, he has been reviewing this posture, although “in his own way”: in 2014, when commenting on the racism suffered by the goalkeeper Aranha, during a game for Santos (the team that Pelé also played for), he said that if had he stopped every game in which someone called him “macaco” (monkey) or “crioulo” (nigger), all the games he played in would have to be stopped – admitting, for the first time, that he suffered racial discrimination. In June, he joined the demonstrations for the assassination of George Floyd, Blackout Tuesday, by posting a black square on Instagram. “This is also new in Pelé’s repertoire”, points out the journalist. “That image, in which he invested, of Pelé from the 70s, who never wanted to be linked to the racial issue, still remains”.
Professor at the Instituto Brasiliense de Direito Público (IDP) and doctoral student in Law at the University of Brasília (UnB), Marcos Queiroz believes that the little attention to date also has to do with an identity crisis that Brazil is experiencing. “This country has to rebuild itself. Even in relation to what is the nation’s greatest passion, futebol (football/soccer). This erasure in relation to Pelé’s 80 years is part of a Brazil that is looking to find itself, as samba great Candeia says. There is an economic and political crisis, but also, as [historian Luiz Antonio] Simas says, an epistemic crisis,” he reflects. “And, thinking about Pelé’s depression [in February, Edinho, the player’s son, said that Pelé was in recluse and “with some depression” due to his mobility problems], maybe he is depressed because Brazil is also depressed. The world that was built around Pelé and in which he lived does not exist anymore. And it will hardly come back to exist.”
The racism of Brazilian society also causes Pelé to be judged relentlessly for all his mistakes. “His figure is interesting to think about the racial issue because he brings together several factors, including the image in which he himself invested as a perfect man. The perfect white man is completely different from the perfect black man. The black man is demanded to be impeccable,” analyzes the journalist Angélica Basthi. “He embraced this idea of the perfect man. Only that he is a black man. So society, when looking at Pelé, looks at this black man. Where’s that perfection? People turn a blind eye to other players, but not to him. The judgment is relentless. And it is relentless with this racial content, yes: the perfect black man that Pelé should be and play: he cannot make mistakes, he must be this man who does not exist.”
Sports journalist Martha Esteves believes that the Brazilian’s little memory and Pelé’s seclusion, in addition to the issue with his daughter, contribute to the weak celebration around the player’s eight decades. “I think that the disease was a complicated fact for him. He’s very reclusive. And whoever is not seen, is not remembered, unfortunately. This must be contributing to him receiving few honors, which is unfortunate, right? Because he is and will always be the best in the world. Nobody will ever surpass him. Lionel Messi thinks that,” he says. “You are talking about a world idol, who was welcomed by the Queen of England, who stopped the war, who, if he were active today, in the world of social media, of exhibitionism, would be much more famous than the Beatles, for example. Or anyone who is alive today.”
She agrees that racism has also crossed the star’s entire career, influencing judgments about his mistakes. “When black people in futebol reach a level of wealth, of fame, they have a little acceptance, but up to page two. Because if you mess up, if you misbehave, then the beating comes. It comes with force,”he says. The sports journalist believes that even the case of Robinho, who had his contract with Santos suspended after pressure from society over the player’s conviction for rape, could have a different outcome if he were white. “Cristiano Ronaldo was also accused of rape. In order not to go to trial, he called the girl and gave her a lot of money. He’s been playing. It didn’t have the international, worldwide scream that it should have had. Because Cristiano Ronaldo is infinitely more famous, more powerful, richer and more of an ace than Robinho. But, even there in Portugal, there in Europe, it was not that way,”he compares.
Angélica sees similarities between the criticisms based on racist stereotypes that Pelé received in his youth and those that Neymar receives today. “And it has to do with the idea of that perfect black man as well as that childish black man, which is the way to infantilize black men to always put them in a place of inferiority. The black man, especially in futebol, is associated with childhood emotions, unpreparedness, lack of maturity and lack of responsibility. It is always childish emotion versus reason, which is within the civilized white man. Even the African continent itself suffers from this stereotype of the childish black man,” she explains.
The Paris Saint-Germain player, by the way, was also the target of criticism throughout his career for not taking a position on racial issues – until recently, when he denounced having been called a monkey by Olympique defender Álvaro González, and getting ejected from a game. “People make demands of him, people made demands of Pelé, and, above all, he becomes this reference target. But many times we end up focusing these discussions on a player who has his controversies, instead of having a structural discussion, of how futebol itself and the atmosphere around the sport impel these players to be embarrassed, they often didn’t speak of this, being afraid to take a position,”argues Marcos. “There is no support in the Brazilian media for this. There is not enough discussion about what racism means in the country, the history of futebol in relation to racism, how it was even an instrument of perpetuation of racial inequality in Brazil.”
He observes that, at the same time that Pelé was one of the symbols of the country that lived under the myth of racial democracy – the idea that blacks, indigenous people and whites lived integrated and in harmony -, it is necessary to understand the importance of the ace when opening paths for black people. “When he arrived at Vasco, they said that there were several black people just like him, so there was no need. He arrived at Santos and was called Gasolina (gasoline), Crioulo (nigger), that kind of thing. He, as an individual, was surviving, trying to find a place in that context in futebol that came from two recent World Cup traumas,” he says. “At the time, it was said that blacks were incapable, unstable, without discipline. So just playing soccer, getting that space, even if he has an individual trajectory in which he normally does not speak openly about it, has already opened many doors, streamlined many questions in relation to the place that blacks can occupy. Because maybe for us it is natural for the black man to play ball, but in the 1950s it was not.”
Marcos recalls that he was the pioneer of a line of players in which young blacks can see themselves. “He has this importance, not only for the Brazilian, but for the world. When he emerges as a futebol player, it is the moment, for example, of the struggle for independence of African countries, it is the moment of an immense discussion about racism in the United States, the aftermath of the struggle for civil rights, it’s the moment sports is desegregating in the United States. He represented a lot, as Moacyr Luz says, this power to be where you want,”he explains. “To travel, to be able to be in various places that were often considered inaccessible to the black population: Pelé did it. And I think that we lose a lot of dimension when we focus only on what was negative or controversial in his life.” (All Hail the King: Pelé, The Greatest soccer player of all-time, turns 80)
For Angélica Basthi, the projection that racial discussions have gained in the mainstream media in recent months may be the chance to reflect on the treatment given to Pelé in recent years by society and the press. “This is a very peculiar year, not only because of the pandemic, but because of everything that George Floyd’s death represented, in the United States and worldwide, and so many deaths here in Brazil. At this moment when we started to see some mobilization of the media for these racial issues, the challenge remains, in these 80 years, of the Brazilian press to make a self-reflection,”she says. “We must give Pelé his place in the history of futebol. We must also give him the place he has in the history of the black Brazilian. He is a black man who took unimaginable flights, who made several mistakes, who was one of the symbols of racial democracy, he is a black man who suffered racism, who silenced racism. We have a lot to learn about racism and the trajectory of black men in Brazilian society through Pelé.”
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Famous Male Football Players
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https://imgix.ranker.com/list_img_v2/4825/984825/original/famous-male-football-players-u3
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[
"Reference"
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2013-08-30T00:00:00
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List of famous male football players, listed by their level of prominence with photos when available. This greatest male football players list contains the ...
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en
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/famous-male-football-players/reference
|
David Beckham, born on May 2, 1975 in London, England, is a globally recognized figure in the realm of professional football. The son of a kitchen fitter and a hairdresser, Beckham's passion for football was ignited at an early age, leading him to play for several youth teams before he was noticed by Manchester United scouts. His professional journey began when he signed a contract with Manchester United at the age of 16, marking the start of an illustrious career that would span over two decades. Beckham's tenure at Manchester United was characterized by a string of successes. With his exceptional talent and precision, he helped the team secure numerous victories including six Premier League titles and the prestigious UEFA Champions League. In 2003, Beckham made a notable move to Real Madrid, where he continued to establish his prowess on the pitch. After four years with the Spanish team, he made a surprising shift to the American Major League Soccer, joining Los Angeles Galaxy. The move not only catapulted Beckham's fame in the United States but also contributed significantly to the growth of the sport in the country. Beyond his exploits on the field, Beckham has been equally influential off it. He retired from professional football in 2013 but continues to contribute to the sport through various engagements, including owning Inter Miami CF, a Major League Soccer team. Additionally, his marriage to Victoria Adams, a former member of the pop group Spice Girls, and their subsequent family life has attracted substantial media attention, further cementing Beckham's status as a global icon. Additionally, his philanthropic efforts, particularly as a UNICEF Goodwill Ambassador, have earned him widespread admiration and respect.
Antonio Ramiro Romo (born April 21, 1980) is an American football television analyst and retired quarterback who played 14 seasons with the Dallas Cowboys of the National Football League (NFL). He played college football for Eastern Illinois University, where he won the Walter Payton Award in 2002, and led the Panthers to an Ohio Valley Conference championship in 2001. He signed as an undrafted free agent with the Cowboys in 2003. Beginning his career as a holder, Romo became the Cowboys' starting quarterback during the 2006 season. Serving as the team's primary starter from 2006 to 2015, he guided the Cowboys to four postseason appearances and was named to the Pro Bowl four times. Romo retired after the 2016 season, following a preseason back injury that caused him to lose his starting position to Dak Prescott. Upon retiring, he was hired by CBS Sports to become the lead color analyst for their NFL telecasts, teaming with Jim Nantz in the broadcast booth. Romo holds several Cowboys team records, including passing touchdowns, passing yards, most games with at least 300 passing yards, and games with three or more touchdown passes. He also held a higher passer rating in the fourth quarter than any other NFL quarterback from 2006 to 2013. However, Romo's reputation was affected by a lack of postseason success, having won only two of the six playoff games he appeared in and never advancing beyond the divisional round. His 97.1 passer rating is the fourth highest of all time and the highest among quarterbacks not to reach the Super Bowl, as well as the highest among retired players.
Diego Maradona, born on October 30, 1960, in Lanús, Buenos Aires, Argentina, was a football maestro who made an indelible impression on the global sports scene. His journey from the shanty town of Villa Fiorito to becoming one of the most iconic figures in football is nothing short of extraordinary. He was known for his exceptional skill, audacious style, and ability to both create and score goals, earning him accolades worldwide. Maradona shot to prominence after joining the Argentinos Juniors at the tender age of 10. His dazzling performances caught the attention of Boca Juniors, one of Argentina's most prestigious clubs, where he honed his skills before securing a high-profile transfer to Barcelona in Spain. However, it was at Napoli in Italy where Maradona truly etched his name into football folklore. Under his leadership, Napoli won their first-ever Serie A title in 1987 and repeated the feat in 1990, with Maradona being instrumental in both campaigns. Internationally, Maradona's crowning glory came in the 1986 World Cup, where he led Argentina to victory. His infamous Hand of God goal and his brilliant solo effort against England in the quarterfinals are still talked about today. Despite facing numerous challenges, including battles with drug addiction and health issues, Maradona's contributions to football remain unparalleled. He passed away on November 25, 2020, leaving behind a legacy that has inspired generations of footballers.
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No programa de hoje, conversamos com Anderson Leobet, Gestor do Esporte de Salto Veloso.
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No programa de hoje, conversamos com Anderson Leobet, Gestor do Esporte de Salto Veloso.
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https://www.academia.edu/75176028/A_diversidade_e_estrutura_de_assembleias_de_morcegos_Chiroptera_na_Caatinga_do_Rio_Grande_do_Norte_Brasil
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A diversidade e estrutura de assembleias de morcegos (Chiroptera) na Caatinga do Rio Grande do Norte, Brasil
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[
"Juan Carlos Vargas Mena",
"ufrn.academia.edu"
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2022-04-01T00:00:00
|
Na Caatinga a heterogeneidade espacial das diferentes ecorregioes e fitofisionomias, bem como a sazonalidade das chuvas e os pulsos dos recursos alimentares, foram atribuidos como fatores chaves no controle da estrutura e a dinâmica das assembleias
|
https://www.academia.edu/75176028/A_diversidade_e_estrutura_de_assembleias_de_morcegos_Chiroptera_na_Caatinga_do_Rio_Grande_do_Norte_Brasil
|
Rio Grande do Norte is one of the smallest states in Brazil but has a rich diversity of ecosystems, including Caatinga vegetation, remnants of Atlantic Forest, coastal habitats, mangroves and large karstic areas with caves. However, its chiropteran fauna is little known, and the state contains conspicuous gaps of information on the occurrence and distribution of bats in Brazil. In order to reduce this information gap, based on a review of scientific literature and regional mammal collections, we list 42 species of bats, including new occurrences for 13 species and discussion on their conservation status. Results show that more than half (54%) of the recorded species are phyllostomid bats, and about one third of the bats in the state roosts in underground cavities. The Caatinga harbored the highest bat richness in the state, including the occurrence of four vulnerable species (Furipterus horrens, Lonchorhina aurita, Natalus macrourus and Xeronycteris vieirai). The Atlantic Forest nee...
Caves are important roosts for bats in karstic areas and play a critical role in the protection of bat populations. In the state of Rio Grande do Norte, in northeastern Brazil, cave-dwelling bats are poorly studied. Moreover, the state contains more than 900 caves, mainly in the Caatinga biome, that may offer important roosts for local bat populations. Thus, to gain a first insight into the richness, diversity, and colony size of cave-bats in the state, we sampled 13 caves through active search and captures with mist nets. Sixteen species from five families were recorded, and the biggest colonies belonged to Pteronotus gymnonotus and Phyllostomus discolor. Furna Feia cave was the richest, with 10 species. Our results showed that Rio Grande do Norte is home to a rich and abundant diversity of cave bats, including vulnerable species like Furipterus horrens, Natalus macrourus, and Lonchorhina aurita. This study is the first to determine the diversity of RN cave bats, providing useful fundamental data for future conservation actions. RESUMO. Morcegos cavernícolas na Caatinga do Rio Grande do Norte. As cavernas são abrigos importantes para morcegos em ambientes cársticos e desempenham um papel fundamental para a proteção de suas populações. No estado do Rio Grande do Norte, os morcegos cavernícolas têm sido pouco estudos, no entanto, o estado contém um grande número de cavernas (~ 900) que poderiam abrigar uma grande diversidade de morcegos. A fim de determinar a riqueza, diversidade e tamanhos de colônias de morcegos cavernícolas no estado, foram amostradas 13 cavernas durante três dias consecutivos por cada caverna mediante busca ativa e capturas com redes de neblina. Foram capturadas 16 espécies pertencentes a cinco famílias onde as maiores colônias achadas pertenceram às espécies Pteronotus gymnonotus e Phyllostomus discolor. A caverna Furna Feia abrigou a maior riqueza com 10 espécies. Nossos resultados mostraram que o Rio Grande do Norte abriga uma rica e abundante diversidade de morcegos cavernícolas, incluindo espécies vulneráveis como Furipterus horrens, Natalus macrourus e Lonchorhina aurita. Este estudo é o primeiro a determinar a diversidade de morcegos cavernícolas no RN a fim de fornecer dados úteis para futuras ações de conservação.
Cave bats have an intimate association with their roosts. Size, structural heterogeneity, and microclimatic conditions are traits of caves known to affect the structure of these assemblages. The effects of the natural and anthropogenic landscape factors around caves on the structure of these assemblages are poorly known, especially in areas with large cave clusters. We assessed the effects of cave size and surrounding landscape attributes on the richness and species composition of cave-roosting bats in 13 caves distributed in two landscapes with large cave clusters in Caatinga dry forests, Brazil. In a 1-km buffer around caves, we obtained 13 internal cave and external landscape variables. Candidate univariate models using generalized linear models were constructed and the Akaike information criterion was used for model selection. The cave size model explained richness and variance in the species composition; larger caves tended to have greater richness and assemblage composition varied depending on the cave size, hence affecting the occurrence of certain species, some of conservation concern (Natalus macrourus, Furipterus horrens). The cave connectivity model affected only the richness; caves located in denser cave clusters had higher richness likely attributed to movement of bats among caves by a more diverse array of species. Both environmental and anthropic variables affected species composition, but differently depending of the landscape context of cave location (protected versus nonprotected area). The extent these landscape variables affected the species composition was due to species-specific responses, and observed in the mean colony sizes of the species shared between the cave systems. All the landscape variables that we tested affected the structuring process of cave-roosting bats assemblages, and evidences that variables found in disturbed karstic landscapes also affect the structure of the assemblage (e.g., large colonies of vampire bats). However, the ubiquitous effect of cave size on both richness and species composition reinforces the critical importance of the roost in the life of these flying mammals. Os morcegos que se abrigam em cavernas têm uma associação muito íntima com seus abrigos. Sabe-se que as características de caverna, como o tamanho, heterogeneidade estrutural e condições microclimáticas estáveis, afetam a estrutura das assembleias dos morcegos cavernícolas. No entanto, os efeitos dos fatores externos naturais e antrópicos da paisagem em torno de cavernas na estrutura das assembleias destes morcegos são pouco conhecidos, especialmente em paisagens cársticas com grandes aglomerados de cavernas. Assim, avaliamos os efeitos do tamanho da caverna e dos atributos da paisagem circundante na riqueza e composição de espécies de morcegos em 13 cavernas distribuídas em duas paisagens de Caatinga com grandes aglomerados de cavernas no Rio Grande do Norte. Em um buffer de 1 km ao redor de cada caverna, obtivemos 13 variáveis de paisagem interna (tamanho da caverna) e externa (número de cavernas circundantes, variáveis antropogênicas e ambientais); Modelos candidatos univariados usando GLM foram construídos e o Critério de Informação de Akaike foi usado para a seleção dos modelos. O modelo de tamanho das cavernas explicou a riqueza e a variação na composição
Folivory can be defined as the consumption of foliage, including leaves, stems and leaf content. This trophic strategy has been documented in two families of bats, Pteropodidae (Old World fruit bats) and Phyllostomidae (New World leaf-nosed bats). Existing folivory hypotheses for bats suggest this behavior provides a dietary supplement of protein and other essential minerals due to a deficiency of these in a frugivorous diet. The Caatinga is a seasonally deciduous tropical dry forest where most of the vegetation is leafless and dormant during the extended dry season. Here we present the first evidence of folivory in bats from the Brazilian Caatinga, with evidence for the phyllostomid Artibeus planirostris ingesting the leaves of at least 16 species of plants. We include a bibliographic review of bat folivory in the tropics. Additionally, we propose a new hypothesis on folivory in bats for this semiarid environment.
The Caatinga biome is restricted to Brazil, and its bat fauna is among the least studied in South America, with scarce information on species occurrence, distributions, and structure of assemblages. Moreover, most of the information available on bats from this biome comes from relicts of other ecosystem formations. From 2010 to 2012 we conducted bat surveys in different sites along the Serra da Jitirana, a xerophytic locality in the Caatinga of Piauí state, northeastern Brazil. We recorded 20 species in six families. Representatives of animalivorous guilds predominated in both the number of individuals and species. We speculate that the low numbers of frugivores is a response to the environmental constraints imposed by the drought. Along with an analysis of this assemblage, we also report here new information on roosts, behavior, and feeding items for several species about which little is yet known.
Whereas surveys of the bat fauna are available for some localities in the Brazilian Northeast, studies in the caatinga scrublands are still limited. The aim of this study was to survey the bat fauna in an area of caatinga scrublands in the Private Natural Heritage Reserve (RPPN Serra das Almas), which is located on the Ibiapaba Plateau, State of Ceará. The bat assemblage of the reserve was surveyed in July 2012 (rainy season), and January 2013 (dry season), with a total of 19 sampling nights. We captured 347 individuals of 23 species representing six families. The bat fauna was characterized by the predominance of a few abundant species, in particular phyllostomid frugivores, and many rare species, which is frequent in studies based on mist nets at ground level. The first records of Tonatia saurophila and Chiroderma vizottoi (recently described and known only from its type locality) are reported for the State of Ceará, where 66 bat species are now known to occur. RESUMO. Morcegos de uma área de Caatinga arbustiva na região de Crateús, nordeste do Brasil (Mammalia: Chiroptera), com novos registros para o estado do Ceará. Embora inventários da quiropterofauna estejam disponíveis para algumas localidades do Nordeste brasileiro, os estudos em área de caatinga arbustiva ainda são escassos. O objetivo deste estudo foi realizar um levantamento e atualização da quiropterofauna em uma área de caatinga arbustiva na Reserva Particular do Patrimônio Natural (RPPN Serra das Almas), localizada no Planalto da Ibiapaba, estado do Ceará. A assembleia de morcegos da Reserva foi inventariada em julho de 2012 (período chuvoso) e janeiro de 2013 (período seco), totalizando 19 noites de amostragem. Um total de 347 indivíduos de 23 espécies e seis famílias foi capturado. A quiropterofauna é caracterizada por uma dominância de poucas espécies mais abundantes, particularmente filostomídeos frugívoros, e várias outras menos abundantes,
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Altitude Encoder: Operation/Installation Manual
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https://imgv2-2-f.scribdassets.com/img/document/530368210/original/e8ebd27d13/1723533262?v=1
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Terra Encoder - Free download as PDF File (.pdf), Text File (.txt) or read online for free. This document provides installation and operation instructions for the Terra by Trimble AT 3000 Altitude Encoder. It describes preparing the unit for use, general installation instructions, mechanical installation, electrical installation, calibration, testing, placarding, test points, wiring diagrams and operation. The encoder interfaces with aircraft transponders to transmit altitude data and has an operating range of -1000 feet to 30,000 feet.
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https://s-f.scribdassets.com/scribd.ico?d4187ae93?v=5
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https://www.scribd.com/document/530368210/Terra-Encoder
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When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
â
âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
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âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
Introdução
Minha inserção profissional em preservação audiovisual coincide com o inÃcio da utilização das ferramentas digitais na área de restauração de filmes no Brasil. A experiência prática nos arquivos audiovisuais e em restauração, iniciada justamente no perÃodo de transição para o digital, em 2000, permitiu um olhar a partir de uma perspectiva privilegiada, ao possibilitar acompanhar de perto, na lida cotidiana, a transformação da área. O desejo de investigar essas experiências, sistematizá-las e transformá-las em objeto de estudo, a fim de tentar contribuir para a reflexão sobre o campo no Brasil, desembocou na minha pesquisa de doutorado iniciada na Universidade de São Paulo em 2016. A pesquisa foi finalizada em dezembro de 2020,1 e o foco foi a restauração de filmes no Brasil e a incorporação da tecnologia digital no século XXI, realizada na Universidade de São Paulo. Esta investigação incorpora uma dupla dimensão: por um lado, minha experiência profissional e, por outro, o interesse em refletir sobre esses processos sob uma perspectiva histórica, incluindo os aspectos técnicos, estéticos e éticos da restauração de obras brasileiras. Um pequeno recorte deste trabalho será abordado nesse artigo, onde apresentarei, em linhas gerais, um olhar histórico sobre a restauração de filmes no Brasil, um breve panorama da trajetória do campo da restauração digital desde o ano 2000 e alguns marcos históricos desde seus primórdios.
A Importância do Ano 2000
Nas últimas duas décadas, o campo da preservação audiovisual passou por profundas transformações. Uma das evidências dessa transformação pode ser encontrada na crescente quantidade de pesquisas conduzidas sobre o tema da preservação de filmes e seus diversos aspectos. A incorporação da tecnologia digital no processo de restauração de filmes permitiu que o campo ganhasse mais destaque tanto em termos de habilidades práticas quanto como disciplina acadêmica. Como resultado, os estudiosos tentaram defini-lo teoricamente por meio de uma análise mais profunda de seus muitos complexos elementos. A bibliografia internacional também cresceu consideravelmente desde os anos 2000, incluindo bem-vindas contribuições de pesquisadores e estudiosos brasileiros. Embora pesquisas aprofundadas sobre restauração de filmes ainda não sejam muito comuns no Brasil, o surgimento de trabalhos recentes com destaque sobre o tema e questões relacionadas prova que há interesse no assunto e na preservação audiovisual como disciplina acadêmica.
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Do final dos anos 1990 até meados dos anos 2000, as ferramentas digitais de restauração foram introduzidas e disseminadas entre os principais arquivos de filmes, com o apoio financeiro de grandes companhias produtoras.2 No inÃcio, devido aos custos proibitivos para a maioria das instituições e arquivos, essas ferramentas eram utilizadas apenas ocasionalmente. No entanto, os avanços tecnológicos permitiram que se tornassem mais acessÃveis para projetos não comerciais e mais amplamente adotadas no processo de restauração de filme ao longo da primeira década de 2000.
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A tecnologia digital foi incorporada ao fluxo de trabalho de restauração no Brasil no inÃcio do século XXI, a exemplo do que acontecia em alguns paÃses da Europa e nos Estados Unidos. Até aquele momento, cada etapa do processo de restauração era fotoquÃmica. Os restauradores de filmes utilizavam equipamentos analógicos que haviam sido usados por anos em laboratórios cinematográficos comerciais e a equipe técnica da maioria dos projetos de restauração foi treinada, principalmente, enquanto trabalhava para esses laboratórios. Com o advento das ferramentas digitais, as intervenções no processo de restauração passaram a ser realizadas por computadores e profissionais com novas competências. Esses novos restauradores tinham conhecimento dos softwares de restauração digital e da tecnologia computacional, experiências profissionais diferentes dos técnicos que haviam trabalhado apenas em laboratórios de cinema. Antes de elaborar uma análise mais aprofundada do campo da restauração digital no Brasil, é necessário, primeiramente, apresentar um panorama histórico resumido dos laboratórios cinematográficos brasileiros.
Nas primeiras décadas da realização cinematográfica no paÃs, a maior parte das pequenas companhias produtoras possuÃam seus próprios laboratórios, valendo-se, provavelmente, de instrumental semelhante ao que era utilizado para a revelação fotográfica de imagens fixas, sendo a própria câmera de filmar o copiador, caracterÃstica presente nos modelos da época. Na cadeia de processamento de material fotoquÃmico, o primeiro passo é a revelação do material negativo para então sua posterior copiagem para o material positivo, isto é, as cópias de projeção. Será na década de 1910 que o laboratório da Botelho Film, de Alberto Botelho, consegue dar os primeiros passos rumo à alguma padronização dos procedimentos realizados, obtendo resultados acima da média e, por conseguinte, a confecção de cópias melhores até então produzidas no Brasil. Localizamos referências sobre alguns outros laboratórios do perÃodo. Por exemplo, companhias como a Independência Film, de José e Victor del Picchia, e a Benedetti Film, de Paulo Benedetti, possuÃam laboratórios, onde teria sido realizado o processamento de tÃtulos como Braza dormida (Mauro, 1928), Barro humano (Gonzaga, 1929) e Limite (Peixoto, 1931). Um marco importante acontecerá próximo ao final da década de 1920, com a chegada dos fotógrafos e laboratoristas húngaros Adalberto Kemeny e Rudolf Lustig,3 que compram o laboratório da Independência Film e o transformam nos Laboratórios Rex, que funcionará até a década de 1970. Os conhecimentos técnicos dos imigrantes húngaros permitiram um maior controle dos parâmetros necessários para o melhor processamento dos materiais, como o controle da temperatura e do tempo, sendo responsáveis por melhorias na qualidade técnica dos materiais brasileiros.Â
A passagem para o cinema sonoro nos anos 1930 vai tornar o processamento laboratorial ainda mais complexo e irá provocar o progressivo fechamento dos laboratórios de pequeno porte oriundos do perÃodo silencioso. Na contramão dessa tendência, a companhia produtora Cinédia, fundada em 1930 por Adhemar Gonzaga, irá constituir seu próprio laboratório ainda nessa década.
O laboratório da Cinédia funcionou com muitos contratempos até ao final da década de 1940, perÃodo particularmente difÃcil para a empresa. O contexto da Segunda Guerra Mundial apenas agravou as dificuldades da Cinédia, chegando mesmo a fazer com que encerrasse momentaneamente as suas operações no final de 1941. Em março de 1942, os estúdios da Cinédia reabriram para as filmagens de à tudo verdade, de Orson Welles, mas só retomaram totalmente as produções no ano seguinte. Os efeitos desastrosos causados pela guerra, como a falta de estoque de filme virgem e produtos quÃmicos para o seu processamento, foram sentidos pela Cinédia ao longo da década. O impacto da guerra, entre outros fatores, culminou com o seu desmantelamento em 1949, quando Adhemar Gonzaga decidiu se desfazer dos equipamentos cinematográficos do laboratório. Em 1951, Gonzaga interrompeu as atividades da Cinédia e alienou parte do terreno dos estúdios para liquidar todos os compromissos financeiros da empresa. O laboratório foi posteriormente desmontado e sua produção foi definitivamente interrompida.
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Outro marco importante para o restauro de filmes no Brasil foi a criação do único laboratório de restauração existente em um arquivo audiovisual brasileiro: o da Cinemateca Brasileira. Criado em 1976 a partir de aquisição de equipamentos e peças descartadas pela então chamada LÃder Cinelaboratórios,4 empresa carioca que havia recém adquirido os laboratórios Rex com a finalidade de expandir seus negócios para São Paulo. A aquisição se iniciou após convencê-los de que a Cinemateca não se constituiria como concorrente de mercado, o que não seria mesmo possÃvel, visto o caráter cultural da instituição. A partir daÃ, uma parceria informal se estabelece, e a empresa passa a comunicar a Cinemateca periodicamente quando do descarte de algum equipamento antigo.Â
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Carlos Augusto Calil, responsável pelo Departamento de Preservação da Cinemateca Brasileira à época, foi quem esteve à frente desse processo. Seu senso de oportunidade foi essencial para que a empreitada fosse bem-sucedida, já que teve a perspicácia de perceber e tirar proveito de um momento singular â ou seja, o momento de descarte do maquinário antigo dos laboratórios Rex por conta da modernização tecnológica empreendida pelos novos donos â para adquirir a infraestrutura básica necessária, e, o mais importante, a preços acessÃveis, para a implementação de um laboratório na instituição.
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Durante o perÃodo de implementação do laboratório na Cinemateca Brasileira, Calil teve a oportunidade de realizar o II Curso de Verão organizado pela FIAF (Federação Internacional de Arquivos de Filme) no Staatlichesfilmarchiv (Arquivo de Filmes da República Democrática Alemã). O curso abordou, sobretudo, questões relacionadas à conservação e restauração de filmes e acabou sendo muito importante para os profissionais brasileiros. Ao longo do curso, Calil teve acesso a publicações sobre documentação e catalogação de filmes ainda não publicadas no Brasil, materiais que ele compartilharia com os técnicos da Cinemateca Brasileira. Isso garantiu que o conhecimento dos métodos de preservação de filmes em uso em instituições estrangeiras fosse compartilhado e aplicado pelos profissionais brasileiros em seus próprios trabalhos. No entanto, uma das principais lições que Calil aprendeu foi que a solução para os problemas de preservação dos filmes brasileiros teria que ser inventada e desenvolvida por brasileiros. Essa conclusão se deve ao que hoje é uma história bem conhecida na comunidade de preservação audiovisual brasileira. Calil conta que Hans Karnstädt, responsável pelo laboratório de conservação e restauração de Staatlichesfilmarchiv, foi questionado sobre o tratamento adequado para filmes de nitrato melados. Karnstädt ficou surpreso com a pergunta e respondeu que nunca havia visto nenhum material em tais condições. Algumas razões para tal fato podem ser apontadas: como a Alemanha tem um clima frio e suas instituições culturais são financeiramente estáveis ââ(permitindo a manutenção dos nÃveis adequados de temperatura e umidade dos depósitos), eles nunca tiveram que se preocupar com cenários em que grande parte de suas coleções encontram-se em estágios avançados de degradação. Mas no Brasil, devido ao clima quente e a instabilidade crônica da área, filmes de nitrato e acetato melados eram (e ainda são) uma ocorrência muito mais comum. Embora essa situação tenha acontecido há quatro décadas, os problemas enfrentados pelos arquivos e profissionais brasileiros não mudaram substancialmente. As condições de conservação da maior parte do patrimônio audiovisual do paÃs apresentam problemas especÃficos que somente a experiência de trabalho no Brasil local pode resolver.
A Restauração Digital de Filmes no Brasil: O Nascimento e a Rápida Decadência de um Campo
Mas será efetivamente no final de maio de 1977 que o Laboratório de Restauração da Cinemateca Brasileira passará a operar realizando atividades de copiagem e revelação. Uma das figuras centrais para tal fato será João Sócrates de Oliveira,5 arquiteto de formação que entra na instituição sem ter tido experiência prévia na área de cinema e se tornará um restaurador de filmes de renome internacional.
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Entre as décadas de 1970 e 2000, as restaurações de filmes no Brasil foram capitaneadas, sobretudo, pelos arquivos audiovisuais, e realizadas em parceria com laboratórios comerciais ou pelo laboratório da Cinemateca Brasileira. A chegada da primeira década de 2000 representou o crescimento dos aportes públicos em preservação audiovisual e o inÃcio da realização um significativo número de projetos de restauração de filmes brasileiros. Nesse perÃodo, se destacaram o restauro de tÃtulos de diretores integrantes do Cinema Novo, através de projetos liderados por suas herdeiras. Alguns poucos anos depois, em 2007 e 2009, a Petrobras investirá em dois editais públicos de restauro coordenados pela Cinemateca Brasileira, atestando que, ainda que momentaneamente, um papel mais ativo do Estado no fomento da atividade.Será na virada do milênio, mais exatamente em 1996, que será utilizada pela primeira vez no Brasil a tecnologia digital durante o processo de restauro de um filme. Foi em O ébrio (Abreu, 1946), uma produção da Cinédia. Apesar de ter tido a imagem restaurada fotoquimicamente, se utilizou de um procedimento hÃbrido para o som, mesclando etapas fotoquÃmicas e digitais. O relançamento de O ébrio estava sendo pensado desde meados dos anos 1990, por conta do aniversário de cinquenta anos da primeira exibição do filme em 1996. Em março daquele ano, a Cinédia propõe a Riofilme6,um projeto de restauração do que teria sido a versão original da obra, incluÃdo seu relançamento comercial ao final do processo. Uma das prioridades era o retorno do filme aos cinemas, talvez por conta disso o projeto tenha sido apresentado à uma distribuidora. Nesse sentido, ele parece ter fomentado possibilidades de atuação que inclusive tiveram outros frutos, visto que em 2002 é levado a cabo, também pela Riofilme, a reformatação digital e o relançamento de outro tÃtulo do passado, Deus e diabo na terra do sol (Rocha, 1964).
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Mas será em 2003 que terá inÃcio um projeto que efetivamente pode ser considerado um marco para a restauração digital de filmes no Brasil: o restauro da obra completa de Joaquim Pedro de Andrade, idealizado pelos filhos do cineasta, Alice, Maria e Antonio de Andrade, iniciativa pioneira na utilização da tecnologia digital de 2K de resolução no paÃs. Nesse momento, na área audiovisual, esse tipo de tecnologia era utilizado, sobretudo, para as etapas de intermediação digital realizadas durante o processo de finalização de um filme. à a primeira vez, portanto, que um projeto de restauração brasileiro emprega essa ferramenta, o que representou um marco decisivo para o desenvolvimento do campo no paÃs, tendo sido um dos fatores responsáveis pela atualização tecnológica do Laboratório de Restauração da Cinemateca Brasileira, além de propiciar a criação de um Núcleo de Restauração na empresa de pós-produção audiovisual Teleimage, em São Paulo.
O pioneirismo e a envergadura do projeto (restaurar digitalmente a obra completa de um cineasta) fez com que a metodologia de trabalho, as escolhas técnicas e éticas fossem descobertas e aperfeiçoadas ao longo do processo. Como ainda era um campo emergente, a necessidade de os profissionais envolvidos ganharem experiência com ferramentas de restauração digital era essencial. Afinal, a realização de um projeto de restauro em 2K no Brasil era novidade para todos os envolvidos, o que representou um grande desafio. Será neste perÃodo, justamente por conta de projetos como o de Joaquim Pedro, que acontecerá a abertura de departamentos dedicados à restauração digital de filmes dentro de laboratórios comerciais de pós-produção, como é o caso dos Estúdios Mega e da Teleimage, ambos em São Paulo, e da Labocine, no Rio de Janeiro.Â
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Desde 2000, os Estúdios Mega7 vinham investindo em seu parque tecnológico, com direcionamento para a aquisição de equipamentos de intermediação digital. Em 2001 foi adquirida uma estação de trabalho chamada Restore, que consistia de um software acompanhado de um computador exclusivo. Esse equipamento, fabricado pela empresa norte-americana Da Vinci Systems, pioneira na produção de equipamentos para pós-produção digital, teve um custo de 380 mil dólares (cerca de 760 mil reais à época). A estação não tinha a capacidade de digitalizar, sendo que os materiais tinham que ser digitalizados previamente em outra máquina, como, por exemplo, um telecine. Ainda assim, o custo era bem alto, se mostrando proibitivo para praticamente a totalidade dos arquivos audiovisuais brasileiros nesse momento. Por conta disso, os responsáveis pela introdução dessa tecnologia no Brasil foram as empresas de pós-produção e finalização audiovisual, que tinham que se adaptar rapidamente à s tendências de mercado, sobretudo ao lucrativo mercado publicitário.Â
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A Teleimage iniciou seu Departamento de Restauração com o filme Pelé eterno (AnÃbal Massaini Neto, 2004), para a correção digital de parte das imagens de arquivo que integram o documentário, que levou cerca de cinco anos para ser concluÃdo por conta do volume do trabalho de pesquisa. Após esse trabalho, a empresa decidiu expandir o setor com o projeto de restauração digital da obra completa de Joaquim Pedro de Andrade.Â
O caso da Labocine foi um pouco diferente em alguns aspectos. Como os dois exemplos citados, o setor de Restauração também se iniciou a partir dos serviços de intermediação digital já oferecidos por essas empresas, que se utilizavam da estrutura existente para servir de base para a inclusão da tecnologia destinada para o restauro digital de filmes. Isto é, softwares especÃficos, computadores com maior capacidade de processamento e servidores com capacidade de armazenamento adequada. Entretanto, ao invés de renomados cineastas do Cinema Novo, cujos filmes foram realizados a partir da década de 1960, a Labocine decide investir na restauração digital de Bonequinha de seda, obra realizada em 1936 por Oduvaldo Viana. O fato é que o filme foi produzido pela Cinédia, parceira de longa data do laboratório, e este talvez tenha sido o motivo principal para que o laboratório tenha assumido tal empreitada. Além, é claro, da possibilidade de adentrar em um mercado em expansão e com um diferencial em relação à s outras empresas: ter como trabalho inaugural a restauração de um filme realizado na década de 1930, ou seja, há quase 80 anos atrás. Mas esse caso modelo levou muito mais tempo que se esperava. A restauração do tÃtulo, que contou com uma etapa fotoquÃmica e outra digital, se iniciou em 2006 e levou cerca de sete anos para ser concluÃda, tanto por conta das interrupções provocadas pelas dificuldades técnicas encontradas quanto pelo aporte de investimentos efetuados ao longo do processo.8 Diferente dos Estúdios Mega e da Teleimage, a Labocine não contou com a garantia e o volume de recursos de um projeto de restauração composto por vários tÃtulos ou de uma obra completa, como foi com a Coleção Glauber Rocha e com o projeto do Joaquim Pedro, mas sim o restauro de um único tÃtulo, o que fez com que a empresa contasse com um montante de investimentos menor do que suas congêneres9  O que, por fim, representou menos profissionais exclusivamente dedicados ao projeto, menos equipamentos e, por conseguinte, menor velocidade na execução do trabalho. Apesar dos inúmeros desafios enfrentados, o esforço foi em certa medida recompensado devido à inestimável experiência acumulada pelos técnicos ao longo do processo.Â
Além disso, uma questão importante merece ser ressaltada: o restauro de Bonequinha de seda acabou por revelar limitações intrÃnsecas das ferramentas digitais em relação a um dos grandes problemas apresentados pelos materiais remanescentes: a profusão de riscos e abrasões incorporadas fotograficamente à imagem (conforme figura abaixo). A resposta diante das primeiras etapas de tratamento do material no software de restauração Diamant, tanto na modalidade automática quanto semiautomática, foi mÃnima, visto que a ferramenta não conseguia localizar os problemas pois já faziam parte da imagem, revelando uma limitação inerente a estas formas de dano. Tentou-se interferir de maneira mais drástica e o resultado foi ainda pior, com a criação de inúmeros artefatos e a acentuação de algumas deformações na tentativa de estabilização geral ou parcial dos quadros.
Ou seja, no geral, a atuação da ferramenta digital não trouxe resultados significativos para os problemas considerados mais graves e de maior intensidade. Após a exibição de algumas amostras do trabalho e consultas a especialistas em eventos internacionais, comprovou-se que os procedimentos adotados estavam, a princÃpio, corretos, e que, infelizmente, a atuação dos softwares de restauração nos danos apresentados pelo filme não teria a repercussão desejada, ao menos não na versão em que se encontravam. Dada a particularidade dos danos, se estabeleceu um canal de comunicação permanente entre o laboratório e a empresa desenvolvedora do software, a HS-Art, o que viabilizou aperfeiçoamentos especÃficos para a limpeza dos riscos e arranhões incorporados fotograficamente na imagem.10
O que podemos notar através desse exemplo é que as ferramentas estrangeiras, mesmo as desenvolvidas especificamente para a restauração de filmes, como é o caso do software austrÃaco Diamant, não respondem de forma completamente satisfatória, dada a especificidade dos problemas de deterioração apresentados pelos filmes brasileiros, ainda que riscos e outros danos não sejam exclusividade de nossos materiais.11 Por conta disso, parcerias com laboratórios de restauração e fabricantes de softwares são importantes, sobretudo para projetos de pequeno porte e com materiais que estejam bastante comprometidos. Neste sentido, a ideia de se investir em um laboratório de restauração de um arquivo de filmes (como o da Cinemateca Brasileira) é uma opção estratégica, visto que a ótica de um laboratório comercial sempre será direcionada para projetos financeiramente lucrativos.Â
A consolidação da intermediação digital como etapa integrante da produção audiovisual em meados da primeira década do século XXI parecia trazer consequências bastante benéficas para a área de restauração de filmes. Com o barateamento desse tipo de serviço, a tecnologia digital passou a ser adotada amplamente nos procedimentos de restauração e proporcionou o desenvolvimento das ferramentas e da própria área. Visto os projetos de restauro realizados desde a virada do milênio, o Brasil aparentava seguir por um caminho de desenvolvimento semelhante ao restante do mundo. No entanto, infelizmente, o campo da restauração digital de filmes no paÃs começou a regredir em 2010. Neste ano, por falta de financiamento para projetos de restauro, os departamentos de restauração como o da Mega Studios começaram a fechar. O que antes era considerado um mercado em expansão, com o inÃcio do fechamento de Departamentos de Restauração nas empresas de finalização, logo se tornou um serviço de nicho. Â
A partir de meados de 2010, a ampla adoção da tecnologia digital em todas as etapas da cadeira audiovisual â produção, distribuição e exibição â fez com que uma grande entrada de recursos nos laboratórios cinematográficos brasileiros, oriunda da confecção de cópias em pelÃcula de filmes estrangeiros distribuÃdos no paÃs, cessasse. Funcionava como uma reserva de mercado: era obrigatório que os filmes estrangeiros lançados nos cinemas brasileiros confeccionassem seus materiais de difusão em pelÃcula no paÃs. Apesar de empresas como Labocine, Teleimage e Estúdios Mega terem se mostrado parceiras importantes dos projetos de restauro citados, todas eram, afinal, empresas comerciais que visavam lucro. As que possuÃam laboratórios fÃlmicos, como a Labocine, reduziram bastante sua margem de lucro com a diminuição e posterior interrupção de produção de cópias em pelÃcula 35mm ao longo de 2010.Â
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O volume de investimentos públicos em restauração de filmes (e em preservação audiovisual em geral) reduziu drasticamente a partir de 2011, o que gerou consequências nefastas para o campo. Uma das primeiras consequências mais notáveis aconteceu em 2015, com a extinção do Núcleo de Restauração da Teleimage e a demissão da equipe do setor. Para completar o cenário de decadência, a consolidação da projeção digital no circuito exibidor e a redução substancial do volume de processamento de cópias 35mm, maior fonte de renda da Labocine, inviabilizou a continuidade da empresa a longo prazo, o que culminou com seu fechamento definitivo em março de 2015. Desde então, a área de restauração de filmes no Brasil retraiu-se vertiginosamente, o que demonstra que apesar dos aportes iniciais realizados pelas empresas privadas, o setor era dependente dos recursos oriundos do Estado e de medidas de proteção de mercado. Com exceção do Laboratório de Restauração da Cinemateca Brasileira, que passou a operar sobretudo para demandas internas desde 2016, mas que está com suas atividades paralisadas desde março de 2020,12 e a empresa Afinal Filmes, que passou a oferecer serviços de restauração digital por volta de 2017, não há outras opções.Â
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Existem projetos e filmes a serem restaurados, mas não há recursos ou polÃticas públicas de financiamento para esse tipo de atividade. Na verdade, nesse momento, quase não existem polÃticas públicas para a preservação audiovisual (ou para o setor audiovisual como um todo) no Brasil: o campo cultural, em geral, tem sido muito afetado pelo atual governo. Entretanto, em uma área historicamente ignorada em termos de investimentos e marcada pela instabilidade, como a área de patrimônio audiovisual no Brasil, é ainda mais grave. De mercado promissor à decadência em pouco mais de uma década, esse é o estado atual da restauração de filmes no Brasil.
Laboratórios Cinematográficos no Brasil
Introduction
My professional entry into the field of film preservation coincided with the emergence of digital restoration in Brazil. I began working within film archives in the year 2000. Being around archives at that time allowed me to witness the impact that digital technology was having on the still nascent field of digital film restoration. It was my desire to investigate my own early experiences as a film preservationist, systematize them, turn them into an object of study, and to contribute to a wider discussion on film restoration, that prompted me to begin doctoral research at the University of São Paulo in 2016. I finished this research at the end of 2020,1 focusing my dissertation on film restoration in Brazil and the incorporation of digital restoration technology in the 21st century. The research I conducted had two dimensions: on one hand, it included my professional experiences, and on the other, my interest in considering the historical process of film restoration in Brazil from technical, aesthetic and ethical perspectives. A small excerpt from this work will be addressed in this article, where I will present, in general terms, a historical background of film restoration in Brazil, a brief overview on the trajectory of the digital restoration field since the year 2000 and highlight some historical milestones since its early beginnings.Â
Significance of the Year 2000
Over the last two decades, the field of audiovisual preservation has undergone profound changes. One of the evidences of this transformation can be found in the increasing amount of research being conducted on the topic of film preservation and its various aspects. The incorporation of digital technology within the film restoration process allowed the field to gain more prominence both in terms of practical skills and as an academic discipline. As a result, scholars have attempted to theoretically define it through deeper analysis of its many complex elements. The international bibliography on film preservation has also grown considerably since the 2000s, including welcome contributions from Brazilian researchers and scholars. Although in-depth film restoration research is still not very common in Brazil, the emergence of recent prominent writings on this topic and related issues proves that there is serious interest in the topic and in audiovisual preservation as an academic discipline. Â
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From the late 1990s to the mid 2000s, digital film restoration tools were introduced and disseminated among major film archives, with financial support from big film production companies.2 Â At first, due to the prohibitive costs for most institutions and archives, these tools were only utilized occasionally. However, technological advancements allowed them to become more affordable for non-commercial projects and more widely adopted into the film restoration process along the first decade of 2000s.Â
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Digital technology was incorporated into the restoration workflow in Brazil in the early 21st century, similar to what was taking place in some European countries and in the United States. Up until that point in time, each stage of the restoration process was photochemical. Film restorers were utilizing analog machines that had been used for years in commercial film laboratories and the technical staff behind most restoration projects were predominantly trained while working for these laboratories. With the arrival of digital tools, interventions into the restoration process began to be carried out by computers and professionals with new skills. These new restorers were well versed in digital restoration software and computer-based technology and had different professional backgrounds than the technicians who had only previously worked in film laboratories. Before providing a further analysis of the digital restoration field in Brazil, it is first necessary to present an overview of the history of Brazilian film laboratories.
Film Laboratories in Brazil
During the first few decades of filmmaking in Brazil, most of the small film production companies had their own laboratories. It is likely that these laboratories used similar tools to still photography laboratories. In the chain of processing photochemical material, the negative is first developed and then copied to a positive print, resulting in projection prints. In the 1910s, Alberto Botelhoâs film laboratory took the first steps toward standardizing these procedures with above-average results. Consequently, their lab managed to create better film prints than what had previously been possible in Brazil. There are references to other laboratories of the time. For example, companies such as José and Victor del Picchiaâs Independência Film and Paulo Benedetti Filmes had laboratories and processed titles such as Braza Dormida (Mauro, 1928), Barro Humano (Gonzaga, 1929) and Limite (Peixoto, 1931). A landmark moment for the film processing field occurred in the late 1920s, when Hungarian photographers and laboratory professionals Adalberto Kemeny and Rudolf Lustig relocated to Brazil.3 Kemeny and Lustig would go on to buy the Independência Film Laboratory and turn it into Rex Laboratories, which remained active until the 1970s. The technical knowledge that these Hungarian immigrants brought to Brazil allowed greater general control of the necessary parameters for processing film, such as temperature and time control, being responsible for improvements in the technical quality of Brazilian materials.
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The transition to sound cinema in the 1930s made laboratory processing even more complex and progressively caused the closure of small laboratories from the silent period. Regardless of these newfound challenges in film processing, the production company Cinédia, founded in 1930 by Adhemar Gonzaga, built its own laboratory in that decade.Â
The Cinédia laboratory operated with many setbacks until the end of the 1940s, a particularly difficult period for the company. The context of World War II only exacerbated Cinédia's difficulties, even causing them to momentarily shut down their operations at the end of 1941. In March 1942, the Cinédia studios reopened for the filming of Orson Wellesâs It's All True, but only fully resumed productions the following year. The disastrous effects caused by the war, such as the lack of film stock and chemicals for processing films, was felt by Cinédia throughout the decade. The toll of the war on Cinédia culminated in their dismantling in 1949, when Adhemar Gonzaga decided to dispose of the laboratory film equipment. In 1951, Gonzaga interrupted Cinédia's activities and sold part of the studio grounds in order to liquidate all the company's financial commitments. The laboratory was subsequently disassembled and its productions halted.Â
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A historical milestone for film restoration in Brazil particularly relevant to this discussion was the creation of the only existing restoration laboratory in a Brazilian film archive. The Cinemateca Brasileira Film Laboratory was created in 1976 from the acquisition of equipment and parts discarded by the formerly-named LÃder Cinelaboratórios,4 a company from Rio de Janeiro that had recently acquired Rex Laboratories with the purpose of expanding its business to São Paulo. This acquisition began after LÃder Cinelaboratórios was convinced that the Cinemateca Brasileira would not be a market competitor for them given their non-profit cultural mission. From then on, an informal partnership was established, and LÃder began to periodically notify the archive whenever old equipment was discarded.Â
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Carlos Augusto Calil, who was leading the Preservation Department of the Cinemateca Brasileira at the time, managed this acquisition process. His sense of opportunity was essential to the success of the undertaking. Calil had the insight to take advantage of a singular moment - the discarding of the old Rex laboratories machinery. Once the new owners of Rex laboratories began to modernize their lab with new technology, they decided to dispose of their older (but still functional) machinery. Calil was then able to purchase this machinery at discounted prices as a means of bolstering the infrastructure of the Cinemateca's laboratory.
While the old laboratory machinery was being implemented at the Cinemateca Brasileira, Calil had the opportunity to attend the second Summer course organized by FIAF (International Federation of Film Archives) at the Staatlichesfilmarchiv (Film Archive of the German Democratic Republic). This course mainly addressed issues related to the conservation and restoration of films and it was very important for Brazilian professionals. During this course, Calil had access to publications on film documentation and cataloguing which had not yet been published in Brazil, materials that he would go on to share with his colleagues at the Cinemateca Brasileira. This ensured that the knowledge of the film preservation methods being used in foreign institutions would be shared and applied by Brazilian film preservationists in their own work. However, one of the major lessons that Calil learned was that the solution to Brazilâs film preservation problems would have to be invented and developed by Brazilians. This newfound understanding came to Calil from what is now a well-known story in the Brazilian audiovisual preservation community. Calil recounts that Hans Karnstädt, the person in charge of the conservation and restoration laboratory of Staatlichesfilmarchiv, was asked about proper treatment for nitrate films that have become sticky. Karnstädt was surprised with the question and answered that he had never seen any material in such condition. There are reasons for this can be pointed out: as Germany has a cold climate, and because their cultural institutions are financially stable (allowing the maintenance of adequate levels of temperature and humidity in the vaults), they never had to worry about scenarios where a large portion of their collections had undergone severe stages of degradation. But in Brazil, due to the hot climate and the chronic financial instability, sticky nitrate and acetate films were (and still are) a far more common occurrence. Although this situation happened four decades ago, the problems faced by Brazilian film archives and film preservationists have not changed substantially. The conservation conditions of most of the country's audiovisual heritage pose specific problems that only preservationists who have experience working in Brazil can solve.
Digital Film Restoration in Brazil: The Birth and the Rapid Decay of a Field
It was effectively at the end of May 1977 that the Cinemateca Brasileira Restoration Laboratory began duplication and restoration activities. One of the central figures for this was João Sócrates de Oliveira,5 a trained architect who entered the institution without previous experience in cinema, who went on to become an internationally renowned film restorer.Â
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Between the 1970s and 2000s, film restoration projects in Brazil were mainly headed by film archives and carried out in partnership with commercial laboratories or by the Cinemateca Brasileira laboratory. The 2000s represented the growth of public investments in film preservation and the realization of a significant number of Brazilian film restoration projects. During this period, specific emphasis was given to the restoration of the titles of Cinema Novo filmmakers through projects led by their heirs. A few years later, in 2007 and 2009, Petrobras invested in two public calls for restoration coordinated by the Cinemateca Brasileira, attesting, albeit fleetingly, a more active role of the State in promoting and sponsoring film preservation.
At the turn of the millennium, in 1996, digital technology was used for the first time in Brazil during the restoration process of O ébrio (Gilda de Abreu, 1946), a Cinédia production. Despite the fact that O ébrio had its image photochemically restored, the restoration process included a hybrid procedure for sound, mixing photochemical and digital elements. The re-release of O ébrio had been considered since the mid-1990s, as 1996 marked the fifty-year anniversary of its first screening. In March of that year, Cinédia proposed the restoration project of what would have been the original version of the film to Riofilme,6 including its commercial re-release at the end of the process. One of the priorities of this project was ensuring that the film would return to the cinemas, which may be why this restoration project was presented to a distributor. By establishing a process where a newly restored film would be attached to a distributor, the restoration and exhibition of O Ãbrio would impact other restoration projects that followed a similar path. In 2002, Riofilme also carried out the digital reformatting and the re-release of another classic Brazilian title, Black God, White Devil (Rocha, 1964).
It was in 2003 that a project which can effectively be considered a milestone for digital film restoration in Brazil began: the restoration of the complete works of Joaquim Pedro de Andrade. This restoration project was realized by his daughters Alice and Maria, and his son Antonio de Andrade. The restoration of Joaquim Pedro de Andradeâs complete filmography was a pioneering initiative in the use of 2K digital resolution technology in Brazil. At that time, this kind of technology was mainly being used for the digital intermediation stages performed during post-production for contemporary films. Therefore, this was the first time that a Brazilian restoration project employed this tool. The restoration of Andradeâs filmography represents a definitive milestone for the preservation field in Brazil, as it led to a major technological update for the Restoration Laboratory of the Cinemateca Brasileira. In addition to this update of the Cinemateca lab, the Joaquim Pedro project led to the creation of the Restoration Center at Teleimage, an audiovisual post-production company in São Paulo.
The pioneering initiative of using 2K resolution, and the scope of the project (to digitally restore the complete works of a filmmaker), made it possible for film restoration methodology to be practiced and improved by the archivists and technicians who were working on the project. As it was still an emerging field, the need for preservationists to gain experience with digital restoration tools was essential. After all, making a 2K digital restoration in Brazil was new for everyone involved, so this project represented a great challenge. It was around this time, precisely because of projects like Joaquim Pedro's, that many departments inside commercial post-production and finishing companies were created to exclusively focus on digitally restoring films. Mega Studios and Teleimage, both in São Paulo, and Labocine in Rio de Janeiro were the major companies that were concentrating on digital restoration during that time.Â
Since 2000, Mega Studios7 has been investing in technological machinery, focusing on the acquisition of digital intermediation equipment. In 2001, they acquired a workstation called Restore, which consisted of a film restoration software built into an exclusive computer for the restoration process. This equipment, manufactured by the North-American company Da Vinci Systems (a pioneer in digital post-production equipment), cost $ 380,000 (about R$ 760,000 at the time). The station did not have the capacity to digitize. Instead, the materials had to be previously digitized by another machine (such as a telecine) in order to be used at the station. Because of this need for previous digitization, the cost of the entire restoration process was very high for Brazilian film archives at that time, leading to a situation where the post-production companies with larger budgets became primarily responsible for introducing restoration technology in Brazil.Â
â
Teleimage debuted its Restoration Department with the film Pelé Eterno (AnÃbal Massaini Neto, 2004), digitally correcting part of the archival footage in the documentary. This project took about five years to be completed and demanded a lot of work from the restorers. It was only after completing their first restoration that Teleimage decided to expand their restoration division with the digital restoration of Joaquim Pedro de Andrade's films.
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Overall, Labocineâs experience with digital preservation was different to that of Teleimage and Mega Studios. However, it was similar in the sense that its restoration sector began by offering digital intermediation services. Labocine, Teleimage and Mega Studios used their existing structure as a basis for the inclusion of technology destined for the digital restoration of films. That is, they bought specific restoration software, computers with greater processing capacity, and servers with adequate storage capacity. However, instead of investing its time in restoring the works of renowned Cinema Novo filmmakers, Labocine decided to digitally restore Bonequinha de seda, a film made in 1936 by Oduvaldo Viana. Bonequinha de seda was produced by Cinédia, a long-time partner of Labocine, which may have been the main reason why Labocine was interested in restoring the film. Restoring Bonequinha de seda presented the opportunity for Labocine to join an expanding national film restoration market. Also, restoring Bonequinha de seda as their first project, a work made almost 80 years ago, would allow them to stand out from other companies. However, the Bonequinha de seda restoration took much more time than what was initially expected. The restoration of the film, which included photochemical and digital tools, began in 2006 and took about seven years to be completed. The protracted length of the process was due to work interruptions which were caused by technical difficulties and the limited amount of funds available for the project.8 Unlike Mega Studios and Teleimage, Labocine did not have the volume of financial resources that a restoration project composed of several titles would have.9 While the restorations of the Glauber Rocha Collection and Joaquim Pedroâs filmography were well funded, the restoration of a single title made Labocine count on smaller investments. This meant that there were fewer professionals who were exclusively dedicated to the project, less equipment, and slower speed in the execution of the work. Despite the many challenges that this project faced, the effort to restore Bonequinha de seda was worthwhile due to the invaluable digital restoration experience that the technicians accumulated throughout the process.Â
â
The restoration of Bonequinha de seda ended up revealing the intrinsic limitations of new digital tools when dealing with scratches and abrasions that were incorporated photographically into the image (as shown below). The effectiveness of the Diamant restoration software (used in this process) during the first stages of digital treatment was minimal. This was because the tool could not locate the photographically incorporated scratches and abrasions that had become part of the image. Therefore, the first stages of digitally treating Bonequinha de seda revealed the inherent limitations of digital tools in fixing this type of damage. Also, after an attempt to use these digital tools to partially stabilize frames, the end product was even worse. The resulting creation presented numerous artifacts and the worsening of some of the photographically incorporated deformations.
Exhibiting samples of the work and consulting with specialists at international events revealed that the initially adopted procedures by the technicians in digitally restoring Bonequinha de seda were correct. However, the ability of the restoration software to deal with the damage presented on the film was not satisfactory. As a result, permanent communication was established between Labocine and the Diamant software developer company, HS-Art. Communicating the problems experienced in the Bonequinha de seda restoration made it possible for HS-Art to develop specific improvements to the software that would allow it to clean up the scratches and abrasions on the digital images.10
This story11 demonstrates that foreign digital restoration tools such as Diamant cannot completely respond to the specificity of the deterioration problems presented within Brazilian films.12 Because of this, establishing partnerships with restoration laboratories and software manufacturers is especially important for small projects that deal with materials in advanced stages of deterioration. In this sense, the idea of having a restoration laboratory in a film archive (such as at the Cinemateca Brasileira) is a strategic option, since a commercial laboratory will always aim at projects that are financially profitable.
â
The global incorporation of digital intermediation as part of the audiovisual post-production process in the mid-2000s seemed to bring enormous benefits for the field of film restoration. As digital intermediation became less expensive, it was widely adopted in the restoration procedures and subsequently lead to the development of new digital restoration tools and the area itself. Given the restoration projects that were being carried out since the turn of the millennium, Brazil appeared to be following a similar path of development in the restoration field to the rest of the world. However, unfortunately, the field of digital film restoration started to regress in 2010. In that year, due to a lack of funding to restoration projects, restoration departments such as the one at Mega Studios began to close. What was once considered a widening market soon became a niche service.Â
â
From mid-2010, the widespread adoption of digital technology in film production, distribution, and exhibition has led to a decrease of financial resources being invested into Brazilian film laboratories. Prior to that point, the major sources of income for these film laboratories had been making prints of foreign films to be distributed throughout Brazil. This is because it was mandatory that foreign films being released in Brazilian movie theaters produced their 35mm projection prints in Brazil. There is no denying that companies such as Labocine, Teleimage and Mega Studios have shown to be important partners of the previously mentioned restoration projects. But they were also commercial companies, primarily interested in maintaining a profit. The companies which had film laboratories, such as Labocine, severely diminished its profit margins with the decrease and later interruption in the production of 35mm film prints throughout the 2010s.Â
â
The volume of public investments in film restoration (and in audiovisual preservation in general) drastically reduced from 2011 onwards, and this has generated harmful consequences for the field. The first notable consequence occurred in 2015 after the Teleimage Restoration Center closed and the company dismissed its staff. Further, the consolidation of digital projection in the commercial exhibition circuit and the substantial reduction in the processing of 35mm prints (Labocineâs largest source of income) made it impossible for the company to continue in the long term. Since the closure of the Teleimage Restoration Center and Labocine in 2015, the film restoration field in Brazil has shrunk vertiginously, revealing that despite the initial contributions made by private companies, the sector was dependent on State resources and measures of market protection. With the exception of the Cinemateca Brasileira Restoration Laboratory, which has mainly focused on its own internal needs since 201613, the only option to digitally restore a film in Brazil today is the company Afinal Filmes, which started offering digital restoration services in 2017. There are projects and films to be restored, but there are no resources or public funding policies for this type of work. In fact, today, there are almost no public policies for film preservation (or for the audiovisual sector at large) in Brazil: the cultural field, in general, has been greatly affected by the government. However, in an area such as the audiovisual heritage field in Brazil, which has been historically ignored in terms of investments and marked by instability, the repercussions have been even worse. From a promising market to a struggling one in just over a decade, such is the current state of film restoration in Brazil.
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2012-01-20T00:52:13+00:00
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https://en.wikipedia.org/wiki/2012_Santos_FC_season
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Santos 2012 football season
The 2012 season was Santos Futebol Clube's 100th season in existence and the club's fifty-third consecutive season in the top flight of Brazilian football.
Santos won the Campeonato Paulista title for the third consecutive time and became the first team in 43 years to win three straight São Paulo state championships.[1][2] Neymar was the top scorer and the best player.[3][4][5]
They also competed in the Libertadores as the defending champions, exiting in the semi-finals after a 1–2 aggregate loss against eventual winners Corinthians.[6]
On 26 September, Santos beat Universidad de Chile with an aggregate of 2–0 to win the Recopa Sudamericana for the first time.[7][8][9]
Santos' youth team won the U20 Campeonato Paulista by beating São Paulo 2–0 on aggregate score.[10][11]
Santos finished the Campeonato Brasileiro in eighth place after winning their last match 3–1 against Palmeiras on 1 December.
Key events
[edit]
5 January: Santos announce that Nike Inc. will become club's official kit supplier.[12]
9 January: Neymar wins 2011 FIFA Puskás Goal of the Year Award.[13]
19 January: Neymar named best soccer player in South America in 2011.[14]
28 January: Highest scorer in NBA history, Kareem Abdul-Jabbar visits Santos' training ground and plays football with Neymar.[15]
2 February: Léo reaches 400 matches as Santos' player.[16]
3 February: Santos release new kit produced by Nike Inc.[17]
5 February: Neymar scores his 100th goal as professional footballer.[18]
10 February: Uruguayan right back Fucile joins the club from Porto on a one-year loan deal.[19]
24 February: Santos launch centenary' clock at Santos beach.[20]
12 March: Neymar participates a charity dinner with Prince Harry.[21]
27 March: The movie "Santos, 100 years of football art" is released in Brazilians theaters[22]
4 April: Editora Magma Cultural release the book "Santos, 100 years of football art".[23]
14 April: Santos centenary birthday.
14 April: Santos release new third kit.[24]
29 April: Neymar scores his 100th goal as Santos' player[25]
10 May: Neymar scores his 105th and 106th career goals with Santos, becoming the team's top scorer in the post-Pele era.[26]
5 July: Rafael, Neymar and Ganso are included in the Brazil squad for the 2012 Summer Olympics.[27]
16 July: Santos' coach, Muricy Ramalho renew his contract until December 2013.[28]
24 July: Konami announces Vila Belmiro as the first Brazilian stadium in Pro Evolution Soccer's history.[29]
19 August: Muricy Ramalho completes 100 matches as Santos' coach.[30]
14 September: Santos release new away kit.[31]
29 October: Neymar shortlisted for FIFA Ballon d’Or 2012.[32]
3 November: Cruzeiro's fans applaud and chant Neymar's name after a hat-trick and an assist at the Estádio Independência.[33][34][35]
14 November: Neymar nominated for FIFA Puskás Award 2012.[36]
Players
[edit]
Squad information
[edit]
N
Pos.
Nat.
Name
Age
Since
App
Goals
Ends
Transfer fee
Notes
GK Aranha 43 2011 29 0 2012 Undisclosed GK Gabriel Gasparotto 31 2012 0 0 2015 Youth system GK Rafael 34 2009 161 0 2014 Youth system GK Vladimir 35 2009 5 0 2014 Youth system DF Bruno Peres 34 2012 24 2 2013 Free On loan from Audax DF Crystian 32 2011 16 0 2015[37] Youth system DF Douglas 31 2012 3 0 2013 Youth system DF Fucile 39 2012 14 1 2012 Free on loan from Porto DF Juan 42 2012 42 2 2012 Free on loan from São Paulo DF Léo (vice-captain) 49 2009 423 23 2013[38] Free DF Paulo Henrique Soares 31 2012 5 0 2013 Youth system DF Rafael Galhardo 32 2012 4 0 2016 Free DF Bruno Rodrigo 39 2010 79 5 2012 Undisclosed DF David Braz 37 2012 7 0 2015 Free DF Durval 44 2010 197 5 2013 Undisclosed DF Edu Dracena (captain) 43 2009 151 14 2015[39] Free DF Gustavo Henrique 31 2012 1 0 2014 Youth system MF Adriano 37 2006 184 0 2013 Youth system MF Alan Santos 33 2009 6 0 2013 Youth system MF Alison 31 2011 1 0 2013 Youth system MF Arouca 38 2010 161 2 2014 €3,5M MF Ewerton Páscoa 35 2012 12 0 2012 Free On loan from Audax MF Henrique 39 2011 71 2 2015 €3M MF Bernardo 34 2012 14 1 2012 Free On loan from Vasco MF Felipe Anderson 31 2010 89 9 2016[40] Youth system DF Gérson Magrão 39 2012 25 0 2013 Free On loan from Primavera MF Leandrinho 30 2012 3 0 2014 Youth system MF Patricio Rodriguez 34 2012 22 2 2016 €1,6M MF Pedro Castro 31 2012 1 0 2015 Youth system FW André 33 2012 75 35 2013 €2M On loan from Atlético Mineiro FW Bill 40 2012 16 1 2014 Free FW Geuvânio 32 2012 4 0 2015 Youth system FW João Pedro 32 2012 10 0 2014 €500K FW Miralles 41 2012 18 6 2014 Free FW Neymar (2nd VC) 32 2009 206 124 2014[41] Youth system FW Victor Andrade 28 2012 19 3 2014 Youth system
Last updated: 1 December 2012
Source: Santos FC (for appearances and goals), CBF (for contracts)
Ordered by Positions and Alphabetical order.
Appearances and goals
[edit]
Pos. Name Campeonato Brasileiro Campeonato Paulista Copa Libertadores Recopa Sudamericana Total Apps Goals Apps Goals Apps Goals Apps Goals Apps Goals MF Adriano 27(1) 0 8(1) 0 7(1) 0 2 0 47 0 MF Alan Santos 1(3) 0 0(1) 0 0 0 0 0 5 0 FW André 18(1) 7 0 0 0 0 2 0 21 7 GK Aranha 13 0 9(1) 0 0 0 0 0 23 0 MF Arouca 31 0 17 1 12 0 2 0 62 1 MF Bernardo 5(9) 1 0 0 0 0 0 0 14 1 FW Bill 7(9) 1 0 0 0 0 0 0 16 1 DF Bruno Peres 24(1) 2 0 0 0 0 2 0 27 2 DF Bruno Rodrigo 31(2) 3 10 1 0(1) 0 2 1 46 5 DF Crystian 1 0 2(4) 0 0 0 0 0 7 0 DF David Braz 5(2) 0 0 0 0 0 0 0 7 0 DF Douglas 2(1) 0 0 0 0 0 0 0 3 0 DF Durval 33 1 16 1 12 0 2 0 63 2 DF Edu Dracena (c) 6 2 13 4 12 1 0 0 31 7 DF Emerson Palmieri 1 0 3 0 0 0 0 0 4 0 MF Ewerton Páscoa 9(2) 0 0 0 0 0 0(1) 0 12 0 MF Felipe Anderson 30(5) 6 7(6) 1 1(3) 0 1(1) 0 54 7 DF Fucile 0 0 8(1) 0 5 1 0 0 14 1 DF Gérson Magrão 15(8) 0 0 0 0 0 0(1) 0 24 0 FW Geuvânio 0(4) 0 0 0 0 0 0 0 4 0 DF Gustavo Henrique 1 0 0 0 0 0 0 0 1 0 MF Henrique 19(3) 0 13 0 11 1 0 0 46 1 MF João Pedro 1(9) 0 0 0 0 0 0 0 10 0 DF Juan 15(3) 0 12 2 11 0 1 0 42 2 MF Leandrinho 3 0 0 0 0 0 0 0 3 0 DF Léo 17 0 2(2) 0 0(2) 0 1 0 24 0 FW Miralles 8(8) 6 0 0 0 0 0(2) 0 18 6 FW Neymar 17 14 16 20 12 8 2 1 47 43 FW Patricio Rodriguez 14(6) 2 0 0 0 0 2 0 22 2 MF Pedro Castro 1 0 0 0 0 0 0 0 1 0 DF Paulo Henrique Soares 0 0 5 0 0 0 0 0 5 0 GK Rafael 25 0 14 0 12 0 2 0 53 0 DF Rafael Galhardo 5 0 0 0 0 0 0 0 5 0 FW Victor Andrade 10(9) 3 0 0 0 0 0 0 19 3 Players who left the club during the season MF Ganso 5 1 16 4 12 3 1 0 34 8 FW Dimba1 3(3) 0 3(5) 3 0(2) 0 0 0 16 3 MF Anderson Carvalho1 1 0 6(1) 1 0 0 0 0 8 1 MF Elano 2(1) 0 10(8) 0 6(4) 2 0 0 31 2 DF Maranhão1 3(3) 0 9(2) 1 1(1) 1 0 0 19 2 FW Alan Kardec 4 0 13(7) 7 5(6) 4 0 0 35 11 MF Breitner1 0 0 0(5) 0 0 0 0 0 5 0 FW Borges 3 0 10(1) 5 8(3) 2 0 0 25 7 MF Ibson 0 0 14(5) 4 5(3) 0 0 0 27 4 DF Vinicius Simon1 0(1) 0 7 1 0 0 0 0 8 1 DF Pará1 0 0 3(1) 0 1 0 0 0 5 0 DF Rafael Caldeira1 0 0 2 1 0 0 0 0 2 1 FW Rentería 4(1) 1 4(4) 0 0(1) 0 0 0 14 1 FW Tiago Alves1 0 0 2(3) 0 0 0 0 0 5 0 FW Tiago Luís1 0 0 1(1) 0 0 0 0 0 2 0
1Player was loaned
Last updated: 1 December 2012
Source: Match reports in competitive matches, Santos FC, ESPN Soccernet, Soccerway
Goalscorers
[edit]
R Name Paulistão Libertadores Brasileirão Sudamericana Total 1 Neymar 20 8 14 1 43 2 Alan Kardec 7 4 0 0 11 3 Ganso 4 3 1 0 8 4 Borges 5 2 0 0 7 Edu Dracena 4 1 2 0 7 André 0 0 7 0 7 Felipe Anderson 1 0 6 0 7 5 Miralles 0 0 6 0 6 6 Bruno Rodrigo 1 0 3 1 5 7 Ibson 4 0 0 0 4 8 Dimba 3 0 0 0 3 Victor Andrade 0 0 3 0 3 9 Juan 2 0 0 0 2 Maranhão 1 1 0 0 2 Elano 0 2 0 0 2 Durval 1 0 1 0 2 Bruno Peres 0 0 2 0 2 Patricio Rodriguez 0 0 2 0 2 10 Vinicius Simon 1 0 0 0 1 Anderson Carvalho 1 0 0 0 1 Arouca 1 0 0 0 1 Rafael Caldeira 1 0 0 0 1 Henrique 0 1 0 0 1 Fucile 0 1 0 0 1 Rentería 0 0 1 0 1 Bill 0 0 1 0 1 Bernardo 0 0 1 0 1 Own Goal 1 0 0 0 1 Total – 58 23 50 2 133
Last updated: 1 December 2012
Source: Match reports in Competitive matches
Disciplinary record
[edit]
N P Nat. Name Campeonato Paulista Copa Libertadores Campeonato Brasileiro Recopa Sudamericana Total Notes MF Adriano 3 3 8 1 15 MF Alan Santos 2 1 2 1 FW Alan Kardec 5 1 1 7 MF Anderson Carvalho 3 1 4 FW André 6 6 GK Aranha 2 1 3 MF Arouca 2 3 3 1 9 FW Bill 1 1 FW Borges 1 1 DF Bruno Peres 4 4 DF Bruno Rodrigo 3 3 6 DF Crystian 1 1 DF David Braz 1 1 DF Douglas 1 1 DF Durval 3 1 6 1 11 DF Edu Dracena 3 2 5 MF Elano 2 1 3 DF Emerson Palmieri 1 1 MF Ewerton Páscoa 1 1 MF Felipe Anderson 1 8 9 DF Fucile 3 2 5 MF Ganso 1 2 1 4 DF Gérson Magrão 6 6 MF Geuvânio 1 1 MF Henrique 2 2 2 6 MF Ibson 5 1 5 1 FW João Pedro 1 1 DF Juan 4 3 5 1 1 12 1 1 DF Léo 2 2 DF Maranhão 3 3 FW Miralles 3 3 FW Neymar 4 6 6 1 16 1 DF Pará 1 1 DF Patricio Rodriguez 1 1 DF Paulo Henrique Soares 1 1 GK Rafael 1 2 1 4 DF Rafael Galhardo 1 1 FW Rentería 1 1 FW Victor Andrade 4 4 DF Vinicius Simon 1 1
Last updated: 1 December 2012
Source: Campeonato Paulista, Copa Libertadores, Campeonato Brasileiro
Ordered by , and
= Number of bookings; = Number of sending offs after a second yellow card; = Number of sending offs by a direct red card.
Copa Libertadores squad
[edit]
As of 14 February 2012, according to combined sources on the official website.[42]
In Conmebol competitions players must be assigned numbers between 1 and 25.
Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality.
1Pará, Ibson and Vinicius Simon left the club during the competition, and for their places, Maranhão, Gérson Magrão and Ewerton Páscoa were entered.[43][44][45]
Recopa Sudamericana squad
[edit]
As of 20 August 2012, according to combined sources on the official website.[46]
In Conmebol competitions players must be assigned numbers between 1 and 25.
Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality.
Club
[edit]
Coaching staff
[edit]
Position Staff Coach Muricy Ramalho Assistant coach Cláudio Grillo
Edinho
Marcelo Fernandes
Tata Fitness trainer Ricardo Rosa
Fernando Fernandez
Marco Alejandro Goalkeeping coach Oscar Rodriguez
Arzul
Source: Santos FC
Other staff
[edit]
Position Staff Coordinator Carlos Eiki Baptista Press Officer Fábio Maradei Doctors Dr. Maurício Zenaide
Dr. Ricardo Nobre
Dr. Rodrigo Zogaib Physiotherapists Avelino Buongermino
Rafael Martini
Thiago Lobo Physiologist Dr. Luís Fernando de Barros Massagist Clóvis Vesco
Jorginho
Valder Bernardo Nurse Sylvio Cruz Nutritionist Sandra Merouço Psychologist Juliane Fechio Equipment managers França
Vagner Santos
Zuca Lawyer João Vicente Gazolla Driver Arnaldo
Source: Santos FC
Club officials
[edit]
Position Staff President Luis Álvaro de Oliveira Ribeiro Vice-President Odílio Rodrigues Management Committee Alvaro de Souza
Augusto Videira
Caio de Stefano
Eduardo Vassimon
José Berenguer
Luciano Moita
Pedro Luiz Nunes Football manager Nei Pandolfo
Source: Santos FC
Kit
[edit]
The previous season kit was used until April due an agreement that Santos had with Umbro.[47]
The home kit was released on 3 February 2012.[48] Later, on 14 April 2012, Santos' centenary birthday, the third kit was released with the "sea color".[49] The third kit was used as away kit until 14 October 2012, when the traditional away kit with black and white stripes was released in the match against Vasco valid for the 2013 Campeonato Brasileiro.[50]
Home
Away
Third
Goalkeeper 1
Goalkeeper 2
Goalkeeper 3
Banco BMG[51]
Seara[52]
Netshoes[53]
CSU CardSystem[54]
Marabraz.[55]
Transfers
[edit]
In
[edit]
P Nat. Name Age Moving from Type Ends Source GK Felipe 24 Avaí Loan Return 2013 Terra Esporte GK Fábio Costa 34 Atlético Mineiro Loan Return 2013 Terra Esporte DF Rafael Caldeira 20 ABC Loan Return 2014 Ademir Quintino DF Maranhão 26 Coritiba Loan Return 2013 Santos FC MF Madson 26 Atlético Paranaense Loan Return 2012 UOL Esporte FW Tiago Luís 22 Ponte Preta Loan Return 2013 Santos FC DF Juan 30 São Paulo Loaned 2012 Globo Esporte DF Fucile 27 Porto Loaned 2012 R7 Esportes MF Bernardo 22 Vasco Loaned 2012 Terra Esportes DF Gérson Magrão 27 Primavera Loaned 2013 UOL Esporte FW Tiago Luís 23 XV de Piracicaba Loan Return 2013 Globo Esporte DF David Braz 25 Flamengo Signed 2014 Santos FC DF Rafael Galhardo 20 Flamengo Signed 2015 Santos FC DF Ewerton Páscoa 23 Audax Loaned 2012 Santos FC DF Bruno Peres 22 Audax Loaned 2013 Santos FC MF João Pedro 20 Palermo Signed 2014 Santos FC FW Miralles 28 Grêmio Signed 2014 Globo Esporte MF Patricio Rodríguez 22 Independiente Signed 2016 Santos FC FW Bill 28 Corinthians Signed 2014 Placar FW André 21 Atlético Mineiro Loaned 2013 Globo Esporte FW Tiago Alves 19 Boa Esporte Loan Return 2014 Globo Esporte
Out
[edit]
P Nat. Name Age Moving to Type Source DF Danilo 20 Porto Transferred Globo Esporte FW Diogo 24 Olympiacos Loan expiration DF Leandro Silva 22 Atlético Sorocaba Loan expiration Futebol Interior MF Rodrigo Possebon 23 Unattached Contract terminated Santos FC MF Rodrigo Mancha 25 Vitória Contract terminated Santos FC DF Domingos 26 Guarani End of contract Terra Esportes DF Bruno Aguiar 26 Sport Transferred Lancenet MF Ibson 28 Flamengo Swapped1 Estadão FW Wason Rentería 26 Caxias Loan Expiration Globo Esporte FW Alan Kardec 23 Benfica Loan Expiration Globo Esporte FW Borges 31 Cruzeiro Contract terminated Globo Esporte MF Elano 31 Grêmio Swapped2 Globo Esporte MF Ganso 22 São Paulo Transferred Globo Esporte
1: Included in David Braz and Rafael Galhardo transfers.
2: Included in Ezequiel Miralles transfer.
Out on loan
[edit]
P Nat. Name Age Loaned to Until Source MF Madson 25 Al-Khor 15 May 2012 Globo Esporte FW Tiago Luís 22 XV de Piracicaba 13 May 2012 Santos FC GK Felipe 24 Náutico End of the season Santos FC DF Pará 25 Grêmio End of the season Santos FC DF Rafael Caldeira 25 Bragantino 30 November 2012 Santos FC FW Tiago Alves 19 Boa Esporte 30 November 2012 MF Breitner 22 Náutico End of the season Globo Esporte DF Vinicius Simon 25 América Mineiro 15 May 2013 Lancenet DF Maranhão 26 Atlético Paranaense End of the season Futebol Interior MF Anderson Carvalho 20 Vissel Kobe End of the season Globo Esporte FW Tiago Luís 23 Bragantino 1 December 2012 Extra FW Dimba 19 Naútico End of the season Globo Esporte
Competitions
[edit]
Overall summary
[edit]
Competition Started round Final
position / round First match Last match Campeonato Brasileiro – 8th 20 May 2012 2 December 2012 Campeonato Paulista First stage Winners 21 January 2012 13 May 2012 Copa Libertadores Group stage Semi-finals 15 February 2012 20 June 2012 Recopa Sudamericana Finals Winners 22 August 2012 26 September 2012
Updated to match played 2 December 2012
Source: Competitions
Detailed overall summary
[edit]
Total Home Away Games played 75 38 37 Games won 36 24 12 Games drawn 20 10 10 Games lost 19 4 15 Biggest win 8–0 v Bolívar 8–0 v Bolívar 4–0 v Cruzeiro Biggest loss 0–3 v Náutico 1–3 v Bahia
1–3 v Portuguesa 0–3 Náutico Clean sheets 27 18 9 Goals scored 133 84 49 Goals conceded 75 32 43 Goal difference +58 +52 +6 Average GF per game 1.77 2.21 1.32 Average GA per game 1 0.84 1.16 Yellow cards 169 78 91 Red cards 5 2 3 Most appearances Durval (63) Durval (37) Arouca (27) Top scorer Neymar (43) Neymar (24) Neymar (19) Worst discipline Juan (12) (2) Adriano (8) Juan (8) (2) Points 128/225 (56.89%) 82/114 (71.93%) 46/111 (41.44%) Winning rate (48%) (63.16%) (32.43%)
Last updated: 1 December 2012
Source: Competitive matches
|}
Recopa Sudamericana
[edit]
Main article: 2012 Recopa Sudamericana
Campeonato Brasileiro
[edit]
League table
[edit]
Pos Team Pld W D L GF GA GD Pts Qualification or relegation 6 Corinthians 38 15 12 11 51 39 +12 57 2013 Copa Libertadores Second Stage[a] 7 Botafogo 38 15 10 13 60 50 +10 55 8 Santos 38 13 14 11 50 44 +6 53 9 Cruzeiro 38 15 7 16 47 51 −4 52 10 Internacional 38 13 13 12 44 40 +4 52
Updated to match(es) played on unknown. Source: UOL.com.br
Rules for classification: 1st points; 2nd wins; 3rd goal difference; 4th goals scored; 5th head-to-head results; 6th least red cards received; 7th least yellow cards received; 8th draw
Notes:
Results summary
[edit]
Overall Home Away Pld W D L GF GA GD Pts W D L GF GA GD W D L GF GA GD 38 13 14 11 50 44 +6 53 8 8 2 32 22 +10 5 6 9 18 22 −4
Last updated: 1 December 2012.
Source: Soccerway
Results by round
[edit]
Updated to match(es) played on 2 December 2012. Source: Futpédia
A = Away; H = Home; W = Win; D = Draw; L = Loss
Matches
[edit]
Bahia v Santos
Santos v Sport
Santos v Fluminense
Flamengo v Santos
Santos v Coritiba
Portuguesa v Santos
Santos v Grêmio
Internacional v Santos
Santos v Botafogo
Vasco v Santos
Náutico v Santos
Santos v Cruzeiro
Figueirense v Santos
Santos v Corinthians
Palmeiras v Santos
Santos v Bahia
Sport v Santos
Fluminense v Santos
Santos v Flamengo
Coritiba v Santos
Santos v Portuguesa
Grêmio v Santos
Santos v Internacional
Botafogo v Santos
Santos v Vasco
Santos v Náutico
Cruzeiro v Santos
Santos v Figueirense
Corinthians v Santos
Santos v Palmeiras
Campeonato Paulista
[edit]
Main article: 2012 Campeonato Paulista
Results summary
[edit]
Overall Home Away Pld W D L GF GA GD Pts W D L GF GA GD W D L GF GA GD 23 16 3 4 58 21 +37 51 10 1 1 35 8 +27 6 2 3 23 13 +10
Last updated: 13 May 2012.
Source: Soccerway
First stage
[edit]
League table
[edit]
Pos Team Pld W D L GF GA GD Pts Qualification or relegation 1 Corinthians 19 14 4 1 28 11 +17 46 Advanced to the Knockout stage 2 São Paulo 19 13 4 2 42 21 +21 43 3 Santos 19 12 3 4 46 18 +28 39 4 Guarani 19 11 3 5 26 18 +8 36 5 Palmeiras 19 10 6 3 37 24 +13 36
Updated to match(es) played on 15 April 2012. Source: Futpédia and UOL Esporte
Rules for classification: 1st points; 2nd goal difference; 3rd number of goals scored; 4th less red cards; 5th less yellow cards ; 6th raffle;
Results by round
[edit]
Updated to match(es) played on 15 April 2012. Source: Futpédia
W = Win; D = Draw; L = Loss
Matches
[edit]
Santos v Ituano
Paulista v Santos
Santos v Oeste
Santos v Palmeiras
Botafogo v Santos
Santos v Linense
Mirassol v Santos
Santos v Comercial
Guarani v Santos
Santos v Corinthians
Santos v Bragantino
Santos v Guaratinguetá
Portuguesa v Santos
Santos v Catanduvense
Knockout stage
[edit]
Quarter-final
[edit]
Semi-final
[edit]
Finals
[edit]
Guarani v Santos
Santos v Guarani
Copa Libertadores
[edit]
Main article: 2012 Copa Libertadores
Group stage
[edit]
Pos Team Pld W D L GF GA GD Pts 1 Santos 6 4 1 1 12 5 +7 13 2 Internacional 6 2 2 2 10 6 +4 8 3 The Strongest 6 2 1 3 5 11 −6 7 4 Juan Aurich 6 2 0 4 4 9 −5 6
Knockout stage
[edit]
Round of 16
[edit]
Quarter-finals
[edit]
Semi-finals
[edit]
Notes
[edit]
References
[edit]
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Maior artilheiro de Moça Bonita, o atacante Luisão bateu um papo com a equipe do Museu da Pelada para relembrar sua trajetória nos gramados!
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Maior artilheiro de Moça Bonita, o atacante Luisão bateu um papo com a equipe do Museu da Pelada para relembrar sua trajetória nos gramados!
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/omuseudapelada/videos/maior-artilheiro-de-mo%C3%A7a-bonita-o-atacante-luis%C3%A3o-bateu-um-papo-com-a-equipe-do-/758430815400511/
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https://www.ranker.com/list/famous-male-football-players/reference%3Fpage%3D6
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Famous Male Football Players
|
https://imgix.ranker.com/list_img_v2/4825/984825/original/famous-male-football-players-u3
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https://imgix.ranker.com/list_img_v2/4825/984825/original/famous-male-football-players-u3
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[] |
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[
""
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[
"Reference"
] |
2013-08-30T00:00:00
|
List of famous male football players, listed by their level of prominence with photos when available. This greatest male football players list contains the ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/famous-male-football-players/reference
|
David Beckham, born on May 2, 1975 in London, England, is a globally recognized figure in the realm of professional football. The son of a kitchen fitter and a hairdresser, Beckham's passion for football was ignited at an early age, leading him to play for several youth teams before he was noticed by Manchester United scouts. His professional journey began when he signed a contract with Manchester United at the age of 16, marking the start of an illustrious career that would span over two decades. Beckham's tenure at Manchester United was characterized by a string of successes. With his exceptional talent and precision, he helped the team secure numerous victories including six Premier League titles and the prestigious UEFA Champions League. In 2003, Beckham made a notable move to Real Madrid, where he continued to establish his prowess on the pitch. After four years with the Spanish team, he made a surprising shift to the American Major League Soccer, joining Los Angeles Galaxy. The move not only catapulted Beckham's fame in the United States but also contributed significantly to the growth of the sport in the country. Beyond his exploits on the field, Beckham has been equally influential off it. He retired from professional football in 2013 but continues to contribute to the sport through various engagements, including owning Inter Miami CF, a Major League Soccer team. Additionally, his marriage to Victoria Adams, a former member of the pop group Spice Girls, and their subsequent family life has attracted substantial media attention, further cementing Beckham's status as a global icon. Additionally, his philanthropic efforts, particularly as a UNICEF Goodwill Ambassador, have earned him widespread admiration and respect.
Antonio Ramiro Romo (born April 21, 1980) is an American football television analyst and retired quarterback who played 14 seasons with the Dallas Cowboys of the National Football League (NFL). He played college football for Eastern Illinois University, where he won the Walter Payton Award in 2002, and led the Panthers to an Ohio Valley Conference championship in 2001. He signed as an undrafted free agent with the Cowboys in 2003. Beginning his career as a holder, Romo became the Cowboys' starting quarterback during the 2006 season. Serving as the team's primary starter from 2006 to 2015, he guided the Cowboys to four postseason appearances and was named to the Pro Bowl four times. Romo retired after the 2016 season, following a preseason back injury that caused him to lose his starting position to Dak Prescott. Upon retiring, he was hired by CBS Sports to become the lead color analyst for their NFL telecasts, teaming with Jim Nantz in the broadcast booth. Romo holds several Cowboys team records, including passing touchdowns, passing yards, most games with at least 300 passing yards, and games with three or more touchdown passes. He also held a higher passer rating in the fourth quarter than any other NFL quarterback from 2006 to 2013. However, Romo's reputation was affected by a lack of postseason success, having won only two of the six playoff games he appeared in and never advancing beyond the divisional round. His 97.1 passer rating is the fourth highest of all time and the highest among quarterbacks not to reach the Super Bowl, as well as the highest among retired players.
Diego Maradona, born on October 30, 1960, in Lanús, Buenos Aires, Argentina, was a football maestro who made an indelible impression on the global sports scene. His journey from the shanty town of Villa Fiorito to becoming one of the most iconic figures in football is nothing short of extraordinary. He was known for his exceptional skill, audacious style, and ability to both create and score goals, earning him accolades worldwide. Maradona shot to prominence after joining the Argentinos Juniors at the tender age of 10. His dazzling performances caught the attention of Boca Juniors, one of Argentina's most prestigious clubs, where he honed his skills before securing a high-profile transfer to Barcelona in Spain. However, it was at Napoli in Italy where Maradona truly etched his name into football folklore. Under his leadership, Napoli won their first-ever Serie A title in 1987 and repeated the feat in 1990, with Maradona being instrumental in both campaigns. Internationally, Maradona's crowning glory came in the 1986 World Cup, where he led Argentina to victory. His infamous Hand of God goal and his brilliant solo effort against England in the quarterfinals are still talked about today. Despite facing numerous challenges, including battles with drug addiction and health issues, Maradona's contributions to football remain unparalleled. He passed away on November 25, 2020, leaving behind a legacy that has inspired generations of footballers.
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By Jovem Pan NewsFacebook
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Jovem Pan News war live.
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://nostalgia381.rssing.com/chan-6192620/all_p14.html
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Soccer Nostalgia
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Old Team Photographs-Part 23e
Photo From: World Soccer, May 1997
(Real Betis squad, 1996/97)
Football Magazine, Issue 215, August 1977
(Brazil squad, Top, left to right:Zé Maria José Maria Rodrigues Alve, Emerson Leão, Luís Edmundo Pereira , Edino Nazareth Filho‘Edinho’, Antonio Carlos ‘Toninho Cerezo’, JoséRodrigues Neto , Bottom, left to right: Gilberto Alves Gil, ’Paulo Isidoro’ de Jesus, Carlos Roberto de Oliveira Roberto Dinamite, Roberto Rivellino, , Paulo César Lima Paulo César Caju, July 10, 1977, World Cup Qualifier, Peru 0-Brazil 1)
Football Magazine, Issue 56, September 1964
(Anderlecht squad, 1964, Top, left to right: Pierre Sinibaldi (Manager), Georges Heylens, Jean-Marie Trappeniers, Jean Plaskie, Lorenzo Verbiest, Jean Cornelis, Pierre Hanon , Bottom, left to right: Jacques Stockmann, Jef Jurion, Paul van Himst, Jorge Cayuela Peiro, Wilfred Puis)
Photo From: Calcio 2000, Issue 31, June 2000
(Napoli squad, 1989/90, Top, left to right:Andrea Carnevalle, Ricardo Alemao, Raffaelle Di Fusco, Giulliano Giulliani, Giovanni Francini, Giancarlo Corradini, , Middle, Left to right : Tebaldo Bigliardi, Massimo Tarantino, Massimo Mauro, Albertino Bigon (Manager), Diego Maradona, Massimo Crippa, Ciro Ferrara, Bottom, left to right: Alessandro Renica, Fernando De Napoli, Antonio Careca, Maurizio Neri, Gianfranco Zola, Luca Fusi, Marco Baroni )
Photo From: World Soccer, September 1979
(Real Madrid squad, 1979/80)
Photo From: World Soccer, September 1973
(Derby County squad, 1973/74, Top, left to right: Jimmy Gordon (Trainer), Peter Taylor (Assistant Manager), Terry Heneessy, David Nish, John Simms, Graham Moseley, Colin Boulton, Ronnie Webster, Peter Daniel, Colin Todd, Brian Clough (manager), Bottom, left to right: Steve Powell, Roger Davies, John McGovern, Archie Gemmill, Roy McFarland, John O’Hare, Alan Hinton, Allan Durban, Kevin Hecotor)
Photo From: World Soccer, September 1970
(Botafogo squad 1970, Top, left to right:Moreira, Cao, Leonidas, Humberto, Ney, Waltencyr , Bottom, left to right: Rogeiro, Paolo Roberto, Roberto, Ferretti, Paulo Cesar)
Photo From: World Soccer, October 1969
(Newcastle United squad, 1969)
Photo From: World Soccer, March 1965
(River Plate squad 1965, Top, left to right: Mario Bonczuk, Jose Varacka, Vladislao Cap, Hugo Gatti, Delgado, Alberto Sainz, Bottom, left to right: Jorge Solari, Roberto Matosas, Juan Laliana, Juan Carlos Samari, Oscar Mas)
Photo From: Onze-Mondial, Issue 124, May 1999
(Olympique Marseille squad, Top, left to right:Laurent Blanc, Stephane Porato, Fabrizio Ravanelli, Peter Luccin, Christophe Dugarry, Edson, Cyril Domoraud, Frederic Brando, Robert Pires, William Gallas, Daniel Bravo , April 20, 1999, UEFA Cup, Bologna 1-Olympique Marseille 1)
Photo From: Onze-Mondial, Issue 113, June 1998
(Kaiserslautern squad, Bundesliga Champions, 1997/98)
Photo From: Onze-Mondial, Issue 100, May 1997
(France squad, Top, left to right:Zinedine Zidane, Lilian Thuram, Laurent Blanc, Marcel Desailly, Christophe Dugarry, Bernard Lama , Bottom, left to right: Ibrahima Ba, Pierre Laigle, Christian Karembeu, Bixente Lizarazu, Patrick Vieira, February 26, 1997, France 2-Holland 1)
Photo From: Onze-Mondial, Issue 86, March 1996
(Bordeaux squad, 1981/82, Top, left to right:Maris Tresor, Dragan Pantelic, Francois Bracci, Rene Girard, Nouredine Kourichi, Jean Fernandez, Bottom, left to right: Antoine Martinez, Gerard Soler, Jean-Christophe Thouvenel, Gernot Rohr, Albert Gemmrich)
Photo From: Onze-Mondial, Issue 52, May 1993
(Tenerife squad, 1992/93)
Photo From: Onze-Mondial, Issue 31, August 1991
(Olympique Marseille squad, summer 1991, Top, left to right: Jean-Phillipe Durand, Pascal Olmeta, Bernard Casoni, Chris Waddle, Carlos Mozer, basile Boli, Bottom, left to right: Jocelyn Angloma, Didier Deschamps, Abedi Pele, Pascal Baills, Jean-Pierre Papin)
Photo From: Onze-Mondial, Issue 12, January 1990
(France Under-21 squad, Top, left to right:Stephane Paille, Bruno Martini, Franck Sauzee, Jean-Luc Dogon, Alain Roche, Eric Lada , Bottom, left to right: Franck Silvestre, Christophe Galtier, Bertrand Reuzeau, Vincent Guerin, Laurent Blanc , October 12, 1988, France 3-Greece 0)
Photo From: Onze-Mondial, Issue 3, April 1989
(Nigeria Under-20 World Cup squad, 1989)
↧
↧
Old Team Photographs-Part 23f
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Denmark squad, Top, left to right: Peter Schmeichel, Michael Laudrup, Jes Høgh, Ole Tobiasen, Michael Schjønberg, Thomas Helveg , Bottom, left to right: Brian Laudrup, Miklos Molnar, Jan Heintze, Per Frandsen, Allan Nielsen , September 10, 1997, World Cup, Denmark 3-Croatia 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Denmark squad, Top, left to right: Soren Busk, Soren Lerby, Michael Laudrup, Preben Elkjaer-Larsen, Ivan Nielsen , Bottom, left to right: John Sivebæk, Jan Heintze, Fleming Povlsen, John Helt, Morten Olsen, Troels Rasmussen, June 11, 1988, European Championships, Spain 3-Denmark 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Denmark squad, Top, left to right:Sten Ziegler, Ole Qvist, Frank Olsen, Ole Højgaard, Klaus Berggreen, Finn Trikker, Jens Jørn Bertelsen, Poul Andersen, Poul Erik Østergaard , Klaus Nørregaard, Ove Flindt Bjerg, August 28, 1979, Nordic Cup, Finland 0-Denmark 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Nottingham Forest squad, 1975/76, Top, left to right:Jimmy Gordon (Coach), Paul Richardson, Ian Bowyer, Liam O’Kane, Dennis Peacock, John Middleton, Bertram Bowery, Martin O’Neill, John Robertson, Jim McIntosh, Brian Clough (Manager) , Bottom, left to right: John McGovern, David Jones, John O’Hare, Barry Butlin, Bob Chapman, George Lyall, Frank Clark, John Cottam)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Chile squad, Top, left to right: Jaime Augusto Pizarro, Javier Margas, Mario Lepe, Miguel Ramírez, Eduardo Vilches, Patricio Toledo , Bottom, left to right: Gabriel Mendoza, Juan Castillo, José Luis Sierra, Marco Antonio Figueroa, Fabián Estay , June 18, 1993, Copa America, Paraguay 1-Chile 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Chile squad, Top, left to right:Arturo Farías, Manuel Alvarez, Sergio Livingstone, Miguel Busquets, Fernando Roldan, Hernan Carvallo, Bottom, left to right:Andrés Prieto, Atilio Cremaschi, Jorge Robledo, Manuel Muñoz, Guillermo Díaz Zambrano, June 29, 1950, World Cup, Spain 2-Chile 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: Cláudio André Mergen ‘Taffarel’, Mauro Geraldo Galvão, ‘Ricardo’ Raimundo Gomes , José Carlos Nepomuceno ‘Mozer’, Jorge de Amorim Campos ‘Jorginho’, Cláudio Ibrahim Vaz Leal‘Branco’, Bottom, left to right:Luís Antônio Corrêa da Costa‘Müller’, Ricardo Rogério de Brito‘Alemão’, Antônio de Oliveira Filho‘Careca’ , Carlos Caetano Bledorn Verri ‘Dunga’, ’Valdo’ Cândido Filho, June 10, 1990, World Cup, Brazil 2-Sweden 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: Valdir de Arruda Peres, José ‘Leandro’ de Souza Ferreira, José ‘Oscar’ Bernardi, Paulo Roberto Falcão, Luiz Carlos Ferreira‘Luizinho’, Leovegildo Lins Gama‘Júnior’, Bottom, left to right:‘Sócrates’Brasileiro Sampaio de Souza Vieira de Oliveira, Antonio Carlos ‘Toninho Cerezo’, Sérgio Bernardino‘Serginho Chualapa’, Artur Antunes Coimbra‘Zico’, ‘Éder’ Aleixo de Assis, June 23, 1982, World Cup, Brazil 4-New Zealand 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right:Zé Maria José Maria Rodrigues Alve, Emerson Leão, Chiquinho Pastor, Wilson da Silva Piazza, ClodoaldoAvares de Santana, Marco AntônioFeliciano, Bottom, left to right:Valdomiro Vaz Franco, Roberto Rivellino, João Leiva Campos Filho Leivinha, Paulo César Lima Paulo César Caju, Edu Jońas Eduardo Américo, May 27, 1973, Brazil 5-Bolivia 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, September 7, 1965, Brazil 3-Uruguay 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: Newton De Sordi, José Eli de Miranda Zito, Hideraldo Luis Bellini , NíltonReis dos Santos, , Orlando Peçanha de Carvalho , Gilmar dos Snatos Neves, Bottom, left to right: Manoel dos Santos Garrincha,Waldir Pereira‘Didi’, José João Altafini Mazzola, Edson Arantes do Nascimento ‘Pelé’, Mario Jorge Lobo Zagallo, June 19, 1958, World Cup, Brazil 1-Wales 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right: Ricardo Omar Giusti, José Tiburcio Serrizuela, Sergio Javier Goycochea, Oscar Alfredo Ruggeri, Juan-Ernesto Simon, Diego Armando Maradona , Bottom, left to right: Jorge Luis Burruchaga, Claudio Paul Caniggia, José Horacio Basualdo, Julio Jorge Olarticoechea, Gabriel Humberto Calderón, , July 3, 1990, World Cup, Italy 1-Argentina 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right:Daniel Alberto Passarella, Jorge Mario Olguín, Luis Adolfo Galván, Mario Alberto Kempes, Alberto César Tarantini, Ubaldo Matildo Fillol, Bottom, left to right: Américo Rubén Gallego, Osvaldo Cesar Ardiles, Ramon Angel Diaz, Diego Armando Maradona, Daniel Ricardo Bertoni, June 29, 1982, World Cup, Italy 2-Argentina 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right:Daniel Alberto Passarella, Daniel Ricardo Bertoni, Jorge Mario Olguín, Hugo Eduardo Villaverde, Alberto Cesar Tarantini, Ubaldo Matildo Fillol , Bottom, left to right: Américo Ruben Gallego, Osvaldo Cesar Ardiles,Leoplodo Jacinto Luque, Diego Armando Maradona, Óscar Alberto Ortiz , May 22, 1979, FIFA 75th Anniversary, Holland 0-Argentina 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad on its European Tour of 1973, Top, left to right: Daniel Alberto Carnevali, Carlos Alfredo Guerini, Miguel Angel Brindisi, René Orlando Houseman, Ramón Armando Heredia, Heriberto Luis Correa, Ubaldo Matildo Fillol, Jorge Luis Ghiso, Vicente Ruben Pernia, Sanchez , Bottom, left to right: Roberto Marcelo Telch, Carlos Alberto Babington, Roque Alberto Avallay, Enrique Salvador Chazarreta, Ramón Héctor Ponce, Norberto Osvaldo Alonso, Enrique Ernesto Wolff, Rubén Hugo Ayala, Esposito, Rial)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, June 24, 1923, Argentina 1-Third Larnak (Scotland) 1)
↧
Old Team Photographs-Part 23g
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Germany squad, Top, left to right:Dieter Eilts, Christian Ziege, Oliver Bierhoff, Mario Basler, Jürgen Kohler, Matthias Sammer, Stefan Reuter, Bottom, left to right:Jürgen Klinsmann, Steffen Freund, Thomas Häßler, Andreas Köpke, April 24, 1996 , Holland 0- Germany 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(West Germany squad, Top, left to right: Karl-Heinz Rummenigge, Harald Anton ‘Toni’ Schumacher, Manfred Kaltz, Hans-Peter Briegel, Ronald Borchers, Paul Breitner, Wolfgang Dremmler, Klaus Fischer,Bernd Förster, Ulrich Stielike, Felix Wolfgang Magath, September 23, 1981, World Cup Qualifier, West Germany 7-Finland 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(West Germany squad, Top, left to right:Franz Beckenbauer, Josef ‘Sepp’ Maier, Georg Schwarzenbeck, Josef ‘Jupp’Heynckes, Bernd Hölzenbein, Herbert Wimmer, Bernhard Dietz, Dietmar Danner, Erich Beer, Ulrich Stielike, Hans-Hubert ‘Berti’ Vogts, November 19, 1975, EC Qualifier, West Germany 1-Bulgaria 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(West Germany squad, Top, left to right: Uwe Seeler, Hans Tilkowski, Karl-Heinz Schnellinger, Friedel Lutz, Lothar Ulsass, Horst Szymaniak, Wolfgang Weber, Horst-Dieter Höttges, Jurgen Grabowski, Wolfgang Overath, Heinz Hornig , June 1, 1966, West Germany 1-Romania 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Portugal squad, Top, left to right: Pedro Manuel Regateiro Venancio, VitorManuel Martins Baia, José Martins Leal, PauloJorge dos Santos Futre, Jose Rui Lopes Aguas, João Domingos Silva Pinto , Bottom, left to right:PauloManuel Carvalho Sousa, Vitor Manuel da Costa Araujo ‘Paneira’, Antonio August da Silva Veloso, Rui Gil Soares de Barros, Oceano Andrade da Cruz, January 23, 1991, EC Qualifier, Greece 3-Portugal 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Portugal squad, November 23, 1947, Portugal 2-France 4)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Peru squad, June 18, 1978, World Cup, Poland 1-Peru 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Italy squad, Top, left to right:Paolo Maldini, Carlo Ancelotti, Riccardo Ferri, Gianluca Pagliuca, Nicola Berti, Stefano Eranio, Bottom, left to right:Alessandro Costacurta, Francesco Baiano, Franco Baresi, Gianluca Vialli, Gianfranco Zola, November 13, 1991, EC Qualifier, Italy 1-Norway 1, Arrigo Sacchi‘s first match in charge of Italy)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Italy squad, Top, left to right: Salvatore Bagni, Antonio Di Gennaro, Giovanni Galli, Giuseppe Bergomi, Alessandro Altobelli, Gaetano Scirea, Bottom, left to right:Pietro Vierchowod, Bruno Conti, Bruno Giordano, Marco Tardelli, Antonio Cabrini, September 25, 1985, Italy 1-Norway 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Italy squad, Top, left to right:Romeo Benetti, Dino Zoff, Giancarlo Antognoni, Mauro Bellugi, Claudio Gentile, Franco Causio, Bottom, left to right: Fabio Capello, Giacinto Facchetti, Paolino Pulici, Giuseppe Savoldi, Francesco Rocca, November 22, 1975, EC Qualifier, Italy 1-Holland 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Italy squad, Top, left to right:Sandro Salvadore, Enrico Albertosi, Giorgio Puia, Tarcisio Burgnich, Giacinto Facchetti, Luigi Riva, Bottom, left to right:Gianni Rivera, Pietro Anastasi, Giancarlo De Sisti, Mario Bertini, Angelo Domenghini, November 4, 1969, World Cup Qualifier, Italy 4-Wales 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Northern Ireland squad, Top, left to right: Alan McDonald, Malachy Martin Donaghy, Patrick Anthony Jennings, Colin John Clarke, John Patrick O'Neill, Norman Whiteside , Bottom, left to right:David McCreery, Stephen Alexander Penney, Nigel Worthington, Samuel Baxter McIlroy , James Michael Nicholl , June 7, 1986, World Cup, Spain 2-Northern Ireland 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Holland squad, Top, left to right: Edwin van der Sar, Clarence Clyde Seedorf, Franciscus ‘Frank’ de Boer, Jakob ‘Jaap’ Stam, Dennis Nicolaas Maria Bergkamp, Ronaldus ‘Ronald’ de Boer , Bottom, left to right: Arthur Johannes Numan, Michael John Reiziger, Wilhelmus Maria ‘Wim’ Jonk, Phillip John William Cocu, Patrick Steven Kluivert, February 26, 1997, France 2-Holland 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Holland squad, Top, left to right:Ronald Spelbos, Franklin Edmundo ‘Frank’ Rijkaard, René van der Gijp, Marcel ‘Marco’ van Basten, Rudi Dil ‘Ruud’ Gullit, Johannes Franciscus ‘Hans’ van Breukelen, Bottom, left to right: Johannes Nicolaas ‘John’ van't Schip, Jan Jacobus Wouters,Ronald Koeman, Jan Jacobus ‘Sonny’ Silooy, Arnoldus Johannes Hyacinthus ‘Arnold’ Mühren, March 25, 1987, EC Qualfiier, Holland 1-Greece 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Holland squad, Top, left to right: Arie de Vroet (Assiatant coach), Willem Petrus ‘Pim’ Doesburg, Hugo Harmanus Hovenkamp, Joris Gerardus Maria ‘Jos’ Jonker, Ronald Spelbos, Johannes Antonius Bernardus ‘John’ Metgod, Franciscus Johannes ‘Frans’ Thijssen, Rob Baan (Interim Manager), Bottom, left to right:Petrus Wilhelmus ‘Peter’ Arntz, Romeo Eugene Zondervan, Cornelis Wilhelmus ‘Kees’ Schapendonk, Cornelis Thomas Henri Maria ‘Pier’ Tol, Johannes Wilhelmus ‘Jan’ Peters , February 22, 1981, World Cup Qualfiier, Holland 3-Cyprus 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Nantes squad, 1978/79, Top, left to right: Jean-Paul Bertrand-Demanes, Michel Rio, Mazime Bossis, Enzo Trossero, Thierry Tusseau, Henri Michel , Bottom, left to right: Oscar Muller, Eric Pecout, Victor Trossero, Gilles Rampillon, Loic Amisse)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(France squad, Top, left to right:Jean-Pierre Adams , Marius Tresor, Dominique Baratelli, Dario Grava, Roger Jouve,Pierre Repellini, Bottom, left to right:Charly Loubet, Henri Michel, Marc Molitor, Serge Chiesa, Georges Bereta, October 13, 1973, West Germany 2-France 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(France squad, Top, left to right:Pierre Michelin, Marcel Artelesa, René Ferrier, Pierre Bernard, André Chorda, Bruno Rodzik, Bottom, left to right: Georges Lech, Robert Herbin, Yvon Goujon, Yvon Douis, Jean-Louis Buron , October 26, 1963, EC Qualifier, France 3-Bulgaria 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Real Madrid squad, 1962)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Barcelona squad, Top, left to right: Pedro Artola, Jesus de La Cruz, Johann Neeskens, Rafael Zuviria, Antonio Olmo, Migueli Bernardo, Bottom, left to right: Esteban Vigo, Juan Carlos Heredia, Hansi Krankl, Juan Manuel Asensi, Francisco Martinez , March 7, 1979, Cup Winners Cup, Ipswich Town 2-Barcelona 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Atletico Madrid squad, 1992/93)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(England squad, Top, left to right: Gary Andrew Pallister, Paul Emerson Carlyle Ince , Desmond Sinclair Walker, Timothy David Flowers, Lee Stuart Sharpe , Bottom, left to right: Earl Delisser Barrett, Nigel Howard Clough, Ian Edward Wright, Anthony Robert Dorigo, David Batty, Andrew Sinton , June 13, 1993,US Cup, England 1-Brazil 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(England squad, Top, left to right:Vivian Alexander Anderson, Raymond Colin Wilkins, Graham Paul Roberts, Trevor John Francis, Peter Leslie Shilton, Terence Ian Butcher, Bottom, left to right: Bryan Robson, Samuel Lee, Alan Phillip Kennedy, Anthony Stewart Woodcock, Graeme Rix , April 4, 1984, Home Championship, England 1-Northern Ireland 0)
↧
Old Team Photographs-Part 23h
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Commonwealth of Independent States (ex-USSR) squad, Top, left to right: Stanislav Salamovich Cherchesov, Andrei Alekseyevich Chernishov, Oleg Vladimirovich Kuznetsov, Sergei Yevgenyevich Aleinikov, Kahaber Dzhumberovich Tshadadze, Alexei Aleksandrovich Mikhailichenko, Bottom, left to right: Igor Vladimirovich Kolyvanov, Igor Mikhaylovich Shalimov, Sergei Vyacheslavovich Kiriakov, Dimitri Viktorovich Kuznetsov, Dimitri Aleksandrovich Galyamin, March 24, 1992, Schalke (Germany) 0-CIS 3)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(USSR squad, Top, left to right: Rinat Fayzrahmanovich Dassayev, Pavel Aleksandrovich Yakovenko, Oleg Vladimirovich Kuznetsov,Anatoli Vassilievich Demianenko, Gennadi Vladimirovich Litovchenko, Sergey Pavlovich Baltacha , Bottom, left to right:Alexander Anatolyevich Zavarov,Viktor Vassilievich Pasulko, Vasili Karlovich Rats, Tengiz Grigoriyevich Sulakvelidze, Oleg Valeriyevich Protasov, April 2, 1988, Berlin Easter Tournament, USSR 0-Sweden 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(USSR squad, Top, left to right:Igor Aleksandrovich Netto, Lev Ivanovich Yashin, Georgy Ili’ch Ryabov, Viktor Vladimirovich Ponedelnik, Valentin Koz’mich Ivanov, Viktor Grigorievich Tsarev , Anatoly Fedorovich Krutikov, Vladimir Petrovich Kesarev, Valery Ivanovich Korolenkov, Mikhail Shalvovich Meshi, Igor Leonidovich Chislenko, May 22, 1963, USSR 0-Sweden 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(USSR squad, Top, left to right:Igor Aleksandrovich Netto, Lev Ivanovich Yashin, AnatolyVasilyevich Bashashkin, Eduard Anatolyevich Streltsov, Sergey Sergeevich Salnikov, Aleksey Aleksandrovich Paramonov, Mikhail Pavlovich Ogonikov, Valentin Koz’mich Ivanov, Anatoly Mihaylovich llyin, Nikolay Ivanovich Tischenko, Boris Georgievich Tatushin , September 23, 1956, USSR 0-Hungary 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Uruguay squad, Top, left to right:Claudio Sebastián FloresBanega, Gonzalo De Los SantosDa Rosa, Marcelo Danubio Zalayeta, Luis Diego LópezBreijo, Ronald Paolo MonteroIglesias, Gustavo Emilio Méndez Techera, Bottom, left to right:Líber Ernesto VespaLagarralde, Andrés Nicolás Olivera, EdgardoAlberto Adinolfi Duarte, Pablo Gabriel García Pérez, Alvaro Alexander RecobaRivero, December 13, 1997, Confederations Cup, United Arab Emirates 0-Uruguay 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Uruguay squad, May 25, 1985, Japan 1-Uruguay 4)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Uruguay World Cup squad 1974)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Uruguay squad, Top, left to right:Omar Caetano, Florencio Horacio Troche, Ladislao Mazurkiewicz, Néstor Gonçálvez, Luis Ignacio Ubiña, Jorge Manicera, Juan Lopez (Manager), Bottom, left to right:Julio César Cortés, Héctor Salvá, Héctor Jesús Silva, Pedro Virgilio Rocha, Domingo Salvador Pérez, July 23, 1966, World Cup, West Germany 4-Uruguay 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Uruguay squad, June 16, 1954, World Cup, Uruguay 2-Czechoslovakia 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Uruguay squad, July 21, 1930, World Cup , Uruguay 4-Romania 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Sweden squad, Top, left to right: Tomas Brolin, Patrik Andersson, Stefan Landberg, Roger Ljung, Klas Ingesson, Thomas Ravelli , Bottom, left to right:Pär Zetterberg, Roland Nilsson, Martin Dahlin, Jan Eriksson, Jonas Thern , August 22, 1993, World Cup Qualifier, Sweden 1-France 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Sweden squad, Top, left to right: Johnny Ekström, Roger Ljung, Mats Magnusson, Glenn Strömberg, Robert Prytz, Peter Lönn , Bottom, left to right:Roland Nilsson, Mats Gren, Glenn Hysén, Joakim Nilsson, Lars Eriksson , June 14, 1989, DBU Anniversary, Denmark 6-Sweden 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Sweden squad, June 8, 1958, World Cup, Sweden 3-Mexico 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Spain squad, Top, left to right: Andoni ‘Zubizarreta’ Urreta, Fernando ‘Giner’ Gil, Miguel Angel ‘Nadal’ Homar , Fernando Ruiz Hierro, Julio ‘Salinas’ Fernandez, Rafael ‘Alkorta’ Martinez , Bottom, left to right:Francisco Jose Camarasa, Jose Maria ‘Bakero’ Escudero, Juan Antonio ‘Goicoechea’ Lasa, Albert ‘Ferrer’ Llopis, ‘Luis Enrique’ Martinez Garcia, November 17, 1993, World Cup Qualifier, Spain 1-Denmark 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Spain squad, Top, left to right:Luis Maria ‘Arconada’ Echarri, Andoni ‘Goikoetxea’ Olaskoaga, Antonio ‘Maceda’ Frances, Jose Ramon ‘Nimo’ Maldonado, Rafael ‘Gordillo’ Vazquez, Jose Antonio ‘Camacho’ Alfaro , Bottom, left to right: Francisco Javier ‘Carrasco’ Hidalgo, Carlos ‘Santillana’ Alonso Gonzalez, Juan Antonio ‘Senor’ Gomez, Francisco ‘Guerri’ Ballarin, ‘Marcos’ Alonso Pena, October 15, 1983, France 1-Spain 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Spain squad, Top, left to right: Juan Cruz SolOria, Gregorio de Benito Rubio, Miguel AngelGonzález Suárez, Jesus Martinez Sanchez ‘Pirri’, JoséAntonio ‘Camacho’ Alfaro, Miguel ‘Migueli’ Bernardo Bianqueti, Bottom, left to right:Enrique ‘Quini’ Castro Gonzalez, Angel Maria VillarLlona, Carlos ‘Santillana’ Alonso Gonzalez, Vicente ‘Del Bosque’ Gonzalez , José Francisco ‘Chechu Rojo’,November 16, 1975, EC Qualifier, Romania 2-Spain 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Spain squad, Top, left to right: Salvador Sadurni Urpi, Antonio Torres Garcia, Alfonso Moreno Antonio Tonono , Silvestre Graells Eladio, Jesus Martinez Sanchez ‘Pirri’, Pedro Mario Zabalza, Bottom, left to right: José Claramunt Torres, Amaro Varela Amancio , José Eulogio GarateOrmaechea, German Devora Ceballos, Ramon Moreno Grosso, November 12, 1968, Spain 1-Belgium 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Spain squad, Top, left to right: Antonio Ramallets Simon, Juan Carlos Diaz Quincoces II, Jesus Garay Vecino, Joan SegarraIracheta, Juan Santisteban Troyano, José Maria Zarraga Martin, Bottom, left to right:Miguel Gonzalez Perez, Ladislao Kubala Stecz, Alfredo Di Stefano, Hector Rial Laguia, Francisco Gento Lopez, October 6, 1957, Spain 3-Turkey 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Scotland squad, Top, left to right: Maurice Daniel Robert Malpas, Craig William Levein, James Leighton, David McPherson, Alexander McLeish, Bottom, left to right:Andrew Stuart Murray 'Stuart' McCall, Robert Sime ‘Roy’ Aitken, Gordon Scott Durie, Murdo Davidson MacLeod , Maurice Johnston, Robert William Fleck, , June 16, 1990, World Cup, Scotland 2-Sweden 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Scotland squad, Top, left to right: William Fergus Miller, David Alexander Provan, Arthur Graham, Joseph Jordan, Gordon McQueen, Kenneth H.Burns, David Narey, Raymond Strean McDonald Stewart, Francis Tierney Gray, Alan Roderick Rough, Richard ‘Asa’ Hartford,May 16, 1981, Home Championship, Wales 2-Scotland 0)
↧
Memorable European Confrontations, Part 16-1984 Real Madrid vs. Anderlecht
Real Madrid and Anderlecht were paired in the Third Round of the 1984/85 UEFA Cup.
The Spanish Real Madrid, managed by Amaro Amancio, boasted such Spanish stars like Camacho, Gallego, Santillana, as well as foreign stars such as West Germany’s Uli Stielieke, and new Argentine signing Jorge Valdano.
More importantly a new group of youngsters from the Castilla nursery soon to be known as ‘El Quinta del Buitre’ were now part of the first team.
These included Emilio Butragueno (‘El Buitre’), as well as Michel , Sanchis and Rafael Martin Vazquez.
They had qualified with some difficulty from their opening two Rounds. While SSW Innsbruck was eliminated with ease, the Yugoslavians of Rijeka had been a tougher test, and after losing (1-3) away, Madrid had overcome the deficit at home (3-0).
They were lagging behind in the League to Barcelona and in general were having one of their worst domestic seasons in nearly a decade.
On the other hand, The Belgians of Anderlecht, winners in 1983 and finalists the previous season of this competition were riding high domestically and in Europe.
They were still unbeaten in League play and were well on their way to reclaim their League crown last won in 1981.
The Manager was former star Paul van Himst, who would go on to manage the National team.
The team was spearheaded by led by skipper Frank Vercauteren and new 18-year-old star Enzo Scifo.
The Belgian contingent included Internationals such as Erwin vandenbergh, Rene vandereycken, Alex Czerniatinski and George Grun.
The foreigners on their books were Danish stars such as Morten Olsen and Frank Arnesen and Yugoslav defender Luka Peruzovic.
They had been impressive in the competition up to that point; having eliminated West Germany’s Werder Bremen and had hammered Italy’s Fiorentina (1-1 away and 6-2 at home).
The first leg, on November 28th, was played in Brussels’ Parc Astrid Stadium.
Anderlecht were in more confident mood and Real Madrid played their usual poor away game.
Anderlecht were missing the experienced midfielder Rene vandereycken, otherwise were in full strength.
Amancio had deprived his team of the attacking talents of the experienced Juanito (suspended by Real Madrid themselves) as well as former Anderlecht star Juan Lozano.
Frimann’s entry in the second half enabled Vercauteren to have more control of the match and within minutes the goals came.
Photo From: France Football, Issue 2017, December 4, 1984
(Michel, Camacho and Alex Czerniatisnki)
After constant pressure, Anderlecht finally scored in the 66th minute by vandenbergh and the floodgates were opened. Per Frimann after a one-two with Scifo at the center sent vandenbergh through and he beat Miguel Angel with a low shot.
Just two minutes after a quick counter attack, the ball reached Vercauteren on the left side side touchline who sent in a cross in the goalmouth for Alex Czerniatisnki to head home.
Czerniatinski was immediately booked for over celebration.
Photo From: France Football, Issue 2017, December 4, 1984
(Anderlecht’s Enzo Scifo)
Frank Vercauteren rounded out the scoring in the 85th minute from the spot after a penalty kick was awarded when Chendo brought down Alex Czerniatisnki.
Photo From: France Football, Issue 2017, December 4, 1984
(Anderlecht’s Erwin vandenbergh)
Vercauteren, whose father had passed away a few days before the match, became the Belgian record holder of European matches by playing his 59th match surpassing his current Manager van Himst.
Photo From: France Football, Issue 2017, December 4, 1984
(Per Frimann with Sanchis and Gallego looking on)
Given the general shape of the shape and the respective teams’ domestic form, the tie at this point seemed like a foregone conclusion.
Photo From: France Football, Issue 2017, December 4, 1984
(Real Madrid’s Uli Stielieke)
November 28, 1984
Royal Sporting Club Anderlecht (Belgium) 3-Real Madrid Club de Fútbol (Spain) 0
UEFA Cup- Third Round, First Leg
Venue: Brussels-Parc Astrid
Attendance: 41,000
Referee: Volker Roth (West Germany)
Goalscorers: (Anderlecht): Erwin vandenbergh 66, Alex Czerniatisnki 68-Frank Vercauteren 85pen
(Real Madrid): None
Lineups:
Anderlecht:
1-Jacques Munaron, 3-Georges Grun, 10-Morten Olsen (Denmark), 2-Luka Peruzovic (Yugoslavia), 5-Michel De Groote, 7-Frank Arnesen (Denmark) (15-Per Frimann (Denmark) 59th), 4-Enzo Scifo, 8-Wim Hofkens (Holland) (14-Walter De Greef 78th), 6-Frank Vercauteren, 9-Erwin vandenbergh, 11-Alex Czerniatisnki
Coach: Paul van Himst
Booked: Alex Czerniatisnki 68th
Team Captain: Frank Vercauteren
Official Kit Supplier/Designer: Adidas
Shirt Sponsor: Generale Bank
Uniform Colors: White Shirts, White Shorts, White Socks
Real Madrid:
1-Miguel Angel, 2-Miguel Chendo, 5-Fraile, 4-Uli Stielieke (West Germany), 3-Jose Antonio Camacho, 10-Michel, 6-Ricardo Gallego, 7-Manuel Sanchis, 8-Rafael Martin Vazquez (14-San Jose 46th), 11-Jorge Valdano (Argentina) (16-Emilio Butragueno 75th), 9-Carlos Santillana
Coach: Amaro Amancio
Booked: Miguel Chendo 27th, Fraile 54th, Michel 89th
Team Captain: Carlos Santillana
Official Kit Supplier/Designer: Adidas
Shirt Sponsor: Zanussi
Uniform Colors: Purple Shirts, Purple Shorts, Purple Socks
The second leg, on December 7th, was played at Madrid’s Estadio Santiago Bernabeu.
Real Madrid started with former Anderlecht star Juan Lozano and Emilio Butragueno starting upfront, with San Jose replacing Chendo in defense.
Anderlecht sacrificed one striker (vandenbergh) to bring in an extra midfielder (Per Frimann) and had only Czerniatisnki upfront and still missing Rene vandereycken.
Anderlecht believed they had all but qualified and their overconfidence was their undoing as Real Madrid achieved one of its most European comebacks that it would become known for in the coming years.
Real Madrid scored their six goals in the first 50 minutes as they attacked relentlessly and without mercy.
Enzo Scifo admitted afterwards that they had it so easy in the League and in Europe from the beginning of the season that they believed they just needed to show up to qualify.
An anonymous Real Madrid player later said that the Spaniards had expected to meet a team that would defend every portion of the field instead they met a team that behaved like sheep.
Morten Olsen later remarked that they should have marked Juan Lozano out of the game instead they allowed him total freedom.
Real opened the scoring in the third minute when a free kick from the right by Lozano from the left was headed in by Sanchis.
For the second goal in the 16th minute, Emilio Butragueno headed in a cross from Valdano from the right side.
For the third goal in the 29th minute, Gallego sent Emilio Butragueno clear on the right side who immediately passed across for Valdano to stab home in an empty net.
Anderlecht pulled a goal back in the 34th minute, when Frimann scored after a scramble in the goalmouth.
For Real’s fourth goal in the 39th minute was similar to their third goal, with Gallego sending Butragueno clear on the right and he crossed for Valdano to score.
For Real’s fifth in the 47th minute, Camacho crossed from the left that was pushed back by the Anderlecht defense into the path of Butragueno who scored.
For the final goal in the 50th minute, a cross from the left reached Butragueno who after a scramble scored.
Real Madrid qualified and went on to win the UEFA Cup in May by defeating Hungary’s Videoton.
Anderlecht did go on and win their League title.
December 7, 1984
Real Madrid Club de Fútbol (Spain) 6-Royal Sporting Club Anderlecht (Belgium) 1
UEFA Cup- Third Round, Second Leg
Venue: Madrid-Estadio Santiago Bernabeu
Attendance: 85,000
Referee: Michel Vautrot (France)
Goalscorers: (Real Madrid): Manuel Sanchis 3, Emilio Butragueno 16,47,50, Jorge Valdano 29, 39
(Anderlecht): Per Frimann 34
Lineups:
Real Madrid:
1-Miguel Angel, 5-San Jose, 4-Uli Stielieke (West Germany), 3-Jose Antonio Camacho, 2-Michel (14-Jose Salguero 55th), 6-Ricardo Gallego, 7-Manuel Sanchis, 10-Juan Lozano (15-Rafael Martin Vazquez 73rd), 11-Jorge Valdano (Argentina), 8-Emilio Butragueno, 9-Carlos Santillana
Coach: Amaro Amancio
Booked: Michel 5th, Juan Lozano 7th
Team Captain: Carlos Santillana
Official Kit Supplier/Designer: Adidas
Shirt Sponsor: Zanussi
Uniform Colors: White Shirts, White Shorts, White Socks
Anderlecht:
1-Jacques Munaron, 3-Georges Grun, 10-Morten Olsen (Denmark), 2-Luka Peruzovic (Yugoslavia), 5-Michel De Groote (15-Arnor Gudjohnsen 53rd), 8-Wim Hofkens (Holland) (13-Henrik Andersen (Denmark) 83rd), 9-Frank Arnesen (Denmark), 7-Per Frimann (Denmark) , 4-Enzo Scifo, 6-Frank Vercauteren, 11-Alex Czerniatisnki
Coach: Paul van Himst
Booked: Alex Czerniatisnki 68th
Team Captain: Frank Vercauteren
Official Kit Supplier/Designer: Adidas
Shirt Sponsor: Generale Bank
Uniform Colors: Purple Shirts, Purple Shorts, Purple Socks
↧
↧
Interviews-Part 32
Two interviews and four profiles on French striker Just Fontaine
(Magazine / Language : World Soccer, November 1960 / English By Jean Dupray)
(Magazine / Language : World Soccer, January 1961 / English By Stratton Smith)
(Magazine / Language : Mondial, New series, Issue 14, May 1981/ French By Bernard Promet)
(Magazine / Language : France Football, Issue 2554, March 21, 1995 / French By Denis Chaumier and Jean-Marie Lorant)
(Magazine / Language : World Soccer, July 1998 / English By Keir Radnedge)
(Magazine / Language : Calcio 2000, Issue 19, May 1999 / Italian)
Photo From : Le Livre d'or du Football 1992
(Just Fontaine with Reims)
Just Fontaine Interviews/Profiles
Three interviews and one profile of Brazil’s Paulo Cesar
(Magazine / Language : World Soccer, November 1974 / English)
(Magazine / Language : Voetbal International Goal, April 14-19, 1976 / Dutch By John Linse)
(Magazine / Language : Mondial, Old Series, Issue 2, March 1977 / French)
(Magazine / Language : Mondial, Old Series, Issue 7, August 1977 / French)
Photo From : Mondial, Old Series, Issue 2, March 1977
(Paulo Cesar on the left with Mustapha Dahleb at Paris St Germain, 1976/77)
Paulo Cesar Interviews/Profiles
Four interviews with Spain and Real Madrid defender Jose Antonio Camacho
(Magazine / Language : France Football, Issue 1718, March 13, 1979 / French By Gerard Ejnes)
(Magazine / Language : France Football, Issue 1870, February 9, 1982 / French By Xavier de Pinedo)
(Magazine / Language : France Football, Issue 1914, December 14, 1982 / French By Francois de Montvalon)
(Magazine / Language : France Football, Issue 2325, October 30, 1990 / French By Paco Aguilar)
Photo From : France Football, Issue 1870, February 9, 1982
(Spain’s Jose Antonio Camacho)
Eight interviews and five profiles on Ghana’s Abedi Pele
(Magazine / Language : France Football, Issue 2125, December 30, 1986 / French By Pierre Menes)
(Magazine / Language : France Football, Issue 2133, February 24, 1987 / French By Pierre Menes)
(Magazine / Language : Mondial, new series, Issue 88, July 1987 / French By Hedi Hamel)
(Magazine / Language : France Football, Issue 2171, November 17, 1987 / French By Pierre Menes)
(Magazine / Language : Onze-Mondial, Issue 11, December 1989 / French By John Evans)
(Magazine / Language : France Football, Issue 2289, February 20, 1990 / French By Patrick Lafayette)
(Magazine / Language : France Football, Issue 2297, April 17, 1990 / French By Herve Galand)
(Magazine / Language : France Football, Issue 2344, March 12, 1991 / French By Jean-Marie Lorant)
(Magazine / Language : Onze-Mondial, Issue 30, July 1991 / French By Frederic Hamelin)
(Magazine / Language : World Soccer, August 1991 / English By Bob Pateman)
(Magazine / Language : France Football, Issue 2390, January 28, 1992 / French By Patrick Lafayette)
(Magazine / Language : World Soccer, August 1997 / English By Mark Gleeson)
Photo From : Onze-Mondial, Issue 30, July 1991
(Abedi Pele , April 10, 1991, Champions Cup, Spartak Moscow 1-Olympique Marseille 3)
↧
Player Profiles-Part 29
Five profiles and one Interview on 1950s and 60s French legend Raymond Kopa
(Magazine / Language : Football Magazine, Issue 12, January 1961 / French By Jacques Boisleme / Jacques Ferran)
(Magazine / Language : World Soccer, October 1967 / English By Roger Mc Donald)
(Magazine / Language : Onze, Issue 50, January 1980 / French By Dominique Grimault)
(Magazine / Language : World Soccer, December 1982 / English By Eric Batty )
(Magazine / Language : Calcio 2000, Issue 21, July 1999 / Italian By Carlo F. Chiesa)
(Magazine / Language : L’Equipe Magazine, July 8, 2000 / French By Marcel Gillot )
Photo From: Les Bleus,le livre Officiel de L'equipe de France, Author Dominique Grimault
(Raymond Kopa)
Four profiles and one Interview with Argentinean defender Alberto Tarantini
(Magazine / Language : World Soccer, November 1978 / English By Keir Radnedge)
(Magazine / Language : Onze, Issue 37, January 1979 / French)
(Magazine / Language : France Football, Issue 1963, November 22, 1983 / French by Gerard Ejnes)
(Magazine / Language : France Football, Issue 1966 , December 13, 1983 / French by Gerard Ejnes)
(Magazine / Language : France Football, Issue 1972, January 24, 1984 / French By Pierre-Marie Descamps)
(Magazine / Language : France Football, Issue 2013, November 6, 1984 / French by Gerard Ejnes)
Photo From: El Grafico 1982- (El Grafico Number 3263)
(Alberto Tarantini)
Six Profiles on SV Hamburg and West German striker Horst Hrubesch
(Magazine / Language : Mondial, New series, issue 4, July 1980 / French )
(Magazine / Language : France Football, Issue 1809, December 9, 1980 / French By Rainer Kalb)
(Magazine / Language : Mondial, New series, Issue 9, December 1980 / French)
(Magazine / Language : Onze, Issue 60, December 1980 / French By Jean-Michel Larque )
(Magazine / Language : Fussball Magazin, March April 1982 / German By Wolfgang Weggen)
(Magazine / Language : Foot Magazine, May 1983 / French By Christian Marteleur )
Photo From: Onze, Issue 60, December 1980
(Horts Hrubesch, November 19, 1980, West Germany 4-France 1)
Four profiles on England defender Des Walker
(Magazine / Language : World Soccer, May 1990 / English By Trevor Brooking)
(Magazine / Language : Inside Football, 1990 / English)
(Magazine / Language : World Soccer, May 1992 / English By Rino Landa)
(Magazine / Language : France Football, Issue 2406, May 19, 1992 / French By Stephane Saint-Raymond)
Photo From: Inside Football, 1990
(Des Walker with Nottingham Forest, 1989/90)
Walker Profiles
↧
Articles on Teams and Events-Part 29
An Article about ‘Footballers in Prison’
(Magazine / Language : Goal, Issue 2, November 1995 / English)
Photo From: Goal, Issue 2, November 1995
(George Best, onbe of the most famous players to have had run-ins with the law)
Five articles about the Mundialito Tournament held in Uruguay in December 1980-January 1981
(Magazine / Language : France Football, Issue 1813, January 6, 1981 / French)
(Magazine / Language : World Soccer, February 1981 / English By Eric Weil)
(Magazine / Language : Onze, Issue 62, February 1981 / French By Francois-Rene Simon)
(Magazine / Language : Mondial, New series, issue 11, February 1981 / French)
(Magazine / Language : El Grafico No. 3196, January 1981 / Spanish by Carlos Ferrerira)
(Magazine / Language : World Soccer, March 1981 / English By Eric Weil, Arthur Rotmil )
Photo From: Mondial, New series, issue 11, February 1981
(Claudio Gentile and Victorino, January 3, 1981, Mundialito, Uruguay 2-Italy 0)
Photo From: Mondial, New series, issue 11, February 1981
(Americo Gallego and Karl-Heinz Rummenigge, January 1, 1981, Mundialito, Argentina 2-West Germany 1)
Photo From: Mondial, New series, issue 11, February 1981
(Socrates and Americo Gallego, January 4, 1981, Mundialito, Argentina 1-Brazil 1)
Four articles about advertising and commercial endorsements in soccer
(Magazine / Language : Mondial, new series, issue 35, February 1983 / French By Fransois Sorton)
(Magazine / Language : Mondial, new series, issue 59, February 1985 / French By Michel Diard and Jean-Francois Bourg)
(Magazine / Language : Guerin Sportivo, September 18-24, 1991 / Italian By Paolo Facchinetti)
(Magazine / Language : Calcio 2000, Issue 23, October 1999 / Italian By Marco Benvenuto)
Soccer Advertising
An article about the downfall of once great French side Stade Reims
(Magazine / Language : Mirroir du Football, January 24, 1979 / French By Robert Ichah /Albert Batteux / G.Pradels)
Photo From: Mirroir du Football, January 24, 1979
(Reims squad, Top, left to right: Albert Batteux, Raymond Cicci (injured), Simon Zimny, Robert Jonquet, Michel Leblond, Rene Jacquet, Robert Siatka, Raoul Giraudo, Armand Penverne (injured) , Bottom, left to right: Michel Hidalgo, Leon Glowacki, Raymond Kopa, Rene Bliard, Jean Templin, Paul Sinibaldi (injured), June 13, 1956, Champions Cup, Reims 3-Real Madrid 4)
Downfall of Reims
↧
Soccer Books, Part Eight-Belgium National team
The best books about the History of the Belgian National Team.
These are the books that I have chosen:
Book I
‘Le Dictionnaire des Diables Rouges’
Authors: Bruno Govers, Pierre Bilic, Claude Henrot, Bruno Dubois, Pierre Danvoye
Published in 2000.
Written Language: French
This is absolutely the best book written about the Belgian national Team.
This book has a brief biography and profile of some of the historical players, but also has statistics on every player.
The lineups and players club information of not Belgium but its opponents are shown for every single match.
‘Le Dictionnaire des Diables Rouges’ Cover
Book II
‘Le Siecle des Diables Rouges’
Author: Christian Hubert
Published in 2006.
Written Language: French
This is not a statistical book about matches and results.
This book covers the History of the Belgian National Team with many archival photographs.
‘Le Siecle des Diables Rouges’ Cover
Book III
‘Rode Duivels & Oranje Leeuwen., 100 jaar Derby der Lage Landen’
Authors: Ralf Willems, Matty Verkamman
Published in 2001.
Written Language: Dutch
This book deals exclusively with the history of matches between Holland and neighbours Belgium.
As usual contains lineups, archival photographs and a written description of each encounter.
There is even a section on the unofficial matches between the nations.
‘Rode Duivels & Oranje Leeuwen., 100 jaar Derby der Lage Landen’ Cover
Book IV
‘IFFHS-Belgique/Belgie (1904/1940)
Author:
Published in 2000.
Written Language: English/French/German/Spanish
Excellent book about Belgian national team of the pre-war era with all lineups and full statistics and very interesting anecdotes.
The book contains rare archival photographs.
‘IFFHS-Belgique/Belgie (1904/1940)’ Cover
If any one knows of other books pertaining to this topic, please do not hesitate to leave a post.
↧
↧
Eric Batty, Brian Glanville and other World Soccer Columns- Part Eight
I. Eric Batty
WS Magazine Issue: April 1964
Article Title(s): ‘Defence is the order’
-Eric Batty’s analysis on how good defense has taken over
WS Magazine Issue: December 1972
Article Title(s): ‘England could produce better wingers’
-Eric Batty’s Analysis on wingers
WS Magazine Issue: May 1981
Article Title(s): ‘England found sadly lacking’
-Eric Batty’s analysis of the English National Team
WS Magazine Issue: August 1974 and October 1975
Article Title(s): ‘No Cruyff or Neeskens’ and ‘World XI’
-The World XI selections for the years 1974 and 1975.
II. Brian Glanville
WS Magazine Issue: July 1964
Article Title(s): ‘How to save the next World Cup’
-Discussing ideas on improvements for future World Cups
WS Magazine Issue: April 1971
Article Title(s): ‘Common Market poses a problem’ and ‘Sights sets firmly on Europe’
-Brian Glanville’s regular ‘Looking at Soccer’ column and under his pseudonym of Andre Duclos reporting on the French scene
WS Magazine Issue: December 1981
Article Title(s): ‘Liverpool can retain European Cup despite unpredictable Grobbelaar’ and ‘Is Hidalgo Bold or…’
- His regular Column and under his pseudonym of Andre Duclos reporting on the French scene
WS Magazine Issue: May 1991
Article Title(s): ‘Sudden Death should stay
- His regular Column
III. Other Writers:
a) Martin Rodgers
WS Magazine Issue: July 1965
Article Title(s): ‘Why World Cup will elude hosts’
-Martin Rodgers predicting (erroneously) that England will not win the 1966 World Cup
b) Leslie Vernon
WS Magazine Issue: October 1972
Article Title(s): ‘Are Olympics a Farce?’
c) Paul Parish
WS Magazine Issue: January 1984
Article Title(s): ‘If England are not inferior, why have we failed?’
-Discussing England’s failure to qualify for the 1984 Euros
↧
Transfers that did not happen, Part Seven
1- Internazionale Milano tried to sign West Germany’s Uwe Seeler in 1961. Seeler revealed that Inter had offered him a 200,000 British Pounds signing on fee and a Villa and a car.
However, he was reluctant to be tied to Inter contractually for a substantial amount of time, therefore he asked that he be granted a 150,000 British Pounds payoff at the end of three years and a free transfer back to West Germany.
This broke the deal as Inter found this too demanding.
Photo From: World Soccer, December 1995
(Uwe Seeler, July 23, 1966, World Cup, West Germany 4-Uruguay 0)
2- Russian striker Oleg Salenko, who was the joint top goalscorer of 1994 World Cup, had signed for Tottenham Hotspur from Dinamo Kiev in January 1993. However, the deal was cancelled after he was not able to obtain a work permit from the British Government.
The rule at the time was that foreign player (not from the European Community) should at least played in 75% of their respective national team’s matches from the previous two years to be considered and Salenko did not meet the quota.
Photo From: Onze-Mondial, Issue 66, July 1994
(Oleg Salenko with Roger Milla, June 28, 1994, World Cup, Russia 6-Cameroon 1)
3- Around 1978 Nottingham Forest Manager Brian Clough attempted to sign Kevin Keegan, however, Keegan chose to remain at SV Hamburg.
Photo From: Onze, Issue 35, November 1978
(Kevin Keegan with SV Hamburg, 1978/79)
Photo From: World Soccer, November 1980
(Brian Clough and his assistant Peter Taylor)
4-Arsene Wenger was approached in 1994 by Bayern Munich to be their Manager for the 1994/95, but he declined choosing to stay at AS Monaco.
Bayern turned instead to Italian Giovanni Trapattoni.
Photo From: World Soccer, September 1976
(Arsene Wenger with AS Monaco’s two new English signings in 1987, Mark Hateley and Glenn Hoddle)
5-Sir Alex Ferguson tried on numerous occasions to sign Sheffield Wednesday striker David Hirst. However, Sheffield Wednesday Manager Trevor Francis was not willing to sell.
Finally, Ferguson opted to sign Eric Cantona instead in November of 1992.
Photo From: England, Player by Player, Author Graham Betts
(Sheffield Wednesday’s David Hirst)
↧
Events and Consequences, Part Seven
1- Event:
France’s Albert Parsys, Charles Dujardin, Maurice Bigue, Lucien Gamblin and Auguste Schalbart refusing an International call-up in 1914 for a match vs. Luxembourg on February 8, 1914 (Luxembourg 5 to 4 win).
Some had boycotted the call up under the pretext that they had to pay their own train fare for France’s previous match vs. Belgium on January 25, 1914 at Lille (4 to 3 France win).
Consequence:
The French authorities suspended the players for 15 days.
This incident forced the Federation to enact a ruling that made it obligatory to honour selections under threat of suspension.
Photo From: Les Bleus Author Denis Chaumier, 2004
(Renzo de Vecchi and Lucien Gamblin, February 20, 1921, France 1-Italy 2 )
2- Event:
German Captain Lothar Matthaus serious injury in December 1994.
Consequence:
Matthaus had established himself as Germany’s libero. The injury forced him to miss the rest of the season. In his absence Germany manager Berti Vogts installed Borussia Dortmund’s Matthias Sammer as his new libero.
Sammer performed so well that Vogts decided to keep faith with the younger Sammer even after Matthaus was back from injury.
For a while this seemed to have excluded Matthaus from the National team permanently.
However, Matthaus was recalled by 1998 after Sammer himself had to retire prematurely due to injury.
Photo From: World Soccer, October 1999
(Lothar Matthaus)
Photo From: World Soccer, May 1997
(Matthias Sammer)
3- Event:
Brazil’s loss vs. Uruguay in the Final of the 1950 World Cup at Maracana on July 16, 1950.
Consequence:
Brazil’s goalkeeper Moacir Barbosa was forever established as the scapegoat and lived a virtually ostracized life in poverty.
He passed away on April 7, 2000.
In an interview he remarked that under Brazilian Law the maximum imprisonment penalty is 30 years but he has been paying for nearly 50 years for his mistake.
Photo From: L'Equipe Magazine, April 25, 1998
(Moacir Barbosa)
Photo From: L'Equipe Magazine, April 25, 1998
(Ghiggia’s winning goal, July 16, 1950, World Cup, Brazil 1-Uruguay 2)
Photo From: O Brasil Na Copa America, Author Airton Silveira Fontenele, 1989
(Moacir Barbosa)
4- Event:
Five Scotland players led by skipper Billy Bremner breaking a 1 AM Curfew and being thrown out of a Copenhagen nightclub for drunken behavior, following Scotland’s victory (1 to 0) vs. Denmark on September 3, 1975 in a European Championship Qualifying match.
Consequence:
The five players in question were Bremner along with Willie Young, Joe Harper, Pat McCluskey and Arthur Graham.
A Scottish official witnessed a drunken Bremner and McCluskey trying to turn a bed upside down as a prank.
As a punishment all five players received life suspensions, though it was later overturned in the following years.
In any case this ended Billy Bremner ‘s international career.
Photo From: Scotland, The Team, 1987
(Billy Bremner)
5- Event:
France’s European Championship qualifier at Bucharest vs. Romania on October 11, 1995.
Consequence:
This match was later described by experts/observers/players/etc as the pivotal turning point in the birth of the golden age of the French national team of late 90’s and early 2000’s.
The French refer to this match as the birth of the ‘Zidane Genration’.
France, under Aime Jacquet, had to win to have any chance to qualify for the 1996 Euros in England and an away match vs. group leaders Romania seemed a daunting task.
France won this match 3 to 1 and this paved the way to qualification.
Zidane scored one of the goals, along with partner Youri Djorkaeff, and established himself as the playmaker of this generation.
The backbone of the future France squad was established with players such as Karembeu, Lizarazu, Dugarry, Djorkaeff and veterans such as Didier Deschamps and Marcel Desailly.
Goalkeeper Fabien Barthez even took part in this match, deputizing for the unavailable starter Bernard Lama.
Photo From: Onze-Mondial, Issue 82, November 1995
(Youri Djorkaeff scoring France’s second, October 11, 1995, EC Qualifier, Romania 1-France 3)
Photo From: Onze-Mondial, Issue 82, November 1995
(Zinedine Zidane, October 11, 1995, EC Qualifier, Romania 1-France 3)
↧
Magazine Awards, Part Six
France Football’s Ballon d’Or:
Year 1977:
Player of the year: Allan Simonsen (Denmark and Borussia Moenchengladbach)
Photo From: France Football, Issue 1655, December 27, 1977
(Allan Simonsen)
Onze’s Onze d’Or:
Year 1982:
Player of the year: Paolo Rossi (Juventus and Italy)
Photo From: Onze, Issue 84, December 1982
(Paolo Rossi)
World Soccer’s Player of the Year:
Year 1987:
Player of the year: Ruud Gullit (AC Milan and Holland)
Manager of the Year: Johann Cruyff (Ajax Amsterdam)
Team of the year: Porto
Photo From: World Soccer, December 1987
World Soccer Player of the Year
France Football’s African Ballon d’Or:
Year 1981:
Player of the year: Lakhdar Belloumi (GC Mascara and Algeria)
Photo From: France Football, Issue 1865, January 5, 1982
(Lakhdar Belloumi)
France Football’s African Ballon d’Or
↧
↧
Short International Careers, Part Five
1- Stefano Borgonovo
Italian Stefano Borgonovo’s best season was during the 1988/89 where he was on loan at Fiorentina from AC Milan. That season he formed a prolific striking partnership with Roberto Baggio that enabled both of them to be called up for the National team.
Borgonovo earned his three caps within a month in February and March of 1989. (February 22, 1989, Italy 1-Denmark 0 / March 25, 1989, Austria 0-Italy 1 and March 29, 2989, Romania 1-Italy 0).
For the first two matches he came on as substitute replacing strikers Gianluca Vialli and Aldo Serena respectively. He played the entire match vs. Romania.
He returned to AC Milan, but did not recapture his previous form and was never selected again.
He sadly passed away on June 27, 2013 from Amyotrophic Lateral Sclerosis.
Photo From: Guerin Sportivo, April 11-18, 1989
(Stefano Borgonovo with Dan Petrescu on the left, March 29, Romania 1-Italy 0)
2- Gregorio Fonseca
Spanish striker Gregorio Fonseca earned all his four caps during the calendar year of 1992.
His first two caps were under Manager Vicente Miera.
As a Real Valladolid player , he earned his first cap in a tie vs. the Commonwealth of Independent States (ex-USSR) on February 19, 1992 that ended in a one to one tie.
Less than a month later on March 11, 1992, he played vs. USA (2 to 0 win).
In the offseason he had joined RCD Espanol.
His third cap was under new Manager Javier Clemente in a Friendly vs. England on September 9, 1992 that Spain won (1 to 0) with Fonseca scoring the winner in the 11th minute.
He earned his final cap in a World Cup qualifier on September 23, 1992 vs. Latvia at Riga that ended in a scoreless tie.
He was substituted in the 71st minute and was never selected again.
Photo From: Don Balon, November 15-21, 1994
(Gregorio Fonseca)
3- John Fashanu
Wimbledon striker John Fashanu earned his only two caps for England in May 1989 during the Stanley Rous Cup.
He was beneficiary of the fact that the best teams in the League, Liverpool and Arsenal, did not release any players for the tournament as they were to play their League decider.
For his first cap on May 23, 1989 vs. Chile on Wembley (scoreless tie), Fashanu was replaced by Tony Cottee in the 70th minute.
For his second cap on May 27, 1989 vs. Scotland at Glasgow (2 to 0 win) , he was replaced in the 31st minute by Steve Bull.
He was never called up again.
Photo From: France Football, Issue 2394, February 25, 1992
(John Fashanu with Wimbledon)
4- Carmelo Micciche
French striker Carmelo Micciche earned his only two caps in the Spring of 1987. For his first match that coincided as Michel Platini’s last he opened the scoring in a (2 to 0) win vs. Iceland in a European Championship qualifier on April 29, 1987.
For his second and final cap, he was substituted in the 75th minute in a loss (0 to 2) in European Championship qualifier vs. Norway in Oslo on June 16, 1987.
Photo From: Mondial, new series, Issue 88, July 1987
(Carmelo Micciche, June 16, 1987, EC Qualifier, Norway 2-France 0)
5- Hennie Meijer
Hennie Meijer earned his solitary cap on September 9, 1987 in a Friendly vs. Belgium that ended in a scoreless tie.
He had just joined Ajax that season from Roda JC as an extra attacking option following the departure of Marco van Basten to AC Milan.
During this match with Belgium he replaced Aron Winter in the 67th minute, therefore his International career lasted 23 minutes only.
Photo From: Rode Duivels & Oranje Leeuwen., 100 jaar Derby der Lage Landen, Authors Ralf Willems, Matty Verkamman
(Hennie Meijer in his only International, on the right is Franky van der Eslt, September 9, 1987, Holland 0-Belgium 0)
↧
The First Time ….., Part Five
1-The First time a player won the Champions Cup with two different clubs was when Romanian defender Miodrag Beloidedic won the trophy with Red Star Belgrade vs. Olympique Marseille (scoreless tie) on May 29, 1991, after having won it with Steaua Bucharest vs. Barcelona (scoreless tie) on May 7, 1986.
Incidentally both times the matches were scoreless ties and won in a penalty kick shoot-out.
Photo From: Onze-Mondial, Issue 39, April 1992
(Miodrag beloidedic with Red Star Belgrade, 1991/92)
2- The First Time that a football official used a plane was when English Referee and future FIFA President Stanley Rous was demanded to referee a World Cup Qualifier between Holland and Belgium in Antwerp on April 29, 1934 (4 to2 Holland win).
The day before refereed the English FA Cup final between Manchester City and Portsmouth (2 to 1 Man City win).
3- The First Time (and only time) that a Brazilian born player played for the Argentinean National team was when Aaron Wergifker played 4 matches for Argentina between 1934-1936.
He was born in Sao Paulo and moved to Argentina to play for River Plate.
Photo From: El Grafico, Historia de la seleccion Argentina, 1951-60
(Aaron Wergifker with River Plate)
4- The First Time that a father and son represented Italy was when Sandro Mazzola was selected for Italy in 1963, following the footsteps of his father Valentino who played for Italy in the 1940s.
The second pair were the Maldinis (Cesare and Paolo). Cesare first played for Italy in 1962 and Paolo in 1988.
Photo From: 100 Anni del Campionato del Calcio
(Valentino Mazzola)
Photo From: World Soccer, April 1967
(Sandro Mazzola)
Photo From: World Soccer, February 1997
(Cesare and Paolo Maldini)
5- The First Time that a player of African origin represented Belgium was in a Friendly vs. Portugal on February 4, 1987 (0 to 1 Belgium loss) in Braga when Lokeren’s Dimitri M’Buyu replaced Nico Claesen in the 60th minute.
Photo From: Foot Magazine, April 1990
(Dimitri M’Buyu)
↧
Football’s Quarrels and Feuds, Part three
1- Paul van Himst and Luis Oliveira
Belgium Manager Paul van Himst axed Luis Oliveira from Belgium’s 1994 World Cup squad after Oliveira demanded an automatic starting position.
The furious van Himst made the analogy that if his own son ever asked him for a Porsche he would tell him to look for a new father.
Photo From: 90 minutes, March 19, 1994
(Belgium and Cagliari’s Luis Oliveira, 1993/94)
Photo From: Guerin Sportivo, September 18-24, 1991
(Paul van Himst)
2- Eric Cantona and Henri Michel
On August 20, 1988, French striker Eric Cantona launched a verbal attack on National team manager henri Michel after he was omitted from the friendly match with Czechoslovakia on August 24, 1988 (one to one tie).
He called Michel a bag full of sh***.
He did apologize two days later, however, he was suspended indefinitely by the Federation.
He privately apologized to Henri Michel on August 29, 1988, nevertheless, on September 9, 1988, the French Federation suspended him from the National team for the remainder of the season.
Photo From: Mondial, new series, Issue 106, January 1989
(Eric Cantona and actor Mickey Rourke, 1988)
3- Ruud Gullit and Rinus Michels
On December 4, 1991, Holland were due to play Greece at Salonika in their final European Championship qualifier that they had to win to qualify.
Ruud Gullit had back pain and wanted to withdraw. Dutch Manager Rinus Michels insisted on Gullit playing with painkillers.
After a heated argument, Gullit stayed in the dressing room and did not even watch the match (the Dutch won 2 to 0).
Photo From: Het Nederlands Elftal, De Histoire van Oranje, 1905-1989, Author Matty Verkamman
4- Sa Pinto and Arthur Jorge/Rui Aguas
On March 26, 1997, Portugal National Team Manager Arthur Jorge was confronted by Ricardo Sa Pinto.
Sa Pinto had been angry about being dropped from the squad for the World Cup Qualifier vs. Northern Ireland on March 29, 2997.
The angry Sa Pinto physically attacked and punched Assistant Manager Rui Aguas.
On April 1, 1997, Sa Pinto was fined 20,000 GBP and on April 4, he was suspended indefinitely.
He was subsequently banned one year by the Portuguese Federation and that decision was affirmed by FIFA as well.
5- Willy van der Kuylen/Jan van Beveren and Johann Cruyff
On at least two separate occasions PSV Eindhoven pair of goalkeeper Jan van Beveren and Forward Willy van der Kuylen withdrew from the Dutch national team because of their differences with Johann Cruyff.
Before Holland’s EC qualifier vs. Poland on October 15, 1975, (3 to 0 Holland win), the pair withdrew from the squad upon hearing that Johann Cruyff and Johann Neeskens would be included and playing.
Piet Schrijvers and Frans Thijssen had to be called up as replacements.
Then prior to the European Championship semifinal vs. Czechoslovakia on June 16, 1976 (1 to 3 Czech win), Jan van Beveren and Willy van der Kuylen withdrew the squad because they felt that Johan Cruyff wielded too much influence.
Photo From: Voetbal International, February 28-March 5, 1977
(Willy van der Kuylen)
↧
The uncapped, Part Three
1- Gunnar Sauer
West German Gunnar Sauer was a defender with Werder Bremen with whom he won the Bundesliga title in 1988.
His performances that season earned him a place on West Germany’s Finals squad for the 1988 Euros at home as well as the 1988 Olympics Finals squad.
However, despite being part of both squads, he never played in either and never gained a cap.
Photo from: Fussball Magazin, January 1988
(Gunnar Sauer)
2- Andy Linighan
Englishman Andy Linighan was a defender whose best spell was with Norwich City (1988/90).
His displays earned him selection for the England ‘B’ Team.
His transfer to Arsenal in 1990 might have opened up opportunities for the full national team, however, he was unable to break into the famous Arsenal back four defense and was mainly used as a defensive cover.
Photo from: World Soccer, January 1991
(Andy Linighan with Arsenal, 1990/91)
3- Stefano Desideri
Italian midfielder Stefano Desideri had his best years at AS Roma from the mid 80s to early 90s. His performances earned him a spot in Italy’s squad for the 1988 Olympics in Seoul, however, full international honors eluded him.
Even his transfer to Internazionale Milano in 1991 did not improve his chances and he left shortly thereafter to Udinese.
Photo from: Mondial, new series, Issue 106, January 1989
(Stefano Desideri, December 7, 1988, UEFA Cup, AS Roma 0-Dinamo Dresden 2)
4- ‘Isaias’ Marques Soares
Isaias was a Brazilian forward who made his name in Portuguese club Football. He had his best spell at giants Benfica with whom he won the League title in 1991 and 1994.
Despite his performances he was never selected ay Brazil. He later had a short spell at Coventry City before returning to Portugal.
Photo from: World Soccer, December 1991
(Isaias and Lee Dixon, November 6, 1991, Champions League, Arsenal 1-Benfica 3)
5- Henk Vos
Henk Vos was a dutch striker who played for many clubs in his career.
He most notably played in France with Metz and Sochaux and Standard Liege in Belgium.
Despite satisfactory performances away from home, he was never selected for the full national team.
Photo from: Onze-Mondial, Issue 27, April 1991
(Henk Vos with Metz, 1990/91)
↧
↧
Diego Maradona and Michel Platini, Part Three
Diego Maradona
(Magazine / Language : Mondial, New series, issue 16, July 1981 / French)
(Magazine / Language : Mondial, new series, issue 18, September 1981/ French By Olivier Margot)
(Magazine / Language : Foot Magazine, November 1981 / French By Christian Marteleur)
(Magazine / Language : Mondial, new series, issue 24, March 1982 / French)
(Magazine / Language : Mondial, New Series, Issue 26, May 1982 / French)
Photo From : Foot Magazine, November 1981
(Diego Maradona, June 2, 1979, Scotland 1-Argentina 3)
Michel Platini
(Magazine / Language : France Football, Issue 1655, December 27, 1977 / French By Phillipe Tournon)
(Magazine / Language : France Football, Issue 1661, February 7, 1978 / French By Max Urbini)
(Magazine / Language : Onze, Issue 38, February 1979 / French By Alain Leiblang)
(Magazine / Language : Mondial, old series, issue 27, February 1979 / French By Francois Cavil)
(Magazine / Language : Mondial, old series, issue 28, March 1979 / French )
Photo From : Onze, Issue 38, February 1979
(Michel Platini with Nancy, 1978/79)
↧
Debate Topic, Part Eight
Topic
It has been said that Lionel Messi and Cristiano Ronaldo have both excelled beyond most people’s expectations because each one pushed the other in a positive way to achieve greater heights.
Bearing that in mind, do you believe that if Diego Maradona had a worthy adversary, would he have achieved even more and/or would he have been forced to train in a more professional and disciplined environment?
Photo From: Mondial, new series, Issue 18, September 1981
(Diego Maradona with Boca Juniors, 1981)
↧
New Addition: Error in Casting, Part one
They were supposed to be very good transfers or coaching appointments on paper, but somehow fared well below expectations
1- Franz Beckenbauer and Olympique Marseille, 1990
With the French League season well under way and with big spenders Olympique Marseille seemingly running away with the League title, it was a surprise when Club President Bernard Tapie coaxed the recent World Cup winning World Cup manager to replace Double title winning Manager Gerard Gili.
Tapie seemed to think Beckenbauer was the man to guide OM to European glory.
However, with Beckenbauer in charge, OM actually lost its form and started losing matches to such a point that he was nicknamed ‘Mr. 50 Percent’.
Finally, Tapie rectified the problem by moving Beckenbauer upstairs as Technical director and appointing Belgian Veteran Manager Raymond Goethals as Manager.
Photo from: Mondial, new series, issue 57, December 1985
(Franz Beckenbauer)
2- Andreas Brehme at Real Zaragoza, 1992
German defender Andreas Brehme departed Internazionale Milano after four years of good service to pre-retirement in the less pressured atmosphere of Real Zaragoza.
However, this adventure turned sour after he clashed with young Manager Victor Fernandez.
The following season he returned to his first love Kaiserslautern.
Photo from: World Soccer, August 1990
(Andreas Brehme, July 8, 1990, World Cup, West Germany 1-Argentina 0)
3- Steve Hodge and Leeds United, 1991
England National team midfielder Steve Hodge joined ambitious Leeds United in 1991 from Nottingham Forest after he had lost his place.
However, he never managed to hold a regular place and as a result was not called up by England as well.
Photo from: England, Player by Player, Author Graham Betts
(Steve Hodge)
4- Geovani and Bologna, 1989
Brazil’s captian during the 1988 Seoul Olympics, Geovani was being billed as the next Brazilian superstar.
He was transferred to Bologna in 1989, however, before his Serie A career had started, he had lost his place in Brazil’s squad midway through the 1989 Copa America.
His Serie A season was just as unsatisfactory as he lost his place there as well.
Photo from: Soccer International, Issue 4, April 1990
(A Mitre shoes advertisement featuring Geovani at Bologna)
5- Mark Hughes and Barcelona, 1986
There was much excitement when Terry Venables signed the British duo of Welshman Mark Hughes and Englishman Gary Lineker.
While Lineker slowly caught up with the Spanish game and started scoring goals, his partner Hughes struggled to such a point that he was dropped towards the end of the season and replaced in the squad by Scotsman Steve Archibald who had been put on ice.
The follwing season he was loaned to Bayern Munich, before making his way back to his original club Manchester United.
Photo from: Onze-Mondial, Issue 35, December 1991
(Mark Hughes at Barcelona, 1986/87)
↧
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Guyana Chronicle E-Paper 30-12-2022
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2022-12-30T00:00:00+00:00
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Read Guyana Chronicle E-Paper 30-12-2022 by Guyana Chronicle on Issuu and browse thousands of other publications on our platform. Start here!
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en
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/favicon.ico
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Issuu
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https://issuu.com/guyanachroniclee-paper/docs/guyana_chronicle_e-paper_30-12-2022
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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https://www.facebook.com/jovempannews/videos/3-em-1-13022023/913525269709323/
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By Jovem Pan NewsFacebook
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Jovem Pan News war live.
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://dbpedia.org/page/Chris_Kamara
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About: Chris Kamara
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http://commons.wikimedia.org/wiki/Special:FilePath/Chris_Kamara_-_Marie_Curie_Cancer_Care_Football_League_Ambassador.jpg?width=300
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http://commons.wikimedia.org/wiki/Special:FilePath/Chris_Kamara_-_Marie_Curie_Cancer_Care_Football_League_Ambassador.jpg?width=300
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Christopher Kamara (born 25 December 1957), often referred to as "Kammy", is an English former professional football player and manager who worked as a presenter and football analyst at Sky Sports from 1992 to 2022.
|
DBpedia
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http://dbpedia.org/resource/Chris_Kamara
|
dbo:abstract
كريس كامارا (بالإنجليزية: Chris Kamara) هو معلق رياضي ولاعب كرة قدم ومدرب كرة قدم بريطاني في مركز الوسط، ولد في 25 ديسمبر 1957 في ميدلزبرة في المملكة المتحدة. لعب مع برادفورد سيتي وستوك سيتي وسويندون تاون وشيفيلد يونايتد وليدز يونايتد ونادي برينتفورد ونادي بورتسموث ونادي لوتون تاون ونادي ميدلزبره. (ar)
Christopher Kamara (born 25 December 1957), often referred to as "Kammy", is an English former professional football player and manager who worked as a presenter and football analyst at Sky Sports from 1992 to 2022. As a player, he was known as a tough-tackling midfielder. He joined the Royal Navy at the age of 16, before being signed by Portsmouth in November 1974. He spent three years at the club before being sold on to Swindon Town for £14,000. He returned to Portsmouth in 1981 for a £50,000 fee but was transferred to Brentford in October 1981. He spent four years with the "Bees" before leaving the club after picking up a runners-up medal in the Football League Trophy in 1985. He re-signed with Swindon Town in August 1985 and helped the club to two successive promotions into the Second Division. He moved on to Stoke City in 1988, and a successful spell with the club won him a move to Leeds United in 1990. He helped the club to the Second Division title in 1989–90 but was injured for eight months before being sold to Luton Town for £150,000 in 1991. He had loan spells with Premier League clubs Sheffield United and Middlesbrough, before joining Sheffield United on a permanent basis in 1993. The following year he joined Bradford City as a player-coach. He was appointed Bradford City manager in November 1995 and took the club from a relegation scrap to promotion out of the Second Division via the play-offs in 1996. He left the club in January 1998 and quickly took the reins at Stoke City, before he left the "Potters" in April 1998. From there he became a broadcaster with Sky Sports and has since appeared as a presenter on numerous other television programmes. (en)
Christopher „Chris“ Kamara (* 25. Dezember 1957 in Middlesbrough) ist ein ehemaliger englischer Fußballspieler und -trainer. Der Mittelfeldspieler war zunächst bei unterklassigen Profiklubs beschäftigt, bevor er im späten Fußballeralter von 32 Jahren mit Leeds United erstmals in der ersten Liga spielte. Er galt als eine der schillerndsten Figuren im englischen Fußball der späten 1970er bis frühen 1990er Jahre und sah sich aufgrund seiner dunklen Hautfarbe häufig rassistischen Ressentiments ausgesetzt. Nach einem nur kurzen Wechsel ins Trainerfach im Anschluss an seine aktive Karriere entschied er sich für eine journalistische Laufbahn als Experte und Reporter und ist dort zumeist für den Fernsehsender Sky Sports tätig. (de)
Christopher Kamara, couramment appelé Chris Kamara, est un footballeur puis entraîneur anglais, né le 25 décembre 1957 à Middlesbrough, Angleterre. Évoluant au poste de milieu de terrain, il est principalement connu pour ses saisons à Portsmouth, Brentford, Swindon Town, Stoke City et Luton Town ainsi que pour avoir entraîné Bradford City et Stoke City. Depuis la fin de sa carrière, il s'est reconverti comme consultant, présentateur télé et acteur. (fr)
Chis Kamara (Middlesbrough, 25 dicembre 1957) è un ex allenatore di calcio ed ex calciatore inglese, di ruolo centrocampista. (it)
Christopher ("Chris") Kamara [uitspraak: 'kɑmɑrɑ ; 'kamara', niet Afrikaans 'kamaara']? (Middlesbrough, 25 december 1957) is een Engels televisiepresentator en voormalig voetballer van Sierra Leonese afkomst. Kamara was een middenvelder. (nl)
Кристофер Камара (англ. Christopher Kamara; 25 декабря 1957, Мидлсбро, Англия) — английский футболист, играющий на позиции полузащитника. (ru)
Christopher Kamara (Middlesbrough, 25 de Dezembro de 1957), mais conhecido por Chris Kamara, é um ex-futebolista inglês que jogava como meio-campista. Depois de se aposentar dos campos, treinou as equipes do Bradford City e Stoke City por alguns anos, antes de se tornar comentarista esportivo no canal Sky Sports. (pt)
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‘His magic will remain. Pele is eternal’ – tributes pour in from across the globe for football’s first superstar
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[
"Andrew Downie and Gabriel Araujo"
] |
2022-12-30T03:30:00+01:00
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Pele, the legendary Brazilian football player who rose from barefoot poverty to become one of the greatest and best-known sport stars in modern history, died yesterday at the age of 82.
|
en
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Irish Independent
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https://www.independent.ie/news/his-magic-will-remain-pele-is-eternal-tributes-pour-in-from-across-the-globe-for-footballs-first-superstar/42251240.html
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Sao Paulo’s Albert Einstein Hospital, where Pele was undergoing treatment, said he died at 3.27pm “due to multiple organ failures resulting from the progression of colon cancer associated with his previous medical condition”.
The death of the only man to win the World Cup three times as a player was confirmed on his Instagram account.
“Inspiration and love marked the journey of King Pele, who peacefully passed away today,” it read, adding he had “enchanted the world with his genius in sport, stopped a war, carried out social works all over the world and spread what he most believed to be the cure for all our problems: love”.
Tributes poured in from across the worlds of sport, politics and popular culture for a figure who epitomised Brazil’s dominance of the beautiful game.
The office of Brazilian President Jair Bolsonaro, who leaves office on Sunday after four years in power, said in a statement that Pele was “a great citizen and patriot, raising the name of Brazil wherever he went”.
Mr Bolsonaro’s incoming successor, President-elect Luiz Inacio Lula da Silva, wrote on Twitter that “few Brazilians carried the name of our country as far as he did”.
He took home three World Cup winner’s medals, the first time as a 17-year-old in Sweden in 1958
French President Emmanuel Macron said Pele’s legacy will live forever.
“The game. The king. Eternity,” Mr Macron tweeted.
Pele had been undergoing chemotherapy since he had a tumor removed from his colon in September 2021.
He had difficulty walking unaided since an unsuccessful hip operation in 2012. In February 2020, on the eve of the pandemic, his son Edinho said Pele’s ailing physical state had left him depressed.
Pele, whose given name was Edson Arantes do Nascimento, joined Santos in 1956 and turned the small coastal club into one of the most famous names in football.
A wake is expected to be held at Santos’s Urbano Caldeira stadium, most commonly known as Vila Belmiro, on Monday, the club’s press officer said.
In addition to a host of regional and national titles, Pele won two Copa Libertadores, the South American equivalent of the Champions League, and two Intercontinental Cups, the annual tournament held between the best teams in Europe and South America.
He took home three World Cup winner’s medals, the first time as a 17-year-old in Sweden in 1958, the second in Chile four years later – even though he missed most of the tournament through injury – and the third in Mexico in 1970, when he led what is considered to be one of the greatest sides ever to play the game.
He retired from Santos in 1974 but a year later made a comeback by signing a lucrative deal to join the New York Cosmos in the North American Soccer League.
In a glorious 21-year career he scored 1,283 goals.
Pele, though, transcended football like no player before or since, and he became one of the first global icons of the 20th century.
With his winning smile and an aw-shucks humility that charmed legions of fans, he was better known than many Hollywood stars, popes or presidents – many if not most of whom he met during a six-decade-long career as player and corporate pitchman.
God gave me this ability for one reason: To make people happy
“I am sad, but I also proud to be Brazilian, to be from Pele’s country, a guy who was a great athlete,” said Ciro Campos, a 49-year-old biologist in Rio de Janeiro. “And also off the field, he was a cool person, not an arrogant athlete.”
Pele credited his one-of-a-kind mix of talent, creative genius and technical skill to a youth spent playing pick-up games in small-town Brazil, often using grapefruit or wadded-up rags because his family could not afford a real ball.
Pele was named Athlete of the Century by the International Olympic Committee, co-Football Player of the Century by FIFA, and a “national treasure” by Brazil’s government.
His celebrity was often overwhelming. Adults broke down crying in his presence with regularity. As a player, souvenir-seeking fans often rushed the field following games and tore off his shorts, socks and even underwear.
His house in Brazil was less than a mile from a beach, but he didn’t go there for two decades due to a fear of crowds.
Yet even in unguarded moments among friends, he rarely complained. He believed that his talent was a divine gift, and he spoke movingly about how football allowed him to travel the world, bring cheer to cancer patients and survivors of wars and famine, and provide for a family that, growing up, often did not know the source of their next meal.
“God gave me this ability for one reason: To make people happy,” he said during a 2013 interview.
“No matter what I did, I tried not to forget that.”
Brazil’s CBF football federation said: “Pele was much more than the greatest sportsman of all time... The King of Soccer was the ultimate exponent of a victorious Brazil.”
Kylian Mbappe, the French star many view as the current best player in the world, also offered his condolences.
“The king of football has left us but his legacy will never be forgotten,” he wrote on Twitter. “RIP KING.”
Brazil forward Neymar said: “Before Pele, “10” was just a number. I read that phrase somewhere, at some point in my life. But that phrase, beautiful, is incomplete.
“I’d say before Pele, football was just a sport. Pele changed everything. He turned football into art, into entertainment.
“He gave voice to the poor, gave visibility to Brazil. Football and Brazil have elevated their status thanks to the King! He’s gone, but his magic will remain. Pele is eternal.”
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Pitaco do gringo's Brazilian football site
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Pitaco do gringo's Brazilian football site
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https://pitacodogringo.wordpress.com/category/championship-guides/
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Posts filed under ‘Championship guides’
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https://www.scribd.com/document/530368210/Terra-Encoder
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Altitude Encoder: Operation/Installation Manual
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https://imgv2-2-f.scribdassets.com/img/document/530368210/original/e8ebd27d13/1723533262?v=1
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https://imgv2-2-f.scribdassets.com/img/document/530368210/original/e8ebd27d13/1723533262?v=1
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Terra Encoder - Free download as PDF File (.pdf), Text File (.txt) or read online for free. This document provides installation and operation instructions for the Terra by Trimble AT 3000 Altitude Encoder. It describes preparing the unit for use, general installation instructions, mechanical installation, electrical installation, calibration, testing, placarding, test points, wiring diagrams and operation. The encoder interfaces with aircraft transponders to transmit altitude data and has an operating range of -1000 feet to 30,000 feet.
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en
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https://s-f.scribdassets.com/scribd.ico?d4187ae93?v=5
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Scribd
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https://www.scribd.com/document/530368210/Terra-Encoder
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Find the perfect andre 003 jpg stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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Alamy
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https://www.alamy.com/stock-photo/andre-003-jpg.html
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 27/08/2024 Alamy Ltd. All rights reserved.
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https://dbpedia.org/page/Santos_FC
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About: Santos FC
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Santos Futebol Clube (Brazilian Portuguese: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]), commonly known simply as Santos or Santos FC and nicknamed the Peixe ([pejʃi], "fish"), is a Brazilian sports club based in Vila Belmiro, a bairro in the city of Santos. It is also the team with the most goals in football history. It plays in the Paulistão, the State of São Paulo's premier state league, as well as the Brasileirão, the top tier of the Brazilian football league system.
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DBpedia
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http://dbpedia.org/resource/Santos_FC
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dbo:abstract
نادي سانتوس لكرة القدم (بالبرتغالية: Santos Futebol Clube) هو نادي كرة قدم برازيلي من مدينة سانتوس الساحلية. أسس 14 أبريل 1912 م على يد 3 أشخاص من المدينة من المتحمسين للرياضة. استطاع النادي أن يحصل على أول بطولة دوري عام 1935. أهم مرحلة في تاريخ النادي بدأت منذ عام 1956 م عندما انضم أسطورة كرة القدم ورياضي القرن الماضي (اختير من قبل اللجنة الأولمبية الدولية) بيليه للنادي وبدأ اللعب في عمر الـ15. حصل النادي على العديد من الألقاب في فترة وجود بيليه. (ar)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Macapá a l'estat d'Amapá. (ca)
Santos Futebol Clube je brazilský fotbalový tým z města Santos v aglomeraci města São Paulo ve stejnojmenném státě. Pravidelně se účastní nejvyšší brazilské národní ligové soutěže, Campeonato Brasileiro Série A, z níž nikdy nesestoupil. Obvyklý maskot je velryba a značí to, že město Santos je vlastně přístav. Fanoušek Santosu je známý jako Santista. Pruhovaný černo-bílý dres a černé trenýrky i ponožky. Klub byl založen v roce 1912, hraje na stadiónu o kapacitě 16 798 diváků. V letech 1956 až 1974 zde hrál Pelé. Přestože je přístavní město Santos oproti sousednímu São Paulu menší, zanechal Santos FC na fotbalové scéně význačnou stopu, což dokládá více než 90 akademií po světě nesoucí název Santos.Právě São Paulo a jeho aglomerace je domovem rivalů Santosu – a to trojice Corinthians, Palmeiras a São Paulo FC. Santos je trojnásobným vítězem Poháru osvoboditelů (1962, 1963, 2011) a jedním ze šesti jihoamerických klubů, co dokázaly Pohár osvoboditelů obhájit. (cs)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Santos a l'estat de São Paulo. (ca)
Der Santos Futebol Clube, im deutschsprachigen Raum allgemein bekannt als FC Santos, ist ein Fußballverein aus der brasilianischen Stadt Santos, einer Hafenstadt im Bundesstaat São Paulo. (de)
Η Σάντος (πορτογαλικά: Santos) είναι Βραζιλιάνικη επαγγελματική ποδοσφαιρική ομάδα, με έδρα την ομώνυμη περιοχή Σάντος, στο Σάο Πάολο. Συμμετέχει στο πρωτάθλημα της Πολιτείας του Σάο Πάολο και στο Πρωτάθλημα ποδοσφαίρου Βραζιλίας. Είναι η δεύτερη σε κατακτήσεις ομάδα στην Σέριε Α (8). Επίσης είναι δεύτερη σε συνολικούς τίτλους στην Βραζιλία με (17) έναν πίσω από την Σάο Πάολο (18). Κατέχει το ρεκόρ των 5 συνεχόμενων πρωταθλημάτων (1961-1965). Μεγαλύτερος ποδοσφαιριστής της είναι ο Πελέ, ο «βασιλιάς του ποδοσφαίρου». (el)
Der Santos Futebol Clube, in der Regel nur kurz Santos genannt, ist ein Fußballverein aus Macapá im brasilianischen Bundesstaat Amapá. Aktuell spielt der Verein in der Staatsmeisterschaft von Amapá. (de)
Santos Foot-ball Clube estas futbalteamo fondita en 1912 en Santos, Brazilo. Ĝi estas mondfama por diskonigi Peléon al mondo. Santos FC estis fondita en la 14-a de aprilo 1912, de tri sportistoj de Santos: , kaj , kiuj kunvokis asembleon je sidejo de Clube Concórdia (sur nuna Avenuo João Pessoa) por kreado de futbalteamo. Dum la asembleo proponis la nomon Santos Foot-Ball Clube. Unua oficiala maĉo okazis en 15-a de septembro. Santos FC venkis la teamon Santos Athletic Club (Clube dos Ingleses, "Klubo de l' Anglidoj") je 3 : 0. Antaŭ tiu, estis ankaŭ neoficiala maĉo en kiu Santos FC venkis Thereza Team je 2 : 1. La unuan oficialan faris Arnaldo Silveira. En 1913, Santos FC partoprenis san-paŭlian ĉampionadon. En unua maĉo, teamo Germania venkis ĝin je 8 : 1. Tiu jare, la teamo venkis santosan ĉampionadon, kaj tiu estas sia unua ĉampiona titolo. Nur en 1935 Santos FC venkis la san-paŭlian ĉampionadon, post denove nur en 1955. En 1956, Pelé, tiam 15-jara knabo, komencis ludi en Santos FC. Tiun tempon oni nomas em Brazilo "Era Pelé", Erao de Pelé. En tiu erao, Santos FC konkeris multajn ĉampionadojn, eĉ internaciaj, kiel la en 1962 kaj 1963. La finan maĉon de Monda Ĉampionado de 1963 de Santos FC kontraŭ Milan oni pensas la plej mirindan futbolan maĉon en historio. En 1974 finis la Erao de Pelé. Post tiu tempo, Santos FC daŭris sian gloran karieron kaj konkeris multajn ĉampionajn titolojn. En 2006 kaj 2007, ekzemple, Santos FC jam venkis la san-paŭlian ĉampionadon. Kurioze, ĝia oficiala maskoto estas baleno, sed oni nomas ĝin "O Peixe" (La Fiŝo). Jemanĵao estas ĝia protektanta diino. (eo)
El Santos Fútbol Club (en portugués, Santos Futebol Clube, pronunciado /ˈsɐ̃tus futʃiˈbɔw ˈklubi/), conocido popularmente como Santos, es un club polideportivo brasileño, con sede en la ciudad de Santos, Estado de São Paulo.También es el equipo con más goles en la historia del fútbol. Fue fundado el 14 de abril de 1912 y juega en el Campeonato Brasileño de Serie A. Santos es uno de los pocos clubes que nunca han sido relegados a la Serie B del Campeonato Brasileiro. Sus colores iniciales serían el blanco, azul y dorado, pero un año después de su fundación se decidió que los colores del club serían el blanco y el negro. Sus máximos rivales en el fútbol son el Palmeiras, con el que compiten en el Clássico da Saudade; Corinthians, con quien disputa el Alvinegro Clásico; y São Paulo, con quien compite en San-São. El Peixe juega sus partidos de local en el Estadio Urbano Caldeira, más conocido como Vila Belmiro que actualmente tiene capacidad para 20.120 espectadores. El himno santista más reconocido es el " Leão do Mar " escrito por Mangeri Neto. Santos se ha convertido en el fútbol en uno de los clubes más exitosos de Brasil y reconocido a nivel mundial. Se hizo famoso en los años 60 por los varios títulos internacionales y nacionales que ganó y por haber revelado a Pelé, considerado por muchos como el mejor jugador de la historia de este deporte, y según la FIFA, el mejor jugador del siglo XX. A lo largo de su historia, Santos ganó un gran número de títulos internacionales, entre los que destacan las Copa Intercontinentales de 1962 y 1963, la Copa Libertadores de 1962, 1963 y 2011, la Recopa de Campeones Intercontinentales de 1968, la Supercopa Sudamericana de Campeones Intercontinentales de 1968, la Copa Conmebol 1998 y la Recopa Sudamericana 2012. En el escenario nacional, fue ocho veces campeón brasileño en 1961, 1962, 1963, 1964, 1965, 1968, 2002 y 2004. También a nivel nacional, el club tiene una Copa de Brasil en 2010, totalizando nueve conquistas nacionales. Otros títulos importantes incluyen cinco Torneos Rio-São Paulo (poseedor de récord junto a Corinthians y Palmeiras), 22 Campeonatos Paulistas y la Copa Paulista 2004. En la suma de títulos oficiales de ámbito internacional y nacional, el club suma 17 logros. En total, sumando competiciones oficiales, amistosos y otras copas, el club suma 305 títulos. Santos, junto con Palmeiras, Cruzeiro e Internacional, fue uno de los pocos en ganar el Campeonato Brasileño invicto, en 1963, 1964 y 1965. Además es el único club brasileño en ser campeón estatal, nacional, continental y mundial en el mismo año, en 1962. En una encuesta en el año 2000 de parte de FIFA se le eligió, entre diez clubes latinoamericanos, como el mejor club de América del siglo XX y el quinto más grande del mundo, y también recibió en el año de su centenario en la cámara de diputados de Brasilia por la FIFA el título de "mayor club sudamericano del siglo XX". La IFFHS lo ha elegido cuatro veces como el Mejor equipo del mundo del mes. Desde el año 2000 se realiza este Ranking. Un estudio realizado en 2013 por la consultoría londinense Brand Finance muestra al Santos como el segundo club más valioso de Brasil, segundo de América Latina y 38a mayor valor de marca del mundo, con US$65 millones, al frente de otros grandes clubes del continente como Flamengo, São Paulo, Boca Juniors y River Plate. Por otro lado gracias a sus triunfos en 1962 y 1963 en la ya antigua Copa Intercontinental, forma parte del selecto grupo de los únicos 30 clubes en el mundo que han ganado el máximo campeonato de clubes de fútbol a nivel mundial, entre más de 300.000 clubes reconocidos por FIFA. Por lo que además, es el primer "Bicampeón Mundial" de la historia, al conquistar los 2 campeonatos mundiales de forma consecutiva. Santos es uno de los equipos más populares de Brasil. Según investigaciones del Instituto DataFolha, publicado el 2 de febrero de 2006, el Santos tiene la sexta mayor hinchada de Brasil con un 4% de la preferencias nacionales.[cita requerida] Se estima que el club cuenta con 8 a 10 millones de aficionados, presente en todos los estados de Brasil. Un dato curioso es que la ciudad que cuenta con el mayor número de aficionados no es Santos sino la ciudad de São Paulo y la región metropolitana de São Paulo, Gran São Paulo región cuyo club cuenta con alrededor de 1,8 millones de hinchas. En la actualidad Santos cuenta con más de 70,000 socios miembros.[cita requerida] Además cuenta con gran cantidad de filiales por todo el mundo. La más grande se encuentra en Argentina, filial que se desempeña hace más de 40 años en Parana - Entre Rios. (es)
Santos Futebol Clube Brasilgo São Pauloko estatuko Santos hiriko futbol talde ezaguna da. 1950eko eta 1960ko hamarkadetan emaitza bikainak izan zituen, Pelé jokalari izarra zuela. Bi Kontinente arteko Futbol Kopa eta hiru Libertadores Kopa irabazi ditu, azkena 2011. urtean. (eu)
El Santos - AP es un equipo brasileño de la ciudad de Macapá ubicada en el estado de Amapá. Es considerado como el equipo de mayor tradición del estado por encima de equipos como EC Macapá. Juega de local en el Zerão. Actualmente, ocupa la posición 76 del ranking de la CBF teniendo en cuenta la publicación del 2016. (es)
Le Santos Futebol Clube est un club brésilien de football fondé le 14 avril 1912 et basé dans la ville de Santos dans l'État de São Paulo. Il a été surnommé Peixe (littéralement, "Poisson") pendant des décennies, mais la mascotte du club est une baleine. Ce surnom évoque la ville de Santos qui est un port marin, contrairement aux autres clubs de São Paulo plus continentaux. Santos est devenu la première équipe dans l'histoire du football à avoir marqué, de manière accumulée, 10 000 buts en 1998 et 11 000 buts en 2004. Ils jouent habituellement avec un maillot blanc, et un maillot alternatif avec des bandes verticales noires et blanches et des shorts noirs. Toutefois, selon le statut du club, le premier choix de l'équipe est un maillot à rayures avec un short blanc et des bas blancs. Le club de Santos a été désigné 5e meilleur club de football du XXe siècle selon la FIFA. Il est notamment célèbre pour avoir compté Pelé dans son effectif pendant la majeure partie de sa carrière (1956-1974). (fr)
Le Santos Futebol Clube est un club brésilien de football basé à Macapá dans l'État de l'Amapá. (fr)
Santos Futebol Clube (bahasa Portugis Brasil:), lebih dikenal sebagai Santos dan mungkin mengarah ke Peixe (IPA: ), adalah klub sepak bola profesional yang berbasis di Santos, Sao Paulo. Mereka bermain di dan Campeonato Brasileiro Serie A, liga profesional tertinggi di provinsi Sao Paulo dan Brasil. Tim ini berdiri tahun 1912. Santos adalah juara bertahan dan Copa Libertadores. Di dalam negeri, klub telah memenangkan dua puluh , satu Copa do Brasil, dan delapan gelar juara nasional Brasil. Di kancah internasional, mereka adalah klub Brasil tersukses dengan tujuh gelar internasional, termasuk tiga Copa Libertadores dan dua Piala Interkontinental. Didirikan sebagai Santos Foot-Ball Club pada tanggal 14 April 1912 oleh inisiatif dari tiga penggemar olahraga, , , dan , klub ini telah menjadi simbol sepak bola yang indah dan menarik, yang dikenal di Brasil sebagai "Futebol-arte". Santos adalah salah satu klub terkaya Brasil dalam hal pendapatan, dengan pendapatan tahunan sebesar US $ 45.1m (€ 31,5 juta), dan salah satu klub paling berharga, bernilai lebih dari $ 86.7m (€ 60.6m) pada tahun 2011. Santos adalah anggota pendiri dari , terdiri dari tiga belas klub sepak bola elit Brasil. (in)
Santos Futebol Clube (Brazilian Portuguese: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]), commonly known simply as Santos or Santos FC and nicknamed the Peixe ([pejʃi], "fish"), is a Brazilian sports club based in Vila Belmiro, a bairro in the city of Santos. It is also the team with the most goals in football history. It plays in the Paulistão, the State of São Paulo's premier state league, as well as the Brasileirão, the top tier of the Brazilian football league system. The club was founded in 1912 by the initiative of three sports enthusiasts from Santos by Raimundo Marques, Mário Ferraz de Campos, and Argemiro de Souza Júnior as a response to the lack of representation the city had in football. Since then, Santos has become one of Brazil's most successful clubs, becoming a symbol of Jogo Bonito (English: the Beautiful Game) in football culture, hence the motto "Técnica e Disciplina" (technique and discipline). This was largely thanks to the Peixe's golden generation of the 1960s, with players like Gilmar, Mauro Ramos, Mengálvio, Coutinho, Pepe, and most notable of all, Pelé, named the "Athlete of the Century" by the International Olympic Committee, and widely regarded as the best and most accomplished footballer in the game's history. Os Santásticos, considered by some the best club team of all times, won a total of 24 titles during that decade including five consecutive Brasileirões, a feat that remains unequaled today. Os Santásticos won four competitions in 1962, thus completing a quadruple, comprising the Paulistão, the Brasileirão, the Copa Libertadores, and the European/South American Cup. Santos is one of the most successful clubs in the Brasileirão, becoming national champions on eight occasions. It has also won 22 Paulistãos, three Copa Libertadores, two Intercontinental Cups, one Supercopa de Campeones Intercontinentales, one Copa CONMEBOL (the precursor of current Copa Sudamericana), one Copa do Brasil, and one Recopa Sudamericana. On 20 January 1998, Santos became the first team, in any category in the world, to reach the milestone of 10,000 goals in the entire history of football and was voted by FIFA as one of the most successful clubs of the 20th century. The Peixe play their home games at the Vila Belmiro, which currently holds up to 20,120 spectators. Santos' regular kit is white shirts, with white shorts, accompanied by white socks. The most recognized Santista anthem is the "Leão do Mar" written by Mangeri Neto. In 2013, the club is the 2nd most valuable club in Brazil and South America, and 38th most valuable club in the world according to Brand Finance, worth over $65 million. In terms of revenue, Santos is Brazil's fourth-richest sports club and one of the biggest football clubs in the world, generating an annual turnover of over $114 million in 2012. Santos has many long-standing rivalries, most notably against Corinthians, Palmeiras, and São Paulo. (en)
Il Santos Futebol Clube, noto anche come Santos, è una società calcistica brasiliana con sede a Santos, nello stato di San Paolo. Fondata nel 1912, il club ha vinto il suo primo titolo nel 1935. Il periodo di maggior successo è databile intorno agli anni sessanta quando il Santos conquistò, tra le altre, due Coppe Libertadores (nel 1962 e nel 1963) e altrettante Coppe Intercontinentali (sempre nel 1962 e nel 1963) oltre a una Supercoppa dei Campioni Intercontinentali (nel 1968). Protagonista assoluto di questi successi fu la stella del calcio brasiliano Pelé, che esordì nel calcio professionistico proprio tra le file del Santos nel 1956 rimanendovi fino al 1974. Il club ha vinto il Campionato Brasiliano nel 2002 con Robinho e Diego e poi nuovamente nel 2004. Nel 2011 il club, guidato dal talento emergente di Neymar, è tornato a conquistare la Coppa Libertadores battendo in finale il Peñarol. La divisa per le gare casalinghe è, da statuto del club, completamente bianca, mentre l'uniforme per le trasferte è costituita da una maglia a strisce bianconere e da pantaloncini neri. Il club è soprannominato da decenni Peixe (letteralmente "pesce"), anche se la mascotte è una balena; l'appellativo deriva dal fatto che la squadra ha sede a Santos, una città portuale, al contrario delle altre squadre di San Paolo, che sorgono nell'entroterra. I tifosi sono detti Santistas. (it)
サントスFC（ポルトガル語: Santos Futebol Clube）は、ブラジル・サンパウロ州サントスをホームタウンとする、ブラジルプロサッカーリーグ（ブラジルリーグ）に加盟するプロサッカークラブ。 (ja)
Il Santos Futebol Clube, meglio noto come Santos, è una società calcistica brasiliana con sede nella città di Macapá, capitale dello stato dell'Amapá. (it)
( 마카파를 연고로 하는 축구단에 대해서는 산투스 FC (아마파주) 문서를, 여자 축구단에 대해서는 산투스 FC (여자 축구) 문서를 참고하십시오.) 산투스 FC(포르투갈어: Santos Futebol Clube)는 보통 산투스라고 알려져 있으며, 상파울루주의 산투스를 연고로 하는 브라질의 축구 클럽이다. 산투스 FC는 2018년 현재 브라질의 최상위 전국 리그인 캄페오나투 브라질레이루 세리이 A와 상파울루 주 리그 캄페오나투 파울리스타에 참가하고 있다. 이 클럽의 별칭은 수 십년 동안 Peixe (문자 그대로 "어류")였지만, 보통 이 팀을 대표하는 마스코트는 어류가 아닌 고래이다. 이 별칭은 상파울루 주를 연고로 하는 다른 클럽들이 내륙을 연고로 할 때, 항구 도시인 산투스를 되살렸으며, 팀의 팬은 "산티스타"(Santista)라는 이름으로 잘 알려져 있다. 이 클럽은 1914년, 4월 14일에 Santos Foot-Ball Club이라는 이름으로 설립되었으며, 산투스에서 하이문두 마르케스, 마리오 페하스 지 캄포스, 아르제미루 지 소우자 주니오르 등 3명의 스포츠 열광자에 의해 시작되었다. 팀이 처음으로 주 대회에서 우승한 건 1935년으로, 다시 우승한 건 20년이 지난 1955년이었다. 홈 유니폼은 모두 하얀색이고, 어웨이 유니폼은 검은색 및 흰색 수직 줄무늬 또는 검은색 반바지로 이루어져있다. 하지만 클럽의 클럽의 규칙에 의하면 팀이 처음으로 선택한 유니폼은 줄무늬가 든 셔츠와 흰색 반바지 및 흰색 양말이다. 펠레 (1999년, IOC에 의해 "세기의 운동 선수"로 뽑힘.)는 1956년에 이 팀에서 선수 생활을 시작했으며, 15살의 나이에 데뷔해, 17년간 산투스에서 선수 생활을 했다. 펠레는 이와 더불어 1962년과 1963년에 열린 인터콘티넨털컵에서 산투스의 우승을 견인했다. 1998년 1월 20일, 산투스는 축구 역사상 처음으로 10,000골을 돌파한 팀이 되었다. 최근에는, 2005년 10월 26일, 에서 펼쳐진 바스쿠 다 가마와의 원정 경기에서 제일송이 팀의 11,000번째 골이자, 경기 첫 골을 성공시켰고, 산투스는 이 골에 힘입어 경기에서 3-1로 이겼다. 산투스는 축구단 뿐만 아니라 미식축구, 서핑 그리고 e스포츠단까지 운영하고 있기도 하다. (ko)
( 비슷한 이름의 산투스 FC에 관해서는 해당 문서를 참조하십시오.) 산투스 푸치보우 클루비(포르투갈어: Santos Futebol Clube) 또는 산투스(포르투갈어: Santos)로 불리는 이 팀은 1973년 5월 11일에 창단한 브라질의 축구단으로, 아마파주의 마카파를 연고로 한다. 상파울루주의 산투스 FC와 구분짓기 위하여, 아마파 주의 머릿글자 AP를 붙여 산투스-AP라고도 표기된다. 2018년 현재 브라질 축구 4부 리그 캄페오나투 브라질레이루 세리이 D와 아마파 주 리그 에 참가하고 있다. 구단의 최대 라이벌은 이다. 구단의 별칭은 마카파의 고래(포르투갈어: Peixe de Macapá) 혹은 아마존의 고래(포르투갈어: Peixe da Amazônia)로, Peixe는 단어 자체로 사실 물고기를 뜻하지만, 산투스 FC와 마찬가지로 고래를 의미하기 위해 지어졌다. (ko)
サントスFC (ポルトガル語: Santos Futebol Clube) は、ブラジル・アマパー州マカパに本拠地を置くサッカークラブである。2016シーズンはカンピオナート・ブラジレイロ・セリエDに所属。サンパウロ州にもサントスFCがあるため、便宜上サントス-APと表記されることがある。 (ja)
Santos FC is een Braziliaanse voetbalclub uit Santos in de staat São Paulo. Thuisstadion is het Vila Belmiro, dat 16.798 plaatsen heeft. De club is het meest bekend om zijn voetbalafdeling, maar is ook in andere sporten actief. De club speelt in de hoogste klasse van zowel de staatscompetitie als de Braziliaanse hoogste klasse en is een van de drie clubs die nog nooit gedegradeerd is, naast Flamengo en São Paulo. Het aanvallersduo Pelé-Coutinho bezorgde de club een glorieperiode. Met de twee aanvallers won de club negenmaal het Campeonato Paulista, tweemaal de CONMEBOL Libertadores, zesmaal de Copa do Brasil en tweemaal de wereldbeker voor clubteams. Nadat Pelé vertrok, kwam de club in een diep dal terecht. In 2000 eindigde Santos FC tijdens de FIFA Club of the Century-verkiezing, samen met Ajax, op een gedeelde vijfde plaats van beste voetbalclubs van de twintigste eeuw. (nl)
Santos FC is een Braziliaanse voetbalclub uit Macapá in de staat Amapá. (nl)
Santos Futebol Clube – brazylijski klub piłkarski z siedzibą w mieście Santos, w stanie São Paulo. Występuje w rozgrywkach Campeonato Brasileiro Série A oraz Campeonato Paulista. Swoje domowe mecze rozgrywa na obiekcie Estádio Urbano Caldeira. Został założony w 1912 roku. (pl)
«Са́нтос» (порт.-браз. Santos Futebol Clube) — бразильский футбольный клуб представляющий город Макапа, столицу штата Амапа. В 2018 году клуб выступал в Серии D Бразилии. (ru)
Santos Futebol Clube é um clube brasileiro de futebol da cidade de Macapá, capital do estado do Amapá. Suas cores são preto e branco e foi fundado em 11 de maio de 1973. Na era profissional do futebol amapaense, é o segundo maior campeão estadual, com 7 títulos, sendo 5 dos quais conquistados em sequência (2013-14-15-16-17) e os outros 2 foram obtidos em 2000 e 2019. Também se tornou o primeiro time amapaense a chegar a semifinal da Copa Verde de Futebol na edição de 2017. (pt)
Santos Futebol Clube é um clube poliesportivo brasileiro da cidade de Santos, São Paulo. Foi fundado em 14 de abril de 1912, suas cores iniciais seriam o branco, azul e dourado, mas um ano após a sua fundação, ficou decidido que as cores do clube passariam a ser branco e preto. Manda as suas partidas no Estádio Urbano Caldeira, mais conhecido como Vila Belmiro. Seus maiores rivais no futebol são o Palmeiras, com quem disputa o Clássico da Saudade; o Corinthians, com quem disputa o Clássico Alvinegro; e o São Paulo, com quem disputa o San-São. O Santos tornou-se no futebol um dos clubes mais bem-sucedidos do Brasil e reconhecidos mundialmente. Ficou famoso na década de 60 pelos vários títulos internacionais e nacionais conquistados e por ter revelado Pelé, considerado por muitos como o maior jogador da história do esporte, e segundo a FIFA, o melhor jogador do século XX, além disso, também tem o marco de maior artilheiro da história do Santos e da Seleção Brasileira. Abaixo de Pelé com 77 gols pela seleção em jogos oficiais, está também outro jogador revelado pelo clube, Neymar. (pt)
Santos FC eller Santos Futebol Clube är en brasiliansk fotbollsklubb i Santos i delstaten São Paulo, bildad 14 april 1912. Klubben har smeknamnet Peixe, vilket betyder fisk, men deras maskot är i själva verket en val. Anledningen till detta är att Santos är en hamnstad, till skillnad från alla andra stora fotbollslag från São Paulo. En supporter till klubben kallas för Santista. Hemmaarenan heter , även känd som Vila Belmiro. Klubben bildades samma dag som Titanic träffade isberget, på initiativ av tre sportentusiaster; Raimundo Marques, Mário Ferraz de Campos och Argemiro de Souza Júnior. Klubben vann sin första delstatsturnering 1935 och sin andra 20 år senare, 1955. Pelé gick med i klubben som 17-åring, 1956, och stannade i hela 17 år och spelade sammanlagt 729 matcher för klubben, med otroliga 784 gjorda mål. Med Pelé vann Santos FC interkontinentala cupen 1962 och 1963. 20 januari 1998 blev Santos den första och enda fotbollsklubben någonsin att ha gjort över 10 000 mål. 26 oktober 2005 gjorde man sitt 11 000:e mål mot i en bortamatch mot Vasco da Gama, det första målet av tre. Santos vann matchen med 3–1. (sv)
«Са́нтос» (порт. Santos Futebol Clube, бразильский португальский: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]) — бразильский футбольный клуб из города Сантус в штате Сан-Паулу. Клуб является одним из четырёх традиционных грандов своего штата (наряду с «Сан-Паулу» (классико ), «Коринтиансом» (самое принципиальное противостояние) и «Палмейрасом») и одним из традиционно сильнейших футбольных клубов Бразилии, сооснователем Клуба Тринадцати, организации самых популярных и титулованных клубов Бразилии. В 2000 году «Сантос» занял пятое место в списке лучших футбольных клубов XX века по версии ФИФА. «Сантос» — единственный (из 12) бразильский традиционный суперклуб, базирующийся не в столице своего штата (город Сантус является морскими воротами для Сан-Паулу). Согласно решению Конфедерации футбола Бразилии от декабря 2010 года, победы в старом Кубке Бразилии (1959—1968) были приравнены к титулу чемпиона Бразилии. Таким образом, «Сантос» с восемью титулами, шесть из которых были завоёваны во времена Пеле, стал одним из самых титулованных клубов — чемпионов Бразилии (наряду с «Палмейрасом», которому были добавлены четыре титула). (ru)
Сантус (порт. Santos Futebol Clube) — бразильський футбольний клуб з однойменного міста штату Сан-Паулу. Він був прозваний Peixe (Риба) протягом десятиріч, але зазвичай талісманом є кит. Прізвисько підкреслює, що Сантус є морським портом, тоді як всі інші великі клуби від штату Сан-Паулу розташовані всередині країни. Вболівальник «Сантуса» відомий як Santista. «Сантус» є рекордсменом з кількості забитих голів в історії футболу: більш ніж 11,500. Клуб виграв свій перший турнір штату в 1935 році, а потім знову в 1955 році. Вони грають у повністю білій формі, з альтернативним комплектом з чорно-білими вертикальними смугами і чорними шортами. Однак, відповідно до статуту клубу, основною формою є смугасті футболки з білими шортами і білими гетрами. (uk)
山度士足球會（Santos Futebol Clube）是來自巴西圣保罗州海港城市桑托斯的足球會。由三名居於山度士的足球熱愛者，馬基斯（Raimundo Marques）、迪金保斯（Mário Ferraz de Campos）及祖利亞（Argemiro de Souza Júnior），於1912年4月14日成立。球隊在1935年首度奪得聖保羅省聯賽冠軍，於20年後的1955年重溫舊夢。比利（1999年獲國際奧委會選為「世紀運動員」）於1956年以15歲之齡加盟山度士，並於1962年及1963年帶領球隊兩度贏得洲際盃。 山度士在1998年1月20日成為足球歷史上首隊亦是唯一一隊射入超過10,000球的球隊。 (zh)
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نادي سانتوس لكرة القدم (بالبرتغالية: Santos Futebol Clube) هو نادي كرة قدم برازيلي من مدينة سانتوس الساحلية. أسس 14 أبريل 1912 م على يد 3 أشخاص من المدينة من المتحمسين للرياضة. استطاع النادي أن يحصل على أول بطولة دوري عام 1935. أهم مرحلة في تاريخ النادي بدأت منذ عام 1956 م عندما انضم أسطورة كرة القدم ورياضي القرن الماضي (اختير من قبل اللجنة الأولمبية الدولية) بيليه للنادي وبدأ اللعب في عمر الـ15. حصل النادي على العديد من الألقاب في فترة وجود بيليه. (ar)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Macapá a l'estat d'Amapá. (ca)
El Santos Futebol Clube és un club de futbol brasiler de la ciutat de Santos a l'estat de São Paulo. (ca)
Der Santos Futebol Clube, im deutschsprachigen Raum allgemein bekannt als FC Santos, ist ein Fußballverein aus der brasilianischen Stadt Santos, einer Hafenstadt im Bundesstaat São Paulo. (de)
Η Σάντος (πορτογαλικά: Santos) είναι Βραζιλιάνικη επαγγελματική ποδοσφαιρική ομάδα, με έδρα την ομώνυμη περιοχή Σάντος, στο Σάο Πάολο. Συμμετέχει στο πρωτάθλημα της Πολιτείας του Σάο Πάολο και στο Πρωτάθλημα ποδοσφαίρου Βραζιλίας. Είναι η δεύτερη σε κατακτήσεις ομάδα στην Σέριε Α (8). Επίσης είναι δεύτερη σε συνολικούς τίτλους στην Βραζιλία με (17) έναν πίσω από την Σάο Πάολο (18). Κατέχει το ρεκόρ των 5 συνεχόμενων πρωταθλημάτων (1961-1965). Μεγαλύτερος ποδοσφαιριστής της είναι ο Πελέ, ο «βασιλιάς του ποδοσφαίρου». (el)
Der Santos Futebol Clube, in der Regel nur kurz Santos genannt, ist ein Fußballverein aus Macapá im brasilianischen Bundesstaat Amapá. Aktuell spielt der Verein in der Staatsmeisterschaft von Amapá. (de)
Santos Futebol Clube Brasilgo São Pauloko estatuko Santos hiriko futbol talde ezaguna da. 1950eko eta 1960ko hamarkadetan emaitza bikainak izan zituen, Pelé jokalari izarra zuela. Bi Kontinente arteko Futbol Kopa eta hiru Libertadores Kopa irabazi ditu, azkena 2011. urtean. (eu)
El Santos - AP es un equipo brasileño de la ciudad de Macapá ubicada en el estado de Amapá. Es considerado como el equipo de mayor tradición del estado por encima de equipos como EC Macapá. Juega de local en el Zerão. Actualmente, ocupa la posición 76 del ranking de la CBF teniendo en cuenta la publicación del 2016. (es)
Le Santos Futebol Clube est un club brésilien de football basé à Macapá dans l'État de l'Amapá. (fr)
サントスFC（ポルトガル語: Santos Futebol Clube）は、ブラジル・サンパウロ州サントスをホームタウンとする、ブラジルプロサッカーリーグ（ブラジルリーグ）に加盟するプロサッカークラブ。 (ja)
Il Santos Futebol Clube, meglio noto come Santos, è una società calcistica brasiliana con sede nella città di Macapá, capitale dello stato dell'Amapá. (it)
( 비슷한 이름의 산투스 FC에 관해서는 해당 문서를 참조하십시오.) 산투스 푸치보우 클루비(포르투갈어: Santos Futebol Clube) 또는 산투스(포르투갈어: Santos)로 불리는 이 팀은 1973년 5월 11일에 창단한 브라질의 축구단으로, 아마파주의 마카파를 연고로 한다. 상파울루주의 산투스 FC와 구분짓기 위하여, 아마파 주의 머릿글자 AP를 붙여 산투스-AP라고도 표기된다. 2018년 현재 브라질 축구 4부 리그 캄페오나투 브라질레이루 세리이 D와 아마파 주 리그 에 참가하고 있다. 구단의 최대 라이벌은 이다. 구단의 별칭은 마카파의 고래(포르투갈어: Peixe de Macapá) 혹은 아마존의 고래(포르투갈어: Peixe da Amazônia)로, Peixe는 단어 자체로 사실 물고기를 뜻하지만, 산투스 FC와 마찬가지로 고래를 의미하기 위해 지어졌다. (ko)
サントスFC (ポルトガル語: Santos Futebol Clube) は、ブラジル・アマパー州マカパに本拠地を置くサッカークラブである。2016シーズンはカンピオナート・ブラジレイロ・セリエDに所属。サンパウロ州にもサントスFCがあるため、便宜上サントス-APと表記されることがある。 (ja)
Santos FC is een Braziliaanse voetbalclub uit Macapá in de staat Amapá. (nl)
Santos Futebol Clube – brazylijski klub piłkarski z siedzibą w mieście Santos, w stanie São Paulo. Występuje w rozgrywkach Campeonato Brasileiro Série A oraz Campeonato Paulista. Swoje domowe mecze rozgrywa na obiekcie Estádio Urbano Caldeira. Został założony w 1912 roku. (pl)
«Са́нтос» (порт.-браз. Santos Futebol Clube) — бразильский футбольный клуб представляющий город Макапа, столицу штата Амапа. В 2018 году клуб выступал в Серии D Бразилии. (ru)
Santos Futebol Clube é um clube brasileiro de futebol da cidade de Macapá, capital do estado do Amapá. Suas cores são preto e branco e foi fundado em 11 de maio de 1973. Na era profissional do futebol amapaense, é o segundo maior campeão estadual, com 7 títulos, sendo 5 dos quais conquistados em sequência (2013-14-15-16-17) e os outros 2 foram obtidos em 2000 e 2019. Também se tornou o primeiro time amapaense a chegar a semifinal da Copa Verde de Futebol na edição de 2017. (pt)
山度士足球會（Santos Futebol Clube）是來自巴西圣保罗州海港城市桑托斯的足球會。由三名居於山度士的足球熱愛者，馬基斯（Raimundo Marques）、迪金保斯（Mário Ferraz de Campos）及祖利亞（Argemiro de Souza Júnior），於1912年4月14日成立。球隊在1935年首度奪得聖保羅省聯賽冠軍，於20年後的1955年重溫舊夢。比利（1999年獲國際奧委會選為「世紀運動員」）於1956年以15歲之齡加盟山度士，並於1962年及1963年帶領球隊兩度贏得洲際盃。 山度士在1998年1月20日成為足球歷史上首隊亦是唯一一隊射入超過10,000球的球隊。 (zh)
Santos Futebol Clube je brazilský fotbalový tým z města Santos v aglomeraci města São Paulo ve stejnojmenném státě. Pravidelně se účastní nejvyšší brazilské národní ligové soutěže, Campeonato Brasileiro Série A, z níž nikdy nesestoupil. Obvyklý maskot je velryba a značí to, že město Santos je vlastně přístav. Fanoušek Santosu je známý jako Santista. Pruhovaný černo-bílý dres a černé trenýrky i ponožky. Santos je trojnásobným vítězem Poháru osvoboditelů (1962, 1963, 2011) a jedním ze šesti jihoamerických klubů, co dokázaly Pohár osvoboditelů obhájit. (cs)
Santos Foot-ball Clube estas futbalteamo fondita en 1912 en Santos, Brazilo. Ĝi estas mondfama por diskonigi Peléon al mondo. Santos FC estis fondita en la 14-a de aprilo 1912, de tri sportistoj de Santos: , kaj , kiuj kunvokis asembleon je sidejo de Clube Concórdia (sur nuna Avenuo João Pessoa) por kreado de futbalteamo. Dum la asembleo proponis la nomon Santos Foot-Ball Clube. Post tiu tempo, Santos FC daŭris sian gloran karieron kaj konkeris multajn ĉampionajn titolojn. En 2006 kaj 2007, ekzemple, Santos FC jam venkis la san-paŭlian ĉampionadon. (eo)
El Santos Fútbol Club (en portugués, Santos Futebol Clube, pronunciado /ˈsɐ̃tus futʃiˈbɔw ˈklubi/), conocido popularmente como Santos, es un club polideportivo brasileño, con sede en la ciudad de Santos, Estado de São Paulo.También es el equipo con más goles en la historia del fútbol. Fue fundado el 14 de abril de 1912 y juega en el Campeonato Brasileño de Serie A. Santos es uno de los pocos clubes que nunca han sido relegados a la Serie B del Campeonato Brasileiro. Sus colores iniciales serían el blanco, azul y dorado, pero un año después de su fundación se decidió que los colores del club serían el blanco y el negro. Sus máximos rivales en el fútbol son el Palmeiras, con el que compiten en el Clássico da Saudade; Corinthians, con quien disputa el Alvinegro Clásico; y São Paulo, con (es)
Le Santos Futebol Clube est un club brésilien de football fondé le 14 avril 1912 et basé dans la ville de Santos dans l'État de São Paulo. Il a été surnommé Peixe (littéralement, "Poisson") pendant des décennies, mais la mascotte du club est une baleine. Ce surnom évoque la ville de Santos qui est un port marin, contrairement aux autres clubs de São Paulo plus continentaux. Santos est devenu la première équipe dans l'histoire du football à avoir marqué, de manière accumulée, 10 000 buts en 1998 et 11 000 buts en 2004. (fr)
Santos Futebol Clube (bahasa Portugis Brasil:), lebih dikenal sebagai Santos dan mungkin mengarah ke Peixe (IPA: ), adalah klub sepak bola profesional yang berbasis di Santos, Sao Paulo. Mereka bermain di dan Campeonato Brasileiro Serie A, liga profesional tertinggi di provinsi Sao Paulo dan Brasil. Tim ini berdiri tahun 1912. Didirikan sebagai Santos Foot-Ball Club pada tanggal 14 April 1912 oleh inisiatif dari tiga penggemar olahraga, , , dan , klub ini telah menjadi simbol sepak bola yang indah dan menarik, yang dikenal di Brasil sebagai "Futebol-arte". (in)
Santos Futebol Clube (Brazilian Portuguese: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]), commonly known simply as Santos or Santos FC and nicknamed the Peixe ([pejʃi], "fish"), is a Brazilian sports club based in Vila Belmiro, a bairro in the city of Santos. It is also the team with the most goals in football history. It plays in the Paulistão, the State of São Paulo's premier state league, as well as the Brasileirão, the top tier of the Brazilian football league system. (en)
Il Santos Futebol Clube, noto anche come Santos, è una società calcistica brasiliana con sede a Santos, nello stato di San Paolo. Fondata nel 1912, il club ha vinto il suo primo titolo nel 1935. Il periodo di maggior successo è databile intorno agli anni sessanta quando il Santos conquistò, tra le altre, due Coppe Libertadores (nel 1962 e nel 1963) e altrettante Coppe Intercontinentali (sempre nel 1962 e nel 1963) oltre a una Supercoppa dei Campioni Intercontinentali (nel 1968). Protagonista assoluto di questi successi fu la stella del calcio brasiliano Pelé, che esordì nel calcio professionistico proprio tra le file del Santos nel 1956 rimanendovi fino al 1974. Il club ha vinto il Campionato Brasiliano nel 2002 con Robinho e Diego e poi nuovamente nel 2004. Nel 2011 il club, guidato dal t (it)
( 마카파를 연고로 하는 축구단에 대해서는 산투스 FC (아마파주) 문서를, 여자 축구단에 대해서는 산투스 FC (여자 축구) 문서를 참고하십시오.) 산투스 FC(포르투갈어: Santos Futebol Clube)는 보통 산투스라고 알려져 있으며, 상파울루주의 산투스를 연고로 하는 브라질의 축구 클럽이다. 산투스 FC는 2018년 현재 브라질의 최상위 전국 리그인 캄페오나투 브라질레이루 세리이 A와 상파울루 주 리그 캄페오나투 파울리스타에 참가하고 있다. 이 클럽의 별칭은 수 십년 동안 Peixe (문자 그대로 "어류")였지만, 보통 이 팀을 대표하는 마스코트는 어류가 아닌 고래이다. 이 별칭은 상파울루 주를 연고로 하는 다른 클럽들이 내륙을 연고로 할 때, 항구 도시인 산투스를 되살렸으며, 팀의 팬은 "산티스타"(Santista)라는 이름으로 잘 알려져 있다. 홈 유니폼은 모두 하얀색이고, 어웨이 유니폼은 검은색 및 흰색 수직 줄무늬 또는 검은색 반바지로 이루어져있다. 하지만 클럽의 클럽의 규칙에 의하면 팀이 처음으로 선택한 유니폼은 줄무늬가 든 셔츠와 흰색 반바지 및 흰색 양말이다. (ko)
Santos FC is een Braziliaanse voetbalclub uit Santos in de staat São Paulo. Thuisstadion is het Vila Belmiro, dat 16.798 plaatsen heeft. De club is het meest bekend om zijn voetbalafdeling, maar is ook in andere sporten actief. De club speelt in de hoogste klasse van zowel de staatscompetitie als de Braziliaanse hoogste klasse en is een van de drie clubs die nog nooit gedegradeerd is, naast Flamengo en São Paulo. In 2000 eindigde Santos FC tijdens de FIFA Club of the Century-verkiezing, samen met Ajax, op een gedeelde vijfde plaats van beste voetbalclubs van de twintigste eeuw. (nl)
Santos Futebol Clube é um clube poliesportivo brasileiro da cidade de Santos, São Paulo. Foi fundado em 14 de abril de 1912, suas cores iniciais seriam o branco, azul e dourado, mas um ano após a sua fundação, ficou decidido que as cores do clube passariam a ser branco e preto. Manda as suas partidas no Estádio Urbano Caldeira, mais conhecido como Vila Belmiro. Seus maiores rivais no futebol são o Palmeiras, com quem disputa o Clássico da Saudade; o Corinthians, com quem disputa o Clássico Alvinegro; e o São Paulo, com quem disputa o San-São. (pt)
Santos FC eller Santos Futebol Clube är en brasiliansk fotbollsklubb i Santos i delstaten São Paulo, bildad 14 april 1912. Klubben har smeknamnet Peixe, vilket betyder fisk, men deras maskot är i själva verket en val. Anledningen till detta är att Santos är en hamnstad, till skillnad från alla andra stora fotbollslag från São Paulo. En supporter till klubben kallas för Santista. Hemmaarenan heter , även känd som Vila Belmiro. (sv)
Сантус (порт. Santos Futebol Clube) — бразильський футбольний клуб з однойменного міста штату Сан-Паулу. Він був прозваний Peixe (Риба) протягом десятиріч, але зазвичай талісманом є кит. Прізвисько підкреслює, що Сантус є морським портом, тоді як всі інші великі клуби від штату Сан-Паулу розташовані всередині країни. Вболівальник «Сантуса» відомий як Santista. «Сантус» є рекордсменом з кількості забитих голів в історії футболу: більш ніж 11,500. Клуб виграв свій перший турнір штату в 1935 році, а потім знову в 1955 році. (uk)
«Са́нтос» (порт. Santos Futebol Clube, бразильский португальский: [ˈsɐ̃tus futʃiˈbɔw ˈklubi]) — бразильский футбольный клуб из города Сантус в штате Сан-Паулу. Клуб является одним из четырёх традиционных грандов своего штата (наряду с «Сан-Паулу» (классико ), «Коринтиансом» (самое принципиальное противостояние) и «Палмейрасом») и одним из традиционно сильнейших футбольных клубов Бразилии, сооснователем Клуба Тринадцати, организации самых популярных и титулованных клубов Бразилии. В 2000 году «Сантос» занял пятое место в списке лучших футбольных клубов XX века по версии ФИФА. (ru)
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Elis Regina: Elis Regina Carvalho Costa – Série Grandes Nomes
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Timeless! Trama has presented us with another treasure from the Elis Regina discography and filmography. Based in part on the last show that Elis Regina performed, Saudades do Brasil, this D…
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https://musicabrasileira.org/elis-regina-serie-grandes-nomes/
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Timeless!
Trama has presented us with another treasure from the Elis Regina discography and filmography. Based in part on the last show that Elis Regina performed, Saudades do Brasil, this DVD was produced by Globo TV network in Brazil and features Elis on a circus ring simulated stage. Not only is this historical document essential for Elis Regina fans, it is also a must-have DVD for any Brazilian music lover. Elis was on top of her game when this show was produced and televised on October 3, 1980.
The DVD was well restored to its full glory. The liner notes do mention a few instances of a tape slow down, but it’s hard to notice that given the live atmosphere of the show. The color is phenomenal and enhances the stage set-up and Elis Regina’s tasteful wardrobe. Brazilian colors are present everywhere in the show, from Elis’s wardrobe to a giant back-drop Brazilian flag in one of the show’s segment. The addition of a recent interview with the director of the program, Daniel Filho, gives a whole new meaning and historical background to Elis Regina and that particular time in her life and career. Even personal problems that Elis was having at that time are addressed by Daniel Filho. This interview is simply one extra perk to make this DVD worth its content.
Musicians accompanying Elis Regina are Cesar Camargo Mariano (keyboards, arrangements), Sérgio Henriques (keyboards), Nonô Camargo (trumpet), Cláudio Faria (trumpet), Octavio Bangala (tenor sax), Don Chacal (percussion), Paulo Garfunkel (alto sax, flutes, clarinet), Chiquinho Brandão (flutes), Natan Marques (acoustic and electric guitars), Kzam Gama (bass, acoustic guitar), Bocato (trombone), Picolé (drums) and Lino Simão (tenor sax).
The program opens in the same way that the show Saudades do Brasil was. There is an up tempo instrumental version of the classic “Arrastão,” a trademark of Elis’s repertoire, except that this version is only instrumental. All musicians are fired up for what will be a terrific show. The program flows smoothly, but a careful viewer can see the meticulous set up for distinct segments in the show. The first part of the DVD features Elis as a show woman. After a grand entrance coming down a stairway to the circus ring, she moves around the stage, shows what an excellent singer she was, plays with the music she sings and gives a commanding performance from beginning to end. “Querelas do Brasil” is perfect in her delivery giving Aldir Blanc’s lyrics its full meaning of the dichotomy between ‘Brasil’ and ‘Brazil’. Closing this segment with “Alô Alô Marciano,” Elis Regina shows how playful she can be, and she is even a bit sarcastic as demanded by the song. It is amazing that a song written over 26 years ago still carries such a timely message about war, society and the world we live in.
The mood of the show then entirely turns. WIth a single chair in the middle of the stage, Elis starts drawing from her vast repertoire of classics. “Essa Mulher” is stunning, but when Elis sits down to perform “Atrás da Porta,” the camera closes in. After the first verses, Elis covers her face with one hand as she fights back tears. In a highly emotional performance, she brings “Atrás da Porta” from the deepest corners of her soul. You will also feel the pain she was feeling in this very moving performance. This love trilogy ends with Lupicínio Rodrigues’s classic “Cadeira Vazia.” Here is the video for “Atrás da Porta.”
We are then treated to the highly political portion of the show. “Conversando no Bar” leads into the all-time favorite and amnesty anthem “O Bêbado e a Equilibrista,” which in turn closes with the sad and yet very hopeful message of “Aos Nossos Filhos.”
As with all shows in the Série Grandes Nomes, the next segment features a guest performer. Elis chose Cesar Camargo Mariano. Together they first play “Modinha,” from the anthological disc Elis & Tom, and then give a rousing rendition of “Rebento.” It is clear to see how well together Elis and Cesar performed. They can feed from each other’s art seamlessly and beautifully.
For the final numbers of this show, Elis goes back to Saudades do Brasil. The tribal arrangement for “Aquarela do Brasil” is like no other. When dancers come on stage for these numbers, the mood clearly begins to change to a more lively and optimistic grand finale. The message of optimism in Gonzaguinha’s “Redescobrir” is infectious. As in children’s play, musicians, dancers and audience members hold hands with Elis Regina is a circle of hope and happiness.
If you have never seen Elis Regina live, this DVD is the next best thing. If you only buy one DVD this year, make it Elis Regina Carvalho Costa.
DVD INFORMATION
Elis Regina
Elis Regina Carvalho Costa:
Série Grandes Nomes TV Globo
Trama DVD 1160-5 (2005)
Time: 67’00”
Portuguese only (no subtitles)
Color – All Regions
Bonus: Interview with director Daniel Filho
Incidental song performed throughout the entire program: Fascinação (Fascination) (F.D. Marchetti – M. de Feraudy – Vs. Armando Louzada)
Tracks:
Abertura: Arrastão (Edú Lobo – Vinícius de Moraes) (Instrumental)
Querelas Do Brasil (Maurício Tapajós – Aldir Blanc)
Agora Tá (Tunai – Sergio Natureza)
Alô Alô Marciano (Rita Lee – Roberto de Carvalho)
Essa Mulher (Joyce – Ana Terra)
Atrás da Porta (Chico Buarque – Francis Hime)
Cadeira Vazia (Lupicínio Rodrigues)
Conversando No Bar (Mílton Nascimento – Fernando Brant)
O Bêbado e a Equilibrista (João Bosco – Aldir Blanc)
Aos Nossos Filhos (Ivan Lins – Vitor Martins)
Modinha (Tom Jobim – Vinícius de Moraes) w/ Cesar Camargo Mariano
Rebento (Gilberto Gil) w/ Cesar Camargo Mariano
Aquarela Do Brasil (Ary Barroso)
O Que Foi Feito Devera (Mílton Nascimento – Fernando Brant)
Redescobrir (Gonzaguinha)
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Miscellaneous Albums, Letter "M" (Page 1)
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[] |
[
"Brazilian music",
"world music",
"discography",
"bossa nova",
"MPB",
"samba",
"choro",
"tropicalia",
"reviews and recommendations"
] | null |
[] | null |
Brazilian Music Guide: Miscellaneous Albums, Letter M Page 1
| null |
Jards Macale - see artist discography
Afonso Machado "Bandolim Do Brasil" (Rob Digital, 2004)
Solo recordings by bandolim master Afonso Machado, of the choro group Galo Preto. It's a pretty sugary instrumental set... About what you'd expect: high technical expertise, with somewhat goopy arrangements. Mandolin and acoustic swing fans may want to check this out...
Celso Machado - see artist discography
Edison Machado "...E Samba Novo" (CBS, 1963) (LP)
As if often the case with these Brazilian jazz albums, there's not really much of a homegrown samba influence to be heard... Even though the songs covered are include bossa standards and several originals by saxophonist J.T. Mierelles, the feel is straight-up, swinging jazz. Still, as a jazz album, this is pretty creditable... Since bandleader Machado plays drums, there is an Art Blakey-like emphasis on the snares (though less of a "pure" hard jazz style). With him is an all-star cast: Mierelles and Paulo Maura on sax, Tenorio, Jr. on piano, and Moacir Santos writing and arranging the bulk of the album. If you're looking for noteworthy Brazilian jazz albums, this is one of the best.
Edison Machado "Obras" (Vivid Sound, 2002)
Edison Machado "Obras 2: O Pulo Do Gato" (Vivis Sound, 2004)
Filo Machado - see artist discography
Marina Machado & Flavio Henrique "Flavio Henrique & Marina Machado" (Tratore, 1997)
Marina Machado & Regina Sposito "Desoriente Um Pais" (1998)
Marina Machado "Baile Das Pulgas" (1999)
Marina Machado "6 Horas Da Tarde" (EMI, 2002)
Marina Machado "Tempo Quente" (EMI, 2008)
(Produced by Milton Nascimento)
Regina Machado "Violao 7 & Bandolim" (2000)
Regina Machado "Sobre A Paixao" (Dabliu, 2000)
Another fascinating, atypical release on this challenging Brazilian indie label. Machado combines a bossa-informed acoustic style with lightly operatic vocals and chamber music orchestration -- the Brazilian equivalent, if you will, of Elvis Costello's Brodsky Quartet outings. For those less inclined towards art songs, her vocals may wear thin after a while, but overall this is a fascinating release, well worth checking out. (Also includes a pair of older German-language Heinrich Heine pieces, and a cover of Caetano Veloso's "Este Amor.")
Regina Machado "Pulsar" (Tratore, 2005)
Regina Machado "Agora O Ceu Vai Ficando Claro" (Tratore, 2010)
With Italo Peron and Norberto Vinhas...
Ed Maciel E Seus Cariocas Serenaders "Na Cadencia Do Samba" (Sinter, 1957) (LP)
Ed Maciel "Essa E A Jogada" (Copacabana, 1973) (LP)
Wow! This later album from trombonist Ed Maciel has a genuinely funky soul-samba feel... Well, at least in parts. Some of it's crap, like his cover of America's "Ventura Highway," and the Doobie Brothers' "Listen To The Music." But, whatever. He makes up for it with the snazzy opening track, "Festa," a dynamic funk-pop instrumental that gives '70s fusioneers like Chick Corea and LA Express a run for their money. Also nice is the sambadelic "Canario Do Reino," and maybe less exciting are the various potpourri tracks sung with a perky female chorus. Still, Maciel's work is ripe for the picking: best-of collection, anyone?
Tito Madi - see artist discography
Madrigal Renascentista "Antologia Da Modinha Brasileira" (Philips, 1976) (LP)
An odd little album, with madrigal-style renditions of MPB standards (by Tom Jobim) and other material that's less familiar from composers such as Joubert de Carvalho, Jaime Ovalle, Hekel Tavares, and others. I suppose this is the Brazilian equivalent of the "chant" fad of many years ago... Doesn't do much for me, but it may have novelty value for some...
Madrigal Renascentista "Madrigal Renascentista" (Atracao, 2010)
I'm not sure if this is the same album as the one above. Could be. Anyone know for sure?
Mauricio Maestro/Nana Vasconcelos/Joyce "Visions Of Dawn" (Far Out, 1976/2009)
Mauricio Maestro/Nana Vasconcelos "Upside Down" (Far Out, 2011)
A new collaboration -- recorded in 2010 -- from two Brazilian experimental musicians whose partnership spans back to the early 1970s. Guitarist Mauricio Maestro and percussionist Nana Vasconcelos rekindle their creativity with this mellow, melodic set which is primarily instrumental music, punctuated by nonsensical vocalizations, simple chanted refrains, and on a few tunes, full lyrics. It's similar in style to the amorphous folk-jazz-MPB of Vasconcelos or Milton Nascimento, but Maestro -- who co-founded the 1980s pop group Boca Livre -- has a more pointedly "pop" approach, with light, lilting melodies and a joyful vibe filing the sound. It's a little Sufjan Stephens-y, and easy on the ears... Singer Kay Lyra sings on several tracks, reprising the role that Joyce played on the Maestro/Vasconcelos session, Visions Of Dawn in 1976. A little gooey, but pretty listenable overall... Definitely worth a whirl!
Sidney Magal - see artist discography
Os Magnatas Do Samba "Ninguem Ensaiou" (CBS, 1971) (LP)
Sort of a proto-disco/easy listening samba-pop fusion album, with breezy arrangements and a cheerful vocal chorus that stops just short of chirpy. Some of it's okay, but there's a Herb Alpert-ish, muzak-y tone that makes it slightly less groovy than the more rootsy pagode samba that was bubbling up at the time... Worth a spin, I suppose, but more as kitsch than as roots music.
Os Magnatas Do Samba "Volume 2" (CBS, 1971) (LP)
Tim Maia - see artist discography
Amado Maita "Amado Maita" (Copacabana, 1972) (LP)
The lone album by singer/composer Amado Maita, who was known for his work with pianist Guilherme Vergueiro and songwriter Jos Wilson Lopes. It's an odd album: Maita has modest vocal talents, but could be roughly placed in the same continuum as the bossa crooners of the '60s, while the musical backing is by various jazz musicians, notably drummer Edison Machado and pianist Vergueiro, and the accompaniment is pretty challenging -- loungey, but with distinct avant leanings, colored at times with early '70s proto-disco touches. The jazz shadings become more and more pronounced and ultimately places this album in the jazz-vocals category... You can see why this might have had limited appeal, though it is a fascinating period piece. Maita married Myriam Taubkin, an arts activist who was part of the Taubkin family; their daughter, Luisa Maita became an MPB singer and solo artist.
Luisa Maita "Lero Lero" (Cumbancha, 2010)
(Produced by Paulo Lepetit, Rodrigo Campos & Luisa Maita)
A lovely album of dreamy, femme-y vocals from Sao Paulo native Luisa Taubkin Maita (the niece of Brazilian jazz pianist Benjamin Taubkin, and daughter of MPB artist Amado Maita...) This bossa-esque set invites comparison to other modern, genre-hopping chanteuses such as Bebel Gilberto and CeU, but Maita has less invested in the club-scene electronica that defines their work. This is, at heart, a gentle, stripped down MPB set, reminiscent of Astrud Gilberto's classic early work, with a subtle jazz flavoring... Maita is lulling and sweet on the album's many slow and moderate-tempo songs, but she also proves herself supple and adept at her phrasing on more uptempo material. Also worth noting is that most of the music on here was written or co-written by Maita, further marking her emergence as a noteworthy new performer o the Brazilian scene. If you are looking for something mellow yet substantive, this set of groovy Brazilian ballads may be just the thing for you. Recommended!
Luisa Maita "Remixed" (Cumbancha, 2010)
(Produced by Various Artists)
Celia Malheiros "Sempre Crescendo" (Sempre Crescendo, 2001)
A Brazilian expatriate living in California, Malheiros recorded this album in Rio, with a slew of top Brazilian jazz talent to back her up. Hermeto Pascoal, Wilson Das Neves and others contribute to this lush set of soft jazz tunes that recall the heyday of '70s MPB-era fusion by the likes of Flora Purim and Tania Maria; although Malheiros doesn't get as swoopy or wild as those foremothers, preferring to stay on the mellow side, she's still in the same ballpark. (Artist website: www.celiamalheiros.com)
Celia Malheiros "Cenario Brasileiro" (2006)
With a guest appearance by Joao Bosco...
Celia Malheiros/Carlos Malta/Thomas Clausen "After The Carnaval" (Stunt Records, 2009)
A jazzy set by a threesome going by the name of tRIO: pianist Thomas Clausen, flautist Carlos Malta and singer/guitarist Celia Malheiros... Elegant and sugary, but not saccharine or false. Certainly worth a spin if you like the mellower stuff...
Sabrina Malheiros "Equilibria" (Far Out Records, 2005)
Sabrina Malheiros "Vibrasons" (Far Out Records, 2006)
Sabrina Malheiros & Alex Malheiros "The Wave" (Far Out Records, 2009)
Sabrina Malheiros "New Morning" (Far Out Records, 2009)
Sabrina Malheiros "Dreaming" (Far Out Records, 2011)
Gui Mallon "Guitar" (1996)
Gui Mallon "Brazil, Brazil" (1997)
Gui Mallon "Live At Montreux" (Adventure Music, 2004)
Brazilian-born guitarist Gui Mallon is an expatriate living in Switzerland; here, he's assembled a top-flight European band for a smooth-jazz set glides nimbly over a solid foundation of Brazilian melody. Rhythmically, this is a very strong set, surprisingly so for a band that seems mostly made up of northern Europeans... It's more "Brazilian" at its core than you'd imagine, although when the jazz elements kick in, you definitely know it. There's one thing that sinks it for me, though, and that's the prominence placed on the soprano saxophone, an instrument that I generally regard with pure loathing. Still, I was able to listen to this entire album without skipping tracks, etc., so these guys must have been doing something right! If you like smooth jazz that has a little bite to it, then this set is well worth checking out!
Carlos Malta - see artist discography
Horacio Malvicino "The Brazilian Touch Of Malvicino" (Decca/RCA-Microfon, 1967) (LP)
In addition to being a key collaborator of accordionist-composer Astor Piazolla, the architect of the nuevo tango, Argentinian guitarist Horacio Malvicino was a highly regarded jazz player on the international stage. This included stints with Brazilian masters such as Antonio Carlos Jobim, Joao Gilberto, and on this album he delves into Brazilian currents, especially the then-current bossa nova. This album has version of several Jobim songs, such as "Corcovado," "So Danco Samba," and "One Note Samba," as well as Gilberto's "O Pato," and others.
Mamelo Sound System "Mamelo Sound System" (Ybrazil Records, 2000)
I haven't heard this one, but apparently it was a big deal, with guest appearances by manguebeat stars Nacao Zumbi and foundational rap legend Afrika Bambaataa; also, soul singer Paula Lima was in this edition of the band.
Mamelo Sound System "Urbalia" (Ybrazil Records, 2003)
Monotonous, paper-thin pop/rap/tronica, with a glimmer of crunchy, Linkin Park-ish "alt-rock" guitars thrown in from time to time. These Sao Paulo rappers sound like petulant teenagers, while the music mix is so weak and one-dimensional, it's difficult to care about what they are saying, or where the group belongs in the Brazilian musical landscape. It's a real snoozer-oo. Then again, I'm just a grumpy old man, so what do I know? Perhaps if you like lightweight pop-rap, this is simply brilliant. Da bomb, and all that.
Mamelo Sound System "Operacao: Parcel/Remixalia" (Tratore, 2005)
Mamelo Sound System "Velha Guarda 22" (Tratore, 2006)
Mandala "Mandala" (Morisom, 1976) (LP)
A rarity of spacy Brazilian jazz, from keyboardist Luiz Roberto Oliveira, who also apparently became interested yoga and new age spirituality. Saxophonist Roberto Sion, Nelson Ayers, Zeca Assumpcao and other Brazilian jazz artists are part of the ensemble...
Manduka - see artist discography
Abilio Manoel - see artist discography
Sandra Mara "Poema Do Morro" (Epic Records, 1975) (LP)
Marcelo "Marcelo" (EMI, 1978) (LP)
The first album by the incredibly long-necked Brazilian actor-composer Marcelo Costa Santos, who found a slick disco-fusion-funk groove, and made what some folks consider a funk-fusion classic... Almost all of the songs on here are originals -- although he does cover a Caetano Veloso song -- with a standout track being the widely posted "Algo No Ar," a driving, propulsive fusion tune worthy of LA Express-ability... Marcelo recorded about a dozen albums total... When I have more time, I'll let you know about the others as well.
Marcelo D2 - see artist profile
Marcia "Eu E A Brisa" (Philips, 1968) (LP)
Understated bossa nova ballads... I can't say as I'm a huge fan of her voice, in particular, but these are classy recordings. This album is notable for including the debut recording of Johnny Alf's song, "Eu E A Brisa," which became a bossa/MPB standard. Overall, this disc was a little too sedate for me.
Marcia/Various Artists "DISCOS ODEON - AO VIVO" (Odeon, 1973) (LP)
A live showcase for some of the lesser-known artists on the Odeon label, including singer Ari Vilela, along with Marcia, Simone and jazz vocalist Leny Andrade...
Marcia "Rimas" (EMI-Odeon, 1973) (LP)
Marcia "O Importante E Que A Nossa Emocao Sobreviva" (1975) (LP)
Marcia "Eu So Queria Ser" (Pointer, 1983) (LP)
Marcia "Volume One: Pra Machucar Seu Coracao" (Caravelas, 1995)
Marcio & Goro "Atrevida" (1997)
Marcio & Goro "Ponto G" (1998)
Marcio & Goro "Festa Surpresa" (Abril, 1999)
Angela Maria - see artist profile
Luiza Maria "Eu Queria Ser Um Anjo" (Philips, 1975) (LP)
(Produced by Sergio de Carvalho)
A cool bluesy boogie-rock, psychedelic album by a husky-voiced gal who could belt it out like Tracy Nelson or Mama Cass, and a compact, all-star session crew backing her up that included Antonio Adolfo on piano, Lulu Santos on guitar, Chico Batera, Rick Ferreira (who also wrote some of the material and did some of the arrangements) and Jim Capaldi (of the British folk-prog band Traffic) pitching in as well. Her voice is a little hard to handle, but the musical backing is cool, sort of similar to Rita Lee's stuff around the same time, but better. The music ranges from spacey, cosmic epics to funky blues jams and delightfully opens with a bluegrassy country number, "Na Casca Do Ovo," which is a style very foreign to mainstream Brazilian pop. Apparently, Luiza Maria went on to sing backup for several stars, notably Tim Maia and Ivan Lins, but other than that I don't know how much of a dent she made in the music scene. This disc is definitely worth a spin, although many listeners may find it a bit grating.
Luiza Maria "Tarantula" (Leblon, 1993)
Marcia Maria "Marcia Maria" (Capitol Records, 1978) (LP)
(Produced by Carlos Lemos)
Blech. I dislike her voice, as well as the bland, '70s jazz-pop arrangements. Kind of a slick, fusion- and disco-tinged MPB ballads session, with a laid-back, moderate-to-slow tempo throughout, so that in addition to sounding too slick, it also feels a bit lifeless. Notable, I suppose, for some of the backing musicians: Lincoln Olivetti and Jorge Robson anchor the band, which also features some veteran jazz players, such as Aurelio, Ze Bodega, Ed Maciel, clarinetist Netinho, and other old pros. Didn't do much for me, though.
Marcia Maria "Colo Do Rio" (Caravage/L'Arome, 1985)
Clattersome, overly energetic samba-jazz vocals from a Brazilian expatriate living in Paris, backed by an enthusiastic European trio. This is the sort of music that, when I play it at home, my wife is likely to hurl heavy objects at me across the room in order to make it stop. Maria's aggressive approach derives from the Tania Maria-Elis Regina school of shouted vocal power... I found this to be really irritating, though jazz fans might be more forgiving. Apparently, Maria recorded one album earlier in Brazil, not long before she headed for France.
Marcia Maria "Brasil Nativo" (Fremeaux & Associes, 2008)
Neusa Maria "A Melhor Cantora De 1956" (Sinter, 1957) (LP)
A long-forgotten vocalist from the pre-bossa era; Ms. Maria was a pretty-sounding, but relatively bland singer, backed here by light, inconsequential orchestrations. Patti Page comes to mind, or Doris Day, perhaps. Nothing "bad," but also not terribly dynamic or inspiring. Includes a few Italian-themed numbers ("Que Sera Sera," "Arrivederci Roma," etc.)
Silvia Maria "Coragem" (Arte Maior, 1981) (LP)
Tania Maria - see artist profile
Ze Maria - see artist profile
Cesar Camargo Mariano - see artist profile
Torcuato Mariano "Paradise Station" (Windham Hill Records, 1994)
Torcuato Mariano "Last Look" (Windham Hill Records, 1995)
Torcuato Mariano "Diary" (215 Records, 2004)
A very, very soft jazz fusion set. Not my cup of tea, but for the smooth jazz set, I imagine this'd be kinda nice.
Torcuato Mariano "Lift Me Up" (215 Records, 2006)
Torcuato Mariano "So Far From Home" (Nu Groove Records, 2009)
Marina - see Lima, Marina
Marines & Sua Gente - see artist profile
Evandro Marinho "O Som Do Barzinho, v.6" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.7" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.8" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.9" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.10" (Universal/Matrix, 2001)
Volume Ten of this intriguing and generally pleasant live acoustic series, with singer-guitarist Evandro Marinho working through an intimate set of MPB ballads, songs written by the likes of Djavan, Gilberto Gil, Gonzaguinha, Beto Guedes, Ivan Lins and Caetano Veloso (as well as some less well-known composers). The audience sings along, sharing an affection for the audience: it might not be the original artists singing the songs, but the magic is still shared.
Francisco Mario "Retratos" (Fantasy/Caju Records, 1994)
(Produced by Francisco Mario)
This reissue pairs up two albums by Minas Gerais guitarist Francisco Mario, Conversas De Cordas, Courous, Palhetas E Metais, from 1984, and 1986's Retrato, which found him working with many of Brazil's best modern jazz/choro performers, such as Zeca Assumpcao, Paulinho Baga and Raphael Rabello (who played on the Conversas album...) Nice stuff, with a wide variety of regional influences; his use of amplification makes him sound a bit like a Brazilian Chet Atkins... Apparently Mario died in 1988, from HIV disease... Alas! Another voice sadly silenced.
Marisa - see artist profile
Marku - aka Marku Ribas
Marlene - see artist profile
Andrea Marquee "Zumbi" (YBrazil/Stern's, 2000)
Trip-hop and soul-tinged pop, with nods to the past such as covers of songs by Caetano Veloso, Jorge Ben and Zeca Pagodinho, as well as a slew of original tunes. Marquee isn't as forceful as fellow soulster, Daude, nor as spazzy as supersinger Daniela Mercury, though that's the general area she's aiming for. This didn't set off any bells for me, but it may be of interest for others looking for contemporary, post-MPB pop that's a little off the beaten path.
Andrea Marquee "Melhores Momentos" (BMG, 2002)
Dercio Marques - see artist profile
Doroty Marques "Erva Cidreira" (Discos Marcos Pereira, 1980) (LP)
Doroty Marques "Semente" (Discos Marcos Pereira) (LP)
Ivanilton Marques "Umbanda" (Nortson Records, 1977) (LP)
Jayme Marques "Brasil Pop" (RCA-Spain, 1975) (LP)
A Brazilian guitarist who initially took his cues from the Baden Powell/Luiz Bonfa school, Marques was a Mato Grosso native who toured Europe in the early '60s, and is credited with introducing bossa-jazz to European audiences. He later recorded several albums in Spain during the 1970s, becoming a significant exponent of bossa-soul fusion. This early album starts off with fairly standard material -- a jazzed-up version of "Berimbau," followed by several guitar-centered tunes. Breezy keyboards come in midway, and his jazz-fusion tendencies become even clearer with the inclusion of a couple of Marcos Valle tunes. This is pretty lightweight, muzak-y stuff, a little stiff sounding, but not unpleasant (other than his atrocious soul vocals!) This will probably float your boat if you're into the whole lounge/acid jazz sound.
Jayme Marques "Jayme Marques" (RCA-Spain, 1976) (LP)
Jayme Marques "So Much Feeling" (RCA-Spain, 1977) (LP)
This has a more deliberate (and more accomplished) jazz-fusion feel... Sleek LA Transfer-style keyboards, flute and bossa rhythms predominate, and while this is decidedly cheesy, easy listening, it's also nice in parts. There are a couple of original tunes on here, along with several well-chosen covers, including a Caetano Veloso's "Irene", and a meandering twelve-minute long(!) version of Milton Nascimento's "Vera Cruz." I'd be a little embarrassed playing this on the radio or listening to it casually at home, but I suppose it's worth checking out.
Jayme Marques "En Directo" (RCA-Spain, 1979) (LP)
Jayme Marques "The London Connection" (Cedar Tree Records, 1995)
Moacyr Marques "Jazz & Bossa Nova" (Tiger Records, 1961) (LP)
(Produced by Norival Reis)
Saxophonist Moacyr Marques was a longtime member of the TV-studio orchestra of Rede Globo, and also worked in Brazilian jazz ensembles led by Radames Gnattali, Zaccarias and Copinha, as well as with North American bandleaders such as Ray Conniff, Henry Mancini and Nelson Riddle. He recorded a handful of albums under his own name, including this unassuming set of pure easy-listening dance music, leading a small combo that also featured a pianist named Zequinha. I suppose this is vaguely in Stan Getz or Dave Brubeck territory, and okay for folks who like soft/cool jazz of that era... The album is divided in half: Side One covers standards like "Lullaby Of Birdland," "My Funny Valentine" and "Taking A Chance On Love," while Side Two has a bunch of perky, light-jazz renditions of Brazilian sambas and newer bossa numbers. It's a very conservative album, though at the very end, on the last few tracks they branch out a little and try some more ambitious stuff, and take a few longer, more soulful solos. The best song was an original -- "Real Conclusao," written by the band's bassist Artur Barbosa -- this along with the last track, Ribamar's "Ideas Erradas" was where the band's heart was really at. Not dazzling, but performed well and very much of its time.
Paulo Marquez "Orgia Em Samba" (Columbia Records, 1958) (LP)
Paulo Marquez "Doutor Em Samba" (Columbia Records, 1959) (LP)
Paulo Marquez & Carmen Costa "Musica De Paulo Vanzolini" (Discos Marcus Pereira, 1974)
A tribute album to Sao Paulo samba songwriter Paulo Vanzolini, with some duets as well as solo performances by both samba diva Carmen Costa and the less well-known Marquez. His vocals are much stronger, and in the second half of the album he gets into some really sweet acoustic sambas, replete with flute and cavaquinho. Most of the record, though, is of lush MPB arrangements, which are mostly fine though on occasion a rather goofy, cheap-sounding electric keyboard chimes in, sounding at odds with the rest of the classy orchestrations. Nice stuff overall, though: Vanzolini was a very robust and hearty composer, and these are strong renditions of his work, particularly the solo stuff by Marquez.
Mar Revolto "Mar Revolto" (Musiquim, 1979) (LP)
(Produced by Chelito & Silvio Palmeira)
An eclectic, acoustic-y rock album which ranges from semi-new wave and funky fusion to bland choral folk-pop reminiscent of It's A Beautiful Day (or in a more Brazilian comparison, perhaps to Boca Livre?). There's also a steady undercurrent of frevo bandolim-guitar duetting that brings Moraes Moreira and Novos Baianos to mind, though by and large I didn't find this album all that compelling. Well, maybe I take that back: the second half of the album is much more interesting than the first half... It almost feels like they were working it out as they went along, but whatever the creative process might have been, they loosen up and get pretty funky towards the end, particularly on the driving tempo of "Chaxaxado," which is a pretty groovy fusion tune, and should appeal to fans of Mores Moreira. I started out skeptical, but was kind of getting into it by the end. Go figure. Anyway, if you're looking for obscuro, marginal Brazilian rock, this is a good record to track down.
Mike Marshall - see artist discography
Martinha "Serie Bis: Jovem Guarda" (EMI, 2007)
Martinha "Como Antigamente" (Warner, 1974) (LP)
Abilio Martins "Voltei" (Tropicana, 1970) (LP)
A popular Carnaval float puxador (someone who leads the crowds in singing the new samba songs), Abilio Martins had a deep, gruff voice, and a plainspoken style that was nonetheless expressive and inviting. The musical backing is what's most unusual on this modest samba set: along with a small, keening female chorus, there's a Walter Wanderley-style organ lacing through the songs, dit-dit-doot-dooting alongside Martins' robust vocals. Not an immortal record, but a nice one, with an unusual feel that makes it a bit of a curio.
Herivelto Martins "Carnaval De Rua De Herivelto Martins" (Mocambo, 1957)
Herivelto Martins/Various Artists "Jubileu Herivelto" (RCA Victor, 1957) (LP)
This is a tribute album released in 1957, honoring the career of Brazilian pop songwriter Herivelto Martins. Martins doesn't actually perform on the record, but the artists who do -- Nelson Goncalves, Dircinha & Linda Batista, Ivon Curi, Carlos Galhardo, Trio De Ouro, etc. -- represent the creme-de-la-creme of the pre-bossa "radio singers" era. If you like old-fashioned nostalgic music, this is a wonderful collection. Nice instrumental choro/jazz turns from Jacob Do Bandolim and Zaccarias, as well!
Herivelto Martins/Various Artists "SINFONIA DE PARDAIS: UMA HOMAGEM A HERVIELTO MARTINS" (Som Livre, 1999)
A lovely, luminous version of "Pensando Em Ti," crooned to perfection by Caetano Veloso, kicks off this tribute to samba-cancao composer Herivelto Martins. Numerous other MPB elders are in on the project, including Leny Andrade, Maria Bethania, Baby Do Brasil, Beth Carvalho, Moraes Moreira, Ney Matogrosso, et. al. None of the other songs reach the height of Veloso's contribution, though: this is a very glossy, modern, often cluttered affair that leaves behind the antique beauty of Martins' songs, or the charm of his work as a member of Trio De Ouro. Nice liner notes, though -- great way to learn more about his life, even if the music is a little iffy.
Nelly Martins & Tito Madi "Encontro No Sabado -- Um LP Para Namorados" (Continental, 1959) (LP)
An appealing album of duets made with Nelly Martins, a sweet, Patti Page-ish, plain-jane vocalist from the radio-singer era, and singer Tito Madi, one of the major stars of the pre-bossa era. The two sound really nice together, and the arrangements, though fairly light, have a nice little bounce to them. Madi also sings solo on several songs, which is less fun, but still quite pleasant. Good stuff.
Nelly Martins & Radames Gnattali "Piano Duo" (1967) (LP)
Mart'nalia - see artist profile
Ana Martins "Futuro Amantes" (Rip Curl Records, 2000)
Ana Martins "Linda" (Rip Curl, 2001)
A pleasant, if underwhelming, second album by singer Ana Martins, daughter of Nelson Angelo and braz-jazz guitarist Joyce. The modest bossa arrangements and her relaxed vocals are reminiscent of '60s-era chanteuses Nara Leao and Astrud Gilberto. Overall, I'd have to say Martins lacks spark -- this disc, sprinkled with guest performers and contributions by both her parents, travels familiar ground, and while it's nice enough, it's a bit on the slack side. Worth checking out, though.
Ana Martins "Samba Sincopado" (Video Arts, 2004)
Aurea Martins "O Amor Em Paz" (RCA Camden, 1972) (LP)
(Produced by Rildo Hora; arrangements by Luiz Eca)
The first album by this Rio-area singer, though her only full-length release for nearly two decades until she returned to the studio in the early 1990s. A challenging and at times uneven record, with a moody undertone that's compelling, though plenty of irritating qualities as well. Martins was one of those brusque, declarative Brazilian singers, in the tradition of Elizete Cardoso, Maysa or Maria Bethania, whose forceful, arty presentation may be difficult for listeners in search of more mellow, readily accessible material. She also doesn't always sing in tune, which can be problematic: I suspect not much time was spent on the recording and remixing of this record, as it has a sort of fly-by-the-seat-of-your-pants feel to it. Most irritating, though, is the softly chaotic piano playing, which has an intrusive, note-heavy improvisational quality, and is frequently distracting. The rest of the musicians sound unrehearsed as well, and while this has the trappings of classic early-'70s experimental MPB, it's more a window into the genre's less-structured side. Luiz Eca is credited as the album's arranger, but this has little of the tightly-sculpted semi-classical feel of his own work of this era, and more of a jazz improv vibe. Minas Gerais poet Paulo Mendes Campos intones on several tracks, doing sort of a Vinicius Moraes imitation, which comes off as yet another distraction on a far-flung, oddly structured album. This is interesting, to be sure, though mostly in a time-capsule way... Not a record I personally could see coming back to very often. But fans of the early-'70s MPB divas will want to check this one out.
Edinho Marundele & Onias Comenda "Eu, Bahia" (Philips/Fontana, 1972) (LP)
An interesting album of berimbau and Orixa-related percussion by two players I've never heard of before. Each artist takes one side of the LP -- Marundele (whose real name was apparently Edson Emerete de Sant'Anna) is the drummer, and his side is dynamic and intense, running through rhythms from Angola and their Brazilian permutations. Similarly, berimbau master Onias Camardelli plays capoeira music from Angola and Bahia, as well as improvisations of his own creation. Some of it is spooky and haunting, some of it seems kind of static and same-y. I don't think the average fan of Brazilian pop would get much out of this, but for cultural scholars and capoeira students, this album would be a goldmine.
Patricia Marx - see artist profile
Carminha Mascarenhas "A Noite E Carminha" (Copacabana, 1961) (LP)
Germano Mathias - see artist discography
Helio Matheus "Helio Matheus" (RCA-Victor, 1975) (LP)
Easygoing '70s pop with funky, fusion-y roots -- sort of like what Michael Franks might sound like, if he grew up in Rio. Helio Matheus is the vocalist, but the ensemble backing him includes all the key members of the jazz band Azymuth, including keyboardist Jose Roberto Bertrami. Matheus can be considered part of the groovy-smooth "samba rock" sound of the '70s, and this disc has a pleasantly eclectic vibe -- I'm not a huge Azymuth fan, but compared to their other albums, it's a gem. Light, sweet pop that crosses over with the bossa and Rio funk scenes... For folks who are more into fusion-pop than I am, this would certainly be an album to track down. The second half of the album settles -- surprisingly -- into a folkie sort of vibe, even reminding me at times of Glen Campbell which, strangely enough, I mean as a compliment. The biggest surprise on this album was his cover of "Mi Secreto," a gorgeous romantic ballad that I know from Dominican singer Leonardo Paniagua, translated here as "Meu Segredo." What a trip!
Ney Matogrosso - see artist discography
Nilson Matta & Hendrik Meurkens "Encontros" (Malandro, 2000)
Nilson Matta/Ze Luis/Paulo Braga "Green Heart" (New Orbita, 2007)
Nilson Matta & Brazilian Trio "Forests" (Zoho, 2008)
Nilson Matta "Copacabana" (Zoho, 2010)
A Brazilian-born jazz bassist with roots in the New York music scene, Matta plays several original compositions here, as well as some standards such as "Asa Branca" and "Aquarela Do Brasil."
Pedrinho Mattar "Pedrinho Mattar Trio #3" (Farroupilha, 1965) (LP)
(Produced by Os Farroupilhas)
An excellent, serious jazz album, certainly one of the best of the era, with fluid, swinging leads by pianist Pedrinho Mattar and an equally deft, adventurous drummer backing him up, as well as a solid, smooth bass player. This supple, loose-limbed, improv-heavy performance stands in marked contrast to the stiff, hyper rigidity of most of the "bossa trios" of the era. If you're looking for decent early Brazilian jazz, you'll definitely want to check this out, particularly if you like contemporaries such as Manfredo Fest or Antonio Adolfo -- frankly, I thought this album was more genuinely fun to listen to than most of their stuff as well.
Pedrinho Mattar "Um Show De Mattar" (Copacabana, 1971) (LP)
(Produced by Moacyr Silva)
A sometimes perky, sometimes slushy set of jazzy and orchestral soft-pop instrumentals. The small-combo stuff is okay, but the more ornate material is pretty painful -- '70s easy listening in the extreme. Pianist Pedrinho Mattar leads the ensemble, with harmonica player Mauricio Einhorn popping up on several tunes. The material is a mix of Brazilian stuff and lounge-y standards by folks such as Francis Lai, Michel Legrand and Henry Mancini... I'm sure there are lounge music devotees who will get a lot out of this one, but it ain't for me.
Pedrinho Mattar "Brasileirinho" (RGE, 1981) (LP)
(Produced by Reinaldo B. Brito)
A set of older compositions from artists such as Waldyr Azevedo, Ary Barroso, Dolores Duran and Sinho, covered by Pedrinho Mattar on piano, backed by drummer Augusto Arid and bassist Gabriel Jorge Bahlis.
Matuskela "Matuskela" (Chantecler, 1973) (LP)
One of those weird, wonderful gems from the hippie era, an eclectic folk-prog set packed with acoustic and electric guitars, bongo drums, odd, primitive synthesizer riffs and urgent, yearning, earnest vocals. Although a few regional instruments creep in around the margins, this record lives mostly in a non-Brazilian sphere, a straight-up acid-rock set with echoes of Van Morrison, Santana, The Beatles and Iron Butterfly intertwined in a clunky but charming prog-adelic vibe. There's a lot of stylistic variety, bound together by a spacey, noodly experimentalism -- if you enjoy Alceu Valenca or Ze Ramalho's earliest albums, you might want to check these guys out as well.
Matuto "Matuto" (Self-released, 2011)
(Produced by Scott Kettner & Rob Curto)
One of the boldest, most exuberant world music crossover albums in recent years... Clay Ross is a jazz guitarist originally from South Carolina, who in his youth rejected the bluegrass and mountain music that he saw as redneck-y and reactionary but came back to it after years of musical exploration in other genres. Here he seamlessly melds modern jazz (including some '70s-style fusion) with regional Brazilian music, mainly choro, forro and baiao, with a touch of twang swirled into the margins. This is an updated version of an album Ross first released in 2009, with several new tracks that place heavier emphasis on the Brazilian vibe, giving a lot of the spotlight to accordionist Rob Curto, who plays some absolutely blistering riffs that will thrill fans of Braz-jazz old-timers such as Sivuca, Hermeto Pascoal and forro legend Luiz Gonzaga. On the country side of things, there's also a nice version of Norman Blake's "Church Street Blues," underscoring the relationship that Ross discovered between Brazilian and Appalachian melodies... A catchy, dynamic and very adventurous album... though also a bit on the challenging side.
Ruy Maurity - see artist discography
Jose Mauro "Obnoxious" (Quartin, 1970) (LP)
One of the rare records championed by the European acid-jazz scene which actually lives up to the hype. This lovely album ranges from lovely acoustic balladry to lush (but subtle) orchestral pop. A couple of tracks are mildly irritating, but overall this is a winner. The spacey, melodic numbers prefigure some of Gilberto Gil's calmer moments. Musicians include Paulo Moura and Wilson Das Neves, with arrangements by Maestro Gaya. Recommended!
Jorge Mautner - see artist discography
Yo-Yo Ma "Obrigado Brazil" (Sony Classics, 2003)
Cellist Yo-Yo Ma, possibly the most celebrated classical musician alive, has understandably fallen for the allure of Brazilian bossa nova, having previously explored Appalachian mountain music and the Argentine tango. Yet, like the countless American and European jazz players that precede him, it's difficult to tell in Ma's luso-classical crossover where the subtlety of samba ends and the glass-clinking simplicity of dinner jazz begins. In the baroque world, emotionally resonant, romantic passages are Ma's forte, but the precision and exactitude of Ma's classical background work against him when approaching the odd, interstitial nuances of Brazilian popular music. Backed by Brazilian virtuosi such as percussionists Paulo Braga and Cyro Baptista, Ma excels when playing the fast-paced, Dixieland-ish instrumentals written by choro pioneer Pixinguinha, though on slower, harmonically indefinite material such as the Antonio Carlos Jobim songbook, Ma sounds stiff and stilted, perhaps a little too perfect. Classical fans will doubtless find this album to be an enriching musical journey, while Brazilians may raise a wary eyebrow of amusement. Lovely performances, but they don't completely hit the mark.
Yo-Yo Ma/Various Artists "Obrigado Brazil: Live In Concert" (Sony Classics, 2004) (CD & DVD)
Yo-Yo Ma & Viva Brazil "Live EP" (Sony Classics, 2012)
Rose Max "Atlantico" (Cinq Etoiles, 2003)
An adequate singer amid slick, somewhat generic slick-soul MPB arrangements. Didn't do much for me, but might be fun for folks who like singers such as Patricia Marx or Luciano Mello.
Maysa - see artist discography
Ana Mazzotti "Ana Mazzotti" (Top Tape, 1974) (LP)
A mellow MPB pop/jazz fusion album from the mid-1970s that features pleasant, if underwhelming, vocals by Ana Mazzotti and musical backing from members of the well-known Brazilian jazz band, Azymuth. This has been hailed by devotees as a lost classic of Brazilian fusion, and I suppose it is, although I wouldn't get too worked up about it. Mazzotti has a refreshingly cool approach to the music, much like Tania Maria but far less frantic, and the arrangements are similarly cool and relaxed. This features "Roda Mundo," a Mazzotti original that has been covered several times since, notably by the singer Salome De Bahia. This is a nice record, worth checking out, but not earth-shattering by any means.
Ana Mazzotti "Ao Vivo -- Festival Do Verao Do Guaruja: 1982" (FIF, 1982) (LP)
Ze Luiz Mazziotti "Cancoes De Chico Buarque" (Dabliu, 2002)
A good, standard-issue MPB homage to master songwriter Chico Buarque... Mazziotti's voice is rich, velvety and confident... The arrangements are fairly restrained, although on the whole this disc may drift into milkier modes than some listeners might like. If you enjoy the elegant, smooth-jazz side of the MPB scene, though, this album is definitely worth checking out.
Jose Luiz Mazziotti "Jose Luiz Mazziotti" (2004)
Sylvio Mazzucca "Isto E Samba" (Continental Records, 19--?) (LP)
Sylvio Mazzucca "Os Grandes Sucessos" (Tropicana Records, 19--?) (LP)
Sylvio Mazzucca "Baile Do Samba" (Columbia Records, 19--?) (LP)
Sylvio Mazzucca "Baile Do Sucessos" (Columbia Records, 19--?) (LP)
MC Buchecha "MC Buchecha" (Universal-Mercury, 2003)
Super-perky, lightweight pop, with a token veneer of hip-hoppish production. Not much to write home about, really. Apparently this is his only solo album, though he's also contributed to a few compilations and other hip-hop projects, as well as the duo of Claudinho & Buchecha.
Marilia Medalha - see artist discography
Arnoldo Medeiros "O Homen, O Poeta" (RCA, 1975) (LP)
(Produced by Helcio Milito; arrangements by Luiz Eca)
An appealing album by a successful young MPB composer of the 1970s, backed here by Luiz Eca and the Tamba Trio, as well as a bright chorus made up of members of Trio Esperanca and The Golden Boys. The sound is mostly a soft version of the mellow, summery "samba rock" style, with a disco-y/fusion-y tinge to the production. However, this is one of those pleasant instances where the material and the performances transcend the limitations of cheesy pop production -- indeed, the album is inviting enough that the kitschy '70s sounds are pleasantly nostalgic. I'm not sure if Medeiros made many other records, but this one's really nice, especially with Trio Esperanca singing throughout. Worth checking out!
Elton Medeiros - see artist discography
Geraldo Medeiros & Orquestra Brasileira De Ritmos "Dancando O Frevo" (Musidisc, 1956) (LP)
Trumpeter and saxophonist Geraldo Medeiros was an integral member of Severino Araujo's Orquestra Tabajara... On this "solo" set, he digs into the frevo style the Tabajara crew excelled at... This set has a rougher, slightly wilder edge, without quite the same sleek panache as the Tabajara albums, and a smaller ensemble as well. (Not sure who the other musicians were, but I assume they were also drawn from Araujo's big band... Sounds like about an eight-piece band, perhaps?) Admittedly, I find the manic pace and static arrangements of the frevo style to be a bit monotonous -- a little goes a long way -- but you're a devoted gafieria fan, you'll want to check this out.
Os Megatons "Os Megatons " (Philips, 1964) (LP)
Twangy, jangly surfin' rock instrumentals, also with a Shadows-esque tone. To be honest, the lead guitarist(s?) weren't really all that good, but even if they lacked finesse, the band still sounded cute, and they were competent rockers. Like many Brazilian rock bands of the era, I wish they had sung in Portuguese... But I felt the same way about the Shadows as well...
Helena Meirelles "Raiz Pantaneira" (Eldorado, 1998)
An unusual, but un-compelling record from the Brazilian back-country. Meirelles is a little old lady who plays a shiny, metallic guitar that looks like a dobro. Her musical style is atypical: it sounds a lot like Mexican corridos, but is also rather static and monotonous. I'm sure it's super-authentic, but I couldn't get into it...
Helena Meirelles "Flor Da Guavira" (Eldorado, 1999)
Helena Meirelles "Grande Dama Da Viola" (Eldorado, 1999)
J.T. Meirelles - see artist discography
Joao Mello "Apresentando Joao Mello Em Ritmos Do Brasil" (Sinter, 1959) (LP)
Joao Mello "A Bossa Do Balanco" (Philips, 1963) (LP)
(Produced by Luiz Eca)
A delicious set of classy, restrained bossa nova songs from Joao Mello, a prolific composer who also went on to become one of the major session producers of the classic bossa nova and MPB years. Here he is backed by pianist Luiz Eca and the Tamba Trio, in one of their most crisp and understated performances. There's a sweet lilt and danceable bounce to this album, also a pleasant air of imperfection and imprecision -- this could have easily been an overproduced, over-orchestrated pop set, instead, it's a lovely record of small-scale, small-ensemble bossa, a model of economy. Nice to hear such a famous studio producer performing as a frontman for once: sounds great. Features several songs written by Mello, as well as by Tito Madi, Chico Feitosa, Rildo Hora and others.
Joao Mello "Coracao So Faz Bater" (Som Livre, 2000)
Jorge Mello "Besta Fera" (Crazy, 1976) (LP)
Luciana Mello - see artist discography
Luiz Melodia - see artist discography
Fernando Mendes "Fernando Mendes" (EMI, 1974) (LP)
(Produced by Maestro Gaya & Milton Miranda, arrangements by Clelio Ribeiro)
Soporific, ephemeral soft-pop with occasional glimmers of life... Mendes seems to have been ready to take up the Roberto Carlos's long-discarded mantle as a Brazilian teen heartthrob, but boy, is this snoozy. There's one song, "Nao Vou Me Entregar," that has some mildly wild electric guitars on it, but for the most part the arrangements are rather static and slow. You're not missing anything here, trust me.
Fernando Mendes "Fernando Mendes" (EMI, 1975) (LP)
(Produced by Miguel Plopschi, arrangements by Clelio Ribeiro)
There's a lot more stylistic variety from his previous album -- maybe a touch of Santana-esque guitars to spice things up -- but it's still pretty dull material. Leif Garrett and Shawn Cassidy seem like pimpin' mack daddies compared to this wuss!
Fernando Mendes "Fernando Mendes" (EMI, 1978) (LP)
Fernando Mendes "Selecao De Ouro" (EMI, 1998)
A best-of set...
Helio Mendes "Weekend No Rio" (Musiplay, 1963) (LP)
Unremarkable, third-tier bossa-era nightclub instrumentals... I suspect Helio was banking on folks confusing him with the then-rising Sergio Mendes, a theory which is borne out by his cover (on his other album) of Jorge Ben's "Mais Que Nada," which had been a huge hit for Sergio. Regardless, this is hardly memorable material: the piano work is okay, everything else -- saxophone, accordion, percussion -- is leaden and bland. A cheesy tourist album with, as far as I can tell, no real historical significance.
Helio Mendes & Seu Trio Vagalume "Na Bossa" (Musiplay, 1963) (LP)
Renato Mendes "Electronicus" (RGE, 1974) (LP)
Some sort of electronic music project, with keyboardist Mendes playing on the Moog synthesizer. I haven't heard this one myself, just caught wind of it through the grapevine...
Roberto Mendes "Flama" (Nosso Som, 1988)
Roberto Mendes "Matriz" (Casa Da Musica, 1992)
Roberto Mendes "Roberto Mendes & Baianos Luz" (Velas, 1994)
Roberto Mendes "Roberto Mendes" (Velas, 1994)
Roberto Mendes "Voz Guia" (Velas, 1996)
Roberto Mendes "Minha Historia" (Velas, 1999)
Roberto Mendes "Traducao" (Atracao, 2002)
(Produced by Ana Maria T. Mendez)
A super-groovy, funky-freeform, acoustic-samba-MPB groovefest... Bahian singer-songwriter Mendes readily brings to mind Gilberto Gil's exuberant improvisational work of the early 1970s -- the driving, hypnotic fervor is there, as is the light vocal tone. This affinity is borne out in a duet with Gil's old buddy, Caetano Veloso, who adds his elegant touch to "Namorar, Vem Namorar," one of the numerous Mendes originals on this delightful album. Margareth Menezes and Jussara Silveira also chime in, although it's Mendes's fervent, high-energy performance that really makes this album click. If you're a fan of Jorge Ben or Gilberto Gil's classic samba-funk grooves, you'll want to check this disc out as well! (Thanks to the folks at Cana Brava Records, in Salvador, for sending a copy our way...! )
Roberto Mendes "No Embalo Da Seresta" (2002)
Roberto Mendes "Tempos Quase Modernos" (Atracao, 2006)
Roberto Mendes "Cidade E Rio" (Biscoito Fino, 2008)
Sergio Mendes - see artist discography
Martha Mendonca - see artist discography
Roberto Menescal - see artist discography
Jose Menezes "Dedos Privilegiados" (Sinter, 1954) (LP) (10")
Guitarist Jose Menezes was a session player on countless recordings during the 1950s, notably playing with maestro Radames Gnattali. He also led his own combo on a number of records before forming the parodic bossa-era band, Os Velhinhos Transviados. This early album -- originally issued as a ten-inch LP -- includes a number of Menezes's original compositions, including "Um, Dois, Tres" and "Encabulado," as well as some co-written with Luis Bittencourt (who I believe was also known as Joao do Bandolim...)
Jose Menezes "A Voz Do Violao" (Sinter, 1957) (LP) (10")
A nice set of guitar solos, covering a wide variety of styles, such as choro, maxixe, and samba-cancao...
Jose Menezes "Ritmos Em Alta Fidelidade" (Sinter, 1957) (LP)
A jazzy 6-song set from this prolific guitarist... This is a nice EP with Menezes playing electric guitar in a variety of styles, playing samba and regional Brazilian music with a North American jazz-guitar sensibility. His medley of baiao classics, "Nao Interessa Nao/Repinica Raimundo/Xaxado" is particularly noteworthy, giving this sometimes-inaccessible style a sweet, light tone. Nice stuff!
Orq. De Frevo Jose Menezes "Os Maiores Sucessos Do Frevo" (PolyGram, 1983) (LP)
I'm not exactly sure I could describe to you what the style of music known as frevo is all about -- according to the modest liner notes on this album, it was first noted as an offshoot of the capoeira bouts, as early as the 1850s... So it's a rhythm or style of music that predates the maxixe and samba by several decades... But I still don't know enough about it to fairly describe its characteristics or significance. In this incarnation, as played by Jose Menezes's band, it's a fairly glitzty, hyperactive marching band music: if your local college brass band was really, really, really creative, they might come up with something like this.
Margareth Menezes - see artist discography
Os Meninos Do Deus "Aperte...Nao Sacuda!" (1974) (LP)
Rock and psychedelic-tinged gospel music from the tropicalia era of Brazilian pop. A modest gospel chorus melds well with Bowie-esque guitar, folk-rock and '70s-style pop; there's a clear debt to Hair and other hippiesque gospel-pop of the time. Overall, this is quite nice, a good mix of perky, earnest innocence and musical accomplishment. Like Communidade S8 (another Brazilian religious group that put out records around the same time) Meninos Do Deus were a musical band affiliated with a larger religious organization, in this case, the Children of God, a creepy, hippie-ish evangelical group from America that had cultish, apocalyptic overtones and was notorious for various sexual practices, including "flirty fishing" (having young women sexually seduce new converts, and find financial "donors" for the cause) as well as allegations of child abuse. If the evangelical angle (and the other stuff) doesn't bother you too much, there are some nice poppy songs on here, although the history behind the music is pretty disturbing. I don't know how much these particular Brazilian musicians were involved in the politics or lifestyle choices of the international organization, although you can read more about them in this post on the Brazilian Nuggets website
Os Meninos Do Deus "Amor Nunca Falha -- Capitulo 2" (Polydor, 1975) (LP)
Os Meninos Do Rio "Os Meninos Do Rio" (Sony/Carioca Discos, 2000)
(Produced by Paulinho Albuquerque)
An absolutely gorgeous set of old-school acoustic pagode samba, honoring the work of composers such as Ivone Lara, Jair Do Cavaquinho, Elton Medeiros and Nelson Sargento. A bunch of these old-timers are pictured and named on the front cover, and make guest appearances throughout, although the album is anchored by a group of younger musicians who, I assume, go by the name of Os Meninos Do Rio. At any rate, this is a super-lovely record. Fans of Beth Carvalho or the Velha Guarda Da Portela owe it to themselves to track this one down.
Daniela Mercury - see artist discography
Alex Mesquita "Curva Do Tempo" (Rara Records, 2009)
Caio Mesquita "Jovem Brazilidade" (EMI Brazil, 2006)
Caio Mesquita "Ao Vivo" (EMI Brazil, 2006)
A live performance by saxophonist Caio Mesquita, with guest performer Ivan Lins...
Caio Mesquita "Natal" (Luar, 2006)
Caio Mesquita "Jovem Brazilidade, v.2" (EMI Brazil, 2007)
Caio Mesquita "Um Feliz Natal" (2011)
A dreadful easy listening holiday album by saxophonist Caio Mesquita, who was (one of many Brazilian answers to Kenny G. The title track, "Um Feliz Natal," is a cheesy cover of Jose Feliciano's Christmas classic, "Feliz Navidad." Just awful.
Caio Mesquita "Sertanejo" (Universal, 2009)
Custodio Mesquita "Prazer Em Conhece-lo" (Atracao, 1998)
Ronald Mesquita "Bresil '72" (Barclay, 1972) (LP)
The drummer for the late-1960s bossa-jazz band Rio 3, Ronald Mesquita briefly led this Sergio Mendes-ish bossa-pop outfit... The record came out in France; I'm not sure if the group was based there as well.
Suely Mesquita "Sexo Puro" (Tratore, 2007)
Suely Mesquita "Microswing" (Tratore, 2008)
Messias - see artist discography
Mestre Ambrosio "Mestre Ambrosio" (Tratore, 1997)
Mestre Ambrosio "Fua Na Casa De Cabral" (Sony/Chaos, 1999)
Challenging modern music from this youthful mangue beat band out of Recife. A truly weird, psychedelic, distorted take on the street samba sound, mixing spacy electric guitars with clattering percussion and other non-rock instruments, such as pife flutes, an accordion and a violin, and a wild mix of rock, forro, maracatu and other styles. It's kind of like hearing the Quinteto Violado on acid. (I bet they're amazing live.)
Mestre Ambrosio "O Terceiro Samba" (Sony, 2001)
(Produced by Beto Villares)
Their third album... another odd, compelling offering from this eclectic regional band... This time around their sound is much more stripped down, in some ways even static, yet the combination of a modern sensibility with antiquated regional styles such as coco and maracatu makes this album sound unique and fresh... The instruments are all acoustic, with a scratchy violin at the center of many songs, and a bit of accordion and forro-style percussion... You can tell instantly that this is a modern band, but their approach is so unlike their rock and samba-oriented contemporaries that it's really quite delightful... Highly recommended!
Mestre Bimba "Curso De Capoeira Regional" (JS Discos, 1969) (LP)
Mestre Caicara "Academia De Capoeira De Angola Sao Jorge Dos Irmaos Unidos Do Mestre Caicara" (EMI-Copacabana, 1973) (LP)
Stark-sounding capoeira of the "Angola" school, which is slower and less flashy than "regional" capoeira. This band was led by Antonio Carlos Moraes, aka Mestre Caicara, a Recife native who delved into the African roots of Brazilian capoeira, and was one of the first artists to record the Angola style. The rhythm is a slow, heavy beat, spanked out on a tambourine, with the berimbau leading the melody and pushing the movement. The vocals are also slow and deliberate, but also passionate and intense. Recommended, particularly for students of the art...
Mestre Marcal "...Interpreta Bide E Marcal" (EMI-Odeon, 1978) (LP)
(Produced by Renato Correa)
Nilton Delfino Marcal, better known as Mestre Marcal, was one of the most highly regarded percussionists of the 1970s, working with some of the decade's top samba stars, as well as recording several albums of his own, highlighting his mastery of batucada drumming. This record is an homage to his father, Armando Vieira Marcal, who sang and played percussion on Radio Nacional in the 1930s and '40s, and Marcal's musical partner Alcebiades Maia Barcelos, aka Bide, a cavaquinho prodigy who also performed on Radio Nacional and composed several early popular samba-cancao hits, including "A Malandragrem," which was first recorded by Chico Alves in 1927. Bide and Marcal backed numerous stars of the 1930s, and were particularly known for their work with legendary choro/samba-cancao flautist Benedito Lacerda.
Mestre Marcal "A Incrivel Bateria Do Mestre Marcal" (Polydor, 1987) (LP)
(Produced by Durival Ferreira)
A groovy collection of samba enredo Carnaval percussion, culled from various parade albums from the '70s and '80s. Drummer Nilton Defino Marcal, who died in 1994, apparently worked with several different samba schools, including Portela and Mangueira, with invariably great results. This disc should make batucada fans quite happy. The CD version includes liner notes that explain the role of all the various instruments in the bateria. Nice stuff.
Mestre Marcal "Samba Enredo De Todos Os Tempos" (Velas, 1993)
(Produced by J.C. Botezelli-Pelao & Argemiro Ferreira)
Percussionist Mestre Marcal takes on the role of a Carnaval puxador, singing lead in a sweeping and celebratory survey of popular Carnaval themes, originally performed between 1949-1988 by several samba schools that he has worked with over the decades. The performance style here is closer to 'Seventies samba-raiz, with the unstoppable rhythm section supporting a large vocal chorus, punctuated by cavaquinho and 7-string guitar, in contrast to Marcal's older, more stripped-down batucada recordings that mainly emphasized the drumming. Among the musicians, drummer Wilson das Neves is perhaps the most notable... Admittedly, it does all start to sound a lot alike, but it's great stuff nonetheless.
Mestre Marcal "Serie Aplauso" (BMG-Brasil, 1997)
Meta Meta "MetaL MetaL" (Mais Um Discos, 2014)
Metro "A Gota Suspensa" (Underground, 1983) (LP)
The independently-released debut album by this '80s new wave group originally came out under the band name A Gota Suspensa, but they changed to Metro after signing with a major label, and the album got retitled retroactively... The original lineup included lead singer Virginie, who quit the band a few years later when they started to change their sound.
Metro "Olhar" (CBS, 1985)
This was Metro's big hit album, and it's a pretty good -- at least better than average -- slice of genuine, uptempo Brazilian new wave. It's a strong showcase for Virginie's lead vocals, giving the record a real Romeo Void/Human League/Toni Basil/Erasure feel -- more keyboard-y than synthy, poppy and propulsive, but not brooding or fey. In a scene that was so derivative and less accomplished than their US or UK peers, this is an album that stands out for its vigor and pop appeal. Definitely worth checking out if you're interested in exploring this wing of Brazilian pop.
Metro "A Mao De Mao" (CBS, 1987)
I think this was the album that came out after group's original lead singer split off to form her own band, Virginie & O Fruto Proibido... Haven't heard it, though.
Metro "Deja-Vu" (Trama, 2002)
On this reunion album (which I don't think included their singer-gone solo artist Virginie) the remnants of Metro are joined and celebrated by younger artists such as Preta Gil and Otto, as well as old-timers like Jorge Mautner...
Hendrik Meurkens "Samba Importado" (L & R, 1989)
Hendrik Meurkens "Amazon River" (Blue Toucan, 2005)
A slew of heavyweight Brazilian jazz players -- including guitarist Dori Caymmi, percussionist Duduka Fonseca and album co-producer Oscar Castro-Neves -- back German-born harmonicat Hendrik Meurkens on this sometimes-lively exploration of Brazilian themes... Naturally, comparisons to two other Braz-oriented harmonica virtuosi come to the fore: like Toots Thielemans and Rildo Hora, Meurkens gets pretty mellow, but he also plays it fast, and in both cases comes up against the limitations of his instrument... (Slow sounds gooey, fast a bit goofy...) Nonetheless there are some elegant numbers, generally the vocal tracks, where the harp fades from the lead and becomes more of an accent, and these are pretty nice. Overall, this style of jazz is way too soft for me, but Meurkens does a fine job exploring various aspects of the Brazilian sound, and works in a wide range of styles... Smooth jazz fans will find this album quite lovely.
Hendrik Meurkens "Sambatropolis" (Zoho, 2008)
Hendrik Meurkens "Samba To Go" (Zoho Records, 2009)
Osmar Milito "... Deixa O Relogio Andar!" (Som Livre, 1971) (LP)
Osmar Milito "Nem Paleto, Nem Gravata" (Atco, 1973) (LP)
Osmar Milito "Uma Rosa Com Amor" (Som Livre) (LP)
Osmar Milito "Viagem" (Continental)
Osmar Milito "Aos Amigos Tudo" (2006)
Sidney Miller - see artist discography
Vange Milliet "Vange Milliet" (1995)
Vange Milliet "Arrepio" (1998)
Vange Milliet "Tudo Em Mim Anda A Mil" (Tratore, 2006)
(Produced by Zeca Baleiro & Paulo Lepetit)
Miltinho - see artist discography
Miltinho "New Malemolencia" (1986)
A solo album by Milton Lima dos Santos Filho, aka Miltinho of the vocal group MPB-4 -- not to be confused with the radio singer Miltinho (above)... This includes appaerances by other members of MPB-4, as well as Kledir Ramil and Ze Renato.
Carmen Miranda - see artist discography
Luperce Miranda "Luperce Miranda Interpreta Luperce Miranda" (MIS, 1978) (LP)
A sweet set of choro bandolim instrumentals, with a slight regional flair. Apparently Miranda was an old-timer in his seventies when this was recorded; indeed, he passed away not long after its release... But his age was certainly no impediment to his talent -- this is a great record. Anyone who's into the mandolin will want to track this one down, particularly for dazzling, inventive runs on songs such as "Moto Continuo," but also for the sweeter, more lyrical tunes. Fans of Jacob Do Bandolim and Joel Nascimento owe it to themselves to check this album out. Highly recommended.
Marlui Miranda - see artist discography
Pedro Miranda "Coisa Com Coisa" (Deckdisc, 2006)
(Produced by Joao Augusto & Pedro 7 Cordas)
Traditionalist acoustic samba from a (former) member of Teresa Cristina's highly-regarded Grupo Semente, gone solo with her blessing (and a nice guest appearance on one of the best tracks on this album...) This is nice stuff, and he hits all the right marks: fans of Paulinho da Viola, Martinho da Vila and like-minded preservationists will enjoy this set. I have to confess this album didn't totally wow me; Miranda's vocals aren't the most expressive and the music, while pleasant, seems a little too controlled and contained overall. Nonetheless, it's all very high quality, and several tracks have made it into long-term rotation at Casa da Slipcue. Definitely worth checking out.
Pedro Miranda "Pimenteira" (Tratore, 2009)
Beautiful! On this disc, Miranda really comes into his own... He seems like a more confident, relaxed performer, more willing to project his own personality and warmth into the music, and the sonic palette is wider and more textured, bringing in a sleek, big-bandy undercurrent than echoes jazzy, 1950s-era gafieira and the urban-based samba do asfalto of the '60s, but not in a way that detracts from the music's rich samba base. It's one of the nicest blends of modern/poppy and acoustic/old-school that I've heard in a while. A rich, sweet, very pleasant record, definitely one to track down. Highly recommended!
Wilson Miranda - see artist discography
Mr. Hermano "O Globo" (Disorient/Mr Bongo, 1999)
A British-based band that fuses electronic-ambient groove with Brazilian bossa-jazz and samba... Apparently Brazilian percussionist Dom Um Romao is involved as well... A nice project if you're looking for mellow chill-out music.
Mr. Samba "Mr. Samba E Seus Skindos Ritmicos" (RGE, 1962) (LP)
Swinging, big-bandy samba tunes, with a little more blaring brass than I would prefer, but also some swell percussion, pleasant group and solo vocals, and some creative arrangements, including a dash of Cuban-style salsa. The horn section often gets in the way, but this is still a pretty fun record. The album art proudly proclaims this as an album recorded for tourists, and songs such as Pedro Caetano's "Onde Estao Os Tamborins" tip their hat that these guys may have been connected to the Mangueira samba school... Who knows? Mostly this is just for shaking your cute little booty!
Mr. Samba "This Is Bossa Nova" (RGE, 1963) (LP)
Dom Mita "O Som Do Black Rio" (Transmita/Whatmusic, 2001)
A Black Rio revivalist album, this features soul singer and percussionist Dom Mita along with a slew of his old pals, including members of Banda Black Rio and vocalist Carlos Dafe (who guests on one song). The album is dedicated to the late Brazilian funk pioneer Tim Maia, and is definitely true to his spirit. There's an odd, familiar mix of disco-ish production and legitimately funky rhythms -- this modern disc is well-produced and tightly arranged. It might not be your bag, but if it is, I'm sure you'll be pretty happy with it.
Miucha - see artist discography
Jun Miyake "Innocent Bossa In The Mirror" (Tropical Music, 2002)
(Produced by Jun Miyake & Arto Lindsay)
A sparse, entirely beautiful novo bossa nova album from an "outsider" with cross-cultural leanings. Japanese art-song multi-instrumentalist Jun Miyake had never tackled Brazilian music before this album, but with the help of modernists Arto Lindsay and Vinicius Cantuaria, Miyake casts a delicate spell that recalls the magical glory days of Joao Gilberto, Carlos Lyra and the other early greats. As on his own albums, Lindsay wrote and sings original Portuguese lyrics, while Cantuaria provides the gentlest, most compelling guitar accompaniment imaginable. Miyake's piano work recalls the haunting echo-iness of Erik Satie, and while each track tends towards a prolonged exploration of a single theme -- a song with odd percussion, another with flugelhorn as a bossa nova lead instrument -- the overall effect is magical and serene. Recommended!
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Mocada Do Samba "Canta E Liberte" (Scala, 197--?) (LP)
(Produced by Cassio Visconti, Jr.)
Mocidade Independente De Padre Miguel "Bateria Nota 10" (Top Tape, 1975) (LP)
Originally an outgrowth of a popular soccer team, this samba escola became one of the most popular and successful Carnaval bands, starting in the late 1950s, and continuing on through the present day. Tracks by the band frequently appear on compilation albums of batucada percussion, and their own albums pop up from time to time. The band's signature instrumentation and breakneck pacing seldom vary, so they may best be taken in small doses.
Mocidade Independente De Padre Miguel "Batucada - Percussions Du Bresil" (Iris Musique, 1990)
As with other albums by this popular escola, this features plenty of high-power, infectious percussion, delivered at an unvaried breakneck clatter. Again, there's not a lot of stylistic breadth here, but the performances are pretty stunning. This collection has since been superseded by a double disc set, also on the same French label (reviewed below).
Mocidade Independente De Padre Miguel "Batucada Brasileira" (Iris Musique, 2002)
This time around, the Iris label has put together a full 2-CD set, expanding on the album listed above, and apparently all drawn from records of the late 1970s. Again, not a lot of stylistic variation, but top-flight, rapid-fire percussion from a world class outfit.
Mocidade Independente De Padre Miguel "Fantastica Batucada - Percussions Du Bresil" (Iris Musique, 2005)
More of the same. Propulsive batucada percussion, classic tracks, repackaged once again. But still great stuff.
Os Mocorongos "Baile De Estudiantes" (Mocambo, 1961-?) (LP)
A charming and charmingly amateurish recording by a group of students from Belem do Para, performing a repertoire that is remarkably free of bossa nova or even samba influences, but rather toned-down American rock (a slow rock rendition of "Blue Moon," for example) and pop standards, along with a couple of Brazilian ballads from Tito Madi and Dolores Duran... It sounds very much like a college-student album of the 1950s or '60s should sound like, sincere but a bit stilted, and maybe a little stuffy and square. There were some notable contributors, here, though: a 17-year old Sebastiao Pena Marciao (aka Sebastiao Tapajos) plays guitar -- possibly his first recording session! -- and singer Celia Reis is listed as the "lady crooner," more of a minor leaguer as far as her subsequent career went, but still noteworthy. This isn't an earthshaking album, but it is quaint and quite listenable. Worth a spin, but probably most interesting as a historical curio for Tapajos fans.
Modulo 1000 "Nao Fale Com Paredes" (Top Tape, 1970) (LP)
I have a somewhat suspicious mind, so when I finally got around to checking out this "legendary lost album" from the early 1970s, I immediately wondered if it was a hoax... I mean, here was a wild-sounding psych-prog/heavy rock group from the tropicalia era that, for all its clumsiness, kind of blows the big name artists such as Os Mutantes and Caetano Veloso out of the water, at least in terms of being a real, live cutting-edge, contemporary hard rock band. The crude, cutting, wailing, electric lead guitar, the sludgy, Sabbath-esque proto-metal riffs, the guttural, faux-liturgical vocals and the deep plunges into tranq-rock territory are so blazingly authentic and so completely divorced from what 99% of the rest of Brazil was into, it's really quite remarkable. This Rio-based band was in touch with elements of the American-British hard rock scene that loftier artistes such as Veloso and Gilberto Gil had little interest in. Crunchy, grungy, sloppy bands such as Steppenwolf and Iron Butterfly seem as much a part of their palate as do Hendrix and krautrockers like Can -- I'm not saying this is great music, or that I'd really want to listen to it on a rainy day at home, but it's got a lot of historical heft, in terms of it's hipness, relative to what was happening elsewhere in the world. If you're into freaky acid rock from the 'Sixties and 'Seventies, you'll want to check this one out. (PS - oh yeah, by the way, it's not a hoax. For more info, contact the reissue label, World In Sound.)
Modulo Quatro "Bossa Carrossel Brasileiro" (Chantecler, 1970) (LP)
Perky easy listening instrumentals, with jaunty organ playing that might appeal to fans of Walter Wanderley. It's not really my cup of tea, although there are some pleasant grooves. The cuica-like playing (are those vocals?) on "Voce Voltou" is a hoot! The group included Mrio Augusto on bass, Toni Marcilio (drums), Carlos Nbrega (piano) and Joni Soto (guitar) on what appears to have been the band's only album.
Tony Mola "Bragada" (Blue Jackel Records, 1996)
In the 1990s, Bahia-born drummer Tony Mola was a pioneer of the Brazilian pop-samba-Caribbean fusion known as axe music. This album is a strong, poppy blend of forro and axe pop, smoothly incorporating galloping, clattering Afro-Brasilian percussion as well as Caribbean-flavored soca arrangements. The drumming may be a little too muted in the mix, but still this is a pleasant, listenable album, with warm lead and bright chorus vocals.
Tony Mola & Bragada "Quebra Mola" (Blue Jackel Records, 1998)
(Produced by Tuta Aquino)
A sharp, punchy mix of forro, soca-tinged pop, and rapid-fire bloco afro style percussion. The album starts on a sour note (bad rock guitars), and about half the tracks on here don't do much for me. The other half are irresistible, though, with infectious melodies and seductive rhythm. Recommended.
Tony Mola "Samba + Samba" (Blue Jackel Records, 2006)
(Produced by Tony Mola)
Sweet, understated samba with soft, compelling, bossa-influenced vocals, a gentle croon set to willowy mandolins and insistent, yet muted, Afro-Brazilian drumming. This time around Mola has altogether dropped the pop/axe elements of his earlier albums, presenting an elegant, mature work that harkens back to the 1970s-era pagode style... Very pretty and very listenable. Recommended!
(Grupo) Molejo - see artist discography
Moleque De Rua "Moleque De Rua/Street Kids Of Brazil" (Sony Brasil, 1992)
There are a couple of good tunes on this intriguing but awkward mix of samba and slick rock-pop. The gimmick is that this band features several poor street kids, straight from the Sao Paulo favelas, banging away on percussive instruments made from tin cans, trash can lids and other scrap metal. THAT sounds interesting, but the pop music draped around it is too pervasive, and you never get to hear the kids get sloppy, mean and gritty. Worth checking out, though.
Moleque De Rua "Pimenta Malagueta" (2002)
Moleque De Rua "Final Feliz" (Naive Records, 2007)
Momento Quatro "Momento Quatro" (Philips, 1968)
(Arrangements by Rogerio Duprat)
Wow. Really. This is a cool sunshine-pop album with group vocals by a quartet featuring Ze Rodrix and Ricardo Sa (aka Ricardo Villa) along with Mauricio Mendonca and David Tygel (who later co-founded the pop band Boca Livre...) It's a lively set with perky, pleasantly orchestrated arrangements courtesy of tropicalia maestro, Rogerio Duprat. Duprat doesn't spend a lot of time trying to be clever or get us all tripped out; he just provides some groovy orchestrations that give a fun, sympathetic backing to the group's lovely songs. It's kind of like The Association meets Tom Jobim... Recommended!
Momo "A Estetica Do Rebisco" (Dubas, 2007)
(Produced by Marcelo Frota)
An unusual and totally atypical Brazilian rock album, drawing heavily on the space-rock and soft-prog sounds of the early 1970s. Bowie, Syd Barrett, the gentler side of Pink Floyd and a gazillion less well-remembered psychedelic strummers of that era are evoked in this gentle, diffuse album, a collection of spaced-out songs that is unlike any other Brazilian record I've ever heard. (Perhaps Otto's trip-hoppy electronica comes closest...) Singer/keyboardist Marcelo Frota is the main creative force, although several of the songs are co-written with others (anyone know if co-composer Alvinho Lancellotti is related to Domenico Lancellotti, of the Moreno Veloso/+2 crew? Just wondering.) It's nice stuff: folks who dig Davendra Banhart and his brand of freak-folk might also get a kick out of this odd, dreamy disc. Worth checking out!
Monarco - see artist discography
Monobloco "Monobloco 2002" (Universal, 2002)
A lively batucada percussion-oriented offshoot of Pedro Luis E A Parede... This popular Rio band mixes soul-samba, rap and rock influences, all woven into a drum-heavy mix. Where Olodum's pop crossovers seem anchored in the 1980s, Monobloco are way more modern. Definitely worth checking out.
Monobloco "Ao Vivo" (Som Livre, 2006)
Monobloco "Ao Vivo" (DVD) (Som Livre, 2006)
A video version of the live album from 2006... Includes opening and closing numbers that are not on the CD.
Monokini "Mondo Topless" (Bizarre Records, 1998)
(Produced by Paulo Beto Na Lobo)
Yay...! A Sao Paulo rock band with some nice, uncomplicated hipsterrific indie-pop, which ranges from bouncy, brainless power-pop to Bacharach-tinged Stereolabbiness... Very much in keeping with all the twee stuff that was going on in the UK and US around the same time. If you like artists such as Stereo Total, April March or Die Moulinettes, then this disc is for you. Extra points for keeping the lyrics (when there are lyrics) in Portuguese... Much appreciated!
Monsueto/Various Artists "Musica Popular Brasileira -- Grandes Autores" (RCA-Camden, 1973) (LP)
A tribute to samba/pop songwriter Monsueto Menezes, released just after his death in 1973, with classic 1950s "radio singers" recordings from some of the older, original interpreters of his music, such as Linda Batista, Angela Maria and Marlene, as well as one track featuring Monsueto himself, and an opening track from Maria Bethania, who at the time was perhaps the biggest star in Brazil. This collection probably felt pretty antiquated and anachronistic even when it came out, but it stands up to the test of time, and is a fitting tribute to this prolific composer.
Monsueto/Various Artists "Serie Raizes Do Samba" (EMI, 2000)
Marisa Monte - see artist discography
Cyro Monteiro - see artist discography
Doris Monteiro - see artist discography
Oswaldo Montenegro - see artist discography
Mopho "Mopho" (Baratos Afins, 2000)
Cool stuff! Definitely off the beaten track as far as Brazilian pop goes... indiepop isn't really big in Brazil, and the hometown bands are incredibly hard to track down, even down there. This is fairly trippy, psychedelia-tinged power-pop that seems to take its cues from old George Harrison and Badfinger albums, with a touch of "heavier" rock ala Rod Argent and the like. Although this Sao Paulo band has its limitations, it's still fun to hear these old '70s boogie rock and lush, Beatles-y pop riffs fronted by Portuguese vocals. Several songs are catchy and stand up on their merit -- lighthearted, dreamy, and definitely worth checking out either as an indie fan or as a Brazilian rock buff. [NOTE: the Baratos Afins record store, which put this album out, is probably the only place you're likely to find this album. Check out their website for mailorder info, as well as info on other Brazilian indie bands.]
Mopho "Sine Diabolo Nullus Deus" (Baratos Afins, 20--?)
Katia Moraes "Ten Feet And The Sun" (1997)
Katia Moraes & Sambaguru "Ginga" (Sugarcane Records, 1999)
First-rate jazz-MPB vocals in the style of Elis Regina and Gal Costa. Moraes has a sweet, clear voice and sharp phrasing, and is obviously well-versed in Brazilian musical history (the album opens with an homage to various musicians). Likewise, her band, Sambaguru, play tightly and with feeling, covering a wide variety of styles including jazz, samba, axe, and even a bit of Indian classical. It has a few predictable pop foibles, but compared to much of the '70s MPB this is modeled on, this album is a paragon of restraint. Hopefully being based in LA, rather than Rio, won't count against these folks -- they sound great, and deserve a wide audience. For more info, visit their website at: http://www.katiamoraes.com.
Katia Moraes & Sambaguru "Live: April 11-12th, 2003" (Kufala, 2003)
A fine live set, recorded in a Studio City, CA nightclub, under what must have been ideal conditions. The sound quality of these recordings is remarkably good, and is matched by the enthusiasm of Moraes and her band. Her similarity to Clara Nunes becomes even more apparent, although there's also a strong jazz element at play here. Most of the songs here are originals, co-written with pianist Bill Brendle, and are of a par with the cover tunes they choose, material by the likes of Joao Bosco, Djavan, Sivuca and Hermeto Pascoal... there's even a tune here by modern rocker Lenine! Two CDs worth of fine material, released on CDR, but still well worth checking out.
Katia Moraes & Sambaguru "Navegar Ao Sol" (Moondo, 2005)
Pedro Moraes "Samba Do Bau -- E Com Esse Que Eu Vou" (Brazilmusica, 2008)
Sleek, mellow sambas with a slick, modern production style, in the tradition of artists such as Martinho Da Vila and Paulinho Da Viola. Apparently this album features a number of songs composed by several samba masters -- Cartola, Da Viola, Nelson Sargento, and others -- that had been previously unrecorded by any other artist. It's rootsy and sweet, but also with enough of a pop gloss that it may feel too controlled at times, although it's definitely on the less-popped out side of the spectrum. Depends on your mood, I suppose, but it's definitely worth checking out.
Pedro Moraes "Claroescuro" (Independent, 2010)
On his second album, Moraes dives deeper into the world of ornate pop crossovers familiar to fans of the MPB of the 1970s and '80s; although there's still a samba vibe underlying the album, a glossier, more boldly fusion-oriented sound pervades, with a strong debt to jazz-oriented MPB-ers such as Milton Nascimento. Pat Metheny-ish guitars and air electric bass mixes with heavy, electronica-tinged backbeats -- I recoiled at the first few notes, but then found myself drawn in. If you enjoy funky pop-samba crossover stars like Carlinhos Brown or Seu Jorge, you might really dig this as well.
Marcos Moran "Do Jeito Que A Gente Quer" (Caravelle, 1972) (LP)
Marcos Moran & Samba Som 7 "Transamba" (Caravelle, 1973)
A nice set of poppy '70s samba, featuring male vocals by Moran and female vocals -- both in a bright, chirpy chorus and Rita Lee-esque solo vox -- from a duet called Silvia & Sandra. The repertoire is heavy on songs by Antonio Carlos & Jocafi, with additional samba songs by Chico Buarque, Paulinho da Viola and the guys from Novos Baianos, as well as several tracks by more obscure roots-samba composers. The record starts off sounding like more of a pop record than it turns out to be: most of the album has a stripped-down acoustic pagode sound, and sounds quite nice. Maybe it's not as earthy or thunderous as some of the heavy-hitters on the pagode scene (Clara Nunes, et. al.) but it's still quite groovy. Worth tracking down... (even if the Little Black Sambo cover art is a little scary...)
Marcos Moran "Brasileirissimas" (Polydor)
Marcos Moran "Brasileirissimas, v.2" (Polydor, 1978) (LP)
Juarez Moreira "Nuvens Dourados"
A tribute to Tom Jobim...
Juarez Moreira "Aquarelas"
A tribute to composer Ary Barroso, with saxophonist Nivaldo Ornelas and the Chamber Orchestra Sesiminas.
Juarez Moreira "Bom Dia" (Malandro, 1998)
Juarez Moreira & Badi Assad "Instrumental No CCBB" (Azul, 2002)
A live performance at the Centro Cultural Banco do Brasil...
Moraes Moreira - see artist discography
Wilson Moreira & Nei Lopes "A Arte Negra De..." (EMI, 1997)
Wilson Moreira "Okolofe" (Rob Digital, 2000)
Wilson Moreira "Entidades, v.1" (Radio MEC, 2002)
Wilson Moreira "Peso Na Balanca" (Atracao, 2007)
Jacques Morelenbaum - see artist discography
Paula Morelenbaum "Berimbaum" (Universal/Mirante, 2004)
(Produced by Paula Morelenbaum, Antonio Pinto, Leo Gandelman & Outros)
Paula Morelenbaum "Telecoteco" (Universal, 2008)
Paula Morelenbaum & Ralf Schmid SWR Big Band "Bossarenova" (Obliqsound/Skip Records, 2009)
Paula Morelenbaum & Joao Donato "Agua" (Biscoito Fino, 2011)
Clara Moreno "Clara Moreno" (1996)
Clara Moreno "Mutante" (Timewarp, 1999)
Clara Moreno "Morena Bossa Nova" (Ybrasil?, 2002)
Clara Moreno "Meu Samba Torto" (Atracao/Compass, 2007)
A sweet set of classic-sounding, acoustic-based Brazilian bossa nova, with delicate but confident vocals by Clara Moreno and gorgeous accompaniment by singer-guitarist Celso Fonseca. It's a somewhat staid set -- Moreno follows a conservative, classicist's path, dipping back into the treasure trove of 1930s samba-cancao for gems by Ary Barroso, Joao de Barro, Lupicino Rodrigues, bossa-era ballads and sambas by Elton Medeiros, Durival Ferreira and Jorge Ben, along with three modern compositions from Fonseca and one tune from her mother, MPB-jazz legend, Joyce. Joyce plays guitar on two tracks (including one new song she wrote especially for this record) while and her partner, Tutty Moreno (Clara's step-father), plays drums and percussion on about half the album. Add bassist/producer Rodolfo Stroeter, into the mix, and you've got a fine album crafted by some of Brazil's best players. The album is very sweet, and while Moreno doesn't take many risks, she does make beautiful music, particularly when harmonizing with Fonseca (who is still a dead ringer for the legendary Caetano Veloso...) Definitely worth checking out.
Clara Moreno "Miss Balanco" (Far Out Records, 2009)
Ted Moreno "Sambas Que A Vida Escreveu" (Continental, 1960) (LP)
Suave, bossa-ish vocals in a lush, orchestral samba-pop setting with undertones of big bandish gafieira jazz... Both hip and corny, this has a pleasant feel, not quite dipping into the old-fashioned romantic bathos of boleros while also not fully part of the modernistic bossa sound. A nice middle ground. No info on the backing musicians, though I imagine the horn players and accordionist were all top talent.
Morgana "Morgana" (Copacabana, 1960) (LP)
Morgana "A Fada Loura" (Copacabana, 1962) (LP)
Morgana "Fuga Com Morgana" (Copacabana, 1962) (LP)
Morgana "A Romantica" (Copacabana, 1963) (LP)
Paulinho Moska - see artist discography
The Mosquitos "Mosquitos" (Bar None, 2003)
An absolute delight. Finding the perfect midway point between Brazilian cool and sugary indiepop twee, New York's Mosquitos feature vocals by Juju Stulbach, a Rio-born expatriate who combines the airy, insouciance of Astrud Gilberto with the flip, casual, DIY mellowness of the North American cutesy-pop crowd. There's a relaxed love of melody that suggests a debt to Yo La Tengo, as well as a simplicity and cleanness of line that brings The Bats to mind... Stulbach's Portuguese-language vocals are a highlight, with a fluidity and good-natured tone that should draw in any devotee of classic, roller-rinky Brazilian pop, as well as fans of BMX Bandits, Beat Happening and the whole Pacific Northwest lo-fi scene. Admittedly, the cutesy, naifish English-language lyrics of singer-guitarist Chris Root don't hold up as well to repeated listenings, but they put the record into the right context... In short, this is the perfect twee-pop album that native Brazilian indie bands have yet to create: it's lovely and dreamy, full of pretty sounds and foreign words... and I like it a lot!
The Mosquitos "Sunshine Barato" (Bar None Records, 2004)
This disc continues on the much same path as the first Mosquitos set, though perhaps with more of an indiepop inclination, but the Brazilianness is still there, too. Perhaps because they are now a known quantity, this disc is a little less striking than its predecessor, but it's still pretty cute and pretty cool. A fun splash in the sun, with lots of perky melodies and catchy, playful hooks.
The Mosquitos "III" (Bar None Records, 2006)
Alas, this one fell a little flat for me... Mostly just a generic indie-rock album, with little "Brazilianness" to it, including a big tilt towards English-language lyrics. It's okay, but not as creative or as fun as their first album. Alas. Maybe another record will come out someday?
Alberto Mota "Voa Meu Samba" (Polydor, 19--?) (LP)
With vocals by Arnaldo Henriques ("crooner") and Maria Nazare ("lady crooner")... Not sure when this came out, but I'm guessing late '50s/early '60s... Anyone know more about these folks?
Moto Perpetuo "Moto Perpetuo" (Warner, 1974) (LP)
(Produced by Peninha Schmidt)
A noteworthy pop-rock album, featuring contributions from songwriter (and future solo artists) Guilherme Arantes and guitarist Egidio Conde (who later joined the experimental band, Som Nosso De Cada Dia).
Tiao Motorista "Samba E Talento" (Copacabana, 1970)
Tiao Motorista "Meu Interior" (CBS) (LP)
Ed Motta - see artist discography
Zeze Motta - see artist discography
Mauricy Moura "Coquetel Da Vida" (Chantecler, 1963) (LP)
Mauricy Moura "Roteiro Noturno" (Continental, 1964) (LP)
A tremendously corny, emotive singer, with deep, throaty tones, Mauricy Moura (1926-1977) harkened back to the bolero-tinged romanticism of the radio singers era, although the band backing him hints at the crisp vitality of the early '60s bossa-nova scene. Perhaps this isn't so surprising, since it's Hermeto Pascoal and his band, with Pascoal providing all the arrangements and playing flute (and piano, on some tracks) along with an otherwise-anonymous "Conjunto Hermeto." In some regards, the accompaniment is sympathetic and effective, although you can sense them champing at the bit, eager to stretch out musically beyond Moura's hopelessly outdated, schmaltzy performances. Still, it was a paying gig. I don't have much info about Moura; apparently he was a regular performer on the Radio Atlantica broadcast, and died in the 1970s when he was only about fifty years old. This was his only full album, although he also released about a dozen singles over the course of his career, dating back to the early 'Fifties. Fans of romantic balladeers such as Altemar Dutra or Ivon Curi would probably appreciate this too. Also nice to hear what Hermeto was up to at the time.
Paulo Moura - see artist discography
MPB-4 - see artist discography
Os Mugstones "Os Mugstones" (1967)
This kilt-clad combo crafted a kooky mix of frat rock, Viscounts-ish instrumental pop, and some genuine Brazilian freakbeat gems. The lackluster instrumentals outnumber the rock tunes, but they don't outweigh them: the handful of groovy rock songs definitely make this disc worth checking out.
Mundo Livre s/a "Samba Esquema Noise" (Banguele, 1994)
The debut album by one of the key bands in Pernambuco's explosive 1990s manguebeat scene... This is an exuberant, uninhibited mix of styles -- funky, guitar-based indie/alt rock, electronic noise and regional Brazilian styles... The tilt towards aggressive, electric rock makes this a little on the loud side for an old geezer like me -- or at least it's not the kind of loud, aggressive rock music that I'm normally into -- but there's still an wild, vibrant creativity at work here that'll make you sit up and pay attention, as well as some quieter moments that are a nice change of page. Percussionist (and future solo performer) Otto was part of the crew in this early edition of the band. Worth checking out!
Mundo Livre s/a "Guentando A Oia" (Excelente, 1996)
Mundo Livre s/a "Carnaval Na Obra" (Abril/Excelente, 1998)
Soulful, accomplished '90s alt-rock, with a heavy, funk-drenched approach and an interesting blend of traditional influences. Airy-voiced lead singer "Zero Quatro" bears a more than passing similarity to the great Caetano Veloso, not just in his nasal-yet-suave drawl, but also in his eclectic musical approach. Sometimes the band sits on a groove a little too long, letting things grow static, but overall this is a pretty impressive effort. The use of the cavaquinho next to a heavy soul snare drum is especially nice. Definitely worth checking out, if you're curious about the more modern-sounding Brazilian bands.
Mundo Livre s/a "Por Pouco" (Abril, 2000)
Mundo Livre s/a "Bebadogroove, v.1" (Tratore, 2006)
Mundo Livre s/a "Mundo Cao" (Som Livre, 2007)
Mundo Livre s/a "Combat Samba" (DeckDisc, 2008)
Mundo Livre s/a "Bit (Box Set)" (Deck Disc, 2004)
A 4-CD box set which includes reissues of their first four albums -- Samba Esquema Noise, Guentando A Oia, Carnaval Na Obra, and Por Pouco -- along with an added disc of video material. Unlike many Brazilian rock boxes, this isn't just a repackaging of regular jewel-box CDs, but rather a floppy fold-out cardboard thingie, with an additional booklet of liner notes and written material. Good introduction to the band!
Celso Murilo "Mr. Ritmo" (Pawal, 1961) (LP)
Celso Murilo "Isto E O Drink" (Remon, 1962) (LP)
Soul-samba pioneer Wilson Simonal sings on two tunes, making his debut alongside jazz organist Celso Murilo and his group, the rather zippy, upbeat house band from an old Rio nightclub known as Drink... He's one of several singers with the band, and he's definitely the best. Singing and swinging, Simonal is on top of the beat in a way that the others are not -- he's hep and full of charisma. The other singers have their charms as well, though: there are Luiz Bandeira and samba-cancao songbirds Lila and the ill-fated Sandra, who died in a car crash about the time this disc came out. Overall, it's quite a lively, enjoyable album, mixing a hefty dose of authentic samba with cheerful nightclub swing. Simonal, already under contract to Odeon, was clearly the star attraction, and devoted fans will definitely want to track this one down.
Celso Murilo "Tremendo Balanco" (EMI-Odeon, 1964) (LP)
An old-school bossa-jazz set, with backing from Edison Machado on drums, and Astor Silva playing trombone. Maestro Lyrio Panicalli is credited as the album's arranger as well...
Ramiro Musotto "Nostalgias" (Revivendo, 2003)
Ramiro Musotto "Sudaka" (Fast Horse, 2003)
Modern electronic remix tracks, with samples drawn from ethnomusical percussion albums, candomble rituals, the afro-samba band Ile Aiye, old cinema novo films, and from field recordings made in towns inside Brazil's Mato Grosso and in rural Argentina. The mixing and production concepts seem somewhat unidimensional, but it's still very nice, and the choices of source material are pretty creative... Although he was born in Argentina, percussionist Musotto is very much in the thick of the modern Brazilian pop scene, working with heavy-hitters such as Caetano Veloso, Marisa Monte and Daniella Mercury, to name a few. There's a Sergio Ricardo credited on one track here, presumably it's the old 1960s bossa nova pioneer; yet another reason to check this disc out.
Ramiro Musotto "Civilizacao & Barbarye" (Circular Moves, 2006)
Mussum "Agua Benta" (RCA, 1978) (LP)
A serious roots-samba musician who was part of the early lineup of Os Originais Do Samba, Antonio Carlos Bernardes Gomes (aka Mussum, 1941-1994) is now best remembered as a comedic performer and television personality, and as a member of the music/comedy group Os Trapalhoes. Unfortunately, his acting career has greatly overshadowed his musical work, and more complete discographical information is a little hard to come by... (Anyone know a good source of information? I'd also be interested in a Brazilian perspective on Mussum's acting career -- he seems to have quite cult following...) Anyway, a tune or two has made it onto various samba and samba-rock compilations, but for the most part Mussum's musical releases remain pretty elusive. Hopefully I can track a few albums down and let you know how they sound...
Mussum "Mussum" (Sony, 1980) (LP)
Mussum "Filosofia De Quintal" (RCA, 1987)
Os Mutantes - see artist discography
Os Mutreteiros Grilados "Coisas Nossas" (Girasom)
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[
""
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[
"Kazie Uko"
] |
2019-05-13T10:36:47+00:00
|
Nigeria
|
en
|
Reliable Source NG
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https://reliablesourceng.com/this-was-the-toughest-title-in-all-my-career-by-far-guardiola/
|
Manchester City manager Pep Guardiola says retaining the English Premier League trophy this year was the “toughest” title of his career.
City came from behind to claim a 4-1 victory over Brighton at the Amex Stadium on Sunday and finish above Liverpool by one point.
It is the eighth time in Guardiola’s past 10 seasons as a manager that his side have won the league.
“To win the title we had to win 14 games in a row,” said Guardiola.
“This was the toughest title in all my career, by far,” he told BBC Sport.
Liverpool went to Etihad Stadium in January leading by seven points but were beaten 2-1 by City, their only defeat of the campaign.
Following a 2-1 defeat by Newcastle later that month, City won a league record 14 straight matches to end the season on top.
The Reds finished on 97 points, the third-highest top-flight total in English football history – behind City’s title triumphs this season (98) and last season (100).
“I have to say congratulations to Liverpool of course, thank you so much,” Guardiola told Sky Sports.
“Last season Manchester City made the standards. They helped to push us and to increase our standards from last season.
“To compete against this team pushed us to do what we have done. It’s incredible, 198 points in two seasons.
“Normally if you get 100 points the tendency is to go down but Liverpool helped us to be consistent.”
Guardiola won three La Liga titles in a row in his first three years in charge at Barcelona and three consecutive Bundesliga titles in his three seasons at Bayern Munich before joining City.
The Spaniard, 48, said he expected next season to be tougher still as his side seek a third straight title.
Manchester United are the only club to win three consecutive Premier League titles and have done so twice, from 1998-99 to 2000-01 and 2006-07 to 2008-09.
“It will be tougher but we will be stronger too,” said Guardiola.
“When you can win two in a row, I have the feeling that next season we will come back and try to be who we are right now.”
|
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3394
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dbpedia
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https://ideas.repec.org/e/c/pma156.html
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en
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W. Bentley Macleod
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https://ideas.repec.org/favicon.ico
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https://ideas.repec.org/favicon.ico
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/favicon.ico
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Some searches may not work properly. We apologize for the inconvenience.
My authors Follow this author
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3394
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dbpedia
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https://www.slipcue.com/music/brazil/aa_albums/brazilalbums_M_01.html
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en
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Miscellaneous Albums, Letter "M" (Page 1)
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[
"Brazilian music",
"world music",
"discography",
"bossa nova",
"MPB",
"samba",
"choro",
"tropicalia",
"reviews and recommendations"
] | null |
[] | null |
Brazilian Music Guide: Miscellaneous Albums, Letter M Page 1
| null |
Jards Macale - see artist discography
Afonso Machado "Bandolim Do Brasil" (Rob Digital, 2004)
Solo recordings by bandolim master Afonso Machado, of the choro group Galo Preto. It's a pretty sugary instrumental set... About what you'd expect: high technical expertise, with somewhat goopy arrangements. Mandolin and acoustic swing fans may want to check this out...
Celso Machado - see artist discography
Edison Machado "...E Samba Novo" (CBS, 1963) (LP)
As if often the case with these Brazilian jazz albums, there's not really much of a homegrown samba influence to be heard... Even though the songs covered are include bossa standards and several originals by saxophonist J.T. Mierelles, the feel is straight-up, swinging jazz. Still, as a jazz album, this is pretty creditable... Since bandleader Machado plays drums, there is an Art Blakey-like emphasis on the snares (though less of a "pure" hard jazz style). With him is an all-star cast: Mierelles and Paulo Maura on sax, Tenorio, Jr. on piano, and Moacir Santos writing and arranging the bulk of the album. If you're looking for noteworthy Brazilian jazz albums, this is one of the best.
Edison Machado "Obras" (Vivid Sound, 2002)
Edison Machado "Obras 2: O Pulo Do Gato" (Vivis Sound, 2004)
Filo Machado - see artist discography
Marina Machado & Flavio Henrique "Flavio Henrique & Marina Machado" (Tratore, 1997)
Marina Machado & Regina Sposito "Desoriente Um Pais" (1998)
Marina Machado "Baile Das Pulgas" (1999)
Marina Machado "6 Horas Da Tarde" (EMI, 2002)
Marina Machado "Tempo Quente" (EMI, 2008)
(Produced by Milton Nascimento)
Regina Machado "Violao 7 & Bandolim" (2000)
Regina Machado "Sobre A Paixao" (Dabliu, 2000)
Another fascinating, atypical release on this challenging Brazilian indie label. Machado combines a bossa-informed acoustic style with lightly operatic vocals and chamber music orchestration -- the Brazilian equivalent, if you will, of Elvis Costello's Brodsky Quartet outings. For those less inclined towards art songs, her vocals may wear thin after a while, but overall this is a fascinating release, well worth checking out. (Also includes a pair of older German-language Heinrich Heine pieces, and a cover of Caetano Veloso's "Este Amor.")
Regina Machado "Pulsar" (Tratore, 2005)
Regina Machado "Agora O Ceu Vai Ficando Claro" (Tratore, 2010)
With Italo Peron and Norberto Vinhas...
Ed Maciel E Seus Cariocas Serenaders "Na Cadencia Do Samba" (Sinter, 1957) (LP)
Ed Maciel "Essa E A Jogada" (Copacabana, 1973) (LP)
Wow! This later album from trombonist Ed Maciel has a genuinely funky soul-samba feel... Well, at least in parts. Some of it's crap, like his cover of America's "Ventura Highway," and the Doobie Brothers' "Listen To The Music." But, whatever. He makes up for it with the snazzy opening track, "Festa," a dynamic funk-pop instrumental that gives '70s fusioneers like Chick Corea and LA Express a run for their money. Also nice is the sambadelic "Canario Do Reino," and maybe less exciting are the various potpourri tracks sung with a perky female chorus. Still, Maciel's work is ripe for the picking: best-of collection, anyone?
Tito Madi - see artist discography
Madrigal Renascentista "Antologia Da Modinha Brasileira" (Philips, 1976) (LP)
An odd little album, with madrigal-style renditions of MPB standards (by Tom Jobim) and other material that's less familiar from composers such as Joubert de Carvalho, Jaime Ovalle, Hekel Tavares, and others. I suppose this is the Brazilian equivalent of the "chant" fad of many years ago... Doesn't do much for me, but it may have novelty value for some...
Madrigal Renascentista "Madrigal Renascentista" (Atracao, 2010)
I'm not sure if this is the same album as the one above. Could be. Anyone know for sure?
Mauricio Maestro/Nana Vasconcelos/Joyce "Visions Of Dawn" (Far Out, 1976/2009)
Mauricio Maestro/Nana Vasconcelos "Upside Down" (Far Out, 2011)
A new collaboration -- recorded in 2010 -- from two Brazilian experimental musicians whose partnership spans back to the early 1970s. Guitarist Mauricio Maestro and percussionist Nana Vasconcelos rekindle their creativity with this mellow, melodic set which is primarily instrumental music, punctuated by nonsensical vocalizations, simple chanted refrains, and on a few tunes, full lyrics. It's similar in style to the amorphous folk-jazz-MPB of Vasconcelos or Milton Nascimento, but Maestro -- who co-founded the 1980s pop group Boca Livre -- has a more pointedly "pop" approach, with light, lilting melodies and a joyful vibe filing the sound. It's a little Sufjan Stephens-y, and easy on the ears... Singer Kay Lyra sings on several tracks, reprising the role that Joyce played on the Maestro/Vasconcelos session, Visions Of Dawn in 1976. A little gooey, but pretty listenable overall... Definitely worth a whirl!
Sidney Magal - see artist discography
Os Magnatas Do Samba "Ninguem Ensaiou" (CBS, 1971) (LP)
Sort of a proto-disco/easy listening samba-pop fusion album, with breezy arrangements and a cheerful vocal chorus that stops just short of chirpy. Some of it's okay, but there's a Herb Alpert-ish, muzak-y tone that makes it slightly less groovy than the more rootsy pagode samba that was bubbling up at the time... Worth a spin, I suppose, but more as kitsch than as roots music.
Os Magnatas Do Samba "Volume 2" (CBS, 1971) (LP)
Tim Maia - see artist discography
Amado Maita "Amado Maita" (Copacabana, 1972) (LP)
The lone album by singer/composer Amado Maita, who was known for his work with pianist Guilherme Vergueiro and songwriter Jos Wilson Lopes. It's an odd album: Maita has modest vocal talents, but could be roughly placed in the same continuum as the bossa crooners of the '60s, while the musical backing is by various jazz musicians, notably drummer Edison Machado and pianist Vergueiro, and the accompaniment is pretty challenging -- loungey, but with distinct avant leanings, colored at times with early '70s proto-disco touches. The jazz shadings become more and more pronounced and ultimately places this album in the jazz-vocals category... You can see why this might have had limited appeal, though it is a fascinating period piece. Maita married Myriam Taubkin, an arts activist who was part of the Taubkin family; their daughter, Luisa Maita became an MPB singer and solo artist.
Luisa Maita "Lero Lero" (Cumbancha, 2010)
(Produced by Paulo Lepetit, Rodrigo Campos & Luisa Maita)
A lovely album of dreamy, femme-y vocals from Sao Paulo native Luisa Taubkin Maita (the niece of Brazilian jazz pianist Benjamin Taubkin, and daughter of MPB artist Amado Maita...) This bossa-esque set invites comparison to other modern, genre-hopping chanteuses such as Bebel Gilberto and CeU, but Maita has less invested in the club-scene electronica that defines their work. This is, at heart, a gentle, stripped down MPB set, reminiscent of Astrud Gilberto's classic early work, with a subtle jazz flavoring... Maita is lulling and sweet on the album's many slow and moderate-tempo songs, but she also proves herself supple and adept at her phrasing on more uptempo material. Also worth noting is that most of the music on here was written or co-written by Maita, further marking her emergence as a noteworthy new performer o the Brazilian scene. If you are looking for something mellow yet substantive, this set of groovy Brazilian ballads may be just the thing for you. Recommended!
Luisa Maita "Remixed" (Cumbancha, 2010)
(Produced by Various Artists)
Celia Malheiros "Sempre Crescendo" (Sempre Crescendo, 2001)
A Brazilian expatriate living in California, Malheiros recorded this album in Rio, with a slew of top Brazilian jazz talent to back her up. Hermeto Pascoal, Wilson Das Neves and others contribute to this lush set of soft jazz tunes that recall the heyday of '70s MPB-era fusion by the likes of Flora Purim and Tania Maria; although Malheiros doesn't get as swoopy or wild as those foremothers, preferring to stay on the mellow side, she's still in the same ballpark. (Artist website: www.celiamalheiros.com)
Celia Malheiros "Cenario Brasileiro" (2006)
With a guest appearance by Joao Bosco...
Celia Malheiros/Carlos Malta/Thomas Clausen "After The Carnaval" (Stunt Records, 2009)
A jazzy set by a threesome going by the name of tRIO: pianist Thomas Clausen, flautist Carlos Malta and singer/guitarist Celia Malheiros... Elegant and sugary, but not saccharine or false. Certainly worth a spin if you like the mellower stuff...
Sabrina Malheiros "Equilibria" (Far Out Records, 2005)
Sabrina Malheiros "Vibrasons" (Far Out Records, 2006)
Sabrina Malheiros & Alex Malheiros "The Wave" (Far Out Records, 2009)
Sabrina Malheiros "New Morning" (Far Out Records, 2009)
Sabrina Malheiros "Dreaming" (Far Out Records, 2011)
Gui Mallon "Guitar" (1996)
Gui Mallon "Brazil, Brazil" (1997)
Gui Mallon "Live At Montreux" (Adventure Music, 2004)
Brazilian-born guitarist Gui Mallon is an expatriate living in Switzerland; here, he's assembled a top-flight European band for a smooth-jazz set glides nimbly over a solid foundation of Brazilian melody. Rhythmically, this is a very strong set, surprisingly so for a band that seems mostly made up of northern Europeans... It's more "Brazilian" at its core than you'd imagine, although when the jazz elements kick in, you definitely know it. There's one thing that sinks it for me, though, and that's the prominence placed on the soprano saxophone, an instrument that I generally regard with pure loathing. Still, I was able to listen to this entire album without skipping tracks, etc., so these guys must have been doing something right! If you like smooth jazz that has a little bite to it, then this set is well worth checking out!
Carlos Malta - see artist discography
Horacio Malvicino "The Brazilian Touch Of Malvicino" (Decca/RCA-Microfon, 1967) (LP)
In addition to being a key collaborator of accordionist-composer Astor Piazolla, the architect of the nuevo tango, Argentinian guitarist Horacio Malvicino was a highly regarded jazz player on the international stage. This included stints with Brazilian masters such as Antonio Carlos Jobim, Joao Gilberto, and on this album he delves into Brazilian currents, especially the then-current bossa nova. This album has version of several Jobim songs, such as "Corcovado," "So Danco Samba," and "One Note Samba," as well as Gilberto's "O Pato," and others.
Mamelo Sound System "Mamelo Sound System" (Ybrazil Records, 2000)
I haven't heard this one, but apparently it was a big deal, with guest appearances by manguebeat stars Nacao Zumbi and foundational rap legend Afrika Bambaataa; also, soul singer Paula Lima was in this edition of the band.
Mamelo Sound System "Urbalia" (Ybrazil Records, 2003)
Monotonous, paper-thin pop/rap/tronica, with a glimmer of crunchy, Linkin Park-ish "alt-rock" guitars thrown in from time to time. These Sao Paulo rappers sound like petulant teenagers, while the music mix is so weak and one-dimensional, it's difficult to care about what they are saying, or where the group belongs in the Brazilian musical landscape. It's a real snoozer-oo. Then again, I'm just a grumpy old man, so what do I know? Perhaps if you like lightweight pop-rap, this is simply brilliant. Da bomb, and all that.
Mamelo Sound System "Operacao: Parcel/Remixalia" (Tratore, 2005)
Mamelo Sound System "Velha Guarda 22" (Tratore, 2006)
Mandala "Mandala" (Morisom, 1976) (LP)
A rarity of spacy Brazilian jazz, from keyboardist Luiz Roberto Oliveira, who also apparently became interested yoga and new age spirituality. Saxophonist Roberto Sion, Nelson Ayers, Zeca Assumpcao and other Brazilian jazz artists are part of the ensemble...
Manduka - see artist discography
Abilio Manoel - see artist discography
Sandra Mara "Poema Do Morro" (Epic Records, 1975) (LP)
Marcelo "Marcelo" (EMI, 1978) (LP)
The first album by the incredibly long-necked Brazilian actor-composer Marcelo Costa Santos, who found a slick disco-fusion-funk groove, and made what some folks consider a funk-fusion classic... Almost all of the songs on here are originals -- although he does cover a Caetano Veloso song -- with a standout track being the widely posted "Algo No Ar," a driving, propulsive fusion tune worthy of LA Express-ability... Marcelo recorded about a dozen albums total... When I have more time, I'll let you know about the others as well.
Marcelo D2 - see artist profile
Marcia "Eu E A Brisa" (Philips, 1968) (LP)
Understated bossa nova ballads... I can't say as I'm a huge fan of her voice, in particular, but these are classy recordings. This album is notable for including the debut recording of Johnny Alf's song, "Eu E A Brisa," which became a bossa/MPB standard. Overall, this disc was a little too sedate for me.
Marcia/Various Artists "DISCOS ODEON - AO VIVO" (Odeon, 1973) (LP)
A live showcase for some of the lesser-known artists on the Odeon label, including singer Ari Vilela, along with Marcia, Simone and jazz vocalist Leny Andrade...
Marcia "Rimas" (EMI-Odeon, 1973) (LP)
Marcia "O Importante E Que A Nossa Emocao Sobreviva" (1975) (LP)
Marcia "Eu So Queria Ser" (Pointer, 1983) (LP)
Marcia "Volume One: Pra Machucar Seu Coracao" (Caravelas, 1995)
Marcio & Goro "Atrevida" (1997)
Marcio & Goro "Ponto G" (1998)
Marcio & Goro "Festa Surpresa" (Abril, 1999)
Angela Maria - see artist profile
Luiza Maria "Eu Queria Ser Um Anjo" (Philips, 1975) (LP)
(Produced by Sergio de Carvalho)
A cool bluesy boogie-rock, psychedelic album by a husky-voiced gal who could belt it out like Tracy Nelson or Mama Cass, and a compact, all-star session crew backing her up that included Antonio Adolfo on piano, Lulu Santos on guitar, Chico Batera, Rick Ferreira (who also wrote some of the material and did some of the arrangements) and Jim Capaldi (of the British folk-prog band Traffic) pitching in as well. Her voice is a little hard to handle, but the musical backing is cool, sort of similar to Rita Lee's stuff around the same time, but better. The music ranges from spacey, cosmic epics to funky blues jams and delightfully opens with a bluegrassy country number, "Na Casca Do Ovo," which is a style very foreign to mainstream Brazilian pop. Apparently, Luiza Maria went on to sing backup for several stars, notably Tim Maia and Ivan Lins, but other than that I don't know how much of a dent she made in the music scene. This disc is definitely worth a spin, although many listeners may find it a bit grating.
Luiza Maria "Tarantula" (Leblon, 1993)
Marcia Maria "Marcia Maria" (Capitol Records, 1978) (LP)
(Produced by Carlos Lemos)
Blech. I dislike her voice, as well as the bland, '70s jazz-pop arrangements. Kind of a slick, fusion- and disco-tinged MPB ballads session, with a laid-back, moderate-to-slow tempo throughout, so that in addition to sounding too slick, it also feels a bit lifeless. Notable, I suppose, for some of the backing musicians: Lincoln Olivetti and Jorge Robson anchor the band, which also features some veteran jazz players, such as Aurelio, Ze Bodega, Ed Maciel, clarinetist Netinho, and other old pros. Didn't do much for me, though.
Marcia Maria "Colo Do Rio" (Caravage/L'Arome, 1985)
Clattersome, overly energetic samba-jazz vocals from a Brazilian expatriate living in Paris, backed by an enthusiastic European trio. This is the sort of music that, when I play it at home, my wife is likely to hurl heavy objects at me across the room in order to make it stop. Maria's aggressive approach derives from the Tania Maria-Elis Regina school of shouted vocal power... I found this to be really irritating, though jazz fans might be more forgiving. Apparently, Maria recorded one album earlier in Brazil, not long before she headed for France.
Marcia Maria "Brasil Nativo" (Fremeaux & Associes, 2008)
Neusa Maria "A Melhor Cantora De 1956" (Sinter, 1957) (LP)
A long-forgotten vocalist from the pre-bossa era; Ms. Maria was a pretty-sounding, but relatively bland singer, backed here by light, inconsequential orchestrations. Patti Page comes to mind, or Doris Day, perhaps. Nothing "bad," but also not terribly dynamic or inspiring. Includes a few Italian-themed numbers ("Que Sera Sera," "Arrivederci Roma," etc.)
Silvia Maria "Coragem" (Arte Maior, 1981) (LP)
Tania Maria - see artist profile
Ze Maria - see artist profile
Cesar Camargo Mariano - see artist profile
Torcuato Mariano "Paradise Station" (Windham Hill Records, 1994)
Torcuato Mariano "Last Look" (Windham Hill Records, 1995)
Torcuato Mariano "Diary" (215 Records, 2004)
A very, very soft jazz fusion set. Not my cup of tea, but for the smooth jazz set, I imagine this'd be kinda nice.
Torcuato Mariano "Lift Me Up" (215 Records, 2006)
Torcuato Mariano "So Far From Home" (Nu Groove Records, 2009)
Marina - see Lima, Marina
Marines & Sua Gente - see artist profile
Evandro Marinho "O Som Do Barzinho, v.6" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.7" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.8" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.9" (Universal, 2001)
Evandro Marinho "O Som Do Barzinho, v.10" (Universal/Matrix, 2001)
Volume Ten of this intriguing and generally pleasant live acoustic series, with singer-guitarist Evandro Marinho working through an intimate set of MPB ballads, songs written by the likes of Djavan, Gilberto Gil, Gonzaguinha, Beto Guedes, Ivan Lins and Caetano Veloso (as well as some less well-known composers). The audience sings along, sharing an affection for the audience: it might not be the original artists singing the songs, but the magic is still shared.
Francisco Mario "Retratos" (Fantasy/Caju Records, 1994)
(Produced by Francisco Mario)
This reissue pairs up two albums by Minas Gerais guitarist Francisco Mario, Conversas De Cordas, Courous, Palhetas E Metais, from 1984, and 1986's Retrato, which found him working with many of Brazil's best modern jazz/choro performers, such as Zeca Assumpcao, Paulinho Baga and Raphael Rabello (who played on the Conversas album...) Nice stuff, with a wide variety of regional influences; his use of amplification makes him sound a bit like a Brazilian Chet Atkins... Apparently Mario died in 1988, from HIV disease... Alas! Another voice sadly silenced.
Marisa - see artist profile
Marku - aka Marku Ribas
Marlene - see artist profile
Andrea Marquee "Zumbi" (YBrazil/Stern's, 2000)
Trip-hop and soul-tinged pop, with nods to the past such as covers of songs by Caetano Veloso, Jorge Ben and Zeca Pagodinho, as well as a slew of original tunes. Marquee isn't as forceful as fellow soulster, Daude, nor as spazzy as supersinger Daniela Mercury, though that's the general area she's aiming for. This didn't set off any bells for me, but it may be of interest for others looking for contemporary, post-MPB pop that's a little off the beaten path.
Andrea Marquee "Melhores Momentos" (BMG, 2002)
Dercio Marques - see artist profile
Doroty Marques "Erva Cidreira" (Discos Marcos Pereira, 1980) (LP)
Doroty Marques "Semente" (Discos Marcos Pereira) (LP)
Ivanilton Marques "Umbanda" (Nortson Records, 1977) (LP)
Jayme Marques "Brasil Pop" (RCA-Spain, 1975) (LP)
A Brazilian guitarist who initially took his cues from the Baden Powell/Luiz Bonfa school, Marques was a Mato Grosso native who toured Europe in the early '60s, and is credited with introducing bossa-jazz to European audiences. He later recorded several albums in Spain during the 1970s, becoming a significant exponent of bossa-soul fusion. This early album starts off with fairly standard material -- a jazzed-up version of "Berimbau," followed by several guitar-centered tunes. Breezy keyboards come in midway, and his jazz-fusion tendencies become even clearer with the inclusion of a couple of Marcos Valle tunes. This is pretty lightweight, muzak-y stuff, a little stiff sounding, but not unpleasant (other than his atrocious soul vocals!) This will probably float your boat if you're into the whole lounge/acid jazz sound.
Jayme Marques "Jayme Marques" (RCA-Spain, 1976) (LP)
Jayme Marques "So Much Feeling" (RCA-Spain, 1977) (LP)
This has a more deliberate (and more accomplished) jazz-fusion feel... Sleek LA Transfer-style keyboards, flute and bossa rhythms predominate, and while this is decidedly cheesy, easy listening, it's also nice in parts. There are a couple of original tunes on here, along with several well-chosen covers, including a Caetano Veloso's "Irene", and a meandering twelve-minute long(!) version of Milton Nascimento's "Vera Cruz." I'd be a little embarrassed playing this on the radio or listening to it casually at home, but I suppose it's worth checking out.
Jayme Marques "En Directo" (RCA-Spain, 1979) (LP)
Jayme Marques "The London Connection" (Cedar Tree Records, 1995)
Moacyr Marques "Jazz & Bossa Nova" (Tiger Records, 1961) (LP)
(Produced by Norival Reis)
Saxophonist Moacyr Marques was a longtime member of the TV-studio orchestra of Rede Globo, and also worked in Brazilian jazz ensembles led by Radames Gnattali, Zaccarias and Copinha, as well as with North American bandleaders such as Ray Conniff, Henry Mancini and Nelson Riddle. He recorded a handful of albums under his own name, including this unassuming set of pure easy-listening dance music, leading a small combo that also featured a pianist named Zequinha. I suppose this is vaguely in Stan Getz or Dave Brubeck territory, and okay for folks who like soft/cool jazz of that era... The album is divided in half: Side One covers standards like "Lullaby Of Birdland," "My Funny Valentine" and "Taking A Chance On Love," while Side Two has a bunch of perky, light-jazz renditions of Brazilian sambas and newer bossa numbers. It's a very conservative album, though at the very end, on the last few tracks they branch out a little and try some more ambitious stuff, and take a few longer, more soulful solos. The best song was an original -- "Real Conclusao," written by the band's bassist Artur Barbosa -- this along with the last track, Ribamar's "Ideas Erradas" was where the band's heart was really at. Not dazzling, but performed well and very much of its time.
Paulo Marquez "Orgia Em Samba" (Columbia Records, 1958) (LP)
Paulo Marquez "Doutor Em Samba" (Columbia Records, 1959) (LP)
Paulo Marquez & Carmen Costa "Musica De Paulo Vanzolini" (Discos Marcus Pereira, 1974)
A tribute album to Sao Paulo samba songwriter Paulo Vanzolini, with some duets as well as solo performances by both samba diva Carmen Costa and the less well-known Marquez. His vocals are much stronger, and in the second half of the album he gets into some really sweet acoustic sambas, replete with flute and cavaquinho. Most of the record, though, is of lush MPB arrangements, which are mostly fine though on occasion a rather goofy, cheap-sounding electric keyboard chimes in, sounding at odds with the rest of the classy orchestrations. Nice stuff overall, though: Vanzolini was a very robust and hearty composer, and these are strong renditions of his work, particularly the solo stuff by Marquez.
Mar Revolto "Mar Revolto" (Musiquim, 1979) (LP)
(Produced by Chelito & Silvio Palmeira)
An eclectic, acoustic-y rock album which ranges from semi-new wave and funky fusion to bland choral folk-pop reminiscent of It's A Beautiful Day (or in a more Brazilian comparison, perhaps to Boca Livre?). There's also a steady undercurrent of frevo bandolim-guitar duetting that brings Moraes Moreira and Novos Baianos to mind, though by and large I didn't find this album all that compelling. Well, maybe I take that back: the second half of the album is much more interesting than the first half... It almost feels like they were working it out as they went along, but whatever the creative process might have been, they loosen up and get pretty funky towards the end, particularly on the driving tempo of "Chaxaxado," which is a pretty groovy fusion tune, and should appeal to fans of Mores Moreira. I started out skeptical, but was kind of getting into it by the end. Go figure. Anyway, if you're looking for obscuro, marginal Brazilian rock, this is a good record to track down.
Mike Marshall - see artist discography
Martinha "Serie Bis: Jovem Guarda" (EMI, 2007)
Martinha "Como Antigamente" (Warner, 1974) (LP)
Abilio Martins "Voltei" (Tropicana, 1970) (LP)
A popular Carnaval float puxador (someone who leads the crowds in singing the new samba songs), Abilio Martins had a deep, gruff voice, and a plainspoken style that was nonetheless expressive and inviting. The musical backing is what's most unusual on this modest samba set: along with a small, keening female chorus, there's a Walter Wanderley-style organ lacing through the songs, dit-dit-doot-dooting alongside Martins' robust vocals. Not an immortal record, but a nice one, with an unusual feel that makes it a bit of a curio.
Herivelto Martins "Carnaval De Rua De Herivelto Martins" (Mocambo, 1957)
Herivelto Martins/Various Artists "Jubileu Herivelto" (RCA Victor, 1957) (LP)
This is a tribute album released in 1957, honoring the career of Brazilian pop songwriter Herivelto Martins. Martins doesn't actually perform on the record, but the artists who do -- Nelson Goncalves, Dircinha & Linda Batista, Ivon Curi, Carlos Galhardo, Trio De Ouro, etc. -- represent the creme-de-la-creme of the pre-bossa "radio singers" era. If you like old-fashioned nostalgic music, this is a wonderful collection. Nice instrumental choro/jazz turns from Jacob Do Bandolim and Zaccarias, as well!
Herivelto Martins/Various Artists "SINFONIA DE PARDAIS: UMA HOMAGEM A HERVIELTO MARTINS" (Som Livre, 1999)
A lovely, luminous version of "Pensando Em Ti," crooned to perfection by Caetano Veloso, kicks off this tribute to samba-cancao composer Herivelto Martins. Numerous other MPB elders are in on the project, including Leny Andrade, Maria Bethania, Baby Do Brasil, Beth Carvalho, Moraes Moreira, Ney Matogrosso, et. al. None of the other songs reach the height of Veloso's contribution, though: this is a very glossy, modern, often cluttered affair that leaves behind the antique beauty of Martins' songs, or the charm of his work as a member of Trio De Ouro. Nice liner notes, though -- great way to learn more about his life, even if the music is a little iffy.
Nelly Martins & Tito Madi "Encontro No Sabado -- Um LP Para Namorados" (Continental, 1959) (LP)
An appealing album of duets made with Nelly Martins, a sweet, Patti Page-ish, plain-jane vocalist from the radio-singer era, and singer Tito Madi, one of the major stars of the pre-bossa era. The two sound really nice together, and the arrangements, though fairly light, have a nice little bounce to them. Madi also sings solo on several songs, which is less fun, but still quite pleasant. Good stuff.
Nelly Martins & Radames Gnattali "Piano Duo" (1967) (LP)
Mart'nalia - see artist profile
Ana Martins "Futuro Amantes" (Rip Curl Records, 2000)
Ana Martins "Linda" (Rip Curl, 2001)
A pleasant, if underwhelming, second album by singer Ana Martins, daughter of Nelson Angelo and braz-jazz guitarist Joyce. The modest bossa arrangements and her relaxed vocals are reminiscent of '60s-era chanteuses Nara Leao and Astrud Gilberto. Overall, I'd have to say Martins lacks spark -- this disc, sprinkled with guest performers and contributions by both her parents, travels familiar ground, and while it's nice enough, it's a bit on the slack side. Worth checking out, though.
Ana Martins "Samba Sincopado" (Video Arts, 2004)
Aurea Martins "O Amor Em Paz" (RCA Camden, 1972) (LP)
(Produced by Rildo Hora; arrangements by Luiz Eca)
The first album by this Rio-area singer, though her only full-length release for nearly two decades until she returned to the studio in the early 1990s. A challenging and at times uneven record, with a moody undertone that's compelling, though plenty of irritating qualities as well. Martins was one of those brusque, declarative Brazilian singers, in the tradition of Elizete Cardoso, Maysa or Maria Bethania, whose forceful, arty presentation may be difficult for listeners in search of more mellow, readily accessible material. She also doesn't always sing in tune, which can be problematic: I suspect not much time was spent on the recording and remixing of this record, as it has a sort of fly-by-the-seat-of-your-pants feel to it. Most irritating, though, is the softly chaotic piano playing, which has an intrusive, note-heavy improvisational quality, and is frequently distracting. The rest of the musicians sound unrehearsed as well, and while this has the trappings of classic early-'70s experimental MPB, it's more a window into the genre's less-structured side. Luiz Eca is credited as the album's arranger, but this has little of the tightly-sculpted semi-classical feel of his own work of this era, and more of a jazz improv vibe. Minas Gerais poet Paulo Mendes Campos intones on several tracks, doing sort of a Vinicius Moraes imitation, which comes off as yet another distraction on a far-flung, oddly structured album. This is interesting, to be sure, though mostly in a time-capsule way... Not a record I personally could see coming back to very often. But fans of the early-'70s MPB divas will want to check this one out.
Edinho Marundele & Onias Comenda "Eu, Bahia" (Philips/Fontana, 1972) (LP)
An interesting album of berimbau and Orixa-related percussion by two players I've never heard of before. Each artist takes one side of the LP -- Marundele (whose real name was apparently Edson Emerete de Sant'Anna) is the drummer, and his side is dynamic and intense, running through rhythms from Angola and their Brazilian permutations. Similarly, berimbau master Onias Camardelli plays capoeira music from Angola and Bahia, as well as improvisations of his own creation. Some of it is spooky and haunting, some of it seems kind of static and same-y. I don't think the average fan of Brazilian pop would get much out of this, but for cultural scholars and capoeira students, this album would be a goldmine.
Patricia Marx - see artist profile
Carminha Mascarenhas "A Noite E Carminha" (Copacabana, 1961) (LP)
Germano Mathias - see artist discography
Helio Matheus "Helio Matheus" (RCA-Victor, 1975) (LP)
Easygoing '70s pop with funky, fusion-y roots -- sort of like what Michael Franks might sound like, if he grew up in Rio. Helio Matheus is the vocalist, but the ensemble backing him includes all the key members of the jazz band Azymuth, including keyboardist Jose Roberto Bertrami. Matheus can be considered part of the groovy-smooth "samba rock" sound of the '70s, and this disc has a pleasantly eclectic vibe -- I'm not a huge Azymuth fan, but compared to their other albums, it's a gem. Light, sweet pop that crosses over with the bossa and Rio funk scenes... For folks who are more into fusion-pop than I am, this would certainly be an album to track down. The second half of the album settles -- surprisingly -- into a folkie sort of vibe, even reminding me at times of Glen Campbell which, strangely enough, I mean as a compliment. The biggest surprise on this album was his cover of "Mi Secreto," a gorgeous romantic ballad that I know from Dominican singer Leonardo Paniagua, translated here as "Meu Segredo." What a trip!
Ney Matogrosso - see artist discography
Nilson Matta & Hendrik Meurkens "Encontros" (Malandro, 2000)
Nilson Matta/Ze Luis/Paulo Braga "Green Heart" (New Orbita, 2007)
Nilson Matta & Brazilian Trio "Forests" (Zoho, 2008)
Nilson Matta "Copacabana" (Zoho, 2010)
A Brazilian-born jazz bassist with roots in the New York music scene, Matta plays several original compositions here, as well as some standards such as "Asa Branca" and "Aquarela Do Brasil."
Pedrinho Mattar "Pedrinho Mattar Trio #3" (Farroupilha, 1965) (LP)
(Produced by Os Farroupilhas)
An excellent, serious jazz album, certainly one of the best of the era, with fluid, swinging leads by pianist Pedrinho Mattar and an equally deft, adventurous drummer backing him up, as well as a solid, smooth bass player. This supple, loose-limbed, improv-heavy performance stands in marked contrast to the stiff, hyper rigidity of most of the "bossa trios" of the era. If you're looking for decent early Brazilian jazz, you'll definitely want to check this out, particularly if you like contemporaries such as Manfredo Fest or Antonio Adolfo -- frankly, I thought this album was more genuinely fun to listen to than most of their stuff as well.
Pedrinho Mattar "Um Show De Mattar" (Copacabana, 1971) (LP)
(Produced by Moacyr Silva)
A sometimes perky, sometimes slushy set of jazzy and orchestral soft-pop instrumentals. The small-combo stuff is okay, but the more ornate material is pretty painful -- '70s easy listening in the extreme. Pianist Pedrinho Mattar leads the ensemble, with harmonica player Mauricio Einhorn popping up on several tunes. The material is a mix of Brazilian stuff and lounge-y standards by folks such as Francis Lai, Michel Legrand and Henry Mancini... I'm sure there are lounge music devotees who will get a lot out of this one, but it ain't for me.
Pedrinho Mattar "Brasileirinho" (RGE, 1981) (LP)
(Produced by Reinaldo B. Brito)
A set of older compositions from artists such as Waldyr Azevedo, Ary Barroso, Dolores Duran and Sinho, covered by Pedrinho Mattar on piano, backed by drummer Augusto Arid and bassist Gabriel Jorge Bahlis.
Matuskela "Matuskela" (Chantecler, 1973) (LP)
One of those weird, wonderful gems from the hippie era, an eclectic folk-prog set packed with acoustic and electric guitars, bongo drums, odd, primitive synthesizer riffs and urgent, yearning, earnest vocals. Although a few regional instruments creep in around the margins, this record lives mostly in a non-Brazilian sphere, a straight-up acid-rock set with echoes of Van Morrison, Santana, The Beatles and Iron Butterfly intertwined in a clunky but charming prog-adelic vibe. There's a lot of stylistic variety, bound together by a spacey, noodly experimentalism -- if you enjoy Alceu Valenca or Ze Ramalho's earliest albums, you might want to check these guys out as well.
Matuto "Matuto" (Self-released, 2011)
(Produced by Scott Kettner & Rob Curto)
One of the boldest, most exuberant world music crossover albums in recent years... Clay Ross is a jazz guitarist originally from South Carolina, who in his youth rejected the bluegrass and mountain music that he saw as redneck-y and reactionary but came back to it after years of musical exploration in other genres. Here he seamlessly melds modern jazz (including some '70s-style fusion) with regional Brazilian music, mainly choro, forro and baiao, with a touch of twang swirled into the margins. This is an updated version of an album Ross first released in 2009, with several new tracks that place heavier emphasis on the Brazilian vibe, giving a lot of the spotlight to accordionist Rob Curto, who plays some absolutely blistering riffs that will thrill fans of Braz-jazz old-timers such as Sivuca, Hermeto Pascoal and forro legend Luiz Gonzaga. On the country side of things, there's also a nice version of Norman Blake's "Church Street Blues," underscoring the relationship that Ross discovered between Brazilian and Appalachian melodies... A catchy, dynamic and very adventurous album... though also a bit on the challenging side.
Ruy Maurity - see artist discography
Jose Mauro "Obnoxious" (Quartin, 1970) (LP)
One of the rare records championed by the European acid-jazz scene which actually lives up to the hype. This lovely album ranges from lovely acoustic balladry to lush (but subtle) orchestral pop. A couple of tracks are mildly irritating, but overall this is a winner. The spacey, melodic numbers prefigure some of Gilberto Gil's calmer moments. Musicians include Paulo Moura and Wilson Das Neves, with arrangements by Maestro Gaya. Recommended!
Jorge Mautner - see artist discography
Yo-Yo Ma "Obrigado Brazil" (Sony Classics, 2003)
Cellist Yo-Yo Ma, possibly the most celebrated classical musician alive, has understandably fallen for the allure of Brazilian bossa nova, having previously explored Appalachian mountain music and the Argentine tango. Yet, like the countless American and European jazz players that precede him, it's difficult to tell in Ma's luso-classical crossover where the subtlety of samba ends and the glass-clinking simplicity of dinner jazz begins. In the baroque world, emotionally resonant, romantic passages are Ma's forte, but the precision and exactitude of Ma's classical background work against him when approaching the odd, interstitial nuances of Brazilian popular music. Backed by Brazilian virtuosi such as percussionists Paulo Braga and Cyro Baptista, Ma excels when playing the fast-paced, Dixieland-ish instrumentals written by choro pioneer Pixinguinha, though on slower, harmonically indefinite material such as the Antonio Carlos Jobim songbook, Ma sounds stiff and stilted, perhaps a little too perfect. Classical fans will doubtless find this album to be an enriching musical journey, while Brazilians may raise a wary eyebrow of amusement. Lovely performances, but they don't completely hit the mark.
Yo-Yo Ma/Various Artists "Obrigado Brazil: Live In Concert" (Sony Classics, 2004) (CD & DVD)
Yo-Yo Ma & Viva Brazil "Live EP" (Sony Classics, 2012)
Rose Max "Atlantico" (Cinq Etoiles, 2003)
An adequate singer amid slick, somewhat generic slick-soul MPB arrangements. Didn't do much for me, but might be fun for folks who like singers such as Patricia Marx or Luciano Mello.
Maysa - see artist discography
Ana Mazzotti "Ana Mazzotti" (Top Tape, 1974) (LP)
A mellow MPB pop/jazz fusion album from the mid-1970s that features pleasant, if underwhelming, vocals by Ana Mazzotti and musical backing from members of the well-known Brazilian jazz band, Azymuth. This has been hailed by devotees as a lost classic of Brazilian fusion, and I suppose it is, although I wouldn't get too worked up about it. Mazzotti has a refreshingly cool approach to the music, much like Tania Maria but far less frantic, and the arrangements are similarly cool and relaxed. This features "Roda Mundo," a Mazzotti original that has been covered several times since, notably by the singer Salome De Bahia. This is a nice record, worth checking out, but not earth-shattering by any means.
Ana Mazzotti "Ao Vivo -- Festival Do Verao Do Guaruja: 1982" (FIF, 1982) (LP)
Ze Luiz Mazziotti "Cancoes De Chico Buarque" (Dabliu, 2002)
A good, standard-issue MPB homage to master songwriter Chico Buarque... Mazziotti's voice is rich, velvety and confident... The arrangements are fairly restrained, although on the whole this disc may drift into milkier modes than some listeners might like. If you enjoy the elegant, smooth-jazz side of the MPB scene, though, this album is definitely worth checking out.
Jose Luiz Mazziotti "Jose Luiz Mazziotti" (2004)
Sylvio Mazzucca "Isto E Samba" (Continental Records, 19--?) (LP)
Sylvio Mazzucca "Os Grandes Sucessos" (Tropicana Records, 19--?) (LP)
Sylvio Mazzucca "Baile Do Samba" (Columbia Records, 19--?) (LP)
Sylvio Mazzucca "Baile Do Sucessos" (Columbia Records, 19--?) (LP)
MC Buchecha "MC Buchecha" (Universal-Mercury, 2003)
Super-perky, lightweight pop, with a token veneer of hip-hoppish production. Not much to write home about, really. Apparently this is his only solo album, though he's also contributed to a few compilations and other hip-hop projects, as well as the duo of Claudinho & Buchecha.
Marilia Medalha - see artist discography
Arnoldo Medeiros "O Homen, O Poeta" (RCA, 1975) (LP)
(Produced by Helcio Milito; arrangements by Luiz Eca)
An appealing album by a successful young MPB composer of the 1970s, backed here by Luiz Eca and the Tamba Trio, as well as a bright chorus made up of members of Trio Esperanca and The Golden Boys. The sound is mostly a soft version of the mellow, summery "samba rock" style, with a disco-y/fusion-y tinge to the production. However, this is one of those pleasant instances where the material and the performances transcend the limitations of cheesy pop production -- indeed, the album is inviting enough that the kitschy '70s sounds are pleasantly nostalgic. I'm not sure if Medeiros made many other records, but this one's really nice, especially with Trio Esperanca singing throughout. Worth checking out!
Elton Medeiros - see artist discography
Geraldo Medeiros & Orquestra Brasileira De Ritmos "Dancando O Frevo" (Musidisc, 1956) (LP)
Trumpeter and saxophonist Geraldo Medeiros was an integral member of Severino Araujo's Orquestra Tabajara... On this "solo" set, he digs into the frevo style the Tabajara crew excelled at... This set has a rougher, slightly wilder edge, without quite the same sleek panache as the Tabajara albums, and a smaller ensemble as well. (Not sure who the other musicians were, but I assume they were also drawn from Araujo's big band... Sounds like about an eight-piece band, perhaps?) Admittedly, I find the manic pace and static arrangements of the frevo style to be a bit monotonous -- a little goes a long way -- but you're a devoted gafieria fan, you'll want to check this out.
Os Megatons "Os Megatons " (Philips, 1964) (LP)
Twangy, jangly surfin' rock instrumentals, also with a Shadows-esque tone. To be honest, the lead guitarist(s?) weren't really all that good, but even if they lacked finesse, the band still sounded cute, and they were competent rockers. Like many Brazilian rock bands of the era, I wish they had sung in Portuguese... But I felt the same way about the Shadows as well...
Helena Meirelles "Raiz Pantaneira" (Eldorado, 1998)
An unusual, but un-compelling record from the Brazilian back-country. Meirelles is a little old lady who plays a shiny, metallic guitar that looks like a dobro. Her musical style is atypical: it sounds a lot like Mexican corridos, but is also rather static and monotonous. I'm sure it's super-authentic, but I couldn't get into it...
Helena Meirelles "Flor Da Guavira" (Eldorado, 1999)
Helena Meirelles "Grande Dama Da Viola" (Eldorado, 1999)
J.T. Meirelles - see artist discography
Joao Mello "Apresentando Joao Mello Em Ritmos Do Brasil" (Sinter, 1959) (LP)
Joao Mello "A Bossa Do Balanco" (Philips, 1963) (LP)
(Produced by Luiz Eca)
A delicious set of classy, restrained bossa nova songs from Joao Mello, a prolific composer who also went on to become one of the major session producers of the classic bossa nova and MPB years. Here he is backed by pianist Luiz Eca and the Tamba Trio, in one of their most crisp and understated performances. There's a sweet lilt and danceable bounce to this album, also a pleasant air of imperfection and imprecision -- this could have easily been an overproduced, over-orchestrated pop set, instead, it's a lovely record of small-scale, small-ensemble bossa, a model of economy. Nice to hear such a famous studio producer performing as a frontman for once: sounds great. Features several songs written by Mello, as well as by Tito Madi, Chico Feitosa, Rildo Hora and others.
Joao Mello "Coracao So Faz Bater" (Som Livre, 2000)
Jorge Mello "Besta Fera" (Crazy, 1976) (LP)
Luciana Mello - see artist discography
Luiz Melodia - see artist discography
Fernando Mendes "Fernando Mendes" (EMI, 1974) (LP)
(Produced by Maestro Gaya & Milton Miranda, arrangements by Clelio Ribeiro)
Soporific, ephemeral soft-pop with occasional glimmers of life... Mendes seems to have been ready to take up the Roberto Carlos's long-discarded mantle as a Brazilian teen heartthrob, but boy, is this snoozy. There's one song, "Nao Vou Me Entregar," that has some mildly wild electric guitars on it, but for the most part the arrangements are rather static and slow. You're not missing anything here, trust me.
Fernando Mendes "Fernando Mendes" (EMI, 1975) (LP)
(Produced by Miguel Plopschi, arrangements by Clelio Ribeiro)
There's a lot more stylistic variety from his previous album -- maybe a touch of Santana-esque guitars to spice things up -- but it's still pretty dull material. Leif Garrett and Shawn Cassidy seem like pimpin' mack daddies compared to this wuss!
Fernando Mendes "Fernando Mendes" (EMI, 1978) (LP)
Fernando Mendes "Selecao De Ouro" (EMI, 1998)
A best-of set...
Helio Mendes "Weekend No Rio" (Musiplay, 1963) (LP)
Unremarkable, third-tier bossa-era nightclub instrumentals... I suspect Helio was banking on folks confusing him with the then-rising Sergio Mendes, a theory which is borne out by his cover (on his other album) of Jorge Ben's "Mais Que Nada," which had been a huge hit for Sergio. Regardless, this is hardly memorable material: the piano work is okay, everything else -- saxophone, accordion, percussion -- is leaden and bland. A cheesy tourist album with, as far as I can tell, no real historical significance.
Helio Mendes & Seu Trio Vagalume "Na Bossa" (Musiplay, 1963) (LP)
Renato Mendes "Electronicus" (RGE, 1974) (LP)
Some sort of electronic music project, with keyboardist Mendes playing on the Moog synthesizer. I haven't heard this one myself, just caught wind of it through the grapevine...
Roberto Mendes "Flama" (Nosso Som, 1988)
Roberto Mendes "Matriz" (Casa Da Musica, 1992)
Roberto Mendes "Roberto Mendes & Baianos Luz" (Velas, 1994)
Roberto Mendes "Roberto Mendes" (Velas, 1994)
Roberto Mendes "Voz Guia" (Velas, 1996)
Roberto Mendes "Minha Historia" (Velas, 1999)
Roberto Mendes "Traducao" (Atracao, 2002)
(Produced by Ana Maria T. Mendez)
A super-groovy, funky-freeform, acoustic-samba-MPB groovefest... Bahian singer-songwriter Mendes readily brings to mind Gilberto Gil's exuberant improvisational work of the early 1970s -- the driving, hypnotic fervor is there, as is the light vocal tone. This affinity is borne out in a duet with Gil's old buddy, Caetano Veloso, who adds his elegant touch to "Namorar, Vem Namorar," one of the numerous Mendes originals on this delightful album. Margareth Menezes and Jussara Silveira also chime in, although it's Mendes's fervent, high-energy performance that really makes this album click. If you're a fan of Jorge Ben or Gilberto Gil's classic samba-funk grooves, you'll want to check this disc out as well! (Thanks to the folks at Cana Brava Records, in Salvador, for sending a copy our way...! )
Roberto Mendes "No Embalo Da Seresta" (2002)
Roberto Mendes "Tempos Quase Modernos" (Atracao, 2006)
Roberto Mendes "Cidade E Rio" (Biscoito Fino, 2008)
Sergio Mendes - see artist discography
Martha Mendonca - see artist discography
Roberto Menescal - see artist discography
Jose Menezes "Dedos Privilegiados" (Sinter, 1954) (LP) (10")
Guitarist Jose Menezes was a session player on countless recordings during the 1950s, notably playing with maestro Radames Gnattali. He also led his own combo on a number of records before forming the parodic bossa-era band, Os Velhinhos Transviados. This early album -- originally issued as a ten-inch LP -- includes a number of Menezes's original compositions, including "Um, Dois, Tres" and "Encabulado," as well as some co-written with Luis Bittencourt (who I believe was also known as Joao do Bandolim...)
Jose Menezes "A Voz Do Violao" (Sinter, 1957) (LP) (10")
A nice set of guitar solos, covering a wide variety of styles, such as choro, maxixe, and samba-cancao...
Jose Menezes "Ritmos Em Alta Fidelidade" (Sinter, 1957) (LP)
A jazzy 6-song set from this prolific guitarist... This is a nice EP with Menezes playing electric guitar in a variety of styles, playing samba and regional Brazilian music with a North American jazz-guitar sensibility. His medley of baiao classics, "Nao Interessa Nao/Repinica Raimundo/Xaxado" is particularly noteworthy, giving this sometimes-inaccessible style a sweet, light tone. Nice stuff!
Orq. De Frevo Jose Menezes "Os Maiores Sucessos Do Frevo" (PolyGram, 1983) (LP)
I'm not exactly sure I could describe to you what the style of music known as frevo is all about -- according to the modest liner notes on this album, it was first noted as an offshoot of the capoeira bouts, as early as the 1850s... So it's a rhythm or style of music that predates the maxixe and samba by several decades... But I still don't know enough about it to fairly describe its characteristics or significance. In this incarnation, as played by Jose Menezes's band, it's a fairly glitzty, hyperactive marching band music: if your local college brass band was really, really, really creative, they might come up with something like this.
Margareth Menezes - see artist discography
Os Meninos Do Deus "Aperte...Nao Sacuda!" (1974) (LP)
Rock and psychedelic-tinged gospel music from the tropicalia era of Brazilian pop. A modest gospel chorus melds well with Bowie-esque guitar, folk-rock and '70s-style pop; there's a clear debt to Hair and other hippiesque gospel-pop of the time. Overall, this is quite nice, a good mix of perky, earnest innocence and musical accomplishment. Like Communidade S8 (another Brazilian religious group that put out records around the same time) Meninos Do Deus were a musical band affiliated with a larger religious organization, in this case, the Children of God, a creepy, hippie-ish evangelical group from America that had cultish, apocalyptic overtones and was notorious for various sexual practices, including "flirty fishing" (having young women sexually seduce new converts, and find financial "donors" for the cause) as well as allegations of child abuse. If the evangelical angle (and the other stuff) doesn't bother you too much, there are some nice poppy songs on here, although the history behind the music is pretty disturbing. I don't know how much these particular Brazilian musicians were involved in the politics or lifestyle choices of the international organization, although you can read more about them in this post on the Brazilian Nuggets website
Os Meninos Do Deus "Amor Nunca Falha -- Capitulo 2" (Polydor, 1975) (LP)
Os Meninos Do Rio "Os Meninos Do Rio" (Sony/Carioca Discos, 2000)
(Produced by Paulinho Albuquerque)
An absolutely gorgeous set of old-school acoustic pagode samba, honoring the work of composers such as Ivone Lara, Jair Do Cavaquinho, Elton Medeiros and Nelson Sargento. A bunch of these old-timers are pictured and named on the front cover, and make guest appearances throughout, although the album is anchored by a group of younger musicians who, I assume, go by the name of Os Meninos Do Rio. At any rate, this is a super-lovely record. Fans of Beth Carvalho or the Velha Guarda Da Portela owe it to themselves to track this one down.
Daniela Mercury - see artist discography
Alex Mesquita "Curva Do Tempo" (Rara Records, 2009)
Caio Mesquita "Jovem Brazilidade" (EMI Brazil, 2006)
Caio Mesquita "Ao Vivo" (EMI Brazil, 2006)
A live performance by saxophonist Caio Mesquita, with guest performer Ivan Lins...
Caio Mesquita "Natal" (Luar, 2006)
Caio Mesquita "Jovem Brazilidade, v.2" (EMI Brazil, 2007)
Caio Mesquita "Um Feliz Natal" (2011)
A dreadful easy listening holiday album by saxophonist Caio Mesquita, who was (one of many Brazilian answers to Kenny G. The title track, "Um Feliz Natal," is a cheesy cover of Jose Feliciano's Christmas classic, "Feliz Navidad." Just awful.
Caio Mesquita "Sertanejo" (Universal, 2009)
Custodio Mesquita "Prazer Em Conhece-lo" (Atracao, 1998)
Ronald Mesquita "Bresil '72" (Barclay, 1972) (LP)
The drummer for the late-1960s bossa-jazz band Rio 3, Ronald Mesquita briefly led this Sergio Mendes-ish bossa-pop outfit... The record came out in France; I'm not sure if the group was based there as well.
Suely Mesquita "Sexo Puro" (Tratore, 2007)
Suely Mesquita "Microswing" (Tratore, 2008)
Messias - see artist discography
Mestre Ambrosio "Mestre Ambrosio" (Tratore, 1997)
Mestre Ambrosio "Fua Na Casa De Cabral" (Sony/Chaos, 1999)
Challenging modern music from this youthful mangue beat band out of Recife. A truly weird, psychedelic, distorted take on the street samba sound, mixing spacy electric guitars with clattering percussion and other non-rock instruments, such as pife flutes, an accordion and a violin, and a wild mix of rock, forro, maracatu and other styles. It's kind of like hearing the Quinteto Violado on acid. (I bet they're amazing live.)
Mestre Ambrosio "O Terceiro Samba" (Sony, 2001)
(Produced by Beto Villares)
Their third album... another odd, compelling offering from this eclectic regional band... This time around their sound is much more stripped down, in some ways even static, yet the combination of a modern sensibility with antiquated regional styles such as coco and maracatu makes this album sound unique and fresh... The instruments are all acoustic, with a scratchy violin at the center of many songs, and a bit of accordion and forro-style percussion... You can tell instantly that this is a modern band, but their approach is so unlike their rock and samba-oriented contemporaries that it's really quite delightful... Highly recommended!
Mestre Bimba "Curso De Capoeira Regional" (JS Discos, 1969) (LP)
Mestre Caicara "Academia De Capoeira De Angola Sao Jorge Dos Irmaos Unidos Do Mestre Caicara" (EMI-Copacabana, 1973) (LP)
Stark-sounding capoeira of the "Angola" school, which is slower and less flashy than "regional" capoeira. This band was led by Antonio Carlos Moraes, aka Mestre Caicara, a Recife native who delved into the African roots of Brazilian capoeira, and was one of the first artists to record the Angola style. The rhythm is a slow, heavy beat, spanked out on a tambourine, with the berimbau leading the melody and pushing the movement. The vocals are also slow and deliberate, but also passionate and intense. Recommended, particularly for students of the art...
Mestre Marcal "...Interpreta Bide E Marcal" (EMI-Odeon, 1978) (LP)
(Produced by Renato Correa)
Nilton Delfino Marcal, better known as Mestre Marcal, was one of the most highly regarded percussionists of the 1970s, working with some of the decade's top samba stars, as well as recording several albums of his own, highlighting his mastery of batucada drumming. This record is an homage to his father, Armando Vieira Marcal, who sang and played percussion on Radio Nacional in the 1930s and '40s, and Marcal's musical partner Alcebiades Maia Barcelos, aka Bide, a cavaquinho prodigy who also performed on Radio Nacional and composed several early popular samba-cancao hits, including "A Malandragrem," which was first recorded by Chico Alves in 1927. Bide and Marcal backed numerous stars of the 1930s, and were particularly known for their work with legendary choro/samba-cancao flautist Benedito Lacerda.
Mestre Marcal "A Incrivel Bateria Do Mestre Marcal" (Polydor, 1987) (LP)
(Produced by Durival Ferreira)
A groovy collection of samba enredo Carnaval percussion, culled from various parade albums from the '70s and '80s. Drummer Nilton Defino Marcal, who died in 1994, apparently worked with several different samba schools, including Portela and Mangueira, with invariably great results. This disc should make batucada fans quite happy. The CD version includes liner notes that explain the role of all the various instruments in the bateria. Nice stuff.
Mestre Marcal "Samba Enredo De Todos Os Tempos" (Velas, 1993)
(Produced by J.C. Botezelli-Pelao & Argemiro Ferreira)
Percussionist Mestre Marcal takes on the role of a Carnaval puxador, singing lead in a sweeping and celebratory survey of popular Carnaval themes, originally performed between 1949-1988 by several samba schools that he has worked with over the decades. The performance style here is closer to 'Seventies samba-raiz, with the unstoppable rhythm section supporting a large vocal chorus, punctuated by cavaquinho and 7-string guitar, in contrast to Marcal's older, more stripped-down batucada recordings that mainly emphasized the drumming. Among the musicians, drummer Wilson das Neves is perhaps the most notable... Admittedly, it does all start to sound a lot alike, but it's great stuff nonetheless.
Mestre Marcal "Serie Aplauso" (BMG-Brasil, 1997)
Meta Meta "MetaL MetaL" (Mais Um Discos, 2014)
Metro "A Gota Suspensa" (Underground, 1983) (LP)
The independently-released debut album by this '80s new wave group originally came out under the band name A Gota Suspensa, but they changed to Metro after signing with a major label, and the album got retitled retroactively... The original lineup included lead singer Virginie, who quit the band a few years later when they started to change their sound.
Metro "Olhar" (CBS, 1985)
This was Metro's big hit album, and it's a pretty good -- at least better than average -- slice of genuine, uptempo Brazilian new wave. It's a strong showcase for Virginie's lead vocals, giving the record a real Romeo Void/Human League/Toni Basil/Erasure feel -- more keyboard-y than synthy, poppy and propulsive, but not brooding or fey. In a scene that was so derivative and less accomplished than their US or UK peers, this is an album that stands out for its vigor and pop appeal. Definitely worth checking out if you're interested in exploring this wing of Brazilian pop.
Metro "A Mao De Mao" (CBS, 1987)
I think this was the album that came out after group's original lead singer split off to form her own band, Virginie & O Fruto Proibido... Haven't heard it, though.
Metro "Deja-Vu" (Trama, 2002)
On this reunion album (which I don't think included their singer-gone solo artist Virginie) the remnants of Metro are joined and celebrated by younger artists such as Preta Gil and Otto, as well as old-timers like Jorge Mautner...
Hendrik Meurkens "Samba Importado" (L & R, 1989)
Hendrik Meurkens "Amazon River" (Blue Toucan, 2005)
A slew of heavyweight Brazilian jazz players -- including guitarist Dori Caymmi, percussionist Duduka Fonseca and album co-producer Oscar Castro-Neves -- back German-born harmonicat Hendrik Meurkens on this sometimes-lively exploration of Brazilian themes... Naturally, comparisons to two other Braz-oriented harmonica virtuosi come to the fore: like Toots Thielemans and Rildo Hora, Meurkens gets pretty mellow, but he also plays it fast, and in both cases comes up against the limitations of his instrument... (Slow sounds gooey, fast a bit goofy...) Nonetheless there are some elegant numbers, generally the vocal tracks, where the harp fades from the lead and becomes more of an accent, and these are pretty nice. Overall, this style of jazz is way too soft for me, but Meurkens does a fine job exploring various aspects of the Brazilian sound, and works in a wide range of styles... Smooth jazz fans will find this album quite lovely.
Hendrik Meurkens "Sambatropolis" (Zoho, 2008)
Hendrik Meurkens "Samba To Go" (Zoho Records, 2009)
Osmar Milito "... Deixa O Relogio Andar!" (Som Livre, 1971) (LP)
Osmar Milito "Nem Paleto, Nem Gravata" (Atco, 1973) (LP)
Osmar Milito "Uma Rosa Com Amor" (Som Livre) (LP)
Osmar Milito "Viagem" (Continental)
Osmar Milito "Aos Amigos Tudo" (2006)
Sidney Miller - see artist discography
Vange Milliet "Vange Milliet" (1995)
Vange Milliet "Arrepio" (1998)
Vange Milliet "Tudo Em Mim Anda A Mil" (Tratore, 2006)
(Produced by Zeca Baleiro & Paulo Lepetit)
Miltinho - see artist discography
Miltinho "New Malemolencia" (1986)
A solo album by Milton Lima dos Santos Filho, aka Miltinho of the vocal group MPB-4 -- not to be confused with the radio singer Miltinho (above)... This includes appaerances by other members of MPB-4, as well as Kledir Ramil and Ze Renato.
Carmen Miranda - see artist discography
Luperce Miranda "Luperce Miranda Interpreta Luperce Miranda" (MIS, 1978) (LP)
A sweet set of choro bandolim instrumentals, with a slight regional flair. Apparently Miranda was an old-timer in his seventies when this was recorded; indeed, he passed away not long after its release... But his age was certainly no impediment to his talent -- this is a great record. Anyone who's into the mandolin will want to track this one down, particularly for dazzling, inventive runs on songs such as "Moto Continuo," but also for the sweeter, more lyrical tunes. Fans of Jacob Do Bandolim and Joel Nascimento owe it to themselves to check this album out. Highly recommended.
Marlui Miranda - see artist discography
Pedro Miranda "Coisa Com Coisa" (Deckdisc, 2006)
(Produced by Joao Augusto & Pedro 7 Cordas)
Traditionalist acoustic samba from a (former) member of Teresa Cristina's highly-regarded Grupo Semente, gone solo with her blessing (and a nice guest appearance on one of the best tracks on this album...) This is nice stuff, and he hits all the right marks: fans of Paulinho da Viola, Martinho da Vila and like-minded preservationists will enjoy this set. I have to confess this album didn't totally wow me; Miranda's vocals aren't the most expressive and the music, while pleasant, seems a little too controlled and contained overall. Nonetheless, it's all very high quality, and several tracks have made it into long-term rotation at Casa da Slipcue. Definitely worth checking out.
Pedro Miranda "Pimenteira" (Tratore, 2009)
Beautiful! On this disc, Miranda really comes into his own... He seems like a more confident, relaxed performer, more willing to project his own personality and warmth into the music, and the sonic palette is wider and more textured, bringing in a sleek, big-bandy undercurrent than echoes jazzy, 1950s-era gafieira and the urban-based samba do asfalto of the '60s, but not in a way that detracts from the music's rich samba base. It's one of the nicest blends of modern/poppy and acoustic/old-school that I've heard in a while. A rich, sweet, very pleasant record, definitely one to track down. Highly recommended!
Wilson Miranda - see artist discography
Mr. Hermano "O Globo" (Disorient/Mr Bongo, 1999)
A British-based band that fuses electronic-ambient groove with Brazilian bossa-jazz and samba... Apparently Brazilian percussionist Dom Um Romao is involved as well... A nice project if you're looking for mellow chill-out music.
Mr. Samba "Mr. Samba E Seus Skindos Ritmicos" (RGE, 1962) (LP)
Swinging, big-bandy samba tunes, with a little more blaring brass than I would prefer, but also some swell percussion, pleasant group and solo vocals, and some creative arrangements, including a dash of Cuban-style salsa. The horn section often gets in the way, but this is still a pretty fun record. The album art proudly proclaims this as an album recorded for tourists, and songs such as Pedro Caetano's "Onde Estao Os Tamborins" tip their hat that these guys may have been connected to the Mangueira samba school... Who knows? Mostly this is just for shaking your cute little booty!
Mr. Samba "This Is Bossa Nova" (RGE, 1963) (LP)
Dom Mita "O Som Do Black Rio" (Transmita/Whatmusic, 2001)
A Black Rio revivalist album, this features soul singer and percussionist Dom Mita along with a slew of his old pals, including members of Banda Black Rio and vocalist Carlos Dafe (who guests on one song). The album is dedicated to the late Brazilian funk pioneer Tim Maia, and is definitely true to his spirit. There's an odd, familiar mix of disco-ish production and legitimately funky rhythms -- this modern disc is well-produced and tightly arranged. It might not be your bag, but if it is, I'm sure you'll be pretty happy with it.
Miucha - see artist discography
Jun Miyake "Innocent Bossa In The Mirror" (Tropical Music, 2002)
(Produced by Jun Miyake & Arto Lindsay)
A sparse, entirely beautiful novo bossa nova album from an "outsider" with cross-cultural leanings. Japanese art-song multi-instrumentalist Jun Miyake had never tackled Brazilian music before this album, but with the help of modernists Arto Lindsay and Vinicius Cantuaria, Miyake casts a delicate spell that recalls the magical glory days of Joao Gilberto, Carlos Lyra and the other early greats. As on his own albums, Lindsay wrote and sings original Portuguese lyrics, while Cantuaria provides the gentlest, most compelling guitar accompaniment imaginable. Miyake's piano work recalls the haunting echo-iness of Erik Satie, and while each track tends towards a prolonged exploration of a single theme -- a song with odd percussion, another with flugelhorn as a bossa nova lead instrument -- the overall effect is magical and serene. Recommended!
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Mocada Do Samba "Canta E Liberte" (Scala, 197--?) (LP)
(Produced by Cassio Visconti, Jr.)
Mocidade Independente De Padre Miguel "Bateria Nota 10" (Top Tape, 1975) (LP)
Originally an outgrowth of a popular soccer team, this samba escola became one of the most popular and successful Carnaval bands, starting in the late 1950s, and continuing on through the present day. Tracks by the band frequently appear on compilation albums of batucada percussion, and their own albums pop up from time to time. The band's signature instrumentation and breakneck pacing seldom vary, so they may best be taken in small doses.
Mocidade Independente De Padre Miguel "Batucada - Percussions Du Bresil" (Iris Musique, 1990)
As with other albums by this popular escola, this features plenty of high-power, infectious percussion, delivered at an unvaried breakneck clatter. Again, there's not a lot of stylistic breadth here, but the performances are pretty stunning. This collection has since been superseded by a double disc set, also on the same French label (reviewed below).
Mocidade Independente De Padre Miguel "Batucada Brasileira" (Iris Musique, 2002)
This time around, the Iris label has put together a full 2-CD set, expanding on the album listed above, and apparently all drawn from records of the late 1970s. Again, not a lot of stylistic variation, but top-flight, rapid-fire percussion from a world class outfit.
Mocidade Independente De Padre Miguel "Fantastica Batucada - Percussions Du Bresil" (Iris Musique, 2005)
More of the same. Propulsive batucada percussion, classic tracks, repackaged once again. But still great stuff.
Os Mocorongos "Baile De Estudiantes" (Mocambo, 1961-?) (LP)
A charming and charmingly amateurish recording by a group of students from Belem do Para, performing a repertoire that is remarkably free of bossa nova or even samba influences, but rather toned-down American rock (a slow rock rendition of "Blue Moon," for example) and pop standards, along with a couple of Brazilian ballads from Tito Madi and Dolores Duran... It sounds very much like a college-student album of the 1950s or '60s should sound like, sincere but a bit stilted, and maybe a little stuffy and square. There were some notable contributors, here, though: a 17-year old Sebastiao Pena Marciao (aka Sebastiao Tapajos) plays guitar -- possibly his first recording session! -- and singer Celia Reis is listed as the "lady crooner," more of a minor leaguer as far as her subsequent career went, but still noteworthy. This isn't an earthshaking album, but it is quaint and quite listenable. Worth a spin, but probably most interesting as a historical curio for Tapajos fans.
Modulo 1000 "Nao Fale Com Paredes" (Top Tape, 1970) (LP)
I have a somewhat suspicious mind, so when I finally got around to checking out this "legendary lost album" from the early 1970s, I immediately wondered if it was a hoax... I mean, here was a wild-sounding psych-prog/heavy rock group from the tropicalia era that, for all its clumsiness, kind of blows the big name artists such as Os Mutantes and Caetano Veloso out of the water, at least in terms of being a real, live cutting-edge, contemporary hard rock band. The crude, cutting, wailing, electric lead guitar, the sludgy, Sabbath-esque proto-metal riffs, the guttural, faux-liturgical vocals and the deep plunges into tranq-rock territory are so blazingly authentic and so completely divorced from what 99% of the rest of Brazil was into, it's really quite remarkable. This Rio-based band was in touch with elements of the American-British hard rock scene that loftier artistes such as Veloso and Gilberto Gil had little interest in. Crunchy, grungy, sloppy bands such as Steppenwolf and Iron Butterfly seem as much a part of their palate as do Hendrix and krautrockers like Can -- I'm not saying this is great music, or that I'd really want to listen to it on a rainy day at home, but it's got a lot of historical heft, in terms of it's hipness, relative to what was happening elsewhere in the world. If you're into freaky acid rock from the 'Sixties and 'Seventies, you'll want to check this one out. (PS - oh yeah, by the way, it's not a hoax. For more info, contact the reissue label, World In Sound.)
Modulo Quatro "Bossa Carrossel Brasileiro" (Chantecler, 1970) (LP)
Perky easy listening instrumentals, with jaunty organ playing that might appeal to fans of Walter Wanderley. It's not really my cup of tea, although there are some pleasant grooves. The cuica-like playing (are those vocals?) on "Voce Voltou" is a hoot! The group included Mrio Augusto on bass, Toni Marcilio (drums), Carlos Nbrega (piano) and Joni Soto (guitar) on what appears to have been the band's only album.
Tony Mola "Bragada" (Blue Jackel Records, 1996)
In the 1990s, Bahia-born drummer Tony Mola was a pioneer of the Brazilian pop-samba-Caribbean fusion known as axe music. This album is a strong, poppy blend of forro and axe pop, smoothly incorporating galloping, clattering Afro-Brasilian percussion as well as Caribbean-flavored soca arrangements. The drumming may be a little too muted in the mix, but still this is a pleasant, listenable album, with warm lead and bright chorus vocals.
Tony Mola & Bragada "Quebra Mola" (Blue Jackel Records, 1998)
(Produced by Tuta Aquino)
A sharp, punchy mix of forro, soca-tinged pop, and rapid-fire bloco afro style percussion. The album starts on a sour note (bad rock guitars), and about half the tracks on here don't do much for me. The other half are irresistible, though, with infectious melodies and seductive rhythm. Recommended.
Tony Mola "Samba + Samba" (Blue Jackel Records, 2006)
(Produced by Tony Mola)
Sweet, understated samba with soft, compelling, bossa-influenced vocals, a gentle croon set to willowy mandolins and insistent, yet muted, Afro-Brazilian drumming. This time around Mola has altogether dropped the pop/axe elements of his earlier albums, presenting an elegant, mature work that harkens back to the 1970s-era pagode style... Very pretty and very listenable. Recommended!
(Grupo) Molejo - see artist discography
Moleque De Rua "Moleque De Rua/Street Kids Of Brazil" (Sony Brasil, 1992)
There are a couple of good tunes on this intriguing but awkward mix of samba and slick rock-pop. The gimmick is that this band features several poor street kids, straight from the Sao Paulo favelas, banging away on percussive instruments made from tin cans, trash can lids and other scrap metal. THAT sounds interesting, but the pop music draped around it is too pervasive, and you never get to hear the kids get sloppy, mean and gritty. Worth checking out, though.
Moleque De Rua "Pimenta Malagueta" (2002)
Moleque De Rua "Final Feliz" (Naive Records, 2007)
Momento Quatro "Momento Quatro" (Philips, 1968)
(Arrangements by Rogerio Duprat)
Wow. Really. This is a cool sunshine-pop album with group vocals by a quartet featuring Ze Rodrix and Ricardo Sa (aka Ricardo Villa) along with Mauricio Mendonca and David Tygel (who later co-founded the pop band Boca Livre...) It's a lively set with perky, pleasantly orchestrated arrangements courtesy of tropicalia maestro, Rogerio Duprat. Duprat doesn't spend a lot of time trying to be clever or get us all tripped out; he just provides some groovy orchestrations that give a fun, sympathetic backing to the group's lovely songs. It's kind of like The Association meets Tom Jobim... Recommended!
Momo "A Estetica Do Rebisco" (Dubas, 2007)
(Produced by Marcelo Frota)
An unusual and totally atypical Brazilian rock album, drawing heavily on the space-rock and soft-prog sounds of the early 1970s. Bowie, Syd Barrett, the gentler side of Pink Floyd and a gazillion less well-remembered psychedelic strummers of that era are evoked in this gentle, diffuse album, a collection of spaced-out songs that is unlike any other Brazilian record I've ever heard. (Perhaps Otto's trip-hoppy electronica comes closest...) Singer/keyboardist Marcelo Frota is the main creative force, although several of the songs are co-written with others (anyone know if co-composer Alvinho Lancellotti is related to Domenico Lancellotti, of the Moreno Veloso/+2 crew? Just wondering.) It's nice stuff: folks who dig Davendra Banhart and his brand of freak-folk might also get a kick out of this odd, dreamy disc. Worth checking out!
Monarco - see artist discography
Monobloco "Monobloco 2002" (Universal, 2002)
A lively batucada percussion-oriented offshoot of Pedro Luis E A Parede... This popular Rio band mixes soul-samba, rap and rock influences, all woven into a drum-heavy mix. Where Olodum's pop crossovers seem anchored in the 1980s, Monobloco are way more modern. Definitely worth checking out.
Monobloco "Ao Vivo" (Som Livre, 2006)
Monobloco "Ao Vivo" (DVD) (Som Livre, 2006)
A video version of the live album from 2006... Includes opening and closing numbers that are not on the CD.
Monokini "Mondo Topless" (Bizarre Records, 1998)
(Produced by Paulo Beto Na Lobo)
Yay...! A Sao Paulo rock band with some nice, uncomplicated hipsterrific indie-pop, which ranges from bouncy, brainless power-pop to Bacharach-tinged Stereolabbiness... Very much in keeping with all the twee stuff that was going on in the UK and US around the same time. If you like artists such as Stereo Total, April March or Die Moulinettes, then this disc is for you. Extra points for keeping the lyrics (when there are lyrics) in Portuguese... Much appreciated!
Monsueto/Various Artists "Musica Popular Brasileira -- Grandes Autores" (RCA-Camden, 1973) (LP)
A tribute to samba/pop songwriter Monsueto Menezes, released just after his death in 1973, with classic 1950s "radio singers" recordings from some of the older, original interpreters of his music, such as Linda Batista, Angela Maria and Marlene, as well as one track featuring Monsueto himself, and an opening track from Maria Bethania, who at the time was perhaps the biggest star in Brazil. This collection probably felt pretty antiquated and anachronistic even when it came out, but it stands up to the test of time, and is a fitting tribute to this prolific composer.
Monsueto/Various Artists "Serie Raizes Do Samba" (EMI, 2000)
Marisa Monte - see artist discography
Cyro Monteiro - see artist discography
Doris Monteiro - see artist discography
Oswaldo Montenegro - see artist discography
Mopho "Mopho" (Baratos Afins, 2000)
Cool stuff! Definitely off the beaten track as far as Brazilian pop goes... indiepop isn't really big in Brazil, and the hometown bands are incredibly hard to track down, even down there. This is fairly trippy, psychedelia-tinged power-pop that seems to take its cues from old George Harrison and Badfinger albums, with a touch of "heavier" rock ala Rod Argent and the like. Although this Sao Paulo band has its limitations, it's still fun to hear these old '70s boogie rock and lush, Beatles-y pop riffs fronted by Portuguese vocals. Several songs are catchy and stand up on their merit -- lighthearted, dreamy, and definitely worth checking out either as an indie fan or as a Brazilian rock buff. [NOTE: the Baratos Afins record store, which put this album out, is probably the only place you're likely to find this album. Check out their website for mailorder info, as well as info on other Brazilian indie bands.]
Mopho "Sine Diabolo Nullus Deus" (Baratos Afins, 20--?)
Katia Moraes "Ten Feet And The Sun" (1997)
Katia Moraes & Sambaguru "Ginga" (Sugarcane Records, 1999)
First-rate jazz-MPB vocals in the style of Elis Regina and Gal Costa. Moraes has a sweet, clear voice and sharp phrasing, and is obviously well-versed in Brazilian musical history (the album opens with an homage to various musicians). Likewise, her band, Sambaguru, play tightly and with feeling, covering a wide variety of styles including jazz, samba, axe, and even a bit of Indian classical. It has a few predictable pop foibles, but compared to much of the '70s MPB this is modeled on, this album is a paragon of restraint. Hopefully being based in LA, rather than Rio, won't count against these folks -- they sound great, and deserve a wide audience. For more info, visit their website at: http://www.katiamoraes.com.
Katia Moraes & Sambaguru "Live: April 11-12th, 2003" (Kufala, 2003)
A fine live set, recorded in a Studio City, CA nightclub, under what must have been ideal conditions. The sound quality of these recordings is remarkably good, and is matched by the enthusiasm of Moraes and her band. Her similarity to Clara Nunes becomes even more apparent, although there's also a strong jazz element at play here. Most of the songs here are originals, co-written with pianist Bill Brendle, and are of a par with the cover tunes they choose, material by the likes of Joao Bosco, Djavan, Sivuca and Hermeto Pascoal... there's even a tune here by modern rocker Lenine! Two CDs worth of fine material, released on CDR, but still well worth checking out.
Katia Moraes & Sambaguru "Navegar Ao Sol" (Moondo, 2005)
Pedro Moraes "Samba Do Bau -- E Com Esse Que Eu Vou" (Brazilmusica, 2008)
Sleek, mellow sambas with a slick, modern production style, in the tradition of artists such as Martinho Da Vila and Paulinho Da Viola. Apparently this album features a number of songs composed by several samba masters -- Cartola, Da Viola, Nelson Sargento, and others -- that had been previously unrecorded by any other artist. It's rootsy and sweet, but also with enough of a pop gloss that it may feel too controlled at times, although it's definitely on the less-popped out side of the spectrum. Depends on your mood, I suppose, but it's definitely worth checking out.
Pedro Moraes "Claroescuro" (Independent, 2010)
On his second album, Moraes dives deeper into the world of ornate pop crossovers familiar to fans of the MPB of the 1970s and '80s; although there's still a samba vibe underlying the album, a glossier, more boldly fusion-oriented sound pervades, with a strong debt to jazz-oriented MPB-ers such as Milton Nascimento. Pat Metheny-ish guitars and air electric bass mixes with heavy, electronica-tinged backbeats -- I recoiled at the first few notes, but then found myself drawn in. If you enjoy funky pop-samba crossover stars like Carlinhos Brown or Seu Jorge, you might really dig this as well.
Marcos Moran "Do Jeito Que A Gente Quer" (Caravelle, 1972) (LP)
Marcos Moran & Samba Som 7 "Transamba" (Caravelle, 1973)
A nice set of poppy '70s samba, featuring male vocals by Moran and female vocals -- both in a bright, chirpy chorus and Rita Lee-esque solo vox -- from a duet called Silvia & Sandra. The repertoire is heavy on songs by Antonio Carlos & Jocafi, with additional samba songs by Chico Buarque, Paulinho da Viola and the guys from Novos Baianos, as well as several tracks by more obscure roots-samba composers. The record starts off sounding like more of a pop record than it turns out to be: most of the album has a stripped-down acoustic pagode sound, and sounds quite nice. Maybe it's not as earthy or thunderous as some of the heavy-hitters on the pagode scene (Clara Nunes, et. al.) but it's still quite groovy. Worth tracking down... (even if the Little Black Sambo cover art is a little scary...)
Marcos Moran "Brasileirissimas" (Polydor)
Marcos Moran "Brasileirissimas, v.2" (Polydor, 1978) (LP)
Juarez Moreira "Nuvens Dourados"
A tribute to Tom Jobim...
Juarez Moreira "Aquarelas"
A tribute to composer Ary Barroso, with saxophonist Nivaldo Ornelas and the Chamber Orchestra Sesiminas.
Juarez Moreira "Bom Dia" (Malandro, 1998)
Juarez Moreira & Badi Assad "Instrumental No CCBB" (Azul, 2002)
A live performance at the Centro Cultural Banco do Brasil...
Moraes Moreira - see artist discography
Wilson Moreira & Nei Lopes "A Arte Negra De..." (EMI, 1997)
Wilson Moreira "Okolofe" (Rob Digital, 2000)
Wilson Moreira "Entidades, v.1" (Radio MEC, 2002)
Wilson Moreira "Peso Na Balanca" (Atracao, 2007)
Jacques Morelenbaum - see artist discography
Paula Morelenbaum "Berimbaum" (Universal/Mirante, 2004)
(Produced by Paula Morelenbaum, Antonio Pinto, Leo Gandelman & Outros)
Paula Morelenbaum "Telecoteco" (Universal, 2008)
Paula Morelenbaum & Ralf Schmid SWR Big Band "Bossarenova" (Obliqsound/Skip Records, 2009)
Paula Morelenbaum & Joao Donato "Agua" (Biscoito Fino, 2011)
Clara Moreno "Clara Moreno" (1996)
Clara Moreno "Mutante" (Timewarp, 1999)
Clara Moreno "Morena Bossa Nova" (Ybrasil?, 2002)
Clara Moreno "Meu Samba Torto" (Atracao/Compass, 2007)
A sweet set of classic-sounding, acoustic-based Brazilian bossa nova, with delicate but confident vocals by Clara Moreno and gorgeous accompaniment by singer-guitarist Celso Fonseca. It's a somewhat staid set -- Moreno follows a conservative, classicist's path, dipping back into the treasure trove of 1930s samba-cancao for gems by Ary Barroso, Joao de Barro, Lupicino Rodrigues, bossa-era ballads and sambas by Elton Medeiros, Durival Ferreira and Jorge Ben, along with three modern compositions from Fonseca and one tune from her mother, MPB-jazz legend, Joyce. Joyce plays guitar on two tracks (including one new song she wrote especially for this record) while and her partner, Tutty Moreno (Clara's step-father), plays drums and percussion on about half the album. Add bassist/producer Rodolfo Stroeter, into the mix, and you've got a fine album crafted by some of Brazil's best players. The album is very sweet, and while Moreno doesn't take many risks, she does make beautiful music, particularly when harmonizing with Fonseca (who is still a dead ringer for the legendary Caetano Veloso...) Definitely worth checking out.
Clara Moreno "Miss Balanco" (Far Out Records, 2009)
Ted Moreno "Sambas Que A Vida Escreveu" (Continental, 1960) (LP)
Suave, bossa-ish vocals in a lush, orchestral samba-pop setting with undertones of big bandish gafieira jazz... Both hip and corny, this has a pleasant feel, not quite dipping into the old-fashioned romantic bathos of boleros while also not fully part of the modernistic bossa sound. A nice middle ground. No info on the backing musicians, though I imagine the horn players and accordionist were all top talent.
Morgana "Morgana" (Copacabana, 1960) (LP)
Morgana "A Fada Loura" (Copacabana, 1962) (LP)
Morgana "Fuga Com Morgana" (Copacabana, 1962) (LP)
Morgana "A Romantica" (Copacabana, 1963) (LP)
Paulinho Moska - see artist discography
The Mosquitos "Mosquitos" (Bar None, 2003)
An absolute delight. Finding the perfect midway point between Brazilian cool and sugary indiepop twee, New York's Mosquitos feature vocals by Juju Stulbach, a Rio-born expatriate who combines the airy, insouciance of Astrud Gilberto with the flip, casual, DIY mellowness of the North American cutesy-pop crowd. There's a relaxed love of melody that suggests a debt to Yo La Tengo, as well as a simplicity and cleanness of line that brings The Bats to mind... Stulbach's Portuguese-language vocals are a highlight, with a fluidity and good-natured tone that should draw in any devotee of classic, roller-rinky Brazilian pop, as well as fans of BMX Bandits, Beat Happening and the whole Pacific Northwest lo-fi scene. Admittedly, the cutesy, naifish English-language lyrics of singer-guitarist Chris Root don't hold up as well to repeated listenings, but they put the record into the right context... In short, this is the perfect twee-pop album that native Brazilian indie bands have yet to create: it's lovely and dreamy, full of pretty sounds and foreign words... and I like it a lot!
The Mosquitos "Sunshine Barato" (Bar None Records, 2004)
This disc continues on the much same path as the first Mosquitos set, though perhaps with more of an indiepop inclination, but the Brazilianness is still there, too. Perhaps because they are now a known quantity, this disc is a little less striking than its predecessor, but it's still pretty cute and pretty cool. A fun splash in the sun, with lots of perky melodies and catchy, playful hooks.
The Mosquitos "III" (Bar None Records, 2006)
Alas, this one fell a little flat for me... Mostly just a generic indie-rock album, with little "Brazilianness" to it, including a big tilt towards English-language lyrics. It's okay, but not as creative or as fun as their first album. Alas. Maybe another record will come out someday?
Alberto Mota "Voa Meu Samba" (Polydor, 19--?) (LP)
With vocals by Arnaldo Henriques ("crooner") and Maria Nazare ("lady crooner")... Not sure when this came out, but I'm guessing late '50s/early '60s... Anyone know more about these folks?
Moto Perpetuo "Moto Perpetuo" (Warner, 1974) (LP)
(Produced by Peninha Schmidt)
A noteworthy pop-rock album, featuring contributions from songwriter (and future solo artists) Guilherme Arantes and guitarist Egidio Conde (who later joined the experimental band, Som Nosso De Cada Dia).
Tiao Motorista "Samba E Talento" (Copacabana, 1970)
Tiao Motorista "Meu Interior" (CBS) (LP)
Ed Motta - see artist discography
Zeze Motta - see artist discography
Mauricy Moura "Coquetel Da Vida" (Chantecler, 1963) (LP)
Mauricy Moura "Roteiro Noturno" (Continental, 1964) (LP)
A tremendously corny, emotive singer, with deep, throaty tones, Mauricy Moura (1926-1977) harkened back to the bolero-tinged romanticism of the radio singers era, although the band backing him hints at the crisp vitality of the early '60s bossa-nova scene. Perhaps this isn't so surprising, since it's Hermeto Pascoal and his band, with Pascoal providing all the arrangements and playing flute (and piano, on some tracks) along with an otherwise-anonymous "Conjunto Hermeto." In some regards, the accompaniment is sympathetic and effective, although you can sense them champing at the bit, eager to stretch out musically beyond Moura's hopelessly outdated, schmaltzy performances. Still, it was a paying gig. I don't have much info about Moura; apparently he was a regular performer on the Radio Atlantica broadcast, and died in the 1970s when he was only about fifty years old. This was his only full album, although he also released about a dozen singles over the course of his career, dating back to the early 'Fifties. Fans of romantic balladeers such as Altemar Dutra or Ivon Curi would probably appreciate this too. Also nice to hear what Hermeto was up to at the time.
Paulo Moura - see artist discography
MPB-4 - see artist discography
Os Mugstones "Os Mugstones" (1967)
This kilt-clad combo crafted a kooky mix of frat rock, Viscounts-ish instrumental pop, and some genuine Brazilian freakbeat gems. The lackluster instrumentals outnumber the rock tunes, but they don't outweigh them: the handful of groovy rock songs definitely make this disc worth checking out.
Mundo Livre s/a "Samba Esquema Noise" (Banguele, 1994)
The debut album by one of the key bands in Pernambuco's explosive 1990s manguebeat scene... This is an exuberant, uninhibited mix of styles -- funky, guitar-based indie/alt rock, electronic noise and regional Brazilian styles... The tilt towards aggressive, electric rock makes this a little on the loud side for an old geezer like me -- or at least it's not the kind of loud, aggressive rock music that I'm normally into -- but there's still an wild, vibrant creativity at work here that'll make you sit up and pay attention, as well as some quieter moments that are a nice change of page. Percussionist (and future solo performer) Otto was part of the crew in this early edition of the band. Worth checking out!
Mundo Livre s/a "Guentando A Oia" (Excelente, 1996)
Mundo Livre s/a "Carnaval Na Obra" (Abril/Excelente, 1998)
Soulful, accomplished '90s alt-rock, with a heavy, funk-drenched approach and an interesting blend of traditional influences. Airy-voiced lead singer "Zero Quatro" bears a more than passing similarity to the great Caetano Veloso, not just in his nasal-yet-suave drawl, but also in his eclectic musical approach. Sometimes the band sits on a groove a little too long, letting things grow static, but overall this is a pretty impressive effort. The use of the cavaquinho next to a heavy soul snare drum is especially nice. Definitely worth checking out, if you're curious about the more modern-sounding Brazilian bands.
Mundo Livre s/a "Por Pouco" (Abril, 2000)
Mundo Livre s/a "Bebadogroove, v.1" (Tratore, 2006)
Mundo Livre s/a "Mundo Cao" (Som Livre, 2007)
Mundo Livre s/a "Combat Samba" (DeckDisc, 2008)
Mundo Livre s/a "Bit (Box Set)" (Deck Disc, 2004)
A 4-CD box set which includes reissues of their first four albums -- Samba Esquema Noise, Guentando A Oia, Carnaval Na Obra, and Por Pouco -- along with an added disc of video material. Unlike many Brazilian rock boxes, this isn't just a repackaging of regular jewel-box CDs, but rather a floppy fold-out cardboard thingie, with an additional booklet of liner notes and written material. Good introduction to the band!
Celso Murilo "Mr. Ritmo" (Pawal, 1961) (LP)
Celso Murilo "Isto E O Drink" (Remon, 1962) (LP)
Soul-samba pioneer Wilson Simonal sings on two tunes, making his debut alongside jazz organist Celso Murilo and his group, the rather zippy, upbeat house band from an old Rio nightclub known as Drink... He's one of several singers with the band, and he's definitely the best. Singing and swinging, Simonal is on top of the beat in a way that the others are not -- he's hep and full of charisma. The other singers have their charms as well, though: there are Luiz Bandeira and samba-cancao songbirds Lila and the ill-fated Sandra, who died in a car crash about the time this disc came out. Overall, it's quite a lively, enjoyable album, mixing a hefty dose of authentic samba with cheerful nightclub swing. Simonal, already under contract to Odeon, was clearly the star attraction, and devoted fans will definitely want to track this one down.
Celso Murilo "Tremendo Balanco" (EMI-Odeon, 1964) (LP)
An old-school bossa-jazz set, with backing from Edison Machado on drums, and Astor Silva playing trombone. Maestro Lyrio Panicalli is credited as the album's arranger as well...
Ramiro Musotto "Nostalgias" (Revivendo, 2003)
Ramiro Musotto "Sudaka" (Fast Horse, 2003)
Modern electronic remix tracks, with samples drawn from ethnomusical percussion albums, candomble rituals, the afro-samba band Ile Aiye, old cinema novo films, and from field recordings made in towns inside Brazil's Mato Grosso and in rural Argentina. The mixing and production concepts seem somewhat unidimensional, but it's still very nice, and the choices of source material are pretty creative... Although he was born in Argentina, percussionist Musotto is very much in the thick of the modern Brazilian pop scene, working with heavy-hitters such as Caetano Veloso, Marisa Monte and Daniella Mercury, to name a few. There's a Sergio Ricardo credited on one track here, presumably it's the old 1960s bossa nova pioneer; yet another reason to check this disc out.
Ramiro Musotto "Civilizacao & Barbarye" (Circular Moves, 2006)
Mussum "Agua Benta" (RCA, 1978) (LP)
A serious roots-samba musician who was part of the early lineup of Os Originais Do Samba, Antonio Carlos Bernardes Gomes (aka Mussum, 1941-1994) is now best remembered as a comedic performer and television personality, and as a member of the music/comedy group Os Trapalhoes. Unfortunately, his acting career has greatly overshadowed his musical work, and more complete discographical information is a little hard to come by... (Anyone know a good source of information? I'd also be interested in a Brazilian perspective on Mussum's acting career -- he seems to have quite cult following...) Anyway, a tune or two has made it onto various samba and samba-rock compilations, but for the most part Mussum's musical releases remain pretty elusive. Hopefully I can track a few albums down and let you know how they sound...
Mussum "Mussum" (Sony, 1980) (LP)
Mussum "Filosofia De Quintal" (RCA, 1987)
Os Mutantes - see artist discography
Os Mutreteiros Grilados "Coisas Nossas" (Girasom)
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Goals scored by goalkeepers are a somewhat rare event in football. Goalkeepers spend the majority of a match in the penalty area of their own team, a marked are...
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https://www.wikiwand.com/en/articles/List_of_goalscoring_goalkeepers
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Player Nation Years Team(s) Goals Notes Brazil 1990–2015 São Paulo 129 Record for a goalkeeper,[1][10] record number of free kicks (59), record number of penalties (69), record number of official goals (129). Scored 14 goals (six free kicks and eight penalties) in Copa Libertadores and 65 (26 free kicks, one indirect free kick[11] and 38 penalties) in Brazilian League.[12] Had five matches with two goals. Paraguay 1982–2004 Paraguay, Sportivo Luqueno, Guaraní, San Lorenzo, Zaragoza, Vélez Sársfield, Strasbourg, Peñarol 67 Record number of international goals (8), first goalkeeper to score a hat trick (3 goals in a single game). 62 goals considered by IFFHS and more 5 goals scored at the Paraguayan Primera División.[13][14][10] Mexico 1988–2004 Pumas UNAM, Atlante, L. A. Galaxy 46 Scored 28 goals[15][16][17] for Pumas playing as striker while Adolfo Ríos is the goalkeeper (1989–1991).[18] In the most of his goals, he played outfield while another goalkeeper entered as a substitute.[19][20] 44 goals scored for Pumas,[21] 1 for Atlante[22] and 1 for LA Galaxy.[23] Peru 1997–2017 Sport Boys, Union Huaral, Universidad San Martín de Porres, FBC Melgar, Sport Ancash, Cienciano, Alianza Atlético, Club Deportivo Pacífico FC, Defensor San Alejandro, Los Caimanes 45 Forty goals in first division, one goal in Copa Sudamericana and four goals in second division[24][25] Colombia 1985–2009 Colombia, Atlético Nacional, Veracruz, Independiente Medellín, Real Cartagena, Bajo Cauca FC, Deportivo Rionegro 43 Bulgaria 1996–2012 Levski Sofia, Kayserispor, Bursaspor 42 [26] Brazil 2002–2019 Atlético Goianiense, Goiás, Goiânia 40 37 goals for Atlético Goianiense (2007–2015), one for Goiás (2016) and two for Goiânia (2019)[27][28][29][12] Costa Rica 1989–2013 Xelajú, Cobán Imperial, Puntarenas, Ramonense 35 [1][30][31] Brazil 2008– Cruzeiro-RS, São José-RS 35 2 goals for Cruzeiro-RS (2011), 33 goals for São José-RS (2015–2023). Goals scored at Campeonato Brasileiro Série C, Campeonato Brasileiro Série D, Campeonato Gaúcho and Copa FGF.[32][33] Germany 1994–2012 VfB Oldenburg, Hamburger SV, Bayer Leverkusen, Bayern Munich, Bayern Munich II 33 Record number of penalty goals in a single professional league of Europe (26 in 1. Bundesliga); includes three goals in UEFA Champions League (record for a goalkeeper), one in the German League Cup, one in the 2. Bundesliga, one in the 2. Bundesliga play-off, and one in the 3. Liga.[34][35] El Salvador 1988–2010 Luis Ángel Firpo, San Salvador, Águila, Alianza, Metapán 31 [1] Yugoslavia 1971–1985 Yugoslavia, Radnički Niš, Bordeaux 29 24 for Radnički Niš, 3 for Bordeaux, 2 for Yugoslavia.[1][36][37] Peru 2003–2021 Los Caimanes, Atlético Minero, Deportivo Municipal, Comerciantes Unidos, Juan Aurich 26 [38][39] Serbia and Montenegro
Montenegro 1992–2008 Rudar Pljevlja, Budućnost Podgorica, Kom Podgorica, Mladost Podgorica 25 [1][40][41] Chile 1982–1995 Palestino 24 Most goals by a goalkeeper in Chile[1] Nigeria 1999–2018 Ibom Stars, Enyimba, Hapoel Tel Aviv 24 Was the main penalty taker for Hapoel Tel Aviv[1] Venezuela 1989–2010 Venezuela, Santa Fe, Zulia, Quilmes, Deportivo Cali, Unión Maracaíbo, Estudiantes de Mérida 22 [42][43][44][45] Vietnam 1997–2014 Đồng Tâm Long An, Navibank Saigon 22 Highest-scoring goalkeeper in all of Asia. First goalkeeper to score in an AFC Champions League match.[46][47] Azerbaijan Turan Tovuz 21 [1] Argentina 1995–2023 Banfield, Atlético Tucumán 20 19 for Banfield, 1 for Atlético Tucumán.[48] Argentina 2000–2017 San Lorenzo, Grêmio, Racing 20 12 for San Lorenzo, 7 for Racing, 1 for Grêmio.[49][12] Brazil 2005–2024 Figueirense, Coritiba 19 17 penalties, 1 free kick and 1 header.[50] 8 for Figueirense, 11 for Coritiba[51][52][53][12] Brazil 2003–2016 Portuguesa, Vasco da Gama 18 [54] Argentina 1965–1979 Montevideo Wanderers, Atlético Mineiro, Comercial 17 All penalties. 9 for Montevideo Wanderers,[55] 7 for Atlético Mineiro,[56] and 1 for Comercial.[57][12] Argentina 1997–2019 Patronato 16 [58][59] Yugoslavia 1958–1978 Rijeka, Borac Banja Luka, Metalac Sisak 16 [60][61] Argentina 2001–2023 San Martín de San Juan 15 All penalties[62] Brazil 2010– Deporvito Toluca F.C. 15 Yugoslavia 1951–1962 Hajduk Split 15 All penalties. In addition to official goals, he also scored 14 goals in friendly matches.[63][64] Zambia 2003–2023 Zambia, Free State Stars 14 Twelve penalties, as well as an equalizing goal against Nigeria in an Africa Cup of Nations group stage match on 25 January 2013. He scored another goal in the Africa Cup of Nations qualifiers against Niger Zambia won 3–0 on 15 October 2014, Kennedy Mweene scoring a late penalty in the 90 minute. Belgium 1981–2002 Standard Liège 14 [65][66] Argentina 1991–2008 Racing, Las Palmas 14 Joint-highest scoring goalkeeper in La Liga history with six goals (all penalties for Las Palmas)[67] Czechoslovakia 1959–1975 VSS Košice 13 11 league penalties,[68] one UEFA Cup penalty,[69] 1 goal for Czechoslovakia B[70] Romania 1999–2017 Extensiv Craiova, Universitatea Craiova 13 All penalties[71][72][73] Soviet Union
Ukraine 1977–2002 Volyn Lutsk, Veres Rivne, Sokil Zolochiv 13 All penalties[74][75] Colombia 2003–2013 Unión Magdalena, Valledupar 13 All penalties[76] Argentina 2012– Banfield, Independiente Rivadavia, Guaraní, Rosario Central 13 1 goal for Banfield, 1 for Independiente Rivadavia, 7 for Guaraní, 4 for Rosario Central.[77][78] Colombia 1961–1971 Cúcuta Deportivo, Bucaramanga, Deportivo Cali 13 [42] Belgium 1979–2000 Germinal Ekeren 13 [79] Uruguay 2003–2023 Junior 13 Nine free kicks and two penalties. 11 league goals and 2 international goals.[80][81] Paraguay 1994–2007 Cerro Porteño, Ñublense 12 8 for Cerro Porteño,[82] 4 for Ñublense.[83][84][85][86] Albania 2003–2022 Skrapari, Kamza, Butrinti Sarandë, Mamurras, Bylis Ballsh 12 All penalties[87] Albania 1998–2023 Olympiakos Nicosia, Bylis Ballsh, Erzeni 12 1 for Olympiakos Nicosia, 8 for Bylis, 3 for Erzeni[88][89][90] England 1964–1972 Luton Town 12 Scored whilst playing as a striker, including one hat-trick[91] Argentina 2011– Independiente, Gooy Cruz 12 All penalties[92] Bolivia 2001–2020 Jorge Wilstermann, Real Potosí, Blooming 12 [93][94][95][96] Ukraine 1995–2016 Avanhard Rovenky, SKA-Energiya Khabarovsk 11 Two goals scored as an outfield player for Avanhard, nine penalty goals for SKA-Energiya[97] Greece 1974–1989 Panetolikos 11 Eleven penalties scored during the 1983–84 season of the Greek second division[98] Colombia 2011–2022 Deportivo Pasto, Millonarios, América de Cali, Boca Juniors de Cali 11 Scored from a free kick and had one assist on 17 September 2016[99] In 2021, Ramos set a record after being the first goalkeeper to score goals from free kicks in three consecutive matches.[100] Denmark 1981–2003 Denmark, Hvidovre, Brøndby, Manchester United, Aston Villa 11 [101] Czechoslovakia 1947–1966
Czechoslovakia, Spartak Trnava 11 Scored the first international goal by a goalkeeper. All penalties[68] Colombia 1996–2013 América de Cali, Vitória, Deportes Quindío 11 [102][12] Argentina 1997–2018 Deportes La Serena, All Boys 10 9 goals for La Serena, 1 goal for All Boys.[103][104] Belgium 1966–1978
Belgium, Standard Liège 10 [101] Paraguay 2003–2019 Ayacucho 10 [105][106][107][108] Turkey Sivasspor, D.Ç. Divriğispor, Tokatspor, Aksarayspor 9 All penalties[109] Argentina 2004– Cruz del Sur, Petrolero, Mushuc Runa, Universitario de Sucre 9 [110] Peru 1983–1997 Alianza Atlético, Atlético Torino 9 [108][25] Brazil 1990–2000 Avaí 9 [111] Uruguay 1995–2015 América de Cali 9 [112] Brazil 1995–2015 Horizonte, Maracanã 8 Goals scored at Campeonato Cearense and Campeonato Cearense Série B.[113] Romania 1989–2004 Baia Mare 8 [114] England 1907–1925 Derby County, Bradford Park Avenue 8 [115] Ukraine Dnister Ovidiopol 8 All penalties[75][116] Brazil 2001–2022 Atlético de Alagoinhas 8 [117] Romania 1978–1991
Înfrățirea Oradea, Bihor Oradea, Jiul Petroșani, Progresul Timișoara 7 All penalties[118] Argentina 2003– Banfield, Alianza Lima, Unión de Santa Fe 7 Scored four goals for Alianza, two goals for Unión and one goal for Banfield, all from the penalty spot (including one scored from a penalty rebound)[25] Brazil 2002–2023 Flamengo, Rio Branco, Atlético Carioca 7 Three free kicks and four penalties[119][120][121][122][12] Ukraine Desna Chernihiv, Slavutych 7 All penalties[75] Australia 2015– Canberra Olympic 7 Five goals scored in the National Premier Leagues,[123] two goals scored in the FFA Cup[124][125][47] Romania 1965–1982
Rapid București 7 [71][72] Yugoslavia 1961–1977 Vojvodina 7 Scored at least 7 goals.[126][127] Soviet Union
Ukraine Dynamo Stavropol, Kavkaztransgaz Ryzdvyany 7 All penalties[128] Yugoslavia
Bosnia and Herzegovina 1991–2005 Olimpija Ljubljana 7 [129] Yugoslavia 1967–1978 Red Star Belgrade
Bastia 7 Scored at least 7 goals, one of them scored in the 1974–75 European Cup Winners' Cup[130] Serbia and Montenegro
Montenegro 2001–2017 Rudar Pljevlja 7 All penalties Bahrain 1974–1998 Muharraq 7 Scored at least 7 goals, all of them penalties[131] Switzerland 1907–1916 Basel 7 Scored seven goals, four of which in test games and three in the domestic league during the FC Basel 1912–13 season.[132] Colombia 1998–2020 Real Cartagena, América de Cali, Santa Fe 7 Netherlands 1960–1979 Go Ahead Eagles, DOS 7 Sweden 1984–2013 Brage, Örgryte 6 [133] Uruguay 2003–2022 Danubio 6 Colombia 2001–2021 Millonarios, Águilas Doradas 6 All goals scored from free kicks[134] Argentina 2007– Bolívar, Antofagasta, Jorge Wilstermann 6 Scored six professional goals. Four were penalty kicks, one a long kick from his own penalty area, and the sixth a header.[135] Argentina 1970–1988 Celta Vigo, Valladolid 6 Joint-highest scoring goalkeeper in La Liga history with six goals (five for Celta Vigo and one for Valladolid, all penalties)[136] Chile 1999–2020 Universidad de Chile, Everton 6 All penalties[137][138][139] Costa Rica 2001–2007 Puntarenas, Brujas 6 Scored four penalties and two free kicks[30] Brazil 2015– Atlético Goianiense 6 [140][141][12] England 1897–1914? West Ham United 6 All penalties[142] Yugoslavia
Croatia 1980–2000 Dinamo Zagreb, Iskra Bugojno 6 1 goal for Dinamo Zagreb, 5 goals for Iskra Bugojno.[143] Faroe Islands 1991–2014 KÍ Klaksvík, Herfølge Boldklub 6 All penalties (four for Klaksvík, two for Herfølge)[144] Australia 1994–2019 Wollongong Wolves 6 [145][47] Greece 1978–1993 Olympiacos, Panathinaikos 6 Netherlands 1970–1988 NEC, Groningen 6 All penalties[146] Brazil 2012– Riopardense, Jabaquara 6 1 free kick and 2 penalties scored at Campeonato Paulista Segunda Divisão.[147] Scored another 3 goals for Riopardense in 2013 Campeonato Gaúcho Série B.[148] Uruguay 1985–2009 Independiente Medellín, Tolima, América de Cali 5 [42] England 1918–1929 Chesterfield 5 [149] Romania 2003– Baia Mare, Maramureș 5 [150] Colombia 2003–2016 Patriotas, Atlético Bucaramanga 5 All penalties[151] Costa Rica 1981–1997 Ramonense 5 All penalties and free kicks[30] Scotland 1912?–1930? Plymouth Argyle 5 All penalties[152][153] Argentina 1976–1991 América de Cali 5 [42] Argentina 1978–1997 Lleida 5 [154] Brazil 2006–2022 Desportiva Guarabira, Força e Luz, Potiguar de Mossoró, Olímpico 5 Goals scored at the Campeonato Paraibano, Campeonato Potiguar and Campeonato Brasileiro Série D.[155][156][157] Akram El Hadi Salim Sudan 2004– Kober, Alamal Atbara 5 He scored at least five goals, four penalties with Kober, and a direct free kick with Alamal Atbara.[158][159] Curaçao 1946–1958 Curaçao 5 Two penalties and three goals while playing as a forward at 1953 CCCF Championship.[160][161] Possibly scored more goals playing for CRKSV Jong Holland. Hungary 2010– Nyíregyháza 5 [162] Albania 1996–2018 Elbasani 5 All penalties Chile 2001–2011 Santiago Morning 5 Scored as a forward in Chilean play-offs Latvia 1992–2010 Amstrig 5 [163] Poland 1934–1956 Lechia Gdańsk 5 Scored penalties against PTC Pabianice, Skra Częstochowa, Gwardia Olsztyn, Bzura Chodaków and Gedania Gdańsk. All five goals came in divisional playoff matches.[164] Argentina 1995–2014 Godoy Cruz 5 Saudi Arabia 2002–2017 Al-Khaleej 5 [165] Italy 1940–1959 Modena, Juventus, Lazio 5 [42] Hungary 1994–2016 Ferencváros, Újpest 5 All penalties Romania 1926–1947 Ripensia Timişoara 5 [71][72] Libya 1991–2013 Al-Ittihad 4 Scored four goals in his career, all penalties.[166] Suriname 2002–2017 Suriname 4 [167] Ecuador 2004– Barcelona SC 4 [168] England 1982–2003 Woking 4 [169] Albania 2008– Kalmar FF 4 Took penalties while at Kalmar FF[170] Colombia 1988–2011 Deportivo Cali, Pachuca 4 [42] Uruguay 1997–2017 Danubio, Standard Liège, Juventud de Las Piedras 4 [171] Brazil 1988–2007 Caxias 4 All penalties[172] Peru 1994–2016 Universitario, Cienciano, Atlético Minero 4 [25][173] Chile 2000–2018 Chile U-20, Colo-Colo, Unión Española 4 One goal scored playing as a forward Turkey 1972?–1984 Bursaspor, Beşiktaş 4 All penalties[174] Ukraine Metalurh Nikopol 4 All penalties[75][175] Scotland 1966–1989 Dundee United, Raith Rovers 4 [176] Paraguay 2006– General Díaz 4 All penalties, scored in 2016 Paraguayan Primera División season.[82] Uruguay 2008– Cerro, Libertad 4 3 goals for Cerro, 1 for Libertad.[177][178] Mexico 1993–2019 Mexico U-23, Cruz Azul, Pachuca 4 Scored one goal for Mexico-U23,[179][180] two goals for Cruz Azul (both from last minute corner headers) and one goal for Pachuca (also a last minute header). He is only 1.71 m (5 ft 7 1⁄2 in) tall. Croatia 1996–2016 Hajduk Split 4 All penalties[181] Serbia and Montenegro
Montenegro 1999–2017 Grbalj, Petrovac 4 All penalties Brazil 2001– Ceres, Império Serrano 4 Header against Independente, 24 september 2008, at Campeonato Carioca Série B,[182] Penalty kick against Serrano, 27 september 2008, at Campeonato Carioca Série B,[183] Penalty kick against Queimados, 24 september 2014, at Copa Rio,[184] Free kick scored against Vera Cruz, 5 June 2022, at Campeonato Carioca Série C.[185] Iraq 1988–2002 Salahaddin, Al-Karkh 4 All penalties[186] Brazil 2005– CRB 4 Scored two penalties goals against Grêmio, 13 August 2022, at 2022 Campeonato Brasileiro Série B.[187] Scored also at Campeonato Alagoano and Copa do Nordeste.[188] Sweden Landskrona 4 [189] Bolivia 1984–2005 Jorge Wilstermann 4 [190] Brazil 2013– Ferroviária, Goiás 4 Penalty kick scored against Red Bull Brasil, 24 March 2018, at Troféu do Interior.[191] and two more scored against Ceará, 12 August 2024.[192][193] Argentina 2000–2016 Atlante 4 [194][195] Includes one goal scored in CONCACAF Champions League[196] China 2004–2011 Nanchang Hengyuan 4 All penalties[197][47] Brazil 2004– Criciúma, Paraná 4 [198] Greece 2003– Pavlos Melas Stavroupoli 3 Third known goalkeeper to have scored a hat-trick, 12 February 2022, at the Greek fourth division.[199] Ukraine 1992–2005 Antratsyt Kirovske, CSKA Kyiv 3 Scored two free kicks for Antratsyt and one last minute header for CSKA Kyiv[75][200] Argentina 2001–2021 Argentino de Rosario, Tigre 3 [201] United States 2013– Socrates Valencia 3 Scored three goals (penalty kicks) during the 2017 season.[202][203] United States 1995–2001 Tulsa Roughnecks 3 Scored three goals as a forward during the 1999 USISL season Saudi Arabia 1989–2010 Al Hilal 3 [47] Brazil 2008–2016 Santos do Amapá 3 [204] Nicaragua 2002– Nicaragua, Walter Ferretti 3 Penalty at 2011 Copa Centroamericana[205] Wales 1986–2004 Swansea City, Chelsea, Newport County 3 Colombia 1992–2010 Deportivo Pasto 3 [42] England 1895–1902 Burton Swifts 3 [206] Poland 1995–2016 Bałtyk Gdynia 3 [207] Playing as a striker Brazil 1990–2014 Comercial 3 Scored 3 goals, all penalties, during 1998 Campeonato Paulista Série A2 (against Ponte Preta, América and Sãocarlense).[208] Brazil 1993–2017 Guarani, Santo André, Linhares 3 Scored two headers, against Palmeiras (1997) and Juventus (1999). After returning from retirement, he scored one last penalty goal (2011).[209][53][210] Czechoslovakia
Czech Republic 1988–1999 Jablonec, Slavia Prague 3 All penalties (two for Jablonec and one for Slavia Prague)[211] Most goals by a goalkeeper in Czech First League history. South Korea 1992–2015 Ulsan Hyundai Horang-i 3 First goalkeeper to score in a K League match[212][47] Serbia 2012– Brodarac 1947, Radnički Beograd 3 [213] Costa Rica 1985–2003 Saprissa 3 [214] England 1923–1934 Newport County 3 [215] Brazil 1955–1982 Sport Recife, Nacional, Internacional 3 Scored three goals. First a penalty kick in your farewell game by Sport Recife, 1959,[216] the second scored directly from his area against Racing Montevideo in 1973,[217] and the last converted a penalty against Gaúcho de Passo Fundo, at 1974 Campeonato Gaúcho[218] Albania 2007– Flamurtari Vlorë, Kastrioti Krujë, Teuta Durrës 3 Two penalties (against Dinamo Tirana and Apolonia Fier on 20 April 2011 and 10 February 2013, respectively) and a last-minute headed equaliser[219] Uruguay 1997–2015 Nacional, Deportivo La Coruña, Málaga 3 France 1989–2010 Beira-Mar, Vitória de Guimarães 3 [220][221] Colombia 1993–2011 Millonarios 3 Ecuador 2008– Deportivo Quevedo 3 [222] Scotland Bury 3 [223] Chile 2004–2021 Santiago Morning 3 [224] Italy 1967–1986 Como 3 [225] Paraguay 1979–1997 Sport Boys 3 [25] Sweden 1996–2009 Umeå 3 Scored one goal for Sweden U-20,[226] a last minute goal in open play for Umeå[227] and a penalty against Arsenal in the UEFA Women's Champions League.[228] Honduras 1996–2016 Motagua 3 Colombia 2009– Santa Fe, Deportivo Cali 3 Two headers and one penalty.[229] East Germany
Germany 1975–1998 BSG Wismut Aue 3 A 90th-minute equaliser from open play against Carl Zeiss Jena in 1986 and two penalties against FC Karl-Marx-Stadt and Bischofswerdaer FV in 1986 and 1994 respectively.[230][231] Brazil 2008– Criciúma 2 Both penalties at 2020 Campeonato Brasileiro Série C.[232][233] China 1999–2010 Dalian Changbo 2 Penalties scored at the 2005 China League One.[234] Uruguay Cúcuta Deportivo, Unión Magdalena 2 [42] Soviet Union 1972–1980 Sudnobudivnyk Mykolayiv 2 [235] Palestine
Israel 1925–1950 Hapoel Tel Aviv, Maccabi Tel Aviv 2 Scored penalty kicks in 1929[236] and 1934 cup finals. Scotland 1968–1989 Washington Diplomats, Chesterfield 2 [237] Scotland 1902–1926 Third Lanark 2 Scored a goal at least twice for Third Lanark, the first a rebound from a penalty kick he had taken against Motherwell in 1911[238][239] and the other during the 1914–15 season.[240] England 2000–2021 Aldershot Town, Margate 2 Colombia Atlético Nacional 2 [42] Argentina 2007– Gimnasia y Esgrima de Jujuy 2 Scored two goals. The first came in March 2015 as he scored a 91st-minute consolation in a 2–3 defeat to Atlético Paraná, before converting a penalty three months later in a 3–2 win over Chacarita Juniors.[241] Algeria 2003– JS Kabylie, ES Sétif 2 [242][243] Colombia 2011– Alianza Petrolera 2 Scored in two different Alianza Petrolera matches in March 2022.[244] Brazil 1987–2009 Portuguesa, Internacional 2 [245][246] England 1911–1929 Rochdale 2 [247] Argentina 1995–2009 Arsenal de Sarandi 2 [248] Senegal 2010– Whitehawk, Queens Park Rangers 2 [249][250] Brazil 1998–2011 Bangu, Atlético Mineiro 2 [251][53][12] Brazil 2003–2021 Guarani 2 [252][253] Brazil 2011– Confiança, Ceará 2 Penalty kick against Estanciano, 24 April 2015, at Campeonato Sergipano,[254] and a free kick scored against Corinthians, 5 September 2018, at Campeonato Brasileiro.[255][12] Colombia 2002 Junior 2 [256] South Africa 1996–2014 Kaizer Chiefs 2 [257] Northern Ireland 1988?–2007 Hull City 2 [258] Playing as a striker Andorra 2004– Fortuna, ES Pennoise 2 [259] China 2003–2020 Shijiazhuang Ever Bright 2 Penalties scored against Shanghai SIPG and Beijing Guoan in Chinese Super League matches played on 8 and 22 May 2016, respectively[260][261] Egypt 1993–2020 Al Ahly, Al-Taawoun 2 Scored an 80-metre indirect free kick that hit the bar, the opponent goalkeeper and then crossed the line in the CAF Super Cup, He also scored a penalty kick in the Saudi Professional League for Al-Taawoun[262] Iraq 1972–1987 Al-Shorta 2 Both penalties[186] Belgium 1993–2010 Gent 2 [263] Gibraltar 2008–2019 Dartford 2 [264] Yugoslavia
Croatia 1978–1998 Dinamo Zagreb, Tirol Innsbruck 2 [265] Brunei 2009–2021 Menglait, MS PDB 2 [266] Ghana 2010– Cape Coast Ebusua Dwarfs 2 Free kick against Liberty Professionals on 3 April 2019. The second goal scored a last-minute winning goal from a direct free-kick against Elmina Sharks in a 2020–21 Ghana Premier League match[267][268] Portugal 2012– Portugal U-17, Porto B 2 [269] Brazil 1999–2017 Paraná 2 Both penalties[270] Croatia 1994–2016 Hajduk Split, Hapoel Be'er Sheva 2 [271][272] Denmark 1983–2002 Silkeborg 2 [273] Austria 1981–2003 Sturm Graz, Austria Salzburg 2 [274] West Germany
Germany 1979–2001 1. FC Nürnberg 2 Both penalties[275] West Germany
Germany 1969–1993 Arminia Bielefeld 2 [276] France 1981–2001 Lille, Lens 2 Both penalties[277] Brazil 2001–2019 Ponte Preta, Portuguesa 2 Both in headers in the stoppages time. The second goal was scored 10 years after the first, and against the same opponent (Flamengo)[278][279][53][12] Romania 1973–1991 Universitatea Cluj 2 [280] West Germany
Germany 1988–2011 Schalke 04, Arsenal 2 [281] First ever goal keeper to score in open play in the Bundesliga[282] England 1900–1913 Brentford 2 [283] Poland 2009– Polonia Środa Wielkopolska, Warta Poznań 2 A free-kick from his own half against Warta Poznań in 2015[284] and a last-minute header against Górnik Łęczna in 2021.[285] Colombia 2017– Orsomarso 2 Both goals scored from free kicks[286] Brazil 2010– Campinense 2 Both penalties. First against Sousa at 2022 Copa do Nordeste,[287] second against Atlético Cerarense at 2022 Campeonato Brasileiro Série C.[288][289] Saudi Arabia 2004– Al-Ahli, Al-Hilal 2 Both penalties[290][291] England 1897–1919 Brentford 2 [283] Dominican Republic 1999–2010 Dominican Republic 2 [292] Scored twice playing as striker in Gold Cup 2003 qualifying Maldives 1999–2019 New Radiant, VB Sports Club 2 [293] Scotland 1981–1996 St Mirren 2 [294][295] Albania 1979–1996 Partizani Tirana 2 South Africa 2009– Platinum Stars 2 Both penalties against Vipers SC, March 18, at the 2017 CAF Confederation Cup.[296] Yugoslavia 1974–1989 Footscray JUST 2 [297] Soviet Union
Russia 1989–2006 Torpedo Moscow 2 Both penalties[298][299] Macedonia 1999–2017 Vardar 2 [300] India 2004– Pune 2 I-League Daniel Peretz Israel 2019– Beitar Tel Aviv Bat Yam 2 Scored two penalties in the Liga Leumit at the 2019–20 season.[301][302] Spain 1991–2008 Real Betis 2 Romania 1932–1936 Unirea Tricolor București 2 [71][72] Iran 2000–2020 Fajr Sepasi Shiraz F.C., Paykan F.C. 2 Portugal 2001– Varzim 2 Both goals scored from goal kicks[303][304] Jamaica 2002–2017 Village United 2 England 1998–2017 Leeds United, Tottenham Hotspur 2 Header for Leeds from a corner, free kick for Tottenham from inside his own half.[305] Argentina 2013– Agropecuario 2 [306] Jordan 1999–2021 Jordan, Al-Wehdat 2 Greece 1972–1973 Trikala F.C. 2 Penalty kicks. Against Panathinaikos in 1972 and against Panionios in 1973. Poland 1970–1986 Lechia Gdańsk 2 Penalties against Warta Poznań and Olimpia Poznań.[307] Poland 1945–1965 Garbarnia Kraków 2 Penalties in 1950[308] England 1961–1982 Manchester United 2 [309] Yugoslavia 1945–1969 Partizan, Wormatia Worms 2 [310] Sweden 2009– Varberg, Kongsvinger 2 [311] Soviet Union
Ukraine 1986–2002 Chornomorets Odesa 2 Both penalties[74] Ukraine 2003–2013 Obolon Kyiv 2 [312] Hong Kong 2009– Fourway Rangers 2 Scored a goal and had an assist in his professional debut in the league[313] Netherlands 1959–1971 GVAV Rapiditas 2 Both penalties[146] Mexico 2002– Necaxa 2 Goals scored from free kicks El Salvador 2004– Águila 2 [314] Brazil 2019– Manthiqueira, Arauco Prado 2 Penalty kick scored against Paulista, 9 July 2022, at the Campeonato Paulista Segunda Divisão.[315] and in 2023 Copa Simón Bolívar. Poland 1998–2018 Olimpia Grudziądz 2 [316] Albania 2006– Besëlidhja Lezhë 2 Both penalties[317] Saudi Arabia 1998–2014 Al-Ittihad 2 Both penalties[318] Iran 1985–2001 Persepolis 2 Italy 2013– Juve Stabia, Lazio 2 Scored two last-minute goals (both is draw equaliser at minute 90+5' injury time). First goal, at Serie B match against Ascoli in 2020, ending the game 2–2.[319] Second goal with a header, at UEFA Champions League group stage match against Atlético Madrid in 2023, ending the game 1–1.[320] Iraq Al-Ramadi 1 He scored at least a penalty kick.[186][321][322] Argentina 2004–2019 San Telmo 1 Scored a last-minute winning goal from a header, which turned out to be crucial in his side avoiding relegation[323] Mexico 2016– Santos Laguna 1 Scored one goal on Matchday 14 on the last minute vs. Querétaro.[324] Portugal 1955–1961 Porto 1 [325] Russia 2016– FC Krasnodar-3 1 Injury time header against FC Inter Cherkessk, 4 October 2019, at Russian Football National League 2.[326] Scotland 2018– Arbroath 1 [327] Brazil 1964–1981 Bragantino 1 Scored from his own area against Palmeiras (São João da Boa Vista), at Campeonato Paulista Série A2.[328] Brazil 2002–2017 Remo 1 Scored against Tiradentes, at 2008 Campeonato Paraense.[329] Comoros 2010– Toulouse 1 Equalized with a header in the 95th minute against Rennes on 22 September 2012[330] Turkey 1961–1978 Beykoz 1 [331] Iran 2010– Iran U-23 1 Costa Rica Municipal Puntarenas 1 Scored from a free kick[30] Brazil 2013– Liverpool 1 Scored a last-minute winning goal from a header against West Bromwich Albion in a 2020–21 Premier League match[332][53] Paraguay 1967–1991 Olimpia 1 [333] Argentina ?–1931–? Chacarita Juniors 1 Scored a penalty in 1931, with no opposition from the other goalkeeper; the first goalkeeper goal in professional football in Argentina[334] Argentina 2005– Zaragoza 1 Scored an equaliser in the 97th minute of a 2–2 away draw with Lugo[335] Costa Rica 2010– Escazuceña 1 Scored from a free kick on 3 June 2020, to equalize for Escazuceña in their Segunda División de Costa Rica playoff match against Consultants Moravia. His side would go on to win the match on penalties.[336] Italy 2001–2017 Livorno 1 His goal came in Belgrade, Serbia and would prove to be crucial as Livorno made its first ever trip in European competition. Livorno would go to reach the Round of 32 at the 2006–07 UEFA Cup.[337] Brazil 1988–2000 Ceará 1 Penalty kick scored against Desportiva, at 1995 Campeonato Brasileiro Série B.[338] Romania 1933–1944 Gloria CFR Galați 1 [71][72] Spain 1996–2015 Deportivo La Coruña 1 Scored with his head from a 95th minute corner kick, as his team managed a 1–1 draw at Almería on 20 February 2011[339] Argentina 2010– San Martín de Tucumán 1 Injury time header against Instituto de Córdoba, 24 November 2019, at the 2019–20 Primera Nacional.[340] Brazil 2018– Feirense 1 Scored from a free kick from his own half, against Moreirense, 19 October 2022, at 2022–23 Liga Portugal 2.[341] Brazil 2008–2023 Resende 1 Injury time header against Madureira, 30 November 2014, at 2014 Copa Rio final.[342] Sweden 1993–2015 Mjällby AIF 1 Scored a header from a 93rd minute free kick, as his team managed a 2–2 draw at Häcken on 15 September 2010[343] Greece 1989–2005 AEK Athens 1 Penalty[344] Colombia Independiente Medellín 1 [42] Hungary 1995–2000 MTK 1 Penalty Poland 2000–2017 Lechia Gdańsk 1 Penalty in stoppage time, scoring the last goal of a 15–0 win. Albania 2004–2023 Laçi 1 Scored a penalty in a league match against Kastrioti Krujë on 5 May 2014.[345] England 1913–1929 Chelsea 1 [346] Turkey 2016– Manisaspor 1 Scored a game-tying goal in the 90th minute against Denizlispor, 3 March 2018, at the TFF First League.[347] Norway Molde 1 League goal in 2000.[348] Spain 2013– Alcúdia 1 Scored a last-minute equalizer with an overhead kick.[349] Qatar 2007– Al Rayyan 1 Scored in the 93rd minute in Qatar Stars League to equalize against Al Sadd in the 2013–14 league season.[350][351] England 1983–2005 Colchester United 1 Scored a goal for Colchester United which proved crucial in their battle with Wycombe Wanderers for the 1991/92 GM Vauxhall Conference title. He booted a long range goal kick which looped over Wycombe goalkeeper Paul Hyde and into his goal. Ivory Coast 1999–2019 Lokeren 1 Russia 2009– Dynamo Stavropol 1 Scored a late equalizer, 31 March 2018, against FC Afips Afipsky, at the Russian PFL.[352] England 1990–2015 Grays Athletic 1 Scored against Havant & Waterlooville, April 2005, in the club's final league game of the season.[353] Bosnia and Herzegovina 2005– Stoke City 1 His 91.9-meter-long clearance bounced over the opponent's goalkeeper (Artur Boruc). Fastest goal by a goalkeeper, at thirteen seconds.[354] Equatorial Guinea 2007– Árabe Unido 1 [355][356] Switzerland 1996–2014 Aarau 1 Scored against Young Boys, 24 October 2008, at the 2008–09 Swiss Super League.[357] Albania 1992–2011 OFI Crete 1 First goalkeeper to score with header in the Super League Greece (11 February 2001, OFI – Paniliakos 2–2)[358] Switzerland 1971–1984 Grasshopper 1 [359] Argentina Atenas de Río Cuarto 1 [360] Luxembourg 1994–2004 Union Luxembourg 1 [361] France 2007– US Avranches 1 Injury time header against GOAL FC on 29 September 2023, valid for the 2023–24 Championnat National. United States 2018– Portland Thorns 1 Portland Thorns were down a goal in stoppage time of their NWSL league match against Angel City FC on 29 April 2023. Bixby equalized with a back heel, when the opposing keeper did not fully capture.[362] United States 2013– Portland Thorns 1 Portland Thorns were down a player and down a goal in stoppage time of their NWSL league match against FC Kansas City on 19 June 2015. Unmarked on a corner kick, Betos equalized by scoring a diving header.[363] England 1899–1920 Watford 1 Penalty kick scored against Coventry City, 20 February 1909, at the Southern Football League.[364] Scotland 1944–1964 Fulham 1 [365] Kosovo Ulpiana 1 Scored a penalty in a 2020–21 Kosovar Cup round of 16 match against Liria[366] Belgium 2017– Standard Liège 1 Injury time goal against K.A.S. Eupen, 21 November 2020, at 2020–21 Belgian First Division A.[367][368] Belgium 2007– Eskişehirspor 1 Scored from a direct free kick from his own half Turkey 2005– Standard Liège 1 His goal saved Standard Liege from being eliminated from European football altogether and in the process eliminated Dutch champions AZ Alkmaar.[369][370] Argentina 1991–2008 River Plate 1 [6] England 1988–2012 Mangotsfield United 1 [371] Canada 2008– Red Star Belgrade 1 Scored a penalty kick for 3–1 win against Voždovac in the final game of 2021–22 Serbian SuperLiga season.[372] Switzerland Switzerland U-17 1 Borkovic scored the only goal of the match three minutes into stoppage time to give Switzerland its first UEFA U-17 berth since 2005.[373] Denmark 2019– Akademisk Boldklub 1 Long range free kick[374] Ukraine 2003–2019 Kryvbas Kryvyi Rih 1 Scored at last minute of game against Arsenal Kyiv after corner kick[375] Poland 1998–2022 Legia Warsaw 1 Penalty against Widzew Łódź[376] Australia 1989–2009 Australia 1 Scored penalty for Australia in a 13–0 win over the Solomon Islands with the last kick of the game.[377] Argentina 1993–2013 Estudiantes La Plata 1 [378] France 1999–2016 Hayes 1 Injury time scoring against Boston United, 2 December 2000, at the 2000–01 Football Conference.[379] France 2003– Lyon 1 Penalty scored in a 14–0 home victory against Albi.[380] Morocco 2010– Sevilla 1 Scored an equalizer in the 94th minute of a 1–1 away draw with Valladolid[381] England Halifax Town 1 [382] England 1903–1911? Burslem Port Vale 1 [382] Serbia and Montenegro
Montenegro 1996–2015 Bežanija 1 An injury-time equalizing header in a league game against Voždovac[383] Belgium J.V. De Pinte 1 Scotland 2012– Walthamstow 1 [384] Chile 2002– Real Sociedad 1 Scored from a free kick Northern Ireland 2021– Ballyclare Comrades 1 Scored from his own box in a 6-3 win over Ards in the NIFL Championship in October 2023.[385] Italy 2009– Benevento 1 Scored a second-half stoppage time equalizer against Milan to earn Benevento their first ever Serie A point[386] Argentina 2005– Rosario Central 1 Penalty kick scored against Independiente, 23 October 2009, at the Argentine Primera División.[387] United States 2000–2011 Aalesunds FK 1 Scored from a throw-in during extra time[388] Chile Fernández Vial 1 [83] Russia 2002–2019 Kuban Krasnodar 1 [389] Croatia 2016– FC Ingolstadt 1 Scored a volley from a corner in second-half stoppage time to equalize for Ingolstadt in a German 3. Liga match; they would go on to score a winner a minute later[390] West Germany
Germany 1969–1991 Werder Bremen 1 Penalty[391] Switzerland 1969–1987 Lausanne 1 [392] Brazil 2005–2022 Jabaquara 1 Penalty kick scored against Portuguesa Santista, 2 June 2013, at the Campeonato Paulista Segunda Divisão.[393] Romania 1976–1994 Oțelul Galați 1 Scored a penalty against CF Brăila in 1992[71][72] Brazil 1974–1995 Coritiba 1 Penalty kick scored against Operário Ferroviário, 30 August 1992, at Campeonato Paranaense.[50] Armenia 2006– Noah 1 From a goal kick in a 2024–25 UEFA Conference League third qualifying phase match against AEK Athens. Costa Rica San Carlos 1 Penalty[30] Spain 2014– Santa Coloma 1 With his club trailing 3–2 on aggregate in the first qualifying round of the UEFA Champions League, Casals scored four minutes into stoppage time to send FC Santa Coloma into the next round by virtue of away goals.[394] England 1970–1986? Bristol City 1 [239] Belgium 2000–2022 Roda JC 1 Scored the equalizer (2–2) in the dying seconds of the KNVB Cup 2007-08 third round tie against De Graafschap.[395] Australia 1984–2004 APIA Leichhardt 1 [396] Argentina 1994–2011 Ascoli 1 Penalty kick scored against Catania, 5 April 2003, at the 2002–03 Serie B.[397] Paraguay 2005–2021 Guaraní 1 [398][399] United States 2007–2010 New York Red Bulls 1 First MLS goalkeeper to score a goal.[400] His goal also came on the same day he made his Red Bulls debut, as first choice goalkeeper Jon Conway would serve a 10-game suspension for using illegal substances. The goal came at Giants Stadium in East Rutherford, New Jersey and the goal would eventually help the Red Bulls secure the last playoff spot in 2008 and reach the 2008 MLS Cup. Czech Republic 1995–2014 Slavia Prague 1 Scored the last goal in a 4–0 victory against FK Jablonec in a 1999–2000 season league match.[401] Benin 2002–2011 Benin 1 Scored against Sierra Leone, 10 August 2006, at the 2008 Africa Cup of Nations qualification.[402] South Korea 1997–2014 Daejeon Citizen 1 Free kick. Only goalkeeper to score in AFC Champions League match to date[403] Republic of Ireland 2003– St Patrick's Athletic 1 [404] Belgium 1970–1983 Aberdeen 1 [405] Spain 2000–2016 Rayo Vallecano 1 Switzerland 1999–2018 RB Leipzig 1 Scored a goal in the 90th minute in a 2–1 home victory over SV Darmstadt 98.[406] Mexico Monterrey 1 [407] Belgium 2008– Carl Zeiss Jena 1 Kick off hit from a distance of 85 meters in a 3. Liga match in 2017[408] Brazil 2012– Torquay United 1 Injury time header against Hartlepool United in 2021 National League play-off final.[409][410] Argentina 1941–1961 Millonarios 1 [42] Scotland 2003–2017 Arbroath 1 [411] Romania 1950–1962 Jiul Petroșani 1 [71][72] Romania 1933–1937 Juventus București 1 [71][72] Brazil 2009– Pacajus 1 Injury time header against Icasa, 23 February 2021, at Campeonato Cearense.[412] Argentina 1993–2012 Deporvito Toluca F.C. 1 Scored in the 54th minute from a penalty kick Norway 2019– Lillestrøm SK 1 Injury time goal against Tromsø IL, 7 August 2022, in the 2022 Eliteserien. Equalising for the team.[413] Wales 1989–2013 Sheffield Wednesday 1 [414] Colombia 2005–2021 Deportivo Pasto 1 Netherlands 2014– Go Ahead Eagles 1 [415] Yugoslavia
Serbia and Montenegro
Serbia 1989–2010 ČSK Čelarevo 1 [416] Germany 1994–2011 Mainz 05 II 1 On 11 April 2018, scored in the second minute of second-half stoppage time against VfB Stuttgart II to secure a 1–1 draw, having scored with a backheel after coming forward for a Mainz free kick.[417] Ukraine 2002–2015 Dnipro Cherkasy 1 Scored goal from a distance of 80 metres inside his own penalty area.[75] Colombia Unión Magdalena 1 [42] Netherlands Cambuur 1 Penalty[418] Brazil 1924–1939 Vitória 1 Penalty kick scored at 1926 Campeonato Baiano. First Brazilian-born goalkeeper to score a goal.[419] Serbia 2010– Eibar 1 Scored a first half penalty against Atlético Madrid in a 2020–21 La Liga match[420] Albania 1930–194? Teuta Durrës 1 [421] England 1961–1974 Manchester City 1 [422] Romania 1982–1986 Steaua București 1 Penalty kick against AFC Progresul București in the Cupa României.[71][72] Netherlands 1987–2006 MVV 1 Goal kick. Helped by the wind, the ball bounced over the outcoming opposite goalkeeper Jan van Grinsven of FC Den Bosch, a goalscorer once himself.[423] France 2010– Sint-Truiden 1 Scored a goal against Lokeren in November 2015.[424] Poland 1945–1963 Zagłębie Sosnowiec 1 Penalty[308] Brazil 2000–2013 Anapolina 1 Injury time header against Tupi, 28 August 2011, at the Campeonato Brasileiro Série D.[425][426] Mexico 2007– Cimarrones de Sonora 1 Injury time header against Pumas Tabasco, 22 March 2022, at the Liga de Expansión MX.[427] Brazil 2010– Rio Branco 1 Injury time header against Amazonas, 21 May 2022, at the Campeonato Brasileiro Série D.[428] Brazil 1999–2015 Castanhal 1 Penalty kick scored against Tuna Luso, 29 August 2004, at the Campeonato Brasileiro Série C.[329] Kuwait 1991–2012 Kuwait SC 1 Scored in the 94th minute with a header to equalize against Al Salmiya in the 2005–06 league season.[429][430] Guinea-Bissau 2008–2015 Union Meppen 1 [431] Venezuela 2014– Venezuela U-20 1 Penalty at 2017 FIFA U-20 World Cup[432] Scotland 1947–1964 Blackpool 1 [433] Senegal 1991–2007 Felgueiras 1 [434] Sweden 1986–2006 Malmö FF 1 Australia 2003–2021 Reading 1 [435] Grenada Grenada 1 Scored against Saint Vincent and the Grenadines, 18 March 2001, in a friendly match.[436] Algeria 2005–2016 CR Belouizdad 1 [437] Haiti 2002– Montréal-Nord 1 [438] Brazil 2000–2018 Oeste 1 Injury time header against Avaí, 24 May 2013, at Campeonato Brasileiro Série B.[439][440] Portugal 1990–2012 Amora 1 [269] Soviet Union
Russia 1990–2018 Druzhba Yoshkar-Ola 1 [441] Cyprus 1960–1975 Olympiakos Nicosia 1 On 28 January 1968 he scored a penalty against Panserraikos. This was the first ever goal scored by a goalkeeper in Greek football. Netherlands 2016– MSV Duisburg 1 Scored a backheel goal for Duisburg in injury time in a 1–1 draw with VfL Osnabrück.[442] England 2004– Hartlepool United 1 Scored a headed goal for Hartlepool in the third minute of injury time in a 2–2 draw with Bournemouth.[443] Morocco 1991–2010 Dinamo București 1 Penalty[71][72] Uruguay Deportivo Táchira 1 [444] Mexico 2003–2016 Dorados de Sinaloa 1 Equalized in the 90th minute of the Apertura 2012 Copa MX Final against Correcaminos UAT, taking the match to a penalty shoot-out, where Frausto also scored the decisive penalty, and thus won Dorados their first title.[445] Slovenia 2015– Inter Zaprešić 1 Scored in a 2–2 draw with Istra, on 4 October 2019, in the 92nd minute of the game.[446] United States 1994–2015 Blackburn Rovers 1 Equalised for Blackburn Rovers in the 90th minute of a Premier League match against Charlton Athletic on a corner kick to bring the score to 2-2, but allowed Charlton to score the winning goal in stoppage time.[447] Brazil 2015–2022 Vasco do Acre 1 Free kick scored against Andirá, 28 August 2021, at Campeonato Acreano.[448] Brazil 2006– Luverdense 1 Penalty kick scored against Rio Branco, 3 July 2013, at Campeonato Brasileiro Série C.[449] Italy 2013– Modena 1 During injury time, scored from his own area against Imolese, at the 2021–22 Serie C[450] Bolivia 1997–2014 Guabirá 1 [451] Ecuador 2008– Universidad Católica 1 Penalty kick scored against C.D. Clan Juvenil, 29 October 2017, at the 2017 Ecuadorian Serie A.[452] Bulgaria 1984–2000 Bursaspor 1 [453] Spain 2001– Llanera 1 Injury time equalizer goal against CD Tuilla, 31 August 2018, at the 2018–19 Tercera División.[454] Spain 1979–1998 Eibar 1 Scored from his own area against Pontevedra CF, 17 April 1988, at the 1987–88 Segunda División B.[455] Brazil 2011– CTE Colatina 1 Injury time header against Pinheiros, 4 October 2021, at the Copa ES.[456] Macedonia 2003–2013 Teteks Tetovo 1 Penalty[457] Rafał Gikiewicz Poland 2004– Union Berlin 1 Headed stoppage time equalizer against 1. FC Heidenheim. Union Berlin went on to qualify for the 2019–20 Bundesliga via the promotion play-off ahead of Hamburger SV by a single point.[458][459] Norway 1983–2005 MSV Duisburg 1 Penalty kick goal scored against Dynamo Moscow, 30 July 1997, at the UEFA Intertoto Cup.[460] England 1991–2001 Carlisle United 1 Famous for scoring a last-minute goal to save Carlisle United from relegation from the Football League[461] England 1997–2017 St Johnstone 1 [462] England 1967–1981 Greenock Morton 1 [463] Brazil 1997–2016 Inter de Santa Maria 1 Injury time bicycle kick against Engenheiro Beltrão, 17 August 2008, at Campeonato Brasileiro Série C.[464][465] Portugal 2002– Penafiel 1 Scored from his own area against Santa Clara, 6 December 2015, at the 2015–16 LigaPro.[466] Costa Rica 1975–1990 Alajuelense 1 Penalty[30] Mexico 2008– Pumas UNAM 1 Costa Rica Ramonense 1 [30] Scotland 1981–2004 Hibernian 1 [467] Serbia and Montenegro
Serbia 2000–2017 Borac Čačak 1 [468] Norway 2018– Sotra 1 Injury time bicycle kick against Ullern IF, 26 June 2022, at 2022 Norwegian Second Division.[469] England 1995–2011 University College Dublin 1 [470] Netherlands 1986–2002 Cambuur 1 [471] Netherlands 1981–1999 Den Bosch 1 Scored a legendary late equalising goal against Roda JC in 1985.[472][473] Rhodesia
Zimbabwe 1973–2007 Crewe Alexandra 1 Penalty against York City in Grobbelaar's final game for Crewe.[474] Norway Lillestrøm 1 League goal in 1991.[475] West Germany 1967–1983 Tennis Borussia Berlin 1 Penalty[476] Iceland 1995–2020 HK Kópavogs 1 [477] Argentina 2005– Tigres UANL 1 In 2020, Guzmán scored an injury time header from a set piece in Tigres' CONCACAF Champions League round of 16 match against Alianza, putting his team into a 4–2 lead at home and allowing them to advance to the quarter-finals. Tigres had lost 2–1 in the away leg and would have been eliminated on away goals if not for Guzmán's goal. They went on to win the tournament.[478] United States 2006–2016 Houston Dynamo 1 Scored in 2009–10 CONCACAF Champions League match against Isidro Metapán on 23 October 2009. Denmark 2010– ADO Den Haag 1 Backheel goal in stoppage time against PSV Eindhoven to earn his team a draw (2–2).[479] Sweden 2005–2019 Helsingborg 1 Penalty in 9–0 victory over Askeröds IF.[480] Canada 1985–2000 Buffalo Blizzard 1 [481] England 2000–2012 Lincoln Ladies 1 [482] Hungary 2006– Puskás Akadémia 1 [483] Brazil 2011– Cuiabá 1 During injury time, after miss a header, scored in the rebound against América de Natal, at 2016 Campeonato Brasileiro Série C.[484][485][53] England 1940–1954 Stoke City 1 In an away match at Aston Villa on 16 February 1952, Herod broke his arm and spent the rest of the match at right wing with Stoke defending a 2–1 lead. Not considered a threat by Villa's defence, Herod was left unmarked and found himself one on one with keeper Con Martin before slotting the ball past him.[486][487] England 1977–1998 Maidstone United 1 [488] United States 2004–2012 Columbus Crew 1 Came forward and scored in second half stoppage time to help Columbus draw 2–2 against rivals Toronto FC[489] Argentina 2012– Talleres 1 Penalty kick scored against Olimpo, 12 May 2018, at the 2017–18 Argentine Primera División.[490] Spain 2006– Atlético Madrid B 1 Scored the winning goal in a 3–2 victory for his team against Getafe B on 8 January 2011[491] Brazil 1997–2018 Vila Aurora 1 Free kick scored against Cuiabá on 28 August 2011, valid for the 2011 Campeonato Brasileiro Série D Poland 2016– Miedź Legnica 1 Scored a last-minute equalizer in a I liga match against Chrobry Głogów on 3 October 2020.[492] Switzerland 2005– FC Augsburg 1 Scored a stoppage time equalizer in a league match against Bayer Leverkusen on 21 February 2015 (2–2).[493] Iran 2011– Esteghlal FC 1 Iran Pro league 2022–23 Netherlands 1973–1985 Volendam 1 [146] Cayman Islands 2018– Cayman Islands U-20 1 Penalty[494] Norway Moss 1 League goal in 2006.[495] Czech Republic 1955–1959 Baník Ostrava 1 [68] Iran 2006–2020 Fajr Sepasi Shiraz F.C. 1 Iran Pro league 2007–08 Croatia 1994–2013 Hallescher FC 1 [496] United States 1997–2020 Everton 1 Scored a goal from open play inside own penalty box against Bolton Wanderers, helped by a strong gust of wind, making Howard only the fourth keeper since the Premier League's 1992 inception to score a goal.[497] Brazil 2002–2023 São Bernardo FC 1 Penalty kick scored against São José, 8 April 2006, at Campeonato Paulista Série A3[498][499] Belgium 1979–1997 Estrela da Amadora 1 On 29 December 1994, scored an equalizer goal in a league match against GD Chaves.[500] Finland 2006–2012? Soccer Club Riverball 1 [501] West Germany
Germany 1984–1992 SV Darmstadt 98 1 Kick off hit from a distance of 103 meters (world record) in a 2. Bundesliga match in 1985[408] Paraguay Once Caldas 1 [42] United States 2008– Capital City 1 [502] Brazil 1928–1940 Olympique de Marseille 1 Penalty kick scored against Sète, 1 May 1938, at 1937–38 French Division 1[503] Switzerland 2004– Grasshopper 1 [504] Serbia and Montenegro
Montenegro 2004– Sutjeska Nikšić 1 [505] Kuwait 1992–2006 Kuwait 1 Scored a late penalty in a 20-0 win in a 2000 Asian Cup qualifying match against Bhutan, and was the first Kuwaiti goalkeeper to score in an international competition[506] Northern Ireland 1963–1986 Tottenham Hotspur 1 Against Manchester United in the 1967 FA Charity Shield.[507] Brazil 2010– Operário Ferroviário 1 Scored from his own area against Nacional de Rolândia, 9 March 2015, at Campeonato Paranaense.[508] Serbia and Montenegro
Serbia 2002–2017 Gent 1 [509] Finland 2009– Stevenage 1 Long-range clearance against Wycombe Wanderers in the League Two match.[510] England 1896–1920 Tottenham Hotspur 1 Penalty[511] Juan Carlos Spain 2005– Lugo 1 Scored from 65 metres against Sporting Gijón[512] South Korea 2003– South Korea U-23 1 Scored from 85 metres against Ivory Coast[513] Czechoslovakia
Slovakia 1988–2000 Dukla Banská Bystrica 1 [68] Soviet Union
Kazakhstan
Turkmenistan 1980–1996 FK Köpetdag Aşgabat 1 [514] Oman Sohar 1 Scored a goal from open play inside his own penalty area against Saham, helped by a strong gust of wind. Scored in a round of 32 match in the Sultan Qaboos Cup during the 2018–19 season.[515][516] Switzerland 1935–1947 Cantonal Neuchatel 1 [517] United States 2013– Baltimore Bohemians 1 Scored the match winner against Ocean City Nor'easters on 21 July 2013[518] Albania 1991–2008 Teuta Durrës 1 [519] Greece 2006– Asteras Magoula 1 Last minute header goal against Levadiakos in a Greek Football Cup match. Norway Norway 1 Penalty kick against Thailand on 19 May 1965. Kaspersen became the first and so far only goalkeeper to score for Norway men's national team.[520] Tunisia 2002–2018 Espérance de Tunis 1 England 1995–2009 Carlisle United 1 [521] Slovakia 1999–2019 Śląsk Wrocław 1 Scored the final goal for Śląsk Wrocław in the last round of the Polish Ekstraklasa from the penalty spot, securing the runner-up position for the club for the 2010–11 season.[522] Scotland East Stirlingshire 1 [523] Iraq Iraq 1 He scored a penalty kick in the 1972 AFC Asian Cup qualification.[186] Saudi Arabia 1998–2015 Al Nassr 1 [524] Wales 2014– Newport County 1 Scored from a goal kick against Cheltenham Town on 19 January 2021, breaking the world record for longest goal scored in a competitive football match at 96.01 metres (105 yards)[525] Ghana 1995–2015 Ghana 1 [526] United States 2008–2013 Rochester Rhinos 1 Scored a 90th-minute equalizer goal in a 2–2 tie with Antigua Barracuda FC on June 5, 2011.[527] Bosnia and Herzegovina 2013– Željezničar 1 [528] Poland 2018– Radomiak Radom 1 Scored an equalizer from outside his box in the 66th minute of a 1–1 league draw against Puszcza Niepołomice on 1 April 2024.[529] Poland 1928–1939 Podgórze Kraków 1 Penalty[308] Denmark Boldklubben Frem 1 Bicycle kick in the last minute.[530] Czech Republic 2013– Slavia Prague 1 Last minute penalty kick.[531] Albania 2006– Gjilani 1 Headed in a 1–1 equalizer after a corner kick in 90+5 minute against Ballkani,[532] and after scoring the goal, the match was interrupted after local fans entered the field.[533] After this incident, Gjilan lost the match with an official result of 3–0,[534] but Koliqi's goal remained in force.[535] Norway 2009– Vålerenga 1 Headed in a 2–2 equalizer after a corner kick in injury time against Viking FK[536] South Korea 2014– Ulsan Mipo 1 Belarus 2007– Krumkachy Minsk 1 [537] Czechoslovakia
Czech Republic 1988–2005 Sparta Prague 1 Scored the 4th goal from penalty kick in national league match against SK České Budějovice in season 1994–95.[401] Norway Haugesund 1 League goal in 2008.[538] Denmark 1981–2002 Brøndby 1 [539] Serbia and Montenegro
Serbia 1996–2019 Lierse 1 [540] Albania 2007– Tërbuni Pukë 1 Scored a goal with a shot inside own penalty box against Kukësi[541] South Korea 2001–2017 Incheon United 1 [542] France 1997–2015 Charleroi 1 Scored from his own area against Mons, 21 December 2003.[543] Bolivia 2013– San José 1 Ecuador 2002– Deportivo Cuenca 1 Kick from the goal[544] Jamaica 1997–2005 Jamaica 1 Penalty in a 3–0 win against India in 2002[545] Scotland 1946–1959 Partick Thistle 1 [546] South Korea 2019– Ulsan Citizen FC 1 Goalkeeper goal on the team's first league match ever[547] South Korea 1994–2006 Bucheon SK 1 Penalty kick[548] Croatia 2015– Hajduk Split 1 [549] Poland 2012– Messina 1 Scored from his own area against Monterosi, 6 November 2022, at the 2022–23 Serie C.[550] Costa Rica 2000–2021 Alajuelense 1 [551][552] Denmark 2003–2022 Helsingborg 1 Scored against Falkenbergs FF, 18 July 2020, at the 2020 Allsvenskan.[553] England Merthyr Town 1 [554] Yugoslavia 1975–1990 Budućnost Titograd 1 [555] Argentina Atlanta 1 Penalty[556] Wales 1967–1985 Stockport County 1 [557] England 2000– Preston North End 1 [558] Poland 1938–1948 Lechia Gdańsk 1 Scored against Bałtyk Gdańsk in 1946 England 2015– Maidenhead United 1 On the final day of the 2020–21 season, he came off the bench against Boreham Wood in the 87th minute to play as a forward, and scored in the 93rd minute.[559] Brazil 2011– Friburguense 1 Injury time header against Portuguesa, 22 October 2016, at 2016 Copa Rio final.[560] England 1993–2012 Hereford United 1 [561] Scotland 1967–1982 Motherwell 1 [562] Mexico 1981–1991 Monarcas Morelia 1 Macedonia 2003–2012 Rabotnički Kometal 1 Scored a last minute league goal against Sileks Kratovo.[563] Brunei 2004–2018 MS ABDB 1 Free kick scored against MS PDB.[564] Georgia 2006– Feirense 1 [565] Saudi Arabia 2004– Al Faisaly 1 Scored a stoppage time equalizer against Al-Fateh when he headed from a corner kick.[566] Latvia 2009– Skonto 1 Scored in 94th minute from a corner kick.[567] West Germany 1961–1971 MSV Duisburg 1 [568] Northern Ireland 2000– Linfield 1 [569] Brazil 2010– Globo 1 Scored from his own penalty area against Guarany de Sobral on 30 July 2017, valid for the 2017 Campeonato Brasileiro Série D.[570] Yugoslavia 1967–1985 Velež Mostar 1 England 1997–2014 Mansfield Town 1 Scored from inside his own penalty area with a drop kick against Wrexham on 20 April 2012. The pitch was very wet and it allowed the ball to bounce over the Wrexham goalkeeper and into the net. Scotland 1980–2001 Airdrieonians 1 [571] Colombia 2001–2017 Colombia 1 [572] Brazil 2000–2017 Avaí 1 [573][53] Sweden 2006–2018 Falkenbergs 1 [574] South Africa 2015– Baroka 1 Scored a last minute overhead kick goal against Orlando Pirates.[575] The goal was nominated for the 2017 FIFA Puskás Award.[576] England 1998–2020 Weymouth 1 [577] Scotland 1880–1887 Scotland 1 McAulay played for Scotland as a goalkeeper in most of his international appearances, but also played as a forward.[578] Scored a goal against Wales, 25 March 1882, playing as centre-forward.[1] Northern Ireland Cliftonville 1 Goal kick against Linfield at Windsor Park Republic of Ireland 1970–1988 Bolton Wanderers 1 [579] Scotland 1988–2010 Stranraer 1 [580] Guyana 2016– Guyana 1 Headed a last-minute goal on his international debut in a Gold Cup qualification match.[581] Scotland Bournemouth 1 [582] Argentina 2001–2017 Cobresal 1 [citation needed] Northern Ireland New Brighton 1 [583] Costa Rica 1992–2010 Alajuelense 1 Penalty[30] Poland TS Parzyce 1 Penalty[584] Belgium 2006– Sint-Truiden 1 Scored a penalty in the Belgian Second Division in 2009 for Sint-Truiden England 1995–2017 Notts County 1 Long range free kick Iran 1997–2011 Foolad FC 1 Iran Pro league 2003–04 Poland 1971–1989 Odra Opole 1 Penalty[585] Norway 2000–2010 Hødd 1 Sweden 1971–1993 Malmö FF 1 Möller scored on a penalty in a 5–0 victory over Hammarby in 1986.[189] Colombia 1990–2014 Independiente 1 [586] Costa Rica Cartaginés 1 Penalty[30] Argentina 2010– Liniers 1 [587] Spain 2003–2014 Guijuelo 1 Scored from a goal kick, 9 May 2009, against Real Unión.[588] Argentina 2008–2020 Deportivo Morón 1 Penalty kick scored against Defensores de Belgrano, 15 August 2015.[589] Northern Ireland 1999–2022 Glentoran 1 Scored against Institute, 12 January 2019, on his 723rd appearance for Glentoran.[590] Brazil 1991–1997 São Paulo 1 Penalty scored against Uberlândia at Torneio Rei Dadá[591][592] Gabon 2008– Gabon 1 Scored against Zambia, 8 September 2015, in a friendly match.[593] Congo 1999–2015 Congo 1 Penalty scored against Swaziland during 2012 Africa Cup of Nations qualification[594] Malaysia 2002–2009 Malaysia U-23 1 Scored a long range goal with a drop kick from his own penalty area in Malaysia's 3–4 defeat against host country Vietnam.[595] England 1928–1937 Arsenal 1 [596] Germany 2009– Hallescher FC 1 Injury time header against Rot-Weiß Erfurt, 21 October 2017, at the 2017–18 3. Liga.[597] Germany 2018– MSV Duisburg 1 Free-kick from his own half against SV Meppen.[598] Mexico 1999–2018 América 1 Scored in the 92nd minute with a header to equalize for América at the 2013 Liga MX Clausura Liguilla. América went on to win on penalties.[599] Argentina Deportivo Cali 1 [42] Uruguay 2004– Galatasaray 1 Penalty scored against Manisaspor.[600] Albania 1986–2010 Tirana 1 Scored a last minute penalty in a league match against Skënderbeu Korçë on 29 August 2009.[601] Spain 2002– Fuerteventura 1 [602] England 1912–1924 Croydon Common 1 [603] Sweden 2007– IFK Värnamo 1 Scored a penalty in a 5–0 victory over Kristianstads FF.[604] Portugal 1992–2010 Porto 1 [605] Netherlands 1962 Sportclub Enschede 1 [146] Norway 2011–2021 Trondheims-Ørn 1 League goal in 2012.[606] Poland 2002–2018 Termalica Bruk-Bet 1 Scored in the 93rd minute.[607] Germany 1995–2014 Carl Zeiss Jena 1 Scored against VfL Osnabrück on 20 February 2010.[608] Chile 2000–2017 Fernández Vial 1 Free kick goal scored against Unión San Felipe.[609] Iraq Al-Karkh 1 Scored a goal from open play inside his own penalty area against Al-Sulaikh, helped by a strong gust of wind. Scored in 1996–97 Iraqi Premier League.[186] Brazil 1950–1968 Juventus 1 First goalkeeper goal scored during a professional match in Brazil.[610][53] Colombia 1949–1955 Millonarios 1 Scored as a striker. England 1977–2000 Coventry City 1 [611] Norway 1986–2013 Lyn 1 Penalty kick goal scored in 1994.[612] Chile 2006– Jorge Wilstermann 1 [613] Brazil 2004– Desportivo Brasil 1 Penalty kick scored against Primavera, 6 August 2022, at the Copa Paulista.[614] Sweden Sandvikens IF 1 Scored a penalty in a match against Malmö FF in 1961. He was the first goalkeeper to score in the Allsvenskan.[189][615] Uganda 2004– Supersport United 1 Norway 2001–2021 Start 1 Free kick scored from the halfway line.[616] Albania 2000–2015 Dinamo Tirana 1 Scored a stoppage time equalizer from the penalty spot to earn his team a point in a league match against Bylis.[617] England 2007– Hibernian 1 Scored in his first domestic league appearance for Hibernian.[618] Spain 1993–2014 Sevilla 1 In 2007, he scored an injury time equalising goal in a UEFA Cup round of 16 match against Shakhtar Donetsk, forcing extra time as a result. Sevilla had drawn 2–2 at home in the first leg and went on to win the second leg 3–2. They then went on to win the competition for a second consecutive year.[377] Yugoslavia
Yugoslavia 1985–1998 Partizan 1 [619] Paraguay 2016– Independiente de Campo Grande 1 Injury time goal against Trinidense, 6 May 2022, at the Paraguayan División Intermedia.[620] Spain 2010– Levante 1 Match-winning 87th-minute free kick from midfield, 4 June 2015.[621][622] Greece 2010– Asteras Tripolis 1 On 21 March 2021, he scored an injury time equalising goal with a close range shot against Panathinaikos in the 2020–21 Super League Greece season. Italy 2008– Virtus Entella 1 [623][624] Brazil 2011– Guarulhos 1 Long-range free-kick against União Suzano, 14 May 2011, at the Campeonato Paulista Segunda Divisão.[625] Switzerland 1986–2003 Sion 1 Scored against FC Aarau, 4 December 1988, at the 1988–89 Nationalliga A.[626] Northern Ireland 1972–1995 Glentoran 1 Winning goal in 1988–89 Irish League Cup Final against Linfield. The goal was scored in Patterson's home stadium, the Oval in Belfast.[627] Australia 1995–2011 Sivasspor 1 [633] Bulgaria 1992–2009 CSKA Sofia 1 [634] Botswana 2012– Botswana 1 Scored a penalty against Angola at the 2022 COSAFA Cup.[636] Germany 1991–2011 Heracles 1 [637] Italy 2012– Universitatea Craiova 1 Penalty kick.[638][72] Poland 1999–2020 Pogoń Szczecin 1 Penalty scored in Polish Cup[639] Spain 1998–2017 Celta de Vigo B 1 Scored through a goal kick in a 2–2 home draw against Rayo Vallecano B, 15 April 2012.[640] Portugal 2011– Oliveirense 1 [641] Poland 2012– Lewart Lubartów 1 Scored an injury-time equalizing header in a 2–2 home draw against Start Krasnystaw on 9 June 2023.[642][643] Serbia and Montenegro
Montenegro 1993–2013 Hajduk Beograd 1 Serbia and Montenegro
Montenegro 1999–2017 Debrecen 1 Soviet Union
Estonia 1988–2009 Sunderland 1 Scored a 90th-minute header against his former team Derby County to salvage a 1–1 draw.[644] The game was also Poom's first trip to Derby since leaving the team to play for Sunderland. Papua New Guinea 2002–? Papua New Guinea 1 Scored against American Samoa, 18 March 2002, at the 2002 OFC Nations Cup qualification.[645][646] Belgium 1999–2021 Germinal Beerschot 1 [647] Paraguay 2008– Sport Colombia 1 Scored from 83 meters out with a free kick, against Cerro Porteño, considered one of the longest free kicks ever scored in FIFA history.[648] Russia 2013– Chertanovo Moscow 1 [649] Mexico 2015– Atlético Morelia 1 Scored from his own penalty area against Celaya, at 2022–23 Liga de Expansión MX season[650] Italy 1979–2002 Cremonese 1 [377] Kuwait 2005– Al-Arabi 1 Headed in a 1–1 equalizer from a corner kick in stoppage time against Kuwait SC in a 2011–12 league match.[651][652] Brazil 2018– Tianguá 1 Injury time goal scored against Maracanã, 16 February 2021, at the Campeonato Cearense Série C.[653] Spain 2002–2013 Palencia 1 [654] West Germany
Germany 1983–2005 Schalke 04 1 Penalty[655] Brazil 1985–1998 Paraná 1 Penalty kick scored against Santos, 20 November 1996, at Campeonato Brasileiro.[656][12] Germany 2001–2009 Wormatia Worms 1 [657] East Germany
Germany 1987–2007 Real Murcia 1 [658] Argentina 2006– Cobresal 1 He scored on 13 March 2023 against Colo-Colo in 2023 Chilean Primera División, when his kick from his goal sent the ball all the way to the opposing side’s goal without assistance, the ball bouncing once before flying over the head of the opposing goalkeeper, who was forwardly positioned and could not then stop it.[659][660] Portugal Vizela 1 [661] Sweden IFK Sundsvall 1 Scored a penalty in a match against Landskrona in 1980.[615] Sweden Örebro 1 Scored a header from a corner kick in the 91st minute, as his team managed a 1–1 draw at Malmö FF in 2007.[189][662] Portugal 1993–2014 Boavista 1 Canada 2011– Canada U-17 1 First goalkeeper goal in a traditional FIFA tournament. Scored in the 2011 FIFA U-17 World Cup in a 2–2 draw with England.[663] Wales 1987–2012 Dagenham & Redbridge 1 [664] Republic of Ireland 2001–2020 Morecambe 1 Scored a header from a corner in a 1–1 draw against Portsmouth in the 93rd minute of a League Two match.[665] Mexico 2011– Chivas Guadalajara 1 [666] Colombia 1992 Deportivo Pereira 1 [42] Costa Rica Alajuelense 1 Scored from a free kick[30] Japan 2006– Shimizu S-Pulse 1 Header scored in a J.League match against Vissel Kobe Latvia 1996–2019 Pro Duta 1 Penalty kick goal against Bontang, 24 October 2013, at the Indonesian Premier League.[667] Scotland 1909–1915 Bristol Rovers 1 Scored a penalty in the final game of the 1909–10 league season Romania 1990–2015 Chimia Râmnicu Vâlcea 1 Scored in the Liga I.[668] Italy 2009– Lupa Roma 1 [669] Germany 1991–2011 Werder Bremen 1 Scored an equalizer goal against Hansa Rostock (3–3) Finland KuPS 1 [670] Brazil 1958–1977 Avaí 1 [671][111] Kosovo Ballkani 1 Scored a penalty in a 2019–20 league match against Ferizaj[672] Nigeria 1980–2000 Nigeria 1 Penalty scored during 1994 African Cup of Nations qualification match against Ethiopia[673] Russia 2006–2017 Energomash Belgorod 1 [674] Sweden 2013– Halmstads BK 1 Injury time header against Västerås SK, 28 May 2022, at 2022 Superettan.[675] Argentina 1994–2010 Deportivo Cali 1 Scored in 2003 Spain 2009– Guadalajara 1 Scored a last-minute equalizer in a 1–1 away draw against UD Almansa through a header.[676] Mexico 1993–2014 Chivas Guadalajara 1 [677] Colombia 2014 Jaguares de Córdoba 1 Goal scored from free kick[678] Cuba 2012– Cuba 1 Penalty[679] Spain 1968–1981 Racing Santander 1 Penalty[680][681] Argentina Atlanta 1 Netherlands 1948–1958 BVV 1 First goalkeeper to score in the Eredivisie[146] Brazil 2007– Sport Recife 1 On 31 January 2011, against Vitória-PE during a 2011 Campeonato Pernambucano match, Saulo went forward and headed in a goal from a free kick in the final minute of the game. While celebrating the goal, he suffered a rupture in the anterior cruciate ligament that would prevent him from playing for several months.[682][53] Albania 2014– Laçi 1 [683] South Korea 1996–2008 Jeonbuk Hyundai Motors 1 Header[684] Romania 1932–1940 Universitatea Cluj 1 [71][72] Brazil 1975–1991 Vila Nova 1 Scored against Fluminense, at 1979 Campeonato Brasileiro.[685][12] Albania 1994–2018 Skënderbeu Korçë 1 Scored a penalty in a league match against Teuta Durrës on 6 December 2014.[686] England 1971–1997 Watford 1 [687] England 1966–1997 Leicester City 1 [687] Russia 2005– Dynamo Kirov 1 On 3 October 2015, he scored for Dynamk Kirov against FC Zenit-Izhevsk Izhevsk.[688] Poland 1985–2006 Kapfenberger SV 1 A drop kick goal in Austrian Second League scored on 22 July 2003[689] Austria 2007– Wiener Neustadt 1 Scored from a direct free kick inside his own penalty area, 81 seconds into his top flight debut. This was the first goal scored in the 2011–12 Austrian Bundesliga season by any player for any team.[690] Uruguay 2002– Olimpia 1 Penalty scored against Sol de América, 9 December 2012, at the Paraguayan Primera División.[691] Yugoslavia 1975–1990 Napredak Kruševac 1 Wales 1962–1969 Hartlepool United 1 Scored while playing as a centre forward[239] Yugoslavia 1960–1976 Olimpija Ljubljana 1 England 1998–2016 Nottingham Forest 1 As their initial League Cup tie against Leicester City was abandoned at half time with Nottingham Forest 1–0 up, both teams agreed to reinstate Forest's goal advantage in the rearranged fixture. Goalkeeper Paul Smith was allowed to walk the ball into the net unchallenged, straight from the kick-off.[692] Scotland 2014– Partick Thistle 1 Scored an injury-time equaliser against Cove Rangers.[693] Czech Republic 1993–2013 Bohemians 1905 1 Opened the scoring from the penalty spot in the 6th minute of a 1–2 national league home loss against FC Tescoma Zlín in November 2007.[68] Costa Rica San Carlos 1 [30] Russia 2013– SKA Rostov 1 Scored from his own penalty box, 30 October 2016, against FC Chayka Peschanokopskoye.[694] Croatia 1991–2004 Varteks Varaždin 1 Penalty Croatia 2003–2023 Monaco 1 Scored a free kick in the 57th minute of a 2–1 away victory over Boulogne.[695] Netherlands 2010– Dewa United 1 First goalkeeper to score in a Liga 1 (Indonesia) match[696] Costa Rica Limonense 1 [30] Brazil 2003–2016 CTE Colatina 1 Free kick scored against Serra, 24 April 2005, at the Campeonato Capixaba.[456] Serbia and Montenegro
Serbia 2001– Partizan 1 Scored from the penalty spot during a match against BSK Borča on 11 August 2012 Spain 1988–2006 Burgos 1 Penalty kick goal scored against Badajoz.[697] Italy 1987–2009 Reggina 1 [698] Japan 1990–2000 Urawa Red Diamonds 1 Penalty scored against Yokohama Flügels on 9 November 1996, becoming the first goalkeeper to score in a J.League match. Mexico 2013– Deporvito Toluca F.C. 1 Scored in the 89th minute from a penalty Fiji 2004– Rewa 1 Scored against Suva, 19 October 2016, at the National Football League.[699] England Barnsley 1 [700] Brazil 1967–1986 Guarani 1 Penalty kick scored against Santa Cruz, at 1973 Campeonato Brasileiro.[701][12] Poland 1968–1982 ŁKS Łódź 1 Penalty scored in Polish Ekstraklasa against Odra Opole on 30 September 1973 England 2008– HKFC 1 Scored a bicycle kick in the 6th minute of second-half stoppage time to level the score at 1–1.[702] Gambia 2000–2015 Djurgårdens IF 1 Scored a penalty in the 82nd minute in an 8–1 victory over Elfsborg[703][704] Republic of Ireland 2017– Weymouth 1 [705] England 2017– Farsley Celtic 1 Scored from his own area against Curzon Ashton, 20 March 2022, at the 2021–22 National League.[706][707] Argentina 2002– C.A.I. 1 [708] Romania 1993–2012 Videoton 1 [709] Germany 2004– St. Pauli 1 [710] Scotland 2002–2019 Preston North End 1 Scored from his own penalty area in a 2–0 win against Notts County in a League One match.[711] Brazil 1959–1982 Flamengo 1 Scored from a goal kick in a match against Madureira, 19 September 1970,[712] becoming the second goalkeeper to score in a Brazilian professional match.[713][53] Poland Widzew Łódź 1 Penalty[308] Argentina 2005– Independiente 1 Penalty kick goal scored against Quilmes, 10 June 2007. Leaves the pitch injured after the goal.[714][715] South Africa 1947–1968 Charlton Athletic 1 [716] Netherlands 1985–2007 AGOVV 1 Scored a penalty in the last minute of the last match of his 23-year career. Van der Gouw was 44 years of age at the time. Netherlands 1990–2011 Ajax 1 Penalty[717] Brazil Roma Apucarana 1 Free kick[718] Paraguay 2009– Capiatá 1 [719] Spain 2004– Pobla de Mafumet 1 On 6 September, he saved a penalty and also scored the equalizer in a 1–1 draw against CF Badalona.[720] Russia 2012– FC Lahti 1 Scored a last minute equalizer goal against PK-35 Vantaa, 13 August 2016.[721] Netherlands 1986–2006 Gent 1 Viscaal was a striker who replaced the goalkeeper who had received a red card. First Viscaal stopped a penalty and one minute later, as a goalkeeper, scored a penalty himself[722] Australia 2002– Wellington Phoenix 1 Scored a 94th-minute penalty against North Queensland Fury on 13 February 2011. This came only a week after the previous match, in which Vukovic had hit the opposing team's crossbar after making a long clearance that bounced over the head of the opposing goalkeeper.[723] England 1987–2011 Tranmere Rovers 1 [724] Papua New Guinea 2008– Lae City Dwellers 1 [725] Poland 1990–2002 Górnik Zabrze 1 Penalty scored in league cup[726] England 1906–1910 Fluminense 1 Penalty kick scored against Riachuelo at 1908 Campeonato Carioca. Riachuelo lost the game by 11–0 in protest against the referee's performance. Subsequently, the club withdrew from the championship and the result was considered W/O. Is the first goal scored by a goalkeeper in Brazilian football.[727] England 2000–2019 Yeovil Town 1 [728] Brazil 2015– Atlético Cearense 1 Injury time bicycle kick against Potiguar de Mossoró, 21 July 2024, at 2024 Campeonato Brasileiro Série D.[729] England 1891–1905 Manchester City 1 First goalkeeper ever to score from open play in a competitive match, scored against Bolton Wanderers on 18 April 1900.[239] Bermuda 2001–2009 North Village Rams 1 Match winning goal scored directly from a goal kick in 2011[730] England 2011– Coventry City 1 Scored an injury-time equaliser in an EFL Championship match against Blackburn Rovers in 2023.[731] France 1992–2011 Nancy 1 [732] Denmark 1989–2000 AGF 1 Scored against Odense Boldklub, commonly known as OB, in the Danish Superliga in 1995.[733] Poland 2009– Bytovia Bytów 1 Scored a last-minute winning goal from a header against GKS Katowice in the last matchday of the 2019–20 I liga season. Despite this, both teams would be relegated.[734] Scotland 1970–1997 East Stirlingshire 1 Scored against Queen of the South on 9 January 1971[735] Greece 2006– AEL 1 Scored last-minute header against Panachaiki in a Greek Football Cup match on 28 November 2015. Japan 2001–2018 Montedio Yamagata 1 Scored a header in a J2 League match against Júbilo Iwata. Chinese Taipei Chinese Taipei 1 Scored a penalty in a 2003 East Asian Cup qualifying match against Mongolia, and was the first Taiwanese goalkeeper to score in an international competition. Turkey 1984–1996 Kemerspor 1 Scored his only career goal in a TFF Third League 2–1 loss to Antalya Köy Hizmetlerispor on 12 August 1991.[736] Brazil 1983–2000 Flamengo 1 [737] Algeria 2010– Damac 1 Scored a goal from open play inside his own penalty area against Al-Tai in the 2022–23 Saudi Professional League season.[738] Algeria 2004– MC Alger 1 Penalty kick[739] Belarus 1996–2016 BATE Borisov 1 [citation needed] Netherlands 1979–1987 Cambuur 1 Scored from a goal kick helped by a strong wind. The ball bounced in front of and then over opposite goalkeeper Ton Verkerk of Willem II.[740] Serbia and Montenegro
Serbia 1992–2019 Rijeka 1 Injury time header against Konavljanin, 29 November 2006, at the 2006–07 Croatian Cup semi-finals.[741] Czech Republic 2002–2021 Bohemians 1905 1 First goalkeeper to score a non-penalty goal in the Czech First League Brunei 2009–2017 Brunei Youth Team 1 First goalkeeper to score in the Brunei leagues, a penalty against LLRC FT.[742]
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The Country of Football: Soccer and the Making of Modern Brazil 9780520958258
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Soccer is the world’s most popular sport, and the Brazilian national team is beloved around the planet for its beautiful...
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dokumen.pub
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https://dokumen.pub/the-country-of-football-soccer-and-the-making-of-modern-brazil-9780520958258.html
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Table of contents :
Contents
List of Illustrations
Acknowledgments
Introduction: Serious Play
1. A National Game: Futebol Made Popular, Professional, and Afro-Brazilian
2. When It was Good to be Brazilian: Tropical Modernity Affirmed, 1958–70
3. Playing Modern: Efficiency over Art, 1971–80
4. Risky Beauty: Art and the Opening of Brazil in the 1980s
5. The Business of Winning: Brand Brazil and the New Globalism, 1990–2010
Conclusion: Mega-Brazil
Notes
Works Cited
Index
Citation preview
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JORNAL JOVEM PAN - 14/11/22
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Jovem Pan News war live.
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RECADOS E CANÇÕES!
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Make Your Day
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When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
â
âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
â
âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
Introdução
Minha inserção profissional em preservação audiovisual coincide com o inÃcio da utilização das ferramentas digitais na área de restauração de filmes no Brasil. A experiência prática nos arquivos audiovisuais e em restauração, iniciada justamente no perÃodo de transição para o digital, em 2000, permitiu um olhar a partir de uma perspectiva privilegiada, ao possibilitar acompanhar de perto, na lida cotidiana, a transformação da área. O desejo de investigar essas experiências, sistematizá-las e transformá-las em objeto de estudo, a fim de tentar contribuir para a reflexão sobre o campo no Brasil, desembocou na minha pesquisa de doutorado iniciada na Universidade de São Paulo em 2016. A pesquisa foi finalizada em dezembro de 2020,1 e o foco foi a restauração de filmes no Brasil e a incorporação da tecnologia digital no século XXI, realizada na Universidade de São Paulo. Esta investigação incorpora uma dupla dimensão: por um lado, minha experiência profissional e, por outro, o interesse em refletir sobre esses processos sob uma perspectiva histórica, incluindo os aspectos técnicos, estéticos e éticos da restauração de obras brasileiras. Um pequeno recorte deste trabalho será abordado nesse artigo, onde apresentarei, em linhas gerais, um olhar histórico sobre a restauração de filmes no Brasil, um breve panorama da trajetória do campo da restauração digital desde o ano 2000 e alguns marcos históricos desde seus primórdios.
A Importância do Ano 2000
Nas últimas duas décadas, o campo da preservação audiovisual passou por profundas transformações. Uma das evidências dessa transformação pode ser encontrada na crescente quantidade de pesquisas conduzidas sobre o tema da preservação de filmes e seus diversos aspectos. A incorporação da tecnologia digital no processo de restauração de filmes permitiu que o campo ganhasse mais destaque tanto em termos de habilidades práticas quanto como disciplina acadêmica. Como resultado, os estudiosos tentaram defini-lo teoricamente por meio de uma análise mais profunda de seus muitos complexos elementos. A bibliografia internacional também cresceu consideravelmente desde os anos 2000, incluindo bem-vindas contribuições de pesquisadores e estudiosos brasileiros. Embora pesquisas aprofundadas sobre restauração de filmes ainda não sejam muito comuns no Brasil, o surgimento de trabalhos recentes com destaque sobre o tema e questões relacionadas prova que há interesse no assunto e na preservação audiovisual como disciplina acadêmica.
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Do final dos anos 1990 até meados dos anos 2000, as ferramentas digitais de restauração foram introduzidas e disseminadas entre os principais arquivos de filmes, com o apoio financeiro de grandes companhias produtoras.2 No inÃcio, devido aos custos proibitivos para a maioria das instituições e arquivos, essas ferramentas eram utilizadas apenas ocasionalmente. No entanto, os avanços tecnológicos permitiram que se tornassem mais acessÃveis para projetos não comerciais e mais amplamente adotadas no processo de restauração de filme ao longo da primeira década de 2000.
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A tecnologia digital foi incorporada ao fluxo de trabalho de restauração no Brasil no inÃcio do século XXI, a exemplo do que acontecia em alguns paÃses da Europa e nos Estados Unidos. Até aquele momento, cada etapa do processo de restauração era fotoquÃmica. Os restauradores de filmes utilizavam equipamentos analógicos que haviam sido usados por anos em laboratórios cinematográficos comerciais e a equipe técnica da maioria dos projetos de restauração foi treinada, principalmente, enquanto trabalhava para esses laboratórios. Com o advento das ferramentas digitais, as intervenções no processo de restauração passaram a ser realizadas por computadores e profissionais com novas competências. Esses novos restauradores tinham conhecimento dos softwares de restauração digital e da tecnologia computacional, experiências profissionais diferentes dos técnicos que haviam trabalhado apenas em laboratórios de cinema. Antes de elaborar uma análise mais aprofundada do campo da restauração digital no Brasil, é necessário, primeiramente, apresentar um panorama histórico resumido dos laboratórios cinematográficos brasileiros.
Nas primeiras décadas da realização cinematográfica no paÃs, a maior parte das pequenas companhias produtoras possuÃam seus próprios laboratórios, valendo-se, provavelmente, de instrumental semelhante ao que era utilizado para a revelação fotográfica de imagens fixas, sendo a própria câmera de filmar o copiador, caracterÃstica presente nos modelos da época. Na cadeia de processamento de material fotoquÃmico, o primeiro passo é a revelação do material negativo para então sua posterior copiagem para o material positivo, isto é, as cópias de projeção. Será na década de 1910 que o laboratório da Botelho Film, de Alberto Botelho, consegue dar os primeiros passos rumo à alguma padronização dos procedimentos realizados, obtendo resultados acima da média e, por conseguinte, a confecção de cópias melhores até então produzidas no Brasil. Localizamos referências sobre alguns outros laboratórios do perÃodo. Por exemplo, companhias como a Independência Film, de José e Victor del Picchia, e a Benedetti Film, de Paulo Benedetti, possuÃam laboratórios, onde teria sido realizado o processamento de tÃtulos como Braza dormida (Mauro, 1928), Barro humano (Gonzaga, 1929) e Limite (Peixoto, 1931). Um marco importante acontecerá próximo ao final da década de 1920, com a chegada dos fotógrafos e laboratoristas húngaros Adalberto Kemeny e Rudolf Lustig,3 que compram o laboratório da Independência Film e o transformam nos Laboratórios Rex, que funcionará até a década de 1970. Os conhecimentos técnicos dos imigrantes húngaros permitiram um maior controle dos parâmetros necessários para o melhor processamento dos materiais, como o controle da temperatura e do tempo, sendo responsáveis por melhorias na qualidade técnica dos materiais brasileiros.Â
A passagem para o cinema sonoro nos anos 1930 vai tornar o processamento laboratorial ainda mais complexo e irá provocar o progressivo fechamento dos laboratórios de pequeno porte oriundos do perÃodo silencioso. Na contramão dessa tendência, a companhia produtora Cinédia, fundada em 1930 por Adhemar Gonzaga, irá constituir seu próprio laboratório ainda nessa década.
O laboratório da Cinédia funcionou com muitos contratempos até ao final da década de 1940, perÃodo particularmente difÃcil para a empresa. O contexto da Segunda Guerra Mundial apenas agravou as dificuldades da Cinédia, chegando mesmo a fazer com que encerrasse momentaneamente as suas operações no final de 1941. Em março de 1942, os estúdios da Cinédia reabriram para as filmagens de à tudo verdade, de Orson Welles, mas só retomaram totalmente as produções no ano seguinte. Os efeitos desastrosos causados pela guerra, como a falta de estoque de filme virgem e produtos quÃmicos para o seu processamento, foram sentidos pela Cinédia ao longo da década. O impacto da guerra, entre outros fatores, culminou com o seu desmantelamento em 1949, quando Adhemar Gonzaga decidiu se desfazer dos equipamentos cinematográficos do laboratório. Em 1951, Gonzaga interrompeu as atividades da Cinédia e alienou parte do terreno dos estúdios para liquidar todos os compromissos financeiros da empresa. O laboratório foi posteriormente desmontado e sua produção foi definitivamente interrompida.
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Outro marco importante para o restauro de filmes no Brasil foi a criação do único laboratório de restauração existente em um arquivo audiovisual brasileiro: o da Cinemateca Brasileira. Criado em 1976 a partir de aquisição de equipamentos e peças descartadas pela então chamada LÃder Cinelaboratórios,4 empresa carioca que havia recém adquirido os laboratórios Rex com a finalidade de expandir seus negócios para São Paulo. A aquisição se iniciou após convencê-los de que a Cinemateca não se constituiria como concorrente de mercado, o que não seria mesmo possÃvel, visto o caráter cultural da instituição. A partir daÃ, uma parceria informal se estabelece, e a empresa passa a comunicar a Cinemateca periodicamente quando do descarte de algum equipamento antigo.Â
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Carlos Augusto Calil, responsável pelo Departamento de Preservação da Cinemateca Brasileira à época, foi quem esteve à frente desse processo. Seu senso de oportunidade foi essencial para que a empreitada fosse bem-sucedida, já que teve a perspicácia de perceber e tirar proveito de um momento singular â ou seja, o momento de descarte do maquinário antigo dos laboratórios Rex por conta da modernização tecnológica empreendida pelos novos donos â para adquirir a infraestrutura básica necessária, e, o mais importante, a preços acessÃveis, para a implementação de um laboratório na instituição.
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Durante o perÃodo de implementação do laboratório na Cinemateca Brasileira, Calil teve a oportunidade de realizar o II Curso de Verão organizado pela FIAF (Federação Internacional de Arquivos de Filme) no Staatlichesfilmarchiv (Arquivo de Filmes da República Democrática Alemã). O curso abordou, sobretudo, questões relacionadas à conservação e restauração de filmes e acabou sendo muito importante para os profissionais brasileiros. Ao longo do curso, Calil teve acesso a publicações sobre documentação e catalogação de filmes ainda não publicadas no Brasil, materiais que ele compartilharia com os técnicos da Cinemateca Brasileira. Isso garantiu que o conhecimento dos métodos de preservação de filmes em uso em instituições estrangeiras fosse compartilhado e aplicado pelos profissionais brasileiros em seus próprios trabalhos. No entanto, uma das principais lições que Calil aprendeu foi que a solução para os problemas de preservação dos filmes brasileiros teria que ser inventada e desenvolvida por brasileiros. Essa conclusão se deve ao que hoje é uma história bem conhecida na comunidade de preservação audiovisual brasileira. Calil conta que Hans Karnstädt, responsável pelo laboratório de conservação e restauração de Staatlichesfilmarchiv, foi questionado sobre o tratamento adequado para filmes de nitrato melados. Karnstädt ficou surpreso com a pergunta e respondeu que nunca havia visto nenhum material em tais condições. Algumas razões para tal fato podem ser apontadas: como a Alemanha tem um clima frio e suas instituições culturais são financeiramente estáveis ââ(permitindo a manutenção dos nÃveis adequados de temperatura e umidade dos depósitos), eles nunca tiveram que se preocupar com cenários em que grande parte de suas coleções encontram-se em estágios avançados de degradação. Mas no Brasil, devido ao clima quente e a instabilidade crônica da área, filmes de nitrato e acetato melados eram (e ainda são) uma ocorrência muito mais comum. Embora essa situação tenha acontecido há quatro décadas, os problemas enfrentados pelos arquivos e profissionais brasileiros não mudaram substancialmente. As condições de conservação da maior parte do patrimônio audiovisual do paÃs apresentam problemas especÃficos que somente a experiência de trabalho no Brasil local pode resolver.
A Restauração Digital de Filmes no Brasil: O Nascimento e a Rápida Decadência de um Campo
Mas será efetivamente no final de maio de 1977 que o Laboratório de Restauração da Cinemateca Brasileira passará a operar realizando atividades de copiagem e revelação. Uma das figuras centrais para tal fato será João Sócrates de Oliveira,5 arquiteto de formação que entra na instituição sem ter tido experiência prévia na área de cinema e se tornará um restaurador de filmes de renome internacional.
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Entre as décadas de 1970 e 2000, as restaurações de filmes no Brasil foram capitaneadas, sobretudo, pelos arquivos audiovisuais, e realizadas em parceria com laboratórios comerciais ou pelo laboratório da Cinemateca Brasileira. A chegada da primeira década de 2000 representou o crescimento dos aportes públicos em preservação audiovisual e o inÃcio da realização um significativo número de projetos de restauração de filmes brasileiros. Nesse perÃodo, se destacaram o restauro de tÃtulos de diretores integrantes do Cinema Novo, através de projetos liderados por suas herdeiras. Alguns poucos anos depois, em 2007 e 2009, a Petrobras investirá em dois editais públicos de restauro coordenados pela Cinemateca Brasileira, atestando que, ainda que momentaneamente, um papel mais ativo do Estado no fomento da atividade.Será na virada do milênio, mais exatamente em 1996, que será utilizada pela primeira vez no Brasil a tecnologia digital durante o processo de restauro de um filme. Foi em O ébrio (Abreu, 1946), uma produção da Cinédia. Apesar de ter tido a imagem restaurada fotoquimicamente, se utilizou de um procedimento hÃbrido para o som, mesclando etapas fotoquÃmicas e digitais. O relançamento de O ébrio estava sendo pensado desde meados dos anos 1990, por conta do aniversário de cinquenta anos da primeira exibição do filme em 1996. Em março daquele ano, a Cinédia propõe a Riofilme6,um projeto de restauração do que teria sido a versão original da obra, incluÃdo seu relançamento comercial ao final do processo. Uma das prioridades era o retorno do filme aos cinemas, talvez por conta disso o projeto tenha sido apresentado à uma distribuidora. Nesse sentido, ele parece ter fomentado possibilidades de atuação que inclusive tiveram outros frutos, visto que em 2002 é levado a cabo, também pela Riofilme, a reformatação digital e o relançamento de outro tÃtulo do passado, Deus e diabo na terra do sol (Rocha, 1964).
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Mas será em 2003 que terá inÃcio um projeto que efetivamente pode ser considerado um marco para a restauração digital de filmes no Brasil: o restauro da obra completa de Joaquim Pedro de Andrade, idealizado pelos filhos do cineasta, Alice, Maria e Antonio de Andrade, iniciativa pioneira na utilização da tecnologia digital de 2K de resolução no paÃs. Nesse momento, na área audiovisual, esse tipo de tecnologia era utilizado, sobretudo, para as etapas de intermediação digital realizadas durante o processo de finalização de um filme. à a primeira vez, portanto, que um projeto de restauração brasileiro emprega essa ferramenta, o que representou um marco decisivo para o desenvolvimento do campo no paÃs, tendo sido um dos fatores responsáveis pela atualização tecnológica do Laboratório de Restauração da Cinemateca Brasileira, além de propiciar a criação de um Núcleo de Restauração na empresa de pós-produção audiovisual Teleimage, em São Paulo.
O pioneirismo e a envergadura do projeto (restaurar digitalmente a obra completa de um cineasta) fez com que a metodologia de trabalho, as escolhas técnicas e éticas fossem descobertas e aperfeiçoadas ao longo do processo. Como ainda era um campo emergente, a necessidade de os profissionais envolvidos ganharem experiência com ferramentas de restauração digital era essencial. Afinal, a realização de um projeto de restauro em 2K no Brasil era novidade para todos os envolvidos, o que representou um grande desafio. Será neste perÃodo, justamente por conta de projetos como o de Joaquim Pedro, que acontecerá a abertura de departamentos dedicados à restauração digital de filmes dentro de laboratórios comerciais de pós-produção, como é o caso dos Estúdios Mega e da Teleimage, ambos em São Paulo, e da Labocine, no Rio de Janeiro.Â
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Desde 2000, os Estúdios Mega7 vinham investindo em seu parque tecnológico, com direcionamento para a aquisição de equipamentos de intermediação digital. Em 2001 foi adquirida uma estação de trabalho chamada Restore, que consistia de um software acompanhado de um computador exclusivo. Esse equipamento, fabricado pela empresa norte-americana Da Vinci Systems, pioneira na produção de equipamentos para pós-produção digital, teve um custo de 380 mil dólares (cerca de 760 mil reais à época). A estação não tinha a capacidade de digitalizar, sendo que os materiais tinham que ser digitalizados previamente em outra máquina, como, por exemplo, um telecine. Ainda assim, o custo era bem alto, se mostrando proibitivo para praticamente a totalidade dos arquivos audiovisuais brasileiros nesse momento. Por conta disso, os responsáveis pela introdução dessa tecnologia no Brasil foram as empresas de pós-produção e finalização audiovisual, que tinham que se adaptar rapidamente à s tendências de mercado, sobretudo ao lucrativo mercado publicitário.Â
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A Teleimage iniciou seu Departamento de Restauração com o filme Pelé eterno (AnÃbal Massaini Neto, 2004), para a correção digital de parte das imagens de arquivo que integram o documentário, que levou cerca de cinco anos para ser concluÃdo por conta do volume do trabalho de pesquisa. Após esse trabalho, a empresa decidiu expandir o setor com o projeto de restauração digital da obra completa de Joaquim Pedro de Andrade.Â
O caso da Labocine foi um pouco diferente em alguns aspectos. Como os dois exemplos citados, o setor de Restauração também se iniciou a partir dos serviços de intermediação digital já oferecidos por essas empresas, que se utilizavam da estrutura existente para servir de base para a inclusão da tecnologia destinada para o restauro digital de filmes. Isto é, softwares especÃficos, computadores com maior capacidade de processamento e servidores com capacidade de armazenamento adequada. Entretanto, ao invés de renomados cineastas do Cinema Novo, cujos filmes foram realizados a partir da década de 1960, a Labocine decide investir na restauração digital de Bonequinha de seda, obra realizada em 1936 por Oduvaldo Viana. O fato é que o filme foi produzido pela Cinédia, parceira de longa data do laboratório, e este talvez tenha sido o motivo principal para que o laboratório tenha assumido tal empreitada. Além, é claro, da possibilidade de adentrar em um mercado em expansão e com um diferencial em relação à s outras empresas: ter como trabalho inaugural a restauração de um filme realizado na década de 1930, ou seja, há quase 80 anos atrás. Mas esse caso modelo levou muito mais tempo que se esperava. A restauração do tÃtulo, que contou com uma etapa fotoquÃmica e outra digital, se iniciou em 2006 e levou cerca de sete anos para ser concluÃda, tanto por conta das interrupções provocadas pelas dificuldades técnicas encontradas quanto pelo aporte de investimentos efetuados ao longo do processo.8 Diferente dos Estúdios Mega e da Teleimage, a Labocine não contou com a garantia e o volume de recursos de um projeto de restauração composto por vários tÃtulos ou de uma obra completa, como foi com a Coleção Glauber Rocha e com o projeto do Joaquim Pedro, mas sim o restauro de um único tÃtulo, o que fez com que a empresa contasse com um montante de investimentos menor do que suas congêneres9  O que, por fim, representou menos profissionais exclusivamente dedicados ao projeto, menos equipamentos e, por conseguinte, menor velocidade na execução do trabalho. Apesar dos inúmeros desafios enfrentados, o esforço foi em certa medida recompensado devido à inestimável experiência acumulada pelos técnicos ao longo do processo.Â
Além disso, uma questão importante merece ser ressaltada: o restauro de Bonequinha de seda acabou por revelar limitações intrÃnsecas das ferramentas digitais em relação a um dos grandes problemas apresentados pelos materiais remanescentes: a profusão de riscos e abrasões incorporadas fotograficamente à imagem (conforme figura abaixo). A resposta diante das primeiras etapas de tratamento do material no software de restauração Diamant, tanto na modalidade automática quanto semiautomática, foi mÃnima, visto que a ferramenta não conseguia localizar os problemas pois já faziam parte da imagem, revelando uma limitação inerente a estas formas de dano. Tentou-se interferir de maneira mais drástica e o resultado foi ainda pior, com a criação de inúmeros artefatos e a acentuação de algumas deformações na tentativa de estabilização geral ou parcial dos quadros.
Ou seja, no geral, a atuação da ferramenta digital não trouxe resultados significativos para os problemas considerados mais graves e de maior intensidade. Após a exibição de algumas amostras do trabalho e consultas a especialistas em eventos internacionais, comprovou-se que os procedimentos adotados estavam, a princÃpio, corretos, e que, infelizmente, a atuação dos softwares de restauração nos danos apresentados pelo filme não teria a repercussão desejada, ao menos não na versão em que se encontravam. Dada a particularidade dos danos, se estabeleceu um canal de comunicação permanente entre o laboratório e a empresa desenvolvedora do software, a HS-Art, o que viabilizou aperfeiçoamentos especÃficos para a limpeza dos riscos e arranhões incorporados fotograficamente na imagem.10
O que podemos notar através desse exemplo é que as ferramentas estrangeiras, mesmo as desenvolvidas especificamente para a restauração de filmes, como é o caso do software austrÃaco Diamant, não respondem de forma completamente satisfatória, dada a especificidade dos problemas de deterioração apresentados pelos filmes brasileiros, ainda que riscos e outros danos não sejam exclusividade de nossos materiais.11 Por conta disso, parcerias com laboratórios de restauração e fabricantes de softwares são importantes, sobretudo para projetos de pequeno porte e com materiais que estejam bastante comprometidos. Neste sentido, a ideia de se investir em um laboratório de restauração de um arquivo de filmes (como o da Cinemateca Brasileira) é uma opção estratégica, visto que a ótica de um laboratório comercial sempre será direcionada para projetos financeiramente lucrativos.Â
A consolidação da intermediação digital como etapa integrante da produção audiovisual em meados da primeira década do século XXI parecia trazer consequências bastante benéficas para a área de restauração de filmes. Com o barateamento desse tipo de serviço, a tecnologia digital passou a ser adotada amplamente nos procedimentos de restauração e proporcionou o desenvolvimento das ferramentas e da própria área. Visto os projetos de restauro realizados desde a virada do milênio, o Brasil aparentava seguir por um caminho de desenvolvimento semelhante ao restante do mundo. No entanto, infelizmente, o campo da restauração digital de filmes no paÃs começou a regredir em 2010. Neste ano, por falta de financiamento para projetos de restauro, os departamentos de restauração como o da Mega Studios começaram a fechar. O que antes era considerado um mercado em expansão, com o inÃcio do fechamento de Departamentos de Restauração nas empresas de finalização, logo se tornou um serviço de nicho. Â
A partir de meados de 2010, a ampla adoção da tecnologia digital em todas as etapas da cadeira audiovisual â produção, distribuição e exibição â fez com que uma grande entrada de recursos nos laboratórios cinematográficos brasileiros, oriunda da confecção de cópias em pelÃcula de filmes estrangeiros distribuÃdos no paÃs, cessasse. Funcionava como uma reserva de mercado: era obrigatório que os filmes estrangeiros lançados nos cinemas brasileiros confeccionassem seus materiais de difusão em pelÃcula no paÃs. Apesar de empresas como Labocine, Teleimage e Estúdios Mega terem se mostrado parceiras importantes dos projetos de restauro citados, todas eram, afinal, empresas comerciais que visavam lucro. As que possuÃam laboratórios fÃlmicos, como a Labocine, reduziram bastante sua margem de lucro com a diminuição e posterior interrupção de produção de cópias em pelÃcula 35mm ao longo de 2010.Â
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O volume de investimentos públicos em restauração de filmes (e em preservação audiovisual em geral) reduziu drasticamente a partir de 2011, o que gerou consequências nefastas para o campo. Uma das primeiras consequências mais notáveis aconteceu em 2015, com a extinção do Núcleo de Restauração da Teleimage e a demissão da equipe do setor. Para completar o cenário de decadência, a consolidação da projeção digital no circuito exibidor e a redução substancial do volume de processamento de cópias 35mm, maior fonte de renda da Labocine, inviabilizou a continuidade da empresa a longo prazo, o que culminou com seu fechamento definitivo em março de 2015. Desde então, a área de restauração de filmes no Brasil retraiu-se vertiginosamente, o que demonstra que apesar dos aportes iniciais realizados pelas empresas privadas, o setor era dependente dos recursos oriundos do Estado e de medidas de proteção de mercado. Com exceção do Laboratório de Restauração da Cinemateca Brasileira, que passou a operar sobretudo para demandas internas desde 2016, mas que está com suas atividades paralisadas desde março de 2020,12 e a empresa Afinal Filmes, que passou a oferecer serviços de restauração digital por volta de 2017, não há outras opções.Â
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Existem projetos e filmes a serem restaurados, mas não há recursos ou polÃticas públicas de financiamento para esse tipo de atividade. Na verdade, nesse momento, quase não existem polÃticas públicas para a preservação audiovisual (ou para o setor audiovisual como um todo) no Brasil: o campo cultural, em geral, tem sido muito afetado pelo atual governo. Entretanto, em uma área historicamente ignorada em termos de investimentos e marcada pela instabilidade, como a área de patrimônio audiovisual no Brasil, é ainda mais grave. De mercado promissor à decadência em pouco mais de uma década, esse é o estado atual da restauração de filmes no Brasil.
Laboratórios Cinematográficos no Brasil
Introduction
My professional entry into the field of film preservation coincided with the emergence of digital restoration in Brazil. I began working within film archives in the year 2000. Being around archives at that time allowed me to witness the impact that digital technology was having on the still nascent field of digital film restoration. It was my desire to investigate my own early experiences as a film preservationist, systematize them, turn them into an object of study, and to contribute to a wider discussion on film restoration, that prompted me to begin doctoral research at the University of São Paulo in 2016. I finished this research at the end of 2020,1 focusing my dissertation on film restoration in Brazil and the incorporation of digital restoration technology in the 21st century. The research I conducted had two dimensions: on one hand, it included my professional experiences, and on the other, my interest in considering the historical process of film restoration in Brazil from technical, aesthetic and ethical perspectives. A small excerpt from this work will be addressed in this article, where I will present, in general terms, a historical background of film restoration in Brazil, a brief overview on the trajectory of the digital restoration field since the year 2000 and highlight some historical milestones since its early beginnings.Â
Significance of the Year 2000
Over the last two decades, the field of audiovisual preservation has undergone profound changes. One of the evidences of this transformation can be found in the increasing amount of research being conducted on the topic of film preservation and its various aspects. The incorporation of digital technology within the film restoration process allowed the field to gain more prominence both in terms of practical skills and as an academic discipline. As a result, scholars have attempted to theoretically define it through deeper analysis of its many complex elements. The international bibliography on film preservation has also grown considerably since the 2000s, including welcome contributions from Brazilian researchers and scholars. Although in-depth film restoration research is still not very common in Brazil, the emergence of recent prominent writings on this topic and related issues proves that there is serious interest in the topic and in audiovisual preservation as an academic discipline. Â
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From the late 1990s to the mid 2000s, digital film restoration tools were introduced and disseminated among major film archives, with financial support from big film production companies.2 Â At first, due to the prohibitive costs for most institutions and archives, these tools were only utilized occasionally. However, technological advancements allowed them to become more affordable for non-commercial projects and more widely adopted into the film restoration process along the first decade of 2000s.Â
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Digital technology was incorporated into the restoration workflow in Brazil in the early 21st century, similar to what was taking place in some European countries and in the United States. Up until that point in time, each stage of the restoration process was photochemical. Film restorers were utilizing analog machines that had been used for years in commercial film laboratories and the technical staff behind most restoration projects were predominantly trained while working for these laboratories. With the arrival of digital tools, interventions into the restoration process began to be carried out by computers and professionals with new skills. These new restorers were well versed in digital restoration software and computer-based technology and had different professional backgrounds than the technicians who had only previously worked in film laboratories. Before providing a further analysis of the digital restoration field in Brazil, it is first necessary to present an overview of the history of Brazilian film laboratories.
Film Laboratories in Brazil
During the first few decades of filmmaking in Brazil, most of the small film production companies had their own laboratories. It is likely that these laboratories used similar tools to still photography laboratories. In the chain of processing photochemical material, the negative is first developed and then copied to a positive print, resulting in projection prints. In the 1910s, Alberto Botelhoâs film laboratory took the first steps toward standardizing these procedures with above-average results. Consequently, their lab managed to create better film prints than what had previously been possible in Brazil. There are references to other laboratories of the time. For example, companies such as José and Victor del Picchiaâs Independência Film and Paulo Benedetti Filmes had laboratories and processed titles such as Braza Dormida (Mauro, 1928), Barro Humano (Gonzaga, 1929) and Limite (Peixoto, 1931). A landmark moment for the film processing field occurred in the late 1920s, when Hungarian photographers and laboratory professionals Adalberto Kemeny and Rudolf Lustig relocated to Brazil.3 Kemeny and Lustig would go on to buy the Independência Film Laboratory and turn it into Rex Laboratories, which remained active until the 1970s. The technical knowledge that these Hungarian immigrants brought to Brazil allowed greater general control of the necessary parameters for processing film, such as temperature and time control, being responsible for improvements in the technical quality of Brazilian materials.
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The transition to sound cinema in the 1930s made laboratory processing even more complex and progressively caused the closure of small laboratories from the silent period. Regardless of these newfound challenges in film processing, the production company Cinédia, founded in 1930 by Adhemar Gonzaga, built its own laboratory in that decade.Â
The Cinédia laboratory operated with many setbacks until the end of the 1940s, a particularly difficult period for the company. The context of World War II only exacerbated Cinédia's difficulties, even causing them to momentarily shut down their operations at the end of 1941. In March 1942, the Cinédia studios reopened for the filming of Orson Wellesâs It's All True, but only fully resumed productions the following year. The disastrous effects caused by the war, such as the lack of film stock and chemicals for processing films, was felt by Cinédia throughout the decade. The toll of the war on Cinédia culminated in their dismantling in 1949, when Adhemar Gonzaga decided to dispose of the laboratory film equipment. In 1951, Gonzaga interrupted Cinédia's activities and sold part of the studio grounds in order to liquidate all the company's financial commitments. The laboratory was subsequently disassembled and its productions halted.Â
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A historical milestone for film restoration in Brazil particularly relevant to this discussion was the creation of the only existing restoration laboratory in a Brazilian film archive. The Cinemateca Brasileira Film Laboratory was created in 1976 from the acquisition of equipment and parts discarded by the formerly-named LÃder Cinelaboratórios,4 a company from Rio de Janeiro that had recently acquired Rex Laboratories with the purpose of expanding its business to São Paulo. This acquisition began after LÃder Cinelaboratórios was convinced that the Cinemateca Brasileira would not be a market competitor for them given their non-profit cultural mission. From then on, an informal partnership was established, and LÃder began to periodically notify the archive whenever old equipment was discarded.Â
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Carlos Augusto Calil, who was leading the Preservation Department of the Cinemateca Brasileira at the time, managed this acquisition process. His sense of opportunity was essential to the success of the undertaking. Calil had the insight to take advantage of a singular moment - the discarding of the old Rex laboratories machinery. Once the new owners of Rex laboratories began to modernize their lab with new technology, they decided to dispose of their older (but still functional) machinery. Calil was then able to purchase this machinery at discounted prices as a means of bolstering the infrastructure of the Cinemateca's laboratory.
While the old laboratory machinery was being implemented at the Cinemateca Brasileira, Calil had the opportunity to attend the second Summer course organized by FIAF (International Federation of Film Archives) at the Staatlichesfilmarchiv (Film Archive of the German Democratic Republic). This course mainly addressed issues related to the conservation and restoration of films and it was very important for Brazilian professionals. During this course, Calil had access to publications on film documentation and cataloguing which had not yet been published in Brazil, materials that he would go on to share with his colleagues at the Cinemateca Brasileira. This ensured that the knowledge of the film preservation methods being used in foreign institutions would be shared and applied by Brazilian film preservationists in their own work. However, one of the major lessons that Calil learned was that the solution to Brazilâs film preservation problems would have to be invented and developed by Brazilians. This newfound understanding came to Calil from what is now a well-known story in the Brazilian audiovisual preservation community. Calil recounts that Hans Karnstädt, the person in charge of the conservation and restoration laboratory of Staatlichesfilmarchiv, was asked about proper treatment for nitrate films that have become sticky. Karnstädt was surprised with the question and answered that he had never seen any material in such condition. There are reasons for this can be pointed out: as Germany has a cold climate, and because their cultural institutions are financially stable (allowing the maintenance of adequate levels of temperature and humidity in the vaults), they never had to worry about scenarios where a large portion of their collections had undergone severe stages of degradation. But in Brazil, due to the hot climate and the chronic financial instability, sticky nitrate and acetate films were (and still are) a far more common occurrence. Although this situation happened four decades ago, the problems faced by Brazilian film archives and film preservationists have not changed substantially. The conservation conditions of most of the country's audiovisual heritage pose specific problems that only preservationists who have experience working in Brazil can solve.
Digital Film Restoration in Brazil: The Birth and the Rapid Decay of a Field
It was effectively at the end of May 1977 that the Cinemateca Brasileira Restoration Laboratory began duplication and restoration activities. One of the central figures for this was João Sócrates de Oliveira,5 a trained architect who entered the institution without previous experience in cinema, who went on to become an internationally renowned film restorer.Â
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Between the 1970s and 2000s, film restoration projects in Brazil were mainly headed by film archives and carried out in partnership with commercial laboratories or by the Cinemateca Brasileira laboratory. The 2000s represented the growth of public investments in film preservation and the realization of a significant number of Brazilian film restoration projects. During this period, specific emphasis was given to the restoration of the titles of Cinema Novo filmmakers through projects led by their heirs. A few years later, in 2007 and 2009, Petrobras invested in two public calls for restoration coordinated by the Cinemateca Brasileira, attesting, albeit fleetingly, a more active role of the State in promoting and sponsoring film preservation.
At the turn of the millennium, in 1996, digital technology was used for the first time in Brazil during the restoration process of O ébrio (Gilda de Abreu, 1946), a Cinédia production. Despite the fact that O ébrio had its image photochemically restored, the restoration process included a hybrid procedure for sound, mixing photochemical and digital elements. The re-release of O ébrio had been considered since the mid-1990s, as 1996 marked the fifty-year anniversary of its first screening. In March of that year, Cinédia proposed the restoration project of what would have been the original version of the film to Riofilme,6 including its commercial re-release at the end of the process. One of the priorities of this project was ensuring that the film would return to the cinemas, which may be why this restoration project was presented to a distributor. By establishing a process where a newly restored film would be attached to a distributor, the restoration and exhibition of O Ãbrio would impact other restoration projects that followed a similar path. In 2002, Riofilme also carried out the digital reformatting and the re-release of another classic Brazilian title, Black God, White Devil (Rocha, 1964).
It was in 2003 that a project which can effectively be considered a milestone for digital film restoration in Brazil began: the restoration of the complete works of Joaquim Pedro de Andrade. This restoration project was realized by his daughters Alice and Maria, and his son Antonio de Andrade. The restoration of Joaquim Pedro de Andradeâs complete filmography was a pioneering initiative in the use of 2K digital resolution technology in Brazil. At that time, this kind of technology was mainly being used for the digital intermediation stages performed during post-production for contemporary films. Therefore, this was the first time that a Brazilian restoration project employed this tool. The restoration of Andradeâs filmography represents a definitive milestone for the preservation field in Brazil, as it led to a major technological update for the Restoration Laboratory of the Cinemateca Brasileira. In addition to this update of the Cinemateca lab, the Joaquim Pedro project led to the creation of the Restoration Center at Teleimage, an audiovisual post-production company in São Paulo.
The pioneering initiative of using 2K resolution, and the scope of the project (to digitally restore the complete works of a filmmaker), made it possible for film restoration methodology to be practiced and improved by the archivists and technicians who were working on the project. As it was still an emerging field, the need for preservationists to gain experience with digital restoration tools was essential. After all, making a 2K digital restoration in Brazil was new for everyone involved, so this project represented a great challenge. It was around this time, precisely because of projects like Joaquim Pedro's, that many departments inside commercial post-production and finishing companies were created to exclusively focus on digitally restoring films. Mega Studios and Teleimage, both in São Paulo, and Labocine in Rio de Janeiro were the major companies that were concentrating on digital restoration during that time.Â
Since 2000, Mega Studios7 has been investing in technological machinery, focusing on the acquisition of digital intermediation equipment. In 2001, they acquired a workstation called Restore, which consisted of a film restoration software built into an exclusive computer for the restoration process. This equipment, manufactured by the North-American company Da Vinci Systems (a pioneer in digital post-production equipment), cost $ 380,000 (about R$ 760,000 at the time). The station did not have the capacity to digitize. Instead, the materials had to be previously digitized by another machine (such as a telecine) in order to be used at the station. Because of this need for previous digitization, the cost of the entire restoration process was very high for Brazilian film archives at that time, leading to a situation where the post-production companies with larger budgets became primarily responsible for introducing restoration technology in Brazil.Â
â
Teleimage debuted its Restoration Department with the film Pelé Eterno (AnÃbal Massaini Neto, 2004), digitally correcting part of the archival footage in the documentary. This project took about five years to be completed and demanded a lot of work from the restorers. It was only after completing their first restoration that Teleimage decided to expand their restoration division with the digital restoration of Joaquim Pedro de Andrade's films.
â
Overall, Labocineâs experience with digital preservation was different to that of Teleimage and Mega Studios. However, it was similar in the sense that its restoration sector began by offering digital intermediation services. Labocine, Teleimage and Mega Studios used their existing structure as a basis for the inclusion of technology destined for the digital restoration of films. That is, they bought specific restoration software, computers with greater processing capacity, and servers with adequate storage capacity. However, instead of investing its time in restoring the works of renowned Cinema Novo filmmakers, Labocine decided to digitally restore Bonequinha de seda, a film made in 1936 by Oduvaldo Viana. Bonequinha de seda was produced by Cinédia, a long-time partner of Labocine, which may have been the main reason why Labocine was interested in restoring the film. Restoring Bonequinha de seda presented the opportunity for Labocine to join an expanding national film restoration market. Also, restoring Bonequinha de seda as their first project, a work made almost 80 years ago, would allow them to stand out from other companies. However, the Bonequinha de seda restoration took much more time than what was initially expected. The restoration of the film, which included photochemical and digital tools, began in 2006 and took about seven years to be completed. The protracted length of the process was due to work interruptions which were caused by technical difficulties and the limited amount of funds available for the project.8 Unlike Mega Studios and Teleimage, Labocine did not have the volume of financial resources that a restoration project composed of several titles would have.9 While the restorations of the Glauber Rocha Collection and Joaquim Pedroâs filmography were well funded, the restoration of a single title made Labocine count on smaller investments. This meant that there were fewer professionals who were exclusively dedicated to the project, less equipment, and slower speed in the execution of the work. Despite the many challenges that this project faced, the effort to restore Bonequinha de seda was worthwhile due to the invaluable digital restoration experience that the technicians accumulated throughout the process.Â
â
The restoration of Bonequinha de seda ended up revealing the intrinsic limitations of new digital tools when dealing with scratches and abrasions that were incorporated photographically into the image (as shown below). The effectiveness of the Diamant restoration software (used in this process) during the first stages of digital treatment was minimal. This was because the tool could not locate the photographically incorporated scratches and abrasions that had become part of the image. Therefore, the first stages of digitally treating Bonequinha de seda revealed the inherent limitations of digital tools in fixing this type of damage. Also, after an attempt to use these digital tools to partially stabilize frames, the end product was even worse. The resulting creation presented numerous artifacts and the worsening of some of the photographically incorporated deformations.
Exhibiting samples of the work and consulting with specialists at international events revealed that the initially adopted procedures by the technicians in digitally restoring Bonequinha de seda were correct. However, the ability of the restoration software to deal with the damage presented on the film was not satisfactory. As a result, permanent communication was established between Labocine and the Diamant software developer company, HS-Art. Communicating the problems experienced in the Bonequinha de seda restoration made it possible for HS-Art to develop specific improvements to the software that would allow it to clean up the scratches and abrasions on the digital images.10
This story11 demonstrates that foreign digital restoration tools such as Diamant cannot completely respond to the specificity of the deterioration problems presented within Brazilian films.12 Because of this, establishing partnerships with restoration laboratories and software manufacturers is especially important for small projects that deal with materials in advanced stages of deterioration. In this sense, the idea of having a restoration laboratory in a film archive (such as at the Cinemateca Brasileira) is a strategic option, since a commercial laboratory will always aim at projects that are financially profitable.
â
The global incorporation of digital intermediation as part of the audiovisual post-production process in the mid-2000s seemed to bring enormous benefits for the field of film restoration. As digital intermediation became less expensive, it was widely adopted in the restoration procedures and subsequently lead to the development of new digital restoration tools and the area itself. Given the restoration projects that were being carried out since the turn of the millennium, Brazil appeared to be following a similar path of development in the restoration field to the rest of the world. However, unfortunately, the field of digital film restoration started to regress in 2010. In that year, due to a lack of funding to restoration projects, restoration departments such as the one at Mega Studios began to close. What was once considered a widening market soon became a niche service.Â
â
From mid-2010, the widespread adoption of digital technology in film production, distribution, and exhibition has led to a decrease of financial resources being invested into Brazilian film laboratories. Prior to that point, the major sources of income for these film laboratories had been making prints of foreign films to be distributed throughout Brazil. This is because it was mandatory that foreign films being released in Brazilian movie theaters produced their 35mm projection prints in Brazil. There is no denying that companies such as Labocine, Teleimage and Mega Studios have shown to be important partners of the previously mentioned restoration projects. But they were also commercial companies, primarily interested in maintaining a profit. The companies which had film laboratories, such as Labocine, severely diminished its profit margins with the decrease and later interruption in the production of 35mm film prints throughout the 2010s.Â
â
The volume of public investments in film restoration (and in audiovisual preservation in general) drastically reduced from 2011 onwards, and this has generated harmful consequences for the field. The first notable consequence occurred in 2015 after the Teleimage Restoration Center closed and the company dismissed its staff. Further, the consolidation of digital projection in the commercial exhibition circuit and the substantial reduction in the processing of 35mm prints (Labocineâs largest source of income) made it impossible for the company to continue in the long term. Since the closure of the Teleimage Restoration Center and Labocine in 2015, the film restoration field in Brazil has shrunk vertiginously, revealing that despite the initial contributions made by private companies, the sector was dependent on State resources and measures of market protection. With the exception of the Cinemateca Brasileira Restoration Laboratory, which has mainly focused on its own internal needs since 201613, the only option to digitally restore a film in Brazil today is the company Afinal Filmes, which started offering digital restoration services in 2017. There are projects and films to be restored, but there are no resources or public funding policies for this type of work. In fact, today, there are almost no public policies for film preservation (or for the audiovisual sector at large) in Brazil: the cultural field, in general, has been greatly affected by the government. However, in an area such as the audiovisual heritage field in Brazil, which has been historically ignored in terms of investments and marked by instability, the repercussions have been even worse. From a promising market to a struggling one in just over a decade, such is the current state of film restoration in Brazil.
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https://issuu.com/taosnews/docs/fallfestivals_17
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Fall Festivals: Official Guide 2017
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Inside, you'll find the full information for the 43rd annual Taos Fall Arts Festival, San Geronimo Day, Taos Mountain Balloon Rally, and more!
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Issuu
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https://issuu.com/taosnews/docs/fallfestivals_17
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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https://archive.org/stream/cashbox23unse_14/cashbox23unse_14_djvu.txt
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Full text of "Cash Box"
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See other formats
DECEMBER 30, 1961 For tlie thirleciilli coii^eriitivr year Perry (ajino lielps Cash Box wish a Merry (Christinas anil a Hajuiy New ^ ear to all its readers throughout the worhi. Above, the K(CA \ ietor rerordinp star, in his typiealiv relaxeil manner, paints a jolly picture of the Christmas season during a rehearsal for his annual Kraft Theatre ^ uletide show. Perry’s latest single is “^oiTre Following .Me." TOPS IK SnOLES THROmillOUT THE WOKU WHO'S SORRY NOW I'M SORRY I MAOE YOU CRY CAROLINA MOON STUPIO CUPIO PALLIN' MY HAPPINESS IF I OIDN'T CARE LIPSTICK ON YOUR COLLAR FRANKIE YOU'RE GONNA MISS ME PLENTY GOOO LOVIN' AMONG MY SOUVENIRS MAMA TEOOY JEALOUS OF YOU EVERYBOOY'S SOMEBOOY'S FOOL MY HEART HAS A MIND OF ITS OWN MANY TEARS AGO WHERE THE BOYS AREgHT NO ONE BREAKING IN A BRAND NEW BROKEN HEART SOMEONE ELSE'S BOY TOGETHER TOO MANY RULES DREAMBOAT HOLLYWOOD WHEN THE BOY IN YOUR ARMS (Is The Boy In Your Heart) BABY'S FIRST CHRISTMAS Current fill Single WHEN THE BOY IN YOUR A (Is Tire Boy In Your Heart) and BABY'S FIRST CHRISTM K-13051 ..i '■ 1 I iin j m {No. J in OoitnUifn} (No. T In itofltfn) (No. t Sn Spanish) (No. I in Japano*a} (No. I In ridfllslij DIE ERSHTEH 13 RELEASES 14 HITS oCinda Scott Santo ^olinn^ Site Seimonti ^anie ^rant She .>^n^eii Ranted l^a^ . “I'VE TOLD EVERY LIHLE STAR” “DON'T BET MONEY HONEY” “STARLIGHT STARBRIGHT” “IT'S ALL BECAUSE” “I DON'T KNOW WHY” . “TWISTIN' BELLS” “HOP SCOTCH” “TELL ME WHY” “DON'T GET AROUND MUCH ANYMORE” “I NEED SOMEONE” , “TRIANGLE” “ROMEO” “IF YOU GOTTA MAKE A FOOL OF SOMEBODY” Album releases: STARLIGHT STARBRIGHT, Linda Scott/ENCORE, Santo & Johnny/HAWAII, Santo & Johnny Chart albums: STARLIGHT STARBRIGHT, Linda Scott/ENCORE, Santo & Johnny/HAWAII, Santo & Johnny Best Wishes! CAPRICE RECORD CORP. RECORD.4. Ltd 150 WMf 55ih Sirctt N«W York 19, N. Y. SABINA RECORD CORP. fJeiiQJii i^an ciuie i^ernie cjCt awrence Cash Box — December 30, 1961 by New Musical Express "THE GOLDEN LION AWARD” Radio Luxembourg L-'.: FEMALE VOCALIST in The Cash Box Year End Survey 7961 ^^ereonol Mofloi GEORGE 161 W. 54 St.t N»w i'ork, N. Y. THE STARPOWER LABEL I I I 1 I I I ’ I ( i i I I I I I i I I I .1 1 1 i I I i I I I j I I I I I I I I I < I I I I I I I . 1 ‘3 i Cash Box (Publication Office) 1721 Broadway New York 19, N. Y. (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOB OBLECK, President and Publisher NORSIAN OBLECK, VP and Managing Director GEOBGE ALBEBT, VP and Treasurer EDITORIAL — Music MABTY OSTBOW. Editor-in-Chief IBA HOWABD, Editor IBV LICHTMAN, Associate Editor TED WILLIAMS, Statistical Editor MIKE MABTUCCI, Statistical Assistant POPSIE, Staff Photographer ADVEBTISING BOB AUSTIN, National Director, Music JEBBY SHIFEIN, N.Y.C. office. Music LEE BBOOKS, Manager Chicago JACK DEVANEY, Manager Los Angeles MABTY TOOHEY, National — Coin Machine NEVILLE MAETEN, London, Eng. PAUL ACKET, The Hague, Holland MAL SONDOCK, Munich, Germany BON TUDOE, Heathmont, Victoria, Aust. VITTOBIO de MICHELI, Milano. Italy SVEN G. WINQUIST, Stockholm, Sweden EOGEB SELLAM, Paris, France ENEIQUE OETIZ, Mexico 7, D.F. DENIS PANTIS, Quebec, Canada MIQUEL SMIENOFF, Buenos Aires, Argentina BICAEDO & BENATO MACEDO, Sao Paulo, Brazil HIKAEU SUGIUEA, Tokyo, Japan BBUNO DUTKOWSKI, Art Director MANAGERS MABTY TOOHEY, Coin Machine Dept. T. TOETOSA, Circulation NEVILLE MARTEN, European Director CHICAGO LEE BROOKS 29 E. Madison St., Chicago 2, 111. (All Phones: Financial 6-7272) HOLLYWOOD JACK DEVANEY Erv Malec 6272 Sunset Blvd., Hollywood 28, Cal. (Phone. Hollywood 5-2129) f ENGLAND i NEVILLE MARTEN I Dorris Land 9a New Bond St. , London, Wl, Eng. ' Tel: Hyde Park 2868 4 I BENELUX: PAUL ACKET, Theresiastraat 81a, I The Hague, Holland, Tel. 070-722546 I GERMANY: MAL SONDOCK, Amalienstrasse ,1 28, Munich, Germany, Tel: 220197 , ITALY, VITTORIO de MICHELI, Via Dell’Orso ‘ 4, Milan, Italy, Tel. 86 43 66 ' SCANDINAVIA: SVEN G. WINQUIST, Kagge- i holmsvagen 48. Stockholm-Enskede, Sweden, Tel: 69-46-86 <1 PRANCE: ROGER SELLAM, 24 Rue de Lenin- grad, Paris, France, Tel: Europe 6308 AUSTRALIA: RON TUDOR, 8 Francis St., Heathmont, Victoria, Tel: 87-5677 ' MEXICO: ENRIQUE ORTIZ, Monterrey 81, Col. J Roma, Mexico 7, D.F. Tel: 12-10-00 10-10-01 ,1 CANADA: DENIS PANTIS, 996 Decarie Blvd., ,1 Ville St. Laurent, Quebec, Canada ' ARGENTINA: MIGUEL SMIRNOFF, Rafaela 8978, Buenos Aires, Argentina, Tel: 69-1638 I' BRAZIL: RICARDO & BENATO MACEDO, Rua Joao Ramalho 1324, Sao Paulo, Brazil, Tel: •;! 62-6188 ,i TOKYO: HIKARU SUGIUBA 2, Takada-Oimatau ii Bunkyo-Ku, Tokyo, Japan il SUBSCRIPTION RATES $16 per year any- ,1 where in the U. S. A. Published weekly. Second- 'l class postage paid at Bristol, Conn, j Copyright © 1961 by The Cash Box Publishing I Co., Inc. All rights reserved. Copyright under Universal Copsnright Convention. !l <1 Gdsh Box TOP 100 BEST SELLING TUNES ON RECORDS COMPILED BY CASH BOX FROM LEADING RETAIL OUTLETS— -DECEMBER 30, 1961 Position 12/23 12/16 1— THE LION SLEEPS TONIGHT ★TOKENS-RCA-7954 1 1 ERNIE WILKINS-Riverside-4508 THE TWIST -ACHUBBY CHECKER-Parkway-811 5 7 ERNIE FREEMAN-lmperiol-5793 HANK BALLARD & MIDNIGHTERS-KInQ-5171 BILLY WADE-Operators-2003 3— WALK ON BY ★LEROY VAN DYKE-Mercury-71834 3 5 4— RUN TO HIM ★BOBBY VEE-Liberty-55388 4 6 5^ PLEASE MR. POSTMAN ★MARVELLETTES-Tamla-54046 2 3 6— CANT HELP FALLING IN LOVE ★ELVIS PRESLEY-RCA-7968 7 21 KEELY SMITH-Dot-16298 FOUR ESQUIRES-Terraee-7502 7— THE PEPPERMINT TWIST ★JOEY DEE & STARLITERS-Roulette-4401 8 10 8— . MOON RIVER ★HENRY MANClNI-RCA-7916 9 8 ★JERRY BUTLER-Vee-Jay-405 FULLER BROTHERS-Challenge-9119 CALVIN JACKSON-Reprise-20022 CARMEN CAVALLARO-Decco-31304 RICHARD HAYMAN-Mercury-71869 . HOLLYRIDGE STRINGS 8i CHORUS-Capitol-4631 MANTOVANI-London-2021 JANE MORGAN-Kapp-431 EDDIE HARRIS-VeeJay-420 AKI ALEONG-Reprise-20,042 9_HAPPY BIRTHDAY, SWEET SIXTEEN ★NEIL SEDAKA-RCA-7957 11 14 A- WHEN THE BOY IN YOUR ARMS ★CONNIE FRANCIS-MGM-13051 14 20 11— GOODBYE CRUEL WORLD JIMMY DARREN-Colpix-609 6 2 A-l KNOW ★BARBARA GEORGE-A.F.O.-302 23 34 13_WHEN I FALL IN LOVE ★LETTERMEN-Capitol-4658 15 22 MILES DAVIS-Prestige-195 TONY LAWRENCE-Jude-131 14—1 DON'T KNOW WHY ★LINDA SCOTT-Canodian-Ameriean-129 13 11 15— UNCHAIN MY HEART ★RAY CHARLES-ABC-10266 18 32 16— 'TIL ★ANGELS-Caprice-107 16 16 17— REVENGE ★BROOK BENTON-Mercury-71903 21 30 18— LET THERE BE DRUMS ★SANDY NELSON-lmperial-5775 10 9 19— THERE'S NO OTHER (LIKE MY BABY) ★CRYSTALS-Philles-lOO 20 23 20— BIG BAD JOHN ★JIMMY DEAN-Columbia-42175 12 4 21— GYPSY WOMAN ★ilMPRESSIONS-ABC-10241 17 19 22— TONIGHT ★FERRANTE & TEICHER-United Artists-372 19 12 * EDDIE FISHER-7 Arts-719 *JAY & THE AMERICANS-United Artlsts-353 RALPH MARTERIE-United Artists-352 FELICIA SANDERS-Decca-31335 JESSIE POWELL-Tru-Sound-407 AKI ALEONG-Reprise- 20,042 A-SMALL sad SAM ★PHIL McLEAN-Versatile-107 42 65 BOB KAYLI-Tamla-54051 24— RUNAROUND SUE ★DION-Laurie-3110 22 13 P^IF YOU GOTTA MAKE A FOOL ^ OF SOMEBODY ★JAMES RAY-Cgpriee-IIO 35 40 VAUGHN MONROE-Det-16308 26— TOWN WITHOUT PITY ★GENE PITNEY-Musicor-1009 31 37 27— JUST OUT OF REACH ★SOLOMON BURKE-Atlantic-2114 26 26 28— CRAZY ★PATSY CLINE-Decca-31317 25 17 29— ROCK-A-HULA BABY ★ELVIS PRESLEY-RCA-7968 28 36 P^BABY IT'S YOU ★SHIRELLES-Scepter-1227 48 71 31— WELL 1 TOLD YOU ★CHANTELS-Carlton-564 34 28 i^THE WANDERER ★DION-Laurle-3115 50 79 Position 12/23 12/16 33- -LET'S TWIST AGAIN ★CHUBBY CHECKER-Parl(way-824 A LITTLE BITTY TEAR ★BURL IVES-Decca-31330 JOEY BROOKS-Columbia-42251 CROSBY BROS.-Dot-16300 WANDA JACKSON-Capitol-4681 37 44 70 88 FOOL #1 ★BRENDA LEE-Decca-31309 35 36— JOHNNY WILL ★PAT BOON E-Dot-1 6284 MIMI ROMAN-Warner Bros.-5245 37_FUNNY how time SLIPS AWAY ★JIMMY ELLEDGE-RCA-7946 44 56 BILLY WALKER-Columbia-42050 24 15 38 42 40- 41- 42- NORMAN ★SUE THOMPSON-Hickory-1159 COTTONFIELDS ★HIGHWAYMEN-United Artists-370 -POOR FOOL ★ IKE & TINA TURNER-Sue-753 -YOU'RE THE REASON ★BOBBY EDWARDS-Crest-1075 JOE SOUTH-Fairlane-21006 HANK LOCKLIN-RCA-7921 53 77 57 70 45 53 30 25 -YOUR MA SAID YOU CRIED IN YOUR SLEEP LAST NIGHT ★ KENNY DINO-Musicor-1013 39 43— THE MAJESTIC ★DION-Laurie-3115 44— MARIA 41 46 59 51 61 55 67 52 63 61 87 ★ROGER WILLIAMS-Kapp-437 * CLEBANOFF-Mercury-71905 * JOHNNY MATHIS-Columbia-41684 PETER NERO-RCA-7956 SALEMS-Epic-9480 PEPE LA STARZA-Everest-19423 DAVID WHITFIELD-London-9506 -JAMBALAYA ★FATS DOMINO-lmperial-5796 46— LITTLE ALTAR BOY ★VIC DANA-Dolton-48 -JINGLE BELL ROCK ★CHUBBY CHECKERS, BOBBY RYDELL- Cameo-205 * BOBBY HELMS-Decca-30513 CHET ATKINS-RCA-7971 48— 1 UNDERSTAND JUST HOW YOU FEEL ★G-CLEFS-Terrace-7500 RICK PAGE-Dot-16261 49— BRISTOL STOMP ★DOVELLS-Parkway-827 50— DREAMY EYES ★JOHNNY TILLOTSON-Cadence-1409 51— TURN AROUND, LOOK AT ME ★GLEN CAMPBELL-Crest-1087 TOMMY BUTLER-Roulette-4399 -TURN ON YOUR LOVE LIGHT ★BOBBY BLAND-Duke-344 -FLYING CIRCLE ★FRANK SLAY-Swan-4085 -TWIST-HER ★BILL BLACK'S COMBO-Hi-2042 55— SEPTEMBER IN THE RAIN ★DINAH WASHINGTON-Mercury-71876 56— SOOTHE ME ★SIMS TWINS-Sar-117 57— IN THE MIDDI^ OF A HEARTACHE ★WANDA JACKSON-Cafclol-4635 32 29 -LETTER FULL OF TEARS ★GLADYS KNIGHT 8, PIPS-Fury-1054 71 89 -LANGUAGE OF LOVE ★JOHN D. LOUDERMILK-RCA-7938 33 31 -BABY'S FIRST CHRISTMAS ★CONNIE FRANCIS-MGM-130S1 85 100 -IRRESISTIBLE YOU ★BOBBY DARIN-Atco-6214 76 — -DEAR LADY TWIST ★GARY U.S. BONDS-Legrand-1015 72 94 63— THE FLY ★CHUBBY CHECKER-Parkway-830 40 33 RAY GARNETT-Operators-2002 64— IT WILL STAND ★SHOWMEN-Minit-632 58 58 65— HEARTACHES ★MARCELS-Colpix-612 41 35 66— HEY! LITTLE GIRL ★DEL SHANNON-Bigtop-3091 47 54 29 18 36 27 54 57 49 52 66 80 63 75 64 74 27 24 56 64 59- 67- 69- 71- 72- 77 78 79 80 81 82 83 84- 85- 86- Position 12/23 12/16 -I NEED SOMEONE ★ BELMONTS-Sabina-502 -SHE'S EVERYTHING ★RAL DONNER-Gone-5121 -GYPSY ROVER ★HIGHWAYMEN-United Artists-370 MULTIPLICATION ★BOBBY DARIN-Atco-6214 -UP A LAZY RIVER ★SI ZENTNER-Liberty-55374 TONI HARPER-RCA-7976 -FOOT STOMPIN' (Port 1) ★FLARES-Felsted-8624 DO-RE-MI ★LEE DORSEY-Fury-1056 LITTLE DRUMMER BOY ★HARRY SIMEONE CHORALE-20th-Fox-121 ROCKIN' AROUND THE CHRISTMAS TREE ★BRENDA LEE-Decca-30776 POCKETFUL OF MIRACLES ★FRANK SINATRA-Reprise-20,040 -TOWER OF STRENGTH ★GENE McDANIELS-Liberty-55371 -A WONDER LIKE YOU ★RICK NELSON-lniperial-5770 -TUFF ACE CANNON-Hi-2040 -GO ON HOME ★PATTI PAGE-Mercury-71906 -IT'S TOO SOON TO KNOW ★ ETTA JAMES-Argo-5402 -SEARCH IN' ★JACK EUBANKS-Monoument-451 —I COULD HAVE LOVED YOU SO WELL 69 72 78 90 60 49 80 — 43 38 59 46 93 — 100 — 100 — 92 — 62 39 65 43 82 86 86 100 74 60 83 83 ★RAY PETERSON-Dunes-2009 89 100 -THE COMANCHEROS ★CLAUDE KING-Columbio-42196 94 76 HOLLYRIDGE STRINGS-Capitol-4664 -WHITE CHRISTMAS ★ BING CROSBY-Decca-23778 DRIFTERS-Atlontlc-1048 -ROCK-A-BYE YOUR BABY WITH A DIXIE MELODY ★ARETHA FRANKLIN-Columbia-42157 77 51 JUDY GARLAND-Capitol-4624 87— YOU'RE RUNNING OUT OF KISSES ★CHUCK FOOTE-Soncraft-401 88 91 88— LET'S GO TRIPPIN' ★DICK DALE-DeItone-5017 84 85 MILT ROGERS-Dot-16279 -JUST GOT TO KNOW ★JIMMY McCRACKLIN-Art-Tone-825 — — -LOST SOMEONE ★JAMES BROWN-King-5573 — — -RUDOLPH THE RED-NOSED REINDEER ★DAVID SEVILLE & CHIPMUNKS-Liberty-55289 — — MELODEERS-Studio-9908 -POP GOES THE WEASEL ★ANTHONY NEWLEY-London-9501 87 55 89- 90- 91- 92- 93- 94- 95- 96- 97- 98- 99- 100- 100- 100- -THE CHIPMUNK SONG ★DAVID SEVILLE & CHIPMUNKS-Liberty-55250 ■PUSHIN' YOUR LUCK ★SLEEPY KING-Joy-257 97 84 ■THAT'S MY PA ★SHEB WOOLEY-MGM-13046 — — I'M BLUE ★IKETTES-Atco-6212 — — LONESOME NUMBER ONE ★DON GIBSON-RCA-7959 91 99 FEVER ★PETE BENNETT-Sunset-1002 — — BUT ON THE OTHER HAND, BABY ★RAY CHARLES-ABC-10266 100 — -WALKIN' WITH MY ANGEL ★BOBBY VEE-Liberty-55388 98 — -IT'S ALL BECAUSE ★LINDA SCOTT-Canadian-American-129 90 92 -I TOLD THE BROOK ★MARTY ROBBINS-Columbla-42246 — — • WASP UPWAM MOVI ^ BEST SELUNO lECOIDS • OTHK VOSIONS STRONGLY REPORTED PUIUSHEI UOT— INTaMATIONAL SECTION Cash Box — December 30, 1961 7 8 Cash Box — December 30, 1961 Cash Box — December 30, 1961 9 First Time In The History Of The Record Industry . . . 4 SINGLES AND 4 ALBUMS CURRENTLY ON THE CHARTS FOUR GREAT CHUBBY CHECKER ALBUMS . TWIST WITH CHUBBY CHECKER (Parkway-7001) FOR TWISTERS ONLY (Parkway-7002) CAMEO/PARKWAY 1405 Locust Street, Phila., Pa. 10 Cash Box — December 30, 1961 Cosi TOP lOO CHART HITS OF 1961 A TABULATION OF THE RECORDS WHICH ACHIEVED GREATEST SUCCESS ON THE WEEKLY CASH BOX TOP 100 BEST SELLER LIST. THE RECORDS LISTED BELOW ARE IN ORDER OF STRENGTH BASED ON A WEIGHTED POINT SYSTEM WHICH GIVES CREDIT FOR LONGEVITY ON THE TOP WO AS WELL AS HEIGHT ATTAINED ON THE CHART. ONLY SONGS WHICH WERE TOP 40 OR BETTER WERE INCLUDED AND SURVEY COVERS TWELVE MONTH PERIOD ENDING NOVEMBER 1961. 1. EXODUS — Ferrante & Teicher (United Artists) Pub: Chappell — ASCAP — Gold 2. CALCUTTA — Lawrence Welk — (Dot) Pub: Pincus-Symphony House — BMI — Gaze 3. WILL YOU LOVE ME TOMORROW— Shirelles (Scepter) Pub: Aldon— BMI— King, GoflFin 4. TOSSIN’ & TURNIN' — Bobby Lewis — (Beltone) Pub: Steven — BMI — Adams, Rene 5. WONDERLAND BY NIGHT — Bert Kaempfert — (Decca) Pub: Roosevelt — BMI — Newman, Klaus, Gunter 6. ARE YOU LONESOME TONIGHT — Elvis Presley (RCA) Pub: Bourne, Cromwell — ASCAP — Turk, Handman 7. TRAVELIN’ MAN — Ricky Nelson (Imperial) Pub: Four Star — BMI — Fuller 8. MICHAEL — Highwaymen (United Artists) Pub: Unart — BMI — Fisher 9. RUNAWAY — Del Shannon (Bigtop) Pub: Vicki, McLaughlin — BMI — Shannon, Crook 10. LAST DATE — Floyd Cramer — (RCA) Pub: Cigma — BMI — Cramer 11. BLUE MOON — Marcels (Colpix) Pub: Robbins — ASCAP — Rodgers, Hart 12. BOLL-WEEVIL SONG — Brook Benton (Mercury) Pub: Play — BMI — Benton, Otis 13. NORTH TO ALASKA — Johnny Horton — (Columbia) Pub: Robbins — ASCAP — Phillips 14. PONY TIME — Chubby Checker — (Parkway) Pub: Alan K. — BMI — Covay, Berry 15. 100 LBS. OF CLAY — Gene McDaniels (Liberty) Pub: Gil — BMI — Pick Elgin, Dixon, Rogers 16. MOTHER-IN-LOW — Ernie K-Doe (Minit) Pub: Minit Music — BMI — Toussaint 17. RAINDROPS — Dee Clark (Veejay) Pub: Conrad — BMI — Clark 18. HE WILL BREAK YOUR HEART-^ — Jerry Butler — (Vee Jay) Pub: Pamco — BMI — Butler, Mayfield, Carter 19. QUARTER TO THREE — U.S. Bonds — (Legrand) Pub: Pepe — BMI — Barge, Guida, Anderson, Royster 20. A THOUSAND STARS — Kathy Young (Indigo) Pub: Dare — BMI — Pearson 21. RUNNING SCARED — Roy Orbison (Monument) Pub: AcuflF-Rose — BMI — Orbison, Melson 22. WOODEN HEART — Joe Dowell — (Smash) Pub: Gladys — ASCAP — Kempfert, Toomey, Wiseman 23. TAKE GOOD CARE OF MY BABY— Bobby Vee (Liberty) Pub: Aldon— BMI— King, Goffin 24. WHEELS — Billy Vaughn (Dot) Pub: Dundee — BMI — Torres, Stephens 25. SHOP AROUND — Miracles (Tamla) Pub: Jobette — BMI — Gordy, Robinson 26. LAST NIGHT — Mar-Keys (Satellite) Pub: East Publications — BMI — Mar-keys 27. DADDY’S HOME — Shep & Limelites (Hull) Pub: Keel — BMI — Sheppard, Bassett, Baskerville 28. CRYIN’ — Roy Orbison (Monument) Pub: Acuff-Rose — BMI — Orbison, Melson 29. WHERE THE BOYS ARE — C. Francis (MGMI Pub: Aldon — BMI — Green Field — Sedaka 30. APACHE — Jorgen Ingmann (Atco) Pub: Regent — BMI — Lordan 31. DON’T WORRY — Marty Robbins (Columbia) Pub: Marty’s — BMI 32. SURRENDER — Elvis Presley — (RCA) Pub. E. Presley — BMI — Pomus, Shuman 33. I’VE TOLD EVERY LITTLE STAR — Linda Scott — (Canadian American) Pub: T. B. Harms — ASCAP — Hammerstein, Kern 34. MOUNTAIN’S HIGH— Dick & Deedee (Liberty) Pub: Odin— ASCAP— St. John 35. HATS OFF TO LARRY — Del Shannon — (Big Top) Pub: Vicki, McLaughlin — BMI — Shannon 36. MOODY RIVER — Pat Boone — (Dot) Pub: Keva — BMI — Bruce 37. STAY — Maurice Williams — (Herald) Pub: Windsong — BMI — Williams 38. CALENDAR GIRL — Neil Sedaka — (RCA) Pub: Aldon — BMI — Sedaka, Greenfield 39. BUT I DO — Clarence Henry — (Argo) Pub: Arc — BMI — Guidry, Gayten 40. DEDICATED TO THE ONE I LOVE — Shirelles (Scepter) Pub: Armo— BMI— Pauling, Bass 41. POETRY IN MOTION — Johnny Tillotson — (Cadence) Pub: Meridian — BMI — Kaufman, Anthony 42. YELLOW BIRD — Lawrence Welk — (Dot) Pub: Frank — ASCAP — Keith, Bergman, Luboff 43. STAND BY ME — Ben E. King (Atco) Pub: Progessive Trio — BMI — King, Glick 44. NEW ORLEANS — U.S. Bonds (Legrand) Pub: Pepe — BMI — Guida, Royster 45. YOU’RE SIXTEEN — Johnny Burnette — (Liberty) Pub: Blue Brass — BMI — Sherman, Sherman 46. ANGEL BABY — Rosie & The Originals (Decca) Pub: Figure — BMI — Ponci 47. SAILOR — Lolita (Kapp) Pub: Biem — Scharfen Berger — Busch 48. DUM-DUM — Brenda Lee (Decca) Pub: Metric — BMI — Sheeley, Deshannon 49. I LIKE IT LIKE THAT — Chris Kenner — (Instant) Pub: Tune-Kel — BMI — Kenner, Toussaint 50. RUBBER BALL — Bobby Vee — (Liberty) Pub: Arch — ASCAP — Orlowski, Schroeder 51. THERE’S A MOON OUT TONIGHT — Capris (Old Town) Pub: Rob — Ann — BMI — Striano, Lucciano, Gentile 52. LITTLE SISTER — Elvis Presley — (RCA) Pub: E. Presley — BMI — Pomus, Shuman 53. HELLO MARY LOU — Ricky Nelson — (Imperial) Pub: January — BMI — Pitney 54. HURT — Timi Yuro (Liberty) Pub: Miller — ASCAP — Crane, Jacobs 55. HOW MANY TEARS — Connie Francis (MGM) Pub: Roosevelt — BMI — Scott 56. PRETTY LITTLE ANGEL EYES— Curtis Lee— (Dunes) Pub: S-P-R— BMI— Lee, Boyce 57. MAMA SAID — Shirelles — (Scepter) Pub: Ludix — BMI — Dickson, Denson 58. SCHOOL’S OUT — Gary (U.S.) Bonds — (Legrand) Pub: Pepe — BMI — Anderson, Barge 59. LET’S GO, LET’S GO, LET’S GO — Hank Ballard & Midnighters (King) Pub: Lois — BMI — Ballard 60. THINK TWICE — Brook Benton — (Mercury) Pub: Play — BMI — Shapiro, Williams, Otis (:^61 through #100 continued on next page) Cash Box — December 30, 1961 11 TOP lOO CHART HITS OF 1961 61. GEORGIA ON MY MIND — Ray Charles — (ABC Paramount) Pub: Peer Int’l — Carmichael, Gorrell 62. LET’S TWIST AGAIN— Chubby Checker (Parkway) Pub: Kalmann— ASCAP— Mann, Appell 63. ON THE REBOUND — Floyd Cramer (RCA Victor) Pub: Cigma — BMI — Cramer 64. CORRINA, CORRINA — Ray Peterson — (Dunes) Pub: Mills — ^ASCAP — Parish, Chapman, Williams 65. BREAKIN’ IN A BRAND NEW BROKEN HEART— Connie Francis— (MGM) Pub: Aldon— BMI— Greenfield, Keller 66. MY TRUE STORY — Jive Five (Beltone) Pub: Stenen — BMI — Waltzer 67. TOGETHER — Connie Francis (MGM) Pub: De Sylva, Brown & Henderson — ASCAP — Writers same as publisher 68. HELLO WALLS — Faron Young — (Capitol) Pub: Pamper — BMI — Nelson 69. BABY SITTIN’ BOOGIE — Buzz Clifford — (Columbia) Pub: Reis — BMI — Parker 70. EMOTIONS — Brenda Lee — (Decca) Pub: Cedarwood — BMI — Tillis, Kearney 1' 71 . YOU TALK TOO MUCH— Joe Jones (Ric) Pub: Ron— BMI— Jones, Hall 72. SAVE THE LAST DANCE FOR ME — Drifters — (Atlantic) Pub: Rumalero — Progressive — BMI — Pomus, Shuman 73. LONELY TEENAGER — Dion — (Laurie) Pub: Lola — BMI — Pippa, Dipaola, Faraci 74. YOU CAN DEPEND ON ME — Brenda Lee — (Decca) Pub: Peer Int’l — BMI — Carpenter, Dunlap, Hines 75. EBONY EYES — Everly Bros — (Warner Bros) Pub: Acuff-Rose — BMI — Loudermilk 76. DON’T BET MONEY HONEY — Linda Scott — (Canadian American) Pub: Figure — BMI — Scott ^ 77. WINGS OF A DOVE — Ferlin Husky — (Capitol) Pub: Bee Gee — BMI — Ferguson 78. WHO PUT THE BOMP — Barry Mann (ABC Paramount) Pub: Aldon — BMI — Mann, Guffin 79. MEXICO — Bob Moore — (Monument) Pub: Acuff Rose — BMI — Bryant 80. YOU CAN HAVE HER— Roy Hamilton (Epic) Pub: Big Billy— BMI— Cock 81. PORTRAIT OF LOVE — Steve Lawrence (United Artists) Pub: Piccadilly — BMI — Ornadel 82. I FEEL SO BAD — Elvis Presley — (RCA Victor) Pub: Berkshire — BMI — Willis 83. GEE WHIZ (LOOK AT HIS EYES) — Carla Thomas — (Atlantic) — East, Bais — BMI — Thomas >r 84. TAKE GOOD CARE OF HER — Adam Wade — (Coed) Pub: Paxton — ASCAP — Lorenzo, Whiting, Egan, Alden 85. DOES YOUR CHEWING GUM LOSE ITS FLAVOR— Lonnie Donegan— (Dot) Pub; Mills & Double A— ASCAP— Rose, Bloom, Breuer 86. SWAY — Bobby Rydell — (Cameo) Pub: Peer Int’l — BMI — Gimble, Ruiz 87. HIT THE ROAD JACK — Ray Charles (ABC) Pub: Tangerine — BMI — Mcyfield 88. PLEASE LOVE ME FOREVER — Cathy Jean (Valmor) Pub: Tricky — BMI — Malone, Blanchard 89. ALONE AT LAST — Jackie Wilson — (Bruswick) Pub: Pal — BMI — Hilliard 90. SPANISH HARLEM — Ben E. King — (Atco) Pub: Progressive — Trio — BMI — Leiber, Stoller ^ 91. I’M GONNA KNOCK ON YOUR DOOR— Eddie Hodges— (Cadence) Pub: Sigma— ASCAP— Schroeder, Wayne 92. THOSE OLDIES BUT GOODIES — Caesar & Romans (Del-Fi) Pub: Maraville — BMI — Politi, Euringa 93. GOOD TIME BABY — Bobby Rydell — (Cameo) Pub: Lowe — ASCAP — Mann, Lowe, Appell 94. YOU MUST HAVE BEEN A BEAUTIFUL BABY— Bobby Darin (Atco) Pub: Remick— ASCAP— Warren, Mercer 95. YOU DON’T KNOW WHAT YOU’VE GOT — Ral Donner — (Gone) Pub: Sequence — ASCAP — Hampton, Burton 96. I FALL TO PIECES — Patsy Cline (Decca) Pub: Pamper — BMI — Cochran, Howard 97. LITTLE DEVIL — Neil Sedaka — (RCA) Pub: Aldon — BMI — Sedaka, Greenfield 98. ONE MINT JULEP — Ray Charles — (Impulse) Pub: Progressive — BMI — Toombs 99. RUNAROUND SUE — Dion — (Laurie) Pub: Just, Mubon — BMI — Mareska, DiMucci 100. EVERY BEAT OF MY HEART— Gladys Knight (Fury) Pub: Lois— BMI— Otis BIIBV LEWIS WHO HAD THE YEAR'S BIGGEST RECORD! TOSSIN' AKD TURNIH' HIS NEW SMASH RELEASE: THE TWIST DANCE FROM BROADWAY'S NEWEST MUSICAL, "A FAMILY AFFAIR" MAMIE IN THE AFTERNOON Beltone 1016 A' >- I >1 12 Cash Box — December 30, 1961 The SOUND for '62 on DECCA CORAL BRUNSWICK THERE'LL BE NO NEXT TIME cAv THE GREATEST HDRT BRUNSWICK 55221 JACKIE WILSON so DEEP cAv BREAK IT TO ME GENTLY DECCA 31348 BRENDA LEE ' aiiert II Be Ito Next Time ® Biim RECORDS 1 lb Greatest Hurt ^21 Jackie Wilson"! INEWHIT! ! in/ ieaui^// of/eene mme SEll-IIIUK SO DEER and BREAK IT TO ME OERTL.Y 3134a BRENDA L.EE i!7(/// o/iewe SEIL-ABILITV /n4^£ Cash Box — December 30, 1961 13 The SOUNDfor’62 r ( on DECCA CORAL BRUNSWICK ECHO IN THE NIGHT c/w AFRIKAANBEAT DECCA 31350 BERT KAEMPFERT WHILE WE DANCED AT THE MARDI GRAS c/w YES INDEED CORAL 65549 PETE FRRNTAI N Co! 4 Cash Box — December 30, 1961 The SOUND for '62 on DECCA CORAL BRUNSWICK YOU ARE MY LIFE c/w ALLA MY LOVE DEGGA 31347 WEBB PIEBGE AU RE VOIR c/w UNLOVED UNWANTED DECCA 31349 KITTY WEILS Cash Box — December 30, 1961 A TABULATION OF ARTISTS WHO ACHIEVED GREATEST SUCCESS IN THE FIELD OF SINGLE RECORDS ACCORDING TO THE WEEKLY CASH BOX TOP 100 BEST SELL- ER LIST. NAMES LISTED BELOW ARE IN ORDER OF STRENGTH IN THEIR VARIOUS CATEGORIES BASED ON A WEIGHTED POINT SYSTEM WHICH GIVES CREDIT FOR LONGEVITY ON TOP 100 AS WELL AS HEIGHT ATTAINED ON CHART. ONLY TITLES WHICH WERE TOP 40 OR BETTER WERE USED FOR AN ARTIST'S TOTAL. THE SUM TOTAL OF ALL OF AN ARTIST'S HITS RESULTED IN THE POSITIONING OF A NAME. SURVEY COVERS 12 MOS. ENDING NOV. 1961. W/ i W/ V/ ^ V < •- ' BEST MALE VOCALISTS (SINGLES) 1. ELVIS PRESLEY 2. CHUBBY CHECKER 3. BROOK BENTON 4. ROY ORBISON 5. RICKY NELSON 6. BOBBY VEE 7. RAY CHARLES 8. PAUL ANKA 9. JERRY BUTLER 10. JACKIE WILSON 11. NEIL SEDAKA 12. BOBBY RYDELL 13. CLARENCE HENRY 14. ADAM WADE 15. DION 16. SAM COOKE 17. DEE CLARK 18. JOHNNY BURNETTE 19. JOHNNY TILLOTSON 20. MARTY ROBBINS 21. PAT BOONE 22. BOBBY DARIN 23. FATS DOMINO 24. JOHNNY HORTON 25. RAY PETERSON 26. FARON YOUNG 27. FERLIN HUSKY 28. ROY HAMILTON 29. STEVE LAWRENCE 30. LONNIE DONEGAN 31. JERRY WALLACE 32. JIMMY DEAN 33. FRANK SINATRA 34. ANDY WILLIAMS 35. BRIAN HYLAND 36. JOSE JIMINEZ 37. DON GIBSON 38. FRANKIE AVALON 39. CONWAY TWITTY 40. JIM REEVES BEST NEWCOMERS — MALE VOCALISTS (SINGLES) 1. GARY U.S. BONDS 2. DEL SHANNON 3. BEN E. KING 4. BOBBY LEWIS 5. GENE McDaniels 6. ERNIE K-DOE 7. JOE DOWELL 8. CHRIS KENNER 9. TONY ORLANDO 10. CURTIS LEE 11. RAL DONNER 12. BUZZ CLIFFORD 13. BARRY MANN 14. EDDIE HODGES 15. LEE DORSEY 16. JOE BARRY 17. TORY SHONDELL 18. BOB LUMAN 19. GENE PITNEY 20. CHUCK JACKSON 21. SLIM HARPO 22. BOBBY EDWARDS 23. JIMMY CHARLES 24. FRANK GARI 25. JOHNNY MAESTRO BEST FEMALE VOCALISTS (SINGLES) 1. CONNIE FRANCIS 2. BRENDA LEE 3. PATSY CLINE 4. DAMITA JO 5. ETTA JAMES 6. DINAH WASHINGTON 7. ETTA JONES 8. WANDA JACKSON 9. PATTI PAGE 10. LAVERN BAKER BEST NEWCOMERS — FEMALE VOCALISTS (SINGLES) 1. LINDA SCOTT 2. KATHY YOUNG 3. MAXINE BROWN 4. ROSIE 5. LOLITA 6. TIMI YURO 7. CARLA THOMAS 8. CATHY JEAN 9. GLADYS KNIGHT 10. HAYLEY MILLS 11. SUE THOMPSON 12. ANN-MARGRET BEST INSTRUMENTALISTS & COMBOS (SINGLES) 1. FLOYD CRAMER 2. FERRANTE & TEICHER 3. BILL BLACK’S COMBO 4. ARTHUR LYMAN 5. RAY CHARLES 6. VENTURES 7. DUANE EDDY 8. AL CAIOLA 9. DAVE BRUBECK 10. JERRY MURAD’S HARMONICATS 11. SANTO & JOHNNY BEST NEWCOMERS — INSTRUMENTALISTS (SINGLES) 1. MAR-KEYS 2. JORGEN INGMANN 3. STRING-A-LONGS 4. KOKOMO 5. DUALS 6. JAMES BOOKER 7. B. BUMBLE & STINGERS 8. PAUL REVERE & RAIDERS BEST VOCAL GROUPS (SINGLES) 1. SHIRELLES 2. DRIFTERS 3. EVERLY BROS. 4. HANK BALLARD & MIDNIGHTERS 5. PLATTERS 6. CHORDETTES 7. McGUIRE SISTERS 8. OLYMPICS 9. CHANTELS 10. FOUR PREPS 11. JAN & DEAN 12. CLEFTONES 13. PLAYMATES 14. BELMONTS 15. COASTERS 16. G-CLEFS BEST NEWCOMERS — VOCAL GROUPS (SINGLES) 1. HIGHWAYMEN 2. MARCELS 3. MIRACLES 4. SHEP & LIMELIGHTS 5. DICK & DEEDEE 6. CAPRIS 7. JIVE FIVE 8. CAESAR & ROMANS 9. DOVELLS 10. CHIMES 11. ECHOES 12. LETTERMEN 13. REGENTS 14. TOKENS 15. PARIS SISTERS 16. VELVETS 17. IKE & TINA TURNER 18. DREAMLOVERS 19. MARATHONS 20. CASTELLS 21. MARVELETTES 22. ROOMATES 23. PIPS 24. EDSELS 25. ROCHELLE & CANDLES FOREIGN RECORDS TO HIT TOP 100 IN 1961 ANNA — Jorgen Ingmann (Atco) APACHE — Jorgen Ingmann (Atco) A SCOTTISH SOLDIER — Andy Stewart (Warwick) CERVEZA — Bert Kaempfert (Decca) COWBOY JIMMIE JOE— Lolita (Kapp) DOES YOUR CHEWING GUM LOSE ITS FLAVOR— Lonnie Donegan (Dot) MY KIND OF GIRL — Matt Monro (Warwick) NOW AND FOREVER— Bert Kaempfert (Decca) SAILOR— Lolita (Kapp) SUCU SUCU— Ping Ping (Kapp) TENDERLY — Bert Kaempfert (Decca) TUNES OF GLORY — Cambridge Strings (Top Rank) FOREIGN TUNES RECORDED BY AMERICAN ARTISTS WHICH HIT TOP 100 IN 1961 AFRICAN WALTZ — Cannonball Adderly/Johnny Dankworth (River- I side)/(London) BERLIN MELODY— Billy Vaughn (Dot) CALCUTTA — Lawrence Welk (Dot) PORTRAIT OF MY LOVE — Steve Lawrence (United Artists) NEVER ON SUNDAY — Don Costa/Chordettes (United Artists)/(Ca- dence) VOLARE— Bobby Rydell (Cameo) BEST ORCHESTRAS (SINGLES) 1. LAWRENCE WELK 2. BERT KAEMPFERT 3. BILLY VAUGHN 4. BOB MOORE 16 Cash Box — December 30, 1961 i^OLLOW YOUg "SEE CflH GO^ - jr LAURIE ^16 V ANOTHER SWASH FROM LAURIE PERSONAL MANAGER SAL B 0 N A F E D E LAURIE RECORDS ■ NEW YORK CITY FOR A HAPPY HOLIDAY SEASON ciii al Cash Box — December 30, 1961 17 TOP / VLBUMS & ALBUIV 1 ARTISTS Of 1S61 MONAURAL STEREO CAMELOT I r (TIE) EXODUS J 3. GREAT MOTION PICTURE THEMES 4. G. I. BLUES 5. SOUND OF MUSIC 6. NEVER ON SUNDAY 7. CALCUTTA 8. KNOCKERS UP 9. BUTTON DOWN MIND STRIKES BACK 10. ENCORE OF GOLDEN HITS 11. BUTTON DOWN MIND 12. NICE & EASY 13. MAKE WAY 14. T.V. SING ALONG WITH MITCH 15. ALL THE WAY 16. SOMETHING FOR EVERYBODY 17. EXODUS 18. STRING ALONG 19. SINATRA’S SWINGIN’ SESSION 20. GOIN’ PLACES 21. GENIUS + SOUL = JAZZ 22. JOHNNY’S MOODS 23. WONDERLAND BY NIGHT 24. BRENDA LEE 25. HAPPY TIMES SING-A-LONG 26. RING-A-DING-DING 27. LAST DATE 28. JUDY AT CARNEGIE HALL 29. TONIGHT IN PERSON 30. CARNIVAL 31. YELLOW BIRD 32. STARS FOR A SUMMER NIGHT 33. PORTRAIT OF JOHNNY 34. MEMORIES ARE MADE OF THIS 35. RICK IS 21 36. SINATRA SWINGS 37. SOLID & RAUNCHY 38. BELAFONTE RETURNS TO CARNEGIE HALL 39. THIS IS BRENDA 40. GENIUS HITS THE ROAD 41. EXODUS TO JAZZ 42. BOBBY DARIN STORY 43. QUARTER TO THREE 44. 60 YEARS OF MUSIC — VOL. II 45. COME SWING WITH ME 46. DARIN AT THE COPA 47. THE ASTRONAUT 48. UNSINKABLE MOLLY BROWN 49. PAUL ANKA’S BIG 15 50. I’LL BUY YOU A STAR 51. JUMP UP CALYPSO ORIGINAL B’WAY CAST — COLUMBIA FILM TRACK — RCA VICTOR VARIOUS ARTISTS — UNITED ARTISTS ELVIS PRESLEY — RCA VICTOR ORIGINAL B’WAY CAST — COLUMBIA FILM TRACK — UNITED ARTISTS LAWRENCE WELK — DOT RUSTY WARREN— JUBILEE BOB NEWHART — WARNER BROS. PLATTERS — MERCURY BOB NEWHART — WARNER BROS FRANK SINATRA — CAPITOL KINGSTON TRIO CAPITOL MITCH MILLER — COLUMBIA FRANK SINATRA — CAPITOL ELVIS PRESLEY — RCA VICTOR MANTOVANI — LONDON KINGSTON TRIO — CAPITOL FRANK SINATRA — CAPITOL KINGSTON TRIO — CAPITOL RAY CHARLES — IMPULSE JOHNNY MATHIS — COLUMBIA BERT KAEMPFERT — DECCA BRENDA LEE — DECCA MITCH MILLER — COLUMBIA FRANK SINATRA — REPRISE LAWRENCE WELK — DOT JUDY GARLAND — CAPITOL LIMELIGHTERS — RCA VICTOR ORIGINAL B’WAY CAST — MGM LAWRENCE WELK — DOT VARIOUS ARTISTS — COLUMBIA JOHNNY MATHIS — COLUMBIA RAY CONNIFF — COLUMBIA RICK NELSON — IMPERIAL FRANK SINATRA — REPRISE BILL BLACK — HI HARRY BELAFONTE — RCA VICTOR BRENDA LEE — DECCA RAY CHARLES — ABC PARAMOUNT EDDIE HARRIS — VEE JAY BOBBY DARIN — ATCO U.S. BONDS — LEGRAND VARIOUS ARTISTS — RCA VICTOR FRANK SINATRA — CAPITOL BOBBY DARIN — ATCO BILL DANA (JOSE JIMINEZ) — KAPP ORIG. B’WAY CAST — CAPITOL PAUL ANKA — ABC PARAMOUNT JOHNNY MATHIS — COLUMBIA HARRY BELAFONTE — RCA VICTOR 1. SOUND OF MUSIC 2. EXODUS 3. GREAT MOTION PICTURE THEMES 4. CAMELOT 5. CALCUTTA 6. NEVER ON SUNDAY 7. PERSUASIVE PERCUSSION 8. G. I. BLUES 9. SOUTH PACIFIC 10. EXODUS 11. NICE & EASY 12. MAKE WAY 13. ALL THE WAY 14. STRING ALONG 15. SINATRAS SWINGIN’ SESSION 16. T.V. SING-A-LONG WITH MITCH 17. WONDERLAND BY NIGHT 18. JOHNNY’S MOODS 19. HAPPY TIMES SING-A-LONG WITH MITCH 20. MEMORIES ARE MAKE OF THIS 21. LAST DATE 22. GOIN’ PLACES 23. PROVOCATIVE PERCUSSION 24. GENIUS + SOUL = JAZZ 25. SAY IT WITH MUSIC 26. BEN-HUR 27. STARS FOR A SUMMER NIGHT 28. JUDY AT CARNEGIE HALL 29. BELAFONTE RETURNS TO CARNEGIE 30. EXODUS TO JAZZ 31. RING-A-DING-DING 32. BONGOS 33. CARNIVAL 34. YELLOW BIRD 35. YELLOW BIRD 36. PERSUASIVE PERCUSSION VOL. II 37. UNSINKABLE MOLLY BROWN 38. PORTRAIT OF JOHNNY 39. ORANGE BLOSSOM SPECIAL — WHEELS 40. WILD IS LOVE 41. SOMETHING FOR EVERYBODY 42. SINATRA SWINGS 43. LOOK FOR A STAR 44. YOUNG AT HEART 45. TONIGHT IN PERSON 46. COME SWING WITH ME 47. MR. LUCKY GOES LATIN 48. JUMP UP CALYPSO 49. ITALIA MIA 50. WILDCAT ORIGINAL B’WAY CAST — COLUMBIA FILM SOUND TRACK — RCA VICTOR VARIOUS ARTISTS — UNITED ARTISTS ORIGINAL CAST — COLUMBIA LAWRENCE WELK — DOT SOUND TRACK — UNITED ARTISTS TERRY SNYDER — COMMAND ELVIS PRESLEY — RCA VICTOR SOUND TRACK — RCA VICTOR MANTOVANI — LONDON FRANK SINATRA — CAPITOL KINGSTON TRIO — CAPITOL FRANK SINATRA — CAPITOL KINGSTON TRIO CAPITOL FRANK SINATRA — CAPITOL MITCH MILLER — COLUMBIA BERT KAEMPFERT— DECCA JOHNNY MATHIS COLUMBIA MITCH MILLER — COLUMBIA RAY CONNIFF — COLUMBIA LAWRENCE WELK — DOT KINGSTON TRIO — CAPITOL ENOCH LIGHT — COMMAND RAY CHARLES COLUMBIA RAY CONNIFF — COLUMBIA MOVIE SOUNDTRACK — MGM VARIOUS ARTISTS — COLUMBIA JUDY GARLAND — CAPITOL HARRY BELAFONTE — RCA VICTOR EDDIE HARRIS — VEE JAY FRANK SINATRA — CAPITOL LOS ADMIRADORIN — COMMAND ORIGINAL CAST — MGM LAWRENCE WELK — DOT ARTHUR LYMAN — HI-FI TERRY SNYDER — COMMAND ORIGINAL CAST — CAPITOL JOHNNY MATHIS — COLUMBIA BILLY VAUGHN — DOT NAT “KING” COLE — CAPITOL ELVIS PRESLEY — RCA VICTOR FRANK SINATRA — REPRISE BILLY VAUGHN — DOT RAY CONNIFF — COLUMBIA LIMELITERS RCA VICTOR FRANK SINATRA — CAPITOL HENRY MANCINI — RCA VICTOR HARRY BELAFONTE — RCA VICTOR MANTOVANI — LONDON ORIGINAL CAST — RCA VICTOR y 7 -t BEST MALE VOCALISTS (LP’S) 1. FRANK SINATRA 2. ELVIS PRESLEY 3. JOHNNY MATHIS 4. RAY CHARLES 5. BOBBY DARIN 6. HARRY BELAFONTE 7. PAUL ANKA 8. RICKY NELSON 9. U. S. BONDS 10. CHUBBY CHECKER 11. NAT KING COLE 12. PAT BOONE 13. JOHNNY HORTON 14. BROOK BENTON 15. MARTY ROBBINS BEST VOCAL GROUPS (LP’S) 1. KINGSTON TRIO 2. PLATTERS 3. LIMELIGHTERS 4. FOUR PREPS 5. EVERLY BROS. BEST ORCHESTRAS (LP’S) 1. LAWRENCE WELK 2. MANTOVANI 3. RAY CONNIFF 4. BERT KAEMPFERT 5. BILL BLACK 6. ARTHUR LYMAN 7. BILLY VAUGHN 8. HENRY MANCINI ORCHS (STEREO ONLY) 1. TERRY SNYDER (Command) 2. ENOCH LIGHT (Command) BEST CHORUSES (LP’S) 1. MITCH MILLER 2. RAY CONNIFF BEST FEMALE VOCALISTS (LP’S) 1. BRENDA LEE 2. JUDY GARLAND 3. CONNIE FRANCIS 4. ELLA FITZGERALD BEST JAZZ COMBOS (LP’S) 1. EDDIE HARRIS 2. DAVE BRUBECK 3. PETE FOUNTAIN 4. AL HIRT BEST FILM TRACKS (LP’S) 1. EXODUS— Ernest Gold (RCA Victor) 2. GREAT MOTION PICTURE THEMES — Various Artists (United Artists 3. G. I. BLUES— ELVIS PRESLEY (RCA-Victor) 4. NEVER ON SUNDAY (United Artists) BEST INSTRUMENTALISTS & COMBOS (LP’S) 1. BILL BLACK 2. EDDIE HARRIS 3. VENTURES 4. EARL GRANT 5. DAVE BRUBECK 6. PETE FOUNTAIN 7. SANTO & JOHNNY 8. AL HIRT BEST COMEDY ARTISTS (LP’S) 1. BOB NEWHART 2. RUSTY WARREN 3. DAVE GARDNER 4. BILL DANA 5. JONATHAN WINTERS 6. SHELLEY BERMAN 7. JUSTIN WILSON 8. MOMS MABLEY 9. STAN FREBERG TOP B’WAY CAST LP’S 1. CAMELOT (Columbia) 2. SOUND OF MUSIC (Columbia) 3. CARNIVAL (MGM) 4. UNSINKABLE MOLLY BROWN (Capitol) YEAR’S LEADING ALBUMS IN STEREO NOT IN TOP 50 MONAURAL LP LISTING 1. PERSUASIVE PERCUSSION— Terry Snyder (Command) 2. SOUTH PACIFIC— Film Track— (RCA) 3. PROVOCATIVE PERCUSSION— Enoch Light (Command) 4. SAY IT WITH MUSIC— Ray Conniff (Columbia) 5. BEN HUR— Film Track (MGM) 6. BONGOS — Los Admirados (Command) 7. PERSUASIVE PERCUSSION VOL. II — -Terry Snyder (Command) 8. ORANGE BLOSSOM SPECIAL/ WHEELS— Billy Vaughn (Dot) 9. WILD IS LOVE— Nat Cole (Capitol) 10. SOMETHING FOR EVERYBODY — Elvis Presley (RCA) 11. LOOK FOR A STAR— Billy Vaughan (Dot) 12. YOUNG AT HEART— Ray Conniff (Columbia) 13. MR. LUCKY GOES LATIN— Henry Mancini (RCA) 14. ITALIA MIA — Mantovani (London) 15. WILDCAT— Original Cast (RCA) THE ABOVE DATA IS THE RESULT OF A TABULATION OF THE WEEKLY CASH BOX MONAURAL & STEREO BEST SELLING ALBUM CHART. NAMES LISTED ABOVE ARE IN ORDER OF STRENGTH IN THEIR VARIOUS CATEGORIES BASED ON A WEIGHTED POINT SYSTEM WHICH GIVES CREDIT FOR LONGEVITY ON CHARTS AS WELL AS HEIGHT AT- TAINED ON CHART. ONLY TITLES WHICH WERE TOP 30 OR BETTER WERE USED FOR TOTALS. SURVEY COVERS 12 MOS. ENDING NOV. 1961. y T 4 18 Cash Box — December 30, 1961 C ^DIVIDENDS PAID TO DATE • NEW ORLEANS • QUARTER TO THREE • SCHOOL IS mi • SCHOOL IS IN EXCLUSIVELY ON 817 CHURCH STREET • NORFOLK, VIRGINIA DISTRIBUTED NATIONALLY BY RUST RECORDS INC, NEW YORK CITY 817 CHURCH ST. NORFOLK, VA. MERRY CHRISTMAS & HAPPY NEW YEAR O Cash Box — December 30, 1961 T9 Best Wishes for A Happy Prosperous and Twistin’ New Year BILL BLACK COMBO and THANKS for the award #1 INSTRUMENTAL COMBO (Albums) (in the year-end Cash Box Poll) current HIT single “TWIST- HER” Hi 2042 current HIT album Let’s TWIST HER Hi-HL 12006 SHL 32006 (stereo) personal management PETER PAUL 1270— 6th Are. N.Y. Bookings CONTINENTAL BOOKING 1270— 6th Ave. N.Y. Cosh Box m JUKE BOX OPS' RECORD GUIDE ACTIVE with OPS (Selections NOT on Cosh Box Top 100 reported going strongly with opt.) BELLS AT MY WEDDING LOVELAND Paul Anka (ABC Paramount 10279) WHITE CHRISTMAS Drifters (Atlantic 1048) MIDNIGHT SPECIAL Jimmy Smith (Blue Note 1819) THE EXODUS SONG Chordettes (Cadence 1412) BIRMINGHAM Santo & Johnny (Canadian-American 131) STEP RIGHT UP Not "King" Cole (Capitol 4672) WHERE HAVE ALL THE FLOWERS GONE Kingston Trio (Capitol 4671) PARDON/ANOTHER TIME, ANOTHER PLACE Al Martino (Capitol 4643) DEAR IVAN Jimmy Dean (Columbia 42259) PLAY THE THING Marlowe Morris Quint. (Columbia 42218) MITCH MILLER CHRISTMAS PACK (5 Singles) (Columbia MM-3) MITCH MILLER PACK (5 singles) (Columbia MM 1&2) ORGAN PACK (5 singles) Ken Griffin (Columbia KG 1 8. 2) JAZZ PACK (5 singles) Various Artists (Columbia HIP 1 & 2) MARIA Johnny Mathis (Columbia 41684) STEP RIGHT UP Teresa Brewer (Coral 62299) DEAR GESU BAMBINO Christian Marandi (Decca 31343) SILENT NIGHT Bing Crosby (Decca 23777) WHITE CHRISTMAS Bing Crosby (Decca 23778) EVERYBODY'S TWISTING DOWN IN MEXICO Billy Vaughn (Dot 76295) ROSES OF PICARDY/HALLELUJAH, I LOVE HER SO Buddy Greco (Cpic 9472) I'M GLAD THERE IS YOU (5 singles) Gloria Lynne (Iverest 5 74) I WILL FOLLOW YOU/YOU DON'T HAVE TO BE A TOWER OF STRENGTH Gloria Lynne (Everest 19428) IF I HAD YOU/WHEN DAY IS DONE Seymour & His Trumpet (Heartbeat H-2) OPERATORS' SPECIAL (5 Singles) Seymour & His Magic Trumpet (Heartbeat) I BELIEVE Timi Yuro & Johnnie Ray (Liberty 55400) TEARS FROM AN ANGEL Troy Shondell (Liberty 55398) YOU'LL NEVER KNOW Platters (Mercury 71904) MARIA Clebanoff (Mercury 71905) LOST PENNY/SHADRACK Brook Benton (Mercury 71912) I REMEMBER TOMMY (5 Singles) Frank Sinatra Pack (Reprise PP-1) BASIE TWIST Count Basie (Roulette 4403) DUKE'S PLACE Duke Ellington (Roulette 4390) GOD BLESS THE CHILD Eddie Harris (Vee Jay 407) CLAP HANDS, HERE COMES CHARLIE Ella Fitzgerald (Verve 10241) IMAGINATION Quotations (Verve 10245) NEW ADDITIONS to TOP 100 85— WHITE CHRISTMAS Bing Crosby (Decca 23778) 89— JUST GOT TO KNOW Jimmy McCracklin (Art-Tone 825) 90— LOST SOMEONE James Brown (King 5573) 91 — RUDOLPH THE RED-NOSED REINDEER David Seville & Chipmunks (Liberty 55289) 95 — THAT'S MY PA Sheb Wooley (MGM 13046) 96 — I'M BLUE Ikettes (Atco 6212) 98— FEVER Pete Bennett (Sunset 1002) 100—1 TOLD THE BROOK Marty Robbins (Columbia 42246) Hof as a Twist-oU 5 IRVING FIELDS ORCH I New Everest Album ^ “TWIST-ING” j THE HULA HUU TWIST | I LATIN QUARTER TWIST ^ ^ SOCIETY TWIST \ \ INTERNATIONAL TWIST \ \ IRISH TWIST I Mills Music, 1619 B’way, N. Y. 19 { The World's First STEREO-SCORED Orchestra 20 Cash Box — December 30, 1961 Cash Box — December 30, 1961 21 RECORDS OF THE PAST 15 YEARS* ‘The Top lO Records of 1947 thru 1961 As Compiled by CASH BOX in its Annuel Year-End Poll 1947 : I 1. Peg O’ My Heart — The Harmonicats 2. Near You — Francis Craig 3. Heartaches — Ted Weems 4. Anniversary Song — A1 Jolson 5. That’s My Desire — Frankie Laine 6. Mamselle — Art Lund 7. Linda — Charlie Spivak 8. I Wonder Who’s Kissing Her Now — Perry Como 9. Anniversary Song — Guy Lombardo 10. That’s My Desire — Sammy Kaye 1948 1952 1 1. Cry — Johnnie Ray 2. Blue Tango — Leroy Anderson 3. Anytime — Eddie Fisher 4. Delicado — Percy Faith 5. Kiss Of Fire — Georgia Gibbs 6. Wheel Of Fortune — Kay Starr 7. Tell Me Why — Four Aces 8. Pm Yours — Don Cornel 9. Here In My Heart — A1 Martino 10. Auf Wiedersehn Sweetheart — Vera Lynn 1953 1957 1. Tammy — Debbie Reynolds 2. Love Letters In The Sand — Pat Boone 3. Bye Bye Love — Everly Brothers 4. It’s Not For Me To Say — Johnny Mathis 5. Young Love — Sonny James — Tab Hunter 6. All Shook Up — Elvis Presley 7. So Rare — Jimmy Dorsey 8. Little Darlin’ — Diamonds 9. Round And Round — Perry Como 10. Diana — Paul Anka 1958 1. My Happiness — Jon & Sondra Steele 2. Manana — Peggy Lee 3. Ballerina — Vaughn Monroe 4. Four Leaf Clover — Art Mooney 5. You Can’t Be True, Dear — Ken Griffin — Jerry Wayne 6. Nature Boy — King Cole 7. Little White Lies — Dick Haymes 8. It’s Magic — Doris Day 9. You Call Everybody Darling — A1 Trace 10. Mickey — Ted Weems 1. Song From Moulin Rouge — Percy Faith I 2. Till I Waltz Again With You— [ Tie Teresa Brewer | 3. April In Portugal — Les Baxter 4. Vaya Con Dios — Les Paul & Mary Ford 5. I’m Walking Behind You — Eddie Fisher 6. I Believe — Frankie Laine 7. You, You, You — Ames Bros. 8. Doggie In The Window — Patti Page 9. Why Don’t You Believe Me — Joni James 10. Pretend — Nat “King” Cole 1. Nel Blue Dipinto Di Blu — Domenico Modugno 2. It’s All In The Game — Tommy Edwards 3. Patricia — Perez Prado 4. All I Have To Do Is Dream— Everly Brothers 5. Bird Dog/Devoted To You— Everly Brothers 6. Little Star — Elegants 7. Witch Doctor — David Seville 8. Twilight Time — Platters 9. Tequila — Champs 10. At The Hop— Danny & The Juniors 1949 Silii 1. Forever And Ever — Russ Morgan Orch. 2. Riders In The Sky — Vaughn Monroe 3. Again — Gordon Jenkins Orch. 4. Forever And Ever — Perry Como 5. Cruising Down The River — Blue Barron Orch. 6. Cruising Down The River — Russ Morgan Orch. 7. Again — Vic Damone 8. So Tired — Russ Morgan Orch. 9. Lavender Blue — Dinah Shore 10. Buttons And Bows — Dinah Shore 1954 *•< .. 1 1. Little Things Mean A Lot — Kitty Kallen 2. Hey There — Rosemary Clooney 3. Wanted — Perry Como 4. Young At Heart — Frank Sinatra 5. Sh-Boom — Crewcuts 6. Three Coins In The Fountain — Four Aces 7. Little Shoemaker — Gaylords 8. Oh, My Papa — Eddie Fisher 9. Secret Love — Doris Day 10. Happy Wanderer — Frank Weir 1959 I ^ 1. Mack The Knife — Bobby Darin '2. Battle Of New Orleans— Johnny Horton 3. There Goes My Baby— Drifters 4. Venus — Frankie Avalon 5. Lonely Boy — Paul Anka 6. Personality — Lloyd Price 7. Three Bells — Browns 8. Put Your Head On My Shoulder — Paul Anka 9. Sleepwalk — Santo & Johnny 10. Come Softly To Me— Fleetwoods 1950 1. Goodnight Irene — Gordon Jenkins & The Weavers 2. It Isn’t Fair — Sammy Kaye 3. Third Man Theme — Anton Karas 4. Mule Train — Frankie Laine 5. Mona Lisa — King Cole 6. Music, Music, Music — Teresa Brewer 7. I Wanna Be Loved — Andrew Sisters 8- I’d’ve Baked A Cake — Eileen Barton 9. I Can Dream Can’t I — Andrew Sisters 10. That Lucky Old Sun — Frankie Laine 1951 1. Tennessee Waltz — Patti Page 2. How High The Moon— Les Paul & Mary Ford 3. Too Young — Nat “King” Cole 4. Be My Love — Mario Lanza 5. Because Of You — Tony Bennett 6. On Top Of Old Smoky — Weavers & Terry Gilkyson 7. If — Perry Como 8. Sin — Four Aces 9. Come On-A My House — Rosemary Clooney 10. Mockin’ Bird Hill— Les Paul & Mary Ford 1955 I 1. Rock Around The Clock — Bill Haley & Comets 2. Davy Crockett — Bill Hayes 3. Cherry Pink And Apple Blossom White — Perez Prado 4. Melody Of Love — Billy Vaughn 5. Yellow Rose Of Texas — Mitch Miller 6. Ain’t That A Shame — Pat Boone 7. Sincerely — McGuire Sisters 8. Unchained Melody — A1 Hibbler 9. Crazy Otto — Johnny Maddox 10. Mr. Sandman — Chordettes 1956 1. Don’t Be Cruel — Elvis Presley 2. The Great Pretender — Platters 3. My Prayer — Platters 4. The Wayward Wind — Gogi Grant 5. Whatever Will Be, Will Be — Doris Day 6. Heartbreak Hotel — Elvis Presley 7. Lisbon Antigua — Nelson Riddle 8. Canadian Sunset — Hugo Winterhalter 9. Moonglow & Picnic — Morris Stoloff 10. Honky Tonk — Bill Doggett 1960 I ; 1. Theme From A Summer Place — Percy Faith 2. It’s Now Or Never— Elvis Presley 3. Save The Last Dance For me — Drifters 4. The Twist — Chubby Checker '5. Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini — Brian Hyland 6. I’m Sorry — Brenda Lee 7. Stuck On You — Elvis Presley 8. He’ll Have To Go— Jim Reeves 9. Cathy’s Clown— Everly Brothers 10. Running Bear— Johnny Preston 1961 1. Exodus — Ferrante & Teicher 2. Calcutta — Lawrence Welk 3. Will You Love Me Tomorrow — Shirelles 4. Tossin’ And Turnin' — Bobby Lewis 5. Wonderland By Night — Bert Kaempfert 6. Are You Lonesome Tonight — Elvis Presle> 7. Travelin’ Man — Ricky Nelson 8. Michael — Highwaymen 9. Runaway — Del Shannon 10. Last Date — Floyd Cramer 22 Cash Box — December 30, 1961 *? ' i ■ *■* *■’^■*"^*2^^ « ♦ 3 y^y^-fen.^ it^tjii »*« V ijt-<^e # ^ *-v ^ :^<*1P’Jf3M».«4»« I ^ii<'«4««4 c > (i<«’r4<- Lj44*<jf* tii l>>i»<M|»4f><jf ► M - V « m Si #" ■* /♦>» Current Smash Single: “HAPPY BIRTHDAY SWEET SIXTEEN ’ RCA Vicfor 7957 Exclusively: mca Personal Management BENJAMIN L. SUHER Cash Box — December 30, 1961 23 Cash Box RECORD REVIEWS B+ very good B good C+ fair C only those records best suited for commercial use are reviewed by Cash Box AARON NEVILLE (Minit 639) Pick of the Week “A LITTLE BITTY TEAR” (2:16) [Pamper-Cochran] “I DON’T WANTA GO” (2:14) [Ridgeway-Glasser] WANDA JACKSON (Capitol 4681) Thrush should make more big pop-country chart news with “A Little Bitty Tear,” which is a femme version of the current click by Burl Ives (Decca). Her stint is backed by an infectious middle-beat string-included ork-chanting arrangement. A strong follow-up to the performer’s chart effort, “In The Middle Of A Heartache.” (B-f ) “HOW MANY TIMES” (2:40) [Minit BMI — Neville] An ap- pealing medium-beat Latin-blues bal- lad sound from the songster and his musical accompaniment. Track that could develop into something. (B) “I’M WAITIN’ AT THE STA- TION” (2:21) [Minit BMI — Neville] Catchy easy-beat rock-a-cha affectionate. “MARIA” (2:30) [G. Schirmer ASCAP — Bernstein, Sondheim] “I BELIEVE” (2:15) [Cromwell BMI — Drake, Graham, Shirl, Stillman] DAVID WHITFIELD (London 9506) “Maria.” the beautiful ballad from “West Side Story,” is currently rid- ing high on the charts with Roger Williams Kapp version leading the instrumental way. Look for London songster David Whitfield to cop vocal honors with his wonderfully rich, big-voiced performance. The lovely inspirational is treated to a superb job on the excellent companion por- tion. Stellar choral ork showcases. “SHAKE SHAKE SHERRY” (2:15) [Trinity BMI— Barry] “IF YOUR PILLOW COULD TALK” (2:26) [Robert Mellin BMI — Russell] THE EDSELS (Capitol 4675) The “Rama Lama Ding Dong” boys can come through with a smash Top 100 disking in the wildly portrayed “Shake Shake Sherry,” which was also cut a short while-back on Epic. Backed by an all-out ork attack, the boys offer an uninhibited belt, including “Rama Lama” chants. “Pil- low” has interesting upbeat Latinish remarks from the string-filled ork. “WHAT’S THE REASON” (2:04) [Bourne ASCAP — Tomlin, Hatch, Poe, Grier] “WALK AWAY SLOWLY” (2:34) [Pamper BMI— Sharp, Brown] BOBBY EDWARDS (Capitol 4674) Edwards, who still has a big pop-country hit with his Crest disking of “You’re The Reason,” is now on the Capitol label, and is in a strong position to make-the-grade again with “What’s The Reason,” the oldie done in bouncy manner of the first “Reason” session. The artist offers a wistful light-beat country waltzer on the under cut. Pick of the Week Newcomers In an effort to call DJ. attention to Pick records by “Newcomers’' (artists never before on the Top 100) the editorial staff of Cash Box will list such records under this special heading. “SOMEBODY’S SMILING (WHILE I’M CRYING)” (2:16) [Acuff-Rose BMI — Day, Holbert, Loveday] “JUST TO BE LOVED” (2:09) [Combine BMI— Walker] CURTIS & DEL (Monument 455) Curtis & Del could be up among the front runners in the weeks to come with their Monument bow, “Somebody’s Smiling (While I’m Crying).” Side features a most attractive medium-beat ballad blend (with a catchy background thump) by the songsters, who have an Everly Bros.-like approach. Splendid programming item that should really please the teeners. The feelingful pose, on the other hand, sports a soft-spoken sur- vey by the boys. “NO WORD FROM BETTY” “WE GONNA” (2:20) (2:20) [Tobi-Ann [Tobi-Ann BMI— BMI — Burton, Simmons] Burton, Simmons] JIMMY PARKER (Diamond 104) Newcomer Jimmy Parker is a good bet to score with either end, or both, of his debut on the N.Y.-based Diamond label. One half, “No Word From Betty,” is a heartfelt rock-a-cha-cha about a gal who didn’t show for the wedding. The infectious pairing, “We Gonna,” sports a happy fla- voring of two while-back hits, “My Babe” and “Little Bitty Pretty One.” Potent ork-chorus support on both ends. “WALKING CANE” (2:40) [Russ Will ASCAP — Tesone, Romano, Catrombone] “AMEN” (2:10) [Kaycee BMI — Segure, Hardy, Schoen] BILLY DUKE (20th-Fox 296) Duke can head into the new year with his first big one on the 20th-Fox label. It’s the oldie, “Walking Cane,” that’s treated to a bright new rhythm-swing performance. Side builds along the way a la Bobby Darin’s “Mack The Knife.” Sock support from Jimmy Wisner’s crew. The spir- itual, on the flip, is taken for an inviting handclapping ride. TONI ARDEN (Mercury 71885) (B+) “YOU FOOL” (2:45) [Rags BMI — Elias, Reid] Longtime thrush is backed by an interesting teen-directed ork-chorus rhythm. She adapts herself well to the rockin’- style idiom. Can get action. (B) “SIGNS OF THE TIMES” (3:09) [Vogue BMI — Kauf- man, Anthony] Funky sound, includ- ing an harmonica, supports the per- former’s fine wistful chirping. TOMMY BOYCE (RCA Victor 7975) (B-h) “YOU LOOK SO LONELY” (1:50) [Calboy BMI — Boyce] Boyce, a writer of teen ditties, bows as a songster on Victor with a pro rock-a-cha lovey-dovey. Ray Ellis di- rects the solid teen-beat setting. Can make noise. (B-f) “ALONG CAME LINDA” (2:10) [Calboy BMI — Boyce] A love-found affair with a bright, catchy way. Can also be very big. JACK COLLIER ORCH.-CHORUS/ JOHN VAN HORN ORCH. (Moonglow 207) (B-f) “HAPPY JOSE” (Ching- Ching)” (2:20) [Landsdowne ASCAP — Malin, Gonzales] The hot instrumental is presented with a pro sunny rock beat by the Collier ork- chorus. A worthy entry in the race for Top 100 honors for the tune. Label is based in Hollywood. (B) “OCTOPUS TANGO” (2:23) [Ray Maxwell BMI — Max- well] The John Van Horn ork is heard in a lush tango arrangement. Attrac- tive programming. CLAY COLE (Imperial 5804) (B-f) “TWIST AROUND THE CLOCK” (2:17) [Columbia ASCAP — Kaye, Springer, Cole] The deejay heads a happy Twist date on the main-title from the Twist pic. Pic exposure can get this end around. (B) “DON’T TWIST (With Any- one Else But Me)” (2:27) [Post ASCAP — Kaye, Springer, Cole] Another Twist number included in the flick. LULU REED (Federal 12440) (B) “WHAT MAKES YOU SO COLD” (2:02) [Sonlo BMI — Reed, Thompson] Blues thrush and combo make infectious music mostly for the R&B market, which should take to the sound. (B) “AIN’T NO COTTON PICK- IN’ CHICKEN (Gonna Break This Chicken Heart of Mine)” (2:20) [Sonlo BMI — Thompson, Williams] More upbeat blueser with a good- natured way. mediocre THE IMPRESSIONS (Swirl 107) (B-f) “DON’T LEAVE ME” (1:46) [Wemar BMI — Brooks] Effec- tive blues rhythmic from the lead and his chanting companions. Combo has a good bounce touch. Grow-on-you ef- fort from the New York-based wax- ery. (B) “I NEED YOUR LOVE” (1:50) [Wemar BMI— Brooks] Somewhat of a low-down blues approach here. THE CRAZY KATS (Deauville 1005) (B+) “MAKIN’ WHOOPEE” (2:20) [BVC ASCAP— Kahn, Don- aldson ]The oldie goes Twist-beat in this combo go, which features a growl- ing sax. Good-sounding session for the Twist crowd. Label headquarters in Miami Beach, Fla. (C-f) “THE CANDY STIK TWIST” (2:28) [Carnival BMI — Lin- ale] Guitars pound here. BERNA-DEAN (Imperial 5792) (B) “LITTLE WILLIE” (2:45) [Travis BMI — Bartholomew, King] Infectiously displayed blues novelty about Little Willie and his 6' gal friend flirt. The fine lark talent is supported by a choice combo-male chorus set-up. (B) “I WALK IN MY SLEEP” (2:32) [Commodore BMI — Bartholomew, King] Nice intimate moody. TEDDY RANDAZZO (ABC-Paramount 10287) (B-f) “MOTHER GOOSE TWIST” (2:35) [South Mountain BMI — Randazzo, Barberis, Weinstein] Vet teen songster tops a wild Twist date that’s included the Twist flick, “Hey, Let’s Twist,” which includes the per- former. Good Twist punch. (B) “IT’S A PITY TO SAY GOODNIGHT” (2:30) [Leeds ASCAP — Reid] The fine oldie is also done in the flick, and Randazzo does a pleasing stint against a lush, moody full ork backdrop. CATHY MOORE (Majesty 302) (B) “DREAM LOVER” (2:29) [Adaris — Progressive-Fern BMI — Darin] The old Bobby Darin click is revived with a busy teen sound. A s-wingin’ organ is part of the setting for the lark. Diskery is based in Hollywood. (C-f) “I’LL WAIT” (2:35) [Trinity BMI — Klein, Ebb] Slow-beat plaintive. DONNIE ELBERT (Jalynne 110) (B-f) “WHAT YOU’RE DOING TO ME” (2:22) [Jot BMI— El- bert] This catchy blueser features songster Elbert, who has a distinctive, falsetto-type voice. Muted trumpet is part of the backdrop proceedings. (B) “LUCILLE (I’ve Done You No Wrong)” [Jot BMI— El- bert] Deliberately-paced, sometimes wailing blues cut. 24 Cash Box — December 30, 1961 Marcas Reg. Printed In U. S. A Once in a great while, a new performer come along who is spe- cial. He will be endowed with talent, presence, youth and a rare, elusive factor that can only be called "star quality." To- day, such a performer is proudly spotlighted by Columbia Records. His name is Kenny Karen. His first record, produced by Nevins-Kirshner, is Oh.SusieForgiveMe," coupled with "The Light in Your Window" (4-42264). It is a great record. Cash Box — December 30, 1961 25 Gdsh Box RECORD REVIEWS B+ very good B good C+ fair C mediocre only those records best suited for commercial use are reviewed by Cash Box AKI ALEONG (Reprise 20,042) (B+) “TONIGHT” (Twist) (1:53) [G. Schirmer ASCAP— Bern- stein, Sondheim] The current hit tune is done to a polished Twist beat by Aleong’ and his Licorice Twisters. Aleong recently made a Top 100 ap- pearance with “Trade Winds”; there can be a similar reaction here. (B-h) “MOON RIVER” (Twist) (2:25) [Famous ASCAP — Mancini, Mercer] Same go for an- other top click. EDDIE LAAVRENCE (Coral 62298) (B+) “THE PHILOSOPHER TWIST” (2:27) [Warwick ASCAP — Lawrence] Lawi'ence’s pop- ular Philosopher character has some hilarious comments to make on the Twist, as viewed at the famed Twist haven. The Peppermint Lounge. Deck can be a comedy sleeper. (B) “THE D. J. PHILOSOPHER RETURNS” (2:53) [Warwick ASCAP — Lawrence] Funny stuff about the trials and tribulations of the modern-day deejay. BOBBY BARE (Fraternity 890) (B+) “BROOKLYN BRIDGE” (2:20) [Harry Bare BMI — Bare, Guynes] This rib-tickling, oft- told tale of the sale of the famous landmark is told in the delightful, talk-sing manner of the years-back success, “All American Boy.” Side has that big hit outlook. Stick with it. (B) “ZIG-ZAG TWIST” (1:52) [Sherman, DeVorzon BMI — Bare] On this end Bare gives out with a fetching finger-snapping, string- backed set of instructions to the dance. LITTLE NAT (Pik 242) (B-h) “DO THIS DO THAT” (2:28) [Lonnie BMI — Verroca] Little Nat, former lead with the Shells of “Baby Oh Baby” fame, can nail down chart honors with this Pik debut. It’s a captivating, chorus-backed rock-a- rhythm cha cha session that has loads of money-making potential. (B) “TALLY WALLY” (2:15) [Lonnie BMI — Bouknight] Colorful rock-a-jumper on this end. KENNY BALL (Kapp 442) (B-h) “MIDNIGHT IN MOSCOW” (2:58) [Melody Trails BMI — Arr. Ball] Ball and His Jazzmen, a leading exponent of the Trad (or Dixielandish) style now very popular in England, is hitting big in England with this infectious reading of the fine Russian tune, which has been released here in many vocal-instrumental ver- sions. This could be the outing that catches on. (B) “AMERICAN PATROL” [Traditional-Meacham] More sunny Trad, doings. LITTLE RICHARD (Mercury 71911) (B-f) “RIDE ON KING JESUS” (2:53) [Woodman BMI — Penniman, Jones] The label has again culled a single from the performer’s Gospel LP, “It’s Real,” which was the source of his recent chart-maker, “He’s Not Just A Soldier.” The dy- namic Richard delivery is heard against a bright Quincy Jones-di- rected ork-chorus. Can also succeed. (B) “DO YOU CARE” (2:48) [Peer Int’l BMI — Dell] A sensitive side from the album. JOE PUMA & THE AUDIOBON ALL-STARS (Columbia 42254) (B+) “NOAH’S ARK (Redwinged Blackbird)” (2:45) [Juma BMI — Puma, Hall, Sher] Here’s an original-sounding gospel-type .jazz- rock stint from the Puma that could take-off. It’s from an LP tag'ged “Like Tweet” and should be eyed closely. (B) “PANIC IN THE BIRD- CAGE” (2:20) [Davimar BMI — Macero] This selection from the LP is clever jazz swinging. KEITH COLLEY (Era 3067) (B-|-) “(And Her Name Is) SCAR- LET” (2:15) [Pattern ASCAP — Howard] Cheerful march-beat rock- a-string affair on a tuneful folkish ditty. Colley’s pro teen vocal is sup- ported by a full-blown ork-chorus ef- fort, including- a whistling stint by the chorus. Might step out. (B-h) “PUT EM DOWN” (2:18) [Bamboo & Burdett BMI — Colley] An interesting gospel-flavored stint about losing-the-blues. Also worth attention. DONNIE CHARLES (Smash 1725) (B-f-) “JUMPSVILLE, U.S.A.” (2:20) [Fame BMI — Thomp- son] Here’s an effective Twister from the songster and his busy-beat, sax- led combo-shout chorus backing. Deck’s right in the current upbeat teen groove and could go places. (B) “STAY WITH ME” (2:00) [MRC & Fame BMI— Thomp- son] Intriguing rock-a-cha sound supports the performer’s cozy multi- tracked ballad reading. DEL RICHARDSON (Stellar 1729) (B-p) “LOVER MINE” (2:20) [Mar- lene ASCAP — Buchanan, Gottfried] The deck, acquired for dis- tribution by Mercury’s Smash affiliate, could develop into a click session. Richardson understandingly offers a heartfelt affectionate against a very interesting combo-chorus stand that recalls the backing on Ben E. King’s awhile-back click, “Stand By Me.” Should be eyed closely. (B) “DON’T CRY LINDA’’ [Arch & Willow ASCAP— Buchanan, Gottfried] A folkish qual- ity to this good-sounding romantic bouncer. TEXAS-RAY (Kaydee 3001) (B-p) “MARY ANN” (2:17) [Pro- gressive BMI — Charles] A Ray Charles number is done with a busy blues-beat sound from the song- ster and combo. Mostly R&B-market doings. Diskery works-out of N.Y. (B) “WHAT’S COME OVER YOU?” (3:30) [Savoy BMI— Brown] Some unusual wailing from the performer. JULES BLATTNER (Norman 512) (B) “ST. JAMES INFIRMARY” (2:10) [BMI — Primrose] The familiar PD gets a partytime blues- rock attack, including Cab Calloway- like chant bits. Teeners will be in- terested in the sound. (C-P) “DO YOU LOVE ME” (2:15) [Missouri BMI — Blattner] Easy-beat wistful essay. VAUGHN MONROE (Dot 16308) (B) “IF YOU GOTTA MAKE A FOOL OF SOMEBODY” (2:13) [Good Songs BMI— Clark] The longtime songster-maestro offers a teen-beat version of the blues hit by James Ray on the Caprice label. (B) “MR. MOTTO” (1:36) [Arvee BMI — Johnson, Delvy] The Monroe ork solos in a catchy upbeat blueser. Side is also a cover. JOHNNY (Guitar) WATSON (King 5579) (B-p) “BROKE AND LONELY” (2:50) [0-Cal BMI — Otis, Watson] Strong R&B-directed pose by the blues songster, who is backed by a potent band-styled sound. Could also get pop action. (B) “CUTTIN’ IN” (3:03) [Valjo BMI — Watson] Strings are in- cluded in this touching blueser. COSMO (Tilt 787) (B-p) “YOU CAN’T GET KISSED (When You Twist)” (2:04) [Tree BMI — Spence] The Twist-mar- ket novelty is presented with lots of teen verve by the songster and his rompin’, sax-led combo support. Lon- don handles this very reliable Twist affair. (B) “PM A LITTLE MIXED UP” (2:44) [Sunflower & Garnet ASCAP — James, Johnson] Funky up- beat vocal by the talent. FRANK VERNA (Jubilee 5414) (B) “FACIME LA TWIST” (2:11) [Benell BMI — Como, Verna, Baker] “O Sole Mio” becomes a cheer- ful Italian-styled Twist novelty. Ver- na’s likeable vocal is supported by a busy combo-choi’us chore. (B) “TWISTIN’ BABY” (2:20) [Southern ASCAP ■ — • Baker, Verna] Made-in-U.S.A. Twistin’ here. THE WOBBLERS (King 5585) (B) “THE WOBBLE” (2:08) [0- Cal — Briarcliff BMI — Stryker, Hall, Otis] A “bubbly” gimmick is in- cluded in this infectious teen-beat out- ing b.v the combo. Sax and keyboard are rockin’ highlights. Deserves teen programming. (B) “BLOW OUT” (2:15) [0- Cal — Foi’e-site BMI — Stryker, Hall, Otis] Similar good-sounding stuff from the crew. ROBIN WILSON (Monument 452) (B-p) “THE BLACK EYED GYPSY” (2:13) [Acuff-Rose BMI — Bryant] Happy country-flav- ored stint by the songster and combo- chorus on an engaging number. A con- tagious cut that can move. (B) “I WANTA HANG MY HAT IN HEAVEN” (2:02) [Target BMI — Wilson] Snappy item mostly for the country trade. CHARLES LYNTON/KEITH DAVIS (Broadway 101) (C) “PM DISILLUSIONED” [ASCAP— Pinkard] Old-fash- ioned tenor crooning here. (C) “SWEET SUBURBAN SUE” [ASCAP — Pinkard] Keith heads another years-back sound. THE JAGS (London 9507) (B-p) “CRY WOLF” (2:12) [Hollis BMI — Vandyke] Musicians put across an exciting Latin-styled rock sound. A refreshing ork outing that can have a Top 100 career. (B) “THE HUNCH” (2:12) [Hol- lis BMI — Vandyke] Cute and original-sounding rock-a-cha stint. BILL REEDER (Hi 2041) (B-p) “SECRET LOVE” (2:13) [Remick ASCAP — Fain, Web- ster] Country songster does an upbeat reading of the oldie against a bouncy rock beat from the combo. Off-beat reading of the opus that could get solid exposure. (B) “JUDY” (2:20) [Progressive BMI — Redell] Another bouncy sound backs the performer’s portrayal of the lovey-dovey ditty. THE GAY JAYS (Josie 8931 (B-p) “CHICKEN BACK”— Part 1 (2:25) [Straight Ahead BMI — Dickens, Grace, Rice, Gamble] R&B songsters perform the dance- novelty with a pro blend, while the Dales Dickens ork supplies a highly Twist-able sound. (B-p) “CHICKEN BACK”— Part 2 (2:20) [Straight Ahead BMI — Dickens, Grace, Rice, Gamble] The solid-sounding session is continued. JIMMY SOUL (S.P.Q.R. 3300) (B-p) “TWISTIN’ MATILDA” (2:33) [Pepe BMI—] Old calypso favorite is done as a Twist in an original-sounding R&B-fiavored manner. Soul’s survey is backed by solid remarks by the combo-fenune chorus. London distributes the outing. Could score. (B) “I CAN’T HOLD OUT ANY LONGER” (2:34) [Progres- sive BMI — Baker, (jalhoun, Wexler] Bluesy plaintive from the performer. BRYAN JOHNSON (London 9509) (B) “LOVE THEME FROM ‘EL CID’” (2:25) [Robbins AS- CAP— Webster, Rozsa] Big-voiced English singer offers a vocal version of the main-theme from the just-re- leased epic flick. A lush ork-chorus arrangement backs-up. (B) “TENNESSEE WALTZ” (2:25) [Acuff-Rose BMI— Stewart, King] Soft-spoken reading of the oldie. 26 Cash Box — December 30, 1961 best wishes for a happy holiday season! Direction RCA\iCTOR GENERAL ARTISTS CORPORATION NEW YORK • CHICAGO BEVERLY HILLS • CINCINNATI • DALLAS • LONDON Cash Box — December 30, 1961 27 Cdsh Box LESLIE UGGAMS (Columbia 42255) (B+) “GET HAPPY” (2:53) [Rem- ick ASCAP — Koehler, Arlen] Talented thrush, featured on the Mitch Miller sing-along TV’er, is backed by the Miller’s male chorus in this solid jukebox-sounding survey of the sturdy. Side is from an LP, “Les- lie Uggams on TV.” (B) “BIRTH OF THE BLUES” (3:33) [Harms ASCAP— De- Sylva, Brown, Henderson] Relaxed reading of another evergreen. Also from the LP. JOHNNY COOPER (Ermine 37) (B) “I FOUND LOVE WITH YOU” (2:07) [Venetia BMI— Erman] Coy-voiced songster pleas- ingly recites the nice lovey-dovey against a sax-led teen-beat ork-chorus ork stand. Label hails from Chicago. (C-f) “RIVALRY” (2:32) [Venetia BMI — Cooper, Blair] Brighter teen-market approach. THE NOBLES (Stacy 926) (B+) “SERENADE” (2:12) [Harms ASCAP — Romberg] The gem from “Student Prince” goes-in for a soft-beat teen reading, with the lead mostly turning-in teen-market off-the- tune phrasing. Lots of teeners will dig the approach. (B) “YOU AIN’T RIGHT” (1:41) [Lucky Eight BMI — Jones] Rich Latinish, Twist-able touch to this rhythmic upbeat entry. Firm is from Chicago. WAILING BETHEA (Hawkeye 0430) (B) “ANNIE PENGUIN” (1:55) [Claiborne BMI — Bethea, Clairborne] The novelty ditty gets a Coasters-like attack from Bethea and The Captans. Good laff stuff. (B) “ROCKIN’ IN THE JUNGLE” (2:11) [Claiborne BMI — Bethea] More humorous, blues- styled attack. MARGARITA “CHA-CHA” SIERRA (Warner Bros. 5248) (B) “CHA CHA TWIST” (2:20) [American BMI — Fayne, Bowen, Paladino] The performer, fea- tured as Cha-Cha O’Brien in the TV’er, “Surfside 6,” heads a lively Latin angle to the Twist. (B) “PRETTY BABY” (1:53) [Remick ASCAP — Kahn, Jack- son, VanAlstyne] Cute easy-beat turn for the oldie. ROSS TALBOT (Bobbie 222) (B) “(Calypso Twist) SHORT SKIRTS & POLLY PANTS” (2:26) [BMI— Talbot] Calypso per- former reads his own calypso novelty against a calypso combo chore that, true to its title, can be easily Twisted to. Diskery is based in Philly. (C) “TEN MILLION STARS” (2:24) [BMI— Talbot, Joel] Artist goes strictly teen-beat in this softie display. RECORD REVIEWS B+ very good B good C+ fair C mediocre only those records best suited for commercial use are reviewed by Cash Box THE PASTEL SIX (Downey 101) (B) “WIMO STOMP” (2:13) [Downey BMI — Wenzel] “Wi- moweh,” the source of The Tokens’ smash, “The Lion Sleeps Tonight,” is displayed in exciting, funky har- monica-led fashion by the instrumen- talists. Worthy teen work. Original Sound handles the diskery. (B) “TWITCHIN” (1:57) [Dow- ney BMI — Toten] Good, steady-beat pounder for the Twist crowd. PAUL DE NOIA (Kenco 5020) (B) “DEAR ABBY” (2:36) [Kenco Enterprises ASCAP — Durante, Durant] Songster and combo-chorus offer a wistful teen-beat reading of tune that ties-in with the popular let- ter-to-the-lovelorn columnist. (C-f) “MAUREEN” (1:40) [Kenco Enterprises ASCAP — Durante, Durant] Name-song affectionate for the kids. THE TRAVELERS (Don Ray 5965) (B) “TRAVELER” (1:54) [Don Bennett BMI — Self] Good- sounding combo rockin’, headed by sound-wise guitarist Alvie Self. Chor- us offers jungle-like chants. Label is based in Phoenix. (B) “SEVEN MINUTES TILL FOUR” (2:04) [Don Bennett BMI — Self, Wilcox] Latinish way to another colorful affair headed by Self. THE FORTUNES (Queen 24010) (B) “UGLY DUCKLING” (1:48) [Scepter BMI — Crawford, Starr, Smith] Pleasant easy rock-a- cha date about a gal who blossoms out into one of the town’s top lookers. Label is the King Records’ affiliate. (B) “NOTHING MATTERS ANY- MORE” (2:44) [Lois BMI — Ashcroft, Spoke] Nicely rendered teen-beat tale of a disenchanted love affair. FRIEDEL WENDE (Cadence 1413) (B-h) “LIEBCHEN” (2:35) [E. H. Morris ASCAP— Wende] At- tractive import instrumental display, with lead saxes offering a Billy Vaughn-type sound. Trombone is also featured along with a chanting chorus. Solid programming entry. (B) “ALL MY PRETTY ONES” (2:35) [E. H. Morris ASCAP -—Neumann, Stanke] Chorus has a bigger chant role in a faster-moving affair. MARK MURPHY (Riverside 4511) (B) “ANGEL EYES” (2:58) [Bradshaw BMI — Brent, Den- nis] The fine jazz songster gives a distinctive account of the great Matt Dennis standby. There’s a haunting cornbo backdrop. Should be included in jazz jukebox programming. (B) “STOPPIN’ THE CLOCK” (2:10) [Charles Street BMI— Landesman, Krai] Lighter, swingin’ blues-flavored entry. Both sides stem from an LP, “Rah-Mark Murphy.” CALVIN CARTER (VeeJay 419) (B-h) “THE ROACH” (2:39) [Las- tar-Bloor & H.H. BMI— Wil- lis, Venetoulis] The current dance noise-maker, via Gene & Wendell on Ray Star, is presented with solid rockin’ band verve. Swingin’ keyboard and organ are included. Strong cover outing. (B) “WHAT’D I SAY” (2:31) [Progressive BMI — Charles] The Ray Charles standard is infec- tiously portrayed (string comments are included). FATHER RALPH (Jo-Dan 1002) (B) “ZIM BOOM BA” (2:32) [Lighthouse BMI — Attanasio] Father Ralph (Attanasio), known as the “Hoodlum Priest,” heads an at- tractive outing on a lovely Mexican folk-song. He’s supported by an ef- fective ork-chorus sound. Father Ralph opens the deck with an English narrative. Off-beat affair. (B) “MAMA” (2:26) [Southern ASCAP] — The Italian fav- orite is warmly sung by Father Ralph. THE DEL-PHIS (Check-Mate 1005) (B-f-) “I’LL LET YOU KNOW” (2:50) [Kapa — Brohun BMI — Jean, Hunter] Lass song team, sport- ing a solid lead voice, offer an infec- tious blueser about a gal who’s dish- ing out a wait-and-see attitude to the guy who wants to come back. Can get R&B-pop recognition. (B) “IT TAKES TWO” (3:15) [Kapa — Brohun BMI — Jean, Hunter] Expressive blues moody from the same upfront lark. BLAZER BOY (Imperial 5801) (B) “NEW ORLEANS TWIST” (1:59) [Travis BMI — King, Bartholomew, Quezergue] Deft Twist- ing, vocally and instrumentally, as the songster notes that the dance has won favor with all age groups. Gal chorus assists the performer. (B) “THAT’S WHERE IT’S AT” (2:24) [Travis BMI— King, Quezergue, Stevenson] Blueser and infectious medium-beat attitude. TOMMY MARIS (World-Wide 8506) (B) “STRANGE AS IT SEEMS” (2:16) [Doral BMI — Burnette] This soft, Latin beat romantic weeper has an ear-appealing quality that should attract a heap of airplay. Pleasant, choral backed vocal stint by Maris. (B) “GONNA BE LOVED BY YOU” (2:07) [Doral BMI— Burnette] Complete change-of-pace on this colorful rock ’n roller. Sock musical assist. Dorsey Burnette penned ’em both. BEN DiTOSTI (World Pacific 1410) (B-t-) “LET’S GET TOGETHER” (2:27) [Wonderland BMI— Sherman, Sherman] The big rock ’n roll hit by Haley Mills is surprisingly done to an infectious jazz-oriented, gospel-type beat by the pianist and his rhythm accompaniment. Interest- ing project that can come-up with strong airplay. (B) “THEME FROM CARNI- VAL” (2:35) [Robbins ASCAP — Merrill] Cool jazz approach to the pretty waltzer from the hit musical. Track is from an LP on the score. CARMEN McRAE (Columbia 42245) (B) “I CRIED FOR YOU” (2:52) [Miller ASCAP — Freed, Arn- heim, Lyman] Stylist does a bright, fast-paced reading of the oldie against a classy jazz romp from the combo. Swingin’ stuff that will be played by the hip jocks. (B) “MISS BROWN TO YOU” (2:28) [Famous ASCAP — Robin, Whiting, Rainger] Easier swingin’ on another oldtimer. THE MARC-ANTONIANS (Dot 16294) (B) “CLEOPATRA’S THEME” (2:24) [Campbell-Connelly ASCAP — Manners] Musicians supply an interesting rock-inclined hoochy- coochy sound to capture the ditty’s exotic title. Off-beat issue. (B) “MOSHI, MOSHI, ANONE” (2:12) [Campbell - Connelly ASCAP — Manners, Watson] This is a rockin’ Japanese-lyric version of “Lon- don Bridge Is Falling Down” that met with big success in Japan about 10 years ago. Dot purchased both ends from the So Deska label of Long Island. RAY CORBIN (Trend ’61 104) (B) “THE WHOLE NIGHT LONG” (1:59) [Talent Town BMI — Corbin, Corbin] Country-fla- vored songster heads a colorful dis- play of a dramatic plaintive. Guitars make the top commercial sounds in the setting. (B) “JUST FOR TONIGHT” (2:38) [Talent Town BMI — Corbin, Corbin] Strings are included in this country waltz wistful. JOE MARINO (Electro-Vox 2173) (C) “SOME DAY I’LL FIND YOU” (2:12) [Thelma Hester Jones BMI — Jones] Bobby Bell takes the vocal spotlite as he cries over a romantic sentimental. Joe Marino & his group lend a soft swing musical backdrop. (C) “TRYING SO HARD TO FORGET YOU” (2:38) [Thel- ma Hester Jones BMI — Jones] Here the artists warmly etch a slow paced lover’s lament. Label’s based in Ful- lerton, Calif. POLKA LI’L WALLY (Jay Jay 254) “Li’l Wally Polka Twist”/“Twistin’ And Turning Polka” PAUL WEINGARDT (Cuca 1057) “Sweet Marguerite”/“Sweet Potato Polka” JAZZ DAVE BAILEY TRIO (Jazz Line 4501) “Just Friends”/“Should Support” DADDY GOODLOWE (Vee Jay 421) “Jamil — parts I & 11” RELIGIOUS DIXIE HUMMINGBIRDS (Peacock 1844) “Have A Talk With Jesus”/‘Tn The Morning” WANDERING TRAVELERS (Pea- cock 1843) “Jeusus Is The Heavyweight Champ”/ “I Would Like To Have Been With Him” 28 Cash Box — December 30, 1961 7 THANKS DJ'S, DEALERS AND OPS For The Azvard of NO. 1 NEW VOCAL GROUP (In The CASH BOX Year-End Poll) .’’V, .♦s »■' ' * f- r- f; m 1 ■c ‘v -T^ - ‘ j tt'’ .’7, 4,'^''y *;* Tt •**« ♦“ JR *^r i * ♦ -*• ^ I '• »\ '•’*** *. «Oesa ««. ■A^- HIGHWAYMEN Exclusively: INI TED ARTISTS E C O R O S Personal Management: KEN GREENGRASS Public Relations: MARVIN DRAGER 161 ash Box — December 30, 1961 29 Cash Box LOOKING AHEAD 5 6 10 A compilation, in order of strength, breaking into The Cash Box Top of up and 100. List coming records showing signs of is compiled from retail outlets. DEAR IVAN limmy Deart (Columbia 42259) 11 A KISS FOR CHRISTMAS (0 Tonnenbaum) Joe Dowell (Smash 1728) ROOM FULL OF TEARS Drifters (Atlantic 2127) HAPPY JOSE Jack Ross (Dot 16302) Daye Appell (Cameo 207) 12 13 WALKIN' BACK TO HAPPINESS Helen Shapiro (Capitol 4662) GREETINGS (This Is Uncle Sam) Valadiers (Miracle 6) BELLS AT MY WEDDING/ LOVELAND Paul Anka (ABC Paramount 10279) 14 YOU DON'T HAVE TO BE A TOWER OF STRENGTH Gloria Lynne (Everest 19428) IMAGINATION Quotations (Verve 10245) 15 JINGLE BELL TWIST U.S.A. Johnny Mendell (Jamie 1708) CAN'T TAKE THE HEARTACHES Mary Ann Fisher (Seg-Way 1007) 16 LOSING YOUR LOVE/ WHAT 1 FEEL IN MY HEART Jim Reeves (RCA Victor 7950) MY BOOMERANG WON'T COME BACK Charles Drake (United Artists 398) 17 LOST PENNY SHADRACK Brook Benfon (Mercury 71912) THE DOOR IS OPEN Tommy Hunt (Scepter 1226) 18 TWISTIN' ALL NIGHT LONG Danny & Juniors (Swan 4092) UNSQUARE DANCE Dave Brubeck (Columbia 42228) 19 HOLLER HEY Jimmy Jones (Cub 9102) FREE ME Johnny Preston (Mercury 23017) 20 1 HEAR YOU KNOCKIN' Fats Domino (Imperial 5796) 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 TEARS FROM AN ANGEL/ ISLAND IN THE SKY Troy Shondell (Liberty 55398) 36 PLEASE COME HOME FOR CHRISTMAS Charles Brown (King 5405) MOTORCYCLE 37 SWEETWATER Tico & Triumpets (Amy 835) Stereos (Cub 9103) SANTA & THE TOUCHABLES 38 SOMETHING YOU GOT Dickie Goodman (Rori 701) Chris Kenner (Instant 3237) DREAMIN' ABOUT YOU 39 SHIMMY SHIMMY WALK Annette (Vista 388) Megatons (Dodge 808) DEAR GESU BAMBINO 40 YOU DON'T HAVE TO BE Christian Morandi (Decca 31343) A BABY TO CRY Joe Barry (Smash 1727) FLYING BLUE ANGELS George, Johnny & Pilots (Coed 555) 41 ONE DEGREE NORTH Mar-Keys (Stax 115) THE THINGS 1 WANT 42 PLAY THE THING TO HEAR Marlowe Morris Quintet Shirelles (Scepter 1227) (Columbia 42218) OLD ENOUGH TO KNOW BETTER Crickets (Liberty 55392J 43 PORTRAIT OF A FOOL Conway Twitty (MGM 13050 DUKE OF EARL Gene Chandler (Vee Jay 416 44 A SUNDAY KIND OF LOVE Jan & Dean (Liberty 55397) 45 BABY DON'T LEAVE ME Joe Henderson (Todd 1066) LET ME IN Sensations (Argo 5405) 46 JAMIE Eddie Holland (Motown 1021) SMOKEY PLACES Corsairs (Tuff 1808) 47 SITTIN' AND DRINKIN' Christine Kittrell (Vee Jay 399) NEIN NEIN FRAULEIN Cathy Carr (Smash 1726) 48 BOMBAY Mike Clifford (Columbia 42226) EVERYBODY'S CRYIN' Jimmy Beaumont (May 112) 49 WHAT'S SO GOOD ABOUT GOODBYE IN THE SAME OLD WAY Tommy Ridgely (Ric 984) Miracles (Tamla 54053) EVERYBODY'S TWISTIN' 50 TWISTIN' BELLS CHRISTMAS DAY DOWN IN MEXICO Santo & Johnny Linda Scott Billy Vaughn (Dot 16295) (Canadian American 132) .E ! I i I Erma Franklin IT'S OVER and HELLO AGAIN Ce3f>ic5 5-9488 rhE eventuaIs chARliE chAN (OiifeA) 30 Cash Box — December 30, 1961 )MPILED BY CASH BOX FROM LEADI NG RETAIL OUTLETS^DEC 30, 1 961 MONAURAL 1 •BLUE HAWAII BMt PresSef (RCA Victor LPM 2426; LSP 2426) 2 • BREAKFAST AT TIFFANY'S Henry Mancinl (RCA Victor LPM 2S62; LSP 2362) 3 •HOLIDAY SING ALONG WITH MITCH (Columbia CL 1701; CS 1501) 4 •! REMEMBER TOMMY frank Sinatra (Reprise R-1003; R9-I003I Pos. Lost WMk 1 5 •JUDY AT CARNEGIE HALL 5 Judy Garland (Capitol BO 1569; 5WBO 1969) 6 THE TWIST 13 Chubby Chockor (Parkway P 7001) 7 YOUR TWIST PARTY 15 Chubby Checker (Parkway 7007) 8 •CAMELOT 8 Orig. B'way Cast (Columbia KOL-S620; KOS-3021) 9 •WEST SIDE STORY 11 film Soundtrack (Columbia OL 5670; OS 2070) 10 •TIME OUT 9 Dare Brubeck (Columbia CL 1397; CS S192) 11 •PORTRAIT OF JOHNNY 6 Johnny Mathis (Columbia CL 1644; CS 8444) 12 •never on SUNDAY 10 Connie fronds (MGM f 3965; Sf 3965; 13 •CLOSE-UP 7 Kingston Trio (Capitol T 1642; ST 1642) 14 •BEHIND THE BUTTON- DOWN MIND 12 Bob Newhart (Warner Bros. W 1417; WS 1417) 15 •WEST SIDE STORY 14 Original B'way Cast (Columbia OL 5230; OS 2001) 16 CHUBBY CHECKER & BOBBY RYDELL 23 (Cameo C 1013) 17 •DOIN' THE TWIST AT THE PEPPERMINT LOUNGE 19 Joey Dee & Starlites (Roulette R 25166; SR 25166) 18 RUNAROUND SUE 17 Dion (Laurie 2009) 19 •WEST SIDE STORY 21 ferrante & Telcher (United Artists UAL 3166; UAS 6166) 20 •YOUR REQUEST SING ALONG WITH MITCH 18 Mitch Miller & The Com (Columbia CL 1671; CS $471) 21 •KING OF KINGS Soundtrack (MGM 1E2; S 112) 20 22 •THE SOUND OF MUSIC 22 Original Cast (Columbia KOL 5450; KOS-2020) 23 •GREAT MOTION PICTURE THEMES 16 Various Artists (United Artists UAL 3122; UAS 61220) 24 •CHRISTMAS SING ALONG WITH MITCH 29 (Columbia CL 1205; CS 8027) 25 •THE SLIGHTLY FABULOUS LIMELITERS 25 (RCA Victor IPM 2392; ISP 2393) Pos. Last Pos. Lost Week Week 26 • MILK & HONEY B'way Cast (RCA Victor LX 1065; tSO 1065) 28 1 STEREO 35/mm Enoch Light 4 Orcb. (Command RS 826 SD) 1 27 • NEVER ON SUNDAY 24 2 BLUE HAWAII 2 Movie Soundtrack Ehrls Presley (United Artists UAL 4070; UAS $070) (RCA Victor LSP 2426) 28 RUSTY WARREN BOUNCES 3 BREAKFAST AT TIFFANY'S 3 BACK 31 Henry Maadnl (RCA Victor LSP 2302) (Jubilee JGM 2039) 4 HOLIDAY SING ALONG 29 KNOCKERS UP 27 WITH MITCH 7 Rusty Warren (Jubilee 2029) Mitch Miller (Columbia CS 8501) 30 • THE ASTRONAUT 26 5 JUDY AT CARNEGIE HALL 4 Bill Dana Judy Garland (Capital SWBO 1549) (Kapp KL 1238; KS 3238) 6 CAMELOT 6 31 • JUMP UP CALYPSO Harry Belalotrte (RCA Victor LPM 2388; LSP 2388) 30 Orta. B'way Cast (Columbia KOS-3021) 7 WEST SIDE STORY 8 32 • PERSONAL APPEARANCE 34 Sound Track Shelly Berman (Vorye V6-15027; Y-1$027) (Columbia OS-2070) 33 LET'S TWIST AGAIIN 36 8 1 REMEMBER TOMMY 5 Chubby Checker (Parkway 7004) frank Sinatra (Reprise R9-1003) 34 • MEXICO 33 9 THE SOUND OF MUSIC 10 Bob Moore Original Cast (Columbia KOS-2020) (Monument M 4005; SM 14005) 10 TIME OUT 9 35 LET THERE BE DRUMS Sandy Nelson (Imperial 9159) 38 Dave Brubeck (Columbia CS 8192) 36 • EBB TIDE Earl Grant (Decca DL 4165; DL 74165) 32 11 KING OF KINGS Soundtrack (MGM SI E-2) 13 37 • JOAN BAEZ VOL II (Vanguard VRS 9094; VSD 297) 40 12 WEST SIDE STORY Ortglaal B'way Cast (Columbia OS 2001) 11 38 • FOUR PREPS ON CAMPUS 35 13 GREAT MOTION PICTURE (Capitol T 1566; ST 1566) THEMES Various Artists 12 39 • BIG BAD JOHN Jimmy Dean (Columbia CL 1735; CS 8535) 43 14 (United Artists UAS 61220) WEST SIDE STORY ferrante 4 Telcher (United Artists UAS 6166) 14 40 • MERRY CHRISTMAS 46 Bing Crosby (Decca DL 8128; DL 78128) 41 • TIME FURTHER OUT Dave Brubeck 41 15 CLOSE-UP Kingston Trio (Capital ST 1642) 16 (Columbia CL 1690; CS 8490) 16 YOUR REQUEST SING 42 DO THE TWIST WITH ALONG WITH MITCH 15 RAY CHARLES (Atlantic 8054) 48 Mitch Miller & The Gattg (Columbia CS 8471) 43 • YELLOW BIRD 37 17 PORTRAIT OF JOHNNY 17 Lawrence Welk (Dot DLP 3389; 253*9; Johnny Mathis (Columbia CS 8444) 44 • SONGS OF PRAISE Mantovani (London LL 3251; PS 245) 45 18 MILK 8> HONEY B'way Cast (RCA Victor LSO 1865) 20 45 • MERRY CHRISTMAS 19 JUMP UP CALYPSO 18 Johnny Mathis Harry Belafeote (RCA Victor LSP 2388) (Columbia CL 1195; CS 8021) 20 MELODY & PERCUSSION FOR 46 • HOW TO SUCCEED IN TWO PIANOS 21 BUSINESS WITHOUT REALLY Ronnie Aldrich (Loadoa SP 40807) TRYING B'way Cost (RCA Victor LOC 1066; LSO 1066) 49 21 EBB TIDE Earl Grant (Decca DL 74165) 23 47 • MESSIAH Mormon Tabernacle Choir — 22 THE SLIGHTLY FABULOUS (Columbia M2L 264; M2S 607) LIMELITERS (RCA Victor LSP 2393) 24 48 • ELLA IN HOLLYWOOD Ella fttxgerald (Verve V 4052; V 64052) 42 23 PASS IN REVIEW Boh Sbarpha 0. (UmOem SP 40001) 25 49 FOR TWISTERS ONLY 47 24 NEVER ON SUNDAY 19 Chubby Checker (Parkway 7002) Connie f rands (MGM Si S96S) 50 • SILENT NIGHT 25 BEST OF THE DUKES OF 30 Lawrence Welk DIXIELAND (Dot DLP 3397; 25397; (Aadle fidelity A/SD $9S6) 26 YELLOW BIRD Lawrence Welk (Dot 25389) Pos. Lost Week 22 27 VICTORY AT SEA Vol III 27 Robert Russeit Besiaatt (RCA Victor IX 2523) 28 NEVER ON SUNDAY Sound Track (United Artists UAS 5070) 29 YELLOW BIRD Arthur Lyman (HifI 1004) 26 28 30 SOMEBODY LOVES ME 29 Ray Conniff Singers (Columbia CS 85442) 31 new piano in town 32 Peter Nero (RCA Victor LSP 23$3) 32 BIG BAND PERCUSSION 31 Ted Heath (London SP 44002) 33 CHRISTMAS SING ALONG WITH MITCH 41 (Columbia CS 8027) 34 MEXICO 33 Bob Moore (Memuateat SM 1409$) 35 time FURTHER OUT 37 Dove Brubeck (Columbia CS 8490) 36 merry CHRISTMAS 40 Johnny Mathis (Columbia CS 8021) 37 PERCUSSION AROUND THE WORLD 34 Infl Pop AH Stars (Loadoa SP 44010) 38 BERLIN MELODY Billy Vaughn (Dot 25396) 35 39 EXOTIC PERCUSSION 39 Stanley Black (London SP 4«)04) 40 PERSUASIVE PERCUSSION 36 Terry Snyder (Command RS 800 SD) 41 GOLDEN PIANO HITS ferrante & Teicher (United Artists WWS 8505) 42 SILENT NIGHT Lawrence Welk (Dot 25397; 42 43 43 SEPTEMBER IN THE RAIN 44 Dinah Washington (Mercury SR 60638) 44 SINATRA SWINGS 38 (formerty SWING JUjOHG Wmt Ml) frank Sinatra (Reprhe R9 1002) 45 MOON RIVER Lawrence Welk (Dot 25412) 46 46 BROTHERS FOUR SONG BOOK 47 (Columbia CS 8497) 47 HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING 48 B'way Cast (RCA Victor LSO 1066) 48 BIG BAD JOHN — Jimmy Dean (Columbia CS 8535) 49 MESSIAH — Mormon Tabernacle Choir (Columbia M25 607) 50 WEST SIDE STORY Stan Kenton (CapHW ST 1600) 45 • Alto oronoMo hi Storoo A* Alto avoHoblo hi EF I I CosiiJIflm ALOUM mmmm. POPULAI t PICKS 0 F THE WEEK TWIST wrm BOBBY DARIN & e n-,' 'i;t fmmmf ddahI Comedy Night atjhe, Apollo "StfOMS^saABLBY BBORm mm “TWIST WITH BOBBY DARIN”— Atco 33 138 Cashing in on the twist craze, Atco has come up with an album of some big Darin hits delivered with an effective dancing b^eat. Young songster’s performance is professional and mature as he reads “Early In The Morning,” “Queen Of The Hop,” and “You Must Have Been A Beautiful Baby.” Set includes two new Darin single hits in “Multiplication” and “Irresistible You.” Disk looms as a sure-fire chart item. “$1,000,000 WORTH OF TWANG, VOL. 11”— Duane Eddy — Jamie JLP 70 3021 Coming back with plenty of zip, Duane Eddy shows that he still has the same success ingred- ients that helped his first “Twang” session score in the coin department. Eddy reads a group of his previous hits including “Pepe,” “Gidet Goes Ha- waiian,” and “Theme From Dixie,” with his dis- tinctive. original style. LP seems a sales natural. “WOODY WOODBURY’S SALOONATICS”— Steroddities MW 4 Laughman Woodbury offers more of his usual gags and stories in this disk recorded live in Fort Lauderdale’s Bahama Hotel. Comic’s risque humor has had a large audience in the past and this new edition should prove equally successfuL A plus factor here are the sounds of Woodbury’s admiring audience. LP looms as a top-drawer seller. “THE ANDREWS SISTERS GREATEST HITS” —Dot DLP 3406 The Andrews Sisters offer a package of sturdies that were the biggest hits of their career. These are the tunes that one automatically associates with them. Their clear, bell-like voices are top form as they read “Beer Barrel Polka,” “Hold Tight,” and “Bei Mir Dist Du Schon.” Billy Vaughn has added modern instrumental back- grounds to the old, familiar vocal arrangements. Set should attract the trio’s fans in droves. “THE COLORFUL PERCUSSIONS OF AR- THUR LYMAN”— Hifirecords L 1005 Arthur Lyman shows his stuff in this potent fol- low-up disk to “Yellow Bird,” his recent hit LP. Lyman and his boys kick off with a dramatic ver- sion of “Exodus” and move quickly into other favorites such as “Blue Hawaii” and “Never On Sunday.” An interesting band contains the group’s jazz version of “Moanin’.” Disk should score on the charts. “COMEDY NIGHT AT THE APOLLO”— “Moms” Mabley and George Kirby — Vanguard VRS 9093 The Mabley humor is beautifully showcased in this album recorded live at New York’s Apollo Theatre. Moms display superior material and a first-rate delivery. George Kirby is also on hand as are the Keynotes, a group of singers who premiered the Theatre the night this disk was cut. Kirby’s bits are filled with yocks and a per- fect match to the Mabley wit. Unfortunately, much of the humor here is visual and lost on the record. However, the infectious spirit of this Vanguard offering makes it a sure noise-maker. “TRIBUTE TO 6”— Ray Allen— Blast BLP 6804 Ray Allen and the Upbeats have come up with a musical tribute to six late r&r stars in this at- tractive package from Blast. The boys shine as they render superb interpretations of Ritchie Valen’s “La Bamba” and “Donna.” Their form is tops as they read Johnny Horton’s “Battle Of New Orleans” and “North To Alaska.” Other artists given musical eulogies are Buddy Holl^ Jesse Belvin, Big Bopper and Eddie Conhran. LP has plenty of built-in sales appeal and should score in the coin department. 1 < M’THE MKwr illil SAM BUTB«* ANO THE WITHS6SES T8E TWBT • TSST TWiSTif 081B m waEsm twist* war twist TTIE ‘Lirs TWIST km MftlBE>*LS8S1,8IST.y(i Wi-WE ffl mi nusis * gi8w woiM . mi bt m LEO FUCKS rntmm sciif S88 Mfmmmmmmm MCSTTtX A. “BALLET WITH A BEAT” — Hal Mooney — Mer- cury PPS 6017 The swinging sounds of Hal Mooney skillfully at- tack a group of classical, semi-classical and popu- lar ballet themes. Mooney and his ork put an exciting, electric flavor into the standard pieces that they read. Orkster turns in excellent rendi- tions of “An American In Paris,” “March Of The Toys” and “Sleeping Beauty Waltz.” LP’s original arrangements make it first-rate listening fare. “DOIN’ THE TWIST WITH LOUIS PRIMA”— Dot DLP 25410 Jumping feet first on the twist bandwagon Louis Prima teams up with Sam Butera and the Wit- nesses for a swinging disk geared for dancing pleasure. The Prima sound is as distinctive as ever as he reads “The Twist,” “Marie,” and “Side By Side.” The Horace Ott arrangements seem perfectly suited for the rockin’ Prima voice. LP should score with both teens and their parents. ■KWAMINA” — Original Cast Capitol W 1645 Cut by Capitol after the show failed, African- based “Kwamina” had many Richard Adler num- bers well-worth an original-cast LP. The most noteworthy are the lovely, folkish “Nothing More To L(mk Forward To,” the “The Sun Is Begin- ning To Crow,” the comic “One Wife” and the strictly Schubert Row ballad, “What’s Wrong topped by Sally Ann Howes (Adlers wife), Terry Carter and Brock Peters. “BEI MIR BISTU SCHOEN”— Original Cast— Decca 79115 The sound of Second Avenue refuses to give in to the hard-boiled economics of today’s theatre. One 01 the biggest Yiddish musical successes of re- cent years is “Bei Mir Bistu Schoen,” whose original-caster will delight many a Yiddish mu- sical fan whose heart is still in the right senti- men^l and nostalgic place. Sholom Secunda, the vet, deft hand at Yiddish musical scores, has writ- ten a number of varied, tuneful numbers (mostly sung in Yiddish) — and included, of course, is oecunda s title favorite. Leo Fuchs, Jacob Jacobs, who also wrote the lyrics, Miriam Kressyn and Leon Liebgold head the reliable cast. DANCING THE BIG TWIST” — Ray Bryant and His Combo — Columbia CL 1746 Ray Bryant has come up with an unusual LP that combines both good jazz and music for twist- ing. The 88’er plays with dexterity as does his ac- complished crew. The boys turn in rousing ver- “Twist City,” “Big Susie,” and “Twist On. There s enough here to attract both twist- ers and jazz buffs. “SING SING SING-ALONG”— A1 Alberts Jubi- lee JGM 2040 Jubilee dishes up an extremely funny collection of evergreen melodies with new satirical l3ndcs. The whole thing is a take-off on sing-along disks. A1 Alberts and the Lifers Chorus read prison- oriented lyrics with style and charm. Half the fun, is the absurdity of the words set to tune of standard melodies. Many laughs to be had here. “STRING BAND STRUM-ALONG”— Tony Mot- tola — Command RS 828 SD Tony Mottola, on the electric guitar, heads up a hand-picked group of string musicians in this excellent collection of evergreens from Command The arrangements here are fresh, exciting, and vibrant. The band starts things off with a rousing version of “Happy Days,” and launches into equally swinging renditions of “Carolina In The Morning” and “Twelfth Street Rag.” Disk pro- vides first-rate listening pleasure. ... To All of You . . . From All of Us . . . For A F ^ry Successful Year LAWRENCE And The Champagne Music Makers Current Albums: “MOON RIVER" Dot DLP 3472 “NORMA ZIMMER SINGS TRUE LOVE” / Dot DLP 25404 Cash Box — December 30, 1961 33 ALBUM REVIEWS mmn enTOTait alls “HAVE A GOOD TIME WITH JOE WILLIAMS” — Roulette R52071 Joe Williams is in his usual top form as he reads a group of Ernie Wilkins-arranged sturdies in this Birdland series LP from Roulette. The re- laxed, easy Williams style perfectly captures the mood of “Old Folks,” “A Blues Serenade,” and “Moonlight In Vermont.” Harry “Sweets” Edison and his ork provide a well-molded musical back- ground for the songster’s vocal talents. Disk should attract attention with Williams’ fans. “MARTYN GREEN SIGNS THE GILBERT & SULLIVAN SONG BOOK”— MGM E 3980 The magnificent impish quality of Martyn Green brings a touch of genius to this fine collection of melodies from the light operas of Gilbert & Sul- livan. Perhaps no other singer in the world today is more closely associated with G & S than Green. His steadfast devotion to his craft has earned him an endless string of laurels and this disk must rank as still another honor for the talented Britisher. The Green reading of “I Am The Very Modern Of Modern Major General” is the high- point of the album and must be classed as super- lative lung work. Jane Bronhill and Andrew Gold assist in other selections. Disk should attract mobs of Green and Gilbert & Sullivan fans. “15 COUNTRY GREATS BY 8 GREAT ART- ISTS”—Hickory LP M 105 Hickory has, in this album, a first-rate group of favorite tunes that should appeal to all appreci- ators of country music. The cast is all-star includ- ing Margie Bowes, Roy Acuff, and Rusty & Doug. The tunes are sturdies with proven records of pub- lic acceptance. LP should draw attention in coun- try circles. “THE SOUND OF FOLK MUSIC”— Various Art- ists— SRV 125 Vanguard has produced a splendid album that will delight all folk tune fans. Disk offers a taste of the top folk stars including Odetta, the Weav- ers, Leon Bibb, Joan Baez and Ronnie Gilbert. The songs come from a worldwide catalog of folk favorites with “Michael Row The Boat,” “East Virginia,” and “Down On Me,” standing out as highlights. LP could become hot item with folk music followers. “JUSTIN TUBB”— Starday SLP 160 Justin Tubb comes through on this Starday offer- ing with a fine collection of his past hits. The Grand Ole Opry chanter displays an original style and professional delivery as he reads “I’d Know You Anywhere,” and “One For You — One For Me.” Songster has more than enough coun- try authority and sincerity to attract a slew of his fans to the LP. “THE GOLDEN COUNTRY HITS”— Warner Mack— Kapp KL 1255 For his first Kapp album Warner Mack offers a fine collection of country winners tastefully ar- ranged and read. The sincere Mack voice has plenty of hillbilly authority as he delivers “A Sat- isfied Mind,” “Don’t Worry,” and “Room Full Of Roses.” LP should catch on with all of Mack’s admirers and win him a new flock of devotees. “PLAY AND SING ALONG TOO!”— Clyde Sech- ler — Ad Lib A224 Ad Lib has a clever idea in this kiddie album that is being released with three tinfoil hand wind instruments for the children to play along as well as sing. Clyde Sechler leads a children’s chorus through the paces of some popular folk songs in- cluding “Who Put The Farmer In The Dell” and “I’ve Been Working On The Railroad.” Set seems a perfect way to introduce kids to music. JAZZ PICK OF THE WEE K “SE'TTIN’ THE PACE”— John Coltrane— Pres- tige 7213 Cut during his exclusive days with Prestige, this disk provides a superb portrait of the swinging brand of jazz associated with John Coltrane. The selections here are extremely varied including “I See Your Face Before Me,” “Little Melonae,” and “Rise And Shine.” Kudos also go to Red Garland, who turns in a first rate job on the piano. Disk has strong sales potential. a “BASH” — Dave Bailey Sextet — Jazz Line JAZ 33-01 Starting off with an impressive version of Sonny Rollins’ “Grand Street” Dave Bailey and his boys give proof positive of their stature as noteworthy jazz artists. The group turns in admirable jobs on “Like Someone In Love” and “Just Friends.” This Rudy Stevenson arranged disk could make some noise with Bailey devotees. “LET ME TELL YOU ’BOUT IT”— Leo Parker- Blue Note 4087 For his first Blue Note disk Leo Parker’s bari- tone sax is teamed up with a fine group of musi- cians with John Burks on trumpet. Bill Swidell on tenor sax, Yusef Salim on piano, Stan Conover on bass, and Purnell Rice on drums. All the tunes here are originals and delivered with professional artistry and control. Notable selections are “Glad Lad,” a catchy uptempo number with Parker tak- ing the opening solo, and “Vi,” a swinging, free- flowing thing with the group turning in a top- notch performance. LP rates as excellent jazz listening. “WHITE GARDENIA” — Johnny Griffin — River- side RLP 387 Johnny Griffin offers his personal tribute to Billj Holiday in this album of tunes that the late thrush made famous. There is one Griffin original in “White Gardenia,” a Holiday-like tune that could well have been one of the lark’s songs. An accomplished group of jazz musicians accompany the Griffin tenor sax in readings of “Gloomy Sun- day,” “No More,” and “Don’t Explain.” Top-flight arrangements by Melba Liston and Norman Sim- mons give the set a polished free-flowung touch. CLASSICAL PICK OF THE WEEK CHOPIN: Sonata in B-Flat Minor, Op. 35; Sonata in B-Minor, Op. 58 — Artur Rubinstein, pianist — RCA Victor LD 2554 The nimble fingers of Artur Rubinstein treat Chopin as an old friend in this brilliant disk from Victor. Pianist has put exactly the right amount of expression into the ‘Funeral March’ to appeal to even the most discriminating audiences. The Rubinstein approach to the “Sonata In B-Minor” comes from a firm understanding of the music coupled wdth superb artistry and skill. Set should make some noise with classical collectors. TCHAIKOVSKY: The Nutcracker, Op. 71 Utah Symphony Orchestra conducted by 3Iaurice Ab- ravnel — V'anguard SRV 123 4 SD Maurice Abravanel and the Utah Symphony Or- chestra have turned in an adroit, beautifully-read performance of the complete “Nutcracker Ballet” in this two-record set from Vanguard. Conductor has captured the bright, lyrical spirit of the im- portant interwoven rhythms of this most difficult piece. All the color and festiveness that the music demands is reproduced. The Chorus of Utah adds an extra charming touch. Disk ranks as a superb rendition of “The Nutcracker.” “KEYBOARD GIANTS OF THE PAST"— Vari- ous Artists — RCA Victor LM 2585 Reaching as far back as 1923, Victor has produced a varied collection of some outstanding piano pieces. Although this album only gives a taste of the various artists, and at times the fidelity is only passable, it ranks as a truly remarkable etching. Here the genius of Paderewski, Pach- mann and Lhevine are preserved for music lovers to appreciate and marvel at. The technical faults are completely overlooked in this memorable LP. ! t ; 1 34 RECORDS is proud to congratulate LAWRENCE THE NATION S NUMBER T and THE NATION S NUMBER T ORCHESTRA (IP S) (from the CASH BOX Year-End Survey) Casli Box — December 30, 1961 35 BIOS OF 1961'S LEADING ARTISTS r-, Bill Anderson — Decca Born in Columbia, S.C. and bred In Decatur, Ga. Bill Anderson completed his B.A. in Journal- ism, from the School of Journalism of the Uni- versity of Georgia. His first success in the music business was early in his high school career, when, as leader of his own high school band, he won the Avondale High School Talent Show, the band of course playing a song that Bill had writ- ten. He has a considerable amount of radio credits, on such stations as WBGE in Atlanta, WEAS in Decatur, and WQXI television in Atlanta. He has played many one night stands and dances throughout the country, and has been met every- where with tremendous enthusiasm. He has, in addition, been a DJ on various southern stations, and worked os sports writer for the DeKalb New Era, in Decatur and the Atlanta Constitution. His success as a songwriter was cemented when four different recording artists all had notable success with a Bill Anderson original, "Xity Lights," and when, in 1958 the same song re- ceived the BMI award for the best song in the C&W field for 1958. As a recording artist, he has been enjoying hit after hit, starting with his first Decca release, "That' What It’s Like To Be Lonesome." Others include "Ninety Nine,** "Walk Out Backwards," and "Po’ Folks." His hobbies include song-writing, baseball, foot- ball and collecting records. Paul Anka — ABC-Paramount In 1960, when Paul Anka turned 18 and was of legal age to appear in nightclubs, an exciting and most important new phase of his young but sensational career was launched. Debuting his act at Las Vegas' Sahara to tumultuous acclaim, he moved on to New York’s Copa and came away with a record-breaking engagement. Dates In a Miami Beach hotel and other famed niteries are now permanent stops in his constant travels. Born on July 30, 1941 in Ottawa, Paul's big break came when he approached Don Costa, then A&R head for ABC-Paramount Records, with four songs he had written. Among them was "Diana," which Costa and other AmPar execs felt Anka should record for them himself. It became a mil- lion-seller and launched the career of the young- ster. He has composed almost all of his hit sin- gles, is o solid LP seller and has an international acceptance with his recordings second to none. Ernest Ashworth — Decca Ernest Ashworth, made his first personal pro- fessional appearance in 1948 on Radio Station WLAC in Nashville, and has been going strong ever since. Born in Huntsville, Alabama, Ernest is one of five children. He decided on a musical career early in life, and taught himself to play the guitar at fifteen. He has appeared on practically all the major radio and TV stations in the South, and has made many appearances on the "Grand Ole Opry" and Ernest Tubb’s "Midnight Jamboree." Besides sing- ing, Ernest is a prolific song writter, and his songs have been recorded by such top country artists os Carl Smith, Jimmy Dickens and Wilma Lee Cooper. The artist lives happily with his wife Elizabeth and three children in Huntsville, where he also works for Redstone Arsenal, in missile develop- ment work. He hopes someday to devote all his time to music and to become a regular member of the "Opry.** In his spare time he enjoys hunting and fishing especially, and is constantly writing new songs. His Decca chart credits include "You Can’t Pick A Rose In December," "Forever Gone" and "Be Mine Again.** Hank Ballard & Midnighters — King The Midnighters, featuring Hank Ballard in the lead slot, rank as one of the most consistent, long- running hit-makers on the wax scene today. The fellas, who began as favorites in the rhythm & blues dept., have become equally as important in the pop category. Their fantastic string of King dual-mart chart winners includes "Work With Me Annie,** "Finger Poppin* Time," "Sexy Ways," "Annie Hod A Baby," "Let’s Go Again," "Let’s Go, Let’s Go, Let’s Co," "Hoochie Coochle Coo," "Teardrops On Your Letter" and the coupler which was the very first version of today's dance sensation, "The Twist." In addition, the fellas have turned out a host of money-making LP’s. Ballard, who makes Detroit his home town, is a baseball enthusiast and is quite prolific as a songwriter and arranger. Personal manager for the group is Ben Bart while the booking office is Universal Attractions. Harry Belafonte — RCA Victor Horry Belofonte has become one of the world’s best known artists as well as one of the world’s most dynomic and magnetic entertainers. He has that something extra that makes him a favorite of the masses. Born in N.Y.C., Harry moved to Jamaica, B.W.I., while a young boy. Then he returned to N.Y. to attend George Washington High School. After his discharge from the Navy he became a member of the American Negro The- atre Workshop and later joined the Dramatic Workshop where he developed his acting talents. Monte Kay heard Belafonte sing at a Workshop meeting and asked him if he would do the same “just for laughs" at the Royal Roost, a club which Kay owned. Belafonte did and Kay signed him to a contract which ran 20 weeks. From this engagement, Harry went on to become a fairly successful pop singer. But not satisfied with crooning he quit the field and opened a restau- rant in N.Y.’s Greenwich Village. During informal songfests at his eatery, Harry discovered a love for folk songs, sought out his friend Millard Thomas (now his accompanist) and together they built a repertoire of folk songs and ballads. He signed a Victor contract and has since had one success after another. In films he starred in "Bright Road," "Carmen Jones" and "Island In The Sun." In 1955 he took Broadway by storm with "Three For Tonight." His albums are con- tinually programmed by jockeys around the world. He has set attendance records everywhere and his TV appearances attract the highest ratings. There are few recording artists who rank with Bela- fonte. Brook Benton — Mercury To songster Brook Benton belongs the invalu- able asset of versatility. He can express himself with equal authority on material ranging from rhythmic teen-market numbers to ligit ballads, and, recently proven, to folk-like items (e.g. "Boll Weevil"). Benton’s career, two years as o hitmaker began in Camden, South Carolina, in a church choir di- rected by his father, and today he declares: ". . . of all the songs I’ve written and recorded, I’ve derived the most satisfaction from my album of spirituals, ‘If You Believe’.’’ At 17, he came to New York to seek his fortune as a songwriter, not a singer. Though success wasn’t sudden in story-book fashion, he eventually clicked through his association with publisher- writer Dave Dreyer, now Benton’s manager. To- gether, they wrote "Looking Back,"
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updated 31.12.2021
RANK TOP 10 best footballers from each country (and next in order)
* country non-FIFA
** country has ceased to exist
*** skill...
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BigSoccer Forum
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https://www.bigsoccer.com/threads/top-10-best-footballers-from-each-country.2124082/
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updated 31.12.2021
RANK TOP 10 best footballers from each country (and next in order)
* country non-FIFA
** country has ceased to exist
*** skill level 1-16
All-time rank
Ten players of each country in order from 1st to 10th (and honorable mention also in order).
One player - one country, taking into account his full career.
If a player has appeared in many countries, choice country was made taking into account a larger number of elements.
UEFA:
ALBANIA - LORIK CANA-9 (D/00), Riza Lushta-9 (F/40), Naim Kryeziu-9 (M/40), Loro Borici-9 (F/40), Elseid Hysaj-9 (D/10), Panajot Pano-10 (F/60), Igli Tare-10 (F/00), Erjon Bogdani-10 (F/00), Altin Rrakli-10 (F/90), Berat Djimsiti-10 (D/10) > Thomas Strakosha-10 (G/10), Altin Lala-10 (M/00), Etrit Berisha-10 (G/10), Mergim Mavraj-10 (D/10), Sokol Kushta-10 (F/80), Fatmir Vata-10 (M/00), Rudi Vata-10 (D/90), Besnik Hasi-10 (M/90), Sulejman Demollari-11 (M/90), Foto Strakosha-11 (G/90), Blendar Kola-11 (M/90), Hysen Zmijani-11 (D/00), Ivan Balliu-11 (D/10), Arlind Ajeti-11 (D/10), Arjan Beqaj-11 (G/00), Ledian Memushaj-11 (M/10), Mirel Josa-11 (M/80), Shkelzen Gashi-11 (M/10), Sokol Cikalleshi-11 (F/10), Ilir Pernaska-11 (M/70), Bekim Balaj-11 (F/10), Armando Broja-11 (F/10), Refik Resmja-11 (F/50), Keidi Bare-11 (M/10), Muhamet Dibra-11 (D/50), Armand Sadiku-12 (F/10), Edwin Murati-12 (M/90), Alban Bushi-12 (F/00), Ervin Skela-12 (M/00), Marash Kumbulla-12 (D/10), Nedim Bajrami-12 (M/10), Ansi Agolli-12 (D/00), Medin Zhega-12 (M/70), Perlat Musta-12 (G/80), Qemal Vogli-12 (G/50), Ardjan Ismajli-12 (D/10), Geri Cipi-12 (D/00), Emir Lenjani-12 (M/10), Rey Manaj-12 (F/10), Azdren Llullaku-12 (F/10), Myrto Uzuni-12 (M/10), Blendi Nallbani-12 (G/90), Klodian Duro-12 (M/00), Altin Haxhi-12 (D/00), Arben Minga-12 (D/80), Shqelkim Muca-12 (M/80), Ramazan Rragami-12 (M/60), Andi Lila-12 (M/10), Frederic Veseli-12 (D/10), Taulant Xhaka-12 (M/10), Augustin Kola-12 (F/80)
ANDORRA - ILDEFONS LIMA-12 (D/00), Marc Bernaus-12 (D/00), Koldo Alvarez-13 (G/90), Marc Vales-13 (M/10), Antoni Lima Sola-13 (D/90), Justo Ruiz-13 (M/80), Jesus Lucendo-14 (M/80), Lluis Basagana Soto-14 (M/80), Marcio Vieira-14 (M/10), Marc Pujol-14 (M/00) > Oscar Soneeje-14 (D/90), Josep Gomez-14 (G/00), Max Llovera-14 (D/10), Emiliano Gonzales-14 (F/90), Cucu Fernandez-15 (F/10), Cristian Martinez-15 (M/10), Sergi Moreno-15 (M/00), Txema Garcia-15 (D/90), Josep Ayala-15 (M/00), Agusti Pol-15 (M/90), Fernando Silva-15 (F/00), Iker Alvarez-15 (G/10), Marc Garcia Renom-15 (D/10), Jordi Alaez-15 (M/10), Ludovic Clemente-15 (M/10), Emili Garcia-15 (M/10), Manolo Jimenez-15 (M/00), Christian Garcia-15 (D/10)
ARMENIA - HENRIKH MKHITARYAN-6 (M/10), Yura Movsisyan-10 (F/10), Michel Der Zakarian-10 (D/80), Eric Assadourian-10 (M/90), Marcos Pizzelli-10 (M/10), Roman Berezowski-11 (G/90), Lucas Zalarayan-11 (M/10), Sargis Hovsepyan-11 (D/00), Artur Petrosjan-12 (M/00), Sargis Adamyan-12 (F/10) > Gevorg Ghazaryan-12 (M/10), Varazdat Haroyan-12 (D/10), Edgar Manucharyan-12 (M/10), Apoula Edel-12 (G/10), Khoren Bayramyan-12 (M/10), Tigran Barseghyan-12 (M/10), Hamlet Mkhitaryan I- 12 (F/80), Ashot Khachatryan-12 (D/80), Garnik Avalyan-12 (F/90), Norberto Briasco-12 (M/10), Gevorg Kasparov-13 (G/00), Andre Calisir-13 (D/10), Aras Ozbiliz-13 (M/10), Ara Hakobyan-13 (F/00), Karen Markosyan-13 (M/80), Haratun Vardanyan-13 (D/00), Edgar Babayan-13 (M/10), Kamo Hovhannisyan-13 (D/10), Vahan Bichakhchyan-13 (M/10), Eduard Spertsyan-13 (M/10)
AUSTRIA - MATTHIAS SINDELAR-4 (M/30), Josef Bican-5 (F/40), Hans Krankl-5 (F/70), Ernst Ocwirk-5 (M/50), Gerhard Hanappi-6 (M/50), David Alaba-6 (D/10), Anton Schaal-7 (M/30), Anton Polster-7 (F/80), Bruno Pezzey-7 (D/80), Herbert Prohaska-7 (M/80) > Robert Sara-7 (D/70), Ernst Happel-7 (D/50), Erich Probst-7 (F/50), Franz Binder-7 (F/30), Robert Dienst-7 (F/50), Rudolf Hiden-7 (G/30), Karl Sesta-7 (D/30), Josef Smistik-7 (M/30), Michael Konsel-7 (G/90), Walter Zeman-7 (G/50), Christian Fuchs-8 (D/10), Andreas Herzog-8 (M/90), Friedl Koncilia-8 (G/70), Karl Decker-8 (M/40), Karl Koller-8 (M/50), Ernst Stojaspal-8 (F/50), Kurt Jara-8 (M/70), Zlatko Junuzovic-8 (M/10), Walter Schachner-8 (M/80), Marko Arnautovic-8 (M/10), Martin Stranzl-8 (D/00), Walter Nausch-8 (M/30), Karl Zischek-8 (M/30), Marcel Sabitzer-8 (M/10), Fritz Gschweidl-9 (M/20), Franz Hasil-9 (M/60), Ivica Vastic-9 (M/90), Otto Konrad-9 (G/90), Heribert Weber-9 (M/80), Willi Kreuz-9 (F/70), Wilhelm Huberts-9 (D/60), Kurt Welzl-9 (F/70), Erich Hof-9 (F/50), Horst Nemec-9 (F/60), Mark Janko-9 (F/00), Heinrich Hiltl-9 (F/40), Karl Kodat-9 (F/70), Hansi Horvath-9 (F/20), Andreas Ivanschitz-9 (M/00), Franz Weselik-9 (F/20), Johann Hans Buzek-9 (F/50), Josef Hickersberger-9 (M/70), Gernot Fraydl-9 (G/60), Johann Jan Studnicka-9 (F/1900), Wolfgang Feiersinger-9 (D/90), Theodor Wagner-9 (F/50), Josef Uridil-9 (F/20), Ferdinand Wesely-9 (M/20), Willi Hahnemann-9 (F/40), Alfred Riedl-9 (F/70), Peter Platzer-9 (G/30), Edi Krieger-9 (D/70), Franz Wagner-9 (M/30), Erich Obermayer-9 (D/70), Alfred Korner-9 (M/40), Siegfried Joksch-9 (M/40), Franz Wohlfarth-9 (G/80), Paul Halla-9 (D/50), Peter Schottel-9 (D/90), Kurt Schmied-9 (G/50), Dietmar Kuhbauer-9 (M/90), Peter Stoger-9 (M/90),Gerhard Rodax-9 (F/80), Klaus Lindenberger-9 (G/80), Andreas Ogris-9 (F/80), Martin Harnik-9 (M/10), Rudolf Flogel-9 (M/60), Heimo Pfeiffenberger-9 (M/80), Felix Gasselich-9 (M/80), Julian Baumgartlinger-9 (M/10), Josef Blum-9 (D/20), Karl Stotz-10 (D/50), Martin Hinteregger-10 (D/10), Sebastian Prodl-10 (D/10), Ferdinand Swatosch-10 (F/20), Aleksandar Dragovic-10 (D/10), Harald Cerny-10 (M/90), Richard Kuthan-10 (M/20), Hans Pirkner-10 (F/70), Camillo Jerusalem-10 (M/30), Ernst Melchior-10 (F/40), Leopold Hoffmann-10 (M/30), Peter Pacult-10 (F/80), Hans Klima-10 (F/20), Andreas Ulmer-10 (D/10), Michael Gregoritsch-10 (M/10), Rudolf Zohrer-10 (G/30), Alex Manninger-10 (G/00), Anton Powolny-10 (F/20), Christopher Trimmel-10 (D/10), Konrad Laimer-10 (M/10), Michael Liendl-10 (M/10)
AZERBAIJAN - NAZIM SULEYMANOV- 11 (F/90), Gara Garayev-11 (M/10), Rashad Sadiqov-11 (D/00), Veli Gasimov-11 (F/90), Gurban Gurbanow-11 (F/90), Aleksandr Zhidkov-11 (G/90), Emin Mahmudov-11 (M/10), Dmitri Nazarov-11 (M/10), Richard Almeida-11 (M/10), Eddy Pascual-12 (M/10) > Vagif Javadov-12 (F/10), Maxim Medvedev-12 (D/10), Branimir Subasic-12 (F/00), Kamran Aghayev-12 (G/10), Dmitri Kramarenko-12 (G/90), Filip Ozobic-12 (M/10), Lev Mayorov-12 (M/90), Mahir Madatov Emreli-12 (F/10), Badavi Husseynov-12 (D/10), Ufuk Budak-12 (D/10), Yasar Vahabzada-12 (M/80), Emin Nouri-12 (D/10), Ramil Sheydayev-12 (M/10), Shahruddin Mahammaddaliyev-12 (G/10), Ramiz Mammadov-13 (D/00), Yunis Guseynov-13 (F/90), Elvin Mammadov-13 (M/10), Pavlo Pashayev-13 (D/10), Rauf Aliyev-13 (F/10), Namiq Alasgarov-13 (M/10), Renat Dadashov-13 (F/10), Araz Abdullayev-13 (M/10), Aslan Kerimov-13 (D/00), Vidadi Rzayev-13 (M/90), Vladislav Lemish-13 (M/90), Ilqar Gurbanov-13 (M/00), Emin Agayev-13 (D/90), Mahir Shukurov-13 (D/00), Deni Qaisumov-13 (D/90), Samir Alakberov-13 (F/90), Nazim Aliyev-13 (F/80), Rasim Abusyev-13 (M/80), Anton Krivotsyuk-13 (D/10)
BELGIUM - KEVIN DE BRUYNE-4 (M/10), Eden Hazard-4 (M/10), Paul Van Himst-5 (F/60), Thibaut Courtois-5 (G/10), Romelu Lukaku-5 (F/10), Jan Ceulemans-5 (M/80), Michel Preudhomme-6 (G/90), Jean Marie Pfaff-6 (G/80), Enzo Scifo-6 (M/80), Raymond Braine-6 (F/30) > Eric Gerets-6 (D/80), Wilfried Van Moer-6 (M/70), Jef Mermans-6 (F/40), Vincent Kompany-7 (D/10), Dries Mertens-7 (M/10), Francois Van der Elst-7 (M/70), Joseph Jef Jurion-7 (M/50), Rik Henri Coppens-7 (M/50), Erwin Van den Bergh-7 (F/80), Ludo Coeck-7 (M/70), Rene Van der Eycken-7 (M/70), Christian Piot-7 (G/70), Radja Naingoolan-7 (M/10), Georges Grun-7 (D/80), Walter Meeuws-7 (D/80), Franky Vercauteren-7 (M/80), Thomas Meunier 7 (D/10), Marc Wilmots-7 (M/90), Daniel Van Buyten-7 (D/00), Bernard Voorhoof-7 (M/30), Michel De Wolf-7 (D/80), Toby Alderweireld-7 (D/10), Jan Vertonghen-7 (D/10), Thomas Vermaelen-7 (D/00), Franky Van der Elst-8 (M/80), Axel Witsel-8 (M/10), Luc Nilis-8 (F/90), Alex Czeniatynski-8 (F/80), Marounne Fellaini-8 (M/10), Lorenzo Staelens-8 (M/90), Armand Swartenbroeks-8 (D/20), Christian Benteke-8 (F/10), Raoul Lambert-8 (F/60), Hugo Broos-8 (D/70), Leo Clijsters-8 (D/80), Marc Degryse-8 (F/90), Philip Albert-8 (D/90), Luc Millecamps-8 (D/70), Nico Claesen-8 (F/80), Johan Devrindt-8 (F/60), Yannick Ferreira Carrasco-9 (M/10), Bart Goor-9 (M/00), Maurice Martens-9 (D/70), Emile Lokonda Mpenza-9 (F/00), Michy Batshuayi-9 (F/10), Moussa Dembele-9 (M/10), Jean Capelle-9 (F/30), Wesley Sonck-9 (F/00), Jacky Munaron-9 (G/80), Wilfred Puis-9 (M/70), Erwin Van den Daele-9 (M/70), Thorgan Hazard-9 (M/10), Josip Weber-9 (F/90), Luis Oliveira-9 (F/90), Laurent Verbiest-9 (D/60), Julien Cools-9 (M/70), Timmy Simons-9 (M/00), Gilles Van Binst-9 (D/70), Georges Heylens-9 (D/60), Eric Deflandre-9 (D/90), Leopold Anoul-9 (M/50), Marc Van der Linden-9 (F/80), Jean Thissen-9 (D/70), Filip De Wilde-9 (G/80), Willy Wellens-9 (M/80), Raymond Mommens-9 (M/80), Gilbert Bodart-9 (G/80), Jean Dockx-9 (M/70), Vic Mees-9 (M/50), Jean Janssens-9 (M/70), Jean Nicolay-9 (G/60), Theo Custers-9 (G/80), Marc Emmers-9 (M/80), Silvio Proto-9 (G/00), Louis Van Hege-9 (M/1910), Albert De Cleyn-9 (F/40), Victor Lemberechts-9 (M/40), Roger Claessen-9 (F/60), Desire Bastin-9 (M/20), Guy Vendersmissen-9 (M/80), Michel Renquin-9 (D/70), Pierre Braine-9 (M/20), Nico Dewalque-9 (D/70), Denis Houf-9 (M/50), Leon Semmeling-9 (M/60), Kevin Mirallas-9 (M/10), Nacer Chadli-9 (M/10), Rene Verheyen-9 (M/70), Nico van Kerckhoven-9 (D/90), Thomas Buffel-9 (M/00), Johan Walem-9 (M/90), Odilon Polleunis-9 (F/60), Gert Verheyen-9 (M/90), Louis Carre-9 (M/50), Stephane Demol-9 (D/80), Youri Tielemans-9 (M/10), Roger Van Gool-9 (M/70), Johny Thio-9 (M/60), Danny Boffin-9 (M/90), Georges Leekens-9 (D/70), Robert Paverick-9 (D/40), Hans Vanaken-9 (M/10), Guy Dardenne-9 (M/70), Philippe Desmet-9 (M/80), Paul Vanderberg-9 (M/60), Jan Verheyen-9 (M/60), Jacques Teugels-9 (F/70), Eric Van Meir-9 (D/90), Walter Bassegio-9 (M/00), Philippe Vande Walle-9 (G/90), Albert Cluytens-9 (M/70), Divock Origi-9 (F/10), Leandro Trossard-9 (M/10), Steven Defour-10 (M/10), Bruno Versavel-10 (M/80), Simon Mignolet-10 (G/10), Timothy Castagne-10 (D/10), Jacky Stockman-10 (F/60), Marc Baecke-10 (D/80), Victor Wegria-10 (F/50), Bertrand Crasson-10 (D/90), Jean Francois Gillet-10 (G/00), Koen Casteels-10 (G/10), Jelle Vossen-10 (F/90), Vital Borkelmans-10 (D/90), Branko Strupar-10 (F/90), Fernand Boone-10 (G/60), Gilles De Bilde-10 (M/90), Leo Van der Elst -10 (M/80), Jean De Bie-10 (G/20), Robert Coppee -10 (F/20), Arthur Ceuleers-10 (F/40), Frans Vermeyen-10 (M/60), Henri Meert-10 (G/40), Patrick Vervoort-10 (M/80), Gust Hellemans-10 (M/30), Yves Vanderhaeghe-10 (M/00), Dany Verlinden-10 (G/90), Alfons Van Brandt-10 (D/50), Ronny Martens-10 (F/80), Fons Bastijns-10 (D/70), Robert De Veen-10 (F/1910), Leander Dendoncker-10 (M/10), Adnan Januzaj-10 (M/10), Sven Kums-10 (M/10), Yvan Hoste-10 (M/80), Stefaan Tanghe-10 (M/00), Francis Severeyns-10 (F/80), Freddy Chaves-10 (M/40), Nicolas Lombaerts-10 (D/00), Pierre Hanon-10 (M/60), Mbo Mpenza-10 (F/00), Johnny Dusbaba-10 (D/70), Guillaume Gillet-10 (D/00), Dennis Praet-10 (M/10), Dedryck Boyata-10 (D/10), Gerard Plessers-10 (M/80), Geert de Vlieger-10 (G/00), Filip Daems-10 (D/00), Dodi Lukebakio-10 (M/10), Vadis Odjidja-Ofoe-10 (M/10)
BOSNIA AND HERZEGOVINA - EDIN DZEKO-6 (F/10), Miralem Pjanic-6 (M/10), Mehmet Bazdarevic-8 (M/80), Hasan Salihamidzic-8 (M/00), Vedad Ibisevic-8 (F/10), Meho Kodro-8 (F/90), Zvjezdan Misimovic-8 (M/00), Sergei Barbarez-8 (M/00), Elvir Bolic-8 (M/90), Edin Visca-8 (M/10) > Vladimir Gudelj-8 (F/90), Senad Lulic-9 (M/10), Emir Spahic-9 (D/00), Asmir Begovic-9 (G/10), Sead Kolasinac-9 (D/10), Elvir Baljic-10 (M/90), Fahrudin Omerovic-10 (G/80), Elvir Rahimic-10 (M/00), Sejad Salihovic-10 (M/10), Toni Sunjic-10 (D/10), Zlatan Muslimovic-10 (M/90), Mirsad Hibic-10 (D/90), Edin Mujcin-10 (M/90), Ibrahim Sehic-10 (G/10), Rade Krunic-11 (M/10), Haris Medunjanin-11 (M/00), Ervin Zukanovic-11 (D/10), Izet Hajrovic-11 (M/10), Husref Musemic-11 (F/80), Senijad Ibricic-11 (M/00), Amir Hadziahmetovic-11 (M/10), Vedin Music-11 (D/00), Zlatan Bajramovic-11 (M/00), Smajl Prevljak-11 (M/10), Muhamed Konjic-11 (D/90), Ongjen Vranjes-11 (D/10), Sasa Papac-11 (D/00), Ermin Bicakcic-11 (D/10), Mario Vrancic-11 (M/10), Kenan Kodro-11 (F/10), Danijel Milicevic-11 (M/10), Mladen Bartolovic-11 (M/00), Ajdin Mahmutovic-11 (F/10), Muhamed Besic-11 (M/10), Milan Duric-11 (F/10), Mato Jajalo-11 (M/10), Anel Ahmedhodzic-11 (D/10), Kenan Hasagic-11 (G/90), Semir Stilic-11 (M/10), Amer Gojak -11 (M/10), Gojko Cimirot-11 (M/10), Miroslav Stevanovic-11 (M/10), Armin Hodzic-11 (F/10), Tomislav Piplica-11 (G/00), Marko Topic-11 (M/00), Mirsad Beslija-11 (M/00), Mensur Mujdza-11 (D/00), Dlino Hotic-11 (M/10), Sanjin Prcic-12 (M/10), Damir Blatnjak-12 (M/00), Ermedin Demirovic-12 (F/10), Jasmin Buric-12 (G/10), Narmin Sabic-12 (M/90), Dzelaludin Muharemovic-12 (M/00), Adnan Kovacevic-12 (G/10)
BELARUS - ALAKSANDR HLEB-8 (M/00), Valyentin Byalkevitch-8 (M/90), Sergey Aleynikov-8 (M/80), Andrey Zygmantovich-8 (M/80), Alaksandr Khatskevich-9 (M/90), Sergey Gotsmanov-9 (M/80), Vitaliy Kutuzov-10 (M/00), Maksim Romaschenko-10 (M/00), Vitaliy Rodionow-10 (F/10), Sergey Gurenko-10 (D/00) > Alaksandr Martynovich-10 (D/10), Ihar Stashevich-10 (M/10), Yuri Zhevnov-10 (G/00), Siarhey Kislyak-10 (M/10), Siarhey Kornilenko-10 (F/00), Ihar Shitov-10 (D/10), Ihar Hurynovich-11 (F/80), Tsimafey Kalachow-11 (M/00), Renan Bressan-11 (M/10), Alaksandr Kulchy-11 (M/90), Roman Vasilyuk-11 (F/00), Syarhey Omelyanchuk-11 (D/00), Siarhey Chernik-11 (G/10), Sergey Krivets-11 (M/10), Andrey Lawrik-11 (M/00), Andrey Satsunkevich-11 (G/90), Piotr Kachuro-11 (F/90), Anton Putsila-11 (M/00), Stanislav Drahun-11 (M/10), Egor Filipenko-11 (D/10), Siarhey Shtaniuk-11 (D/90), Maksim Skavysh-11 (M/10)
BULGARIA - HRISTO STOICHKOV-5 (F/90), Hristo Bonev-6 (M/70), Georgi Asparukhov-6 (F/60), Krasimir Balakov-6 (M/90), Dimitar Berbatov-6 (F/00), Stefan Bozhkov-7 (M/50), Aleksander Shalamanov-7 (D/60), Ivan Petkov Kolev-7 (M/50), Luboslav Penev-8 (F/90), Dimitar Penev-8 (D/70) > Petar Zhekov-8 (F/60, Emil Kostadinov-8 (F/90), Dimitar Yakimov-8 (M/60), Martin Petrov-8 (M/00), Stilian Petrov-9 (M/00), Nashko Sirakov-9 (F/80), Georgi Naydenov-9 (G/50), Nikola Kotkov-9 (F/60), Dinko Dermendzhiev-9 (M/60), Yordan Lechkov-9 (M/90), Kiril Ivkov-9 (D/70), Radostin Kishishev-9 (D/00), Daniel Borimirov-9 (M/90), Andrey Zhelazkov-9 (M/80), Marian Hristov-9 (M/90), Georgi Dimitrov-9 (D/80), Ayan Sadakov-9 (M/80), Ivaylo Yordanov-9 (M/90), Borislav Mihaylov-9 (G/80), Todor Diev-9 (M/50), Marcelinho-9 (M/10), Dimitar Ivankov-9 (G/00), Atanas Mihaylov-9 (F/70), Stoycho Mladenov-9 (F/80), Petar Aleksandrov-9 (F/90), Pavel Panov-9 (M/70), Manol Manolov-9 (D/50), Kiril Rakarov-9 (D/50), Ivelin Popov-9 (M/10), Trifon Ivanov-10 (D/90), Ivan Dimitrov-10 (D/60), Petar Hubchev-10 (D/90), Simeon Simeonov-10 (G/60), Dobromir Zhechev-10 (D/60), Valeri Bozhinov-10 (F/00), Svetoslav Todorov-10 (F/00), Radoslav Zdravkov-10 (M/80), Svetoslav Dyakov-10 (M/10), Zdravko Zdravkov-10 (G/90), Bozhil Kolev-10 (M/70), Stanislav Manolev-10 (D/10), Vladislav Stoyanov-10 (G/10), Dimitar Milanov-10 (M/50), Georgi Slavkov-10 (F/80), Panayot Panayotov-10 (M/50), Nikolay Mihaylov-10 (G/10), Lubomir Angelov-10 (F/30), Tsvetan Yonchev-10 (M/80), Nikola Kovachev-10 (M/50), Boris Apostolov-10 (M/50), Apostol Sokolov-10 (G/40), Plamen Markov-10 (M/80), Cicinho Gusmao -10 (D/10), Martin Kamburov-10 (F/00), Velko Yotov-10 (F/90), Boris Gaganelov-10 (D/60), Dobromir Tashkov-10 (F/50)
CROATIA - LUKA MODRIC-4 (M/10), Davor Suker-5 (F/90), Mario Mandzukic-6 (F/10), Ivan Rakitic-6 (M/10), Ivan Perisic-7 (M/10), Robert Jarni-7 (D/90), Alen Boksic-7 (F/90), Robert Prosinecki-7 (M/90), Zvonimir Boban-7 (M/90), Slaven Bilic-7 (D/90) > Darijo Srna-7 (D/00), Robert Kovac-7 (D/00), Aljosa Asanovic-7 (M/90), Marcelo Brozovic-7 (M/10), Dejan Lovren-7 (D/10), Andrej Kramaric-7 (M/10), Josip Simunic-8 (D/00), Mario Stanic-8 (M/90), Mateo Kovacic-8 (M/10), Igor Tudor-8 (M/00), Ivica Olic-8 (F/00), Franjo Glaser-8 (G/40), Dario Simic-8 (D/00), Ivan Klasnic-8 (F/00), Mladen Petric-8 (M/00), Eduardo da Silva-8 (F/00), Zvonimir Soldo-8 (M/90), Danijel Subasic-9 (G/10), Ante Rebic-9 (M/10), Nikola Jerkan-9 (D/90), Dado Prso-9 (F/90), Srecko Bogdan-9 (D/80), Milan Badelj-9 (M/10), Nikola Kalinic-9 (F/10), Drazen Ladic-9 (G/90), Vedran Corluka-9 (D/10), Igor Stimac-9 (D/90), Sime Vrsaljko-9 (D/10), Goran Vlaovic-9 (F/90), Alen Peternac-9 (F/90), Boris Zivkovic-9 (D/90), Franjo Wolfl-9 (F/40), Marko Mlinaric-9 (M/80), Mario Pasalic-10 (M/10), Domagoj Vida-10 (D/10), Zoran Vulic-10 (D/80), Danijel Pranjic-10 (M/00), Stipe Pletikosa-10 (G/00), Zlatko Kranjcar-10 (F/80), Ardian Kozniku-10 (F/90), Vedran Runje-10 (G/00), Ivan Santini-10 (F/10), Niko Kovac-10 (M/00), August Lesnik-10 (F/30), Milan Rapaic-10 (M/90), Marijan Kovacevic-10 (D/90), Ivan Leko-10 (M/00), Bosko Balaban-10 (F/00), Igor Cvitanovic-10 (F/90), Tomislav Sokota-10 (F/00), Lovre Kalinic-10 (G/10), Nenad Bjelica-10 (M/90), Marin Tomasov-10 (M/10), Nikola Vlasic-10 (M/10), Davor Vugrinec-10 (F/00), Gordon Schildenfeld-10 (D/10), Dominik Livakovic-10 (G/10), Stjepan Tomas-10 (D/00), Sammir-10 (M/10), Ivica Krizanac-10 (D/00), Ante Budimir-10 (F/10), Marko Pjaca-10 (M/10), Marino Biliskov-10 (D/00), Igor Biscan-10 (D/00), Mislav Orsic-10 (M/10), Mario Bazina-10 (M/00), Bruno Petkovic-10 (F/10), Gustav Lehner-10 (M/30), Niko Kranjcar-10 (M/00), Josip Brekalo-10 (M/10), Marko Livaja-10 (M/10), Duje Caleta-Car-10 (D/10), Goran Juric-10 (D/80), Ongjen Vukojevic-10 (M/00), Marko Babic-11 (M/00), Robert Spehar-11 (F/90), Mijo Caktas-11 (M/10), Vlado Kasalo-11 (D/80), Daniel Saric-11 (D/90), Lovro Majer-11 (M/10), Silvio Maric-11 (M/90), Anthony Seric-11 (D/00), Ivan Strinic-11 (D/10), Tomislav Butina-11 (G/00), Marijan Mrmic-11 (G/90), Jerko Leko-11 (M/00), Tin Jedvaj-11 (D/10), Borna Sosa-11 (D/10), Borna Barisic-11 (D/10), Tonci Gabric-11 (G/90), Josip Juranovic-11 (D/10), Kristjan Lovric-11 (M/10), Franko Andrijasevic-11 (M/10), Damir Kreilach-11 (M/10), Filip Uremovic-11 (D/10), Josko Gvardiol-11 (D/10), Giovanni Rosso-11 (M/00)
CYPRUS - MICHALIS KONSTANTINOU-9 (F/00), Tasos Konstantinou-10 (M/70), Stavros Papadopoulos-10 (D/80), Giannakis Okkas-10 (F/00), Kostas Charalambides-10 (M/00), Konstantinos Laifis-11 (D/10), Pieros Sotiriou-11 (F/10), Demetris Kizas-11 (D/70), Sotiris Kaiafas-12 (F/70), Rainer Rauffmann-12 (F/90) > Giorgos Savvidis-12 (M/80), Sinisa Gogic-12 (F/90), Fotis Papoulis-12 (M/10), Pamboulis Charalampos Papadopoulos-12 (M/70), Panikos Krystallis-12 (F/60), Pavlos Vassiliou-12 (M/60), Pambos Pittas-12 (D/90), Andreas Sotiriou-12 (F/90), Konstantinos Makrides-12 (M/10), Niki Papavassiliou-12 (M/90), Dossa Junior-12 (D/10), Marios Agathokleous-12 (F/00), Marios Christodoulu-12 (D/90), Elias Charalambous-12 (D/00), Milenko Spoljaric-12 (M/90), Grigoris Kastanos-12 (M/10), Jason Demetriou-12 (D/10), Demetris Ioannou-12 (D/90), Nikos Panayiotou-12 (G/90), Charalambos Kyriakou-12 (M/10), Giorgios Pantziaras-12 (G/80), Akis Agiomamitis-12 (D/80), Giorgos Merkis-12 (D/10), Demetris Christofi-12 (M/10), Andreas Christodolou-12 (M/60), Urko Pardo-12 (G/10), Stathis Aloneftis-12 (M/00), Kostas Artymatas-12 (M/10), Stelios Andreou-12 (D/10), Giasoumis Giasoumi-12 (F/00), Nikolas Ioannou-13 (D/10), Kyriakos Koureas-13 (D/70), Panikos Xiourouppas-13 (F/90), Andros Charitou-13 (G/80), Kostas Panayiotou-13 (D/60), Ioanis Pittas-13 (M/10), Antonis Georgallides-13 (G/10), Andreas Avraam-13 (M/10), Giannou Ioannou-13 (F/90), Georgios Efrem-13 (M/10), Nikos Pantziaras-13 (M/70), Menelaos Asprou-13 (M/60), Theofanis Theofanos-13 (M/70), Andros Petrides-13 (G/90), Gregory Savva-13 (M/70), Andreas Kanaris-13 (F/70), Andreas Karo-13 (D/10), Varnavas Christofi-13 (G/60), Ioannis Kousoulos-13 (M/10), Giannakis Giandoudakis-13 (M/80), Alex Gogic-13 (M/10), Filippos Demitriou-13 (F/70), Valentinos Sielis-13 (D/10)
CZECHIA - PAVEL NEDVED-5 (M/00), Petr Cech-6 (G/00), Jan Koller-7 (F/00), Tomas Skuhravy-7 (F/90), Tomas Rosicky-7 (M/00), Milan Baros-7 (F/00), Marek Jankulovski-7 (D/00), Karel Poborsky-7 (M/90), Miroslav Kadlec-7 (D/90), Michal Bilek-7 (M/80) > Tomas Repka-8 (D/00), Zdenek Grygera-8 (D/00), Lubos Kubik-8 (D/80), Pavel Kuka-8 (F/90), Tomas Ujfalusi-8 (D/00), Vladimir Smicer-8 (M/00), Radoslav Latal-8 (M/90), Radek Bejbl-8 (M/90), Ludek Miklosko-8 (G/90), Patrick Schick-8 (F/10), Vladimir Darida-9 (M/10), Pavel Srnicek-9 (G/90), Michal Kadlec-9 (D/10), Ivan Hasek-9 (M/80), Jaroslav Plasil-9 (M/00), David Lafata-9 (F/10), Patrik Berger-9 (M/90), Jiri Nemec-9 (M/90), Vratislav Lokvenc-9 (F/00), Tomas Soucek-9 (M/10), Karel Rada-9 (D/00), Tomas Galasek-9 (M/00), Jan Stejskal-9 (G/80), Tomas Vaclik-9 (G/10), Jan Suchoparek-9 (D/90), Pavel Kaderabek-9 (D/10), Tomas Hubschman-9 (D/00), Theodor Gebreselasie-9 (D/10), Pavel Horvath-9 (M/00), Pavel Hapal-10 (M/90), David Jarolim-10 (M/00), Matej Vydra-10 (M/10), Borek Dockal-10 (M/10), Radek Drulak-10 (F/90), Tomas Sivok-10 (D/10), Petr Kouba-10 (G/90), Jiri Pavlenka-10 (G/10), Antonin Barak-10 (M/10), Jaroslav Drobny-10 (G/00), Ladislav Krejci I-10 (M/10), Jan Simak-10 (M/00), Jaromir Blazek-10 (G/90), Jan Lastuvka-10 (G/00), Vaclav Nemecek-10 (M/80), Vladimir Coufal-10 (D/10), Tomas Necid-10 (F/10), Jiri Stajner-10 (M/00), Jiri Jarosik-10 (M/00), Tomas Kalas-10 (D/10), Jakub Jankto-10 (M/10), Josef Hosbauer-10 (M/10), David Rozehnal-10 (D/00), Martin Jiranek-10 (D/00), David Limbersky-10 (D/10), Jiri Novotny-10 (D/90), Milan Petrzela-10 (M/10), Roman Hubnik-10 (D/00), Antonin Kinsky-10 (G/00), Horst Siegl-10 (F/90), Marek Suchy-10 (D/10), Libor Sionko-10 (M/00), Milan Skoda-10 (F/10), Michal Krmencik-10 (F/10), Marek Matejovsky-10 (M/10), Ondrej Celustka-10 (D/10), Tomas Holes-10 (M/10), Lukas Masopust-10 (M/10), Tomas Pekhart-10 (F/10), Michal Travnik-10 (M/10), Josef Sural-10 (M/10), Zdenek Svoboda-10 (M/90), Michal Hornak-10 (D/90), Daniel Pudil-10 (D/00), Daniel Kolar-10 (M/10), Adam Hlozek-10 (M/10), Petr Sevcik-10 (M/10), Stanislav Vlcek-10 (M/00), Ondrej Kolar-11 (G/10), Petr Jiracek-11 (M/10), Zdenek Pospech-11 (D/00), Alex Kral-11 (M/10), Vaclav Sverkos- 11 (M/00), Marek Heinz-11 (F/00), Radoslav Kovac-11 (D/00), Ondrej Kudela-11 (D/10), Frantisek Rajtoral-11 (D/10), Jan Polak-11 (M/00), Ivo Ulich-11 (M/90), Jan Kuchta-11 (F/10), Tomas Koubek-11 (G/10), Jan Kopic-11 (M/10), Martin Frydek-11 (M/90), Martin Fenin-11 (M/10), Rudolf Skacel-11 (M/00), Marek Nikl-11 (D/00), Oldrich Machala-11 (D/80), Rene Wagner-11 (F/90), Miroslav Baranek-11 (M/90), Roman Vonasek-11 (M/90), Martin Lukes-11 (M/00), Filip Novak-11 (D/10), Libor Dosek-11 (F/00), Daniel Zitka-11 (G/00), Milan Fukal-11 (D/00), Ladislav Maier-11 (G/00), Libor Kozak-11 (F/10), Richard Dostalek-11 (M/90), Rudolf Otepka-11 (M/00), Jakub Brabec-11 (D/10), Vaclav Kadlec-11 (M/10), Lukas Provod-11 (M/10)
DENMARK - MICHAEL LAUDRUP-4 (M/90), Allan Simonsen-5 (M/70), Peter Schmeichel-5 (G/90), Preben Elkjear Larsen-5 (F/80), Christian Eriksen-6 (M/10), Brian Laudrup-6 (M/90), Karl Aage Praest-7 (M/50), Morten Olsen-7 (D/80), Soren Lerby-7 (M/80), Frank Arnesen-7 (M/80) > Kasper Schmeichel-7 (G/10), Jon Dahl Tomasson-7 (M/00), Poul Tist Nielsen-7 (F/1910), John Angelo Hansen-7 (F/50), John Faxe Jensen-7 (M/90), Jan Heintze-7 (D/80), Poul Pedersen-7 (M/50), Henning Jensen-7 (M/70), Karl Aage Hansen-7 (M/40), Simon Kjaer-7 (D/10), Nils Middelboe-7 (M/1910), Christian Poulsen-8 (M/00), Ivan Nielsen-8 (D/80), Thomas Helveg-8 (D/90), Harald Nielsen-8 (F/60), Johnny Terney Hansen-8 (D/70), Dennis Rommedahl-8 (M/00), Ebbe Sand-8 (F/00), Thomas Sorensen-8 (G/00), Ole Madsen-8 (F/60), Pauli Jorgensen-8 (F/30), Thomas Gravesen-8 (M/00), John Lauridsen-8 (M/80), Martin Laursen-8 (D/90), Daniel Agger-8 (D/00), John Eriksen-8 (F/80), Flemming Povlsen-8 (F/90), Lars Bastrup-8 (M/70), Per Rontved-8 (D/70), Pierre-Emile Hojbjerg-8 (M/10), Jan Molby-8 (M/80), Helge Bronee-9 (M/50), Kristen Nygaard-9 (M/80), Henrik Andersen-9 (D/90), Ulrik Le Fevre-9 (M/70), Jesper Olsen-9 (M/80), Michael Krohn-Dehli-9 (M/10), Jan Sorensen-9 (M/80), Jorgen Kristensen-9 (M/70), John Sivebaek-9 (D/80), Jesper Gronkjear-9 (M/00), Martin Jorgensen-9 (M/00), Klaus Berggren-9 (M/80), Jorgen Sorensen-9 (M/40), Kim Vilfort-9 (M/90), Bent Christensen-9 (F/90), William Kvist-9 (M/10), Nicklas Bendtner-9 (F/10), Lasse Schone-9 (M/10), Axel Pilmark-9 (M/50), Fritz Tarp-9 (D/20), Thomas Delaney-9 (M/10), Daniel Wass-10 (M/10), Poul Rasmussen-10 (M/50), Johnny Bjerregaard-10 (F/60), Troels Rassmussen-10 (G/80), Lars Elstrup-10 (F/80), Per Frimann-10 (M/80), Lars Olsen-10 (D/80), Andreas Christensen-10 (D/10), Kenneth Brylle-10 (F/80), Birger Jensen-10 (G/70) Pione Sisto-10 (M/10), Kent Nielsen-10 (D/80), Kasper Dolberg-10 (F/10), Michael Manniche-10 (F/80), Ove Flindt-10 (M/70), Carsten Nielsen-10 (M/70), Ole Bjur-10 (M/90), Sophus Nilsen-10 (F/1900)
ENGLAND - BOBBY CHARLTON-3 (M/60), Stanley Matthews-3 (M/30), Kevin Keegan-4 (M/70), Gordon Banks-4 (G/60), Jimmy Greaves-4 (F/60), Alan Shearer-4 (F/90), Bobby Moore-4 (D/60), Gary Lineker-4 (F/80), Frank Lampard-4 (M/00), David Beckham-4 (M/00) > Wayne Rooney-4 (F/00), Geoff Hurst-5 (F/60), Tom Finney-5 (M/50), Steven Gerrard-5 (M/00), Harry Kane-5 (F/10), Bryan Robson-5 (M/80), Michael Owen-5 (F/00), Dixie Dean-5 (F/20), Paul Gascoigne-5 (M/90), Peter Shilton-5 (G/80), Raheem Sterling-5 (M/10), John Terry-5 (D/00), Duncan Edwards-5 (M/60), John Barnes-5 (M/80), Paul Scholes-6 (M/00), Billy Wright-6 (D/50), Ashley Cole-6 (D/00), Tommy Lawton-6 (F/30), Tony Adams-6 (D/60), Rio Ferdinand-6 (D/00), Sol Campbell-6 (D/90), Martin Peters-6 (M/60), Johnny Haynes-6 (M/50), Paul Ince-6 (M/90), Nat Lofthouse-6 (F/50), Ray Clemence-6 (G/70), Colin Todd-6 (D/70), Alan Ball-6 (M/60), Glenn Hoddle-6 (M/80), Stan Mortensen-6 (M/40), Nobby Stiles-6 (M/60), Kenny Sansom-6 (D/80), Jimmy Armfield-6 (D/60), Chris Waddle-6 (M/80), Cliff Bastin-6 (M/30), David Platt-7 (M/90), Phil Neal-7 (D/70), Ray Wilkins-7 (M/80), David Seaman-7 (G/90), Trevor Francis-7 (M/70), Terence Cooper-7 (D/70), Eddie Hapgood-7 (D/30), Steve McManaman-7 (M/90), Trent Alexander-Arnold- 7 (D/10), Tommy Taylor-7 (F/50), Jordan Henderson-7 (M/10), Raich Carter-7 (M/30), Jack Charlton-7 (D/60), Allan Clarke-7 (F/70), Michael Mills-7 (D/70), Charlie Buchan-7 (M/20), George Camsell-7 (F/20), Teddy Sheringham-7 (F/90), Alan Mullery-7 (M/60), Emlyn Hughes-7 (M/70), Ray Kennedy-7 (M/70), Stuart Pearce-7 (D/90), Gary Neville-7 (D/00), Ian Wright-7 (F/90), Jamie Carragher-7 (D/00), Jamie Vardy-8 (F/10), Ray Wilson-7 (D/60), Joe Hart-7 (G/10), Terry McDermott-7 (M/80), Steve Bloomer-7 (F/1900), Frank Swift-7 (G/40), Ron Flowers-7 (M/50), Matthew Le Tissier-7 (M/90), Des Walker-7 (D/90), Ian Callaghan-7 (M/70), Kieran Trippier-7 (D/10), Kyle Walker-7 (D/10), Marcus Rashford-7 (M/10), James Milner-7 (M/10), Peter Osgood-7 (F/60), Michael Carrick-7 (M/00), Martin Keown-7 (D/90), George Cohen-7 (D/60), Leighton Baines-7 (D/10), Luke Shaw-7 (D/10), Theo Walcott-7 (M/10), Gary Stevens-7 (D/80), Jermaine Defoe-7 (F/00), Jadon Sancho-7 (M/10), Bob Crompton-7 (D/1900), Phil Thompson-7 (D/70), Peter Bonetti-7 (G/60), Terry Butcher-7 (D/80), Viv Anderson-7 (D/80), Nigel Martyn-7 (G/90), Tony Book-7 (D/60), Gary Pallister-7 (D/90), Steve Bruce-7 (D/90), Colin Bell-7 (M/70), John Lukic-7 (G/80), Alan Hudson-7 (M/70), Trevor Brooking-7 (M/70), Roy McFarland-7 (D/70), Samuel Hardy-7 (G/1910), Peter Reid-7 (M/80), Neil Franklin-8 (D/40), Roger Hunt-8 (F/60), John Stones-8 (D/10), Graeme Le Saux-8 (D/90), Francis Lee-8 (F/60), Les Ferdinand-8 (F/90), Ashley Young-8 (M/00), Jordan Pickford-8 (G/10), Mark Wright-8 (D/80), Darren Anderton-8 (M/90), Martin Chivers-8 (F/70), Ernest Needham-8 (M/1890), Andy Cole-8 (F/90), Wilf Mannion-8 (M/40), Joe Cole-8 (M/00), Peter Beardsley-8 (M/80), Tony Woodcock-8 (F/80), Roger Byrne-8 (D/50), Lee Dixon-8 (D/90), Billy Walker-8 (M/20), Gareth Barry-8 (M/90), Norman Hunter-8 (M/60), Mick Channon-8 (F/70), Robbie Fowler-8 (F/90), Mark Hateley-8 (F/80), Tony Dorigo-8 (D/90), David Vernon Watson-8 (D/70), Ronnie Allen-8 (M/50), Erik Brook-8 (F/30), Glen Johnson-8 (D/10), Dennis Wise-8 (M/90), David Batty-8 (M/90), Gordon Cowans-8 (M/80), Dele Alli-8 (M/10), Gareth Southgate-8 (M/90), Tony Currie-8 (M/70), Jack Rowley-8 (F/40), Bobby Robson-8 (M/50), John Connelly-8 (F/60), Peter Broadbent-8 (M/50), Peter Withe-8 (F/80), Ted Drake-8 (F/30), Steve Coppel-8 (M/70), Jack Milburn-8 (F/50), Gerry Hitchens-8 (F/60), Tony Brown-8 (M/70), Bobby Smith-8 (F/50), David Jack-8 (F/20), Nigel Spink-8 (G/80), Laurie Cunningham-8 (M/70), Brian Kidd-8 (F/70), Jimmy Case-8 (M/70), Alan Smith-8 (F/80), Garry Birtles-8 (F/70), Ledley King-8 (D/00), Gary Cahill-8 (D/10), Jimmy Dickinson-8 (M/50), Jack Grealish-8 (M/10), Roy Goodall-8 (D/20), Ben Chilwell-8 (D/10), Harry Maguire-9 (D/10), Mason Mount-9 (D/10), Kieron Dyer-9 (M/00), Bill Foulkes-9 (D/60), Owen Hargreaves-9 (M/00), Paul Merson-9 (M/90), Joe Mercer-9 (M/30), Peter Crouch-9 (F/00), Kerry Dixon-9 (F/80), David Jack-9 (F/20), Brian Labone-9 (D/60), Daniel Sturridge-9 (F/10), John Fashanu-9 (F/80), Kevin Campbell-9 (F/90), Gary Mabbutt-9 (D/80), Clive Allen-9 (F/80), Sammy Crooks-9 (M/30), Scott Parker-9 (M/00), George Brown-9 (F/20), Arthur Rowley-9 (F/50), Neil Webb-9 (M/80), George Male-9 (D/30), Malcom MacDonald-9 (F/70), Trevor Steven-9 (M/80), Joe Baker-9 (F/60), David Rocastle-9 (M/80), Vivian Woodward-9 (M/1900), John Aston-9 (D/40), Billy Bassett-9 (M/1890), Kevin Hector-9 (F/70), Kevin Phillips-9 (F/00), Tom Cooper-9 (D/30), Joe Corrigan-9 (G/70), Tony Cottee-9 (F/80), John Goodall-9 (M/1890), Mike Summerbee-9 (M/70), Chris Woods-9 (G/90), Stan Cullis-9 (D/40), Ron Springett-9 (G/60), Bob Kelly-9 (F/1910), Joe Bradford-9 (F/20), John Hollins-9 (M/70), Andy Hinchcliffe-9 (D/90), Jamie Redknapp-9 (M/90), Gerry Francis-9 (M/70), Paul Parker-9 (D/90), Wayne Bridge-9 (D/00), Tim Flowers-9 (G/90), Kevin Beattie-9 (D/70), Robert Lee-9 (M/90), Terry Fenwick-9 (D/80), Dan Howe-9 (D/50), Jimmy Rimmer-9 (G/70), David James-9 (G/00), Phil Parkes-9 (G/70), Ted Sagar-9 (G/30), Paul Madeley-9 (D/70), Danny Welbeck-9 (F/10), Kenny Swain-9 (D/80), Bryan Douglas-9 (M/50), Emie Blenkinsop-9 (D/20), Derek Kevan-9 (F/50), Harry Hibbs-9 (G/30), Alan Kennedy-9 (D/70), Keith Newton-9 (D/60), Paul Mariner-9 (F/70), Jesse Pennington-9 (D/1900), Andy Ducat-9 (M/1910), Nicky Butt-9 (M/00), Jack Bowers-9 (F/30), Joe Smith-9 (F/20), Harry Johnstone- 9 (D/50), Joe Hulme-9 (M/30), Les Shackleton-9 (M/40), Jimmy Mullen-9 (M/40), George Hardwick-9 (D/40), Cyrile Regis-9 (F/80), Aaron Lennon-9 (M/00), Chris Smalling-9 (D/10), Bobby Tambling-9 (F/60), Phil Neville-9 (D/90), Chris Sutton-9 (F/90), Jonathan Woodgate-9 (D/00), Mick Jones-9 (F/60), Denis Mortimer-9 (M/70), Bryan Pop Robson-9 (F/70), Thomas Waring-9 (F/30), Harry Hampton-9 (F/1910), Wilf Copping-9 (D/30), Bert Williams-9 (G/50), Wes Brown-9 (D/00), Nigel Clough-9 (M/80), Tommy Smith-9 (D/70), Dennis Wilshaw-9 (F/50), Emile Heskey-9 (F/10), Nigel Winterburn-9 (D/90), Colin Veitch-9 (M/1900), Clem Stephenson-9 (M/20), Steve McMahon-9 (M/80), Fred Morris-9 (M/20), Dennis Viollet-9 (F/50), Maurice Norman-9 (D/60), John Atyeo-9 (F/50), Gilbert O. Smith-9 (F/1890), Bill Slater-9 (D/50), George Hilsdon-9 (F/1910), Steve Perryman-9 (D/70), Terry Paine-9 (M/60), Peter Swan-9 (D/60), Vic Watson-9 (F/20), Danny Murphy-9 (M/00), Freddie Steele-9 (F/40), Frank Worthington-9 (F/70), Trevor Sinclair-9 (M/90), Don Revie-9 (M/50), Bobby Gurney-9 (F/30), George Holley-9 (M/1910), Willis Edwards-9 (M/20), Alf Strange-9 (M/30), Howard Kendall-9 (M/70), Jimmy Adamson-9 (M/60), Phil Jones-9 (D/10), Joleon Lescott-9 (D/10), Ray Barlow-9 (M/50), Stan Paerson-9 (F/40), Jackie Sewell-9 (F/50), Alex Stepney-9 (G/60), Brian Talbot-9 (M/70), Ray Parlour-9 (M/90), Graham Rix-9 (M/80), Roy Bentley-9 (F/50), Darren Bent-9 (F/00), Declan Rice-9 (M/10), Brian Clough-9 (F/50), Peter Brabrook-9 (M/50), Alex Oxlade-Chamberlain-9 (M/10), Phil Foden-9 (M/10), Steve Bull-9 (F/90), James Maddison-9 (M/10), Stan Bowles-9 (M/70), Ronnie Rooke-9 (F/40), Jimmy Hagan-9 (M/40), James Ward-Prowse-9 (M/10)
SPAIN - XAVI HERNANDEZ-2 (M/00), Andres Iniesta-3 (M/10), Luis Suarez Miramontes-3 (M/60), Raul Gonzales-4 (F/00), Francisco Gento-4 (M/50), Iker Casillas-4 (G/00), Sergio Ramos-4 (D/10), Carles Puyol-4 (D/00), Ladislao Kubala-4 (M/50), David Villa-5 (F/00) > Sergio Busquets-5 (M/10), Fernando Hierro-5 (M/90), Telmo Zarra-5 (F/40), David Silva-5 (M/10), Fernando Torres-5 (F/00), Jose Pirri-5 (M/70), Gerard Pique-5 (D/10), Cesc Fabregas-5 (M/00), Amancio Amaro-5 (M/60), Emilio Butragueno-6 (F/80), Jordi Alba-6 (D/10), Ricardo Zamora-6 (G/30), Xabi Alonso-6 (M/00), Andoni Zubizarretta-6 (G/80), Isidro Langara-6 (F/30), Migueli Bianquetti-6 (D/70), Estanislao Basora-6 (M/50), Miguel Gonzales Michel-6 (M/80), Jose Angel Iribar-6 (G/60), Santiago Canizares-6 (G/00), Luis Enrique-6 (M/90), Josep Guardiola-6 (M/90), Antonio Maceda-6 (D/80), Manuel Sanchis Hontiyuelo-6 (D/90), David De Gea-6 (G/10), Luis Aragones-6 (M/60), Jose Antonio Camacho-6 (D/80), Fernando Morientes-6 (F/00), Jesus Garay-6 (D/50), Isco Alarcon-6 (M/10), Joan Segarra-6 (D/50), Juan Lozano-6 (M/80), Thiago Alcantara-6 (M/10), Jose Mari Bakero-7 (M/80), Koke Merrodio-7 (M/10), Rafael Gordillo-7 (D/80), Luis Arconada-7 (G/80), Quini Enrique Gonzales-7 (F/70), Sergi Barjuan-7 (D/90), Josep Samitier-7 (M/20), Juan Mata-7 (M/10), Donato Gama Da Silva-7 (M/90), Marcos Senna-7 (M/00), Rafael Martin Vazquez-7 (M/80), Victor Munoz-7 (M/80), Carlos Santillana-7 (F/70), Cesar Rodriguez-7 (F/40), Juanito Gomez-7 (M/80), Diego Costa-7 (F/10), Dani Carvajal-7 (D/10), Ignacio Zoco-7 (M/60), Juanfran Torres-7 (D/10), Miguel Angel Nadal-7 (D/90), Jacinto Quincoces-7 (D/30), Andoni Goikoetxea-7 (D/80), Antoni Ramallets-7 (G/50), Jose Manuel Reina-7 (G/00), Victor Valdes-7 (G/00), Juan Carlos Valeron-7 (M/90), Iago Aspas-7 (F/10), Marcelino Martinez Cao-7 (F/60), Gerard Moreno-7 (F/60), Jesus Navas-7 (M/10), Cesar Azpilicueta-7 (D/10), Santi Cazorla-7 (M/10), Joaquin Sanchez Rodriguez-7 (M/00), Joan Capdevila-7 (D/00), Michel Salgado-7 (D/00), Andres Palop-7 (G/00), Francisco Buyo-7 (G/80), Ferran Olivella-7 (D/60), Jose Ramon Alexanko-7 (D/80), Rodri Hernandez Cascante-7 (M/10), Abel Resino-7 (G/90), Gabi Arenas-7 (M/10), Agustin Piru Gainza-7 (M/40), Raul Albiol-7 (G/10), Miguel Munoz-7 (M/50), Mikel Arteta-7 (M/00), Ruben Baraja-7 (D/00), Pedro Rodriguez-7 (M/10), Luis del Sol-7 (M/60), Diego Lopez-7 (G/10), Gaizka Mendieta-8 (M/90), Alvaro Morata-8 (F/10), Manuel Sanchis Martinez-8 (D/60), Aritz Aduriz-8 (F/10), Albert Ferrer-8 (D/90), Juan Antonio Pizzi-8 (F/90), Ivan Helguera-8 (D/00), Saul Niguez-8 (M/10), Miguel Tendillo-8 (D/80), Carlos Rexach-8 (M/70), Jose Luis Caminero-8 (M/90), Jose Callejon-8 (M/10), Hector Rial-8 (M/50), Julio Salinas-8 (F/80), Joseba Etxeberria-8 (M/90), Raul Tamudo-8 (F/00), Dani Ruiz Bazan-8 (F/70), Alfonso Perez-8 (F/90), Abelardo Fernandez-8 (D/90), Feliciano Rivilla-8 (D/60), Inigo Martinez-8 (D/10), Carlos Marchena-8 (D/00), Juan Manuel Asensi-8 (M/70), Jose Eulogio Garate-8 (F/70), Roberto Soldado-8 (F/10), Miguel Reina-8 (G/70), Manuel Pablo-8 (D/00), Guti Hernandez-8 (M/00), Julen Guerrero-8 (M/90), Aymeric Laporte-8 (D/10), Joaquin Peiro-8 (M/60), Roberto Lopez Ufarte-8 (M/70), Jon Andoni Goikoetxea-8 (D/80), Aitor Beguiristain-8 (M/80), Juan Senor-8 (M/80), Marcos Alonso-8 (D/10), Nolito Duran-8 (M/10), Manolo Sanchez-8 (F/90), Andoni Iraola-8 (D/00), Fernando Gomez-8 (M/80), Borja Valero-8 (M/10), Eusebio Sacristan-8 (M/90), Javi Martinez-8 (M/10), Guillermo Amor-8 (D/90), Fran Gonzales-8 (M/90), Asier Illarramendi-8 (M/10), Paco Alcacer-8 (F/10), Vicente Engonga-8 (M/90), Fabian Ruiz-9 (M/10), Angel Zubieta-9 (M/40), Rafael Alkorta-9 (D/90), Vicente Rodriguez-9 (M/00), Jose Pep Claramunt-9 (M/60), Juan Carlos Ablanedo-9 (G/80), Miguel Angel-9 (G/70), Dani Parejo-9 (M/10), Rafael Lesmes-9 (D/50), David Albelda-9 (M/00), Marcos Llorente-9 (M/10), Marti Verges-9 (M/50), Manuel Fernandez Pahino-9 (F/50), Genar Andrinua-9 (D/80), Daniel Solsona-9 (M/70), Jose Emiliano Amavisca-9 (M/90), Miguel Chendo-9 (D/80), Sergi Roberto-9 (D/10), Tomas Renones-9 (D/80), Mariano Pernia-9 (D/90), Pachin-9 (D/60), Kiko-9 (F/90), Hector Bellerin-9 (D/10), Jesus Maria Zamora-9 (M/80), Luis Garcia Sanz-9 (M/00), Marcelino Perez-9 (D/70), Diego Tristan-9 (F/00), Francisco Carrasco-9 (M/80), Jesus Sastrustegui-9 (F/80), Jesus Glaria-9 (M/60), Jose Zarraga-9 (M/50), Jon Andoni Larranaga-9 (M/80), Tonono Morena-9 (D/70), Quique Setien-9 (M/80), Ander Herrera-9 (M/10), Raul Garcia-9 (M/10), Miguel Pardeza-9 (M/90), Xabi Prieto-9 (M/10), Venancio Garcia-9 (M/50), Antonio Puchades-9 (M/50), Mundo Trabanco Suarez-9 (F/40), Guillermo Gorostiza-9 (M/30), Julio Arza-9 (F/50), Jose Antonio Reyes-9 (M/00), Raul Vicente Amarilla-9 (F/80), Epi Fernandez-9 (M/40), Luis Regueiro-9 (M/30), Chus Pereda-9 (M/60), Alvaro Arbeloa-9 (D/10), Isacio Calleja-9 (D/60), Josep Fuste-9 (M/60), Marcelino Campanal-9 (D/50), Vicente Guillot-9 (M/60), Ignacio Eizagirre-9 (G/50), Javier Urruticoechea-9 (G/80), Mariano Gonzalvo-9 (M/40), Pablo Sarabia-9 (M/10), Luis Molowny-9 (M/50), Mikel Oyarzabal-9 (M/10), Luis Alberto-9 (M/10), Fernando Llorente-9 (F/10), Ismael Urzaiz-9 (F/90), Alvaro Negredo-9 (F/10), Enrique Collar-9 (M/60), Alberto Belsue-9 (D/90), Adrian Escudero-9 (F/50), Jose Luis Gaya-9 (D/10), Asier Del Horno-9 (D/90), Juan Sol-9 (D/70), Dani Olmo-9 (M/10), Toni Prats-9 (G/90), Juan Acuna-9 (G/50), Nacho Monrreal-9 (D/10), Julio Alberto -9 (D/80), Jose Molina-9 (G/90), Pichichi-9 (F/1910), Gorka Iraizoz-9 (G/10), Javier De Pedro-9 (M/90), Mauri-9 (M/50), Suso-9 (M/10), Angelino-9 (D/10), Alejandro Grimaldo-9 (D/10), Jose Maria Maguregui-9 (M/50), Juan Bernat-9 (D/10), Iker Muniain-9 (M/10), Julio Cardenosa-9 (M/70), Leonardo Cilaurren-9 (M/30), Paco Campos-9 (F/40), Gustau Biosca-9 (D/50), Pedri-9 (M/10)
ESTONIA - MART POOM-8 (G/90), Ragnar Klavan-9 (D/10), Konstantin Vassiljev-10 (M/10), Andres Oper-11 (M/00), Sergei Pareiko-11 (G/00), Karol Mets-12 (D/10), Raio Piiroja-12 (D/00), Enar Jaager-12 (D/00), Indrek Zelinski-13 (F/00), Joel Lindpere-13 (M/10) > Richard Kuremaa-13 (F/30), Martin Reim-13 (M/90), Evald Tipner-13 (G/30), Sergei Zenjov-13 (M/10), Henri Anier-13 (M/10), Siim Luts-13 (M/10), Arnold Pihlak-13 (M/20), Henrik Ojamaa-13 (M/10), Tarmo Kink-13 (M/00), Andrei Stepanov-13 (D/00), Tajio Teniste-13 (D/10), Joonas Tamm-13 (D/10), Marek Lemsalu-13 (D/90), Rauno Sappinen-13 (F/10), Ken Kaalaste-13 (D/10), Risto Kallaste-13 (D/90), Martin Kaalma-13 (G/00), Urmas Rooba-13 (D/00), Erik Sorga-13 (F/10), Georgi Tunjov-13 (M/10)
FAROE ISLANDS - JAKUP MIKKELSEN-11 (G/90), Todi Jonsson-11 (F/90), Christian Holst-11 (M/00), Claus Bech Jorgensen-11 (M/00), Abraham Hansen Lokin-12 (M/80), Joan Edmundsson-12 (F/10), Gunnar Nielsen-12 (G/10), Hallur Hansson-12 (M/10), Gili Rolantsson Sorensen-13 (D/10), Brandur Hendriksson Olsen-13 (M/10) > Suni Olsen-13 (M/00), Jens Martin Knudsen-13 (G/90), Viljormur Davidsen-13 (D/10), Klaemint Olsen-14 (F/10), Jan Dam-14 (D/90), Frooi Benjaminsen-14 (M/00), Jan Allan Muller-14 (F/90), Kai Leo i Bartalsstovu-14 (M/10), Rogvi Jacobsen-14 (F/00), Torkil Nielsen-14 (M/80), Jakup a Borg-14 (M/00), Allan Morkore-14 (M/90), Rogvi Jacobsen-14 (F/00), Oli Johannesen-14 (D/90), Odmar Faero-14 (D/10), Uni Arge-14 (F/00), John Petersen-14 (F/00), Solvi Vatnhamar-14 (M/10), Heini Vatnsdal-14 (D/10), Petur Knudsen-14 (F/10)
FINLAND - JARI LITMANEN-5 (M/90), Sami Hyypia-7 (D/00), Antti Niemi-8 (G/90), Jussi Jaaskalainen-9 (G/00), Teemu Pukki-9 (F/10), Lukas Hradecky-9 (G/10), Petri Pasanen-9 (D/00), Arto Tolsa-9 (D/70), Roman Eremenko-9 (M/10), Mika Matti Mixu Paatalainen-10 (F/90) > Joonas Kolkka-10 (M/90), Mikael Forssell-10 (F/00), Niklas Moisander-10 (D/10), Jonatan Johansson-10 (F/00), Mika Nurmela-10 (M/90), Hannu Tihinen-10 (D/00), Jonas Uronen-10 (D/10), Teemu Tainio-10 (M/00), Glen Kamara-10 (M/10), Kari Ukkonen-10 (M/80), Aulis Rytkonen-11 (M/50), Oli Huttunen-11 (G/80), Juhani Peltonen-11 (M/60), Marko Myyry-11 (M/90), Perparim Hetemaj-11 (M/10), Ari Hjelm-11 (F/80), Kari Laukkanen-11 (G/80), Pasi Rautiainen-11 (M/80), Shefqi Kuqi-11 (F/00), Joel Pohjanpalo-11 (F/10), Aki Lehtinen-11 (D/80), Jyrki Nieminen-11 (M/70), Robin Lod-11 (M/10), Aki Rihilahti-11 (M/00), Kasper Hamalainen-11 (M/10), Alexei Eremenko-11 (M/00), Ismo Lius-11 (F/80), Tommy Lindholm-11 (M/60), Jesse Joronen-11 (G/10), Rasmus Schuler-11 (M/10), Antti Sumiala-11 (F/90), Mika Lipponen-12 (F/80), Markus Heikkinen-12 (M/00), Mika Vayrynen-12 (M/00), Tim Sparv-12 (M/10), Paulus Arajuuri-12 (D/10), Atik Ismail-12 (F/70), Matti Rauno Paataleinen-12 (F/70), Kai Pahlman-12 (F/60), Veikko Asikainen-12 (M/40), Stig Goran Myntti-12 (M/40), Jarl Ohman-12, (F/1910), Verner Eklof-12 (F/20), Nils Rikberg-12 (F/50)
FRANCE - MICHEL PLATINI-2 (M/80), Zinedine Zidane-2 (M/90), Raymond Kopaszewski Kopa -2 (M/50), Thierry Henry-4 (F/00), Patrick Vieira-4 (M/00), Lilian Thuram-4 (D/90), Just Fontaine-4 (F/50), Kylian Mbappe-5 (M/10), Alain Giresse-5 (M/80), Franck Ribery-5 (M/10) > Jean Pierre Papin-5 (F/90), Antoine Griezmann-5 (F/10), Eric Cantona-5 (M/90), Karim Benzema-5 (F/10), Marcel Desailly-5 (M/90), Manuel Amoros-5 (D/80), Jean Tigana-5 (M/80), Marius Tresor-5 (D/70), Ngolo Kante-5 (M/10), Paul Pogba-5 (M/10), Laurent Blanc-5 (D/90), Didier Deschamps-5 (M/90), Claude Makelele-5 (M/00), David Trezeguet-6 (F/00), Bixente Lizarazu-6 (D/90), Robert Pires-6 (M/00), Robert Jonquet-6 (D/50), Youri Djorkaeff-6 (M/90), Raphael Varane-6 (D/10), Thadee Cisowski-6 (F/50), Bernard Lacombe-6 (F/70), Luis Fernandez-6 (M/80), Maxime Bossis-6 (D/80), Jean Vincent-6 (M/50), Roger Piantoni-6 (M/50), Larbi Ben Barek-6 (M/40), Nestor Combin-6 (M/60), Bernard Genghini-6 (M/80), Emmanuel Petit-6 (M/90), Franck Sauzee-6 (M/90), Fabien Barthez-7 (G/90), Basile Boli-7 (D/90), William Gallas-7 (D/00), Hugo Lloris-7 (G/10), Patrice Evra-7 (D/00), David Ginola-7 (M/90), Dmitri Payet-7 (M/10), Jocelyn Angloma-7 (D/90), Eric Abidal-7 (D/00), Herve Revelli-7 (F/60), Patrick Battiston-7 (D/80), Olivier Giroud-7 (F/10), Dominique Rocheteau-7 (M/80), Joel Bats-7 (G/80), Blaise Matuidi-7 (M/10), Lassana Diarra-7 (M/10), Bernard Lama-7 (G/90), Henri Michel-7 (M/70), Nicolas Anelka-7 (F/00), Kingsley Coman-7 (M/10), Jean Marc Ferreri-7 (M/80), Vincent Candela-7 (D/00), Jean Jacques Marcel-7 (M/50), Alfred Aston-7 (M/30), Roger Marche-7 (D/50), Gregory Coupet-7 (G/00), Bernard Bosquier-7 (D/60), Maryan Wisniewski-7 (M/50), Laurent Koscielny-7 (D/10), Daniel Bravo-7 (M/80), Pierre-Andre Gignac-7 (F/10), Wissam Ben Yedder-7 (F/10), Anthony Reveillere-7 (D/00), Nabil Fekir-7 (M/10), Benjamin Mendy-7 (D/10), Jean Luc Ettori-7 (G/80), Frank Leboeuf-7 (D/90), Moussa Sissoko-7 (M/10), Julien Darui-7 (G/40), Samuel Umtiti-7 (D/10), Yvon Douis-7 (M/60), Ludovic Giuly-7 (M/00), Alexandre Lacazette-7 (F/10), Roger Courtois-8 (M/30), Robert Herbin-8 (M/60), Jean Michel Larque-8 (M/70), Bakary Sagna-8 (D/00), Jean Nicolas-8 (F/30), Armand Penverne-8 (M/50), Philippe Mexes-8 (D/00), Samir Nasri-8 (M/00), Bruno Martini-8 (G/90), Etienne Mattler-8 (D/30), Stephane Ruffier-8 (G/10), Mickael Landreau-8 (G/00), Joseph Ujlaki-8 (F/50), Florent Malouda-8 (M/00), Johan Micoud-8 (M/00), Yoann Gourcuff-8 (M/00), Alain Roche-8 (D/90), Georges Bereta-8 (M/60), Jean Francois Larios-8 (M/70), Georges Carnus-8 (G/60), Dominique Dropsy-8 (G/70), Jean Baratte-8 (F/40), Christian Karembeu-8 (D/90), Mathieu Valbuena-8 (M/10), Bafetimbi Gomis-8 (F/10), Lucien Muller-8 (M/60), Marcel Domingo-8 (G/50), Didier Six-8 (M/70), Eric Carriere-8 (M/00), Jean Petit-8 (M/70), Yohan Cabaye-8 (M/10), Corentin Martins-8 (M/90), Vikash Dhorasoo-8 (M/00), Kevin Gameiro-8 (F/10), Steed Malbranque-8 (M/00), Sylvain Wiltord-8 (F/00), Florian Thauvin-8 (M/10), Djibril Cisse-8 (F/00), Adil Rami-8 (D/10), Vincent Guerin-8 (M/90), Raoul Diagne-8 (M/30), Adrien Rabiot-8 (M/10), Gerard Janvion-8 (D/70), Jean Francois Domergue-8 (D/80), Jerome Rothen-8 (M/90), Yannick Stopyra-8 (F/80), Ousmane Dembele-8 (M/10), Mickael Silvestre-8 (D/00), Djibril Sidibe-8 (D/10), Dominique Bathenay-8 (M/70), Sidney Govou-8 (M/00), Christopher Nkunku-8 (M/10), Theo Hernandez-8 (D/10), Rene Petit-9 (M/20), Jean Marc Guillou-9 (M/70), Sebastien Frey-9 (G/00), Laurent Robert-9 (M/00), Loic Perrin-9 (D/10), Mamadou Sakho-9 (D/10), Ferland Mendy-9 (D/10), Teji Savanier-9 (M/10), Anthony Modeste-9 (F/10), Charly Loubet-9 (M/70), Francois Brisson-9 (M/80), Georges Lech-9 (M/60), Paul Nicolas-9 (F/20), Thomas Lemar-9 (M/10), Guillaume Hoarau-9 (F/00), Hector de Bourgoing-9 (M/60), Edmond Delfour-9 (M/30), Jeremy Menez-9 (M/10), Eric Di Meco-9 (D/90), Daniel Xuereb-9 (M/80), Raymond Kaelbel-9 (D/50), Lucas Hernandez-9 (D/10), Patrice Loko- 9 (F/90), Jeremy Toulalan-9 (M/00), Jules Kounde-9 (D/10), Bernard Casoni-9 (D/80), Jeremy Mathieu-9 (D/10), Gael Clichy-9 (D/10), Valerian Ismael-9 (D/00), Steve Mandanda-9 (G/10), Fleury Di Nallo-9 (F/60), Louis Saha-9 (F/00), Philippe Vercruysse-9 (M/80), Christian Lopez-9 (D/70), Jeremie Janot-9 (G/00), Alexis Thepot-9 (G/30), Bruno Bellone-9 (M/80), Jules Dewaquez-9 (M/20), Andre Lerond-9 (D/50),Christophe Dugarry-9 (F/90), Sylvain Distin-9 (D/00), Jean Djorkaeff-9 (D/60), Emile Veinante-9 (M/30), Steven NZonzi-9 (M/10), Oscar Heisserer-9 (M/40), Lucien Hossou-9 (M/60), Layvin Kurzawa-9 (D/10), Lucas Digne-9 (D/10), Clement Lenglet-9 (D/10), Anthony Martial-9 (M/10), Jacques Zimako-9 (M/70), Olivier Dacourt-9 (M/90), Jordan Veretout-9 (M/10), Hatem Ben Arfa-9 (M/10), William Ayache-9 (D/80), Loic Amisse-9 (M/70), Kurt Zouma-9 (D/10), Patrice Rio-9 (D/70), Claude Papi-9 (M/70), Bruno Ngotty-9 (D/90), Francois Remetter-9 (G/50), Benoit Pedretti- 9 (M/00), Maik Maignan-9 (G/10), Charles Nzogbia-9 (M/00), Yann Mvila-9 (M/10), Antoine Bonifaci-9 (M/50), Alain Boghossian-9 (M/90), Sabri Lamouchi-9 (D/90), Gerald Passi-9 (M/80), Rene Girard-9 (M/80), Jean-Philippe Durand-9 (M/80), Desire Koranyi -9 (F/40), Lillian Laslandes-9 (F/90), Jean Toure-9 (M/80), Sebastien Squillaci-9 (D/10), Gael Givet-9 (D/00), Julien Escude-9 (D/00), Antoine Cuissard-9 (M/40), Mathieu Flamini-9 (M/10), Morgan Schneiderlin-9 (M/10), Claude Puel-9 (M/80), Matthieu Debuchy-9 (D/10), Loic Remy-9 (M/10), Antoine Sibierski-9 (M/90), Benoit Cauet-9 (M/90), Jean Wendling-9 (D/60), Pierre Chayrigues-9 (G/20), Houssam Aouar-9 (M/10), Ally Cissohko-9 (D/00), Alou Diarra-9 (M/00), Raymond Dubly-9 (M/1910), Stephane Paille-9 (M/80), Serge Chiesa-9 (M/70), Reynald Pedros-9 (M/90), Florian Maurice-9 (F/90), Gerald Soler-10 (F/80), Philippe Gondet-10 (F/60), Cedric Hengbart-10 (D/00), Paul Le Guen-10 (M/90), Etienne Capoue-10 (M/10), Stephane Dalmat-10 (M/00), Ibrahima Ba-10 (M/90), Olivier Monterrubio-10 (M/00), Jean-Alain Boumsong-10 (D/00), Olivier Kapo-10 (M/00), Francis Coquelin-10 (M/10), Francois Heutte-10 (F/50), Marcel Artelesa-10 (D/60), Roger Lemerre-10 (D/60), Ernest Vaast-10 (M/40), Benjamin Andre-10 (M/10), Alain Caveglia-10 (M/90), Pascal Vahirua-10 (M/90), Presnel Kimpembe-10 (D/10), Frederic Dehu-10 (D/00), Lucien Laurent-10 (M/30), Edouard Kargu Kargulewicz-10 (F/50), Benjamin Pavard-10 (D/10), Lionel Letizi-10 (G/90), Nicolas Ouedec-10 (F/00), Gregoire Defrel-10 (F/10), Jules Sbroglia-10 (D/50), Antoine Kombouare-10 (D/90), Eric Sikora-10 (D/00), Laurent Fournier-10 (M/90), Matthieu Bodmer-10 (M/00), Cyril Thereau-10 (F/10), Pierre Bernard-10 (G/60), Pascal Olmeta-10 (G/90), Jean-Paul Bertrand-Demanes-10 (G/70), Peter Luccin-10 (M/00), Yvon Le Roux-10 (D/80), Jean-Guy Walemme-10 (D/90), Gaetan Laborde-10 (F/10), Laurent Di Lorto-10 (G/30), Andre Strappe-10 (F/50), Gerard Baticle-10 (M/90), Dayot Upamecano-10 (D/10), Theo Szkudlapski-10 (M/60), Maxime Gonalons-10 (M/10), Ulrich Rame-10 (G/00), Abou Diaby-10 (M/10), Stephane Guivarch-10 (F/90), Pascal Chimbonda-10 (D/00), Allan Saint-Maxim-10 (M/10), Franck Tanasi-10 (D/80), Richard Dutruel-10 (G/90), Christophe Revault-10 (G/10), Jonathan Zebina-10 (D/00), Jean Castaneda-10 (G/80), Etienne Didot-10 (M/00), Franck Silvestre-10 (D/90), Remy Cabella-10 (M/10), Jean-Pierre Adams-10 (D/70), Tiemue Bakayoko-10 (M/10), Rene Bliard-10 (F/50), Marvin Martin-10 (M/10), Robert Budzynski-10 (D/60), Marcel Loncle-10 (M/60), Rene Vignal-10 (G/40), Christian Dalger-10 (M/70), Claude Abbes-10 (G/50), Robert Siatka-10 (D/50), Franck Durix-10 (M/90), Moussa Dembele-10 (F/10), Franck Gava-10 (M/90), Eduardo Camavinga-10 (M/10), Aurelen Tchouameni-10 (M/10), Raymond Keruzore-10 (M/70), Bolek Tempowski-10 (M/40)
GEORGIA - KAKHABER KALADZE-7 (D/00), Shota Arveladze-8 (F/90), Giorgi Kinkladze-9 (M/90), Temur Ketsbaia-9 (M/90), Levan Kobiashvili-9 (D/00), Zhurab Kizanishvili-9 (D/00), Kakhaber Tskhadadze-9 (D/90), Georgi Demetradze-9 (F/90), Aleksandr Iashvili-10 (F/00), Jaba Kankava-10 (M/10) > Solomon Kvirkvelia-10 (D/10), Khvicha Kvaratshelia-10 (M/10), Mikhail Kavelashvili-11 (M/90), Guram Kashia-11 (D/10), Archil Arveladze-11 (M/90), Jano Ananidze-11 (M/10), Otar Korgalidze-11 (M/80), Murtaz Sheliya-11 (D/90), Valeri Qazaishvili-11 (M/10), Davit Khocholava-11 (D/10), Georgi Chakvetadze-11 (M/10), Gia Guruli-11 (M/80), Levan Mchedlidze-11 (M/10), Saba Lobjanidze-11 (M/10), Gela Ketashvili-11 (D/80), Giorgi Loria-11 (G/10), Levan Tskitishvili-11 (M/00), Zaza Yanashia-11 (F/90), Tornike Okriashvili-11 (M/10), Giorgi Makaridze-11 (G/10), Davit Mujiri-11 (M/00), Gocha Jamarauli-12 (M/90), Davit Kvirkvelia-12 (D/00), Giorgi Kvilitaia-12 (M/10), Aleksandre Amisulashvili-12 (D/00), Nika Kvekveskiri-12 (M/10), Vladimir Dvalishvili-12 (F/00), Giorgi Mamardashvili-12 (G/10), Lasha Salukwadze-12 (D/00), Jimmy Tabidze-12 (D/10), Irakli Zoidze-12 (G/90), Georgi Lomaia-12 (G/00), Gocha Gogrichiani-12 (F/90), Giorgi Merebashvili-12 (M/10), Giorgi Tsitaishvili-12 (M/00)
GERMANY (WEST GERMANY) - FRANZ BECKENBAUER-2 (D/70), Gerd Muller-2 (F/70), Lothar Matthaus-3 (M/80), Karl Heinz Rummenigge-3 (M/80), Gunter Netzer-3 (M/70), Sepp Maier-3 (G/70), Fritz Walter-4 (M/40), Thomas Muller-4 (M/10), Bernd Schuster-4 (M/80), Uwe Seeler-4 (F/60) > Philipp Lahm-4 (D/10), Miroslav Klose-4 (F/00), Paul Breitner-4 (D/70), Wolfgang Overath-4 (M/60), Manuel Neuer-4 (G/10), Berti Vogts-4 (D/70), Helmut Rahn-5 (M/50), Toni Kroos-5 (M/10), Jurgen Klinsmann-5 (F/90), Thomas Hassler-5 (M/90), Mesut Ozil-5 (M/10), Matthias Sammer-5 (D/90), Karl Heinz Schnellinger-5 (D/60), Oliver Kahn-5 (G/90), Harald Toni Schumacher-5 (G/80), Jurgen Kohler-5 (D/90), Karl Heinz Forster-5 (D/80), Andreas Brehme-5 (D/80), Uli Stielike-5 (D/70), Michael Ballack-5 (M/00), Rainer Bonhof-5 (M/70), Bastian Schweinsteiger-5 (M/00), Mats Hummels-5 (D/10), Jupp Heynckess-5 (M/70), Hans Peter Briegel-5 (D/80), Rudi Voller-6 (F/80), Klaus Fischer-6 (F/70), Pierre Littbarski-6 (M/80), Helmut Haller-6 (M/60), Manfed Kaltz-6 (D/70), Stefan Effenberg-6 (M/90), Marco Reus-6 (M/10), Dieter Muller-6 (F/70), Andreas Moller-6 (M/90), Mario Gotze-6 (M/10), Oliver Bierhoff-6 (F/90), Guido Buchwald-6 (D/80), Willi Schulz-6 (D/60), Joshua Kimmich-6 (D/10), Ilkay Gundogan-6 (M/10), Felix Magath-6 (M/80), Klaus Allofs-6 (F/80), Horst Hrubesch-6 (F/70), Jerome Boateng-6 (D/10), Mario Gomez-6 (F/10), Bert Trautmann-6 (G/50), Uli Hoeness-6 (M/70), Max Morlock-6 (M/50), Jens Lehmann-6 (G/00), Heinz Flohe-6 (M/70), Fritz Sczepan-6 (M/30), Andreas Kopke-7 (G/90), Uwe Bein-7 (M/80), Bernd Holzenbein-7 (M/70), Marc-Andre ter Stegen-7 (G/10), Olaf Thon-7 (D/90), Georg Schwarzenbeck-7 (D/70), Horst Szymaniak-7 (M/50), Jurgen Grabowski-7 (M/70), Sami Khedira-7 (M/10), Lukas Podolski-7 (M/00), Karl Heinz Riedle-7 (F/90), Serge Gnabry-7 (M/10), Hans Schafer-7 (M/50), Mario Basler-7 (M/90), Klaus Augenthaler-7 (D/80), Edmund Conen-7 (F/30), Ernst Lehner-7 (M/30), Bernd Schneider-7 (M/00), Bernard Dietz-7 (D/70), Timo Werner-7 (F/10), Thomas Berthold-7 (D/80), Paul Janes-7 (D/30), Horst Blankenburg-7 (D/70), Hans Tilkowski-7 (G/60), Ulf Kirsten-7 (F/90), Manfred Burgsmuller-7 (F/70), Horst Eckel-7 (M/50), Jens Jeremies-7 (M/90), Reinhard Stan Libuda-7 (M/60), Thomas Helmer-7 (D/90), Per Mertesacker-7 (D/00), Leon Goretzka-7 (M/10), Lothar Emmerich-7 (M/60), Michael Zorc-7 (M/90), Erwin Kostedde-7 (F/70), Horst Dieter Hottges-7 (D/60), Dieter Hoeness-7 (F/80), Hannes Lohr-7 (M/70), Klaus Fichtel-7 (D/70), Christian Worns-7 (D/90), Christian Ziege-7 (D/90), Torsten Frings-7 (M/00), Ernst Kuzorra-7 (M/30), Mehmet Scholl-7 (M/90), Leroy Sane-7 (M/10), Marco Bode-7 (M/90), Uli Stein-7 (G/80), Norbert Nigbur-7 (G/70), Bernd Franke-7 (G/70), Miroslav Votava-7 (M/80), Wolfgang Rolff-7 (M/80), Anton Turek-7 (G/40), Richard Hofmann-7 (F/20), Wolfgang Weber-7 (D/60), Alfred Kelbassa-7 (M/50), Stefan Reuter-7 (D/90), Karl Heinz Korbel-7 (D/70), Hans Jorg Butt-7 (G/00), Erich Juskowiak-8 (D/50), Norbert Meier-8 (M/80), Bernd Cullmann-8 (D/70), Andre Schurrle-8 (M/10), Andreas Kupfer-8 (M/40), Roland Wohlfarth-8 (F/80), Siegfried Held-8 (M/60), Ditmar Jakobs-8 (D/80), Herbert Wimmer-8 (M/70), Jens Nowotny-8 (D/90), Stefan Kuntz-8 (F/90), Christoph Metzelder-8 (D/00), Kai Havertz-8 (M/10), Dietmar Hamann-8 (M//90), Heiner Stuhlfauth-8 (G/20), Thomas Linke-8 (D/90), Otto Walter-8 (F/50), Klaus Toppmoller-8 (F/70), Rene Adler-8 (G/00), Hansi Muller-8 (M/70), Erich Beer-8 (M/70), Bodo Illgner-8 (G/90) Stefan Klos-8 (G/90), Ralf Fahrmann-8 (G/10), Norbert Eder-8 (D/80), Rudi Kargus-8 (G/70), Matthias Herget-8 (D/80), Manfred Binz-8 (D/90), Julian Draxler-8 (M/10), Werner Kohlmeyer-8 (D/50), Karl Allgower-8 (M/80), Thomas Von Heesen-8 (M/80), Franz Roth-8 (M/70), Heinz Strehl-8 (F/60), Dieter Eilts-8 (M/90), Dieter Burdenski-8 (G/70), Stefan Kiessling-8 (F/10), Lars Ricken-8 (M/90), Timo Konietzka-8 (F/60), Andreas Thom-8 (F/80), Reiner Geye-8 (M/70), Bernd Nickel-8 (M/70), Lars Bender-8 (M/10), Werner Kramer-8 (M/60), Wolfram Wuttke-8 (M/80), Arne Friedrich-8 (D/00), Dieter Bast-8 (D/80), Alfred Pfaff-8 (M/50), Erwin Kremers-8 (M/70), Georg Volkert-8 (M/70), Dariusz Wosz-8 (M/90), Uwe Rahn-8 (M/80), Herbert Laumen-8 (M/60), Bernd Nickel-8 (M/80), Herbert Neumann-8 (M/70), Rudiger Abramczik-8 (M/70), Ralf Falkenmayer-9 (M/80), Hans Gunter Bruns-9 (D/80), Bernd Rupp-9 (F/60), Alexander Meier-9 (M/10), Frank Mill-9 (F/80), Kevin Kuranyi-9 (F/00), Thomas Doll-9 (M/90), Klaus Dieter Sieloff-9 (D/60), Robin Gosens-9 (D/10), Gert Dorfel-9 (M/60), Gonzalo Castro-9 (M/10), Wolfgang Dremmler-9 (M/80), Rolf Russmann-9 (D/70), Herbert Zimmermann-9 (D/70), Herbert Erhardt-9 (D/50), Olaf Marschall-9 (F/90), Eike Immel-9 (G/80), Fabian Ernst-9 (M/00), Thomas Hitzlsperger-9 (M/00), Ludwig Goldbrunner-9 (D/30), Otto Harder-9 (F/20), Helmut Schon-9 (F/40), Frank Herkenrath-9 (G/50), Albert Brulls-9 (M/60), Roman Weidenfeller-9 (G/10), Bernd Patzke-9 (D/60), Alfred Preissler-9 (M/50), Oliver Neuville-9 (F/00), Karl Hohmann-9 (M/30), Alfred Urban-9 (M/30), Heinz Hornig-9 (M/60), Werner Liebrich-9 (D/50), Josip Posipal-9 (D/50), Hans Pflugler-9 (D/80), Bernd Forster-9 (D/80), Willi Neuberger-9 (D/70), Reinhold Munzenberg-9 (D/30), Fritz Walter II-9 (F/80), Sven Bender-9 (M/10), Ludwik Kogl-9 (M/80), Albin Kitzinger-9 (M/30), Hans Kalb-9 (M/20), Carsten Ramelow-9 (M/00), Alfred Schmidt-9 (M/50), Uwe Kamps-9 (G/80), Raimund Aumann-9 (G/80), August Lenz -9 (F/30), Horst Koppel-9 (M/70), Gerd Zewe-9 (M/70), Jurgen Wittkamp-9 (D/70), Michael Preetz-9 (F/90), Robert Enke-9 (G/00), Peter Grosser-9 (M/60), Erwin Helmchen-9 (F/30), Sebastian Kehl-9 (M/00), Matthias Ginter-9 (D/10), Antonio Rudiger-9 (D/10), Karlheinz Pflipsen-9 (M/90), Holger Fach-9 (M/90), Sepp Piontek-9 (D/60), Sebastian Deisler-9 (M/00), Max Kruse-9 (M/10), Horst Buhtz-9 (M/50), Thomas Strunz-9 (M/90), Fredi Bobic-9 (F/90), Simon Rolfes-9 (M/00), Joachim Base-9 (D/60), Martin Max-9 (F/00), Wilfried Hannes-9 (D/70), Otto Siffling-9 (F/30), Timo Horn-9 (G/10), Michael Rummenigge-9 (M/80), Wolfgang Kleef-9 (G/70), Michael Frontzeck-9 (D/80), Alfred Niepieklo-9 (M/50), Lothar Ulsass-9 (M/60), Ludwig Muller-9 (D/60), Jorg Heinrich-9 (M/90), Dietmar Beiersdorfer-9 (D/80), Peter Nogly-9 (D/70), Hannes Bongartz-9 (M/70), Julian Brandt-9 (M/10), Jonas Hector-9 (D/10), Jupp Kapellmann-9 (M/70), Josef Marx-9 (D/60), Michael Tarnat-9 (D/90), Heinz Schonberger-9 (M/70), Hans Jakob-9 (G/30), Manfred Manglitz-9 (G/60), Franz Brungs-9 (F/60), Marcel Schmelzer-9 (D/10), Tim Borowski-9 (M/00), Heiko Westermann-9 (D/00), Niklas Sule-9 (D/10), Kevin Volland-9 (F/10), Erich Maas-9 (M/70), Herbert Waas-9 (F/80), Marko Marin-9 (M/10), Lars Stindl-9 (M/10), Emre Can-9 (M/10), Walter Schmidt-9 (D/60), Thomas Allofs-9 (F/80), Philipp Max-9 (D/10), Marcel Witeczek-9 (M/90), Thorsten Fink-9 (M/90), Maximilian Arnold-9 (M/10), Jurgen Milewski-9 (F/80), Frank Rost-9 (G/80), Timo Hildebrand-9 (G/00), Tom Wiese-9 (G/00), Oliver Reck-9 (G/90), Martin Kree-9 (D/80), Bernd Leno-9 (G/10), Christian Gunter-9 (D/10), Christian Kulik-9 (M/70), Karem Demirbay-9 (M/10), Gerhard Poschner-9 (M/90), Nils Petersen-9 (F/10), Bruno Labbadia-9 (F/90), Heiko Herrlich-9 (F/90), Friedhelm Funkel-9 (M/70), Marcel Halstenberg-9 (D/10), Gernot Rohr-9 (D/80), Florian Wirtz-9 (M/10), Stefan Hofmann-9 (M/00), Hans-Peter Lehnhoff-9 (M/90)
GIBRALTAR - DANNY HIGGINBOTHAM-10 (D/00), Scott Wiseman-12 (D/10), Liam Walker-13 (M/10), David Artell-14 (D/00), Joseph Chipolina-14 (M/00), Roy Chipolina-14 (D/10), Bernardo Lopes-14 (D/10), Jake Gosling-15 (M/10), Lee Casciaro-15 (F/10), Tjai De Barr-15 (F/10) > Reece Styche-15 (F/10), Louie Annesley-15 (D/10), Tim Buzaglo-15 (F/90), Kyle Casciaro-16 (M/10), George Cabrera-16 (F/10), Al Green-16 (F/00), Anthony Hernandez-16 (M/10), Ibrahim Deren-16 (G/10), Kyle Goldwin-16 (G/10), Dayle Coleing-16 (G/10), Adam Priestley-16 (F/10), John Paul Duarte-16 (F/00), Daniel Duarte-16 (M/00), Jordan Perez-16 (G/10), Robert Guilling-16 (M/00), Dennis Lopez-16 (F/90), Juli Sanchez-16 (F/90)
LUXEMBOURG - LOUIS PILOT-7 (M/60), Nico Braun- 9 (F/70), Victor Nurenberg-9 (M/50), Jeff Strasser-9 (D/90), Robby Langers-9 (F/80), Guy Hellers-9 (M/90), Ady Schmit-10 (M/60), Antoine Spitz Kohn-10 (F/50), Gustave Kemp-10 (F/40), Gerson Rodrigues-11 (M/10) > Paul Philipp-11 (M/70), Fernand Jeitz-11 (D/70), Olivier Thill-11 (M/10), Christopher Pereira Martins-11 (M/10), Sebastien Thill-11 (M/10), Camille Libar-11 (F/40), Danel Sinani-12 (M/10), Camille Dimmer-12 (F/60), Francois Konter-12 (D/60), Edy Dublin-12 (M/60), Henri Klein-12 (F/60), Aurelien Joachim-12 (M/10), Mario Mutsch-12 (D/10), Maxime Chanot-12 (D/10), Johny Leonard-12 (F/60), Carlo Weis-12 (D/80), Gilbert Dussier-12 (F/70), Lars Gerson-12 (M/10), Leon Mart-12 (M/30), Leandro Barreiro Martins-12 (M/10), Anthony Moris-12 (G/10), Nico Rohmann -12 (D/10), Laurent Jans-12 (D/10), David Turpel-13 (F/10), Erwin Kuffer-13 (D/60), Ernest Emy Brenner-13 (D/50), Jean Klein-13 (M/60), Manuel Cardoni-13 (M/90), Jeff Saibene-13 (M/90), Luc Holtz-13 (M/90), Daniel da Mota-13 (M/10), Jonathan Joubert-13 (G/00), Chris Philipps-13 (M/10), Mathias Becker-13 (M/30), Ferdinand Brosius-13 (D/60), Vincent Thill-13 (M/10), Rene Hoffmann-13 (G/60), Dick Carlson-13 (D/10), Mica Pinto-13 (D/10), Leon Letsch-13 (F/50), Paul May-13 (F/60), Jean-Pierre Hoffstetter-13 (D/60), Vahid Selimovic-13 (D/10)
NORTH MACEDONIA - DARKO PANCEV-6 (F/80), Goran Pandev-7 (M/00), Ilija Najdoski-9 (D/90), Sasa Ciric-9 (F/90), Artim Sakiri-9 (M/00), Dragan Kanatlarovski-9 (M/80), Enis Bardhi-9 (M/10), Stole Dmitrievski-9 (G/10), Toni Savevski-9 (M/90), Vujadin Stanojkovic-10 (D/80) > Nikolce Noveski-10 (D/10), Goce Sedloski-10 (D/00), Oka Nikolov-10 (G/00), Milko Gjurovski-10 (F/80), Ilya Nestorovski-10 (F/10), Bosko Gjurovski-10 (M/80), Eljif Elmas-10 (M/10), Goran Popov-10 (D/10), Aleksandar Trajkovski-11 (M/10), Mitko Stojkovski-11 (D/90), Ezgjan Alioski-11 (M/10), Ivan Trickovski-11 (M/10), Adis Jahovic-11 (F/10), Georgi Hristov-11 (F/90), Arian Ademi-11 (M/10), Igor Mitrevski-11 (D/00), Agim Ibraimi-11 (M/10), Stefan Ristovski-11 (D/10), Velie Sumulikovski-11 (M/00), Cedomir Janevski-12 (D/80), Petar Milosevski-12 (G/00), Igor Nikolovski-12 (D/90), Boban Babunski-12 (M/80), Goran Stavrevski-12 (D/00), Besart Ibraimi-12 (F/10)
MALTA - CARMELO BUSUTTIL-9 (M/90), Michael Mifsud-10 (F/00), Andre Schembri-11 (M/10), Teddy Teuma-11 (M/10), John Buttigieg-12 (D/80), Gilbert Agius-12 (F/90), Raymond Xuereb-13 (F/70), Andrew Hogg-13 (G/10), Daniel Bogdanovic-13 (F/00), David Carabott-14 (M/90) > Mario Muscat-14 (G/00), Zach Muscat-14 (D/10), Justin Haber-14 (G/00), Ruggieru Friggieri-14 (D/1910), Hubert Suda-14 (F/90), Andrei Agius-14 (D/10), Ronald Cocks-14 (F/60), Luke Gambin-14 (M/10), Joe Cini-14 (F/60), David Cluett-14 (G/90), Reginald Cini-14 (G/90), Andrew Cohen-14 (M/10), Many Muscat-14 (D/10), John Bonello-14 (G/80), Stefan Sultana-14 (F/90), Kristian Laferla-14 (D/90), John Holland-14 (D/80), Leonardo Feruggia-14 (F/80), Etienne Barbara-14 (F/10), Steve Borg-14 (D/10), Tony Cauchi-14 (F/60), John Hutchinson-14 (M/00), Richard Buhagiar-14 (D/90), Alfred Debono-14 (G/60), Vincent Magro-14 (M/70), Jurgen Degabriele-14 (M/10), Jake Grech-14 (M/10), Cain Attard-14 (D/10), Lolly Borg-14 (M/50), Tony Nicholl-14 (F/30), Ray Vella-14 (M/80), Wenzu Gabaretta-14 (G/30), Charles Scibarras I -14 (G/70), Udo Nwoko-14 (M/00)
MOLDOVA - ALEXANDRU EPUREANU-9 (D/10), Alexandru Gatcan-10 (M/10), Artur Ionita-10 (M/10), Igor Armas-10 (D/10), Serghei Clescenko-11 (F/90), Serghei Covalciuc-11 (M/00), Serghei Rogaciov-12 (F/00), Alexandru Curtianu-12 (M/90), Ion Testimitanu-12 (D/90), Vitalie Bordian-12 (D/00) > Oleg Reabciuk-12 (D/10), Victor Golovatenco-12 (D/10), Iurie Miterev-12 (F/00), Serghei Dadu-12 (F/00), Valeriu Catinsus-12 (D/00), Alexey Coselev-12 (G/10), Vadim Rata-12 (M/10), Henrique Luvannor-12 (M/10)
MONTENEGRO - STEVAN JOVETIC-8 (M/10), Stefan Savic-8 (D/10), Mirko Vucinic-8 (F/00), Marko Basa-9 (D/10), Adam Marusic-10 (M/10), Simon Vukcevic-10 (M/00), Dejan Damjanovic-10 (F/10), Mirko Ivanic-10 (M/10), Elsad Zverotic-11 (M/10), Andrija Delibasic-11 (F/00) > Milorad Pekovic-11 (M/00), Nikola P. Vukcevic-11 (M/10), Fatos Beciraj-11 (M/10), Uros Djurdjevic-11 (F/10), Vladimir Bozovic-11 (D/00), Vukasin Poleksic-12 (G/00), Marko Vesovic-12 (D/10), Zarko Tomasevic-12 (D/10), Mladen Bozovic-12 (G/00), Filip Stojkovic-12 (D/10), Nikola Drincic-12 (M/10), Saed Haksabanovic-12 (M/10), Marko Simic-12 (D/10), Dragan Boskovic-12 (F/10), Esteban Saveljich-12 (D/10), Marko Jankovic-12 (M/10), Vladimir Jovovic-12 (M/10), Risto Radunovic-12 (D/10)
NORTHERN IRELAND - GEORGE BEST-3 (M/60), Danny Blanchflower-5 (M/50), Pat Jennings-6 (G/70), Harry Gregg-7 (G/50), Bill McCracken-7 (D/1910), Jimmy Mcilroy-7 (M/50), Norman Whiteside-8 (M/80), Elisha Scott-8 (G/20), Joe Bambrick-8 (F/30), Jonny Evans-8 (D/10) > Patsy Gallagher-8 (M/1910), Neil Lennon-9 (M/90), Sammy McIlroy-9 (M/70), David Healy-9 (F/00), Keith Gillespie-9 (M/00), Billy Bingham-9 (M/50), Martin O Neill-9 (M/70), Peter McParland-9 (M/50), Pat Rice-9 (D/70), Peter Doherty-9 (F/30), Allan Hunter-9 (D/70), Steven Davis-9 (M/10), Aaron Hughes-9 (D/00), Gareth McAuley-9 (D/10), Willi Irvine-9 (F/60), Colin Clarke-9 (F/80), Chris Brunt-9 (M/10), Alf McMichael-9 (D/50), Derek Dougan-9 (F/60), Billy Gillespie-10 (F/20), Jimmy Nicholl-10 (D/70), Mel Donaghy-10 (D/80), Gerry Armstrong-10 (F/80), David McCreery-10 (M/80), Iain Dowie-10 (F/80), Willie McFaul-10 (G/70), Alex Elder-10 (D/60), Terry Neill-10 (D/60), Billy McCandless-10 (D/20), Gerry Taggart-10 (D/90), Dick Keith-10 (D/50), Billy McAdams-10 (F/50), Stuart Dallas-10 (M/10), John McClelland-10 (D/80)
NORWAY - RUNE BRATSETH-7 (D/90), Erling Haland-7 (F/10), Olle Gunnar Solskjaer-7 (F/90), John Arne Riise-7 (D/00), Hallvar Thoresen-8 (M/80), Arne Brustad-8 (M/30), Tore Andre Flo-8 (F/90), John Carew-8 (F/00), Brede Hangeland-8 (D/00), Jorgen Juve-8 (M/30) > Per Bredesen-8 (M/50), Erik Thorstvedt-8 (G/90), Steffen Iversen-8 (F/00), Morten Gamst Pedersen-8 (M/00), Henning Berg-9 (D/90), Rune Jarstein-9 (G/10), Jorn Andersen-9 (F/80), Kjetil Rekdal-9 (M/90), Gunnar Thoresen-9 (F/50), Oyvind Leonhardsen-9 (M/90), Stig Inge Bjornebye-9 (D/90), Reidar Kvammen-9 (M/30), Jostein Flo-9 (M/90), Jon-Aage Fjortoft-9 (F/90), Joshua King-9 (F/10), Harald Berg-9 (M/70), Tom Lund-9 (M/70), Mohammmed Abdellaoue-9 (F/10), Ronny Johnsen-9 (D/90), Roger Albertsen-9 (M/70), Bent Skammelssrud-9 (M/90), Martin Odegaard-9 (M/10), Jahn Mini Jakobsen-9 (M/90), Sigurd Rushfeldt-9 (F/00), Asbjoern Halvorsen-9 (M/20), Mohamed Elyounoussi-10 (M/10), Claus Lundekvam-10 (D/00), Thorbjorn Svenssen-10 (D/50), Kai Erik Herlovsen-10 (D/80), Erik Mykland-10 (M/90), Ragnar Larsen-10 (M/50), Alf Inge Haaland-10 (D/90), Arne Larsen Okland-10 (F/80), Harald Brattbakk-10 (F/90), Alexander Sorloth-10 (F/10), Roar Strand-10 (M/00)
POLAND - ROBERT LEWANDOWSKI-4 (F/10), Kazimierz Deyna-5 (M/70), Zbigniew Boniek-5 (M/80), Wlodzimierz Lubanski-5 (F/60), Grzegorz Lato-5 (M/70), Andrzej Szarmach-6 (F/70), Ernest Wilimowski-6 (F/30), Robert Gadocha-7 (M/70), Jozef Mlynarczyk-7 (G/80), Wladyslaw Zmuda-7 (D/70) > Antoni Szymanowski-7 (D/70), Jan Tomaszewski-7 (G/70), Lukasz Piszczek-7 (D/10), Jakub Blaszczykowski-7 (M/10), Ernest Pol-7 (F/60), Lucjan Brychczy-7 (M/60), Henryk Kasperczak-7 (M/70), Gerard Cieslik-7 (F/50), Wojciech Szczesny-7 (G/10), Krzysztof Warzycha-7 (F/90), Artur Boruc-8 (G/00), Jerzy Dudek-8 (G/00), Andrzej Buncol-8 (M/80), Pawel Janas-8 (D/80), Kamil Glik-8 (D/10), Wlodzimierz Smolarek-8 (F/80), Grzegorz Krychowiak-8 (M/10), Jan Urban-8 (F/90), Andrzej Juskowiak-8 (F/90), Jacek Krzynowek-8 (M/00), Roman Kosecki-8 (M/90), Tomasz Waldoch-8 (D/90), Jerzy Gorgon-8 (D/70), Euzebiusz Smolarek-9 (M/00), Zygfryd Szoltysik-9 (M/60), Zygmunt Anczok-9 (D/60), Arkadiusz Milik-9 (F/10), Piotr Zielinski-9 (M/10), Lukasz Fabianski-9 (G/10), Edward Szymkowiak-9 (G/50), Jacek Bak-9 (D/00), Maciej Zurawski-9 (F/00), Dariusz Dziekanowski-9 (F/80), Jan Furtok-9 (F/90), Ireneusz Jelen-9 (F/00), Miroslaw Okonski-9 (M/80), Stanislaw Oslizlo-9 (D/60), Gerard Wodarz-9 (M/30), Tomasz Frankowski-9 (F/00), Waldemar Matysik-9 (M/80), Michal Zewlakow-9 (D/00), Emmanuel Olisadebe-9 (F/00), Wojciech Kowalczyk-9 (F/90), Jacek Ziober-9 (M/80), Jacek Zielinski-9 (D/90), Kazimierz Kmiecik-9 (F/70), Marek Dziuba-9 (D/80), Kamil Grosicki-9 (M/10), Piotr Swierczewski-9 (M/90), Tomasz Lapinski-9 (D/90), Roman Wojcicki-9 (D/80), Jan Liberda-9 (F/60), Bronislaw Bula-9 (M/70), Janusz Kupcewicz-9 (M/80), Piotr Nowak-9 (M/90), Joachim Marx-9 (F/70), Leslaw Cmikiewicz-9 (M/70), Zygmunt Maszczyk-9 (M/70), Andrzej Iwan-9 (F/80), Marek Kozminski-9 (D/90), Tomasz Hajto-9 (D/90), Leszek Pisz-9 (M/90), Adam Nawalka-9 (M/70), Ryszard Tarasiewicz-9 (M/80), Krzysztof Piatek-9 (F/10), Janusz Zmijewski-9 (M/60), Dariusz Wdowczyk-9 (D/80), Mariusz Lewandowski-9 (M/00), Eugen Polanski-9 (M/10), Janusz Kowalik-9 (M/70), Ludovic Obraniak-10 (M/00), Eugeniusz Faber-10 (M/60), Bernard Blaut-10 (M/60), Marek Lesniak-10 (F/90), Jerzy Brzeczek-10 (M/90), Hubert Kostka-10 (G/60), Jozef Wandzik-10 (G/90), Stefan Majewski-10 (D/80), Jan Banas-10 (M/70), Artur Wichniarek-10 (F/00), Tomasz Iwan-10 (M/90), Stanislaw Terlecki-10 (M/70), Andrzej Rudy-10 (M/80), Miroslaw Szymkowiak-10 (M/00), Radoslaw Sobolewski-10 (M/00), Andrzej Jarosik-10 (F/60), Radoslaw Kaluzny-10 (M/90), Dariusz Dudka-10 (M/00), Marcin Wasilewski-10 (D/10), Radoslaw Michalski-10 (M/90), Robert Warzycha-10 (M/90), Roman Jakobczak-10 (M/70), Jan Domarski-10 (F/70), Tomasz Kuszczak-10 (G/00), Miroslaw Trzeciak-10 (F/90), Jerzy Sadek-10 (F/60), Pawel Kryszalowicz-10 (F/00), Dariusz Kubicki-10 (D/80), Arkadiusz Glowacki-10 (D/00), Roman Korynt-10 (D/50), Tomasz Klos-10 (D/90), Jan Bednarek-10 (D/10), Marek Kusto-10 (M/80), Erwin Wilczek-10 (M/60), Adam Matysek-10 (G/90), Zygmunt Kukla-10 (G/70), Marek Citko-10 (M/90), Roman Ogaza-10 (F/70), Janusz Sybis-10 (F/70), Kamil Kosowski-10 (M/00), Sebastian Mila-10 (M/10), Pawel Brozek-10 (F/00), Wojciech Rudy-10 (D/70), Adam Musial-10 (D/70), Wlodzimierz Ciolek-10 (M/80), Maciej Szczesny-10 (G/90), Adrian Mierzejewski-10 (M/10), Marian Szeja-10 (G/70), Tomasz Wieszczycki-10 (M/90), Wlodzimierz Mazur-10 (F/70), Marcin Baszczynski-10 (D/00), Maciej Rybus-10 (M/10), Artur Jedrzejczyk-10 (D/10), Tomasz Rzasa-10 (D/00), Henryk Maculewicz-10 (D/70), Karol Linetty-10 (M/10), Ryszard Komornicki-10 (M/80), Krzysztof Pawlak-10 (D/80), Jacek Gmoch-10 (D/60), Roman Szewczyk-10 (D/90), Piotr Czachowski-10 (M/90), Slawomir Peszko-10 (M/10), Marek Saganowski-10 (F/00), Jerzy Podbrozny-10 (F/90), Marek Jozwiak-10 (D/90), Arkadiusz Radomski-10 (M/00), Dariusz Gesior-10 (M/90), Krzysztof Nowak-10 (M/90), Leszek Lipka-10 (M/80), Kazimierz Wegrzyn-10 (D/90), Rudolf Wojtowicz-10 (D/80), Henryk Szczepanski-10 (D/60), Jan Jalocha-10 (D/80), Henryk Wawrowski-10 (D/70), Michal Pazdan-10 (D/10), Lukasz Teodorczyk-10 (F/10), Miroslaw Bulzacki-10 (D/70), Bartosz Bosacki-10 (D/00), Damien Perquis-10 (D/00), Edmund Andrzej Zientara-10 (M/50), Matty Cash-10 (D/10), Andrzej Niedzielan-10 (F/00), Lukasz Skorupski-10 (G/10), Radoslaw Gilewicz-10 (F/90), Rafal Gikiewicz-11 (G/10), Bartosz Bereszynski-11 (D/10), Grzegorz Rasiak-11 (F/00), Zdzislaw Kapka-11 (F/70), Miroslaw Tlokinski-11 (M/80), Tadeusz Pawlowski-11 (M/70), Sylwester Czereszewski-11 (M/90), Tomasz Zdebel-11 (M/90), Jan Karas-11 (M/80), Mateusz Klich-11 (M/10), Zbigniew Kaczmarek-11 (D/80), Ryszard Grzegorczyk-11 (M/60), Bartosz Karwan-11 (M/90), Marek Koniarek-11 (F/90), Jan Wrazy-11 (D/70), Rafal Murawski-11 (M/00), Zygmunt Garlowski-11 (M/70), Piotr Reiss-11 (F/90), Marek Zienczuk-11 (M/00), Krzysztof Rzesny-11 (D/70), Jerzy Wozniak-11 (D/50), Andrzej Lesiak-11 (D/90), Tadeusz Nowak-11 (M/70), Marek Ostrowski-11 (D/80), Slawomir Majak-11 (M/90), Jacek Dembinski-11 (F/90), Henryk Baluszynski-11 (M/90), Roger Guerreiro-11 (M/00), Jacek Kazimierski-11 (G/80), Jaroslaw Araszkiewicz-11 (M/80), Janusz Turowski-11 (F/80), Leszek Iwanicki-11 (M/80), Bohdan Masztaler-11 (M/70), Zenon Kasztelan-11 (M/70), Mariusz Kukielka-11 (M/00), Ryszard Czerwiec-11 (M/90), Mieczyslaw Gracz-11 (F/40), Jaroslaw Bako-11 (G/90), Przemyslaw Tyton-11 (G/10), Bartlomiej Dragowski-11 (G/10), Kazimierz Sidorczuk-11 (G/90), Tomasz Kedziora-11 (D/10), Andrzej Wozniak-11 (G/90), Jan Gomola-11 (G/60), Edward Jankowski-11 (F/50), Wojciech Kowalewski-11 (G/00), Roman Dabrowski-11 (M/90), Wladyslaw Grotynski-11 (G/60), Konrad Kornek-11 (G/60), Tomasz Sokolowski-11 (M/90), Aleksander Famula-11 (G/80), Zygmunt Kalinowski-11 (G/70), Dariusz Zuraw-11 (D/00), Zbigniew Kruszynski-11 (M/80), Leszek Wolski-11 (M/70), Walter Winkler-11 (D/60), Marian Ostafinski-11 (D/70), Roman Lentner-11 (M/60), Krzysztof Baszkiewicz-11 (M/50), Jozef Galeczka-11 (M/60), Henryk Reyman-11 (F/20), Thiago Cionek-11 (D/10), Piotr Celeban-11 (D/10), Cezary Kucharski-11 (F/90), Waclaw Kuchar-11 (M/20), Marcin Zewlakow-11 (F/10), Waldemar Kryger-11 (D/90), Jozef Kaluza-11 (F/20), Wladyslaw Szczepaniak-11 (D/30), Jerzy Wyrobek-11 (D/70), Lukasz Surma-11 (M/00), Henryk Wieczorek-11 (D/70), Tadeusz Parpan-11 (D/40), Henryk Miloszewicz-11 (M/80), Waldemar Prusik-11 (M/80), Teodor Peterek-11 (F/30), Jozef Nawrot-11 (F/30), Jozef Kwiatkowski-11 (F/70), Krzysztof Baran-11 (F/80), Radoslaw Matusiak-11 (F/00), Edmund Kowal-11 (F/50), Jerzy Kraska-11 (M/70), Krzysztof Ratajczyk-11 (D/90), Janusz Nawrocki-11 (M/80), Jerzy Wijas-11 (M/80), Tomasz Jodlowiec-11 (M/10), Lukasz Gargula-11 (M/00), Engelbert Jarek-11 (M/60), Jozef Kotlarczyk-11 (M/30), Marian Norkowski-11 (F/50), Teodor Aniola-11 (F/50), Kazimierz Buda-11 (M/80), Henryk Kempny-11 (F/50), Andrzej Palasz-11 (M/80), Cezary Tobolik-11 (F/80), Maciej Iwanski-11 (M/00), Jerzy Wilim-11 (F/60), Kamil Wilczek-11 (F/10), Marcin Mieciel-11 (F/00), Sebastian Szymanski-11 (M/10), Krzysztof Adamczyk-11 (F/80), Pawel Wszolek-11 (M/10), Adam Fedoruk-11 (M/90), Pawel Krol-11 (D/80), Krzysztof Bukalski-11 (M/90), Czeslaw Jakolcewicz-11 (M/80), Damian Lukasik-11 (D/80), Kazimierz Moskal-11 (M/90), Piotr Soczynski-11 (D/90), Dariusz Skrzypczak-11 (M/90), Ryszard Staniek-11 (M/90), Kazimierz Trampisz-11 (M/50), Marcin Robak-11 (F/10), Marcin Kuzba-11 (F/00), Sebastian Boenisch-11 (D/10), Henryk Martyna-11 (D/30), Jerzy Bulanow-11 (D/20), Bartosz Bialkowski-11 (G/10), Janusz Jojko-11 (G/90), Grzegorz Mielcarski-11 (F/90), Lukasz Sosin-11 (F/00), Adam Ledwon-11 (M/90), Pawel Janik-11 (M/70), Marek Chojnacki-11 (M/80), Zbigniew Mandziejewicz-11 (M/90), Janusz Gora-11 (M/90), Leonard Piatek-11 (M/30), Tomasz Kielbowicz-11 (M/00), Krzysztof Surlit-11 (M/80), Aleksander Klak-11 (G/90), Piotr Mowlik-11 (G/70), Spirydion Albanski-11 (G/30), Norbert Pogrzeba-11 (F/60), Marcin Kaminski-11 (D/10), Michal Kucharczyk-11 (M/10), Krzysztof Maczynski-11 (M/10), Janusz Gol-11 (M/10), Piotr Czaja-11 (G/70), Arkadiusz Onyszko-11 (G/00), Arkadiusz Malarz-11 (G/10), Artur Sobiech-11 (F/10), Patryk Malecki-11 (M/10), Jacek Bednarz-11 (M/90), Stanislaw Baran-11 (M/50), Mariusz Stepinski-11 (F/10), Ewald Dytko-11 (M/30)
PORTUGAL - CRISTIANO RONALDO-1 (M/10), Eusebio-2 (F/60), Luis Figo-4 (M/00), Mario Coluna-5 (M/60), Rui Costa-6 (M/90), Pepe Kepler-6 (D/10), Deco-6 (M/00), Paulo Futre-6 (M/80), Vitor Baia-6 (G/90), Ricardo Carvalho-6 (D/00) > Bruno Fernandes-7 (M/10), Germano- 7 (D/60), Bernardo Silva-7 (M/10), Jose Augusto-7 (M/60), Paulo Sousa-7 (M/90), Jose Aguas-7 (F/50), Fernando Gomes-7 (F/80), Manuel Bento-7 (G/80), Tamagnini Nene-7 (F/80), Fernando Couto-7 (D/90), Pedro Pauleta-7 (F/00), Joao Domingos Pinto-7 (D/80), Hilario Conceicao-7 (D/60), Antonio Simoes-7 (M/60), Fernando Chalana-7 (M/70), Matateu-7 (F/50), Fernando Peyroteo-7 (F/40), Joao Cancelo-7 (D/10), Jorge Mendonca-7 (F/60), Humberto Coelho-7 (D/70), Jorge Costa-7 (D/90), Miguel B.G. M.-7 (D/00), Rui Patricio-7 (G/10), Paulo Ferreira-7 (D/00), Rui Jordao-7 (F/70), Ruben Dias-7 (D/10), Bruno Alves-7 (D/00), Vitor Damas-7 (G/70), Joao Moutinho-7 (M/10), Raphael Guerreiro-7 (D/10), Jaime Pacheco-7 (M/80), Tiago Mendes-7 (M/10), Ricardo Quaresma-7 (M/10), Nani Almeida Cunha-7 (M/10), Ricardo D. B. Pereira-7 (D/10), Artur Correia-8 (D/70), Jose Travassos-8 (M/40), Jorge Andrade-8 (D/00), Jose Bosingwa-8 (D/00), Ricardo M.S. Pereira-8 (G/00), Jose Torres-8 (F/60), Raul Meireles-8 (M/00), Rui Barros-8 (M/80), Jaime Graca-8 (M/60), Maniche-8 (M/00), Fabio Coentrao-8 (D/10), Joao M.V. Pinto-8 (M/90), Nuno Gomes-8 (F/00), Sergio Conceicao-8 (M/00), Jose Fonte-8 (D/10), Oceano Cruz-8 (M/90), Jaime Magalhaes-8 (M/80), Rui Aguas-8 (F/80), Joao Alves Rezende-8 (M/70), Anthony Lopes-8 (G/10), William Carvalho-9 (M/10), Carlos Manuel-9 (M/80), Liedson-9 (F/00), Domiciano Cavem-9 (M/50), Dimas Teixeira-9 (D/90), Andre M.V. Silva-9 (F/10), Simao Sabrosa-9 (M/00), Joao Azevedo-9 (G/40), Antonio Andre-9 (M/80), Danny-9 (M/00), Manuel J.T. Fernandes-9 (M/70), Eliseu-9 (D/00), Vitor Paneira-9 (M/90), Antonio Oliveira-9 (M/70), Vicente Lucas-9 (D/60), Joao Pereira-9 (D/10), Pinga-9 (F/30), Fernando Cruz-9 (D/60), Rui Jorge-9 (D/90), Jorge Cadete-9 (F/90), Costinha-9 (M/00), Artur Jorge-9 (F/70), Luis Pizzi-9 (M/10), Jose Sa-9 (G/10), Duda Valente-9 (M/10), Rolando Guiaro-9 (D/10), Antonio Veloso-9 (D/80), Eder Lopes-9 (F/10), Diamantino Miranda-9 (M/80), Joao Lourenco-9 (F/60), Miguel Veloso-9 (M/10), Rafa Silva-9 (M/10), Ruben Neves-9 (M/10), Helder Postiga-10 (F/00), Fernando Mendes-10 (M/60), Alberto Costa Pereira-10 (G/50), Mario Rui-10 (D/10), Renato Sanches-10 (M/10), Joao Morais-10 (D/60), Joao Mario-10 (M/10), Manuel H. T.Fernandes-10 (M/10), Cedric Soares-10 (D/10), Danilo Pereira-10 (M/10), Eduardo Carvalho-10 (G/00), Beto Pimparel-10 (G/10), Paulo Bento-10 (M/00), Abel Xavier-10 (D/90), Armando Petit-10 (M/00), Cristovao Helder-10 (D/90), Antonio Sousa-10 (M/80), Nelson Semedo-10 (D/10), Carlos Secretario-10 (D/90), Sheu Han-10 (M/70), Nuno Valente-10 (D/90), Diego Jota-10 (F/10), Joao Felix-10 (F/10), Victorino Antunes-10 (D/10), Daniel Carrico-10 (D/10), Luis Boa Morte-10 (M/00),Fernando Meira-10 (D/00), Silvino-10 (G/80), Alexandre Baptista-10 (D/60), Ricardo Sa Pinto-10 (M/90), Hugo Viana-10 (M/00), Antonio Lima Pereira-10 (D/80), Goncalo Guedes-10 (M/10), Virgilio Mendes-10 (D/50), Manuel Vasques-10 (M/50), Ernesto Figueiredo-10 (F/60), Hernani Silva-10 (M/50), Ricardo Horta-10 (M/10), Vieirinha-10 (M/10), Pedro Goncalves-10 (M/10), Rogerio Pipi-10 (M/40), Rafael Leao (M/10), Fernando Lage-10 (M/50)
ROMANIA - GHEORGHE HAGI-4 (M/90), Gheorghe Popescu-6 (D/90), Nicolae Dobrin-6 (M/70), Miodrag Belodedici-6 (D/90), Laszlo Boloni-7 (M/80), Christian Chivu-7 (D/00), Dan Petrescu-7 (D/90), Ilie Balaci-7 (M/70), Iosif Petschovschi-7 (M/40), Adrian Mutu-7 (M/00) > Iuliu Bodola-7 (F/40), Cosmin Contra-7 (D/00), Stefan Dobay-7 (F/30), Iuliu Baratky-7 (M/30), Marcel Raducanu-7 (M/80), Florea Dumitrache-7 (F/70), Anghel Iordanescu-7 (M/70), Mircea Rednic-7 (D/80), Florin Raducioiu-8 (F/90), Marius Lacatus-8 (M/80), Dorinel Munteanu-8 (M/90), Adrian Ilie-8 (M/90), Costica Stefanescu-8 (D/70), Alexandru Apolzan-8 (D/50), Victor Piturca-9 (F/80), Silviu Lung I-9 (G/80), Bogdan Stelea-9 (G/90), Ion Dumitru-9 (M/70), Ciprian Tatarusanu-9 (G/10), Dudu Georgescu-9 (F/70), Viorel Moldovan-9 (F/90), Dorin Mateut-9 (M/80), Cornel Dinu-9 (D/70), Ioan Lupescu-9 (M/90), Stefan Radu-9 (D/10), Razvan Rat-9 (D/00), Ilie Dumitrescu-9 (M/90), Ionel Ganea-9 (F/00), Rodion Camataru-9 (F/90), Daniel Prodan-9 (D/90), Stefan Sames-9 (D/70), Gavril Balint-9 (M/80), Helmuth Duckadam-9 (G/80), Gheorghe Craioveanu-9 (F/90), Cristian Sapunaru-10 (D/10), Constantin Galca-10 (M/90), Ovidiu Stinga-10 (M/90), Ciprian Marica-10 (F/00), Titus Ozon-10 (M/50), Bogdan Lobont-10 (G/10), Ion Voinescu-10 (G/50), Iulian Filipescu-10 (D/00), Michael Klein-10 (D/80), Claudio Keseru-10 (F/10), Timor Selymes-10 (D/90), Ioan Ovidiu Sabau-10 (M/90), Mircea Lucescu-10 (M/70), Nicolae Stanciu-10 (M/10), Florin Andone-10 (F/10), Ion Timofte-10 (M/90), Lajos Satmareanu-10 (D/70), Ion Parcalab-10 (M/60), Necula Raducanu-10 (G/70), Francisc Spielmann-10 (F/40), Dan Coe-10 (D/60), Emerich Dembrovschi-10 (F/70), Alexandru Maxim-10 (M/10), Gheorge Constantin-10 (F/50), Vlad Chiriches-10 (D/10), Ion Oblemenco-10 (F/70), Gabriel Torje-10 (M/10), Dorin Goian-10 (D/00), Nicolae Ungureanu-10 (D/80), Razvan Marin-10 (M/10), Dumitru Moraru-10 (G/70), Cristian Tanase-10 (M/00), Florin Tanase-10 (M/10)
RUSSIA - VALERI KARPIN-7 (M/90), Andrei Kanchelskis-7 (M/90), Andrei Arshavin-7 (M/00), Artem Dzyuba-7 (F/10), Mario Fernandes-7 (D/10), Aleksandr Mostovoi-8 (M/90), Igor Akinfeev-8 (G/00), Viktor Onopko-8 (M/90), Ilya Tsymbalar-8 (M/90), Roman Pavlyuchenko-8 (F/00) > Yegor Titov-8 (M/00), Roman Shirokov-8 (M/10), Aleksandr Kerzhakov-8 (F/00), Sergey Semak-8 (M/00), Sergey Ignashevich-8 (D/00), Aleksandr Anyukov-8 (D/00), Igor Shalimov-8 (M/90), Yuri Zhirkov-8 (D/00), Vladimir Beschastnykh-9 (M/90), Alan Dzagoev-9 (M/10), Aleksandr Kokorin-9 (M/10), Dmitri Loskov-9 (M/00), Dmitri Alenichev-9 (M/00), Oleg Salenko-9 (F/90), Aleksandr Golovin-9 (M/10), Igor Denisov-9 (M/10), Sergey Yuran-9 (F/90), Yuriy Nikiforov-9 (D/90), Denis Cheryshev-9 (M/10), Dmitri Khoklov-9 (D/90), Dmitri Sychev-9 (F/90), Stanislav Cherchesov-9 (G/90), Dmitri Kharin-9 (G/90), Igor Dobrovolski-9 (M/80), Denis Glushakov-9 (M/10), Andrei Tikhonov-9 (M/90), Vasili Kulkov-9 (D/90), Oleg Veretennikov-10 (F/90), Dmitri Radchenko-10 (F/90), Alexei Miranchuk-10 (M/10), Fedor Smolov-10 (F/10), Alexey Smertin-10 (M/00), Diniyar Bilyaletdinov-10 (M/00), Igor Korneev-10 (M/90), Oleg Shatov-10 (M/10), Vladislav Radimov-10 (M/90), Sergey Ovchinnikov-10 (G/00), Igor Kolyvanov-10 (M/90), Sergey Gorlukovich-10 (D/90), Pavel Pogrebnyak-10 (F/00), Sergey Kiryakov-10 (M/90), Ruslan Nigmatulin-10 (G/90), Aleksandr Borodyuk-10 (F/80), Viacheslav Malafeev-10 (G/00), Konstantin Zyryanov-10 (M/00), Dmitri Kirichenko-10 (F/00), Igor Semshov-10 (M/00), Vasili Berezutskiy-10 (D/00), Igor Ledyakhov-10 (M/90), Aleksandr Samedov-10 (M/10), Guilherme Marinato-10 (G/10), Dmitri Popov-10 (M/90), Roman Zobnin-10 (M/10), Dmitri Khlestov-10 (D/00), Igor Yanovskyi-10 (M/90), Dmitri Kombarov-10 (D/10), Marat Izmailov-10 (M/00), Igor Simutenkov-10 (F/90), Yuriy Gazinskiy-10 (M/10), Dmitri Bulykin-10 (F/00), Omari Tetradze-10 (D/90), Akhrik Tsveiba-10 (D/90), Magomed Ozdoyev-10 (M/10), Sergey Ryzhikov-10 (G/10), Aleksandr Belenov-10 (G/10), Dmitri Cheryshev-10 (F/90), Ari-10 (F/10), Oleg Kuzmin-10 (D/10), Andrei Pyatnitski-10 (M/90), Daler Kuzyaev-10 (M/10), Georgi Dzhikiya-10 (D/10), Roman Neustadter-10 (D/10), Aleksandr Erokhin-10 (M/10), Alexey Berezutskiy-10 (D/00), Alexey Bugaev-11 (D/00)
SCOTLAND - KENNY DALGLISH-5 (M/70), Denis Law-5 (F/60), Jimmy Johnstone-6 (M/60), Billy Bremner-6 (M/60), Graeme Souness-6 (M/80), Peter Lorimer-7 (F/70), Alex James-7 (M/30), Tommy Gemmell-7 (D/60), Alan Hansen-7 (D/80), Billy Liddell-7 (M/50) > Hughie Gallacher-7 (M/20), Alan Morton-7 (M/20), John Wark-7 (M/80), Jim Baxter-7 (M/60), Gordon Strachan-7 (M/80), Billy McNeill-7 (D/60), Joe Jordan-7 (F/70), Andrew Robertson-7 (D/10), Ally McCoist-7 (F/80), Richard Gough-7 (D/80), Ronnie Simpson-7 (G/60), William Brown-7 (G/60), John Greig-7 (M/60), Sandy Jardine-7 (D/70), Dave Mackay-7 (D/60), David Cooper-7 (M/80), Jimmy McGrory-8 (F/20), Danny McGrain-8 (D/70), Gary McAllister-8 (M/90), Steve Nicol-8 (D/80), Colin Hendry-8 (D/90), Kenny Burns-8 (D/70), David Herd-8 (F/60), George Young-9 (D/50), Allan Evans-9 (D/80), David Weir-9 (D/00), Gordon McQueen-9 (D/70), Jim Leighton-9 (G/80), Andy Gray-9 (F/70), Mo Johnston-9 (F/80), Steve Archibald-9 (F/80), Bobby Murdoch-9 (M/60), Brian McClair-9 (M/80), Barry Ferguson-9 (M/00), John Collins-9 (M/90), Archi Gemmill-9 (M/70), John Robertson-9 (M/70), Paul Lambert-9 (M/90), Craig Gordon-9 (G/00), Andy Goram-9 (G/90), Frank Gray-9 (D/70), Alex Jackson-9 (M/20), Dave Halliday-9 (F/20), Bobby Lennox-9 (M/60), Lawrie Reilly-9 (F/50), Bobby Walker-9 (M/1900), Frank McLintock-9 (D/60), Darren Fletcher-9 (M/00), Paul McStay-9 (M/80), Willie Miller-9 (D/80), Alex Young-9 (F/60), Bobby Collins-9 (M/50), Dave Wilson-9 (M/60), Gordon Smith-9 (M/50), Eddie Gray-9 (M/70), Willie Henderson-9 (M/60), Alex McLeish-9 (D/80), William Waddell-9 (M/40), Davie Meiklejohn-9 (D/20), Roy Aitken-9 (M/80), John McGovern-9 (M/70), Allan Gilzean-9 (F/60), Asa Hartford-9 (M/70), Hugh Ferguson-9 (F/20), Alex Raisbeck-9 (M/1900), Stevie Chalmers-9 (F/60), Bruce Rioch-9 (M/70), James Forrest-9 (M/10), Jimmy McMenemy-9 (M/1900), Scott Brown-9 (M/10), John Campbell I-9 (F/1890), Christian Dailly-9 (D/90), Graeme Sharp-9 (F/80), Ian St.John-9 (F/60), George Burley-9 (D/70), Charles Nicholas-9 (F/80), Andrew Wilson-9 (F/1900), Andrew Nesbit Wilson-9 (M/20), Maurice Malpas-9 (D/80), Alan Brazil-9 (F/70), Bobby Johnstone-9 (F/50), Bobby Moncur-9 (D/70), Eric Caldow-9 (D/60), Tom Boyd-9 (D/90), Mark McGhee-9 (F/80), Martin Buchan-9 (D/70), Eddie Turnbull-9 (F/50), Allan Brown-9 (F/50), Bobby Mitchell-9 (M/50), Jimmy Scoular-9 (D/40), Kenny Miller-9 (F/00), Jimmy Delaney-9 (M/30), Andy Penman-9 (M/60), Bob McPhail-9 (F/30), Dally Duncan-9 (M/30), Willie Donachie-9 (D/70), Stuart McCall-9 (D/90), Thomas Walker-9 (M/30), Neil Sullivan-9 (G/90), Ron Yeats-9 (D/60), Willie Woodburn-9 (D/40), Jock Dodds-9 (F/40), Ian Ure-9 (D/60), Craig Burley-9 (M/90), Eddie McCreadie-9 (D/60), Ken McNaught-9 (D/70), Willi MacFadyen-9 (F/30), Walter Arnott-9 (D/1880), Jim Holton-10 (D/70), Billy Steel-10 (M/40) ,Bertie Auld-10 (M/60), George Graham-10 (M/70), Kevin Gallacher-10 (M/90), Colin Stein-10 (F/60), Graham Leggat-10 (M/60), Duncan Ferguson-10 (F/90), Jimmy Ross-10 (M/1890), Nick Ross-10 (D/1880), Alec McNair-10 (D/1900), Colin Calderwood-10 (D/90), Ally McInally-10 (F/80), David McPherson-10 (D/90), Charlie Mulgrew-10 (M/10), Lou Macari-10 (M/60), Jimmy Delaney-10 (M/30), Shaun Maloney-10 (M/10), James McFadden-10 (M/00), Robert Wilson-10 (G/70), John McGinn-10 (M/10), Alan McGregor-10 (G/10), Alan Rough-10 (G/80), Steven Fletcher-10 (F/10), John Clark-10 (D/60), Ryan Fraser-10 (M/10), Patrick Stanton-10 (D/70), Kris Boyd-10 (F/10), Jimmy McMullan-10 (D/20), Robert Hamilton-10 (F/1900), John James Campbell-10 (F/1890), Bill Shankly-10 (D/30), James Cowan-10 (M/1890), Andy Cunningham-10 (F/1910), Peter McCloy-10 (G/70), Willie Bauld-10 (F/50), Davie Provan-10 (M/80), Eric Black-10 (F/80), Pat Crerand-10 (D/60), Gordon Durie-10 (F/90), Thomas McInally-10 (F/20), Bobby Cox-10 (D/60), William Johnston-10 (M/70), Ted MacDougall-10(F/70), Charlie Adam-10 (M/10), Ned Doig-10 (G/1890), William Wallace-10 (F/60), Ian Wallace-10 (F/70), Bobby Evans-10 (D/50), Charlie Cooke-10 (M/60), Jimmy Gabriel-10 (M/60), Arthur Albiston-10 (D/80), Kieran Tierney-10 (D/10), Adam Blacklaw-10 (G/60), Gary Caldwell-10 (D/00), Robert McColl-10 (M/1890), Murdo McLeod-10 (M/80), Jackie Modie-10 (F/50), Jim McCalliog-10 (M/60), Scott McTominay-10 (M/10), Callum McGregor-10 (M/10), Steven Naismith-10 (M/10), John O Hare-10 (F/60), John White-10 (M/60), John Hewie-10 (D/50), Malcolm Finlayson-10 (G/50), Jackie McNamara-10 (D/90), George Hamilton-10 (F/40), David McLean-10 (F/1910), Eric Martin-10 (G/60), Dominic Matteo-10 (D/90), Joe McBride-10 (F/60), Matt Ritchie-10 (M/10), Matt Phillips-10 (M/10), Leigh Griffiths-10 (F/10), Matt Busby-10 (D/30)
SERBIA (SERBIA AND MONTENEGRO) - NEMANJA VIDIC-6 (D/00), Predrag Mijatovic-6 (M/90), Dusan Tadic-7 (M/10), Branislav Ivanovic-7 (D/10), Aleksandar Kolarov-7 (D/10), Savo Milosevic-7 (F/90), Nemanja Matic-7 (M/10), Dejan Stankovic-7 (M/00), Sergey Milinkovic Savic-7 (M/10), Aleksandar Mitrovic-8 (F/10) > Mateja Kezman-8 (F/00), Darko Kovacevic-8 (F/90), Filip Kostic-8 (M/10), Adem Ljajic-8 (M/10), Neven Subotic-8 (D/10), Predrag Djordjevic-8 (M/00), Mladen Krstajc-8 (D/00), Milos Krasic-9 (M/00), Nikola Zigic-9 (F/00), Matija Nastasic-9 (D/10), Luka Jovic-9 (F/10), Dusan Vlahovic-9 (F/10), Nikola Milenkovic-9 (D/10), Ivica Dragutinovic-10 (D/00), Milan Jovanovic-10 (M/00), Sasa Ilic-10 (M/00), Marko Pantelic-10 (F/00), Luka Milivojevic-10 (M/10), Miralem Sulejmani-10 (M/10), Nemanja Gudelj-10 (M/10), Bosko Jankovic-10 (M/00), Zoran Tosic-10 (M/00), Nikola Maksimovic-10 (D/10), Antonio Rukavina-10 (D/10), Danko Lazovic-10 (F/00), Ljubomir Fejsa-10 (M/10), Nenad Jastrovic-10 (F/10), Zdravko Kuzmanovic-10 (M/10), Vladimir Stojkovic-10 (G/00), Albert Nadj-10 (M/90), Dusan Basta-10 (D/10), Danijel Ljuboja-10 (F/00), Veljko Paunovic-10 (M/00), Zoran Mirkovic-10 (D/90), Predrag Rajkovic-10 (G/10), Lazar Markovic-10 (M/10), Aleksandar Prijovic-10 (F/10), Nenad Tomovic-10 (D/10), Nemanja Maksimovic-10 (M/10), Milan Bisevac-10 (D/10), Dejan Stefanovic-10 (D/00), Aleksander Katai-10 (M/10), Nenad Miiljas-10 (M/00), Miroslav Radovic-10 (M/10), Ivica Kralj-10 (G/90), Filip Djuricic-10 (M/10), Aleksandar Pesic-11 (F/10), Marko Dmitrovic-11 (G/10), Andrija Zivkovic-11 (M/10), Goran Bunjevcevic-11 (D/00), Zeljko Ljubenovic-11 (M/00), Marko Grujic-11 (M/10), Slobodan Rajkovic-11 (D/10), Dragoslav Jevric-11 (G/00), Igor Duljaj-11 (M/00), Sasa Lukic-11 (M/10), Nemanja Radonjic-11 (M/10), Uros Spajic-11 (D/10), Mijat Gacinovic-11 (M/10), Darko Lazovic-11 (M/10), Danjel Aleksic-11 (M/10), Filip Mladenovic-11 (D/10), Stefan Mitrovic-11 (D/10), Uros Racic-11 (M/10), Milos Veljkovic-11 (D/10), Ivan Ilic-11 (M/10), Milos Jojic-11 (M/10), Miroslav Bogosavac-11 (D/10)
SLOVENIA – JAN OBLAK-6 (G/10), Samir Handanovic-6 (G/10), Srecko Katanec-6 (M/90), Zlatko Zahovic-7 (M/90), Josip Ilicic-7 (M/10), Milivoje Novakovic-8 (F/00), Valter Birsa-8 (M/10), Kevin Kampl-8 (M/10), Miso Brecko-9 (D/10), Aleksander Knavs-10 (D/00) > Milenko Acimovic-10 (M/00), Bostjan Cesar-10 (D/10), Tim Matavz-10 (F/10), Robert Koren-10 (M/00), Nastja Ceh-10 (M/00), Matjaz Florjancic-10 (M/90), Petar Stojanovic-10 (D/10), Jasmin Kurtic-10 (M/10), Saso Udovic-11 (F/90), Miran Pavlin-11 (M/90), Ermin Siljak-11 (F/90), Benjamin Verbic-11 (M/10), Miha Zajc-11 (M/10), Robert Beric-11 (F/10), Bojan Jokic-11 (D/10), Rene Krhin-11 (M/10), Andraz Sporar-11 (F/10), Aleksandar Radosavljevic-11 (M/10), Jure Balkovec-11 (D/10)
SLOVAKIA - MAREK HAMSIK-6 (M/10), Lubomir Moravcik-7 (M/90), Martin Skrtel-8 (D/00), Marek Mintal-8 (M/00), Milan Skriniar-8 (D/10), Robert Vittek-9 (F/00), Miroslav Karhan-9 (M/00), Juraj Kucka-9 (M/10), Peter Dubovsky-9 (M/90), Jan Durica-9 (D/10) > Stanislav Sestak-9 (M/00), Szilard Nemeth-9 (F/90), Peter Pekarik-9 (D/10), Alexander Vencel jr-10 (G/90), Marek Cech-10 (D/10), Tomas Hubocan-10 (D/00), Vladimir Weiss jr-10 (M/10), Filip Holosko-10 (M/00), Vratislav Gresko-10 (M/90), Miroslav Stoch-10 (M/10), Ondrej Duda-10 (M/10), Stanislav Lobotka-10 (M/10), Robert Mak-10 (M/10), Martin Dubravka-10 (G/10), Stanislav Varga-11 (D/00), Vladimir Weiss I-11 (M/80), Dusan Tittel-11 (M/90), Dusan Kuciak-11 (G/10), Matus Kozacik-11 (G/10), Jan Kozak-11 (M/90), Vladimir Janocko-11 (M/00), Tibor Jancula-11 (M/90), Patrik Hrosovsky-11 (M/10), Milos Glonek-11 (D/90), Lubomir Luhovy-11 (F/90), Erik Jendrisek-11 (F/00), Igor Balis-11 (D/90), Jan Mucha-11 (G/00), Kamil Contofalsky-11 (G/00), Kornel Salata-11 (D/10), Radoslav Zabavnik-11 (D/10), Igor Demo-11 (M/00), Marian Cisovsky-11 (D/10), Vladimir Labant-11 (D/90), Miroslav Konig-11 (G/00), Karol Kisel-11 (M/00), Dusan Svento-11 (M/10), Laszlo Benes-11 (M/10), Vladimir Kinder-11 (D/90), Josef Kratochvil-11 (D/00), Ivan Schranz-11 (F/10), Martin Valjent-11 (D/10), David Hancko-11 (D/10), Filip Sebo-11 (F/00), Lukas Haraslin-11 (M/10), Norbert Gyomber-12 (D/10), Juraj Halenar-12 (M/00), Igor Zofcak-12 (M/00), Marian Kelemen-12 (G/10), Marek Penksa-12 (F/90), Tomas Oravec-12 (F/00), Pavol Dina-12 (F/80), Adam Nemec-12 (F/10), Marek Sapara-12 (M/00), Ladislav Molnar-12 (G/90), Matus Bero-12 (M/10), Martin Jakubko-12 (F/00), Michal Duris-12 (F/10), Marek Ujlaky-12 (M/00), Albert Rusnak-12 (F/10), Peter Petras-12 (D/00), Robert Tomaschek-12 (M/90), Jozef Kozlej-12 (F/90), Kamil Kopunek-12 (M/10), Stefan Senecky-12 (G/00), Viliam Hyravy-12 (F/80), Matus Putnocky-12 (G/10), Michal Hipp-12 (D/90), Ondrej Kristofik-12 (M/90), Jakub Hromada-12 (M/10), Marian Zeman-12 (D/90), Martin Petras-12 (D/00), Robert Jez-12 (M/00), Rastislav Michalik-12 (M/00), Balazs Borbely-12 (M/00), Lubomir Guldan-12 (D/10), Filip Kiss-12 (M/10), Marek Rodak-12 (G/10), Denis Vavro-12 (D/10), Jakub Sylvestr-12 (F/10), Michal Peskovic-12 (G/10), Karim Guede-12 (D/10), Samuel Slovak-12 (M/00), Jaroslav Timko-12 (M/80), Lubomir Reiter-12 (F/00), Jozef Valachovic-12 (D/00), Jozef Majoros-12 (M/90), Milan Timko-12 (D/90), Dominik Greif-12 (G/10), Lubomir Satka-12 (D/10), Jan Gregus-12 (M/10), Robert Pich-12 (M/10), Peter Dzurik-12 (M/90), Erik Sabo-12 (M/10), Tomas Suslov-12 (M/10), Pavol Stano-12 (D/00), Jozef Weber-12 (M/00)
SAN MARINO - MASSIMO BONINI-7 (M/80), Marco Macina-11 (F/80), Claudio Maiani-12 (G/70), Dante Maiani-13 (M/70), Andy Selva-13 (F/00), Mauro Valentini-14 (D/90), Aldo Simoncini-14 (G/00), Elia Benedettini-14 (G/10), Filippo Berardi-14 (M/10), Federico Gasperoni-14 (G/90) > Mirko Palazzi-14 (D/10), Nicola Nanni-14 (F/10), Danilo Rinaldi-15 (M/00), Manuel Marani-15 (M/00), Nicola Bachiocchi-15 (F/90), Marco Mazza-15 (M/80), Matteo Vitaioli-15 (M/00), Michele Marani-15 (M/00), Eduardo Colombo-15 (G/10), Davide Simoncini-15 (D/10), William Guerra-15 (D/90), Filippo Fabbri II-15 (D/10)
SWITZERLAND - SEVERINO MINELLI-7 (D/30), Stephane Chapuisat-7 (F/90), Josef Hugi-7 (F/50), Andre Abegglen-7 (F/30), Ciriaco Sforza-7 (M/00), Ricardo Rodriguez-7 (D/10), Stephan Lichtsteiner-7 (D/10), Xherdan Shaqiri-7 (M/10), Jacques Fatton-7 (M/50), Alexander Frei-8 (F/00) > Max Abegglen-8 (M/20), Gokhan Inler-8 (M/00), Hakan Yakin-8 (M/00), Granit Xhaka-8 (M/10), Yann Sommer-8 (G/10), Alain Sutter-9 (M/90), Alfred Bickel-9 (M/40), Heinz Hermann-9 (M/80), Kubilay Turkyilmaz-9 (F/90), Diego Benaglio-9 (G/10), Karl Odermatt-9 (M/60), Georges Bregy-9 (M/80), Tranquillo Barnetta-9 (M/00), Stephane Henchoz-9 (D/00), Kobi Kuhn-9 (M/60), Umberto Barberis-9 (M/80), Roman Burki-9 (G/10), Johann Vogel-9 (M/00), Blerim Dzemaili-9 (M/10), Charles Antenen-9 (F/50), Patrick Muller-9 (D/00), Ludovic Magnin-9 (D/00), Valon Behrami-9 (M/10), Haris Seferovic-10 (F/10), Philippe Senderos-10 (D/00), Claudio Sulser-10 (F/80), Olivier Eggimann-10 (M/40), Pascal Zuberbuhler-10 (G/90), Eugen Meier-10 (M/50), Robert Ballaman-10 (M/50), Eren Derdiyok-10 (F/10), Admir Mehmedi-10 (M/10), Raphael Wicky-10 (M/00), Andy Egli-10 (D/80), Marco Pascolo-10 (G/90), Alain Geiger-10 (D/80), Norbert Eschmann-10 (M/50), Remo Freuler-10 (M/10), Murat Yakin-10 (D/00), Adrian Knup-10 (F/90), Roger Vonlanthen-10 (F/50), Frank Sechehaye-10 (G/30), Gelson Fernandes-10 (M/10), Lauro Amado-10 (M/40), Rudolf Ramseyer-10 (D/20), Erwin Ballabio-10 (G/40), Willi Steffen-10 (D/40), Manuel Akanji-10 (D/10), Andre Neury-10 (D/50), Denis Zakaria-10 (M/10), Niko Elvedi-10 (D/10), Friz Kunzli-10 (F/60), Steven Zuber-10 (M/10), Fabian Schar-10 (D/10), Marcel Koller-10 (M/80), Jean Paul Brigger-10 (F/70)
SWEDEN – ZLATAN IBRAHIMOVIC-4 (F/10), Nils Liedholm-4 (M/50), Gunnar Nordahl-4 (F/50), Kurt Hamrin-5 (M/50), Ronnie Hellstrom-6 (G/70), Henrik Larsson-6 (F/00), Gunnar Gren-6 (M/40), Tomas Brolin-6 (M/90), Lennart Skoglund-7 (M/50), Bengt Gustavsson-7 (D/50) > Ove Kindvall-7 (F/60), Fredrik Ljungberg-7 (M/00), Patrik Andersson-7 (D/90), Kennet Anderson-7 (F/90), Martin Dahlin-7 (F/90), Erik Nilsson-7 (D/40), Orvar Bergmark-7 (D/50), Roland Nilsson-7 (D/90), Glen Hysen-7 (D/80), Emil Forsberg-7 (M/10), Roger Magnusson-7 (M/70), Bjorn Nordqvist-7 (D/70), Thomas Ravelli-7 (G/90), Sven Rydell-7 (F/20), Roland Sandberg-7 (M/70), Andreas Granqvist-7 (D/10), Gunnar Andersson-7 (F/50), Bo Larsson-8 (M/60), Kim Kallstrom-8 (M/00), Ralf Edstrom-8 (F/70), Glen Stromberg-8 (M/80), Olof Mellberg-8 (D/00), Jonas Thern-8 (M/90), Anders Svensson-8 (M/00), Mats Magnusson-8 (F/90), Hasse Jeppson-8 (F/50), Conny Torstensson-8 (M/70), Anders Limpar-8 (M/90), Sebastian Larsson-8 (M/10), Ingemar Erlandsson-8 (D/80), Henry Carlsson-8 (F/40), Bengt Lindskog-8 (M/50), Ake Johansson-8 (D/50), Stig Fredriksson-9 (D/80), Robert Prytz-9 (M/80), Ola Toivonen-9 (M/10), Stefan Petterson-9 (F/90), Dan Corneliusson-9 (F/80), Victor Claesson-9 (M/10), Torbjorn Nilsson-9 (F/80), Andreas Isaksson-9 (G/00), Thomas Wernersson-9 (G/80), Klas Ingesson-9 (M/90), Par Zetterberg-9 (M/90), Stefan Schwarz-9 (M/90), Kalle Svensson-9 (G/50), Agne Simonsson-9 (F/50), Victor Lindelof-10 (D/10), Jan Moller-10 (G/70), Arne Selmosson-10 (F/50), Marcus Berg-10 (F/10), Martin Olsson-10 (D/10), Niklas Alexandersson-10 (M/90), Mikael Lustig-10 (D/10), Johan Elmander-10 (M/10), Nils-Ake Sandell-10 (F/50), Karl-Alfred Jacobsson-10 (F/50), Harry Bild-10 (F/60), Sven Jonasson-10 (F/30), Markus Rosenberg-10 (F/00), Thomas Nordahl-10 (M/60), Ove Grahn-10 (M/70), Johny Ekstroem-10 (M/80), Knut Nordahl-10 (D/40), Johann Mjallby-10 (D/90), Benny Wendt-10 (M/70), Jan Eriksson-10 (D/90), Bertil Nordahl-10 (D/40), Knut Kroon-10 (F/30), Jonas Rudolf Kock-10 (M/20), Albin Ekdal-10 (M/10), Alexander Isak-10 (F/10)
TURKEY - HAKAN SUKUR-7 (F/90), Recber Rustu-7 (G/90), Emre Belezoglu-7 (M/00), Lefter Kucukandonyadis-7 (M/50), Turgay Seren-7 (G/50), Metin Oktay-7 (F/60), Hakan Calhanoglu-7 (M/10), Arda Turan-7 (M/10), Ozcan Arkoc-7 (G/60), Nihat Kahveci-7 (F/00) > Alpay Ozalan-8 (D/00), Burak Yilmaz-8 (F/10), Hasan Sas-9 (M/00), Tanju Colak-9 (F/80), Bulent Korkmaz-9 (D/90), Tuncay Sanli-9 (M/00), Umit Davala-9 (M/00), Nuri Sahin-9 (M/00), Omer Toprak-9 (D/10), Fatih Akyel-9 (D/00), Caner Erkin-9 (D/10), Selcuk Inan-9 (M/10), Tugay Kerimoglu-9 (M/00), Can Bartu-9 (M/60), Halil Anltintop-9 (M/00), Hamit Altintop-9 (D/00), Mevlut Erdinc-9 (F/00), Sukru Gulesin-9 (F/50), Gokhan Gonul-9 (D/10), Muzzy Izzet-9 (M/00), Ercan Abdullah-9 (M/90), Oguz Cetin-9 (M/90), Caglar Soyuncu-9 (D/10), Fatih Terim-10 (D/80), Servet Cetin-10 (D/00), Cenk Tosun-10 (F/10), Riza Calimbay-10 (M/80), Senol Gunes-10 (G/70), Yildiray Basturk-10 (M/00), Mehmet Topal-10 (D/10), Cengiz Under-10 (M/10), Fatih Tekke-10 (F/10), Umut Bulut-10 (M/10), Cemil Turan-10 (M/70), Volkan Demirel-10 (G/00), Gokdeniz Karadeniz-10 (M/00), Mehmet Aurelio-10 (M/00), Semih Senturk-10 (F/00), Arif Erdem-10 (F/00), Sabri Sarioglu-10 (D/00), Ilhan Mansiz-10 (F/00), Okan Yokuslu-10 (M/10), Sergen Yalcin-10 (M/90), Enes Unal-10 (F/10), Hasan Ali Kaldirim-10 (D/10), Ridvan Dilmen-10 (M/80), Turgay Semercioglu-10 (D/70), Yunus Malli-10 (M/10), Ozan Kabak-10 (D/10), Fewzi Zemzem-10 (F/70), Kaan Ayhan-10 (D/10), Okan Buruk-10 (M/00), Alpaslan Eratli-10 (D/70), Hami Mandirali-10 (F/90), Ugurcan Cakir-10 (G//10), Merih Demiral-10 (D/10), Irfan Can Kahveci-10 (M/10)
UKRAINE - ANDRIY SHEVCHENKO-4 (F/00), Oleg Protasov-7 (F/80), Oleg Kuznetsov-7 (D/80), Andriy Yarmolenko-7 (M/10), Anatoliy Tymoshchuk-8 (M/00), Giennadiy Litovchenko-8 (M/80), Yevhen Konoplanka-8 (M/10), Oleg Luzhnyi-8 (D/90), Oleksandr Shovkovskiy-9 (G/00), Serhiy Rebrov-9 (M/90) > Ruslan Malinowskiy-9 (M/10), Ruslan Rotan-9 (M/10), Yaroslav Rakytskiy-9 (D/10), Andriy Voronin-9 (M/00), Andriy Pyatov-9 (G/10), Maksim Kalynychenko-9 (M/00), Viktor Tsyhankov-9 (M/10), Oleksandr Zinchenko-9 (D/10), Serhiy Nazarenko-9 (M/00), Yewhen Seleznyov-9 (F/10), Yuriy Kalitvintsev-9 (M/90), Oleksandr Holovko-9 (D/90), Junior Moraes-9 (F/10), Oleksandr Kucher-10 (D/10), Vladyslav Vashchuk-10 (D/90), Andriy Vorobey-10 (F/00), Viktor Leonenko-10 (F/90), Roman Yaremchuk-10 (F/10), Viktor Skripnik-10 (D/90), Oleksandr Aliyev-10 (M/00), Oleh Husyew-10 (M/00), Andriy Husin-10 (M/90), Taras Stepanenko-10 (M/10), Artem Fedetskyi-10 (D/10), Yevhen Chacheridi-10 (D/10), Yuriy Maksymov-10 (M/90), Marlos-10 (M/10), Dmytro Chyhrinskyi-10 (D/00), Hennadiy Zubov-10 (M/90), Sierhiy Sydorchuk-10 (M/10), Artem Milevskiy-11 (F/00), Oleh Suslov-11 (G/90), Artem Kravets-11 (F/10), Vitaliy Buyalski-11 (M/10), Eduard Sobol-11 (D/10), Marko Devic-11 (F/10), Timerlan Huseynov-11 (F/90), Andriy Nesmachnyi-11 (D/00), Bohdan Butko-11 (D/10), Edmar-11 (M/00), Vyacheslav Shevchuk-11 (D/00), Oleksandr Hladkiy-11 (F/00), Denis Garmash-11 (M/10), Denis Boyko-11 (G/10), Serhiy Kravchenko-11 (M/10), Viktor Kovalenko-11 (M/10), Serhiy Scherbakov-11 (M/90), Serhiy Kandaurov-11 (M/90), Oleh Yaschuk-11 (M/00), Mykola Moroziuk-11 (M/10), Yuriy Dmytrulin-11 (D/90), Ivan Hetsko-11 (F/90), Roman Bezus-11 (M/10), Dmitro Parfenov-11 (D/90), Oleksiy Hay-11 (M/90), Taras Mykhalik-11 (D/00), Andriy Rusol-11 (D/00), Oleksandr Karavayev-11 (D/10), Serhiy Kryvtsov-11 (D/10), Maksym Levitskiy-11 (G/00), Ihor Petrov-11 (F/80), Vitaliy Mykolenko-11 (D/10), Oleh Shelayev-11 (M/00), Volodymir Yezerski-11 (D/00), Serhiy Shmatovalenko-11 (D/80), Oleksandr Horshkov-11 (M/90), Oleksand Rykun-11 (M/00), Serhiy Zakarluyka-11 (M/10), Maksym Koval-11 (G/10), Hrihoriy Buschan-11 (G/10), Oleksandr Yakovenko-11 (M/10), Ihor Kutyepov-11 (G/80), Andriy Michalchuk-11 (M/90), Roman Maksymiuk-11 (D/90), Oleksiy Bielik-11 (F/00), Denys Kozhanov-11 (M/00), Mykola Ischenko-11 (D/00), Yevgen Cheberyachko-11 (D/10), Mykola Shaparenko-11 (M/10), Artem Dov
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Tom Hull: Music Tracking 2018
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Music Tracking 2018
These are 2018 releases that I've taken note of, listed alphabetically by artist, with VA comps at the bottom. My grades, where available, are in brackets at the end of the line (stars in B+ range). Lines in blue indicate that I have a physical copy (albeit sometimes just a promo CDR); in green are records that I graded based on a Rhapsody stream or other such source. Most records have release dates and a brief generic note (usually taken from AMG).
Unheard records are prioritized 0-3 (graded records are 4-5). The priotization is based subjectively on personal interests, reviews I've noticed, reviewers I particularly respect, what I know about the artists, etc. Roughly speaking: 0 is something I have no reason to consider (default page omits 0); 1 has been noted as having some cred somewhere; 2 is something I have some specific reason to search out; 3 is something I'll listen to ASAP.
Option selectors:
Include priority 0, exclude rated.
Just priority 2+, exclude rated.
Rated only.
Unrated only.
Default (priority 1+ and rated).
Genre switches (no data for Indie Rock, Pop, Singer-Songwriter):
Blues
Classical
Country
Electronica
Hip-Hop
Indie Rock
Jazz
Pop
Metal
Singer/Songwriter
World
All
New Releases
03 Greedo: The Wolf of Grape Street (Alamo) [03-09] - trap rap
03 Greedo: God Level (Alamo) [06-27] - trap rap
3hattrio: Lord of the Desert (Okehdokee) [02-22] - folk [**]
3MA: Anarouz (Six Degrees) [05-18] - world
5 Seconds of Summer: Youngblood (Capitol) [06-15] - pop
6ix9ine: Dummy Boy (Scumgang) [11-27] - hip-hop
6lack: East Atlanta Love Letter (LVRN) [ 09-14] - r&b [***]
7FO: Ryhu No Nukegara (Em) [09-20] - electronic
8ulentina: Eucalyptus ( Club Chai) [03-01] - electronic
9th Wonder: Presents: Jamla Is the Squad II (Jamla) [11-09] - hip-hop
10^32K: The Law of Vibration (self-released) [11-20] - jazz [**]
21 Savage: I Am > I Was (Slaughter Gang/Epic) [12-21] - hip-hop
77:78: Jellies (Heavenly) [07-06] - neo-psychedelia
88rising: Head in the Clouds (self-released) [07-20] - pop rap
700 Bliss: Spa 700 (Halcyon Veil/Don Giovanni -EP) [02-23] - experimental hip hop [**]
808INK: When I'm About You'll Know (Island) [03-02] - hip-hop
The 1975: A Brief Inquiry Into Online Relationships (Dirty Hit/Polydor) [11-30] - alt/indie [B]
2814: Pillar/New Sun (Arcola -EP) [02-02] - dub techno
********: The Drink (Weird World) [01-26] - post-punk
Dominique A: La Fragilite (Wagram Music/Cinq 7) [10-05]
A Trio & AMM: AAMM (Al Maslakh) [05-00] - jazz
AAL (Against All Logic): 2012-2017 (Other People) [02-17] - deep house [***]
Juhani Aaltonen/Raoul Bjorkenheim: Awakening (Eclipse) [03-30] - jazz [**]
AB2088: Replicate (Liquidators) [03-27] - electronic
Chris Abelen: Songs on the Eve of Dismissal (CAMP) [01-19] - jazz
Tom Abbs & Frequency Response: Hawthorne (Engine Studios) [09-07] - jazz [***]
Deena Abdelwahed: Khnnar (InFine) [11-16] - electronic
Abhi the Nomad: Marbled (Tommy Boy) [02-09] - hip-hop [***]
Abhorrence: Megalohydrothalassophobic (Svart) [09-14] - metal
Above & Beyond: Common Ground (self-released) [01-26] - electronic
Phil Abraham: For 4 Brothers + 1 (Hypnote) - jazz
Alexander Abreu & Havana D'Primera: Cantor Del Pueblo (Patata Productions) [04-10] - Latin
Abstracter: Cinereous Incarnate (Sentient Run Laboratories) [06-08] - sludge metal
The Academic: Tales From the Backseat (Room 6) [01-12] - alt/indie
Ace of Cups: Ace of Cups (High Moon) [11-09] - rock [B]
The Aces: When My Heart Felt Volcanic (Red Bull) [04-06] - alt/indie
Aceyalone & DJ Fat Jack: 43rd & Excellence (That Kind of Music) [01-30] - hip-hop [A-]
Geoff Achison: Sovereign Town (Jupiter/Landslide) [09-07] - blues
Acid Dad: Acid Dad (Greenway) [03-09]
Idris Ackamoor & the Pyramids: An Angel Fell (Strut) [05-11] - jazz [**]
Poppy Ackroyd: Resolve (One Little Indian) [02-02] - modern classical
Jacob Acosta: Desert Sounds ( self-released) [05-26] - folk
Active Bird Community: Amends (Barsuk) [09-14] - rock
Actress x London Contemporary Orchestra: Lageos (Ninja Tune) [05-25] - electronic
Belle Adair: Tuscumbia (Single Lock) [01-19] - rock
Tony Adamo: WasOut Jazz Zone Mad (Ropeadope) - jazz
Brian Shankar Adler: Fourth Dimension (Chant) [12-06] - jazz
Antonio Adolfo: Encontros: Orquestra Atlantica (AAM Music) [07-11] - jazz
P Adrix: Album Desconhecido (Principe) [02-23] - world
Adult: This Behavior (Dais) [09-07] - electronic
Advance Base: Animal Companionship (Run for Cover) [09-21] - alt/indie
Advisory Circle: Ways of Seeing (Ghost Box) [05-25] - dance/electronic
Stefan Aeby Trio: The London Concert (Intakt) [08-18] - jazz [***]
Ahmed Ag Kaedy: Orion Congregation (Schneeball) - jazz
AG: The Taste of AMBrosia (Fat Beats) [06-22] - hip-hop
Against the Current: Past Lives (Fueled by Ramen) [09-28] - alt/indie
Agar Agar: The Dog & the Future (Cracki) [09-28] - pop
Daniel Aged: Daniel Aged (Quality Time) [07-27]
Nima Aghiani: REMS (PTP) [06-29] - electronic
Gregory Agid Quartet: Jamz (Bubble Bath) - jazz
Agnarkea: Black Helicopters (self-released) [11-02] - hip-hop
Agrimonia: Awaken (Southern Lord) [01-26] - sludge metal
Aguanko: Pattern Recognition (Aguanko) - jazz [**]
Christina Aguilera: Liberation (RCA) [06-15] - pop
AHI: In Our Time (22nd Sentry) [07-13] - folk
Yazz Ahmed: La Saboteuse Remixed (Naim) [08-17] - acid jazz
Ails: The Unraveling (The Flenser) [04-20] - metal
Cyrille Aimee: Live (Mack Avenue) [06-22] - jazz [**]
The Aints: The Church of Simultaneous Existence (ABC) [09-21] - alt/idie
Air Waves: Warrior (Western Vinyl) [04-06] - indie pop
AJA: AJA (Opal Tapes) [05-02] -
AKA: Touch My Blood (Beam Group) [06-15] - African rap
David Ake: Humanities (Posi-Tone) [03-16] - jazz [***]
Akhenaten: Golden Serpent God (Satanath) [05-31] - metal
Ambrose Akinmusire: Origami Harvest (Blue Note) [10-12] - jazz [*]
Gaye Su Akyol: Isrikrarli Hayal Hakikattir (Glitterbeat) [10-26] - Turkish
Alaclair Ensemble: Le Sens Des Paroles (7ieme) [09-28]
Alameda 4: Czarna Woda (Instant Classic) [05-30] - electronic
Alastor: Slave to the Grave (Riding Easy) [10-31] - rock
Alba Griot Ensemble: The Darkness Between the Lines (Riverboat) [09-28] - African
Albatre: The Fall of the Damned (Shhpuma) [09-28] - jazz [B]
Erlend Olderskog Albertsen: Rodssal Neen Glassdor (Dugnad Rec) [01-18] - jazz [***]
Alchemy Sound Project: Adventures in Time and Space (ARC) [06-13] - jazz [***]
Alborosie: Unbreakable: Alborosie Meets the Wailers United (VP) [06-25]
The Alchemist: Lunch Meat (ALC -EP) [04-13] - hip-hop
The Alchemist: Bread (ALC -EP) [11-30] - hip-hop
Jason Aldean: Rearview Town (Broken Bow) [04-13] - country
Howard Alden/Marty Krystall/Buell Neidlinger: The Happenings: Music of Herbie Nichols (K2B2 -17) [12-28-2017] - jazz
Giulio Aldinucci: Disappearing in a Mirror (Karlrecords) [09-21] - electronic
Jimmy Aldridge & Sid Goldsmith: Many a Thousand (Ear Trumpet)
Joey Alexander: Eclipse (Motema) [05-04] - jazz [**]
Christopher Ali Solidarity Quartet: To Those Who Walked Before Us (Jazz Och Solidaritet) [03-16] - jazz [**]
Alice in Chains: Rainier Fog (BMG) [08-24] - alt metal
Alien Boy: Sleeping Lessons (Tiny Engines) [08-31] - rock
Alkaline Trio: Is This Thing Cursed? (Epitaph) [08-31] - pop-punk
All Saints: Testament (AS) [07-13]
All Them Witches: ATW (New West) [09-28] - psychedelic rock
ALLBLACK: Outcalls (Play Runners Association x Perfect Your Craft/Empire) [04-20] - hip-hop
ALLBLACK & Kenny Beats: 2 Minute Drills (Play Runners Association/DOTS/Empire) [11-16] - hip-hop
JD Allen: Love Stone (Savant) [06-15] - jazz [**]
Jimmie Allen: Mercury Lane (Stoney Creek) [10-12] - country
Lily Allen: No Shame (Parlophone) [06-08] - pop [A-]
Tony Allen & Jeff Mills: Tomorrow Comes the Harvest (Blue Note) [09-28] - jazz
Ben Allison/Steve Cardenas/Ted Nash: Quiet Revolution (Sonic Camera) [10-02] - jazz [***]
Alpines: Full Bloom (Untrue) [11-16] - alt/indie
Kenny Allstar: Block Diaries (Locked In/Star Work/Columbia) [10-05] - hip-hop
Karrin Allyson: Some of That Sunshine (Kasrecords) - vocal
Alter of Perversion: Intra Naos (Norma Evangelium Diaboli/The Ajna Offensive) [04-23] - metal
Altars of Grief: Iris (self-released) [03-21] - death metal
Dave Alvin and Jimmie Dale Gilmore: Downey to Lubbock (Yep Roc) [06-01] - folk [A-]
Rodrigo Amado: A History of Nothing (Trost) [06-01] - jazz [A-]
The Amazing: In Transit (Partisan) [04-06] - alt/indie
The Amazons: Future Dust (Fiction) [05-24] - alt/indie
Oren Ambarchi/Kassel Jaeger/James Rushford: Face Time (Black Truffle) [06-01] - electronic
Muireann Nic Amhlaoibh: Foxglove & Fuschia (self-released) [11-24] - folk
Amber Arcades: European Heartbreak (Heavenly) [09-28] - alt/indie
Franco Ambrosetti: Cheers (Enja) - jazz
Marsha Ambrosius: Nyla (Entertainment One) [09-28] - r&b
Ame: Dream House (Innervisions) [06-01] - electronic
Amen Dunes: Freedom (Sacred Bones) [03-30] - neo-psychedelia [*]
American Aquarium: Things Change (New West) [06-01] - alt country [***]
American Pleasure Club: A Whole Fucking Lifetime of This (Run for Cover) [02-16] - lo-fi
Amgala Temple: Invisible Airships (Pekula) [11-02] - rock
Amigo: And Friends (Schoolkids) [01-26] - folk
AMM: An Unintended Legacy (Matchless -3CD) [05-00] - jazz
Ammar 808: Maghreb United (Glitterbeat) [06-15]
Amnesia Scanner: Another Life (PAN) [09-07] - deconstructed club [*]
Amor: Sinking Into a Miracle (Night School) [12-07] - pop/rock
Gabriel Naim Amor: Moments Before (self-released) [04-24] - jazz
Amorphis: Queen of Time (Nuclear Blast) [05-18] - progressive metal
Shawn Amos: Breaks It Down (Put Together) [02-16] - blues
Amsterdam Klezmer Band & Sondorgo: Szikra (Vetnasj) [04-27] - klezmer
Amu: Weave (Libra) - jazz [*]
Amyl and the Sniffers: Big Attraction & Giddy Up (Damaged Goods) [03-15] - alt/indie
Anbessa Orchestra: Negestat (self-released) [03-30] - world
Ancestors: Suspended in Reflections (Pelagic) [08-24] - metal
Ancient Methods: The Jericho Records (self-released) [09-21] - electronic
The Ancients: Frozen Aisle (Tenth Court) [02-23] - alt/indie
Anda: Do Worry Be Happy (Amoeba Culture -EP) [04-03] - K-pop
Laurie Anderson/Kronos Quartet: Landfall (Nonesuch) [02-16] - modern classical [A-]
Arild Andersen: In-House Science (ECM) [03-23] - jazz [A-]
Jakob Anderskov: Mysteries (ILK) [09-21] - jazz [**]
Dave Anderson: Melting Pot (Label1) [09-14] - jazz [*]
Marisa Anderson: Cloud Corner (Thrill Jockey) [06-15] - folk
Leny Andrade: Bossa Nossa: Leny Andrade Canta Fred Falcao (Biscoito Fino) [04-19] - jazz
Andre 3000: Look Ma No Hands (-EP) [05-13] - hip hop
Courtney Marie Andrews: May Your Kindness Remain (Fat Possum/Mama Bird) [03-23] - singer-songwriter [*]
Rebecca Angel: What We Had (Timeless Grooves) [08-03] - jazz
Angele: Brol (Angele VL) [10-05]
Kliment Angelovski Trio: Inquisition (PMG) [09-03] - jazz
Angles 3: Parede (Clean Feed) [05-18] - jazz [A-]
Ray Angry: One (JMI) [09-18] - jazz
Anguish: Anguish (RareNoise) [11-30] - jazz [**]
Anicon: Entropy Mantra (Vendetta) [06-19] - metal
Animal Collective: Tangerine Reef (Domino) [08-17] - neo-psychedelia
Animal Flag: Void Ripper (Triple Crown) [04-13] - alt/indie
Clau Aniz: Filha De Mil Mulheres (Minty Fresh) [05-18] - rock
Lotte Anker/Pat Thomas/Ingebrigt Haker Flaten/Stale Liavik Solberg: His Flight's at Ten (Iluso) [04-19] - jazz [**]
Anna & Elizabeth: The Invisible Comes to Us (Smithsonian Folkways) [03-30]
Anne-Marie: Speak Your Mind (Warner UK) [04-27] - dance pop
Bill Anschell: Shifting Standards (Origin) [05-18] - jazz [***]
Answer Code Request: Gens (Ostgut Ton) [02-23] - leftfield
Tucker Antell: Grime Scene (OA2) [06-15] - jazz [**]
Anteloper: Kudu (International Anthem) [04-20] - jazz [**]
Anthroprophh: Omegaville (Rocket) [03-30] - rock
Alex Anwandter: Latinoamericana (Nacional) [10-12] - pop
Any Other: Two Geography (42) [09-14] - alt/indie
Ichiko Aoba: QP (JVC) [10-24] - folk
Aorlhac: L'Esprit Des Vents (Les Acteurs De L'Ombre) [03-02] - metal
Apathy: The Widow's Son (Dirty Version) [03-02] - hip-hop
Aphex Twin: Collapse EP (Warp -EP) [09-14] - electronic [***]
Apolo: Live in Stockholm (Joyful Noise) [04-18] - alt/indie
Apostille: Choose Life (Upset the Rhythm) [06-08] - synth pop
Apple Jam: Off the White Album (Roseta Productions) [11-22] - rock
Appleblim: Life in a Laser (Sneaker Social Club) [03-00] - electronic
The Aquadolls: The Dream and the Deception (Burger/Aqua Babe) [10-28] - alt/indie
Aqueduct Ensemble: Improvisations on an Apricot (Last Resort) [05-04] - jazz
Arabrot: Who Do You Love (Pelagic) [09-07] - alt/indie
Irene Aranda/JohannesNastesjo/Nuria Andorra: Inner Core (Relative Pitch) - jazz
Arc Iris: Icon of Ego (Ba Da Bing!) [10-12]
Archie and the Bunkers: Songs From the Lodge (Dirty Water) [04-20] - alt/indie
Architects: Holy Hell (Epitaph) [11-09] - metalcore
Archivist & Fugal: Undertow (Bleed) [01-12] - electronic [**]
Arctic Monkeys: Tranquility Base Hotel & Casino (Domino) [05-11] - psychedelic pop [C+]
Ethan Ardelli: The Island of Form (self-released) [11-02] - jazz [***]
Sean Ardoin: Kreole Rock & Soul (Zydekool) [09-14] - blues
Arena: Double Vision ()
Julian Arguelles: Tonadas (Edition) [07-20] - jazz [**]
Arkells: Rally Cry (Last Gang) [10-19] - alt/indie
Armand Hammer: Paraffin (Backwoodz Studioz) [08-30] - hip-hop [**]
Joan Armatrading: Not Too Far Away (BMG) [05-18] - singer-songwriter
The Armed: Only Love (Throat Ruiner) [04-27] - noise rock
Joe Armon-Jones: Starting Today (Brownswood) [05-04] - jazz
Olafur Arnalds: Re:member (Mercury) [08-24] - odern classical
Arp: Zebra (MexicanSummer/Kemado) [06-22] - ambient
Lynne Arriale Trio: Give Us These Days (Challenge) [05-18] - jazz [*]
Art Brut: Wham! Bang! Pow! Let's Rock Out (Alcopop!) [11-23] - art punk [**]
Art D'Ecco: Trespasser (Paper Bag) [10-12] - alt/indie
Art in America: Cloudborn (self-released) [09-09] - rock
Bob Arthurs: Jazz It Up! Ukrainian Songs for Three Dads (Blue Griffin) [05-04] - jazz
Tom Arthurs Trio: One Year (Ozella Music) [02-09] - jazz
Artificial Pleasure: The Bitter End (East City Rockers) [05-11]
Artist Deleted: Track Deleted (Me Me Me) [02-02] - electronic
The Artist Is Unknown: Later Tonight (Dream Catalogue) [03-10] - electronic
As Is Featuring Alan & Stacey Schulman: Here's to Life (self-released) [02-16] - jazz [B]
As It Is: The Great Depression (Fearless) [08-10] - alt/indie
ASAP Rocky: Testing (RCA) [05-25] - hip hop
Cory Asbury: Reckless Love (Bethel Music) [01-26]
ASC: Artefacts of Rotation (Auxiliary) [06-22] - electronic
ASEUL: Asobi (Astro Kidz) [07-28] - electropop
Huda Asfour: Kouni (self-released) [05-18] -
Ash: Islands (Infectious) [05-18]
Ash Code: Perspektive (Metropolis) [05-18] - alt/indie
Ashe: The Rabbit Hole (Mom + Pop Music) [06-22] - alt/indie
Richard Ashcroft: Natural Rebel (BMG) [10-19] - alt/indie
Greg Ashley: Fiction Is Non Fiction (Dusty Medical) [05-18] - rock
Asleep at the Wheel: New Routes (Bismeaux) [09-14] - country [*]
Anelis Assumpcao: Taurina (Pomm_elo/Scubidu Music) [02-16] - Brazil
Pete Astor: One for the Ghost (Tapete) [02-16] - pop/rock
At the Gates: To Drink From the Night Itself (Century Media) [05-18] - death metal
Felicia Atkinson/Jefre Cantu-Ledesma: Limpid as the Solitudes (Shelter Press) [11-09] - electronic
Dem Atlas: Bad Actress (Rhymesayers) [10-19] - hip-hop [B]
The Atlas Moth: Coma Noir (Prosthetic) [02-09] - metal
Shinichi Atobe: Heat (DDS) [09-14] - electronic
Atomic: Pet Variations (Odin) [11-09] - jazz [**]
Gal Atzur: Trio (OutNow) - jazz
Audio Push: Cloud 909 (Good Vibe Tribe) [02-09]
Audiobooks: Now! (in a Minute) (Heavenly) [11-02] - alt pop
David August: D'Angelo (PIAS) [10-05] - electronic
August Greene: August Greene (Fat Beats) [03-09] - hip-hop [**]
Aurora: Infections of a Different Kind (Step 1) (Glassnote) [09-28] - pop
Mariel Austin Rock-Jazz Orchestra: Runner in the Rain (self-released) [08-15] - jazz
Tiffany Austin: Unbroken (Con Alma) [06-01] - jazz [*]
Allen Austin-Bishop: No One Is Alone (self-released) [09-08] - jazz
Atmosphere: Mi Vida Local (Rhymesayers) [10-05] - hip-hop [**]
Auntie Flo: Radio Highlife (Brownswood) [10-12] - electronic
Author & Punisher: Beastland (Relapse) [10-05] - metal
Ava Luna: Moon 2 (Western Vinyl) [09-07] - alt/indie
Avantdale Bowling Club: Avantdale Bowling Club (Years Gone By) [08-17] - hip-hop
Avantgardet: Alla Kanner Apan (Avantgardet) [11-07] - rock
Daniel Avery: Song for Alpha (Phantasy Sound/Mute) [04-06] - ambient techno [*]
Teodross Avery: After the Rain: A Night for Coltrane (Tompkins Square) [05-10] - jazz [***]
Mart Avi: OtherWorld (self-releasead) [11-02]
Awakebutstillinbed: What People Call Low Self-Esteem Is Really Just Seeing Yourself the Way that Other People See You (Tiny Engines) [01-03] - rock
Awar: Spoils of War (Lions Pride) [10-26] - hip-hop
Awolnation: Here Come the Runts (Red Bull) [02-02] - alt/indie
Axolotes Mexicanos: Salu2 (Elefant) [05-11] - pop
Azusa: Heavy Yoke (Solid State) [11-16] - metal
Cardi B: Invasion of Privacy (Atlantic) [04-06] - trap rap [A-]
Ab Baars: And She Speaks (A Collection of Ballads) (Wig) [03-00] - jazz
Ab Baars/Meinrad Kneer/Bill Elgart: Live at Konfrontationen Nickelsdorf 2012 (Evil Rabbit) [03-00] - jazz
Ab Baars/Kaja Draksler/Joe Williamson: Fish Scale Sunrise: No Queen Rises (Relative Pitch) [09-28] - jazz
Duo Baars-Henneman: Canzoni Di Primavera (Wig) [03-00] - jazz
Bacao Rhythm & Steel Band: The Serpent's Mouth (Big Crown) [09-14] - r&b
Grazyna Bacewicz: Chamber Works (Chandros) - classical
Danny Bacher: Still Happy (Whaling City Sound) - jazz [*]
Daniel Bachman: The Morning Star (Three Lobed) [07-27] - American primitivism
Eric Bachman: No Recover (Merge) [09-07]
Backspace: Human Nature Architecture (Maybe Mars) [06-28] - indie rock
Baco Exu Do Blues: Bluesman (self-released) [11-23] - hip-hop [**]
Bad Bunny: X 100PRE (Rimas Entertainment) [12-23] - hip-hop [*]
Bad Luck: Four (Origin) [08-17] - jazz [***]
Bad Moves: Tell No One (Don Giovanni) [09-21] - alt/indie
The Bad Plus: Never Stop II (Legbreaker) [01-19] - jazz
Bad Rabbits: Mimi (BAD) [08-10] - r&b
Bad Sounds: Get Better (Insanity) [08-17]
Noah Baerman Resonance Ensemble: The Rock & the Redemption (RMI) [07-20] - jazz
Dmitry Baevsky/Jeb Patton: We Two (Jazz & People) [09-21] - jazz [A-]
Joan Baez: Whistle Down the Wind (Bobolink/Razor & Tie) [03-02] - folk
Alice Bag: Blueprint (Don Giovanni) [03-23] - rock [*]
Sami Baha: Free for All (Planet Mu) [06-01]
John Bailey: In Real Time (Summit) [06-22] - jazz [**]
Tom Bailey: Science Fiction (Mikrokosmos) [07-13]
Meg Baird & Mary Lattimore: Ghost Forests (Three Lobed) [11-09] - singer-songwriter
Aidan Baker: Deer Park (Muzan Editions) [11-15]
Duck Baker: Plays Monk (Triple Point) [03-23] - jazz
Jeff Baker: Phrases (OA2) - jazz [B]
Gacha Bakradze: Word Color (Lapsus) [04-13] - electronic
Bob Baldori/Arthur Migliazza: The Boogie Kings: Disturbing the Peace (Blujazz/Spirit) - jazz [*]
Kevin Bales & Keri Johnsrud: Beyond the Neighborhood: The Music of Fred Rogers (GabNat) [03-14] - jazz
Bali Baby: Baylor Swift (TWIN -EP) [05-08] - pop rap [A-]
Bali Baby: Resurrection (TWIN -EP) [10-30] - hip-hop [**]
Marcia Ball: Shine Bright (Alligator) [04-20] - blues [*]
Ball Park Music: Good Mood (Stop Start) [02-16] - alt/indie
Charlie Ballantine: Life Is Brief: The Music of Bob Dylan (Green Mind) - jazz
Severine Ballon: Inconnaissable (All the Dust) - jazz
Dave Ballou and BeepHonk: The Windup (Clean Feed) [07-18] - jazz [**]
Baloji: 137 Avenue Kaniama (Bella Union) [03-23] - Afrobeat [***]
Balto!: Taco Cat Poops (self-released -EP) [08-11] - jazz [**]
Balun: Prisma Tropical (Good Child) [07-20]
Christian Balvig 6-tet: Music for Humans (AMP) [04-06] - jazz
J Balvin: Vibras (Universal Latino) [05-25] - Latin pop [**]
Bambara: Shadow on Everything (Wharf Cat) [04-06] - post-punk
Band-Maid: World Domination (JPU) [03-02] - metal
Banjolectric: So Below (self-released) [11-16] - folk
Jacob Banks: Village (UMGRI/Interscope) [11-02] - r&b
Kota Banks: Prize (NLV) [06-29] - pop
Maria Baptist: Resonance (self-released) - jazz
Denys Baptiste: The Late Trane (Edition) [06-08] - jazz
Alina Baraz: The Color of You (Mom + Pop Music) [04-06] - r&b
Caterina Barbieri: Born Again in the Voltage (Important) [08-10]
Sam Bardfeld: The Great Enthusiasm (BJU) - jazz
Bardo Pond: Volume 8 (Fire) [02-02] - rock
Barely Civil: We Can Live Here Forever (Take This to Heart) [03-02] - alt/indie
Barker: Debiasing (Ostgut Ton -EP) [06-01] - techno
Andrew Barker/Daniel Carter: Polyhedron (Astral Spirits) [07-00] - jazz [**]
Simon Barker/Henry Kaiser/Bill Laswell/Rudresh Mahanthappa: Mudang Rock (Fractal Music) [09-14] - jazz [***]
Barker Trio: Avert Your I (Astral Spirits) [06-30] - jazz [*]
MC Paul Barman: (((Echo Chamber))) (Mello Music Group) [05-18] - hip hop [***]
Courtney Barnett: Tell Me How You Really Feel (Mom + Pop Music) [05-18] - alt singer/songwriter [***]
Mandy Barnett: Strange Conversation (Dame Productions/Thirty Tigers) [08-17] - country [A-]
Joey Baron/Robyn Schulkowsky: Now You Hear Me (Intakt) [06-15] - jazz [**]
Barrio Sur: Heart Break (self-released) [01-15] - hynpagogic pop
Kenny Barron Quintet: Concentric Circles (Blue Note) [05-04] - jazz [**]
Typh Barrow: Raw (Doo Wap) [01-18] - pop
Bart & the Bedazzled: Blue Motel (Lovemonk) [04-27]
Todd Barton: Multum in Parvo (Blue Tapes) [10-05] - electronic
Bruce Barth: Sunday (Blau) [03-02] - jazz [**]
Nik Bartsch's Ronin: Awase (ECM) [05-04] - jazz [A-]
Corina Bartra: Takunde (Blue Spiral) [01-05] - jazz
Bas: Milky Way (Dreamville/Interscope) [08-24] - pop rap
Basement: Beside Myself (Fueled by Ramen) [10-12] - alt/indie
Basement Revolver: Heavy Eyes (Sonic Unyon) [08-26] - shoegaze
Basia: Butterflies (Shanachie) [05-18] - vocal
William Basinski + Lawrence English: Selva Oscura (Temporary Residence) [10-12] - electronic
Bat Fangs: Bat Fangs (Don Giovanni) [02-02] - hard rock
Batagraf: Delights of Decay (Jazzland) [02-02] - jazz
Jon Batiste: Hollywood Africans (Verve) [09-28] - jazz [*]
Jamie Baum Septet+: Bridges (Sunnyside) [05-18] - jazz [*]
Bonnie Baxter: Ask Me How Satan Started (Hausu Mountain) [11-16] - electronic
Rayland Baxter: Wide Awake (ATO) [07-13] - alt singer-songwriter
James Bay: Electric Light (Republic) [05-18] - pop rock
David Bazan: Care (Polyvinyl) [08-31] - alt/indie
Bazzi: Cosmic (Iamcosmic/Atlantic) [04-12]
BbyMutha: Muthaz Day 3 (825402 DK) [11-17] - hip-hop
BC Camplight: Deportation Blues (Bella Union) [08-24] - psychedelic pop
BCUC: Emakhosini (Buda Musique) [03-16]
Beach House: 7 (Sub Pop) [05-11] - dream pop [**]
Beach Skulls: Las Dunas (PNKSLM) [06-01] - alt/indie
Beach Slang: Everything Matters but No One Is Listening (Quiet Slang) (Polyvinyl) [02-16] - alt/indie
Beak>: >>> (Temporary Residence) [09-21] - neo-psychedelia [*]
Beans: Triptych (Gamma) - hip-hop
Bearings: Blue in the Dark (Pure Noise) [10-12] - rock
Beartooth: Disease (Red Bull) [09-28] - rock
Beast: Ens (Thrill Jockey) [11-09] - electronic
Beastmaker: EP 10 - EP80 (self-released) [12-17] - doom metal
The Beat Escape: Life Is Short the Answer's Long (Bella Union) [04-27]
Tucker Beathard: Nobody's Everything (Mother Tucker/Warner Music Nashville) [11-30] - country
Beats & Pieces Big Band: Ten (Efpi) [07-20] - jazz
Ryan Beatty: Boy in Jeans (Boy in Jeans) [07-20] - pop
Louis Beaudoin-de-la-Sablonniere/Eric Normand/Louis-Vencent Hamel: Brulez Les Meubles (Tour de Bras) - jazz
Beautify Junkyards: The Invisible World of Beautify Junkyards (Ghost Box) [03-09] - psychedelic rock
Lindsay Beaver: Tough as Love (Alligator) [10-12] - blues
Bebeta: Megalon (Monaberry -EP) [06-15] - electronic
Chris Beck: The Journey (AWMC) [05-18] - jazz
Bedbug: I'll Count to Heaven in Years Without Seasons (Joy Void) [01-19] - alt/indie
Burak Bedikyan: New Beginning (SteepleChase) [10-01] - jazz
Begravningsentreprenorema: Jamna Plagor (Ektro) [12-14] - alt/indie
Michael Beharie/Teddy Rankin-Parker: A Heart From Your Shadow (Mondoj) [07-06] - electronic
Behemoth: I Loved You at Your Darkest (Metal Blade) [10-05] - death metal
Chris Beier: Scarborough Variations Piano Works XI (ACT) [05-25] - jazz
Lurrie Bell & the Bell Dynasty: Tribute to Carey Bell (Delmark) [05-03] - blues
Renick Bell: Turning Points (Seagrave) [08-03] - electronic
Vince Bell: Ojo (Mulatta) [04-03] - jazz
Belle Game: Fear Nothing (Arts & Crafts) [07-12] - alt/indie
Stefan Bellnas: Podunk (Country & Eastern) [11-03] - jazz
Belly: Dove (Belly Touring) [05-04] - alt rock
Roni Ben-Hur/Harvie S: Introspection (Jazzheads) - jazz
Bend Sinister: Foolish Games (Cordova Bay) - pop/rock
Benin City: Last Night (Moshi Moshi) [04-06]
Laura Benitez & the Heartache: With All Its Thorns (Copperhead) - Americana
Ben Bennett/Zach Darrup/Jack Wright: Never (Palliative -18) [2018-12-03] - jazz [*]
Daniel Bennett Group: We Are the Orchestra (Manhattan Daylight Media) [09-07] - jazz [B]
Heather Bennett: Lazy Afternoon (Summit) [02-09] - jazz [B]
Richard X Bennett: Wood/Water (Ropeadope) - jazz
Richard X Bennett: Away From the Many (Ropeadope) - jazz
Tony Bennett & Diana Krall: Love Is Here to Stay (Verve/Columbia) [09-14] - vocal jazz [**]
Bennett Wilson Poole: Bennett Wilson Poole (Aurora) [04-06] - rock
Han Bennink/Steve Noble/Alexander Hawkins: 11.8.17 (Otoroku) - jazz
Benny the Butcher: Tana Talk 3 (Griselda) [11-23] - hip-hop
Dierks Bentley: The Mountain (Capitol) [06-08] - country
R Beny: Saudade (Dauw) [02-02]
Adam Berenson/Scott Barnum/Eric Hofbauer: Introverted Cultures (Dream Play) [11-24] - jazz
David Berkeley: The Faded Red and Blue (Straw Man) [11-02] - folk
Tim Berne/Matt Mitchell: Angel Dusk (Screwgun) [03-31] - jazz
Bernice: Puff: In the Air Without a Shape (Arts & Crafts) [05-25] - art pop
Eraldo Bernocchi: Like a Fire That Consumes All Before It (RareNoise) [11-30] - jazz [*]
Andrew Bernstein: An Exploded View of Time (Hausu Mountain) [09-28] - jazz
Sarah Bernstein Unearthish: Crazy Lights Shining (Phase Frame) [05-25] - jazz
Emily Berregaard: A Poem (Strange Rules) [04-13] - electronic
Berry: Everything Compromised (Joyful Noise) [01-12] - alt/indie [B-]
Matt Berry: Television Themes (Acid Jazz) [10-05] - folk
Ben Bertrand: NGC 1999 (OFF) [05-18] - alt/indie
Lea Bertucci: Metal Aether (NNA Tapes) [02-09] - jazz
Beta Librae: Sanguine Bond (Incienso) [05-14] - electronic
Mica Bethea Big Band: Suite Theory (self-released) [03-01] - jazz
The Beths: Future Me Hates Me (Carpark) [08-10] - indie rock [*]
Between the Buried and Me: Automata I (Sumerian) [03-09] - progressive metal
Between the Buried and Me: Automata II (Sumerian) [07-13] - progressive metal
Sam Bevan: Emergence (self-released) [08-03] - jazz
The Bevis Frond: We're Your Friends Man (Fire) [12-07] - rock
Frank Bey: Back in Business (Nola Blue) [09-21] - blues
Bhad Bhabie: 15 (BHAD Music) [09-18] - hip-hop [**]
Rafiq Bhatia: Breaking English (Anti-) [04-06] - experimental [**]
Pat Bianchi: In the Moment (Savant) [11-09] - jazz [B]
Eric Bibb: Global Griot (Dixie Frog) [10-26] - blues
Carlos Bica & Azul: Azul in Ljubljana (Clean Feed) [07-13] - jazz [*]
Nick Biello: Vagabond Soul (Blujazz) [01-15] - jazz [**]
Ryan Biesack/James Miley/Mike Nord: Trio Untold (PJCE) [09-14] - jazz
Big Bliss: At Middle Distance (Exit Stencil) [10-19] - rock
Big Bold Back Bone: Emerge (Wide Ear) [02-01] - jazz [*]
Big Freedia: 3rd Ward Bounce (Asylum Worldwide -EP) [06-01] [B]
Big Four + Joey Baron: Live in Mannheim 2009 (Noel Akchote Downloads) [05-04] - jazz
Big Heart Machine: Big Heart Machine (self-released) [08-24] - jazz [B]
Big Joanie: Sistahs (self-released) [11-30]
Big Little Lions: Alive and Well (Far Flung/Blaster)
Big Miz: Build/Destroy (Dixon Avenue Basement Jams) [01-29] - house
Big Red MAchine: Big Red Machine (People) [08-31] - alt/indie
Big Ups: Two Parts Together (Exploding in Sound) [05-18] - noise rock
A Big Yes and a Small No: Mise En Abyme (The Royal Potato Family) [04-20] - indie pop
Bilderbuch: Mea Culpa (Maschin) [12-04] - alt/indie
Binary Star: Lighty/Ears Apart (self-released) [08-24] - hip-hop
Binker and Moses: Alive in the East? (Gearbox) [06-22] - jazz [A-]
David Binney: Here & Now (Mythology) [07-09] - jazz [B-]
Biosphere: The Hilvarenbeek Recordings (Biophon) [03-16] - ambient
David Birchall/Andrew Cheetham/Colin Webster/Otto Willberg: Plastic Kneecap (Raw Tonk) [03-02] - jazz
Nat Birchall: Cosmic Language (Jazzman) [03-02] - jazz [***]
Nat Birchall Meets Al Breadwinner: Sounds Almighty (Tradition Disc) [06-15] - jazz [**]
Bird Streets: Bird Streets (Omnivore) [08-10] - rock
Birds in Row: We Already Lost the World (Deathwish) [07-13]
Birds of Chicago: Love in Wartime (Signature Sounds) - Americana
Birth of Joy: Hyper Focus (Glitterhouse) [02-16] - rock
Elvin Bishop's Big Fun Trio: Something Smells Funny (Alligator) [07-13] - blues
Jeb Bishop: Three Valentines & Goodbye (1980) [08-21] - jazz
Andy Biskin: 16 Tons: Songs From the Alan Lomax Collection (Andorfin) [06-27] - jazz [**]
Bishop Briggs: Church of Stars (Teleport/Island) [04-20] - pop soul
Bixiga 70: Quebra Cabeca (Glitterbeat) [07-20] - Brazilian
Kasper Bjorke Quartet: The Fifty Eleven Project (Kompakt) [10-19] - electronic
Ivar Bjornson & Einar Selvik: Hugsja (By Norse) [04-20] - Nordic folk
Ketil Bjornstad & Anneli Drecker: A Suite of Poems (Lars Saabye Christensen) (ECM) [05-18] - jazz
Black Art Jazz Collective: Armor of Pride (HighNote) [06-15] - jazz [B]
Black Belt Eagle Scout: Mother of My Children (Saddle Creek) [08-25] - alt/indie
The Black Delta Movement: Preservation (Non Delux) [08-03]
Black Dresses: Wasteisolation (self-released) [04-13]
Black Eyed Peas: Masters of the Sun Vol 1 (Interscope) [10-26] - hip-hop
Black Foxxes: Reiði (Spinefarm) [03-16] - alt rock [B]
Black Label Society: Grimmest Hits (Entertainmenet One) [01-19] - metal
Black Milk: Fever (Mass Appeal/Computer Ugly) [02-23] - hip hop
Black Moth Super Rainbow: Panic Blooms (Rad Cult) [05-04] - neo-psychedelia
Black Peaks: All That Divides (Rise) [10-05] - rock
The Black Queen: Infinite Games (self-released) [09-28] - electronic
Black Rebel Motorcycle Club: Wrong Creatures (Vagrant) [01-12]
Black Salvation: Uncertainty Is Bliss (Relapse) [04-06] - alt/indie
Black Spirituals: Black Access/Black Axes (Sige) [08-24] - alt/indie
Black Stone Cherry: Family Tree (Mascot) [04-20] - rock
Black Thought: Streams of Thought Vol 1 (Human Re Sources) [06-01] - hip hop
Black Thought: Streams of Thought Vol 2: Traxploitation (Human Re Sources) [11-26] - hip hop
Black Tongue: Nadir (self-released) [10-31] - metal
Black Uhuru: As the World Turns (self-released) [09-07] - reggae
Black Wizard: Livin' Oblivion (Listenable) [02-23]
Blackberry Smoke: Find a Light (3 Legged) [04-06]
Michelle Blackwell: Body of Work (Blackwell Entertainment) [06-15] - r&b
Jean-Michel Blais: Dans Ma Main (Arts & Crafts) [05-11]
Ran Blake/Christine Correa: Streaming (Red Piano) [05-15] - jazz
Terence Blanchard: Live (Blue Note) [04-20] - jazz [*]
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Samuel Blaser: Early in the Mornin' (Out Note) [09-21] - jazz [*]
Samuel Blaser With Marc Ducret/Peter Bruun: Taktlos Zurich 2017 (Hatology) [01-26] - jazz [*]
Sarah Blasko: Depth of Field (Universal Australia) [02-23] - art pop
Blast: Drifting (Pince-Oreilles) [10-12] - jazz
Blawan: Wet Will Always Dry (Ternesc) - electronic
The Blaze: Dancehall (Columbia) [09-07] - electronic
Bleeding Through: Love Will Kill All (SharpTone) [05-25] - metal
Peter Blegvad/Chris Cutler/John Greaves/Karen Mantler/Bob Drake: Go Figure (RER) [01-05]
Blessthefall: Hard Feelings (Rise) [03-23] - rock
The Blinders: Columbia (Modern Sky Entertainment) [09-21] - alt/indie
Blinky Bill: Everyone's Just Winging It and Other Fly Tales (The Garden) [10-19] - hip-hop
Erica Blinn: Better Than Gold (Curry House) [02-16] - rock
Bliss Signal: Bliss Signal (True Panther Sounds) [09-28] - electronic
BlocBoy JB: Simi (Bloc Nation) [05-04] - hip-hop
Dan Block: Block Party: A Saint Louis Connection (Miles High) - jazz [***]
Rory Block: A Woman's Soul: A Tribute to Bessie Smith (Stoney Plain) - blues
Blocks & Escher: Something Blue (Metalheadz) [03-30] - electronic
Blood of the Sun: Blood's Thicker Than Love (Listenable/Border) [10-19] - metal
Bloods: Feelings (Share It Music) [02-14]
Pip Blom: Paycheck (Persona Non Grata -EP) [11-09] - indie rock
Jaap Blonk & Terrie Ex: Thirsty Ears (Terp) - jazz
Blood Orange: Negro Swan (Domino) [08-24] [**]
The Blood Tub Orchestra: The Seven Curses of the Music Hall (Phono Erotic) [04-13] - punk
Blossoms: Cool Like You (Virgin EMI) [04-27] - indie pop
Blowzabella: Two Score (self-released)
Barbara Blue: Fish in Dirty H2O (Big Blue) [09-14] - blues
Blue Lab Beats: Xover (Blue Adventure/All Points) [03-30] - jazz
Blue Yonder: Rough and Ready Heart (NewSong) [06-08] - country
Blueface: Famous Cryp (5th Amendment) [06-20] - hip-hop
Blueprint: Two-Headed Monster (Weightless) [05-22] - hip-hop [A-]
Daniel Blumberg: Minus (Mute) [05-04] - alt rock
Martin Blume/Tobias Delius/Achim Kaufmann/Dieter Manderscheid: Frames & Terrains (NoBusiness) [01-01] - jazz [**]
Martin Blume/Wilbert De Joode/John Butcher: Low Yellow (Jazzwerkstatt) [03-05] - jazz [**]
Dean Blunt: Soul on Fire (self-released) [10-05] - rock
BoA: WOMAN (SM Entertainment) [10-24] - K-pop
Bodega: Endless Scroll (What's Your Rupture?) [07-06] - art punk
Bodega Bamz: Papi (100 Keep It/Duck Down) [04-13]
Bodies on Everest: A National Day of Mourning (Cruel Nature) [04-29]
The Body: I Have Fought Against It but I Can't Any Longer (Thrill Jockey) [05-11] - metal
Body Void: I Live Inside a Burning House (Crown and Throne) [05-11] - sludge metal
Body/Head: The Switch (Matador) [07-13] - noise rock
Mike Bogle Trio: Dr B! (MBP/Groove) [09-28] - jazz
Bokante and Metropole Orkest: What Heat (Real World) [09-28] - world
Jason Boland & the Stragglers: Hard Times Are Relative (Proud Souls) [05-18] - country
Stefano Bollani: Que Bom (Alobar Srlu) - jazz
Stefano Bollani: Mediterranean Jazz at the Berlin Philharmonic (ACT) - jazz
Bombay Rickey: Electric Bhairavi (Cowboys & Indian) [05-18]
Bombino: Deran (Partisan) [05-18] - African [***]
Joe Bonamassa: Redemption (J&R) [09-21] - blues
Cyril Bondi/Pierre-Yves Martel/Christoph Schiller: TSE (Another Timbre) - jazz
Bone Sickness: Theater of Morbidity (self-released) [07-01] - death metal
Kadhja Bonet: Childqueen (Fat Possum) [06-08] - psychedelic soul [B-]
Bongripper: Terminal (Great Barrier) [07-06] - metal
Bonjay: Lush Life (Mysteries of Trade) [05-25] - r&b
Bonnacons of Doom: Bonnacons of Doom (Rocket) [05-18] - alt/indie
Bella Boo: Fire (Studio Barnhus) [04-27]
RP Boo: I'll Tell You What (Planet Mu) [07-06] - footwork
A Boogie Wit Da Hoodie: International Artist (Atlantic) [06-20] - trap rap
Benjamin Boone/Philip Levine: The Poetry of Jazz (Origin) [03-16] - jazz [A-]
Ruby Boots: Don't Talk About It (Bloodshot)
Martyn Bootyspoon: Silk Eternity (Fractal Fantasy) [02-14] - electronic
Gui Boratto: Pentagram (Kompakt) [06-15] - techno
Born Ruffians: Uncle Duke & the Chief (Yep Roc) [02-16] - indie pop
Borns: Blue Madonna (Interscope) [01-12] - alt/indie
Borzoi: A Prayer for War (12XU) [09-21] - rock
Borusiade: A Body (Comeme) [03-09] - electronic
Boss Keloid: Melted on the Inch ()
Bosse-de-Nage: Further Still (The Flenser) [09-14] - metal
Boston Manor: Welcome to the Neighbourhood (Pure Noise) [09-07] - rock
Boston Symphony Orchestra/Andris Nelsons: Dmitri Shostakovich: Symphonies Nos 4 & 11: The Year 1905 (Deutsche Grammophon) [07-06] - classical
The Bottle Rockets: Bit Logic (Bloodshot) [10-12] - alt country [*]
Bound: No Beyond (Diehard Skeleton) [04-20] - alt/indie
Matthew Bourne/Nightports: Nightports With Matthew Bourne (The Leaf Label) [03-02] - electronic
Wade Bowen: Solid Ground (Bowen Sounds) [02-09] - country
Nathan Bowles: Plainly Mistaken (Paradise of Bachelors) [10-05] - alt/indie
Boy Azooga: 1 2 Kung Fu! (Heavenly) [06-08] - neo-psychedelia [*]
Boy George and Culture Club: Life (BMG) [10-26] - pop
Boy Pablo: Soy Pablo (U OK?) [10-05] - alt/indie
RL Boyce: Rattlesnake Boogie (Waxploitation) [09-20] - blues [*]
Moses Boyd Exodus: Displaced Diaspora (Exodus) [09-28] - jazz [***]
Boygenius: Boygenius (Matador -EP) [11-09] - folk [B]
Boys: Rest in Peace (PNKSLM) [05-11] - indie rock
The Boxer Rebellion: Ghost Alive (Absentee) [03-09] - indie rock
Carla Bozulich: Quieter (Constellation) [05-11] - singer-songwriter
Andrea Brachfeld: If Not Now When? (Jazzheads) [05-18] - jazz [*]
Geof Bradfield: Yes and . . . Music for Nine Improvisers (Delmark) [06-08] - jazz [**]
Bobby Bradford/Hafez Modirzadeh: Live at the Blue Whale (NoBusiness) - jazz [***]
Charles Bradley: Black Velvet (Dunham) [11-09] - soul
Bendik Braenne: Benedictionary (Bendix) [09-07]
Jay Bragg: Honky Tonk Dream (self-released) [06-22] - country
Brainoil: Singularity to Extinction (Tankcrimes) [10-19] - metal
Brand New Friend: Seatbelts for Aeroplanes (Xtra Mile) [04-27] - alt/indie
Daniel Brandt: Channels (Erased Tapes) [10-12] - electronic
Craig Brann: Lineage (SteepleChase) [04-01] - jazz [**]
Anthony Braxton: Solo (Victoriaville) (Victo) - jazz
Toni Braxton: Sex & Cigarettes (Def Jam) [03-23] - r&b [**]
Sam Braysher: Golden Earrings (Fresh Sound New Talent) - jazz
Brazilian Girls: Let's Make Love (Six Degrees) [04-13] - alt dance
Break: Another Way (Symmetry) [11-16] - electronic
Breaking Benjamin: Ember (Hollywood) [04-13] - rock
Randy Brecker & Mats Holmquist: Together (Summit) [08-24] - jazz [***]
Jonathan Bree: Sleepwalking (Lil' Chief) [06-08] - alt/indie
The Breeders: All Nerve (4AD) [03-02] - alt rock [*]
Edie Brickell & New Bohemians: Rocket (Verve Forecast) [10-12] - rock
Leon Bridges: Good Thing (Columbia) [05-04] - soul [*]
Esme Bridie: Today It Rains (Klee) [03-23]
Bishop Briggs: Church of Scars (Teleport/Island) [04-20] - alt/indie
Ian Brighton/Henry Kaiser: Together Apart (Fractal) - jazz
David Brinston: Kitty Whipped (Ecko) [05-11] - blues
Jakob Bro: Returnings (ECM) [03-23] - jazz [B]
Jakob Bro: Bay of Rainbows (ECM) [10-05] - jazz [**]
Brockhampton: Iridescence (RCA) [09-21] - experimental hip-hop [**]
Don Broco: Technology (Nuclear Blast) [02-02] - metal
Ensign Broderick: BloodCrush (Six Shooter) [11-09] - alt/indie
Magnus Broo Trio: Rules (Moserobie) [09-26] - jazz [**]
Owen Broder: Heritage: The American Roots Project (ArtistShare) [03-01] - jazz [B]
BROM: Cardboard Sea (Tiger Moon) - jazz
Brom: Sunstroke (Trost) [10-05] - jazz [**]
Vilhelm Bromanders Initiativ: Allt At Alla (Signal and Sound) - jazz
Brian Bromberg: Thicker Than Water (Mack Avenue) [07-13] - jazz
Bromide: I Woke Up (Scratchy) [05-25]
Till Bronner/Dieger Ig: Nightfall (Masterworks) [01-26] - jazz
Action Bronson: White Bronco (Empire) [11-01] - hip-hop
Brooklyn Youth Chorus: Silent Voices (New Amsterdam) [10-26] - classical
Bobby Broom & the Organi-sation: Soul Fingers (MRi) [10-12] - jazz [B]
The Brother Brothers: Some People I Know (Compass) [10-19] - folk
Brothers Osborne: Port Saint Joe (EMI Nashville) [04-20] - country [B]
Peter Brotzmann/Heather Leigh: Crowmoon (self-released) [03-30] - Jazz
Peter Brotzmann/Heather Leigh: Sparrow Nights (Trost) [11-02] - jazz [*]
Peter Brotzmann & Fred Lonberg-Holm: Ouroboros (Astral Spirits) [04-20] - jazz [***]
Sam Broverman: A Jewish Boy's Christmas (Brovermusic) [11-30] - jazz [B]
Amanda Brown: Dirty Water (self-released)
Apollo Brown & Joell Ortiz: Mona Lisa (Mello Music Group) [10-26] - hip-hop
Apollo Brown & Locksmith: No Question (Mellow Music Group -EP) [06-15] - hip-hop
Justin Brown: Nyeusi (Biophilia) [06-29] - jazz [B-]
Kane Brown: Experiment (RCA Nashville) [11-09] - country
Kev Brown: Homework (self-released) [08-03] - hip-hop
Kev Brown: Fill in the Blank (Redefinition/Fat Beats) [11-09] - hip-hop
Mansur Brown: Shiroi (Black Focus) [09-28] - electronic
Sheldon Brown Group: Blood of the Air (Edgetone) [12-11] - jazz [*]
Brownout: Fear of a Brown Planet (Fat Beats) [05-25]
Brubeck Brothers Quintet: TimeLine (Blue Forest) - jazz
Bruce: Sonder Somatic (Hessle Audio) [10-26] - electronic [**]
Peter Bruun's All Too Human: Vernacular Avant-Garde (Ayler) - jazz
Rosa Brunello Y Los Fermentos: Volverse Live in Trieste (CAM Jazz) - jazz
Andrew Bryant: Ain't It Like the Cosmos (Last Chance) [03-09] - rock
Bryde: Like an Island (Seahorse) [04-13]
BTS: Love Yourself: Tear (Big Hit) [05-18] - K-pop [B]
BTS: Love Yourself: Answer (Big Hit) [08-24] - K-pop
OB Buchana: Parking Lot Love Affair (Ecko) [02-16] - blues
Arthur Buck: Arthur Buck (New West) [06-15] - rock
Mariel Buckley: Driving in the Dark (self-released) [05-04] - folk
Buddy: Harlan & Alondra (07-20) [07-20] - hip hop
Sarah Buechi: Contradiction of Happiness (Intakt) [02-16] - jazz [*]
Jarod Bufe: New Spaces (OA2) [06-15] - jazz [***]
Buffalo Tom: Quiet and Peace (Schoolkids) [03-02] - pop/rock
Tom Buller: When a Country Boy Gets the Blues (self-released) [10-16] - country
Bullet for My Valentine: Gravity (Spinefarm) [06-29] - alt metal
Bun B: Return of the Trill (2 Trill/Double Dose) [08-31] - hip-hop
Anna Burch: Quit the Curse (Polyvinyl) [02-02] - singer-songwriter
Molly Burch: First Flower (Captured Tracks) [10-05] - indie pop
Tim Burgess: As I Was Now (O Genesis) [05-11] - alt/indie
Greg Burk: The Detroit Songbook (SteepleChase) [03-15] - jazz [**]
Chris Burn/Simon H Fell: Continuous Fragment (Bruce's Fingers -EP) [02-24] - jazz
Burna Boy: Outside (Atlantic) [01-26] - reggae [*]
Cedric Burnside: Benton County Relic (Single Lock) [09-14] - blues
Kevin Burt: Heartland and Soul (Little Village Foundation) [10-18] - blues
Bury Tomorrow: Black Flame (Music for Nations) [07-13] - metal
Busdriver: Electricity Is on Our Side (Temporary Forever) [06-08] - hip hop [B-]
John Butcher: Into Darkness (Iluso) - jazz
Butcher Brown: Camden Session (Gearbox) [10-12] - jazz [*]
Butcher Brown: AfroKuti: A Tribute to Fela (self-released) - jazz
Chris Butler & Ralph Carney: Songs for Unsung Holidays (Smog Veil) [09-07]
Jon Butler Trio: Home (Jarrah) [09-28] - alt/indie
Jonathan Butler: Close to You (Mack Avenue) [08-24] - jazz [C+]
Russell EL Butler: The Home I'd Build for Myself and All My Friends (Left Hand Path) [11-15] - techno
Buttechno: Cherskogo Drive (Cititrax/Minimal Wave) [11-02] - electronic
The Buttshakers: Sweet Rewards (Underdog) [02-09] - r&b
Buxton: Stay Out Late (New West) [10-19] - alt/indie
Chris Byars: New York City Jazz (SteepleChase) [01-15] - jazz [**]
David Byrne: American Utopia (Todomundo/Nonesuch) [03-09] - art pop [B]
Nadine Byrne: Dreaming Remembering (Ideal) [06-01] - electronic
Don Byron/Aruan Ortiz: Random Dances and (A)tonalities (Impakt) [10-19] - jazz [***]
Cabbage: Nihilistic Glamour Shots (BMG) [03-30] - garage punk
Eduardo "Visitante" Cabra/Vicente Garcia/Trending Tropics: Trending Tropics (Sony) [10-19] - Latin
Francesco Cafiso: We Play for Tips (Eflat) [01-19] - jazz [**]
Camila Cabello: Camila (Syco/Epic) [01-12] - r&b [**]
Calexico: The Thread That Keeps Us (Anti-) [01-26] - Americana
Calm: By Your Side (Hell Yeah) [07-27]
Calpurnia: Scout (Royal Mountain) [06-15] - indie rock
Anna Calvi: Hunter (Domino) [08-31] - art rock
Demian Cabaud: Astah (Carimbo Porta-Jazz) [01-08] - jazz
Jonas Cambien Trio: We Must Mustn't We (Clean Feed) [03-00] - jazz [***]
Joao Camoes/Jean-Luc Cappozzo/Jean-Marc Foussat: Autres Paysages (Clean Feed -17) [11-10-2017] - jazz
Camp Cope: How to Socialise & Make Friends (Run for Cover) [03-02] - indie rock [***]
Phil Campbell and the Bastard Sons: The Age of Absurdity ()
Campdogzz: In Rounds (15 Passenger) [08-03] - alt/indie
Carla Campopiano Trio: Chicago/Buenos Aires Connections (self-released) [12-07] - jazz [B]
Rodrigo Campos: 9 Sambas (YB Music) [08-03] - samba
Cancer Bats: The Spark That Moves (Batskull/New Damage) [04-20] - hardcore punk
Candy: Good to Feel (Triple-B) [09-28] - metal
Cane Hill: Too Far Gone (Rise) [01-19] - metal
Laura Cannell & Andre Bosman: Reckonings (Brawl) [07-13]
Can't Swim: This Too Won't Pass (Pure Noise) [11-16] - rock
Cantique Lepreux: Paysages Polaires (Eisenwald Tonschmiede) [11-30] - metal
Henry Canyons: Cool Side of the Pillow (Backwoodz Studioz) [04-13] - hip-hop
Capital Cities: Solarize (Lazy Hooks/Capitol) [08-10] - alt/indie
Capitol K: Goatherder (Faith & Industry) [07-13] - electronic
Car Seat Headrest: Twin Fantasy (Matador) [02-16] - indie rock [***]
Alessia Cara: The Pains of Growing (Def Jam) [11-30] - pop
Harley Card: The Greatest Invention (self-released) [01-12] - jazz [*]
Steve Cardenas: Charlie and Paul (Newvelle) [02-00] - jazz
The Caretaker: Everywhere at the End of Time - Stage 4 (History Always Favours the Winners) [04-05]
The Caretaker: Everywhere at the End of Time - Stage 5 (History Always Favours the Winners) [09-20] - electronic
Kyle Carey: The Art of Forgetting (Riverboat) [01-26] - folk
Jeff Carey: Zero Player Game (Ehse) [11-02] - electronic
Mariah Carey: Caution (Epic) [11-16] - r&b [B]
S Carey: Hundred Acres (Jagjaguwar) [02-23] - indie pop
Brandi Carlile: By the Way I Forgive You (Low Country Sound/Elektra) [02-16] - singer-songwriter [B-]
Carino: Movidas (Elefant) [11-09]
Dustin Carlson: Air Ceremony (Out of Your Head) [11-09] - jazz [**]
Darci Carlson: Darci Carlson (self-released) [04-20] - country
Dylan Carlson: Conquistador (Sargent House) [04-27] - drone
Dillon Carmichael: Hell on an Angel (Riser House) [10-26] - country [*]
Carolina Story: Lay Your Head Down (Black River Americana) [07-13] - country
Caroline Says: No Fool Like an Old Fool (Western Vinyl) [03-16] - indie folk
John Carpenter: Halloween [Original Soundtrack] (Sacred Bones) [10-19] - soundtrack
Sabrina Carpenter: Singular: Act I (Hollywood) [11-09] - pop
Carpenter Brut: Leather Teeth (No Quarter/Caroline) [02-23] - electronic
Derek Carr: Contact (Subwax Excursions) [12-21] - electronic
Francois Carrier/Michel Lambert/Rafal Mazur: Beyond Dimensions (FMR) - jazz [***]
Francois Carrier/Michel Lambert/John Edwards: Elements (FMR) - jazz [A-]
Chris Carter: Chris Carter's Chemistry Lessons Vol 1 (Mute) [03-30]
Daniel Carter/Patrick Holmes/Matthew Putman/Hilliard Greene/Federico Ughi: Telepathic Alliances (577 -17) [2017-12-01] - jazz
Daniel Carter/William Parker/Matthew Shipp: Seraphic Light (AUM Fidelity) [05-18] - jazz [A-]
Daniel Carter/Hilliard Greene/David Haney: Live Constructions (Slam) [07-20] - jazz [B]
The Carters: Everything Is Love (Parkwood/Roc Nation) [06-16] - r&b [***]
Playboi Carti: Die Lit (AWGE) [05-11] - hip hop [*]
Jazz Cartier: Fleurever (Universal Canada) [07-27] - trap rap
Neko Case: Hell-On (Anti-) [06-01] - singer-songwriter [*]
Casey: Where I Go When I Am Sleeping (Rise) [03-16] - rock
Rosanne Cash: She Remembers Everything (Blue Note) [11-02] - singer-songwriter [***]
Tommy Cash: ¥¤$ [YES] (Platoon) [11-30] - hip-hop
Lynn Cassiers: Imaginary Band (Clean Feed) [05-11] - jazz [*]
Castle: Deal Thy Fate (Ripple) [10-19] - rock
Jennifer Castle: Angels of Death (Paradise of Bachelors) [05-18]
Rachel Caswell: We're All in the Dance (Turtle Ridge) [09-07]
Doja Cat: Amala (RCA)
Cat Power: Wanderer (Domino) [10-05] - singer-songwriter
Cataclysmic Commentary: Audience Participation (Eschatology) [03-22] - jazz
Caleb Caudle: Crushed Coins (Cornelius Chapel) [02-23] - country
Cautious Clay: Blood Type (self-released) [02-21] - r&b
Dan Cavanaugh/Dave Hagedorn: 20 Years (UT Arlington) - jazz [*]
Cave: Allways (Drag City) [10-19]
Nick Cave and the Bad Seeds: Distant Sky Live in Copenhagen (Bad Seed -EP) [09-28]
Cavern of Anti-Matter: Hormone Lemonade (Duophonic) [03-23] - electronic [**]
Cecilia: Adoration (Halcyon Veil) [05-04] - electronic
Guillermo Celano/Jachim Badenhorst/Marcos Baggiani: Lili & Marleen (Clean Feed) [07-13] - jazz [**]
Centavrvs: Somos Uno (Casete Upload) [03-16] - Latin
Ceramic Dog [Marc Ribot]: YRU Still Here? (Northern Spy) [04-27] - jazz [A-]
Cero: Poly Life Multi Soul (Kakubarhythm) [05-16]
Amy Cervini: No One Ever Tells You (Anzic) [06-15] - vocal
Ernesto Cervini's Turboprop: Abundance (Anzic) [10-05] - jazz [**]
Chai: Pink (Otemoyan) [10-25] - alt/indie
Chamber 3: Transatlantic (OA2) [03-16] - jazz [*]
Kasey Chambers: Campfire (Essence Music Group) - Americana
Sean Chambers: Welcome to My Blues (American Showpiece) [10-19] - blues
Jenn Champion: Single Rider (Sub Pop) [07-13] - alt/indie
Chancha Via Circuito: Bienaventuranza (Wonderwheel) [06-08]
Olivia Chaney: Shelter (Nonesuch) [06-15]
Channel Tres: Channel Tres (Godmode) [07-27] - electronic
Chaos Echoes: Mouvement (Nuclear War Now!) [01-24] - metal
Chaos Echoes & Mats Gustafsson: Sustain (Utech) - jazz
Chapel of Disease: . . . And as We Have Seen the Storm We Have Embraced the Eye (Van) [11-23] - metal
Stefan Chaplikov: Clementi: Keyboard Sonatas Opp 25 33 & 46 (Naxos) [08-10] - classical
Beth Nielsen Chapman: Hearts of Glass (Proper) [02-09]
Bryan Chapman: 7 Shadows and Iron Lungs (Monotony) [09-24] - electronic
Charalambides: Tom and Christina Carter (Drawing Room) [10-12] - rock
Brian Charette/George Coleman: Groovin' With Big G (SteepleChase) [03-15] - jazz [***]
Charge It to the Game: House With a Pool (Ghost Ramp) [04-27] - hip-hop
Pearl Charles: Sleepless Dreamer (Kanine) [02-02] - alt/indie
Chastity: Death Lust (Captured Tracks) [07-13] - alt rock
Ben Chatwin: Staccato Signals (Village Green) [07-06] - electronic
Jean Chaumont: The Beauty of Differences (Misfitme Music) [06-15] - Jazz
Chelsea Grin: Eternal Nightmare (Rise) [07-13] - metal
Chemtrails: Calf of the Sacred Cow (PNKSLM) [02-09] - alt/indie
Annie Chen Octet: Secret Treetop (Shanghai Audio & Video) [11-02] - jazz [B]
Eric Chenaux: Slowly Paradise (Constellation) [03-09] - folk
Cher: Dancing Queen (Warner Bros) [09-28] - pop
Cherish the Ladies: Heart of the Home (Big Mammy) [09-12]
Neneh Cherry: Broken Politics (Smalltown supersound/Awal) [10-19] - art pop [***]
Kenny Chesney: Songs for the Saints (Blue Chair/Parlophone/Warner Bros) [07-27] - country
Chesterfield: Consuelo (Mikroton) - jazz
Cyrus Chestnut: Kaleidoscope (HighNote) [08-31] - jazz [B]
Chevel: Always Yours (Different Circles) [03-30] - electronic
CHEW: Feeding Frenzy (Iron Lung) [09-28] - alt/indie
Chhoti Maa: Agua Corre (894959) [06-07] - hip-hop
Chhoti Maa: Caldo De Hueso (self-released) [11-07] - hip-hop
Chicago Edge Ensemble: Insidious Anthem (Trost) [11-09] - jazz [***]
Chicago Farmer: Quarter Past Tonight (self-released) [08-02] - alt/indie
Adrien Chicot: City Walk (Gaya Music Production) - jazz
Chief Keef: The GloFiles Pt 1 (self-releaaed) [05-11] - mixtape
Chief Keef: The GloFiles Pt 2 (self-released) [05-11] - mixtape
Chief Keef: The Cozart (FilmOn Music) [09-28] - hip-hop
Tyler Childers: Live on Red Barn Radio I & II (2013-14, Hickman Holler -EP) [06-29] - country [***]
Wild Billy Childish & CTMF: Brand New Cage (Damaged Goods) [10-06] - punk
Children of Zeus: Travel Light (First Word) [07-13] - r&b
Lando Chill: Maya Maia Mayu (Mello Music Group -EP) [02-02] - r&b
Lando Chill: Black Ego (Mello Music Group) [10-12] - hip-hop [*]
Lando Chill & the Lasso: Landolasso (Mello Music Group -EP) [07-23] - hip-hop
The Chills: Snow Bound (Fire) [09-14] - rock [**]
Chloe x Halle: The Kids Are Alright (Parkwood/Columbia) [03-23] - r&b [**]
Chlorine: Loser Herds (Panurus Productions) [11-19]
Eugenia Choe: Verdant Dream (SteepleChase) [11-01] - jazz
Jungsu Choi: Tschuss Jazz Era (Challenge) [01-12] - jazz
Choral Hearse: Mire Exhumed (self-released) [04-16] - metal
Dave Chose: Dave Chose (Bonsound) [04-27]
Christine and the Queens: Chris (Because) [09-21] - synthpop [**]
Chrome Hill: The Explorer (Clean Feed) [05-11] - jazz [*]
Chrome Sparks: Chrome Sparks (Counter) [04-13] - electronic
Chromeo: Head Over Heels (Last Gang) [06-15] - pop [A-]
Chthe'ilist: Passage Into the Xexanotth (Profound Lore) [06-15] - metal
Chungha: Blooming Blue (Stone Music Entertainment) [07-18] - K-pop
Eric Church: Desperate Man (EMI Nashville) [10-05] - country [A-]
Church Fire: Summer Camp Doom Diary (self-released) [12-29] - electronic
The Church Sisters: A Night at the Opry (Valory Music) [05-25] - country
Churchburn: None Shall Live . . . The Hymns of Misery (Armageddon Label) [07-13] - metal
Marko Churnchetz: Ruthenia: Retrospective of Russian Composers of the 20th Century (Fresh Sound New Talent) - jazz
Chvrches: Love Is Dead (Glassnote) [05-25] - alt/indie [*]
Chvrches: Hansa Session (Liberator Music -EP) [11-09] - alt/indie
Ciel: Hundred Flowers (Coastal Haze) [11-23] - electronic
Albert Cirera/Abdul Moimeme/Alvaro Rosso: Dissection Room (Creative Sources) - jazz
Diali Cissokho & Kaira Ba: Routes (Twelve/Eight) [06-29] - African [A-]
Cities Aviv: Raised for a Better View (Tonal Works) [02-16] - experimental hip hop
Citric Dummies: The Kids Are Alt-Right (Erste Theke Tontrager) [05-01] - punk
City Girls: Period (Quality Control) [05-11] - hip-hop [B]
City Girls: Girl Code (Quality Control) [11-16] - hip-hop [B]
George Clanton: Slide (100% Electronica) [08-17] - alt/indie
Eric Clapton: Life in 12 Bars (Universal) [06-15] - British blues
Cathy Claret: Primavera (Respect)
Mike Clark & Delbert Bump: Retro Report (Ropeadope) [04-06] - jazz [**]
Scott Clark: ToNow (Clean Feed) [05-11] - jazz [*]
The Stanley Clarke Band: The Message (Mack Avenue) [06-29] - jazz
Zack Clarke: Mesophase (Clean Feed) [11-16] - jazz [*]
Clarks: Madly in Love at the End of the World (self-released) [06-08] - rock
Clay Hips: Happily Ever After (Annika) [06-01] - alt/indie
Clean Bandit: What Is Love? (Atlantic) [11-30] - electronic
Clearance: At Your Leisure (Topshelf) [07-27] - indie rock
Jon Cleary: Dyna-Mite (FHQ) [07-13] - blues [*]
Dawn Clement: Tandem (Origin) [01-19] - jazz [*]
The Nels Cline 4: Currents Constellations (Blue Note) [04-13] - jazz [*]
Cloud Nothings: Last Building Burning (Carpark) [10-19] - alt/indie [**]
Cloud Rat: Clipped Beaks//Silk Panic (Colline Noire) [07-13] - metal
Clouds: Heavy the Eclipse (Electric Deluxe) [11-23] - electronic
Cloves: One Big Nothing (Universal Music Australia) [09-28] - alt/indie
Clown Core: Toilet (8===D) [03-03]
CLT: Every Second Is a Blues (CLT) - jazz
Clubz: Destellos (self-released) [09-28] - pop
Clutch: Book of Bad Decisions (Weathermaker) [09-07] - stoner rock
Biffy Clyro: MTV Unplugged: Live at Roundhouse London (Warner Bros) [05-25] - alt/indie
CNCO: CNCO (Sony Music Latin) [04-06] - pop
Oliver Coates: Shelley's on Zenn-La (RVNG Intl) [09-07] - electronic
The Coathangers: Live (Suicide Squeeze) [06-01] - alt/indie [**]
Brent Cobb: Providence Canyon (Low Country Sound/Elektra) [05-11] - country [**]
Jose Pedro Coelho: Passarola Voadora (Carimbo Portajazz) [02-22] - jazz
Coheed and Cambria: Vaxis Act I: The Unheavenly Creatures (Roadrunner) [10-05] - alt rock
Anat Cohen/Fred Hersch: Live in Healdsburg (Anzic) [03-09] - jazz [*]
Emmet Cohen: Master Legacy Series Volume 2 (Cellar Live) - jazz
Gabriella Cohen: Pink Is the Colour of Unconditional Love (Captured Tracks) [06-01] - alt/indie
Col3trane: Boot (Tap/Geffen) [08-17] - mixtape
Cold Voodoo: AB+ (Wide Ear) - jazz
Beccy Cole: Lioness (ABC) [08-24] - country
Freddy Cole: My Mood Is You (HighNote) [05-15] - jazz [***]
J Cole: KOD (Roc Nation) [04-20] - hip-hop [**]
Louis Cole: Time (Brainfeeder) [08-10] - synth funk
Richie Cole: Cannonball (RCP) [10-26] - jazz [**]
Brandon Coleman: Resistance (Brainfeeder) [09-14] - electronic
Kevin Coleman: First Songs (self-released) [02-24] - contemporary folk
Steve Coleman and Five Elements: Live at the Village Vanguard Vol I (The Embedded Sets) (Pi) [08-30] - jazz [***]
Nick Colionne: Just Being Me (Trippin & Rhythm) [04-27] - jazz
Collard: Unholy (Virgin/EMI) [05-10] - r&b
Collate: Liminal Concerns (self-released) [08-08] - post-punk
Colle Der Fomento: Adversus (CDF/TAK Prod/Tuff Kong) [11-16] - hip-hop
Collective Order: Collective Order Vol 3 (self-released) [11-23] - jazz [B]
Ned Collette: Old Chestnut (It) [08-24] - dark folk
Jacob Collier: Djesse Vol 1 (Hajanga) [12-07] - jazz
George Colligan: Nation Divided (Whirlwind) [07-27] - jazz [*]
Sara Colman: What We're Made Of (Stoney Lane) [09-28] - vocal jazz
Marco Colonna/Agusti Fernandez/Zlatko Kaucic: Agrakal (Not Two) [06-00] - jazz [**]
Colour Me Wednesday: Counting Pennies in the Afterlife (Dovetown/KROD) [05-17] - pop
Colouring: Bn (UMGRi/Interscope) [06-22] - alt/indie
Comanche Moon: Country Music Deathstar (Edgewater Music Group) [08-03] - country
The Common Cold: Shut Up! Yo Liberals! (Action) [05-04]
Common Objects [John Butcher/Angharad Davies/Rhodri Davies/Lina Lapelyte/Lee Patterson/Pat Thomas]: Skullmarks (Ftarri) - jazz
Concretism: For Concrete and Country (Castles in Space) [04-20] - electronic
Henry Conerway III: With Pride for Dignity (self-released) [09-04] - jazz
Confidence Man: Confident Music for Confident People (Heavenly) [04-13] - alt dance [A-]
Congs for Brums: A Complete and Tonal Disaster (Preposterous Bee) - jazz
Conjurer: Mire (Holy Roar) [03-09] - metal
Sean Conly: Hard Knocks (Clean Feed) [05-11] - jazz [***]
Connections: Foreign Affairs (Trouble in Mind) [05-11] - alt/indie
Container: LP (Spectrum Spools) [06-29] - electronic
Nicola Conte: Let Your Light Shine On (Universal) [05-18] - jazz
Converge: Beautiful Ruin (Epitaph) [06-29] - metalcore
Conway: Everybody is FOOD (Griselda) [08-20] - hip-hop
Conway the Machine: The Blakk Tape (916% Entertainment -EP) [03-27] - hip-hop
Conway the Machine: Everybody Is FOOD (Griselda) [08-20] - hip-hop
Ry Cooder: The Prodigal Son (Fantasy) [05-11] [A-]
Hollie Cook: Vessel of Love (Merge) [01-26] - reggae
Rita Coolidge: Safe in the Arms of Time (Blue Elan) [05-04]
Gaz Coombes: World's Strongest Man (Caroline) [05-04] - indie rock
Cooper: Tiempo Temperatura Agitacion (Elefant) [05-18] - pop
Erland Cooper: Solan Goose (Phases) [03-23]
Liz Cooper & the Stampede: Window Flowers (Sleepyhead) [08-10]
Max Cooper: One Hundred Billion Sparks (MESH) [09-20] - electronic
Ross Cooper: I Rode the Wild Horses (self-released) - Americana
Shemekia Copeland: America's Child (Alligator) [08-03] - blues
The Coral: Move Through the Dawn (Ignition) [08-10] - indie rock
The Cordovas: That Santa Fe Channel (ATO) [08-10]
The Chick Corea + Steve Gadd Band: Chinese Butterfly (Stretch/Concord -2CD) [01-19] - jazz [*]
Cornelius: Mellow Waves (Rostrum) [01-26] - ambient
Corrosion of Conformity: No Cross No Crown (Nuclear Blast) [01-12] - metal
Cosmic Church: Tayttymys (Kuunpalvelus) [05-23] - metal
Frankie Cosmos: Vessel (Sub Pop) [03-30] - indie pop [***]
Roxy Coss: The Future Is Female (Posi-Tone) [03-30] - jazz [B]
Mario Costa: Oxy Patina (Clean Feed) [07-13] - jazz [**]
Elvis Costello & the Imposters: Look Now (Concord) [10-12] - pop rock [B-]
Mich Cota: Kija/Care (Tin Angel) [11-02] - electronic
George Cotsirilos Quartet: Mostly in Blue (OA2) [01-19] - jazz [*]
Alison Cotton: All Is Quiet at the Ancient Theatre (1046908 DK) [11-18] - alt/indie
The Coup: Sorry to Bother You: The Soundtrack (UMGRI Interscope) [07-27] - hip hop [A-]
Courteeners: St Jude: Re-Wired (Polydor) [04-07]
Sylvie Courvoisier Trio: D'Agala (Intakt) [01-19] - jazz [***]
Cowboy Junkies: All That Reckoning (Latent) [07-13] - slowcore
Coyote Poets of the Universe: Strange Lullaby (Square Shaped -2CD) - jazz [A-]
Cozz: Effected (Dreamville/Interscope) [02-13] - hip hop
Jason Crabb: Unexpected (New Day Entertainment) [04-20] - country
Chris Crack: Let's Just Be Friends (New Deal Collectives) [05-31] - hip-hop
Chris Crack: Being Woke Ain't Fun (New Deal Collectives) [07-31] - hip-hop
Chris Crack: Just Gimme a Minute (New Deal Collectives) [11-11] - hip-hop
Chris Crack: Thanks Uncle Thrill (New Deal Collectives) [12-17] - hip-hop
Crack Cloud: Crack Cloud (Deranged) [06-01] - alt/indie
Crack the Sky: Living in Reverse (Loud & Proud) [08-24] - rock
The Cradle: Bag of Holding (NNA Tapes) [07-27]
Ian William Craig: Thresholder (FatCat) [11-02] - ambient
Isla Craig: The Becoming (Pleasence) [06-22] - pop
Craft: White Noise and Black Metal (Season of Mist) [06-22] - metal
Kyle Craft: Full Circle Nightmare (Sub Pop) [02-02] - glam rock
Elysia Crampton: Elysia Crampton (Break World -EP) [04-26] - experimental [*]
Crayola Lectern: Happy Endings (Onomatopoeia) [06-01] - alt/indie
Creep Show: Mr Dynamite (Bella Union) [03-16] - synth funk
Cremation Lily: In England Now Underwater (Alter) [08-10] - electronic
Crepes: In Cahoots (Universal Music Australia) [10-26] - alt/indie
Noah Creshevsky: Reanimator (Orange Milk) [02-02]
Crippled Black Phoenix: Great Escape (Season of Mist)
Marilyn Crispell/Tanya Kalmanovitch/Richard Teitelbaum: Dream Libretto (Leo) [11-09] - jazz [*]
Alison Crockett: Obrigada (Sol Image) [11-03] - jazz
Charley Crockett: Lonesome as a Shadow (Son of Davy) [04-20] - folk
Charley Crockett: Lil GL's Blue Bonanza (Son of Davy) [12-07] - blues
David Crosby: Here if You Listen (BMG) [10-26] - rock
Rodney Crowell: Acoustic Classics (RC1) [07-13] - country [*]
Cruel Diagonals: Disambiguation (Drawing Room) [07-13] - electronic
The Glenn Crytzer Orchestra: Ain't It Grand? (Blue Rhythm) [05-09] - jazz
Ronnie Cuber: Ronnie's Trio (SteepleChase) [04-15] - jazz [*]
Ronnie Cuber: Live at Montmartre (Storyville) - jazz
Cucina Povera: Hilja (Night School) [01-26] - electronic
Marc Cuevas: Carta Blanca (Underpool Music) - jazz
Tim Culpepper: DUI (Drinkin' Under the Influence) (self-released) [05-19] - country
Cult Leader: A Patient Man (Deathwish) [11-09] - metal
Cult of the Damned: Part Deux: Brick Pelican Posse Crew Gang Syndicate (Blah) [04-13] - hip-hop
Cult Party: And Then There Was This Sound (Icecapades) - psychedelic rock
Culture Abuse: Bay Dream (Epitaph) [06-15] - alt/indie
Ryan Culwell: The Last American (Missing Peace) [08-24] - singer-songwriter
Cumbia Chicarra: Hijo de Tigre (Autre Distribution) [05-25] - jazz
Adrian Cunningham and Ken Peplowski: Duologue (Arbors Jazz) [07-06] - jazz
CupcakKe: Ephorize (self-released) [01-05] - hip-hop [***]
CupcakKe: Eden ( self-released) [11-09] - hip-hop [***]
Currensy/Freddie Gibbs/The Alchemist: Fetti (ESGN/Jet Life/ALC/Empire) [10-31] - hip-hop
Current 93: The Light Is Leaving Us All (House of Mythology) [10-13] - alt/indie
Current Joys: A Different Age (Danger Collective) [03-02] - indie rock
Denzel Curry: TA1300 (Loma Vista) [07-27] - hip hop [***]
Cursive: Vitriola (15 Passenger) [10-05] - alt/indie
Caleb Wheeler Curtis: Brothers (self-released) [07-25] - jazz
Francesco Cusa & the Assassins Meets Duccio Bertini: Black Poker (Clean Feed) [11-16] - jazz [*]
Cut Chemist: Die Cut (A Stable Sound) [03-02] - electronic
Cut Worms: Hollow Ground (Jagjaguwar) [05-04] - indie pop
Jeremiah Cymerman: Decay of the Angel (5049) [08-17] - jazz
Cypress Hill: Elephants on Acid (BMG) [09-28] - hip-hop [**]
Andrew Cyrille: Lebroba (ECM) [11-02] - jazz [***]
Czarface/MF Doom: Czarface Meets Metal Face (Silver Age) [03-30] - hip-hop [A-]
Chuck D as Mistachuck: Celebration of Ignorance (SpitSLAM) [11-16] - hip-hop [***]
D Double E: Jackuum (Bluku Music) [08-31] - hip-hop
Duduka Da Fonseca Trio: Plays Dom Salvador (Sunnyside) [04-13] - jazz
Maria Da Rocha: Beetroot & Other Stories (Shhpuma) [03-16] - jazz [**]
Tomasz Dabrowski Ad Hoc: Ninjazz (ForTune) [06-15] - jazz [*]
DaBaby: Blank Blank (South Coast Music Group -EP) [11-02] - hip-hop [***]
Dabrye: Three/Three (Ghostly International) [02-16] - underground rap
Lucy Dacus: Historian (Matador) [03-02] - singer-songwriter [*]
Signe Dahlgreen: Kunki Snuk (Astral Spirits) - jazz
Laureen Daigle: Look Up Child (Centricity Music) [09-07] - gospel
Will Dailey: Golden Walker (Wheelkick) [06-01] - rock
Tim Daisy's Fulcrum Ensemble: Animation (Relay) [02-01] - jazz [***]
Tim Daisy: Configurations (Relay) [06-01] - jazz [**]
Dalham: Janus (Public House) [02-00] - ambient
DALI (Deadly Avenger & Luke Insect): When Haro Met Sally (Burning Witches) [07-27] - electronic
The Dali Thundering Concept: Savages (self-released) [04-13] - progressive metall
Lucrecia Dalt: Anticlines (RVNG Intl) [05-04]
Roger Daltrey: As Long as I Have You (Polydor) [06-01] - rock
The Damned: Evil Spirits (Spinefarm) [04-13] - punk
Damu the Fudgemunk & Flex Mathews: Dreams & Vibrations (Redefinition) [05-11] - hip-hop
Dan + Shay: Dan + Shay (Warner Nashville) [06-22] - country
Ben Danaher: Still Feel Lucky (Soundly Music) [09-07] - folk
Dancehall: The Band (Vibe/Anti-Vibe) [06-15] - post-punk
Jesse Daniel: Jesse Daniel (Die True) [05-26] - country
Franco D'Andrea Octet: Intervals 1 (Parco Della Musica) - jazz
Benje Daneman: Light in the Darkness (ACI) [08-31] - jazz [C+]
The Dangerous Summer: The Dangerous Summer (Hopeless) [01-26] - rock
Eddie Daniels: Heart of Brazil (Resonance) [06-01] - jazz
Lars Danielsson: Summerwind (ACT) - jazz
Daphne & Celeste: Daphne & Celeste Save the World (Balatonic) [03-30] - synthpop [B]
Eric Darius: Breakin' Thru (SagiDarius) [08-24] - jazz
The Dark Light: Keep Off the Grass (Unknown Pleasures) [04-06] - alt/indie
Dark Sarah: The Golden Moth (Inner Wound) [09-21] - metal
Dark Times: Tell Me What I Need (Sheep Chase) [04-06] - alt/indie
Dark Web: Clone Age (Erste Theke Tontraeger) [02-14]
Darlingside: Extralife (More Doug/Thirty Tigers) [02-23] - indie folk
Dashboard Confessional: Crooked Shadows (Fueled by Ramen) [02-09]
Daughters: You Won't Get What You Want (Ipecac) [10-26] - noise rock
Daughtry: Cage to Rattle (RCA) [07-27] - pop idol
Sarah Davachi: Let Night Come on Bells End the Day (Recital) [04-13]
Sarah Davachi: Gave in Rest (Ba Da Bing!) [09-14] - drone
Chris Dave: Chris Dave and the Drumhedz (Blue Note) [01-26] - r&b [B]
Craig David: The Time Is Now (Insanity) [01-26] - electropop
Delaney Davidson: Shining Day (Southbound Music) [04-20] - alt/indie
Marie Davidson: Working Class Woman (Ninja Tune) [10-05] - tech house [A-]
Roger Davidson Quartet Featuring Hendrik Meurkens: Music From the Heart (Soundbrush) [09-04] - jazz
Billie Davies Trio: Perspectives II (self-released) [09-26] - jazz
Daniel Davies: Events Score (Lakeshore) [08-31] - electronic
Josephine Davies' Satori: In the Corners of Clouds (Whirlwind) [11-09] - jazz [A-]
Ray Davies: Our Country: Americana Act 2 (Legacy) [06-29] - pop/rock
Benjamin Lazar Davis: Nothing Matters (BLD) [05-04] - alt/indie
Caroline Davis: Heart Tonic (Sunnyside) [03-23] - jazz [**]
Elise Davis: Cactus (Tone Tree Music) [09-07] - folk
James Davis Quintet: Disappearing Roads (Whistler) [06-15] - jazz
Jonathan Davis: Black Labyrinth (Sumerian) [05-25] - rock
Jordan Davis: Home State (EMI Nashville) [03-23] - contry
Kris Davis & Craig Taborn: Octopus (Pyroclastic) [01-28] - jazz [A-]
Kris Davis/Matt Mitchell/Aruan Ortiz/Matthew Shipp: New American Songbooks Volume 2 (Sound American) [12-10] - jazz [**]
Mikaela Davis: Delivery (Rounder) [07-13] - indie pop
Ward Davis: Asunder (self-released -EP) [11-23] - country
Dawes: Passwords (Hub) [06-22] - pop/rock
Dawnbreaker: Deus Vult (1022919 DK) [05-25] - metal
Devin Dawson: Dark Horse (Atlantic/Warner Music Nashville) [01-19] - country
Dennis Llewellyn Day: Bossa Blues and Ballads (DDay Media Group) [08-25] - jazz [*]
The Daysleepers: Creation (My Daydream) [09-07] - rock
Jesse Dayton: The Outsider (Blue Elan) [06-08] - country
DBridge: A Love I Can't Explain (Exit) [10-20] - downtempo
De Leon: De Leon (Mana) [03-09] - electronic
Dead Can Dance: Dionysus (PIAS) [11-01]
Dead Composers Club [Noah Preminger/Rob Garcia]: Chopin Project (Connection Works) [05-18] - jazz [B]
Dead Horses: My Mother the Moon (self-released) [04-06] - country
Dead Vortex: Event Horizon/Redshift (A Besta) [05-27] - jazz
Deadbeat: Wax Poetic for This Our Great Resolve (BLKRTZ) [04-27]
Deaf Havana: Rituals (SO/Silva Screen) [08-03] - rock
Deafheaven: Ordinary Corrupt Human Love (Anti-) [07-13] - blackgaze
Matthew Dear: Bunny (Ghostly international) [10-12] - alt/indie
Dear Nora: Skulls Example (Orindal) [05-25] - indie pop
Michael Dease: Reaching Out (Posi-Tone) [01-26] - jazz [B]
Michael Dease: Bonafide (Posi-Tone) [10-12] - jazz [**]
Death Cab for Cutie: Thank You for Today (Atlantic) [08-17] - indie pop
Death Drag: Shifted (Iluso) - jazz
Death Grips: Year of the Snitch (Third Worlds) [06-22] - rap
Death Valley Girls: Darkness Rains (Suicide Squeeze) [10-05] - alt/indie
The Declining Winter: Belmont Slope (Home Assembly Music) [09-21] - alt/indie
Debit: Animus (NAAFI) [02-23] - electronic
The Decemberists: I'll Be Your Girl (Capitol) [03-16] - indie pop
Jerry David Decicca: Time the Teacher (Impossible Ark) [02-09] - country
Dedekind Cut: Tahoe (Kranky) [02-23] - ambient
Manny Dee: The Residue (Tresor) [06-29] - electronic
Deep'a & Biri: Dominance (Black Crow) [03-23]
Dehousy: Stage 2 ([Re]Sources) [07-20] - electronic
Tomasa Del Real: Bellaca Del Ano (Nacional) [05-18]
Del the Funky Homosapien & Amp Live: Gate 13 (Gate 13) [04-20] - hip hop
Gonzalo Del Val With David Liebman & Ronan Guilfoyle: Standards in Dublin (Quadrant) [05-25] - jazz
Helena Deland: From the Series of Songs "Altogether Unaccompanied" Vol I (Luminelle) [03-02] - rock
Benoit Delbecq 4: Spots on Stripes (Clean Feed) [03-00] - jazz [**]
Delgres: Mo Jodi (Jazz Village) [08-31] - jazz
Christopher Dell/Johannes Brecht/Christian Lillinger/Jonas Westergaard [DBLW]: Boulez Materialism: Live in Concert (Plaist) [09-28] - jazz [**]
Jax Deluca: Organs in the Wind (self-released) [10-30] - alt/indie
Mac DeMarco: Salad Days Demos (Captured Tracks) [08-24] - indie rock
Demdike Stare: Passion (Modern Love) [10-26] - electronic
Demob Happy: Holy Doom (Silva Screen) [03-23] - noise rock
Den-Mate: Loceke (Babe City) [09-28] - rock
Der Lange Schatten: Concurrences (Trouble in the East) - jazz
Der Nino Aus Wien: Der Nino Aus Wien (Problembar) [10-12] - alt/indie
Julien Desprez/Luis Lopes: Boa Tarde (Shhpuma) [09-28] - jazz [**]
Dessa: Chime (Doomtree) [02-23] - art pop [A-]
Michael Dessen Trio: Somewhere in the Upstream (Clean Feed) [01-00] - jazz [***]
Detroit Bop Quintet: Two Birds (TQM -EP) [04-20] - jazz [*]
Detroit Swindle: High Life (Heist) [05-28] - electronic
Raheem DeVaughn: Decade of a Love King (BMG) [H|r&b]
Aisha Devi: DNA Feelings (Houndstooth) [05-11] - post-industrial
The Devil Makes Three: Chains Are Broken (New West) [08-24] - rock
DeVotchKa: The Night Falls Forever (Concord) [08-24] - pop/rock
Devouring Star: The Arteries of Heresy (Dark Descent) [10-26] - metal
DeWolf: Thrust (Mascot) [05-04]
Dwiki Dharmawan: Rumah Batu (Moonjune) [06-00] - jazz
Al Di Meola: Elegant Gypsy & More Live (Ear Music) [07-20] - jazz
Ron Di Salvio/Bart Plateau: The Puglia Suite (Blujazz) - jazz [B-]
Robert Diack: Lost Villages (self-released) [04-13] - jazz [*]
Dialeto: Live With David Cross (Moonjune) - jazz
Hannah Diamond: Soon I Won't See You at All (PC Music -EP -17) [2017-12-13] - electronic
Stella Diana: 57 (Vipchoyo Sound Factory) [05-25] - alt/indie
Alela Diane: Cusp (Allpoints) [02-09] - pop/rock
Fatoumata Diawara: Fenfo: Something to Say (Shanachie) [05-18] - African [**]
Greg Diaz & the Art of Imagination Jazz Orchestra: Begin the Agora (AOI Group) [08-27] - jazz
Olegario Diaz: I Remember Chet (SteepleChase) [02-15] - jazz [***]
Robert Dick/Tiffany Chang: Raise the River (RogueArt) - jazz
Broeder Dieleman: Komma (Snowstar) [09-07] - alt/indie
Die Nerven: Fake (Glitterhouse) [04-20] - alt/indie
The Digital Blonde: Neon (JOOF) [09-03] - electronic
Cara Dillon: Wanderer (Charcoal -17) [2017-10-13] - folk
Sam Dillon: Out in the Open (Cellar Live) [09-00] - jazz [**]
Dilly Dally: Heaven (Partisan) [09-14] - alt rock
Will DiMaggio: At Ease (Future Times)
Dimmu Borgir: Eonian (Nuclear Blast) [05-06] - metal
Dinosaur: Wonder Trail (Edition) [05-04] - jazz [B]
Joe Diorio: Straight Ahead to the Light (Art of Life) - jazz
Dir En Grey: The Insulated World (Columbia) [10-12]
Direct Hit: Crown of Nothing (Fat Wreck Chords) [10-26] - alt/indie
Dirtmusic: Bu Bir Ruya (Glitterbeat) [01-26] -
The Dirty Nil: Master Volume (Dine Alone) [09-14] - alt rock
Dirty Projectors: Lamp Lit Prose (Domino) [07-13] - art pop
Andrew Distel: It Only Takes Time (Jerujazz) - jazz
Distorted Harmony: A Way Out (self-released) [07-18] - metal
District Five: Decoy (Intakt) [04-20] - jazz [**]
Disturbed: Evolution (Reprise) [10-18] - rock
Divine Weeks: We're All We Have (self-released) [11-09] - rock
DJ Call Me: Marry Me (Highlife ) [04-20] - kwaito
DJ Healer: Nothing 2 Loose (All Possible Worlds) [04-01] - deep house
DJ Healer: Planet Lonely (All Possible Worlds) [05-19] - deep house
DJ Jazzy Jeff: M3 (Playlist Music) [05-08] - hip-hop
DJ Juan Data: Ritmos Crotos Volume 1 (Stronghold Sound) [10-03]
DJ Khalab: Black Noise 2084 (On the Corner) [07-20] - jazz
DJ Koze: Knock Knock (Pampa) [05-04] - deep house [B]
DJ Krush: Cosmic Yard (ES) [03-21] - hip-hop
DJ Nigga Fox: Cranio (Warp -EP) [03-09] -
DJ Raph: Sacred Groves (self-released) [05-04] - electronic
DJ Richard: Dies Irae Xerox (Dial) [06-15] - electronic
DJ Smokey & Ruben Slikk: Goony Toonz (self-released) [06-08] - hip-hop
DJ Taye: Still Trippin' (Hyperdub) [03-02] - footwork
Django Django: Marble Skies (Ribbon) [01-26] - indie pop
Djrum: Portrait With Firewood (R&S) [08-17] - electronic
DMA's: For Now (BMG) [04-27] - britpop
Doctor Nativo: Guatemaya (Stonetree) [09-15] - Latin [A-]
The Dodos: Certainty Waves (Polyvinyl) [10-12] - indie rock
Dodsrit: Spirit Crusher (Prosthetic) [09-28] - black metal
Doe: Grow Into It (Topshelf) [09-28] - rock
Dogwood: Hecate's Hounds (Nusica.org) [01-18] - jazz [**]
Dolphin: 442 (self-released) [03-23] - electronic
David Dominique: Mask (Orenda) [11-09] - jazz [C]
Stefflon Don: Secure (Polydor) [08-17] - mixtape
Don Kapot: Don Kapot (Mr. Nakayasi) [05-27] - jazz
Dine Doneff: Rousilvo (ECM) - jazz
Liran Donin's 1000 Boats: 8 Songs (Cavalo) [09-21] - jazz
Donna the Buffalo: Dance in the Street (self-released) [11-09] - folk
Roberta Donnay & the Prohibition Mob Band: My Heart Belongs to Satchmo (Blujazz) [02-28] - vocal [**]
Bonny Doon: Longwave (Woodsist) [03-23] - pop/rock
Dopethrone: Transcanadian Anger (Totem Cat) [05-25] - metal
Christy Doran: Undercurrent: Live at Theater Gutersloh (Intuition) [01-12] - jazz
Christy Doran: 144 Strings for a Broken Chord (Between the Lines) - jazz
Pierre Dorge: Soundscapes (SteepleChase) [05-18] - jazz [***]
Dorian Concept: The Nature of Imitation (Brainfeeder) [08-03] - wonky
Tashi Dorji & Tyler Damon: Leave No Trace: Live in St Louis (Family Vineyard) - jazz
Axel Dorner/Mia Dyberg/Pierre Borel/Ernesto Rodrigues/Tristan Honsinger/Guilherme Rodrigues: Laura (Creative Sources) [01-22] - jazz
Giuseppe Doronzo: Goya (Tora) [08-24] - jazz
Dorothy: 28 Days in the Valley (Roc Nation) [03-16] - rock
Dos Santos: Logos (International Anthem) [06-15] - jazz [*]
Dot Dash: Proto Retro (The Beautiful Music) [07-27] - jazz
Dave Douglas Quintet: Brazen Heart: Live at Jazz Standard: Saturday (Greenleaf Music) [12-08] - jazz [***]
Matt Douglas: Affirmation (with Discomfort) (self-released) [04-06] - jazz
Al Doum & the Faryds: Spirit Rejoin (Bongo Joe)
Douvelle19: D19 (D19 -EP) [09-19] - electronic
Kit Downes: Obsidian (ECM) [01-19] - jazz [B]
Donato Dozzy: Mindless Fullness (Eerie -EP) [04-23] - techno
Donato Dozzy: Filo Loves the Acid (Tresor) [07-13] - electronic
Dr Dog: Critical Equation (We Buy Gold) [04-27] - alt/indie
Dr Octagon: Moosebumps: An Exploration Into Modern Day Horripilation (Bulk) [04-06] - hip-hop
Drake: Scorpion (Cash Money/Republic) [06-29] - hip hop
Bob Drake: L'Isola Dei Lupi (self-released) [10-04]
Hamid Drake/Ralph M Jones/Adam Rudolph: Karuna (Meta) - jazz
Hamid Drake/Joe McPhee: Keep Going (Corbett vs Dempsey) [10-16] - jazz [***]
Drakeo the Ruler: Cold Devil (Stinc Team -17) [12-26-2017] - hip-hop
Kaja Draksler/Petter Eldh/Christian Lillinger: Punkt Vrt Plastik (Intakt) [11-18] - jazz [A-]
Drangsal: Zores (Caroline) [04-27] - alt/indie
Dream System 8: We Sleep Again (Minty Fresh) [02-23] - alt/indie
Dream Troll: The Witch's Curse (self-released) [02-02]
Dream Wife: Dream Wife (Lucky Number) [01-26] - alt rock [***]
Dreams: No One Defeats Us (EMI Australia) [06-01] - alt/indie
The Dreebs: Forest of a Crew (Ramp Local) [06-01]
Eris Drew & Octo Octa: Devotion (Naive -EP) [10-26] - electronic
Drinks: Hippo Lite (Drag City) [04-20] - experimental rock
Drone Trio [Evelyn Davis/Fred Frith/Phillip Greenlief]: Lantskap Logic (Clean Feed) [11-16] - jazz [*]
Drowse: Cold Air (The Flenser) [03-09] - shoegaze
Drudkh: They Often See Dreams About the Spring (Seasons of Mist) [03-08] - atmospheric black metal
Drug Church: Cheer (Pure Noise) [11-02] - alt/indie
Druid: The Seven Scrolls (self-released) [09-09]
Drums & Tuba: Triumph! (Ropeadope) [09-28] - jazz [*]
Andrew Drury's Content Provider: Try (Different Track) - jazz
Dubstar: One (Northern Whites) [10-12] - alt/indie
Dunbarrow: Dunbarrow II (Riding Easy)
Dungen & Woods: Myths 003 (Mexican Summer) [03-16] - psychedelic rock
Elina Duni: Partir (ECM) [04-27] - jazz [*]
Paul Dunmall/Percy Pursglove/Tony Orrell: Nothing in Stone (01-00) [J|jazz]
Paul Dunmall/Philip Gibbs/Neil Metcalfe/Ashley John Long: Seascapes (FMR) [05-00] - jazz
Paul Dunmall/Jon Irabagon/Mark Sanders/Jim Bashford: The Rain Sessions (FMR) [09-00] - jazz
Paul Dunmall/John O'Gallagher/John Edwards/Mark Sanders: Freedom Music (FMR) [05-00] - jazz
Matthew Doc Dunn: LIghtbourn (Cosmic Range) [08-13]
Duppy Gun: Miro Tape (Broken Versions) [04-27] - electronic
Kelman Duran: 13th Month (Apocalipsis) [11-27] - electronic
The Du-Rites: Gamma Ray Jones (Redefinition/Fat Beats) [11-23] - r&b
Baxter Dury/Etienne De Crecy/Delilah Holliday: BED (Heavenly) [10-26] - alt/indie
Jeremy Dutcher: Wolastoqiyik Lintuwakonawa () [04-06]
The Dwarfs of East Agouza: Rats Don't Eat Synthesizers (Annihaya) - jazz
Thomas Dybdahl: All These Things (V2) [alt/indie]
Mia Dyberg Trio: Ticket! (Clean Feed) [07-00] - jazz [***]
Bokani Dyer Trio: Neo-Native (self-released) - jazz
Erik Dylan: Baseball on the Moon (self-released) - country
Mia Dyson: If I Said Only So Far I Take It Back ()
Dystil: Dystil (Clean Feed) [07-13] - jazz [*]
DZ Deathrays: Bloody Lovely (Alcopop!) [02-02] - indie rock
E-40 & B-Legit: Connected & Respected (Sick Wid It) [04-06] - hip hop
E-40: The Gift of Gab (Heavy on the Grid) [06-28] - hip hop
Jason Eady: I Travel On (Old Guitar) [08-10] - country [***]
Open Mike Eagle: What Happens When I Try to Relax (Auto Reverse -EP) [10-19] - hip-hop [***]
Eagle Twin: The Thundering Herd (Southern Lord) [03-30] - metal
The Earls of Leicester: Live at the CMA Theater at the Country Music Hall of Fame (New Rounder) [09-28] - bluegrass
Eartheater: Irisiri (PAN) [06-08] - post-industrial
Earthgang: Royalty (Spillage Village -EP) [02-23] - hip hop
Earthless: Black Heaven (Nuclear Blast) [03-16] - rock
Anderson East: Encore (Low Country Sound/Elektra) [01-12] - soul
Dave East: Paranoia 2 [P2] (Def Jam) [01-16] - hip hop
Dave East: Karma 2 (The DisPensary) [07-27] - hip-hop
Dave East and Styles P: Beloved (Def Jam) [10-05] - hip-hop
East Man: Red White and Zero (Planet Mu) [02-16] - electronic
Ronnie Eaton: The Hand That Mocked Them and the Heart That Fed (self-released) - Americana
Eave: Eave (Astral Spirits) [02-18] - jazz
Silke Eberhard and Sandy Evans: What She Sees (Rufus) [03-28] - jazz
Ebony Bones: Nephilim (1984) [07-20] - alt/indie
Echo Beds: Buried Language (The Flenser) [08-17] - electronic
Echo Ladies: Pink Noise (Sonic Cathedral) [06-08] - pop
Echodrone: Past Present and Future (Isomer) [01-23] - alt/indie
Echoes of Ellington Jazz Orchestra: Jazz Planets (Right Track) - jazz
Echoes of Swing: Travelin' (ACT) - jazz
Yelena Eckemoff: Desert (L&H Production) [05-04] - jazz [***]
Yelena Eckemoff: Better Than Gold and Silver (L&H Production) [09-21] - jazz [**]
Editors: Violence (PIAS) [03-09] - alt/indie
Kat Edmonson: Old Fashioned Gal (Spinnerette) [04-27] - jazz [*]
Delroy Edwards: Rio Grande (LA Club Resource) [03-30] - hypnagogic pop
Richard Edwards: Verdugo (Mariel) [06-01]
Colin Edwin & Lorenzo Feliciati: Twinscapes Vol 2: A Modern Approach to the Dancefloor (RareNoise) [10-26] - jazz [**]
Eels: The Deconstruction (E-Works) [04-06] - singer-songwriter
Ana Egge: White Tiger (StorySound) [06-08] - folk
The Egyptian Lover: 1985 (Egyptian Empire) [11-30] - electronic
Jake Ehrenreich: A Treasury of Jewish Christmas Songs (self-released) [11-02] - jazz [*]
Marty Ehrlich: Trio Exaltation (Clean Feed) [05-11] - jazz [***]
Markus Eichenberger & Daniel Studer: Suspended (Hatology) - jazz
Mathias Eick: Ravensburg (ECM) [03-02] - jazz
Mats Eilertsen: Sun Sparkle (Hubro) - jazz
Wendy Eisenberg: The Machinic Unconscious (Tzadik) [10-19] - jazz
Wendy Eisenberg: Its Shape Is Your Touch (Vin du Select Qualitite) [10-22] - jazz
El Coyote: El Coyote (self-released) [04-03] - country
El Dusty: Cumbia City (Aftercluv Dancelab) [05-11] - electronic
Jorge Elbrecht: Here Lies (self-released) [02-27] - pop
Elder Brother: Stay Inside (Pure Noise) [05-18] - alt/indie
Electric Citizen: Helltown (Riding Easy)
Electric Indigo: 511593 (Imbalance Computer Music) [03-13] - ambient
Electric Squeezebox Orchestra: The Falling Dream (OA2) [02-16] - jazz [B]
Electronica Pineapple Boys: Hello! EPB (self-released) [04-20] - new age
Elephant Micah: Genericana (Western Vinyl) [08-05] - experimental folk
Elephant9: Greatest Show on Earth (Rune Grammofon) [02-16] - jazz
Eleventeen Eston: At the Water (Growing Bin) [05-22] - electronic
Elisapie: The Ballad of the Runaway Girl (Bronsound) [09-14] - folk
Ehran Elisha/Albert Beger/Dave Philips: Heads (CIMP) - jazz
Elk City: Everbody's Insecure (Bar None) [03-16] - alt/indie
Roddy Ellias/Marc Copland/Adrian Vedady: ECV: Sticks and Stones (Kwimu Music) - jazz
Kurt Elling: The Questions (Okeh) [03-23] - jazz [B-]
Pee Wee Ellis: In My Ellingtonian Mood (Minor Music) [03-23] - jazz
Elohim: Elohim (BMG) [04-27]
Emanative: Earth (Jazzman) - jazz
Prins Emanuel: Diagonal Musik (Music for Dreams) [11-02] - electronic
Embassador Dulgoon: Hydrorion Remnants (Nonlocal Research) [07-01]
The Embassy: White Lake (International) [11-21] - alt/indie
Emery: Eve (BC Music) [11-09] - rock
Eminem: Kamikaze (Aftermath/Shady/Interscope) [08-31] - hip hop [**]
Emma Louise: Lilac Everything (Liberation) [09-14] - pop
Signe Emmeluth's Amoeba: Polyp (Ora Fonogram) [03-16] - jazz [*]
Empath: Liberating Guilt and Fear (Get Better) [03-28] - noise pop
Empress Of: Us (Terrible) [10-19] - alt/indie
En Attendant Ana: Lost and Found (Trouble in Mind) [04-06] - alt/indie
The End [Sofia Jernberg/Mats Gustafsson/Kjetil Moster/Anders Hana/Greg Saunier]: Svarmod Och Vemod Ar Vardesinnen (RareNoise) [06-29] - jazz [D+]
Endangered Blood: Don't Freak Out (Skirl) [07-19] - jazz [A-]
Enemy: Enemy (Edition) [05-28] - jazz [**]
Ron English: Dance/Cry/Dance (Detroit Music Factory) [07-20] - jazz
The English Beat [Dave Wakeling]: Here We Go Love (Here We Go) [05-25] [B-]
EOD: Named (bbbbbb) [07-13] - techno
Fima Ephron: Songs From the Tree (Ropeadope) [10-26] - jazz
Epic Beard Men: Season 1 (Strange Famous) [03-02] - hip-hop [**]
Epic45: Through Broken Summer (Wayside and Woodland) [09-28] - alt/indie
The Equity & Social Justice Quartet: Argle-Bargle or Foofaraw (Edgetone) [06-05] - jazz [***]
Erasure: World Be Live (Mute) [07-06] - alt dance
Ibon Errazkin: Foto Aerea (Elefant) [03-09] - pop
Espen Eriksen Trio With Andy Sheppard: Perfectly Unhappy (Rune Grammofon) [05-04] - jazz [A-]
Oytun Ersan: Fusiolicious (self-released) [06-01] - jazz
Peter Erskine & the Dr Um Band: On Call (Fuzzy Music) [04-06] - jazz
Escape-ism: The Lost Record (Merge) [09-07] - alt/indie
Eli Escobar: Shout (Classic) [10-31] - deep house
Wayne Escoffery: Vortex (Sunnyside) [01-26] - jazz
Alejandro Escovedo: The Crossing (Yep Roc) [09-14] - folk
John Escreet: Learn to Live (Blue Room) [10-12] - jazz [*]
Gabriel Espinosa: Nostalgias De Mi Vida (Zoho) [10-05] - jazz
The Essex Green: Hardly Electronic (Merge) [06-29] - indie pop
Estelle: Lovers Rock (VP) [09-07] - reggae
Etch: Ups & Downs (Sneaker Social Club) [10-19] - electronic
Eternal Summers: Every Day It Feels Like I'm Dying (Nevado) [05-04]
Ethers: Ethers (Trouble in Mind) [08-24] - alt/indie
Andre Ethier: Under Grape Leaves (Telephone Explosion) [01-19]
Etran De L'Air: No 1 (Sahel Sounds) [10-01] - African
E-Turn: Young World (Fake Four) [09-28] - hip-hop
Eureka California: Roadrunners (HHBTM) [05-04]
EUT: Fool for the Vibes (V2 Benelux) [10-05] - alt/indie
The Gil Evans Orchestra: Hidden Treasures Monday Nights: Volume One (Bopper Spock Suns Music) [12-07] - jazz [*]
Orrin Evans and the Captain Black Big Band: Presence (Smoke Sessions) [09-21] - jazz [B]
Peter Evans/Weasel Walter: Poisonous (UgExplode) [06-01] - jazz
Peter Evans/Agusti Fernandez/Barry Guy: Free Radicals at DOM (Fundacja Sluchaj) [12-19] - jazz [**]
Peter Evans/Barry Guy: Syllogistic Moments (Maya) - jazz
Everything Is Recorded: Everything Is Recorded by Richard Russell (XL) [02-16] - alt r&b
Sam Evian: You Forever (Saddle Creek) [06-01] - alt/indie
Evicshen: Klee Doll (Hot Releases) [07-01] - electronic
Evidence: Weather or Not (Rhymesayers) [01-26] - hip hop
Evil Blizzard: The Worst Show on Earth (Crackedankles) [06-08] - alt/indie
Evil Genius: Experiments on Human Subjects (Orenda) - jazz
Evoken: Hypnagogia (Profound Lore) [11-09] - metal
Ewol/Grey Code/Skylark: I I I (MethLab -EP) [09-06] - electronic
The Ex: 27 Passports (Ex) [03-22] - postpunk [A]
Ex Comets: Life Is an Illusion (self-released -EP) [02-22]
Exael: Collex (West Mineral) [10-26] - ambient
Exes: Before You Go (self-released) [10-05] - alt/indie
EXO: Don't Mess Up My Tempo (SM) [11-02] - K-pop
EXP Quintet: Shreds (Palomar) [01-00] - jazz
Exploded View: Obey (Sacred Bones) [09-28] - alt/indie
The Exploding Eyes Orchestra: II (Svart) [10-05] - alt/indie
Ex:Re: Ex:Re (Glassnote) [11-30] - alt/indie
Extra Large Unit: More Fun Please (PNL) [04-13] - jazz [B]
Extremity: Coffin Birth (20 Buck Spin) [07-20] - metal
Eyedress: Sensitive G (Lex) [11-16] - electronic
Eyes of Love: End of the Game (Wharf Cat) [08-17]
George Ezra: Staying at Tamara's (Columbia) [03-23] - pop/rock
Ezra Collective: Juan Pablo: The Philosopher (Enter the Jungle) [10-06] - jazz
Fabled: Short Stories () [09-28] - jazz
FACS: Negative Houses (Trouble in Mind) [03-30] - noise rock
Factory Floor: A Soundtrack for a Film (H/O/D) [10-12] - electronic
Dizzy Fae: Free Form Mixtape (self-released) [02-02] - r&b
Failure: In the Future Your Body Will Be the Furthest Thing From Your Mind (Failure) [11-16] - alt/indie
Faith/Void: Embrace Nothingness (self-released) [09-07] - rock
Marianne Faithfull: Negative Capability (BMG) [11-02] - singer-songwriter [***]
Nathan Fake: Sunder (Ninja Tune -EP) [02-23] - IDM
Fake Humans: Exegesis (Shhpuma) [05-11] - jazz
Kyle Falconer: No Thank You (Riverman) [07-27] - rock
The Fall: Lovable (Cherry Red) [06-08] - alt/indie
Fall Out Boy: Mania (Island) [01-19] - rock
Brian Fallon: Sleepwalkers (Island) [02-09] - heartland rock
FAME: Maluma (Sony Music Latin) [05-18] - latin
Bebe Fang: Bebe Fang (Vrystaete) - ambient
Fantastic Negrito: Please Don't Be Dead (Cooking Vinyl) [06-15] - blues
Farai: Rebirth (Big Dada) [11-30] - electronic
Farao: Pure-O (Western Vinyl) [10-19] - alt/indie
Marco Faraone: Lunar Eclipse (Drumcode) [11-05] - electronic
Fred Farell: Distant Song (Whaling City Sound) [01-26] - jazz [*]
Mylene Farmer: Desobeissance (Stuffed Monkey) [09-28] - French
Adrean Farrugia/Joel Frahm: Blues Dharma (GB) [04-27] - jazz [A-]
Fat Tony and J KELR: Full Circle (self-released -EP) [06-15] - hip hop
Fat Tony: 10000 Hours (self-released) [09-28] - hip hop [*]
Father Murphy: Rising: A Requiem for Father Murphy (Avant!) [04-20] - alt/indie
Fatherson: Sum of All Your Parts (Easy Life) [09-14] - alt/indie
Fatima: And Yet It's All Love (Eglo) [09-28] - r&b
Fatty Cakes and the Puff Pastries: Fatty Cakes and the Puff Pastries (Emotional Response) [11-09] - alt/indie
Adam Faucett: It Took the Shape of a Bird (Last Chance) [08-24] - rock
Maria Faust: Machina (Stunt) [02-16] - jazz
Faustcoven: In the Shadow of Doom (Nuclear War Now) [07-31] - metal
FAVX: Welfare (Miel de Moscas/Burger -EP) [01-12] - rock [**]
John Faxe: I Am Awake (Losen) - jazz
Lorraine Feather: Math Camp (Relarion) - jazz
Thomas Fehlmann: Los Lagos (Kompakt) [09-07] - electronic
Ezra Feinberg: Pentimento and Others (Related States) [02-02] - new age
Simone Felice: The Projector (New York Pro) [04-13]
Natali Felicia: Wrong Era (AntiFragile) [03-30]
Felicita: Hej! (PC Music) [08-03] - electronic
Fenne Lily: On Hold (self-released) [04-06] - alt/indie
Andre Fernandes' Centauri: Draco (Nischo) [03-18] - jazz
Agusti Fernandez/Pablo Ledesma: En Vivo En El Festival De Jazz De Buenos Aires (Discos ICM) [02-15] - jazz
The Fernweh: The Fernweh (Skeleton Key) [11-30] - folk
Bryan Ferry and His Orchestra: Bitter-Sweet (BMG) [11-30] - vocal [**]
Feu! Chatterton: L'Oiseleur (Universal Music Division Barclay) [03-09]
The Fever 333: Made an America (Roadrunner/333 Wreckords Crew) [03-23] - rock
Martha Ffion: Sunday Best (Turnstile) [03-09] - alt/indie
Fickle Friends: You Are Someone Else (Polydor) [03-16] - synthpop [**]
Fiddlehead: Springtime and Blind (Runs for Cover) [04-13] - indie rock
The Field: Infinite Moment (Kompakt) [09-21] - minimal techno
Field Music: Open Here (Memphis Industries) [02-02] - progressive pop
Field Report: Summertime Songs (Verve) [03-23] - alt/indie
Fia Fiell: All in the Same Room (Nice Music) [05-07] - electronic
The Fierce & the Dead: The Euphoric ()
Lars Fiil: Frit Fald II (Fiil Free) - jazz
Joao Pais Filipe: Joao Pais Filipe (Lovers & Lollypops) [09-21] - jazz
Roman Filiu: Quarteria (Sunnyside) [05-11] - jazz [*]
Film School: Bright to Death (Hauskat) [09-14] - alt/indie
The Filthy Tongues: Back to Hell (Neon Tetra) [04-21]
Catrin Finch & Seckou Keita: Soar (Bendigedig) -
Jonathan Finlayson: 3 Times Round (Pi) [10-05] - jazz [A-]
R Finn: Collecting Trip (Heritage) - Americana
Nick Finzer: No Arrival (Posi-Tone) [04-13] - jazz
Nick Finzer's Hear & Now: Live in New York City (Outside In) [09-21] - jazz [**]
Fire!: The Hands (Rune Grammofon) [01-26] - jazz [**]
Fire-Toolz: Skinless X-1 (Hausu Mountain) [08-24] - electronic
First Aid Kit: Ruins (Columbia) [01-19] - indie folk [B]
Jorg Fischer & Ingo Deul: Vinkenslag (Sporeprint) [02-00] - jazz
Nora Fischer & Marnix Dorrestein: Hush (Universal Music) [04-13] - classical
Fischerspooner: Sir (Ultra) [02-16] - electroclash
Amanda Fish: Free (VizzTone) [09-14] - blues
Fish-Scale Sunrise: No Queen Rises (Relative pitch) - jazz
Fit of Body: Black Box No Cops (2MR) [06-22] - pop punk
George FitzGerald: All That Must Be (Double Six) [03-09] - deep house [**]
William Fitzsimmons: Mission Bell (Nettwerk) [09-21] - singer-songwriter
Five Finger Death Punch: And Justice for None (Prospect Park) [05-18] - metal
Flasher: Constant Image (Domino) [06-08] - post-punk
Flatbush Zombies: Vacation in Hell (Glorious Dead) [04-06] - hip-hop [***]
Dom Flemons: Black Cowboys (Smithsonian Folkways) [03-23] - folk
JK Flesh: New Horizon (Electric Deluxe) [09-28] - electronic
Kirk Fletcher: Hold On (self-released) [10-19] - blues
Birgitta Flick Quartet: Color Studies (Double Moon) [10-05] - jazz [**]
Florence + the Machine: High as Hope (Virgin EMI) [06-29] - indie pop [*]
Flow: Trine (Tardis -EP) [02-12] - tech house
Flowers Must Die: Dar Blommor Dor (Rev/vega) [05-25] - rock
Roman Flugel: Themes (ESP Institute) [10-26] - electronic
Sue Foley: The Ice Queen (Stony Plain) [03-02] - blues [***]
Miya Folick: Premonitions (Terrible/Interscope) [10-26] - indie pop
Folk Soul Revival: Folk Soul Revival (self-released) [08-17] - country
Follow the Cipher: Follow the Cipher (Nuclear Blast) [05-11] - metal
Foodman: Aru Otoko No Densetsu (Sun Ark) [09-21]
For King & Country: Burn the Ships (Word Entertainment) [10-05] - CCM
David Ford: Animal Spirits (AntiFragile Music) [05-11] - rock
Adam Forkelid: Reminiscence (Moserobie) - jazz [A-]
Forma: Semblance (Kranky) [07-20] - progressive electronic
Forma: F ()
Michael Formanek Elusion Quartet: Time Like This (Intakt) [10-19] - jazz [**]
Forth Wanderers: Forth Wanderers (Sub Pop) [04-27] - indie rock
Frank Foster: 'Til I'm Gone (Lone Chief) [09-21] - country
Josephine Foster: Faithful Fairy Harmony (Fire) [11-16] - folk
Michael Foster/Ben Bennett/Jacob Wiik: Glove Issues (Palliative) - jazz
Michael Foster/Katherine Young/Michael Zerang: Bind the Hand(s) That Feed (Relative Pitch) [12-07] - jazz [*]
Jeffrey Foucault: Blood Brothers (Tone Tree Music) [06-22] - folk
Julie Fowlis/Eamon Doorley/Zoe Conway/John McInntyre: Allt (Machair) [09-12] - folk
Ken Fowser: Don't Look Down (Posi-Tone) - jazz
Christopher Fox: Topophony (HatArt) - jazz
Danny Fox Trio: The Great Nostalgist (Hot Cup) [01-19] - jazz [***]
Ruby Rose Fox: Salt (self-realeased) [06-20] - pop
Foxing: Nearer My God (Triple Crown) [08-10] - indie rock
Foxwarren: Foxwarren (Anti-) [11-30] - alt/indie
Nils Frahm: All Melody (Erased Tapes) [01-26] - ambient [**]
Frame Trio: Luminaria (FMR) - jazz
Dany Franchi: Problem Child (Station House) [05-18] - blues
Phil France: Circle (Gondwana) [08-31] - dance/electronic
James Francies: Flight (Blue Note) [10-19] - jazz [B]
Maurice Frank: Mad Romance and Love (Jumo Music) [07-06] - jazz
Franz Ferdinand: Always Ascending (Domino) [02-09] - dance punk
The Fratellis: In Your Own Sweet Time (Cooking Vinyl) [03-09] - indie rock
Sawyer Fredericks: Hide Your Ghost ()
Fredfades & Eikrem: Gronlandsutraen (Forlaget Fanfare)
Free Cake for Every Creature: The Bluest Star (Double Double Whammy) [08-03] - twee pop
Mike Freeman ZonaVibe: Venetian Blinds (VOF) [08-06] - jazz
Ace Frehley: Spaceman (Entertainment One) [10-19] - rock
Amaro Freitas: Rasif (Far Out) [10-19] - jazz
Paolo Fresu Devil Quartet: Carpe Diem (Tuk Music) - jazz
Jurg Frey and Magnus Granberg/Ensemble Grizzana: Early to Late (Another Timbre) - jazz
Eleanor Friedberger: Rebound (Frenchkiss) [05-04] - indie pop
Erik Friedlander: Artemisia (Skipstone) [04-13] - jazz [**]
Gabriela Friedli Trio: Areas (Leo) [07-12] - jazz [**]
Don Friedman Trio: Love Music (Progressive) [08-24] - jazz
Kinky Friedman: Circus of Life (Echo Hill) [07-06] - country [*]
Friends and Neighbors: What's Next (Clean Feed) - jazz
David Friesen: My Faith My Life (Origin -2CD) [11-16] - jazz [***]
Frigs: Basic Behaviour (Arts & Crafts) [02-23] - post-punk
Robert Fripp: Between the Silence (Panegyric)
Bill Frisell: Music IS (Okeh) [03-16] - jazz [**]
Fred Frith Trio: Closer to the Ground (Intakt) [09-18] - jazz [A-]
FRND: Before U I Didn't Exist (BMG) [11-16] - electronic
Romulo Froes: O Disco Das Horas (YB Music) [06-08] - Brazil
Frog Eyes: Violet Psalms (Paper Bag) [05-18]
Frokedel: How We Made It (Propeller) [08-31] - alt/indie
The Front Bottoms: Ann (Fueled by Ramen -EP) [05-18] - pop punk
Frontierer: Unloved (self-released) [07-27] - metal
Frontperson: Frontrunner (Oscar Street) [09-21] - rock
Frost: Matters (Lost Room) [09-28] - alt/indie
Ben Frost: All That You Love Will Be Eviscerated () [03-23]
Fucked and Bound: Suffrage ()
Fucked Up: Dose Your Dreams (Merge) [10-05] - art punk
Sinsuke Fujieda: Hyper Harmony (SoFa) - jazz
Satoko Fujii: Solo (Libra) [01-26] - jazz [**]
Satoko Fujii/Joe Fonda: Mizu (Long Song) [07-27] - jazz [***]
Satoko Fujii Orchestra Berlin: Ninety-Nine Years (Libra) - jazz [**]
Satoko Fujii/Joe Fonda/Gianni Mimmo: Triad (Long Song) [05-25] - jazz [***]
Satoko Fujii: This Is It! (Libra) - jazz [**]
Satoko Fujii Orchestra Tokyo: Kikoeru: Tribute to Masaya Kimura (Libra) [12-09] - jazz [A-]
Yuko Fujiyama: Night Wave (Innova) [03-23] - jazz
Shinya Fukumori Trio: For 2 Akis (ECM) [02-16] - jazz
Robbie Fulks/Linda Gail Lewis: Wild! Wild&exc
|
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3394
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dbpedia
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https://ideas.repec.org/e/c/pas9.html
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Orley Ashenfelter
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3394
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https://www.alamy.com/stock-photo/brazilian-andre-santos.html
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When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
â
âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
When he arrived in the city of Recife, Brazil, in 1952 to shoot O canto do mar, filmmaker Alberto Cavalcanti had already accomplished several feats in his brief, troubled, and memorable stint in the Brazilian film industry. After decades of work in Europe, yielding an output that earned him the international reputation as the most renowned Brazilian filmmaker at the time, Cavalcanti returned to his native country in September 1949 to lecture at the Cinema Seminar promoted by the São Paulo Museum of Modern Art (MASP).1 Shortly thereafter, he was hired to work as general producer at the newly founded Vera Cruz Motion Picture Company, created by a group of Italian businessmen and funded by industrialist Francisco âCiccilloâ Matarazzo Sobrinho and engineer Franco Zampari, a top-ranking employee at Matarazzo Industries, who assumed the role of CEO in the new company.Â
Cavalcanti would become involved with the production of the first run of Vera Cruz films: the features Caiçara (Celi, 1950), Terra é sempre terra (Payne, 1951), and Ãngela (de Almeida & Payne, 1951); and the documentary shorts Painel (1950) and Santuário (1951), directed by Lima Barreto. Prior to his work in these productions, he devoted himself to hiring technicians from Europe and managing the purchase of equipment and the construction of sets â albeit not always in consonance with Zampari. The disagreements between the two resulted in Cavalcanti's departure in early 1951 during the filming of Angela, just over a year after he was hired.Â
Still in the first half of 1951, after an invitation from President Getúlio Vargas, he took part in the project for the INC (Instituto Nacional de Cinema), which never came to fruition. The following year he directed his first film in Brazil, the comedy Simão, o caolho â produced by Cinematográfica Maristela and starring the brilliant comedian Mesquitinha â he acted as producer for the documentary short Volta Redonda (Waterhouse, 1952); and published the book Filme e Realidade, which compiled the aforementioned lectures at MASP. In 1952, Cavalcanti served as one of the founding members of Kino Filmes, which despite its short-lived existence resulted in the production of two feature films under his direction in Brazil: O canto do mar (1953) and Mulher de Verdade (1954), which would only debut in 1955, after Cavalcanti had returned to Europe in May of 1954.Â
Following his arrival in Brazil, Cavalcanti attracted immense interest from the national press as much as the film industry. Newspapers never failed to publicize his actions and provide ample opportunities for both defenders and detractors to express their diverse, yet always passionate opinions about the world-famous Brazilian filmmaker. Things were no different in Recife. Cavalcanti's presence in the city stirred up the cultural milieu and provided fuel for the local film critic scene, especially active at the time with several collaborators writing about cinema in the cityâs five daily newspapers. Cavalcantiâs arrival in Recife was met with great expectation concerning the production of a feature film in the city and what this event could represent ten years after the musical Coelho sai (1942), the first sound feature produced in the state of Pernambuco. As the first news emerged about the release of O canto do mar, newspapers published numerous press releases and news stories as well as an impressive number of criticisms, controversies, qualms, defenses, and accusations surrounding the film and its director.2
Cavalcantiâs ties with the Northeast can be traced along his family roots. His father was originally from the state of Alagoas and his mother, Anna Olinda do Rego Rangel Cavalcanti, belonged to a traditional family in the state of Pernambuco. O canto do mar, an adaptation of En rade â a French film directed by Cavalcanti in 1927 â to Brazilâs northeastern coast was a personal project of the filmmaker and listed among Vera Cruzâs future productions in documents dating back to 1950. Cavalcanti once again mentioned the project the following year during his visit to Recife, where he declared his plans to film O cântico do mar [sic] and Menino de engenho, an adaptation of José Lins do Regoâs regionalist novel. The production, however, would only come to fruition in 1952 through Kino Filmes. In August, while in Recife, Cavalcanti harnessed his prestige and experience as a producer to successfully establish an official institutional support network â starting with the State Government â which enabled him to organize the filmâs production, including accommodations for the crew, an airplane for filming in the arid hinterlands of the sertão, and support from the Documentation and Culture Department for systematizing the several forms of local cultural artifacts and expressions that appear throughout the film.
The filming process began in October, after the arrival of technicians and equipment from São Paulo, but it was not until December that they were able to shoot with the cast, comprised entirely of local artists, most of whom with prior experience only in theater and radio. By June 1953, filming was concluded after a series of hindrances caused by, among other reasons, the lack of negatives and delays in the arrival of sound recording equipment. The film premiered on October 3, 1953 at a midnight screening hosted by the luxurious Cine São Luiz, inaugurated in the previous year.Â
Ten years later, in a chapter dedicated to âCavalcanti and Vera Cruzâ in the book Revisão crÃtica do cinema brasileiro, Glauber Rocha described O canto do mar as an âinconsistent, wavering film, yet nonetheless marked by a vision that defined Cavalcanti's stance towards Brazilâ.3 We find it hard to disagree with Glauber. Nevertheless, in addition to inconsistencies and other limitations raised by Glauber in the chapter (âan overtly academic dramatizationâ, mesmerized by the exotic), one also finds in O canto do mar conspicuous similarities with Brazilian films produced in the following years, including Glauber's own Barravento (1962). Furthermore, the film also reveals several overlaps with Cavalcantiâs previous production and European cinema in general.Â
Inspired by the plot of En rade, which is set in the port of Marseille, O canto do mar promptly reminds us of Cavalcanti's French period (roughly 1915-1933), a formative and investigative period for the filmmaker, who worked first as a set designer before his time directing. His gaze upon the urban everyday life and the cityâs most vulnerable residents is prominent in what has remained Cavalcantiâs best-known French film, Rien que les heures (1926), often placed within the lineage of cinematic urban symphonies. This film explores an interweaving between fiction and documentary which is also present in O canto do mar.
In fact, one of the most common criticisms directed at O canto do mar objects to the poor synergy between the filmâs fictional scenes and its conspicuous documentary moments, connected through a vague and not always harmonious concept. The film begins with a documentary prologue, in which an offscreen narrator presents the misery of the arid hinterland, without rain and lacking humane living conditions. We then see sertanejos4 abandoning their homes and travelling on a flatbed truck to Recife, where they set sail to the south in the hopes of finding work. Upon arriving in Recife, the driver stops the truck on the oceanfront and runs off for a swim, while the peasants marvel at the sea. From that moment the film turns to its narrative, focused on the quotidian drama of a family that lives in one of the beachside huts: the protagonist Raimundo (Rui Saraiva); his mother Maria (Margarida Cardoso), who works as a laundress; his sister Ponina (Cacilda Lanuza) and younger brother. The migrant peasants and the narrator's voiceover will reemerge later, when the former board the ship ready to sail south. In addition to the truck driver, who remains a character in the story, the prologue relates to the plot through the theme of displacement, driven by poverty and lack of prospects. Traveling south and starting a new life is the dream of Raimundo, who plans to run away with his girlfriend Aurora (Aurora Duarte).
Handling verité moments with great skill and beauty, Cavalcanti films some of the regionâs signature popular cultural expressions: frevo, a dance and musical style characteristic of the carnaval in Recife; the bumba-meu-boi, a theatrical dance celebration that acts out the death and resurrection of an ox; the Xangô de Pernambuco, an Afro-Brazilian religious cult specific to that state. Cavalcanti's talent and expertise in documentary filmmaking truly shine in these moments, revealing why he became one of the leading figures of the British documentary movement in the 1930s. Hired by John Grierson to join the GPO Film Unit, a branch of the UK General Post Office where he remained between 1934 and 1939, Cavalcanti worked on dozens of these productions as a sound technician, screenwriter, editor, director, and producer.Â
â
âO canto do mar bears witness to extraordinary local songs and chants, the preoccupation with the recording and documentation of which can be seen as begun with Cavalcantiâs work for the GPO. During the xangô scene, when Raimundo takes his deranged father to cure himself with a pai-de-santo, the fictional action is interspersed with the beat of drums and images of rituals in which worshippers dance and enter a trance. The images and sounds throughout this sequence, wholly unusual in commercial Brazilian cinema at the time, may be seen as vigorous precursors of what Cinema Novo would accomplish years later, among which in Glauber Rochaâs debut feature, Barravento (1962), where the universe of Candomblé in Bahia is intrinsic to the filmâs narrative.
With images of the arid hinterlands of the sertão, the prologue calls to mind another Cinema Novo production, Vidas secas (1963), albeit through differences and ruptures. Cavalcanti incorporates a series of procedures in his rendition of the sertão which Nelson Pereira dos Santos would categorically reject, such as the use of filters and light reflectors to tame the harsh sunlight, the use of extradiegetic music and the expository and solemn narration.
The frevo sequence in O canto do mar is particularly exhilarating. Shot outdoors among coconut trees on the beach, the scene shows a group of people dancing to the sound of a small brass orchestra. With an impeccable rhythm, the montage alternates general shots of the crowd and orchestra with close-up images of the dancersâ feet and parasols, a typical frevo adornment. Despite being professional dancers, the performers wear everyday clothes and many of them are barefoot, while holding parasols of varying sizes and patterns. At that time, frevo was commonly used in chanchada musical numbers, albeit filmed in a studio setting with a more stylized treatment. While Cavalcantiâs images are also markedly stylized, the visual style of the dancers and the conception of the frevo scene in O canto do mar is fresher, heavily reminiscent of Pierre Vergerâs photographs from 1947 capturing the street carnaval celebrations in Recife.
Cavalcantiâs documentary work in O canto do mar relates to other productions of the period, equally driven by the desire to embrace the richness of popular cultural manifestations, among which is the documentary Bumba-meu-boi: o Bicho Misterioso dos Afogados (1953), filmed in Recife by the Frenchman Romain Lesage and produced by the Joaquim Nabuco Institute. We may also draw a connection with the work of the Folklore Research Mission, founded by writer Mário de Andrade (of MacunaÃma fame) during his travels among Brazilâs North and Northeast in 1938, which resulted in over 30 hours of recorded music, more than 600 photographs, and 15 films.5 O canto do mar, however, being a commercial fiction feature film and screened in movie theaters, allowed for a much broader circulation of these precious visual and sound recordings of popular cultural expressions in Pernambuco. Today, these filmic records comprise an undeniable historical document.
In addition to the documentary dimension, popular culture also acquires phantasmagoric contouring in O canto do mar. During Raimundoâs nightmare, which precedes the filmâs ending, Cavalcanti infuses the images and sound of the maracatu with a dreamlike tone. The documentary vein continues in the exuberant maracatu parade, during which we see the imposing figure of Dona Santa, to this day the most widely known queen of maracatu, as well as other emblematic figures and characters of Pernambuco culture and carnaval, such as the spearmen of the maracatu de baque solto and the caboclinhos. These traditional elements, however, assume a spectral nature as the beat of the drums is incorporated into the trance-like atmosphere, during which the protagonistâs subjectivity merges with collective rituals; Dona Santa transforms into Maria, Raimundoâs mother, and Aurora participates in the maracatu procession.6
These documentary imprints traverse the entire film, constantly attentive to the sounds and images of human and geographic landscapes: the anonymous faces of fishermen and prostitutes, the geometry of rooftops in the neighborhood of São José, the street musicians, the constant presence of the sea breeze in Recife, swaying clothes, hair, and curtains. Hence, it may be more coherent, and much more inspiring, to embrace film critic Ruy Gardnierâs suggestion and contemplate, among the various Alberto Cavalcantis, the âAnthropologist Cavalcantiâ. According to the film critic, âmuch more than a documentarist, his desire to enter a place and from there extract a rhythm to cinema, an impression, an atmosphere, makes Alberto Cavalcanti one of the rare anthropological travelers in the history of cinemaâ.7
Here, Cavalcanti makes the most of the location shots, unlike his prior experience in his first work for Vera Cruz, Caiçara, in which the geographical and human landscape of Ilha Bela, on the São Paulo coastline, mostly serves as a backdrop for the drama of the protagonists.8 Furthermore, by opting to work with local artists (who dubbed their own lines), the film propagated Northeastern faces and accents largely unknown to the general audience in the rest of the country. On the other hand, O canto do mar does bear marked similarities to the initial Vera Cruz productions, especially Caiçara: a stagnated atmosphere (the image of the whirlpool is common to both films) and a morbid mood permeates both stories, especially as reflected (though not exclusively) in the long scenes showing the childrenâs burial; the contained expression of the inexperienced actors in the main roles (Eliane Lage in the Vera Cruz film; Rui Saraiva in O canto do mar); the âovertly academic dramatizationâ, as defined by Glauber Rocha, which ultimately stifles both the narrative flow as well as the actorsâ performances.
âO canto do mar also bears its fair share of connections with European art cinema, which Cavalcanti had been involved with since the 1920s. There is an undeniable dialogue with Italian neorealism, especially La terra trema (1948), Luchino Viscontiâs film set in a fishing village in Sicily, in which non-actors speak in a local dialect. As in Visconti's film, O canto do mar also transpires against the backdrop of a fishing community, even though the main characters are not directly involved in this activity. In both films, miserable living and work conditions, as well as the lack of prospects for any foreseeable change, ultimately cause the family group to dissolve. Cavalcanti also returns to visual motifs from La terra trema, such as the dark silhouette of women on the beach rocks, waiting for men who may have died at sea; and the personal chest that holds otherworldly possibilities â in Visconti's film, the protagonist uses it to store clothes and postcards from his military days; in O canto do mar, Raimundo stores travel pamphlets and the ship ticket he bought for his southbound travel.
Both films make use of an offscreen narrator. While O canto do mar restricts its use to the documentary scenes with the rural migrants, in La terra trema narration serves as a constant resource, commenting as well as explicating the plot, thus assisting the Italian audience in understanding the regional dialect spoken in the film. However, the two films have vastly different approaches to the socioeconomic issue. In La terra trema, poverty and family dissolution result from economic exploitation, which reigns over the working conditions of fishermen, a mechanism that the film exposes and reiterates. In turn, while O canto do mar expresses a âsocial sensibilityâ, which Cavalcanti believed every film should have,9 the vision is somewhat diffuse. Misery exists and is shown on screen, but lacking exploration of structural elements that would allow us to see beyond mere observation.Â
â
This social sensibility takes on a more vigorous and poignant dimension when translated into visual composition. In these moments we find the plastic and poetic ingenuity Cavalcanti exhibited as a set designer and director in his silent work. The filmâs opening image, after the initial credits, is an admirable fusion between the map of the Northeast, with the state of Pernambuco in the center, and an image of the cracked soil in the arid hinterlands of the sertão. The similar geometric figures formed by the lines and cracks plastically introduce the drought of the sertão, serving as a visual metaphor of imprisonment, which will reemerge in different visual formations (whirlpools, grids, cages) throughout the film.Â
Two particular visual compositions could be placed in dialogue with one of the most dazzling films from the silent era, Der müde Tod (1921), directed by Fritz Lang. When filming Ponina, Raimundoâs sister, climbing the stairs of a brothel, Cavalcanti frames an exquisitely beautiful shot, reminiscent of the moment when the protagonist in the German film enters the realm of death. In O canto do mar, the long staircases, commonly seen in the bungalows of Recife, signal Poninaâs passage between the two worlds as she opts for sex work to escape family poverty.
In the elaborate sequence depicting the death of Raimundoâs brother, Cavalcanti composes a detailed choreography of gestures and lights from oil lamps, which the neighbors carry to light the way to the family hut where the child is being prepared for burial. The sequence begins with tears flowing from Poninaâs face, as she breaks the news to Raimundo, overlapping and merging with the images of lamps carried by the neighbors walking in the dead of night. Inside the house, each person arriving gives a lamp to a family member, who places them on the furniture and shelves. The candle-lit environment surrounding the childâs body resembles the room full of candles in Der müde Tod, in which each candle symbolizes a human life. While extinguishing one of the flames, Death carries in its arms a child who recently passed away.
Cavalcanti reinvents Langâs visual metaphor from elements belonging to the secular and religious world of the Brazilian Northeast, visually translating the vulnerability of those lives, both in the sertão and on the coast, in fiction and reality.
Introdução
Minha inserção profissional em preservação audiovisual coincide com o inÃcio da utilização das ferramentas digitais na área de restauração de filmes no Brasil. A experiência prática nos arquivos audiovisuais e em restauração, iniciada justamente no perÃodo de transição para o digital, em 2000, permitiu um olhar a partir de uma perspectiva privilegiada, ao possibilitar acompanhar de perto, na lida cotidiana, a transformação da área. O desejo de investigar essas experiências, sistematizá-las e transformá-las em objeto de estudo, a fim de tentar contribuir para a reflexão sobre o campo no Brasil, desembocou na minha pesquisa de doutorado iniciada na Universidade de São Paulo em 2016. A pesquisa foi finalizada em dezembro de 2020,1 e o foco foi a restauração de filmes no Brasil e a incorporação da tecnologia digital no século XXI, realizada na Universidade de São Paulo. Esta investigação incorpora uma dupla dimensão: por um lado, minha experiência profissional e, por outro, o interesse em refletir sobre esses processos sob uma perspectiva histórica, incluindo os aspectos técnicos, estéticos e éticos da restauração de obras brasileiras. Um pequeno recorte deste trabalho será abordado nesse artigo, onde apresentarei, em linhas gerais, um olhar histórico sobre a restauração de filmes no Brasil, um breve panorama da trajetória do campo da restauração digital desde o ano 2000 e alguns marcos históricos desde seus primórdios.
A Importância do Ano 2000
Nas últimas duas décadas, o campo da preservação audiovisual passou por profundas transformações. Uma das evidências dessa transformação pode ser encontrada na crescente quantidade de pesquisas conduzidas sobre o tema da preservação de filmes e seus diversos aspectos. A incorporação da tecnologia digital no processo de restauração de filmes permitiu que o campo ganhasse mais destaque tanto em termos de habilidades práticas quanto como disciplina acadêmica. Como resultado, os estudiosos tentaram defini-lo teoricamente por meio de uma análise mais profunda de seus muitos complexos elementos. A bibliografia internacional também cresceu consideravelmente desde os anos 2000, incluindo bem-vindas contribuições de pesquisadores e estudiosos brasileiros. Embora pesquisas aprofundadas sobre restauração de filmes ainda não sejam muito comuns no Brasil, o surgimento de trabalhos recentes com destaque sobre o tema e questões relacionadas prova que há interesse no assunto e na preservação audiovisual como disciplina acadêmica.
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Do final dos anos 1990 até meados dos anos 2000, as ferramentas digitais de restauração foram introduzidas e disseminadas entre os principais arquivos de filmes, com o apoio financeiro de grandes companhias produtoras.2 No inÃcio, devido aos custos proibitivos para a maioria das instituições e arquivos, essas ferramentas eram utilizadas apenas ocasionalmente. No entanto, os avanços tecnológicos permitiram que se tornassem mais acessÃveis para projetos não comerciais e mais amplamente adotadas no processo de restauração de filme ao longo da primeira década de 2000.
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A tecnologia digital foi incorporada ao fluxo de trabalho de restauração no Brasil no inÃcio do século XXI, a exemplo do que acontecia em alguns paÃses da Europa e nos Estados Unidos. Até aquele momento, cada etapa do processo de restauração era fotoquÃmica. Os restauradores de filmes utilizavam equipamentos analógicos que haviam sido usados por anos em laboratórios cinematográficos comerciais e a equipe técnica da maioria dos projetos de restauração foi treinada, principalmente, enquanto trabalhava para esses laboratórios. Com o advento das ferramentas digitais, as intervenções no processo de restauração passaram a ser realizadas por computadores e profissionais com novas competências. Esses novos restauradores tinham conhecimento dos softwares de restauração digital e da tecnologia computacional, experiências profissionais diferentes dos técnicos que haviam trabalhado apenas em laboratórios de cinema. Antes de elaborar uma análise mais aprofundada do campo da restauração digital no Brasil, é necessário, primeiramente, apresentar um panorama histórico resumido dos laboratórios cinematográficos brasileiros.
Nas primeiras décadas da realização cinematográfica no paÃs, a maior parte das pequenas companhias produtoras possuÃam seus próprios laboratórios, valendo-se, provavelmente, de instrumental semelhante ao que era utilizado para a revelação fotográfica de imagens fixas, sendo a própria câmera de filmar o copiador, caracterÃstica presente nos modelos da época. Na cadeia de processamento de material fotoquÃmico, o primeiro passo é a revelação do material negativo para então sua posterior copiagem para o material positivo, isto é, as cópias de projeção. Será na década de 1910 que o laboratório da Botelho Film, de Alberto Botelho, consegue dar os primeiros passos rumo à alguma padronização dos procedimentos realizados, obtendo resultados acima da média e, por conseguinte, a confecção de cópias melhores até então produzidas no Brasil. Localizamos referências sobre alguns outros laboratórios do perÃodo. Por exemplo, companhias como a Independência Film, de José e Victor del Picchia, e a Benedetti Film, de Paulo Benedetti, possuÃam laboratórios, onde teria sido realizado o processamento de tÃtulos como Braza dormida (Mauro, 1928), Barro humano (Gonzaga, 1929) e Limite (Peixoto, 1931). Um marco importante acontecerá próximo ao final da década de 1920, com a chegada dos fotógrafos e laboratoristas húngaros Adalberto Kemeny e Rudolf Lustig,3 que compram o laboratório da Independência Film e o transformam nos Laboratórios Rex, que funcionará até a década de 1970. Os conhecimentos técnicos dos imigrantes húngaros permitiram um maior controle dos parâmetros necessários para o melhor processamento dos materiais, como o controle da temperatura e do tempo, sendo responsáveis por melhorias na qualidade técnica dos materiais brasileiros.Â
A passagem para o cinema sonoro nos anos 1930 vai tornar o processamento laboratorial ainda mais complexo e irá provocar o progressivo fechamento dos laboratórios de pequeno porte oriundos do perÃodo silencioso. Na contramão dessa tendência, a companhia produtora Cinédia, fundada em 1930 por Adhemar Gonzaga, irá constituir seu próprio laboratório ainda nessa década.
O laboratório da Cinédia funcionou com muitos contratempos até ao final da década de 1940, perÃodo particularmente difÃcil para a empresa. O contexto da Segunda Guerra Mundial apenas agravou as dificuldades da Cinédia, chegando mesmo a fazer com que encerrasse momentaneamente as suas operações no final de 1941. Em março de 1942, os estúdios da Cinédia reabriram para as filmagens de à tudo verdade, de Orson Welles, mas só retomaram totalmente as produções no ano seguinte. Os efeitos desastrosos causados pela guerra, como a falta de estoque de filme virgem e produtos quÃmicos para o seu processamento, foram sentidos pela Cinédia ao longo da década. O impacto da guerra, entre outros fatores, culminou com o seu desmantelamento em 1949, quando Adhemar Gonzaga decidiu se desfazer dos equipamentos cinematográficos do laboratório. Em 1951, Gonzaga interrompeu as atividades da Cinédia e alienou parte do terreno dos estúdios para liquidar todos os compromissos financeiros da empresa. O laboratório foi posteriormente desmontado e sua produção foi definitivamente interrompida.
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Outro marco importante para o restauro de filmes no Brasil foi a criação do único laboratório de restauração existente em um arquivo audiovisual brasileiro: o da Cinemateca Brasileira. Criado em 1976 a partir de aquisição de equipamentos e peças descartadas pela então chamada LÃder Cinelaboratórios,4 empresa carioca que havia recém adquirido os laboratórios Rex com a finalidade de expandir seus negócios para São Paulo. A aquisição se iniciou após convencê-los de que a Cinemateca não se constituiria como concorrente de mercado, o que não seria mesmo possÃvel, visto o caráter cultural da instituição. A partir daÃ, uma parceria informal se estabelece, e a empresa passa a comunicar a Cinemateca periodicamente quando do descarte de algum equipamento antigo.Â
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Carlos Augusto Calil, responsável pelo Departamento de Preservação da Cinemateca Brasileira à época, foi quem esteve à frente desse processo. Seu senso de oportunidade foi essencial para que a empreitada fosse bem-sucedida, já que teve a perspicácia de perceber e tirar proveito de um momento singular â ou seja, o momento de descarte do maquinário antigo dos laboratórios Rex por conta da modernização tecnológica empreendida pelos novos donos â para adquirir a infraestrutura básica necessária, e, o mais importante, a preços acessÃveis, para a implementação de um laboratório na instituição.
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Durante o perÃodo de implementação do laboratório na Cinemateca Brasileira, Calil teve a oportunidade de realizar o II Curso de Verão organizado pela FIAF (Federação Internacional de Arquivos de Filme) no Staatlichesfilmarchiv (Arquivo de Filmes da República Democrática Alemã). O curso abordou, sobretudo, questões relacionadas à conservação e restauração de filmes e acabou sendo muito importante para os profissionais brasileiros. Ao longo do curso, Calil teve acesso a publicações sobre documentação e catalogação de filmes ainda não publicadas no Brasil, materiais que ele compartilharia com os técnicos da Cinemateca Brasileira. Isso garantiu que o conhecimento dos métodos de preservação de filmes em uso em instituições estrangeiras fosse compartilhado e aplicado pelos profissionais brasileiros em seus próprios trabalhos. No entanto, uma das principais lições que Calil aprendeu foi que a solução para os problemas de preservação dos filmes brasileiros teria que ser inventada e desenvolvida por brasileiros. Essa conclusão se deve ao que hoje é uma história bem conhecida na comunidade de preservação audiovisual brasileira. Calil conta que Hans Karnstädt, responsável pelo laboratório de conservação e restauração de Staatlichesfilmarchiv, foi questionado sobre o tratamento adequado para filmes de nitrato melados. Karnstädt ficou surpreso com a pergunta e respondeu que nunca havia visto nenhum material em tais condições. Algumas razões para tal fato podem ser apontadas: como a Alemanha tem um clima frio e suas instituições culturais são financeiramente estáveis ââ(permitindo a manutenção dos nÃveis adequados de temperatura e umidade dos depósitos), eles nunca tiveram que se preocupar com cenários em que grande parte de suas coleções encontram-se em estágios avançados de degradação. Mas no Brasil, devido ao clima quente e a instabilidade crônica da área, filmes de nitrato e acetato melados eram (e ainda são) uma ocorrência muito mais comum. Embora essa situação tenha acontecido há quatro décadas, os problemas enfrentados pelos arquivos e profissionais brasileiros não mudaram substancialmente. As condições de conservação da maior parte do patrimônio audiovisual do paÃs apresentam problemas especÃficos que somente a experiência de trabalho no Brasil local pode resolver.
A Restauração Digital de Filmes no Brasil: O Nascimento e a Rápida Decadência de um Campo
Mas será efetivamente no final de maio de 1977 que o Laboratório de Restauração da Cinemateca Brasileira passará a operar realizando atividades de copiagem e revelação. Uma das figuras centrais para tal fato será João Sócrates de Oliveira,5 arquiteto de formação que entra na instituição sem ter tido experiência prévia na área de cinema e se tornará um restaurador de filmes de renome internacional.
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Entre as décadas de 1970 e 2000, as restaurações de filmes no Brasil foram capitaneadas, sobretudo, pelos arquivos audiovisuais, e realizadas em parceria com laboratórios comerciais ou pelo laboratório da Cinemateca Brasileira. A chegada da primeira década de 2000 representou o crescimento dos aportes públicos em preservação audiovisual e o inÃcio da realização um significativo número de projetos de restauração de filmes brasileiros. Nesse perÃodo, se destacaram o restauro de tÃtulos de diretores integrantes do Cinema Novo, através de projetos liderados por suas herdeiras. Alguns poucos anos depois, em 2007 e 2009, a Petrobras investirá em dois editais públicos de restauro coordenados pela Cinemateca Brasileira, atestando que, ainda que momentaneamente, um papel mais ativo do Estado no fomento da atividade.Será na virada do milênio, mais exatamente em 1996, que será utilizada pela primeira vez no Brasil a tecnologia digital durante o processo de restauro de um filme. Foi em O ébrio (Abreu, 1946), uma produção da Cinédia. Apesar de ter tido a imagem restaurada fotoquimicamente, se utilizou de um procedimento hÃbrido para o som, mesclando etapas fotoquÃmicas e digitais. O relançamento de O ébrio estava sendo pensado desde meados dos anos 1990, por conta do aniversário de cinquenta anos da primeira exibição do filme em 1996. Em março daquele ano, a Cinédia propõe a Riofilme6,um projeto de restauração do que teria sido a versão original da obra, incluÃdo seu relançamento comercial ao final do processo. Uma das prioridades era o retorno do filme aos cinemas, talvez por conta disso o projeto tenha sido apresentado à uma distribuidora. Nesse sentido, ele parece ter fomentado possibilidades de atuação que inclusive tiveram outros frutos, visto que em 2002 é levado a cabo, também pela Riofilme, a reformatação digital e o relançamento de outro tÃtulo do passado, Deus e diabo na terra do sol (Rocha, 1964).
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Mas será em 2003 que terá inÃcio um projeto que efetivamente pode ser considerado um marco para a restauração digital de filmes no Brasil: o restauro da obra completa de Joaquim Pedro de Andrade, idealizado pelos filhos do cineasta, Alice, Maria e Antonio de Andrade, iniciativa pioneira na utilização da tecnologia digital de 2K de resolução no paÃs. Nesse momento, na área audiovisual, esse tipo de tecnologia era utilizado, sobretudo, para as etapas de intermediação digital realizadas durante o processo de finalização de um filme. à a primeira vez, portanto, que um projeto de restauração brasileiro emprega essa ferramenta, o que representou um marco decisivo para o desenvolvimento do campo no paÃs, tendo sido um dos fatores responsáveis pela atualização tecnológica do Laboratório de Restauração da Cinemateca Brasileira, além de propiciar a criação de um Núcleo de Restauração na empresa de pós-produção audiovisual Teleimage, em São Paulo.
O pioneirismo e a envergadura do projeto (restaurar digitalmente a obra completa de um cineasta) fez com que a metodologia de trabalho, as escolhas técnicas e éticas fossem descobertas e aperfeiçoadas ao longo do processo. Como ainda era um campo emergente, a necessidade de os profissionais envolvidos ganharem experiência com ferramentas de restauração digital era essencial. Afinal, a realização de um projeto de restauro em 2K no Brasil era novidade para todos os envolvidos, o que representou um grande desafio. Será neste perÃodo, justamente por conta de projetos como o de Joaquim Pedro, que acontecerá a abertura de departamentos dedicados à restauração digital de filmes dentro de laboratórios comerciais de pós-produção, como é o caso dos Estúdios Mega e da Teleimage, ambos em São Paulo, e da Labocine, no Rio de Janeiro.Â
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Desde 2000, os Estúdios Mega7 vinham investindo em seu parque tecnológico, com direcionamento para a aquisição de equipamentos de intermediação digital. Em 2001 foi adquirida uma estação de trabalho chamada Restore, que consistia de um software acompanhado de um computador exclusivo. Esse equipamento, fabricado pela empresa norte-americana Da Vinci Systems, pioneira na produção de equipamentos para pós-produção digital, teve um custo de 380 mil dólares (cerca de 760 mil reais à época). A estação não tinha a capacidade de digitalizar, sendo que os materiais tinham que ser digitalizados previamente em outra máquina, como, por exemplo, um telecine. Ainda assim, o custo era bem alto, se mostrando proibitivo para praticamente a totalidade dos arquivos audiovisuais brasileiros nesse momento. Por conta disso, os responsáveis pela introdução dessa tecnologia no Brasil foram as empresas de pós-produção e finalização audiovisual, que tinham que se adaptar rapidamente à s tendências de mercado, sobretudo ao lucrativo mercado publicitário.Â
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A Teleimage iniciou seu Departamento de Restauração com o filme Pelé eterno (AnÃbal Massaini Neto, 2004), para a correção digital de parte das imagens de arquivo que integram o documentário, que levou cerca de cinco anos para ser concluÃdo por conta do volume do trabalho de pesquisa. Após esse trabalho, a empresa decidiu expandir o setor com o projeto de restauração digital da obra completa de Joaquim Pedro de Andrade.Â
O caso da Labocine foi um pouco diferente em alguns aspectos. Como os dois exemplos citados, o setor de Restauração também se iniciou a partir dos serviços de intermediação digital já oferecidos por essas empresas, que se utilizavam da estrutura existente para servir de base para a inclusão da tecnologia destinada para o restauro digital de filmes. Isto é, softwares especÃficos, computadores com maior capacidade de processamento e servidores com capacidade de armazenamento adequada. Entretanto, ao invés de renomados cineastas do Cinema Novo, cujos filmes foram realizados a partir da década de 1960, a Labocine decide investir na restauração digital de Bonequinha de seda, obra realizada em 1936 por Oduvaldo Viana. O fato é que o filme foi produzido pela Cinédia, parceira de longa data do laboratório, e este talvez tenha sido o motivo principal para que o laboratório tenha assumido tal empreitada. Além, é claro, da possibilidade de adentrar em um mercado em expansão e com um diferencial em relação à s outras empresas: ter como trabalho inaugural a restauração de um filme realizado na década de 1930, ou seja, há quase 80 anos atrás. Mas esse caso modelo levou muito mais tempo que se esperava. A restauração do tÃtulo, que contou com uma etapa fotoquÃmica e outra digital, se iniciou em 2006 e levou cerca de sete anos para ser concluÃda, tanto por conta das interrupções provocadas pelas dificuldades técnicas encontradas quanto pelo aporte de investimentos efetuados ao longo do processo.8 Diferente dos Estúdios Mega e da Teleimage, a Labocine não contou com a garantia e o volume de recursos de um projeto de restauração composto por vários tÃtulos ou de uma obra completa, como foi com a Coleção Glauber Rocha e com o projeto do Joaquim Pedro, mas sim o restauro de um único tÃtulo, o que fez com que a empresa contasse com um montante de investimentos menor do que suas congêneres9  O que, por fim, representou menos profissionais exclusivamente dedicados ao projeto, menos equipamentos e, por conseguinte, menor velocidade na execução do trabalho. Apesar dos inúmeros desafios enfrentados, o esforço foi em certa medida recompensado devido à inestimável experiência acumulada pelos técnicos ao longo do processo.Â
Além disso, uma questão importante merece ser ressaltada: o restauro de Bonequinha de seda acabou por revelar limitações intrÃnsecas das ferramentas digitais em relação a um dos grandes problemas apresentados pelos materiais remanescentes: a profusão de riscos e abrasões incorporadas fotograficamente à imagem (conforme figura abaixo). A resposta diante das primeiras etapas de tratamento do material no software de restauração Diamant, tanto na modalidade automática quanto semiautomática, foi mÃnima, visto que a ferramenta não conseguia localizar os problemas pois já faziam parte da imagem, revelando uma limitação inerente a estas formas de dano. Tentou-se interferir de maneira mais drástica e o resultado foi ainda pior, com a criação de inúmeros artefatos e a acentuação de algumas deformações na tentativa de estabilização geral ou parcial dos quadros.
Ou seja, no geral, a atuação da ferramenta digital não trouxe resultados significativos para os problemas considerados mais graves e de maior intensidade. Após a exibição de algumas amostras do trabalho e consultas a especialistas em eventos internacionais, comprovou-se que os procedimentos adotados estavam, a princÃpio, corretos, e que, infelizmente, a atuação dos softwares de restauração nos danos apresentados pelo filme não teria a repercussão desejada, ao menos não na versão em que se encontravam. Dada a particularidade dos danos, se estabeleceu um canal de comunicação permanente entre o laboratório e a empresa desenvolvedora do software, a HS-Art, o que viabilizou aperfeiçoamentos especÃficos para a limpeza dos riscos e arranhões incorporados fotograficamente na imagem.10
O que podemos notar através desse exemplo é que as ferramentas estrangeiras, mesmo as desenvolvidas especificamente para a restauração de filmes, como é o caso do software austrÃaco Diamant, não respondem de forma completamente satisfatória, dada a especificidade dos problemas de deterioração apresentados pelos filmes brasileiros, ainda que riscos e outros danos não sejam exclusividade de nossos materiais.11 Por conta disso, parcerias com laboratórios de restauração e fabricantes de softwares são importantes, sobretudo para projetos de pequeno porte e com materiais que estejam bastante comprometidos. Neste sentido, a ideia de se investir em um laboratório de restauração de um arquivo de filmes (como o da Cinemateca Brasileira) é uma opção estratégica, visto que a ótica de um laboratório comercial sempre será direcionada para projetos financeiramente lucrativos.Â
A consolidação da intermediação digital como etapa integrante da produção audiovisual em meados da primeira década do século XXI parecia trazer consequências bastante benéficas para a área de restauração de filmes. Com o barateamento desse tipo de serviço, a tecnologia digital passou a ser adotada amplamente nos procedimentos de restauração e proporcionou o desenvolvimento das ferramentas e da própria área. Visto os projetos de restauro realizados desde a virada do milênio, o Brasil aparentava seguir por um caminho de desenvolvimento semelhante ao restante do mundo. No entanto, infelizmente, o campo da restauração digital de filmes no paÃs começou a regredir em 2010. Neste ano, por falta de financiamento para projetos de restauro, os departamentos de restauração como o da Mega Studios começaram a fechar. O que antes era considerado um mercado em expansão, com o inÃcio do fechamento de Departamentos de Restauração nas empresas de finalização, logo se tornou um serviço de nicho. Â
A partir de meados de 2010, a ampla adoção da tecnologia digital em todas as etapas da cadeira audiovisual â produção, distribuição e exibição â fez com que uma grande entrada de recursos nos laboratórios cinematográficos brasileiros, oriunda da confecção de cópias em pelÃcula de filmes estrangeiros distribuÃdos no paÃs, cessasse. Funcionava como uma reserva de mercado: era obrigatório que os filmes estrangeiros lançados nos cinemas brasileiros confeccionassem seus materiais de difusão em pelÃcula no paÃs. Apesar de empresas como Labocine, Teleimage e Estúdios Mega terem se mostrado parceiras importantes dos projetos de restauro citados, todas eram, afinal, empresas comerciais que visavam lucro. As que possuÃam laboratórios fÃlmicos, como a Labocine, reduziram bastante sua margem de lucro com a diminuição e posterior interrupção de produção de cópias em pelÃcula 35mm ao longo de 2010.Â
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O volume de investimentos públicos em restauração de filmes (e em preservação audiovisual em geral) reduziu drasticamente a partir de 2011, o que gerou consequências nefastas para o campo. Uma das primeiras consequências mais notáveis aconteceu em 2015, com a extinção do Núcleo de Restauração da Teleimage e a demissão da equipe do setor. Para completar o cenário de decadência, a consolidação da projeção digital no circuito exibidor e a redução substancial do volume de processamento de cópias 35mm, maior fonte de renda da Labocine, inviabilizou a continuidade da empresa a longo prazo, o que culminou com seu fechamento definitivo em março de 2015. Desde então, a área de restauração de filmes no Brasil retraiu-se vertiginosamente, o que demonstra que apesar dos aportes iniciais realizados pelas empresas privadas, o setor era dependente dos recursos oriundos do Estado e de medidas de proteção de mercado. Com exceção do Laboratório de Restauração da Cinemateca Brasileira, que passou a operar sobretudo para demandas internas desde 2016, mas que está com suas atividades paralisadas desde março de 2020,12 e a empresa Afinal Filmes, que passou a oferecer serviços de restauração digital por volta de 2017, não há outras opções.Â
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Existem projetos e filmes a serem restaurados, mas não há recursos ou polÃticas públicas de financiamento para esse tipo de atividade. Na verdade, nesse momento, quase não existem polÃticas públicas para a preservação audiovisual (ou para o setor audiovisual como um todo) no Brasil: o campo cultural, em geral, tem sido muito afetado pelo atual governo. Entretanto, em uma área historicamente ignorada em termos de investimentos e marcada pela instabilidade, como a área de patrimônio audiovisual no Brasil, é ainda mais grave. De mercado promissor à decadência em pouco mais de uma década, esse é o estado atual da restauração de filmes no Brasil.
Laboratórios Cinematográficos no Brasil
Introduction
My professional entry into the field of film preservation coincided with the emergence of digital restoration in Brazil. I began working within film archives in the year 2000. Being around archives at that time allowed me to witness the impact that digital technology was having on the still nascent field of digital film restoration. It was my desire to investigate my own early experiences as a film preservationist, systematize them, turn them into an object of study, and to contribute to a wider discussion on film restoration, that prompted me to begin doctoral research at the University of São Paulo in 2016. I finished this research at the end of 2020,1 focusing my dissertation on film restoration in Brazil and the incorporation of digital restoration technology in the 21st century. The research I conducted had two dimensions: on one hand, it included my professional experiences, and on the other, my interest in considering the historical process of film restoration in Brazil from technical, aesthetic and ethical perspectives. A small excerpt from this work will be addressed in this article, where I will present, in general terms, a historical background of film restoration in Brazil, a brief overview on the trajectory of the digital restoration field since the year 2000 and highlight some historical milestones since its early beginnings.Â
Significance of the Year 2000
Over the last two decades, the field of audiovisual preservation has undergone profound changes. One of the evidences of this transformation can be found in the increasing amount of research being conducted on the topic of film preservation and its various aspects. The incorporation of digital technology within the film restoration process allowed the field to gain more prominence both in terms of practical skills and as an academic discipline. As a result, scholars have attempted to theoretically define it through deeper analysis of its many complex elements. The international bibliography on film preservation has also grown considerably since the 2000s, including welcome contributions from Brazilian researchers and scholars. Although in-depth film restoration research is still not very common in Brazil, the emergence of recent prominent writings on this topic and related issues proves that there is serious interest in the topic and in audiovisual preservation as an academic discipline. Â
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From the late 1990s to the mid 2000s, digital film restoration tools were introduced and disseminated among major film archives, with financial support from big film production companies.2 Â At first, due to the prohibitive costs for most institutions and archives, these tools were only utilized occasionally. However, technological advancements allowed them to become more affordable for non-commercial projects and more widely adopted into the film restoration process along the first decade of 2000s.Â
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Digital technology was incorporated into the restoration workflow in Brazil in the early 21st century, similar to what was taking place in some European countries and in the United States. Up until that point in time, each stage of the restoration process was photochemical. Film restorers were utilizing analog machines that had been used for years in commercial film laboratories and the technical staff behind most restoration projects were predominantly trained while working for these laboratories. With the arrival of digital tools, interventions into the restoration process began to be carried out by computers and professionals with new skills. These new restorers were well versed in digital restoration software and computer-based technology and had different professional backgrounds than the technicians who had only previously worked in film laboratories. Before providing a further analysis of the digital restoration field in Brazil, it is first necessary to present an overview of the history of Brazilian film laboratories.
Film Laboratories in Brazil
During the first few decades of filmmaking in Brazil, most of the small film production companies had their own laboratories. It is likely that these laboratories used similar tools to still photography laboratories. In the chain of processing photochemical material, the negative is first developed and then copied to a positive print, resulting in projection prints. In the 1910s, Alberto Botelhoâs film laboratory took the first steps toward standardizing these procedures with above-average results. Consequently, their lab managed to create better film prints than what had previously been possible in Brazil. There are references to other laboratories of the time. For example, companies such as José and Victor del Picchiaâs Independência Film and Paulo Benedetti Filmes had laboratories and processed titles such as Braza Dormida (Mauro, 1928), Barro Humano (Gonzaga, 1929) and Limite (Peixoto, 1931). A landmark moment for the film processing field occurred in the late 1920s, when Hungarian photographers and laboratory professionals Adalberto Kemeny and Rudolf Lustig relocated to Brazil.3 Kemeny and Lustig would go on to buy the Independência Film Laboratory and turn it into Rex Laboratories, which remained active until the 1970s. The technical knowledge that these Hungarian immigrants brought to Brazil allowed greater general control of the necessary parameters for processing film, such as temperature and time control, being responsible for improvements in the technical quality of Brazilian materials.
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The transition to sound cinema in the 1930s made laboratory processing even more complex and progressively caused the closure of small laboratories from the silent period. Regardless of these newfound challenges in film processing, the production company Cinédia, founded in 1930 by Adhemar Gonzaga, built its own laboratory in that decade.Â
The Cinédia laboratory operated with many setbacks until the end of the 1940s, a particularly difficult period for the company. The context of World War II only exacerbated Cinédia's difficulties, even causing them to momentarily shut down their operations at the end of 1941. In March 1942, the Cinédia studios reopened for the filming of Orson Wellesâs It's All True, but only fully resumed productions the following year. The disastrous effects caused by the war, such as the lack of film stock and chemicals for processing films, was felt by Cinédia throughout the decade. The toll of the war on Cinédia culminated in their dismantling in 1949, when Adhemar Gonzaga decided to dispose of the laboratory film equipment. In 1951, Gonzaga interrupted Cinédia's activities and sold part of the studio grounds in order to liquidate all the company's financial commitments. The laboratory was subsequently disassembled and its productions halted.Â
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A historical milestone for film restoration in Brazil particularly relevant to this discussion was the creation of the only existing restoration laboratory in a Brazilian film archive. The Cinemateca Brasileira Film Laboratory was created in 1976 from the acquisition of equipment and parts discarded by the formerly-named LÃder Cinelaboratórios,4 a company from Rio de Janeiro that had recently acquired Rex Laboratories with the purpose of expanding its business to São Paulo. This acquisition began after LÃder Cinelaboratórios was convinced that the Cinemateca Brasileira would not be a market competitor for them given their non-profit cultural mission. From then on, an informal partnership was established, and LÃder began to periodically notify the archive whenever old equipment was discarded.Â
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Carlos Augusto Calil, who was leading the Preservation Department of the Cinemateca Brasileira at the time, managed this acquisition process. His sense of opportunity was essential to the success of the undertaking. Calil had the insight to take advantage of a singular moment - the discarding of the old Rex laboratories machinery. Once the new owners of Rex laboratories began to modernize their lab with new technology, they decided to dispose of their older (but still functional) machinery. Calil was then able to purchase this machinery at discounted prices as a means of bolstering the infrastructure of the Cinemateca's laboratory.
While the old laboratory machinery was being implemented at the Cinemateca Brasileira, Calil had the opportunity to attend the second Summer course organized by FIAF (International Federation of Film Archives) at the Staatlichesfilmarchiv (Film Archive of the German Democratic Republic). This course mainly addressed issues related to the conservation and restoration of films and it was very important for Brazilian professionals. During this course, Calil had access to publications on film documentation and cataloguing which had not yet been published in Brazil, materials that he would go on to share with his colleagues at the Cinemateca Brasileira. This ensured that the knowledge of the film preservation methods being used in foreign institutions would be shared and applied by Brazilian film preservationists in their own work. However, one of the major lessons that Calil learned was that the solution to Brazilâs film preservation problems would have to be invented and developed by Brazilians. This newfound understanding came to Calil from what is now a well-known story in the Brazilian audiovisual preservation community. Calil recounts that Hans Karnstädt, the person in charge of the conservation and restoration laboratory of Staatlichesfilmarchiv, was asked about proper treatment for nitrate films that have become sticky. Karnstädt was surprised with the question and answered that he had never seen any material in such condition. There are reasons for this can be pointed out: as Germany has a cold climate, and because their cultural institutions are financially stable (allowing the maintenance of adequate levels of temperature and humidity in the vaults), they never had to worry about scenarios where a large portion of their collections had undergone severe stages of degradation. But in Brazil, due to the hot climate and the chronic financial instability, sticky nitrate and acetate films were (and still are) a far more common occurrence. Although this situation happened four decades ago, the problems faced by Brazilian film archives and film preservationists have not changed substantially. The conservation conditions of most of the country's audiovisual heritage pose specific problems that only preservationists who have experience working in Brazil can solve.
Digital Film Restoration in Brazil: The Birth and the Rapid Decay of a Field
It was effectively at the end of May 1977 that the Cinemateca Brasileira Restoration Laboratory began duplication and restoration activities. One of the central figures for this was João Sócrates de Oliveira,5 a trained architect who entered the institution without previous experience in cinema, who went on to become an internationally renowned film restorer.Â
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Between the 1970s and 2000s, film restoration projects in Brazil were mainly headed by film archives and carried out in partnership with commercial laboratories or by the Cinemateca Brasileira laboratory. The 2000s represented the growth of public investments in film preservation and the realization of a significant number of Brazilian film restoration projects. During this period, specific emphasis was given to the restoration of the titles of Cinema Novo filmmakers through projects led by their heirs. A few years later, in 2007 and 2009, Petrobras invested in two public calls for restoration coordinated by the Cinemateca Brasileira, attesting, albeit fleetingly, a more active role of the State in promoting and sponsoring film preservation.
At the turn of the millennium, in 1996, digital technology was used for the first time in Brazil during the restoration process of O ébrio (Gilda de Abreu, 1946), a Cinédia production. Despite the fact that O ébrio had its image photochemically restored, the restoration process included a hybrid procedure for sound, mixing photochemical and digital elements. The re-release of O ébrio had been considered since the mid-1990s, as 1996 marked the fifty-year anniversary of its first screening. In March of that year, Cinédia proposed the restoration project of what would have been the original version of the film to Riofilme,6 including its commercial re-release at the end of the process. One of the priorities of this project was ensuring that the film would return to the cinemas, which may be why this restoration project was presented to a distributor. By establishing a process where a newly restored film would be attached to a distributor, the restoration and exhibition of O Ãbrio would impact other restoration projects that followed a similar path. In 2002, Riofilme also carried out the digital reformatting and the re-release of another classic Brazilian title, Black God, White Devil (Rocha, 1964).
It was in 2003 that a project which can effectively be considered a milestone for digital film restoration in Brazil began: the restoration of the complete works of Joaquim Pedro de Andrade. This restoration project was realized by his daughters Alice and Maria, and his son Antonio de Andrade. The restoration of Joaquim Pedro de Andradeâs complete filmography was a pioneering initiative in the use of 2K digital resolution technology in Brazil. At that time, this kind of technology was mainly being used for the digital intermediation stages performed during post-production for contemporary films. Therefore, this was the first time that a Brazilian restoration project employed this tool. The restoration of Andradeâs filmography represents a definitive milestone for the preservation field in Brazil, as it led to a major technological update for the Restoration Laboratory of the Cinemateca Brasileira. In addition to this update of the Cinemateca lab, the Joaquim Pedro project led to the creation of the Restoration Center at Teleimage, an audiovisual post-production company in São Paulo.
The pioneering initiative of using 2K resolution, and the scope of the project (to digitally restore the complete works of a filmmaker), made it possible for film restoration methodology to be practiced and improved by the archivists and technicians who were working on the project. As it was still an emerging field, the need for preservationists to gain experience with digital restoration tools was essential. After all, making a 2K digital restoration in Brazil was new for everyone involved, so this project represented a great challenge. It was around this time, precisely because of projects like Joaquim Pedro's, that many departments inside commercial post-production and finishing companies were created to exclusively focus on digitally restoring films. Mega Studios and Teleimage, both in São Paulo, and Labocine in Rio de Janeiro were the major companies that were concentrating on digital restoration during that time.Â
Since 2000, Mega Studios7 has been investing in technological machinery, focusing on the acquisition of digital intermediation equipment. In 2001, they acquired a workstation called Restore, which consisted of a film restoration software built into an exclusive computer for the restoration process. This equipment, manufactured by the North-American company Da Vinci Systems (a pioneer in digital post-production equipment), cost $ 380,000 (about R$ 760,000 at the time). The station did not have the capacity to digitize. Instead, the materials had to be previously digitized by another machine (such as a telecine) in order to be used at the station. Because of this need for previous digitization, the cost of the entire restoration process was very high for Brazilian film archives at that time, leading to a situation where the post-production companies with larger budgets became primarily responsible for introducing restoration technology in Brazil.Â
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Teleimage debuted its Restoration Department with the film Pelé Eterno (AnÃbal Massaini Neto, 2004), digitally correcting part of the archival footage in the documentary. This project took about five years to be completed and demanded a lot of work from the restorers. It was only after completing their first restoration that Teleimage decided to expand their restoration division with the digital restoration of Joaquim Pedro de Andrade's films.
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Overall, Labocineâs experience with digital preservation was different to that of Teleimage and Mega Studios. However, it was similar in the sense that its restoration sector began by offering digital intermediation services. Labocine, Teleimage and Mega Studios used their existing structure as a basis for the inclusion of technology destined for the digital restoration of films. That is, they bought specific restoration software, computers with greater processing capacity, and servers with adequate storage capacity. However, instead of investing its time in restoring the works of renowned Cinema Novo filmmakers, Labocine decided to digitally restore Bonequinha de seda, a film made in 1936 by Oduvaldo Viana. Bonequinha de seda was produced by Cinédia, a long-time partner of Labocine, which may have been the main reason why Labocine was interested in restoring the film. Restoring Bonequinha de seda presented the opportunity for Labocine to join an expanding national film restoration market. Also, restoring Bonequinha de seda as their first project, a work made almost 80 years ago, would allow them to stand out from other companies. However, the Bonequinha de seda restoration took much more time than what was initially expected. The restoration of the film, which included photochemical and digital tools, began in 2006 and took about seven years to be completed. The protracted length of the process was due to work interruptions which were caused by technical difficulties and the limited amount of funds available for the project.8 Unlike Mega Studios and Teleimage, Labocine did not have the volume of financial resources that a restoration project composed of several titles would have.9 While the restorations of the Glauber Rocha Collection and Joaquim Pedroâs filmography were well funded, the restoration of a single title made Labocine count on smaller investments. This meant that there were fewer professionals who were exclusively dedicated to the project, less equipment, and slower speed in the execution of the work. Despite the many challenges that this project faced, the effort to restore Bonequinha de seda was worthwhile due to the invaluable digital restoration experience that the technicians accumulated throughout the process.Â
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The restoration of Bonequinha de seda ended up revealing the intrinsic limitations of new digital tools when dealing with scratches and abrasions that were incorporated photographically into the image (as shown below). The effectiveness of the Diamant restoration software (used in this process) during the first stages of digital treatment was minimal. This was because the tool could not locate the photographically incorporated scratches and abrasions that had become part of the image. Therefore, the first stages of digitally treating Bonequinha de seda revealed the inherent limitations of digital tools in fixing this type of damage. Also, after an attempt to use these digital tools to partially stabilize frames, the end product was even worse. The resulting creation presented numerous artifacts and the worsening of some of the photographically incorporated deformations.
Exhibiting samples of the work and consulting with specialists at international events revealed that the initially adopted procedures by the technicians in digitally restoring Bonequinha de seda were correct. However, the ability of the restoration software to deal with the damage presented on the film was not satisfactory. As a result, permanent communication was established between Labocine and the Diamant software developer company, HS-Art. Communicating the problems experienced in the Bonequinha de seda restoration made it possible for HS-Art to develop specific improvements to the software that would allow it to clean up the scratches and abrasions on the digital images.10
This story11 demonstrates that foreign digital restoration tools such as Diamant cannot completely respond to the specificity of the deterioration problems presented within Brazilian films.12 Because of this, establishing partnerships with restoration laboratories and software manufacturers is especially important for small projects that deal with materials in advanced stages of deterioration. In this sense, the idea of having a restoration laboratory in a film archive (such as at the Cinemateca Brasileira) is a strategic option, since a commercial laboratory will always aim at projects that are financially profitable.
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The global incorporation of digital intermediation as part of the audiovisual post-production process in the mid-2000s seemed to bring enormous benefits for the field of film restoration. As digital intermediation became less expensive, it was widely adopted in the restoration procedures and subsequently lead to the development of new digital restoration tools and the area itself. Given the restoration projects that were being carried out since the turn of the millennium, Brazil appeared to be following a similar path of development in the restoration field to the rest of the world. However, unfortunately, the field of digital film restoration started to regress in 2010. In that year, due to a lack of funding to restoration projects, restoration departments such as the one at Mega Studios began to close. What was once considered a widening market soon became a niche service.Â
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From mid-2010, the widespread adoption of digital technology in film production, distribution, and exhibition has led to a decrease of financial resources being invested into Brazilian film laboratories. Prior to that point, the major sources of income for these film laboratories had been making prints of foreign films to be distributed throughout Brazil. This is because it was mandatory that foreign films being released in Brazilian movie theaters produced their 35mm projection prints in Brazil. There is no denying that companies such as Labocine, Teleimage and Mega Studios have shown to be important partners of the previously mentioned restoration projects. But they were also commercial companies, primarily interested in maintaining a profit. The companies which had film laboratories, such as Labocine, severely diminished its profit margins with the decrease and later interruption in the production of 35mm film prints throughout the 2010s.Â
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The volume of public investments in film restoration (and in audiovisual preservation in general) drastically reduced from 2011 onwards, and this has generated harmful consequences for the field. The first notable consequence occurred in 2015 after the Teleimage Restoration Center closed and the company dismissed its staff. Further, the consolidation of digital projection in the commercial exhibition circuit and the substantial reduction in the processing of 35mm prints (Labocineâs largest source of income) made it impossible for the company to continue in the long term. Since the closure of the Teleimage Restoration Center and Labocine in 2015, the film restoration field in Brazil has shrunk vertiginously, revealing that despite the initial contributions made by private companies, the sector was dependent on State resources and measures of market protection. With the exception of the Cinemateca Brasileira Restoration Laboratory, which has mainly focused on its own internal needs since 201613, the only option to digitally restore a film in Brazil today is the company Afinal Filmes, which started offering digital restoration services in 2017. There are projects and films to be restored, but there are no resources or public funding policies for this type of work. In fact, today, there are almost no public policies for film preservation (or for the audiovisual sector at large) in Brazil: the cultural field, in general, has been greatly affected by the government. However, in an area such as the audiovisual heritage field in Brazil, which has been historically ignored in terms of investments and marked by instability, the repercussions have been even worse. From a promising market to a struggling one in just over a decade, such is the current state of film restoration in Brazil.
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Goalkeepers are Different
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Personal oddities, goalkeeper superstitions, goalkeeper nicknames and the family ties of goalkeepers around the world
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Personal Oddities
Manchester City and England goalkeeper Jim Mitchell is the only man to play for England while wearing spectacles, doing so in 1924 when capped against Ireland. He also played in the 1922 FA Cup Final for West Bromwich Albion wearing his specs.
Sheffield United's first ever goalkeeper was a bespectacled fellow by the name of Charlie Howlett.
Another keeper who played in his glasses was Swiss goalie Markus Schluepp, who played for St. Gallen in the late '70s/early '80s.
Former Millwall and Northern Ireland goalkeeper Ted Hinton used to keep his false teeth at the back of his net.
Newcastle United and Celtic goalkeeper Ronnie Simpson took great delight in telling the press how he kept his false teeth safe during games by rolling them in a handkerchief and putting them in his cap in the back of the net.
Queen of the South goalkeeper Willie Fotheringham actually left his false teeth in the back of his net following a game away to Arbroath. The gnashers were returned via a fish delivery lorry the following week.
After losing the sight of one eye in a car accident, Gordon Banks retired from the professional game but went on to play in the odd charity and exhibition match as well as spending a season in the North American Soccer League.
The oldest player ever to play a competitive game in England was New Brighton's Neil McBain, who turned out against Hartlepools United in a Division Three (North) game in 1947 at the ripe old age of 51 years and 120 days. McBain was New Brighton's manager and had to play as an emergency goalkeeper, almost 32 years to the day since he made his professional debut.
Former England international Dave Beasant was named as one of Stevenage Borough's substitutes during their league game against Carlisle United in October, 2014 at the tender age of 55.
In 1964, Sunderland goalkeeper Derek Foster became the youngest person to play in the First Division when he made his debut against Leicester City at the age of 15 years and 185 days.
The oldest player ever to appear in a World Cup Final was Italy's goalkeeper and captain, Dino Zoff, who played in the 1982 final in Spain aged 40 years, 4 months and 13 days.
At the age of 38 years and 232 days, Germany goalkeeper Jens Lehmann became the oldest player ever to appear in the European Championship final when Germany lost to Spain in 2008.
Egypt goalkeeper Essam El-Hadary becamse the oldest player ever to compete in the World Cup finals when he lined up against Saudi Arabia at the age of 45 in their group clash at the 2018 World Cup in Russia, marking his appearance by saving a first half penalty. El-Hadary broke the record set by Colombia's Faryd Mondragón, who made a substitute appearance at the 2014 Finals in a game against Japan at the tender age of 43 years and 3 days.
In January 2013, former Spanish international and Manchester United goalkeeper Ricardo came out of retirement to rejoin Osasuna after back-up keeper Asier Riesgo suffered a foot injury. Later that year he played against Real Madrid at the age of 41, becoming La Liga's oldest ever player in the process.
Cittadella keeper Andrea Pierobon holds the record for being the oldest professional player in the history of Italian football, having surpassed the previous record holder, fellow goalkeeper Marco Ballotta, in May. Pierobon is still going strong at the age of 45 in Italy's Serie B.
In April 2010, Dundee's Bobby Geddes replaced Tony Bullock in goal during a game against Raith Rovers after Bullock was forced off with a hamstring injury. Geddes was 49-years-old at the time.
Legendary Baggies Keeper John Osborne apparently had a plastic knuckle - but this didn't prevent him from winning the FA and League Cup with West Brom during the 1960s.
Bulgarian International and former Reading 'keeper Borislav Mihaylov gained notoriety during the 1994 World Cup Finals in the United States when he suddenly appeared with a full head of hair having been completely bald on top only weeks before. It turned out that he had decided to wear a wig to help promote his toupee company back home (During the Quarter Final game against Mexico, the poor man had to adjust his hairpiece under the protection of a towel after the blazing sun had caused him to sweat just a little too profusely…)
Probably the most instantly recognisable international goalkeeper of recent times was Faeroe Islands' goalie Martin Knudsen, who nearly used to always wear a bobble hat when he played.
In a similar vein, Hungarian goalkeeper Gábor Király always wears a pair of grey tracksuit bottoms rather than shorts when he plays.
Peterborough United goalkeeper Fred Barber used to run out onto the pitch wearing a Freddie Kruger mask from the film Nightmare on Elm Street. When The Posh reached Wembley in the play-off finals he was politely told it was not the done thing to do at the home of football but wore it anyway.
Former Glasgow Rangers and Scotland goalkeeper Andy Goram suffered from schizophrenia in the latter part of his career.
US international Tim Howard suffers from Tourette's Syndrome.
Tom Farquharson, Cardiff City's keeper in their 1927 FA Cup triumph, apparently always carried a hand gun with him!
Dutch goalkeeper Edwin Zoetebier used to bring his own lunch with him when he was with Feyenoord, which consisted of smoked fish, a speciality he first savoured when he was living in the seaside town of Volendam.
Turkish keeper Rüstü Reçber applies a thick layer of black charcoal under his eyes for almost every game, claiming that it helps block out the glare from stadium floodlights.
To celebrate winning his 50th international cap, Wales goalkeeper Paul Jones decided a trip to the barber's was in order and emerged from the players' tunnel sporting a "50" on either side with a Welsh dragon at the back. Unfortunately for Jones, he had a nightmare between the sticks as Slovakia ran out 5-1 winners in Cardiff.
Before the start of each half, Blackburn Rovers keeper Jason Brown performs a ritual that involves resting his head against each of his posts in turn, with his eyes closed and his hands in front of him as if in prayer.
Brazilian goalkeeper Carlos José Castilho was colour-blind and often had trouble picking out white balls during night games.
Having grown tired of continually being overlooked by successive England managers - despite a string of impressive performances - West Ham United's Robert Green decided to make point when the Hammers played Birmingham City in February 2008 by wearing a pair of gloves with "England's number 6" emblazoned across them.
Former American international Alan Mayer used to wear an ice hockey-style helmet when he kept goal during the 1970s.
Ned Doig, who kept goal for Sunderland, Liverpool and Scotland at the end of the 19th Century, always wore a cap when playing to hide his baldness.
When former Tottenham Hotspur goalkeeper Milija Aleksic began his career, he was so keen that he used to iron his bootlaces before playing.
Steve Ogrizovic was told he had to give up the fags if he wanted one final contract with Coventry City while the club were still in the top flight, which he duly did.
For reasons best known to himself, Saint-Etienne goalkeeper Jeremie Janot decided to don a Spider-man outfit in 2005 for a game against FC Istres and yes, that did include the mask...
Former Aldershot, Tottenham and Southampton keeper Ron Reynolds was reputedly one of the first professional footballers ever to wear contact lenses.
Australia's Mark Schwarzer has worn the same pair of shinpads since he was six years old.
Blackburn Athletic and Bradford Park Avenue goalkeeper Chick Farr was born with Syndactyly (webbed fingers).
Former West Bromwich Albion goalkeeper Jimmy Sanders used to wear his 1954 FA Cup Winners medal around his neck when serving behind the bar of his pub after he retired from football.
Airdrieonians keeper John Martin would often swing from the crossbar during games if supporters behind his goal asked him too!
Aberdeen's Harry Blackwell wore a waterproof coat and took to the field with an umbrella borrowed from a spectator in the inclement weather when Aberdeen beat Peterhead 13-0.
One-time Celtic and Portsmouth goalkeeper Dick Beattie was a horse-racing fan and used to wear a jockey's cap when in goal.
Tony Chursky, who kept goal for Seattle Sounders and Canada in the 1970s, was deaf in one ear as is Ajax, Fulham and Netherlands international Maarten Stekelenburg.
Namibia international goalkeeper Athiel Mbaha has been deaf since the age of seven and apparently communicates with his teammates by screaming at them.
Wigan Athletic's Chris Kirkland was the last top-flight goalkeeper to wear a baseball cap to keep the sun out of his eyes, doing so during a game against West Ham United back in 2009.
Former Southampton and Aldershot goalkeeper Tony Godfrey holds the distinction of being Basingstoke Town's youngest and oldest player. Having turned out for The Dragons while still a schoolboy, he returned for one game in 1985 at the age of 45 after an injury crisis left the club without a keeper.
Hungary's Gábor Király became the oldest player to appear in the finals of the European Championships when he turned out against Austria in the Magyars' opening game of 2016 at the age of 40 years and 75 days, beating the record held by Lothar Matthäus.
When Sander Boschker finally made his international debut for the Netherlands in 2010 at the age of 39, he became his country's oldest ever debutant and capped player.
AC Milan's Gianluigi Donnarumma became the youngest ever goalkeeper to start a match in the history of Italian football when he turned out for against Sassuolo at the age of 16 years and 8 months.
Bengt Andersson shows no signs of retiring from football just yet. The former Sweden international goalkeeper recently joined Särö IK on a semi-professional basis and has form in this department. One of the oldest players to have appeared in the Allsvenskan, he won the Swedish league title with IFK Göteborg for the first time at the tender age of 41, become the oldest player to do so in the process.
Indian goalkeeper Shilton Paul was named after England goalkeeper Peter Shilton. His dad was a big fan.
Ayr United goalkeeper Hugh Sproat admitted to Shoot! magazine in 1977 that he was such a fan of Punk Rock that he regularly wore earrings shaped like razor blades - one was green, the other blue in a nod to the auld firm...
When Arbroath famously beat Bon Accord 36-0 in the Scottish Cup back in 1885, their goalkeeper, Jim Milne Sr, was apparently such a spectator that he smoked his pipe during the game.
There were many tales about former Queen's Park and Hearts goalkeeper Jim Cruickshank, most of which were probably apocryphal. However, one of the most frequent stories shared about the goalie was habit of walking onto the field of play with a transistor radio hidden in his towel, which was placed carefully beside the post and occasionally adjusted during lulls in play so he could tune into the horse racing from various circuits around the country.
In the early 90s, West Ham United goalkeeper Ludek Miklosko received a compliment of sorts when Hammers fan Danny Noise changed his name by deed poll to Danny Miklosko in honour of the Czech stopper.
Dutch goalkeeper Diederik Boer enjoyed a successful career with PEC Zwolle despite missing the little finger of his right hand, meaning he plays with only 9 fingers.
Sweden international and former Chelsea Ladies goalkeeper Hedvig Lindahl suffers from vitiligo and has to apply high factor sunscreen before and during matches.
Former Dundee United goalkeeper Luis Zwick, who also had spells with Hansa Rostock and Schweinfurt 05, suffered from epilepsy as a child.
Denmark's Henry From was the epitome of cool when he faced a penalty in the semi-finals of the 1960 Olympic football tournament against Hungary. With his team leading 1-0, From readied himself for the spot kick by removing his chewing gum and sticking it to the side of his goalposts. After he saved Pal Varhidi's shot, he pciked the chewing gum off the post and put it back his mouth, with Denmark going on to win the game 2-0.
United States international goalkeeper Ruth Harker was blind in her left eye.
Birmingham City, Hibernian and Scotland goalkeeper Jim Herriot used to smear dollops of mud from his goalmouth under his eyes before a game to combat the glare from floodlights, especially during midweek games.
Roma's Francesco Quintini was reputedly the shortest goalkeeper to play in Serie A, standing at a height of just 1.68 m (5 ft 6 in).
Former Liverpool and Blackburn Rovers Ladies goalkeeper Danielle Gibbons was rendered deaf in her left ear following surgery in 2015 to remove a vestibular schwannoma.
Scottish goalkeeper Andy Greig, who enjoyed a career with Aberdeen, Darlington and Montrose either side of World War One, was born deaf.
Superstitious Goalkeepers
Former Wales international and Stoke City goalkeeper Leigh Richmond Roose was famously superstitious and always wore a lucky shirt beneath his goalkeeping jersey - an old black-and-green Aberystwyth top, was reputedly never washed.
Former Canadian international and Minnesota Kicks goalkeeper Tino Lettieri used to keep a lucky mascot in the form of a stuffed parrot called 'Ozzie' at the back of his net during games.
Something of a superstitious chap, former Scotland international Alan Rough always carried an old tennis ball and a key ring with a thistle motif on it to the ground with him and insisted on having a shave on the morning of every match. He always had to hang his clothes on peg No 13 too...
Another keeper with a superstitious streak in him was former Manchester United and England goalie Gary Bailey. The one-time Old Trafford custodian readily admits to using juju - an African form of black magic - during his spell with South African side Kaiser Chiefs. There must have been something in it as they won every domestic trophy while Bailey was in goal.
Aberdeen's Bobby Clark attributed his side's victory in the Scottish League Cup during the 1976/77 season to the white tie he wore with his match-day suit before every round, up to and including the final. Clark, a notoriously superstitious keeper, refused to change his tie during the competition, saying that it brought his side luck!
The much travelled former England goalkeeper David James has many pre-match superstitious rituals, probably the most disturbing of which is the need to spit on the walls of the changing room urinals before games.
Argentina's Sergio Goycochea developed an equally disturbing superstitious ritual during the 1990 World Cup Finals, namely urinating on the pitch before his side's penalty shoot-outs against Yugoslavia and Italy. It must have worked as Argentina won on both occasions to reach the final.
Ghana international Robert Mensah was something of a flamboyant goalkeeper who would often mock opponents by reading a newspaper while the game was in full flow. He was also prone to wearing an over-size flat cap during games in attempt to put strikers off and he'd often get into scraps when opposition players tried to remove it, believing it was bringing them bad luck through the use of juju.
Another Ghana goalkeeper with a lucky charm is Brimah Razak, who carried his favourite Spider-man action figure onto the pitch with him during the 2015 African Cup of Nations. Ghana reached the final but the comic book hero was powerless to prevent Razak from missing the decisive penalty in the shoot-out against the Ivory Coast in the final.
When former England international Reg Davies visited Bisham Abbey with Brian Clough's Derby County for a training session in the late 1960s, he refused to enter the building after being unnerved by a "ghostly vibe" that he picked up following the team's arrival.
Pior to every game he competed in, Irish keeper Shay Given, who enjoyed a successful career with Blackburn Rovers and Newcastle United among others, would place a vial of holy water from Lourdes at the back of his goal as a lucky charm.
Another Irish goalkeeper with a superstitious habit was Celtic custodian Packie Bonner, who carried a piece of clay from County Donegal with him in his glove bag.
When Scotland played in the 1978 World Cup finals in Argentina, goalkeeper Alan Rough took with him a good luck message from a Blue Peter viewer who won a competition on the programme and placed it in his net at the start of every game.
Jack Robinson, who played eleven times for England at the turn of the 20th Century and enjoyed spells with Lincoln City, Derby County and Millwall among others, was something of a superstitious chap and insisted on having a bowl of rice pudding before every game. There may have been something in it because the one time he failed to have his lucky pre-match meal, he was beaten eleven times!
Bristol Rovers goalkeeper Herbert Hoyle had a liking for oranges and apparently always placed one at the back of his net for good luck.
Iker Casillas is a rather superstitious goalkeeper. Among his many quirks is the need to touch his own crossbar whenever his team scored. However, one of Casillas' oddest rituals was when he wore his socks inside out on the advice of a gypsy prison inmate. He carried on doing so until manager Jose Mourinho benched him!
Former Liverpool goalkeeper Pepe Reina developed a couple of pre-match rituals during his time at Anfield. Before every game he used to fill his car up with petrol at the same service station - even if he didn't need to - and insisted on parking in bay 39 in the players' car park at the ground.
During UEFA Euro 2012, the Czech Republic squad decided not to shave, believing to do so would bring bad luck. Such was their commitment that goalkeeper Petr Čech refused to get out his razor even when his wife told him he looked awful and should have a shave!
Spartak Moscow goalkeeper Artem Rebrov kisses his goalposts before each game.
Before found international fame at the 1990 World Cup finals, Colombia goalkeeper Rene Higuita visited a fortune teller with Atletico Nacional teammate Carlos Perea in a bid to improve their form, who advised them that their fortunes would change if the team wore blue belts and underparts. Having taken the advice on board, the club went on to win the Copa Libertadores in 1989.
West Ham goalkeeper Adrian sought a bit of luck before his side's London derby against Chelsea during the 2017/18 season and thought rubbing the head of Argentine teammate Pablo Zabaleta during training sessions would do the job. The ritual earned the goalkeeper a bit of publicity, with the Spaniard telling journalists that rubbing a bald head is supposed to bring good luck but it didn't work as he was dropped in favour of England goalkeeper Joe Hart. The match ended 1-1.
Every time Barcelona score a goal, their keeper, German Marc-André ter Stegen, takes a quick drink from his water bottle, positioned at the side of his net.
Belgium goalkeeper Thibaut Courtois performs the same ritual prior to international games during the playing of his country's national anthem, La Brabanconne. While singing along to the anthem, Courtois touches his chin for good luck!
Borussia Dortmund goalkeeper Roman Burki has to touch the match ball before the game kicks off, sometimes going to extreme measures, including taking the ball off of mascots, in order to do so.
Coventry and Manchester City goalkeeper Perry Suckling kept a bible in the back of his net for good luck.
Former Leicester City and Bournemouth goalkeeper Ian Andrews was a creature of habit and always put his left boot on first before a match.
Back in 1996, when Rafael Benitez's tenure at Real Valladolid was under threat, his kit man placed some garlic behind the goal of Valencia goalkeeper Andoni Zubizarreta hoping to bring him some bad luck. It seemed to work as the former Spanish goalkeeper had to be replaced before the game after he was injured during the warm-up. Unfortunately for Benitez and his kit man, the in-coming Jorge Bartual played a blinder, winning the Man of the Match award as Valencia triumphed 5-2.
During is spell at Maine Road, Manchester City goalkeeper Joe Corrigan began to receive a sprig of lucky heather before every home game from flower seller and City fan Helen Turner, with the pair captured for posterity in the 1981 Topical Times Football Book performing the ritual.
Former Scotland and Norwich City goalkeeper Bryan Gunn had an interesting pre-match ritual while he was with Aberdeen; he would attempt to head-butt the crossbar, much to the amusement of manager Alex Ferguson.
Manchester United's David de Gea has an in-match ritual where he touches his crossbar every time his teammates score a goal.
Goalkeeper Nicknames
The Black Octopus - Lev Yashin
Tim- Reg Williamson (England & Middlesbrough)
Tim - Ernest Williamson (England & Arsenal) - Ernest was named after Reg
The Cat - Peter Bonetti, Tim Flowers, Reg Davies
Bert - Bernhard Trautmann (Manchester City)
Big Norm - Mark Crossley (Nottingham Forest, Fulham & Wales)
Banks of England - Gordon Banks
Lurch - Dave Beasant (Wimbledon, Newcastle United, Chelsea & England)
The Clutch - Gil Merrick (Birmingham City & England)
H - David Seaman (Arsenal, Manchester City & England)
The Marx Brothers - Gordon Banks, Peter Bonetti and Ron Springett
Colonel Mustard - Tony Coton (Manchester City)
El Loco - Ramon Quiroga (Peru), René Higuita (Columbia)
Tarzan - Peter Shilton
Dai the Drop - Dai Davies (Everton, Swansea City & Wales)
Prince of Goalkeepers - James McAulay (Dumbarton & Scotland)
Big Swifty - Frank Swift (Manchester City & England)
Tiger - Alexi Khomich (Dynamo Moscow & USSR)
Stonewall Jackson - John Jackson (Crystal Palace, Leyton Orient & Millwall)
The Archdeacon - Leigh Richmond Roose (Sunderland, Aston Villa & Wales)
Budgie - John Burridge
Calamity James - David James (Watford, Liverpool, Aston Villa, Manchester City & England)
Little Willie - William Foulke
Mister Magoo - Kasey Keller (Millwall, Leicester City, Tottenham & USA)
The Flying Pig - Tommy Lawrence (Liverpool)
Happy Jack - Jack Hillman (Burnley & Manchester City)
The Freak - Mark Bosnich (Aston Villa, Manchester United & Australia)
Monty - Jim Montgomery (Sunderland), Morton Betts (Wanderers & England)
Elastic - Milija Aleksic (Luton Town, Tottenham Hotspur)
Denzil (from 'Only Fools & Horses') - Tony Warner (Millwall)
The Duck - Ubaldo Fillol (Racing Club, River Plate & Argentina)
Lettuce - Carlos Roa (Argentina)
The Rabbit - Oscar Peréz (Cruz Arul & Mexico)
The Panther - Boukar Alioum (Samsunspor & Cameroon)
Ding Dong - Andy Bell (AFC Wimbledon)
Pagliaccio (Clown) - Gianluca Pagliuca (Sampdoria, Bologna & Italy)
Spinky Winky - Nigel Spink (Aston Villa, Millwall)*
Laa-Laa - Tim Carter (Oxford United, Sunderland, Millwall, Halifax Town)*
Saint Marcos - Marcos (Palmeiras, Brazil)
Jonah - Paul Jones (Southampton, Wolves & Wales)
El Condor - Roberto Rojas (Colo Colo & Chile)
Willow - Bob Wilson (Arsenal & Scotland)
Peter the Great - Peter Schmeichel
Scruff - Alan Rough (Celtic, Partick Thistle & Scotland)
Rolls - Simon Royce (Southend United, Leicester City & QPR)
Pigskin - Angelo Peruzzi (Juventus, Italy)
Dumbo - Edwin van der Sar (Ajax, Netherlands)
Walks - Ian Walker (Tottenham, Leicester City & England)
Bullneck - Andy Goram (Oldham Athletic, Rangers, Manchester United & Scotland)
Meteor - Pablo Cavallero (Celta de Vigo, Espanyol & Argentina)
Woody - Andy Woodman (Brentford, Oxford United)
Aunty - Anti Niemi (Hearts, Southampton & Finland)
Baggy - Neville Southall (Everton & Wales)
The Beast - Brian Jensen (Burnley)
The Bomb - Sander Westerveld (Vitesse Arnhem, Liverpool & Netherlands)
T-Ho - Tim Howard (Manchester United & United States)
Little Edwin - Ross Flitney (Fulham, Barnet)
John - Jovan Lukic (Arsenal, Leeds United)
Shaka - Neil Hislop (Reading, Newcastle United, West Ham & Portsmouth)
Spiderman - Walter Zenga (Inter, Sampdoria & Italy)
Jaguar - Luciano Castellini (Torino, Napoli)
Giddeon - Pietro Carmignani (Juventus, Fiorentina)
Sumo - Gary Phillips (Barnet)
El Brody - Jorge Campos (Cruz Azul, LA Galaxy & Mexico)
De Beer (The Bear) - Piet Schrijvers (Ajax & Netherlands)
Hitchy - Kevin Hitchcock (Chelsea)
Dingle - Mark Westhead (Oldham Athletic, Wycombe Wanderers)
Celeste - Sebastián Viera (Nacional de Montevideo & Uruguay)
Titan - Oliver Kahn (Bayern Munich & Germany)
Toni - Harald Schumacher (1.FC Koln & West Germany)
Monkey - Germán Burgos (River Plate, Athletico Madrid & Argentina)
Goyco - Sergio Goycochea (River Plate, Vélez Sarsfield, Newells Old Boys & Argentina)
Black Panther - Gyula Grosics (Honved & Hungary)
Lonners - Andy Lonergan (Preston North End)
Boaz - Glyn Myhill (Aston Villa, Bradford City, Bristol City & Hull City)
Zubi - Pascal Zuberbuhler (Grasshopper, FC Basel, & Switzerland)
Spider - Zeljko Kalac (Sydney United, Roda, Perugia, AC Milan & Australia)
The Girvan Lighthouse - Peter McCloy (Kilmarnock, Rangers & Scotland)
Sammy - Paul Sansome (Crystal Palace, Millwall & Southend United)
Erik the Viking - Erik Thorstvedt (IFK Göteborg, Tottenham Hotspur & Norway)
Frank Spencer - Richard Wright (Ipswich Town, Arsenal, Everton & England)
Gez - Paul Gerrard (Oldham Athletic, Everton & Nottingham Forest)
Der Goalie - Stefan Klos (Glasgow Rangers)
El Koke - Pedro Contreras (Real Betis)
The Poominator - Mart Poom (Derby County, Sunderland & Estonia)
Ludo - Ludek Miklosko (West Ham United & Czechoslovakia)
God's Goalkeeper - João Leite (Atlético Mineiro, Vitória de Guimarães & Brazil)
Dino Zoff - Boye Cooper (Cedar United, Mighty Barrolle a& Liberia)
Umbro - Gift Muzadzi (Dynamos, Celtics Bloemfontein, BSV Stuttgart & Zimbabwe)
Vítor Baliza (Goalmouth) - Vítor Baía (FC Porto & Portugal)
The Flying Dutchman - Gerrit Keizer (Arsenal, Charlton Athletic, Ajax & Netherlands)
Fawlty Manuel - Manuel Almunia (Arsenal)
Black Spider - Fabio Cudicini (Udinese, Roma & AC Milan)
Pepe - José Manuel Reina Páez (Villarreal, Liverpool & Spain)
Piggy - Fan Chun Yip (Buler Rangers, Happy Valley & Hong Kong)
Zibi the Hibby - Zbigniew Malkowski (Hibernian)
Wacka - James Walker (Walsall & West Ham United)
El Pato - Roberto Abbondanzieri (Rosario Central, Boca Juniors & Argentina)
Zé Gato - José Henrique (Benfica & Portugal)
Dida - Nelson de Jesus Silva (Corinthians, AC Milan & Brazil)
The Beast - Zach Thornton (Chicago Fire & USA)
De Muur (The Wall) - Dany Verlinden (Club Brugge & Belgium)
Eagle of Asia - Ahmad Reza Abedzadeh (Esteghlal FC, Persepolis & Iran)
The Octopus - Nir Davidovich (Maccabi Haifa & Israel)
Butterfingers - Rab Douglas (Celtic, Dundee & Scotland)
Börni - Bernd Dreher (Bayern Munich, KFC Uerdingen)
The Eagle - Dimitrios Eleftheropoulos (Olympiakos, AS Roma & Greece)
Shay - Seamus Given (Newcastle United & Republic of Ireland)
Neco - Luis Enrique Martínez (Independiente Santa Fe & Colombia)
Tarzan - Antonio Roma (Boca Juniors & Argentina)
Smiler - Jack Smith (Sheffield United)
La Tota - Antonio Carbajal (León & Mexico)
Len the Cat - Len Davies (Bangor City)
Elvis - Phil Priestley (Bangor City)
El Pulpo - Luis Arconada (Real Sociedad, Real Madrid & Spain)
The Cat of Maracaná - Antoni Ramallets (Real Valladolid, Barcelona & Spain)
Chocolate - Héctor Baley (Huracán, Independiente & Argentina)
Big Vlad - Vladimir Beara (Hajduk Split, Red Star Belgrade & Yugoslavia)
Chiquito - Carlos Bossio (Estudiantes, Benfica, Vitória & Argentina)
Saint Castilho - Carlos José Castilho (Fluminense & Brazil)
The Dude - Jerzy Dudek (Liverpool & Poland)
Edgie - Lewis Edge (Blackpool)
Kamikaze - Giorgio Ghezzi (Inter, Genoa & AC Milan)
Red Bird - Marcus Hahnemann (Reading & USA)
Slim Kat - Moeneeb Josephs (Cape Town Spurs, Bidvest Wits & South Africa)
El Divino - Ricardo Zamora (Espanyol, Barcelona & Spain)
The Cat of Prague - František Plánicka (SK Slavia Praha & Czechoslovakia)
Topsham Fisherman - Dick Pym (Bolton Wanderers & England)
Clooney - Antonios Nikopolidis (Panathinaikos, Olympiakos & Greece)
Oggy - Steve Ogrizovic (Liverpool & Coventry City)
The Blind Venetian - Massimo Taibi (Piacenza, Manchester United, Reggina & Atalanta)
The Ear - Daniel Örlund (AIK)
Wild Boy - Aaron Lawrence (Violet Kickers & Jamaica)
Boopie - Warren Barrett (Violet Kickers & Jamaica)
King Artur - Artur Boruc (Legia Warsaw, Celtic & Poland)
Tati - José María Buljubasich (Real Oviedo, River Plate & Universidad Catolica)
Bubu - André-Joël Eboué (Tonnerre Yaoundé & Seville)
Lasse - Lars Eriksson (Hammarby, IFK Norrköping, Porto & Sweden)
Spider - Rowen Fernandez (Kaiser Chiefs & South Africa)
Pim - Willem Doesburg (Sparta Rotterdam, PSV Eindhoven & Netherlands)
Norrie - Neil Martin (Rangers, East Fife & Queen of the South)
Killer Miller - Markus Miller (Karlsruher SC)
McKnightmare - Alan McKnight (West Ham United)
Pepín - José Casas Gris (Las Palmas, Real Betis & Spain)
El Gato - Abel Resino González (Atlético Madrid & Spain)
El Gato - Mario Osbén (Unión Española, Colo-Colo & Chile)
The Iron Curtain - Rinat Dasayev (Spartak Moscow & USSR)
Zetti - Armelino Donizetti Quagliato (São Paulo, Santos & Brazil)
Biscuits - Phil Harrington (Chester City & Cork City)
Vouno (Mountain) - Józef Wandzik (Gornik Zabrze, Panathinaikos, Apollon Smyrnis & Poland)
Dirty Jack - John Jones (Druids & Wales)
Slim Kat - Moeneeb Josephs (Ajax Cape Town, Orlando Pirates & South Africa)
Long Bob - Bob Roberts (West Brom & England)
The Legend - Nasser Hejazi (Taj, Shabaz & Iran)
The Flying Fish - Juan Yustrich (Boca Juniors & Argentina)
Big Ox - Qiu Shengjiong (Shanghai Shenhua)
The Bird - Takis Ikonomopoulos (Panathinaikos)
El Chopo (The Poplar) - José Ángel Iribar (Athletic Bilbao & Spain)
The Penalty King - Tom Farquharson (Cardiff City & Ireland)
Sheila - Eamonn Darcy (Oldham Athletic & Shamrock Rovers)
The Iceman - John Ruddy (Norwich City & England)
Shorty - Bert Slater (Falkirk, Liverpool & Dundee)
Smiler - Jack Smith (Sheffield United)
The Chariot - Kim Myong-Won (Amrokgang & North Korea)
Superman - Sergio Vargas (Independiente & Chile)
Saint Michel - Michel Preud'homme (Mechelen, Benfica & Belgium)
Berry - Robert Beresford Brown (Manchester United, Doncaster & Hartlepools United)
The Flying Pig - Jim Eadie (Cardiff City & Bristol Rovers)
Gunner Reilly - Matthew Reilly (Portsmouth & Ireland)
Beto - António Pimparel (Porto, Sevilla & Portugal)
Elfmetertöter (Penalty Killer) - Rudolf Kargus (Hamburg, 1. FC Nürnberg & West Germany)
Nonno (Grandad) - Andrea Pierobon (Cittadella)
Honest Ted - Teddy Davison (Sheffield Wednesday & England)
The Prince in the Yellow Jersey - Jerry Dawson (Rangers, Falkirk & Sccotland)
Lofty - Phil Parkes (Wolverhampton Wanderers & Vancouver Whitecaps)
The Secret - Noel Valladares (Motagua, Olimpia & Honduras)
The Walrus - Theo Custers (Antwerp, Espanyol, KV Mechelen & Belgium)
The Falcon - José Luis Munguía (FAS & El Salvador)
Lindy - Findlay Kerr (Bethlehem Steel, Fall River Marksmen & USA)
Wally - Mark Wallington (Leicester City & Derby County)
Oka - Orhej Nikolov (Eintracht Frankfurt & Macedonia)
Superman - Scott Vallow (Colorado Rapids & Rochester Rhinos)
Bebote - Jimmy Schmidt (Plaza Colonia & Sport Ancash)
Milly - Tony Millington (West Brom, Peterborough, Swansea City & Wales)
Kamikaze - Alan Mayer (San Diego Sockers, California Surf & USA)
The Pastor - Vincent Enyeama (Hapoel Tel Aviv, Lille & Nigeria)
Uomo di Gomma (the Rubber Man) - Gianpiero Combi (Juventus & Italy)
El Mono (Monkey) - Carlos Navarro Montoya (Boca Juniors, Chacarita Juniors & Colombia)
Saracinesca - Luigi Griffanti (Fiorentina, Torino, Venezia & Italy)
Dusty - David Hudock (Seattle Sounders & Charleston Battery)
Gentleman Jess - Jesse Whatley (Bristol Rovers)
Tiger of Budapest - Walter Zeman (Rapid Vienna & Austria)
The Rock - Tony Macedo (Fulham)
The Eel - Dragoje Leković (Budućnost Titograd, Kilmarnock & Yugoslavia)
Rubber Man - Manuel Bento (Benfica & Portugal)
Black Panther - Erwin Ballabio(FC Grenchen, FC Thun & Switzerland)
Otto - Wolfgang Kleff (Borussia Mönchengladbach, Fortuna Düsseldorf & West Germany)
Heini Fausten - Heinz Kwiatkowski (Borussia Dortmund, Rot-Weiss Essen & West Germany)
Bionic - John Osborne (Chesterfield & West Bromwich Albion)
Ripper - Jimmy Whitehouse (Grimsby Town & Manchester United)
The Flying Schoolmaster - Fritz Herkenrath (1.FC Köln, Rot-Weiss Essen & West Germany)
El Arquero cantor (The Singing Goalkeeper) - Julio Musimessi (Newell's Old Boys, Boca Juniors & Argentina)
Tippen - Henry Johansen (Vålerenga & Norway)
de Kat (The Cat) - Pim Bekkering (PSV Eindhoven)
El Puma Mayor (The Eldest Puma) - Sergio Bernal (UNAM Pumas & Mexico)
Pepin - José Casas Gris (Las Palmas, Real Betis & Spain)
Criptonita (Kryptonite) - Miguel Pinto (Universidad de Chile, Atlas & Chile)
Gas Meter - Peter Latchford (Celtic & Clyde)
El Pulpo (the Octopus) - Denis Espinoza (San Marcos, Walter Ferretti & Nicaragua)
Little Pilgrim - Harry Sweptsone (Clapton, Corinthian, Swifts & England)
Zimbo - Uwe Zimmermann (SV Waldhof Mannheim, VfL Wolfsburg & Eintracht Braunschweig)
Iron Man Bill - Bill Lambton (Peterborough United & Doncaster Rovers)
Magic Hands - Kossi Agassa (Metz, Reims & Togo)
Coco - Tim Clarke (Huddersfield Town & Shrewsbury Town)
Lofty - Phil Parkes (Wolverhampton Wanderers & Vancouver Whitecaps)
Scorpion - Melvin Barrera (Águila & El Salvador)
Rambo - Zoran Varvodić (Hajduk Split, Spartak Subotica & Olimpija Ljubljana)
Crazy Sword - Chow Chee Keong (Jardine, South China & Malaysia)
Tubby - John Ogston (Aberdeen & Doncaster Rovers)
Apu - Peter Fregene (ECN, Stationery Stores F.C. & Nigeria)
Pull-it - W.E. Powell (Burslem Port Vale)
El Buldog (the Bulldog) - José Luís Chilavert (San Lorenzo, Real Zaragoza, Vélez Sarsfield & Paraguay)
Heinz Kroket (Heinz Croquette) - Heinz Stuy (Telstar & Ajax Amsterdam)
The Dancing Dervish - Tommy Moore (Millwall Athletic & Thames Ironworks)
Jimmy - Alberto Fontana (Cesena, Bari, Atalanta & Palermo)
The Secret - Noel Valladares (Motagua, Olimpia & Honduras)
Yorkie - Chris Turner (Manchester United, Sheffield Wednesday & Sunderland)
Zamora - Bengt Nyholm (IFK Norrköping & Sweden)
Yashin - Robert Mensah (Mysterious Dwarfs, Asante Kotoko & Ghana)
Legend - Alan Knight (Portsmouth)
Frost - Frank Rost (Werder Bremen, Schalke 04, Hamburg & Germany)
Chino - Kyle Goldwin (Gibraltar United, Lincoln United & Gibraltar)
Freddie - Tony Lange (Aldershot, West Bromwich Albion & Fulham)
Yoda - Ron Corry (Sydney United, Manly & Australia)
Breadstick - Arturo Rodenak (Audax Italiano & Rangers de Talca)
Colt Seavers - Jörg Sievers (Hannover 96)
La Bruja - Óscar McFarlane (Panama Viejo, Tauro & Panama)
Lettuce Hands - Ricardo Tavarelli (Grêmio, Olimpia & Paraguay)
San Siro-Sven - Sven Andersson (Helsingborg)
Gripen - Helge Bengtsson (Malmö & Sweden)
Spiderman - Brian Baloyi (Kaizer Chiefs, Mamelodi Sundowns & South Africa)
El Puma Mayor (The Eldest Puma) - Sergio Bernal (UNAM Pumas)
Fock - Fredson Jorge Ramos Tavares (Sporting Praia, Mindelense & Cape Verde)
Father Fry - Arthur Fry (St. Mary's)
The Fat Goalie - David Felgate (Lincoln City, Bolton Wanderers & Chester City
el Chocolate - Milton Flores (Real España & Honduras)
Blue - Bruce Grobbelaar (Crewe Alexandra, Liverpool & Southampton)
Ghost - Joseph Mulenga (Red Arrows & Zambia)
The Elephant Man - George Dunlop (Manchester City, Glentoran, Ballymena United & Northern Ireland)
Kucku - Victor Olsson (Hammarby IF & Sweden)
The Magnet - Colin Coosemans (Club Brugge & Mechelen)
The Black Cat - Michalis Delavinias (AEK Athens & Greece)
Simpson - Nelson Tapia (O'Higgins, Universidad Católica & Chile)
Ruso - Vladimiro Tarnawsky (Newell's Old Boys, San Lorenzo, Boston Beacons & Argentina)
The Alley Cat - Allan Thomas (Moroka Swallows)
Potso - Apostol Sokolov (Levski Sofia & Bulgaria)
Scoop - Vojislav Stanisic (New York Cosmos, Chicago Sting & USA)
Pius - Arthur Fahr (FC Basel)
Pulpo (The Octopus) - Dany Luis Quintero (Cienfuegos, Nollingen & Cuba)
Big Ben - Michelangelo Rampulla (Cesena, Cremonese & Juventus)
Skilly - Reginald Williams (Watford & Brighton)
*Tim Carter and Nigel Spink picked up their nicknames while playing for Millwall at the height of Teletubbie-mania in 1997. Their choice of goalkeeping kit (lurid green and yellow) probably had something to do with it...
Quirky Middle Names
Primrose - Bob Wilson (Arsenal & Scotland)
Boleslaw - Peter Schmeichel
Agnew - Colin McDonald (Burnley & England)
Hewitt - Leslie Gay (Old Brightonians, Corinthians & England)
Purvis - John Hawtry (Old Etonians & England)
Dallas Fyfe - Bill Brown (Tottenham Hotspur & Scotland)
Barkley - George Raikes (Oxford University & England)
Peel - John Rawlinson (Cambridge Univeristy & England)
Oak - Ernie Scattergood (Derby County & England)
Albermarle - Harry Swepstone (Corinthians & England)
Rodwell - Leonard Wilkinson (Oxford University & England)
Garnet - Reg Williamson (Middlesbrough & England)
Darnley - Rupert Anderson (Old Etonians & England)
Peto - Morton Betts (Wanderers & England)
Hallows - Teddy Taylor (Huddersfield Town & England)
De Courtenay - Reginald Welch (Harrow Chequers & England)
Fane - Charlie Preedy (Arsenal & Bristol Rovers)
Winter - Jesse Whatley (Bristol Rovers)
Diamond - Jack Harkness (Hearts & Scotland)
Hardy - Jock Robson (Arsenal & Bournemouth)
Henderson - Ian Black (Southampton, Fulham & Scotland)
Sandilands - Sandy Kennon (Norwich City & Colchester United)
Fairclough - Ted Adams (Wrexham, Southport & Burnley)
Sandlands - Thomson Allen (Dundee & Scotland)
Calderwood McKinstrey - Allan Todd (Cowdenbeath, Port Vale & Nottingham Forest)
Foster - John Potts (Leeds United & Port Vale)
Hewitson - Bob Dixon (Stoke City & West Ham United)
MacArthur - George Yardley (East Fife & Forfar Athletic)
Partridge - Tommy Clish (Darlington & West Ham United)
Pollock - John Eadon (Tottenham Hotspur)
Grimmond - Sandy Davie (Dundee United, Luton Town & New Zealand)
Hardisty - Joshua Wilkinson (Glasgow Rangers & Dumbarton)
Johnstone - Tommy Lawrence (Liverpool & Scotland)
Shepherd - Jim Rollo (Oldham Athletic, Southport & Bradford City)
Dallas Ochterlony - W. D. O. Greig (Wanderers)
Scougal - Drew Brand (Everton & Hereford United)
Clews - Jimmy Cowan (Greenock Morton, Sunderland & Scotland)
March - John Hope (Darlington, Sheffield United & Hartlepool United)
Steel - David Stewart (Ayr United, Leeds United & Scotland)
Talbot - Percy Ames (Colchester United)
Dutton - Jack Benton (Stoke City & Glentoran)
Smithson - Charles Blakey (Lincoln City & Doncaster Rovers)
Beresford - Berry Brown (Manchester United & Hartlepools United)
Hallimond - Des Fawcett (Darlington, Preston North End & Rochdale)
Scrimgeour - Don Mackay (Forfar Athletic, Dundee United & Dallas Tornado)
Kendall - Jake Kean (Blackburn Rovers & Hartlepool United)
Redmond - Hugh Kelly (Fulham, Southampton, Exeter City & Republic of Ireland)
Mansell - Bill Heath (Bournemouth & Lincoln City)
Gladstone - Sam Gillam (Bolton Wanderers & Wales)
Gibb - Bill Robertson (Chelsea & Leyton Orient)
Murdoch Morrison - Willie Whigham (Falkirk & Middlesbrough)
McCourt - Norman Uprichard (Arsenal, Portsmouth, Swindon Town & Northern Ireland)
Vallance - David Robertson (St. Mirren & York City)
Watson - Harry Thomson (Burnley, Blackpool & Barrow)
Huitson - Edwin Blackburn (Hull City, York City & Hartlepool United)
Gilchrist - Ron Brebner (Chelsea, Huddersfield Town & Leicester Fosse)
Pettigrew - Ian MacFarlane (Dumbarton, Clydebank & Hamilton)
Mars - Jimmy Ferguson (Oldham Athletic, Crewe Alexandra & Darlington)
Lamont McQueen - Dave Smith (Albion Rovers, Hamilton Academical, Gillingham & Brentford)
McQueen Anderson - Jimmy Smith (Tottenham Hotspur, St Johnstone, Norwich City & Ayr United)
Ashby - Tommy Spicer (Woolwich Arsenal & Brentford)
Carr - Tommy Forgan (Hull City & York City)
Barlow - Peter Pickering (York City, Chelsea & Northampton Town)
Gears - Kingsley Whiffen (Chelsea & Plymouth Argyle)
Cockburn - Jimmy Hugall (Clapton Orient, Hamilton Academical & Durham City)
Holliday - Ike Tate (West Ham United & Doncaster Rovers)
Kessack - John Ogston (Aberdeen & Doncaster Rovers)
Nelson - Mark Paston (Napier City Rovers, Bradford City, Wellington Phoenix & New Zealand)
Brown - Willy Nimmo (Alloa Athletic & Doncaster Rovers)
Pryer - Hubert Pearson (West Bromwich Albion)
Sowerby - Tom Rowlandson (Sunderland & England Amateurs)
Lynch - Tom Moore (Darlington)
Dalgleish - Geoff Morton (Watford & Southend United)
Burns - Tom Hetherington (Burnley & Gateshead)
Lockhead - Harry Fearnley (Leeds United & Newport County)
July - Willy Gueret (Millwall, Swansea City & MK Dons)
Knox - Stan Gullan (Clyde, Queens Park Rangers & Montrose)
Blackstoke - John Miller (Dumbarton)
St Aubyn - Dwayne Miller (Harbour View, Syrianska & Jamaica)
McQ - Steve Anderson (Dumbarton, Alloa Athletic & East Fife)
Cromwell - Ernie Beecham (Fulham & Queens Park Rangers)
Carr - Jack Bell (Sunderland, Accrington Stanley & Bradford Park Avenue)
Pafford - Harry Medhurst (West Ham United, Chelsea & Brighton)
Preston - William Young (Brentford)
Lewington - Jimmy Whitehouse (Grimsby Town, Aston Villa & Manchester United)
Wheeler - Fred Nickson (Liverpool)
Stirling - Jim Ferguson (Brentford & Notts County)
Baden - Robert Radford (Port Vale)
Chase - Percival Parr (Oxford University & England)
Nelson - Walter McBride (Oxford University)
Gilding - Graham Davies (Watford, Colchester United & Merthyr Tydfil)
Scobie - Will Huffer (Leeds United)
Charlton - Freddie Houldsworth (Swindon Town, Stoke City & Reading)
Bell - John Brown (Clyde, Dundee & Scotland)
Stirling Brown - Alex Ferguson (Gillingham, Swansea Town & Bury)
Walker - Ethan Ross (Worcester City & Colchester United)
Riddell - Ed Robson (Portsmouth, Sunderland & Wrexham)
McDonald - Ronnie Sinclair (Bristol City, Stoke City & Chester City)
Young - Matt Middleton (Southport, Sunderland & Bradford City)
Twaddle - Archibald Milliken (Kilmarnock & Dumbarton)
Blackstock - John Miller (Dumbarton)
Smithson - Charles Blakey (Lincoln City & Doncaster Rovers)
Campbell - Israel Campbell Money (St. Mirren)
Wardlaw - John Johnston (Motherwell)
Gourlay Nicholl - Bob Wyllie (Dundee United, Blackpool & Mansfied Town)
Mackie - Jackie Wren (Hibernian, Berwick Rangers & Hellenic)
Cullen - Joe Duckworth (Aberdare Athletic, Reading & Brighton & Hove Albion)
Devlin - Eddie Connachan (Dunfermline Athletic, Middlesbrough & Falkirk)
Glover - Fred Craig (Plymouth Argyle, Hamilton Academical & Motherwell)
Parkinson - Harry Dukes (Ipswich Town & Norwich City)
Rutherford - William Douglas (Queens Park)
Rambo - David Becker (Correcaminos & Inter de Lages)
Montandon - Herbert "Monty" Garland-Wells (Clapham Orient & Fulham)
Robertson - Stuart Garden (Brechin City, Forfar Athletic & Notts County)
Brown Robertson - Bert Gebbie (Queen of the South & Bradford Park Avenue)
Smith - Jimmy Raeside (Third Lanark & Bury)
Bell Alexander - Bobby Reid (Swansea Town, Arbroath & Raith Rovers)
McIntosh - George Ramage (Third Lanark, Colchester United & Leyton Orient)
Garvin - Jim Stewart (Kilmarnock, Middlesbrough & Rangers)
Harrington - James Trafford (Manchester City, Accrington Stanley & Bolton Wanderers)
Denman - Jack Cooper (Barnsley & Newport County)
Brymer - James Crumley (Dundee Hibernian, Darlington and Bournemouth & Boscombe Athletic)
White - Bob Hepburn (Third Lanark & Ayr United)
Charlton - Jimmy Maidment (Newport County, Notts County & Accrington Stanley)
Espie - Ally Maxwell (Motherwell, Rangers & Greenock Morton)
Liddell - Andrew Aitken (Liverpool & Hartlepools United)
Watkin - Dan Allsopp (Nottingham Forest)
Hughes - Bobby Beale (Brighton & Hove Albion & Manchester United)
Gunn - John Falconer (Cowdenbeath, Celtic & East Stirlingshire)
Halbert - Doug Flack (Fulham & Walsall)
Gwendy - Joseph Hughes (West Ham United & Bolton Wanderers)
Gemmell - Frank Walker (Queen's Park, Third Lanark & Scotland)
Leitham - Peter Gardiner (Falkirk & St. Johnstone)
Unfortunate Monikers
When Australia were beaten 17-0 by a touring English FA XI in 1951, their goalkeeper was one Norman Conquest.
In 1958, Danish side Frem Copenhagen had a goalkeeper called Bent Koch on their books.
In 2005, Nottingham Forest signed a young goalkeeper by the name of Paddy Gamble.
Has there ever been a more apt name for a Scottish goalkeeper than Dundee United's Hamish McAlpine?
Shrewsbury Town once had a goalkeeper by the name of Dick Brush.
French side Bordeaux have the unique distinction of having not one but two goalkeepers called Dropsy on their books - former French international Dominique Dropsy and his son Damien.
Back in the 1980s, schoolboys around England had a good laugh or two at the expense of Brighton & Hove Albion's Perry Digweed and Crystal Palace's Perry Suckling.
Egypt's goalkeeper in their only game of the 1934 World Cup was Mustafa Kamel Mansour, who later played for Queen's Park while studying in Scotland.
In 1964 Darlington signed the delightfully named Ray Snowball from non-league Crook Town.
Keeping with the winter theme, York City signed Jack Frost from Grimsby Town in 1948 after he was "frozen out" at Blundell Park.
Port Vale and Middlesbrough had a goalkeeper on their books called Joe Frail, who was once suspended by Vale after he missed a train to a match against Rotherham United and failed to give a suitable reason as to why.
Chelsea once signed a goalkeeper called Les Fridge, who only played once for the Blues in a 5-1 defeat against Watford. He later enjoyed a career north of the boarder with St. Mirren and Clyde among others.
NASL side Chicago Sting once signed a keeper called Paul Coffee.
There can't be many goalkeepers named after a United States president but Belize international Woodrow Wilson West is certainly one of them.
Belgian goalkeeper Cyprien Baguette earned his "crust" between the sticks for Charleroi and FC Brussels.
Keeping it in the Family
Spurs and England goalie Ian Walker's Dad Mike used to keep goal for Colchester United back in the Seventies. Mike tried to buy his son during his first spell in charge of Norwich City.
Midfielders Stephen Clemence and Sam Shilton decided not to follow in their fathers' footsteps and battle it out for the England No1 spot like their dads, Ray and Peter, did in the late 70s/early 80s. They both opted for a career in the middle of the park instead, although Stephen was once forced to play in goal for Birmingham City after Nico Vassen was sent off.
Peter Schmeichel's son Kasper followed in his father's footsteps, signing pro-forms with Manchester City before enjoying a career with Leicester City and Leeds United among others.
Dad Bobby may have played for Wales and been manager of the Welsh side at the time but when it came to his own International career Celtic keeper Jonathon Gould opted to play for Scotland instead, receiving a call-up to the Scottish World Cup Squad in 1998 following Andy Goram's departure.
Birmingham City once boasted brothers Bob and Dave Latchford in their line-up. Centre forward Bob later found fame and fortune with Everton and England while their brother, Peter, who also happened to be a goalkeeper like Dave, went to Scotland and won an awful lot of trophies with Celtic.
Former Glasgow Rangers and England goalkeeper Chris Woods' great uncle was none other than Eric Houghton, one of the first stars of the modern game between the wars.
Only one set of goalkeeping brothers have ever been part of the same World Cup squad. Victor and Vyacheslav Chanov went to the 1982 World Cup Finals with the Soviet Union as understudies to Rinat Dassajev but neither played a game.
Irish goalie Tommy Gordon let in nine goals when he won his last International cap against England in 1895. His brother Hugh just happened to be making his International debut in the very same game. A third brother, Willie, also later played for the Irish national team.
Chelsea legend and former England international John Hollins' brother Dave played in goal for Wales.
Brothers Willie and Elisha Scott both played in goal at full international level for Ireland.
Goalkeeper Jimmy Trainer and his brother Harry both played for Wales towards the end of the 19th Century. Jimmy even captained his country when Wales played England between the years 1895-97.
Goalkeeping ran strong in the Springett family. Ron was capped thirty-three times by England, keeping seven clean sheets along the way, and was part of the 1966 World Cup winning squad while brother Peter was an England Under-23 International.
England also capped goalkeeping cousins Harold Pearson and Harry Hibbs. Pearson's father Hubert was also a goalkeeper and was picked to play for England against France in 1923 but missed the match through injury and was never selected again.
England and Nottingham Forest liked to keep it in the family at the turn of the century. Goalkeeper Harry Linacre played alongside his brothers-in-law Frank and Frederick Forman while at Forest and all three were capped by England, albeit in separate games.
The Republic of Ireland also like to keep it in the family. When keeper Alan Kelly was injured against Turkey in the recent Euro 2000 play-offs manager Mick McCarthy called up his older brother Gary to the squad to replace him for the second leg. Their father, Alan Snr, was also a goalkeeper and played for Preston North End.
England goalkeepers Billy Moon and Teddy Taylor both had relatives who played Test cricket for England. In Moon's case it was his brother Leonard while Charlie Hallows was Taylor's cousin.
Former England and Nottingham Forest full back Jim Iremonger was a tall bloke but his brother Albert, who played for Notts County, was taller. At 6' 5", Albert was one of the tallest goalkeepers ever to play League football. He also scored an own goal after taking a penalty at the opposite end of the pitch...
Former Spurs and England keeper Ted Ditchburn's father was once a champion boxer.
Reg Birkett, the first football international to play rugby union for England, came from a strong rugby playing family. Both his son and his brother were also rugby union internationals.
Balding Bulgarian goalie and former Reading 'keeper Borislav Mihaylov followed in his father's footsteps when he went between the sticks. His Dad kept goal for the national side during the 1960s while his son, Nikolay, made it a hattrick of international keepers when he made his debut for Bulgaria in 2006.
Wolves' Michael Oakes father is former Manchester City defender Alan Oakes. Michael's cousin, Andy Oakes, played for Derby County.
Spanish giants Barcelona can boast another father and son goalkeeping dynasty with current shot-stopper Jose Reina following in his father's footsteps. Miguel Reina played for the Catalan side in the 1970s as well as keeping goal for Athletico Madrid later in his career.
Aston Villa's Peter Enckelman's father, Göran, played for Finland against England at Wembley in 1976.
Former Manchester United and England goalie Gary Bailey had a lot to live up to. His dad, Roy, was Ipswich Town's Championship-winning custodian in 1962.
Another player with a lot to live up to is Chelsea's Carlo Cudicini. Father Fabio was capped by the Italian national side and is a legend at AC Milan.
Italian keeper Gianluigi Buffon comes from a very sporting family - his dad was a shot-putter, his mother used to throw the discus while his two sisters play in Italy's top volleyball league! What's more, former AC Milan and Inter goalkeeper Lorenzo Buffon is a distant cousin.
The first pair of brothers to play together at international level were James and Robert Smith of South Norwood Football Club, who played for Scotland in the first ever international against England way back in 1872. Robert Smith started the game outfield but replaced captain Bob Gardner in goal at the start of the Second Half. Both he and Gardner kept a clean sheet in a 0-0 draw.
Former Spurs player David Howells played alongside his goalkeeping brother Gareth in the Tottenham youth team. Gareth later went on to play for Torquay United and currently turns out for non-league Aldershot.
It has often been said that there is nothing harder than following in your father's footsteps. Thankfully, Pele's son, Edinho, saw sense and decided to become a goalkeeper, playing for the same team as his dad, Santos.
Saudi Arabia's long-serving keeper Mohammad Al-Deayea replaced his brother in the Saudi National team before going on to play in two World Cup finals.
Southampton and Wales goalkeeper Paul Jones followed his eldest brother Mark into League football. His brother once had a spell with Hereford United.
The Dunne brothers both played for Manchester United during the 1960s. Goalkeeper Pat made several appearances during United's Championship winning season of 1964/65 before being replaced by Alex Stepney. He went on to play for the Plymouth Argyle and the Republic of Ireland while fullback Tony stay behind at Old Trafford and was part of the team that won the European cup in 1968.
Born in Southampton, both Aaron and Darryl Flahaven played for the Saints youth team before finding first team success at Portsmouth and Southend United respectively.
Kasey Keller's dad was a semi-pro softball pitcher in the States.
Celtic's Ronnie Simpson, who was first capped by Scotland in 1967, followed his father Jimmy, who played for Rangers, into the national side, although Jimmy had more sense than to go in goal...
One the most talented players ever to play for Bulgaria, Georgi Sokolov, was the son of a goalkeeper, the legendary - in Bulgarian football at least! - Apostol Sokolov.
Joe and George Sealey, have both followed the example set by their late father Les, the ex-Manchester United, Aston villa and Luton Town custodian, and are trainee goalkeepers at one of their father's former clubs, West Ham United. It's also worth noting that Les Sealey's uncle was former West Ham United striker Alan Sealey.
Manchester City stalwart Tony Book's brother, Kim, also played professional football and was the unfortunate goalkeeper between the sticks for Northampton Town when George Best ran riot for Manchester United in an 8-2 victory. Kim's son Steve followed him into goal, playing for the likes of Cheltenham and Swindon Town.
Goalkeeper Hans Klodt played alongside his brother, winger Bernhard, in the FC Schalke 04 side that dominated German football in the 1930s.
French international goalkeeper Fabien Barthez's father was a top-class Rugby Union player. Fabien himself used to play rugby before taking up football.
Former Bolton Wanderers and England goalkeeper John Sutcliffe's brother Charles was also a keeper, turning out for Sheffield United in the 1925 F.A. Cup Final.
Ipswich Town youngster Carl Pentney hopes to go one better than his dad, Lloyd, by making his League debut before too long. Despite playing non-league football with the likes of Clacton Town, Harwich & Parkeston and Wivenhoe Town, the nearest Lloyd came to the Coca-Cola Championship was the Rymans League.
Dynamo Kiev keeper Nikolai Trusevich played in the same all-conquering Kiev side as his brother-in-law, Iosif Livshitz. Trusevich later played for FC Start against the German military, including the infamous 'Death Match', during the Second World War after he was taken prisoner.
There's only two John Lukics... Former Arsenal and Leeds United goalkeeper John Lukic's son, also called John, was signed by Grimsby Town in the summer of 2005. John is also a goalkeeper like his father, er, John.
Uruguayan international and Nacional de Montevideo goalkeeper Sebastián Viera also followed in his father's footsteps. Mario Viera was also a goalkeeper for some note and played for his country in the 1979 FIFA World Youth Championship in Japan.
Crawley Town goalkeeper Scott Ward, on the other hand, decided not to following in the footsteps of his brothers, Darren and Elliot, both of whom are centre halves for Crystal Palace and West Ham United respectively.
When New Youngs met Air Force in a Sri Lankan FA Cup tie in June 2006, there was a bit of sibling rivalry involved. New Youngs lined-up with Damith Dayawansa between the posts while Air Force had his brother Saman as their goalkeeper. The game was eventually abandoned after Damith was arrested for going AWOL from his military unit. His unit? The Air Force, of course!
Football was in the blood of Icelandic brothers Johannes and Alti Edvaldsson. Johannes turned out for Celtic and Motherwell while Alti plied his trade in Germany with Borussia Dortmund and Fortuna Dusseldorf. Both were capped at international level. Their father, Evald Mikson, was also a footballer and played in goal for Estonia. He fled to Iceland at the end of the Second World War after collaborating with the Nazis.
Manchester City legend Frank Swift's brother, Fred, was also a goalkeeper and turned out for Oldham Athletic. During the summer months they ran a pleasure boat together on Blackpool seafront!
Rosenborg goalkeeper Espen Johnsen's younger brother, Marius, plays in defence for Start and Norway.
Malcolm Webster, who had spells with Arsenal, Fulham, Southend United and Cambridge, was goalkeeping coach at Norwich City when his son, Ben, had a trial with The Canaries in 1999. He now plays for Soham Town Rangers.
Jose Mourinho may not have played football professionally but his father, Felix, kept goal for Portugal, and gave "The Chosen One" his first job as a scout at Rio Ave.
Thomas Ravelli's twin brother, Andreas, was also a professional footballer, playing alongside his brother at IFK Göteborg. Both were capped by Sweden, although goalkeeper Thomas won 143 caps to his brother's 41.
Welsh international Leigh Richmond Roose was the brother-in-law of Jack Jenkins, a Welsh rugby union international.
Pat Jenning's son, also called Pat, has played professionally with Eircom League clubs UCD and Derry City.
Former Spanish international Luis Arconada's brother, Gonzalo, is now manager of Real Sociedad.
The much-travelled Andy Dibble, who kept goal for seventeen different clubs during his career including Middlesbrough and Manchester City, followed his father Alan into goals after initially playing as a left back at school.
Franck Songo'o, the son of former Cameroon international Jacques Songo'o - who played in every World Cup between 1990-2002, can be seen strutting his stuff as a midfielder with Portsmouth at Fratton Park.
Josh Lillis followed his father's footsteps by signing professional forms with Scunthorpe United. However Josh decided to be a goalkeeper rather than centre forward like his dad, Irons' stalwart Mark Lillis.
The Brazilian Football Federation obviously like to keep it in the family. When former international goalkeeper Aymoré Moreira became coach of the national side, eventually leading them to World Cup glory in 1962, one of his predecessors was his brother Zezé. A third brother, Ayrton, was alos a respected coach in Brazil.
Dutch brothers, Ruud, who kept goal for Barcelona and Roda JC, and Danny, who played for NEC, Roda and AZ Alkmaar amongst others, both carved out respectable professional careers during the 1990s.
American international Nick Rimando is married to female soccer star Jacqui Little, who plays for Washington Freedom.
When former Manchester United Youth team midfielder David Fox joined Blackpool in January 2006, he teamed up with his dad Peter, The Seasiders' goalkeeping coach who used to keep goal for Stoke City in the 1980s.
Some might say Liverpool have got it in for this family, but having dispensed with the services of goalkeeper David James some years ago, the Merseyside club saw fit to release his nephew, striker James Frayne, in the summer of 2006.
During the 1950 and 60s, the Unity Club of Belize benefited from the footballing talents of Keith Gardiner and his goalkeeping brother, Charlie.
Liverpool and England goalkeeper Scott Carson's brother, Grant, is also a keeper and currently on the books of Carlisle United.
The Cooper family have strong links with Dallas football. Having played for Blackburn Rovers, Kenny Cooper Senior joined the Dallas Tornado in the North American Soccer League and became an NASL All-Star. His son, also called Kenny, is now a centre forward for FC Dallas in the MLS.
Croatian international Joey Didulica's brother, John, is a former player and the current CEO of the Australian Professional Footballers' Association.
Donald Farquharson, son of Tom Farquharson who played in goal for Cardiff City when they won the FA Cup in 1927, emigrated to Canada and become one of the leading exponents of Masters Athletics in the 1970s. His son, Steve, became a Minor League Hockey player.
French footballing brothers Sébastien and Nicholas Frey both ply their trade in Italy. Sébastien keeps goal for Fiorentina while Nicholas plays for Modena in Serie B. Their father, Raymond, and grandfather, André, also played professionally.
The Late Niccolò Galli, who played for Arsenal and Bologna, was the son of former Italian international goalkeeper Giovanni Galli.
Goalkeeping is in the blood of the Henderson family. Wayne Henderson currently plays for Brighton & Hove Albion and is a Republic of Ireland international while his nephew Stephen is on Aston Villa's books. Wayne's father Paddy kept goal for Shamrock Rovers in the 1960s while his older brothers, Dave and Stephen, both played with some success in the League of Ireland.
China have benefitted from the goalkeeping expertise of the Jiang family with brothers Jin and Hong both turning out for the national side.
Australian brothers Jason and Michael Petkovic have both been capped by the Socceroos, having played for the same junior club, Spearwood, in Western Australia. Jason later turned out for Perth Glory while Michael kept goal for South Melbourne.
Celestine Babayaro's goalkeeping brother, Emmanuel was part of the Nigeria squad that won gold at the 1996 Olympic Games.
Maccabi Haifa's Nir Davidovich followed in the footsteps of his father, Benjamin, who also played in goal for Haifa after the Second World War.
Dynamo Moscow goalkeeper Vasily Frolov has a lot to live up to. His grandfather was Lev Yashin.
Norwich City and Scotland keeper Paul Gallacher is the son of Jim Gallacher, a goalkeeper who played Scottish League Football for 22 years between 1968 and 1990, firstly with Arbroath and more famously with Clydebank.
Sparta Prague's Zdenek Zlámal's followed his uncle František between the sticks and it was his uncle, who kept SK Slavia Prague in the 1970s, who bought him his first pair of gloves.
Another Sparta Prague keeper who followed the family tradition is Zlámal's teammate Milan Švenger, who's father was also a professional goalkeeper, donning the gloves for FK Jablonec 97 and FC Bohemians 1905.
Israeli Under-21 goalkeeper Ohad Levita Hapoel and his grandfather, Yair Levita, both kept goal for Kfar-Saba FC.
Hartlepool United's Danish keeper Jan Budtz, who has also kept goal for Doncaster Rovers, has a twin brother, Ole, who is a defender with Aarhus.
Former Celtic and Motherwell goalkeeper Gordon Marshall followed his father, also a goalkeeper called Gordon, into the game. But while Gordon Senior was capped by England at under-23 level, Gordon junior elected to play for Scotland, winning one full cap against the United Stated in May 1992. His brother Scott also became a professional footballer and went on to play for Southampton and Celtic, but elected not to become a keeper like the rest of his family.
David Martin is the son of former West Ham defender Alvin Martin. His brother Joe followed in his father's footsteps and became a defender.
Paraguay goalkeeper José Luís Chilavert was selected alongside his brother, Rolando - a midfielder, for the 1986 World Cup Finals in Mexico.
The much travelled Nathan Abbey also has a brother who is also a professional footballer. However, unlike the former Luton Town, Chesterfield and Boston United goalkeeper his brother Zema prefers to play up front.
For the Wallace family, it was like father like son. Jock Wallace senior kept goal for Raith Rovers, Derby County and Blackpool while Jock Wallace junior carved out a modest career with Berwick Rangers, Airdrieonians and West Bromwich Albion before tasting success as a manager with Glasgow Rangers and Leicester City, famously scaring future tv presenter Gary Lineker in the process!
Uruguayan international Walter Corbo played alongside his brother Ruben Romeo, a left winger, in the Penarol side of the 1970s.
Tottenham's Ben Alnwick has a brother Jak who is also a goalkeeper and currently in the youth set-up at Newcastle United.
Football played a big part in the Behan family. Keeper Billy played for Shelbourne and Shamrock Rovers and had a spell with Manchester United in the 1930s while his brothers John and Paddy also played for Shamrock. His son, William junior, followed in the family footsteps and also kept goal for the Rovers side.
French goalkeeper Damien Dropsy kept it in the family when he signed his first professional contract with Girondins Bordeaux in 2006. His father Dominique played over 200 times for the club before retiring after a successful career that included stints with RC Strasbourg and the French National Side.
Former Spanish international Juan Carlos Ablanedo playerd alongside his elder brother José Luis, who was a centre half, in the Sporting Gijón side of the 1980s.
FC Twente's Cees Paauwe followed his older brother Patrick into the world of Professional football. However, while Cees chose a career between the sticks, Patrick preferred to play in midfield, carving out a career with Fortuna Sittard, Feyenoord and Borussia Mönchengladbach amongst others.
Juan Valdivieso, who played for Peru in the 1930 World Cup Finals, later watched his grandson, also called Juan, compete in the swimming events at the 2000 and 2004 Olympic Games.
Sunderland goalkeeper Trevor Carson is the nephew of comedian Frank Carson.
FC St. Pauli's Mathias Hain is the younger brother of Eintracht Braunschweig's goalkeeping coach Uwe Hain.
Another pair of goalkeeping brothers were the Hancocks - Ken and Ray. Ken, the younger of the two siblings, had the more impressive career, playing for Ipswich Town, Tottenham Hotspur and Bury after following his brother into the first team at Port Vale.
Cousins Jasmin and Samir Handanovic have both kept goal for the Slovenian national side.
Liverpool legend Sam Hardy's nephew, Eddie, and grandson, also called Sam, both played professionally for Chesterfield. Hardy's cousins, brothers Ernest and Harry Blackwell kept goal for Sheffield United and Aberdeen respectively.
The Brown family of Troon could boast of three brothers who played professionally. The eldest, Jim, carved out a career in the United States and despite being born in Scotland went on to be part of the USA team that reached the semi-finals of the 1930 FIFA World Cup while his brother John kept goal for Hibs and Clyde and was capped by Scotland. The third and youngest brother, Tom, kept goal for Ipswich Town but lost much of his career to World War Two, when he served as a commando in the armed forces.
Former Scottish international Andy Goram's Dad, Lewis, also played in goal, turning out for Third Lanark and Bury after the Second World War.
Ghana international keeper Richard Kingson has played alongside his brother Laryea Kingston in the national side. The difference in spelling is apparently due to "irregularity on their identity documents" although the Ghanaian FA list both players as 'Kingston'.
New Zealand goalkeeper Frank van Hattum, who went to Spain in 1982 with the All-Whites for the World Cup, came from a sporting family. Two of his sisters - Marie-Jose Griffith and Grazia MacIntosh (née van Hattum) - also represented New Zealand at international level in the women's game while a third - Stella - was a member of the Kiwis' karate squad.
Shamrock Rovers had keeper Tony O'Dowd and his brother Greg on their books in the late 1990s.
Although Colin Stewart followed in his fathers footsteps - former Scotland international Jim Stewart - by breaking into the Kilmarnock first team he could emulate his dad's impact, playing only once for Killie compared to Stewart Senior's 136 appearances. He later married Julie Fleeting, star of the Women's game in Scotland.
It's often said that goalkeepers are mad but there are two who could safely call themselves Mentel - former Inter Bratislava keep Miroslav and his son Filip, who plays for Dundee United.
Former Israeli Under-21 goalkeeper Danny Amos' brother Nathan is a notable rugby union player.
Former Chester City and Carlisle United goalkeeper Jim MacLaren led the way for his three younger brothers, who were all on the books of at least one football league side. Roy played for St. Johnston, Bury and Sheffield Wednesday, Dave for Dundee, Leicester City and Plymouth Argyle and finally Monty, who was signed by Liverpool
Willie White, who played in goal with distinction for Hearts and Southampton, was also one of four brothers who played top-class football - John was an inside-forward with Heart of Midlothian and Leeds United, Thomas played for Motherwell while James had a spell with Alloa Athletic
Former Norwich City goalkeeper Bryan Gunn's son, Angus, followed in his father's footsteps and signed for The Canaries as a schoolboy before earning a move to Manchester City in the summer of 2011. However, unlike his father and despite his name, Angus had no intention of playing for Scotland and declared himself available for England, earning several Under-16 caps and representing his country of birth up to Under-21 level, before a change of heart saw him make his debut for Scotland in the opening Euro 2024 qualifier against Cyprus.
Walsall's Dávid Gróf's father Attila also played professionally as a goalkeeper turning out for Ujpest Dozsa, Videoton, Honved and Hungary during his career.
Northern Ireland goalkeeping legend Pat Jenning's son, also called Pat, has made his own mark in the game, turning out for UCD, Derry City and Glenavon in an eleven-year career.
Goalkeeper Eddie Edgar and his son David both played professionally for Newcastle United. Eddie enjoyed some success with Hartlepool United before joining the NASL while David joined Burnley and has been capped by Canada.
George Raikes, who made four appearance for England in the later 1890s, also enjoyed a successful County Cricket career, as did his brother Ernest and his nephew Thomas.
Conor Ripley, son of former Middlesbrough and England winger Stuart, followed his dad into the Boro side, albeit between the sticks.
Former Southampton and York City goalkeeper George Thompson had the privilege of seeing both his sons following in his footsteps. George Jnr played with distinction for Scunthorpe United, Preston North End, Manchester City and Carlisle United and was a losing FA Cup finalist in 1954 with North End while Des enjoyed a career with York City, Burnley and Sheffield United.
There was plenty of football talent in the Milburn family - with Jackie, Jack, Jim, Stan and George all playing professionally, not to mention their World Cup Winning nephews, Jack and Bobby Charlton. However, it's Jack, Jim, Stan and George's brother-in-law, Jim Potts, who is of most interest, having kept goal for Leeds United!
Francisco Quintero Nava, who represented Mexico during the 1948 Olympic Games in London, is the grandfather of Atlanta Silverbacks keeper Felipe Quintero Monsivais.
Northern Ireland enjoyed the services of the Irvine brothers during the 1960s while Burnley striker Willie Irvine was scoring at one end, Stoke City and Linfield keeper Bobby Irvine was keeping them out at the other end.
Arsenal's Wojciech Szczesny followed in his father, Maciej, into both the Legia Warsaw side and the Polish National team. His brother Jan is also a goalkeeper and currently plies his trade with Gwardia Warsaw.
Brothers Ralf and Falk Fährmann both ply their trade between the sticks in Germany. Ralf, a former U-21 international, currently plays for Schalke 04 while Falk was on the books of FSV Zwickau.
Former Scunthorpe United, Wrexham and Halifax Town goalkeeper Darren Heyes is the son of George Heyes, who kept goal for Leicester City and Swansea.
Ex-Russia international and Chelsea goalkeeper Dmitri Kharine's younger brother, Mikhail, was also a professional keeper but failed to reach the heights his brother attained and was restricted to Torpedo Moscow's reserve team for most of his career.
Dale Belford may have only managed one league appearance in his career - for Notts County in 1987 - but son Cameron has already over 100 appearances to his name after spells with Bury and Southend United while Cameron's brother Tyrell is currently on Liverpool's books.
Another player with a pair of goalkeeping sons is former Shelbourne United player Robert O'Neill. Eldest son Alan enjoyed spells with Shamrock Rovers and Dundalk while his younger brother Dermot made over 400 appearances for Bohemians and Glenavon.
St. Mirren goalkeeper Grant Adam is the younger brother of Scotland midfielder Charlie Adam.
San Marino's Aldo Simoncini often plays in the national side alongside his twin brother Davide. In September 2010, the brothers set an unfortunate record when they became the first twins to score an own goal in the same game in international competition, with Sweden being the fortunate beneficiaries of such generosity!
Former Watford and Grimsby Town goalkeeper Steve Sherwood's older brother, John, won a bronze medal in the Men's Hurdles at the 1968 Olympic Games.
Tony Macedo, Fulham's Gibraltarian goalkeeper in the 1950s/60s, was the son of a former Spanish international footballer who played for Real Madrid.
Not wishing to compete with his father, Ulf Kirsten, who was a German international and finished as the leading goalscorer in the Bundesligh three times, son Benjamin decided to become a goalkeeper rather than a striker, carving out a career with Dynamo Dresden.
Former Charlton Athletic and Republic of Ireland keeper Dean Kiely's son Chris was once on Gillingham's books.
The Football League boasted a trio of footballing brothers either side of the Second World War in Frank, Ray and George King. Frank kept goal for Everton and Derby before injury cut his career short while Ray made over 250 appearances for Port Vale. George was the black sheep of the family and became a centre forward.
South Africa's Kaiser Chiefs once boasted goalkeeper Itumeleng Khune and his younger brother Lucky on their roster.
Double Olympic swimming gold medalist Rebecca Adlington is the grandniece of former Derby County and Torquay United goalkeeper Terry Adlington.
Swedish legend Ronnie Hellström's son, Erland, followed in his father's footsteps, keeping goal for Assyriska Föreningen and Hammarby amongst others.
Kyle Letheren is another goalkeeper who followed his father's career path. The much travelled former Wales Under-21 keeper, who has been on Swansea City and Kilmarnock's books amongst others, his the son of one-time Leeds United and Swansea City stopper Glan.
Between the wars, Bristol City had three brothers on their books - Jack, Arthur and Frank Vallis. Frank played over 200 times on goal for the Robins.
Not only were brothers Elias and William Owen capped by Wales in the late 19th Century, but their cousins Morgan and Hugh Morgan-Owen also represented the principality.
Stoke City had all four Baddeley brothers - Amos, George, Sam and Tom - on their books at one time or another during their careers. Only Tom was a goalkeeper.
Former Millwall, Bolton and Republic of Ireland goalkeeper Keith Branagan's son Ritchie made two appearances for Bury before joining Salford City in 2012.
Belgium international and Liverpool keeper Simon Mignolet followed in his father Stefan's footsteps when he abandoned a career in midfield to go in goal.
Rene Higuita, the Colombian madcap goalkeeper, had the pleasure of seeing his son Cristian Andrés Higuita also become a professional footballer with Asociación Deportivo Cali. He was also capped by Colombia's U-20 side although he opted to play in midfield rather than go in goal.
Stoke City's Asmir Begovic is another goalkeeper who followed in his father's footsteps. His dad, Amir, kept goal for FK Leotar FK Iskra in his native Yugoslavia.
Republic of Ireland international Darren Randolph, who's career has seen him keep goal for Charlton Athletic, Motherwell and Birmingham City amongst others, is the the son of Ed Randolph, one of the first American imports into the Irish Basketball League.
Standard Liege keeper Yohann Thuram-Ulien, who spent the 2013/14 season on loan at Charlton Athletic, is the cousin of former France international defender Lilian Thuram.
Spurs, Wolves and Newport County goalkeeper Mark Kendall once played in goal against his son Lee. Kendall senior was between the sticks for Cwmbran while Kendall junior kept goal for Barry Town during a Welsh Premier League game in 2000.
United States international goalkeeper and double Olympic gold medalist Hope Solo is married to former NFL star Jerramy Stevens, who played for the Seattle Seahawks and Tampa Bay Buccaneers.
Goalkeeper Will Lilley played alongside his brother Harry for Sheffield United from1890-1894.
Former Darlington, Millwall and Middlesbrough goalkeeper Pat Cuff's son Phil played rugby for West Hartlepool.
Bert Crossthwaite, who kept goal for Fulham, Birmingham City and Blackpool before the First World War, had a cousin called Harry who played for Stockport County and Stoke City.
When Wimbledon's FA Cup winning goalkeeper Dave Beasant joined Stevenage Borough as a their specialist goalkeeping coach in the summer of 2014, one of the keepers in his charge was his son, Sam.
Former Birmingham City goalkeeper Dan Tremelling, who was also capped by England, had a younger brother, Billy, who also played professionally with Blackpool and Preston North End.
French football legend Zinedine Zidane's four sons are all members of Real Madrid's youth team academy and currently playing for various different clubs in Spain. However, while Enzo, Theo and Elyaz all followed in their father's footsteps and play in midfield, Luca proved to be the real genius of the family and opted to go between the sticks and carve a career out as a goalkeeper.
The Millington brothers, Grenville and Tony both carved out careers as the last man of defence, although Tony was the marginally more successful of the two. While Grenville chalked up around 300 appearances for Chester, Tony enjoyed spells with West Brom, Peterborough United and Swansea City and was capped 21 times by Wales. The two faced each other in January 1971 when Swansea beat Rhyl in the third round of the FA Cup, 6-1.
PSV Eindhoven and Netherlands goalkeeper Jan van Beveren was part of a very sporting family. His father Wil van Beveren represented the Netherlands at 1936 Olympic Games, competing against Jesse Owens in the 200 metres, while his mother was also a regional athlete. His brother, also called Wil, was one of the few bespectacled footballers to play professionally.
Jan Jongbloed, who kept goal for Holland in the 1974 and 1978 World Cup Finals, was still playing professionally for Go Ahead Eagles at the age of 44 when his son, Erik, was playing in the fourth tier of Dutch football with Amsterdamsche Football Club Door Wilskracht Sterk (DWS). Sadly Erik was killed when he was struck by lightning during a game against VV Rood-Wit (See Quirky Injuries).
The Mandanda family can boast of four goalkeepers in their ranks with brothers Steve, Parfait, Riffi and Ever all making the grade as professionals. Steve, the eldest of the four, is first choice at Marseille and a French international. Parfair keeps goal for Belgian side Charleroi and is also an international but with the Democratic Republic of Congo while Riffi has been capped at Under-16 level and is in Caen's squad. Ever, the youngest of the brood, is the first-choice keeper for Lusitanos Saint-Mau.
The sons of former Partick Thistle goalkeeper Brian Osborne both followed in their father's footsteps and into the professional game north of the border. David Osborne enjoyed a spell with Fort William late his career while his brother Mark played for Albion Rovers.
Chelsea's Thibaut Courtois' sister is Valérie, is a Belgian international volleyball player. Courtois' parents were both volleyball players too.
American international Hope Solo is married to former American football player Jerramy Stevens, former receiver with Seattle Seahawks and Tampa Bay Buccaneers.
Blackburn Rovers and Scotland striker Jordan Rhodes is the son of former Oldham Athletic and St. Johnstone goalkeeper Andy Rhodes.
Goalkeeper John Gardiner and his son Ross, a defender, both played for Dundee United and Montrose during their respective careers.
Former Brentford keeper Gordon Phillips' sons Kelly and Trent both became footballers, albeit at non-league level for Staines Town, although only Trent was a goalie.
Queen of the South stalwart Alan Davidson was the son of former FIFA referee Bob Davidson, who officiated in three World Cup finals.
East Germany's Horst Weigang, who enjoyed a career with Lokomotive Leipzig and Rot-Weiß Erfurt, is the father of swimmer Birte Weigang, who won three medals at Seoul in the 1988 Olympic Games.
Gary Plumley, who played for Newport County and Cardiff City, married Olympic showjumper Debbie Johnsey. Their daughter Gemma is also an established rider and competes professionally.
Accrington Stanley and Berwick Rangers goalkeeper Tom McQueen was the father of Manchester United and Scotland centre half Gordon and assistant secretary and treasurer of the Scottish Junior Football Association, Iain McQueen.
Former Millwall, Wolverhampton Wanderers and Manchester City winger Mark Kennedy's brother Brendan enjoyed as successful career as a goalkeeper in the Republic of Ireland with Kildare County, Dublin City and Monaghan United among others.
Another pair of Irish brothers that enjoyed careers in football were Mick and Ollie Kearns. Mick kept goal for Oxford United and Walsall, winning 19 caps for Eire in the process, while Ollie was a striker with Reading, Walsall, Hereford United and Wrexham.
San Jose Earthquakes and Team USA keeper David Bingham followed in the footsteps of his sister, Kimberley, who represented the United States at Under-19 and Under-21 level.
Alf Jefferies, who made over 100 appearances between 1947-54 for Brentford, had strong family connections at Griffin Park. Both his brother and son were also contracted to the Bees, although neither made a first team appearance.
Former Glasgow Rangers goalkeeper Gerry Neef's daughter Melanie was a successful 400-metre runner during the mid-1990s, winning the Scottish and British titles at the distance.
Lionel Messi's grandfather, Julio Musimessi, won 14 caps in goal for Argentina and played over 100 times for both Newell's Old Boys and Boca Juniors.
Juan Valdivieso, who kept goal for Peru in the 1930 World Cup finals and in the Summer Olympics of 1936, had the pleasure of seeing his grandson, Juan Pablo Valdivieso, also become an Olympian, albeit as a swimmer, representing Peru in the 2000 and 2004 Olympics.
Czech Republic international Petr Kouba, who kept goal in the 1996 European Championships, followed in his father Pavel's footsteps, keeping goal for both Sparta Prague and the Czechoslovakian national team.
Cardiff City, Scunthorpe United and Charlton Athletic goalkeeper Ken Jones came from a rather large footballing family. His father Emlyn enjoyed a career with Southend United while uncles Shoni, Ivor, Bryn and Bert plus cousins Bryn and Cliff also played while Ivor's great grandson, Scott Neilson, later became a professional footballer. Must be something in the genes...
Father and son James and Jim Barron both enjoyed professional careers between the sticks. James' career with Blackburn Rovers was brought to a premature end by the Second World War but Jim had slightly more success with Oxford United, Nottingham Forest, Swindon Town and Connecticut Bicentennials among others.
Two of Bermudian defender Derek Bell's children followed him into the game. His daughter, Cheyra, won three international caps as a striker while his son, Tahj-Michael, won two caps for the mens' national team as a goalkeeper and enjoyed brief spells with Hitchin Town and Aylesbury United in England.
Moldova international goalkeeper Nicolae Calancea's elder brother, Valeriu, has won World and European weightlifting titles for Romania.
United States international Joe Cannon's twin brother John was a minor league baseball pitcher with the Shreveport Swamp Dragons, who were affiliated to the San Fancisco Giants. Their brother Cody played water polo with the junior national team while the youngest brother, Colt, was an amateur world champion skateboarder!
Sporting Gijón goalkeeper Jesús Castro González's brother, Enrique (who was also known as Quini), was a striker who also played for Sporting as well as Barcelona.
The Chileshe family produced three goalkeepers, all of whom carved out careers in their native Zambia. The most successful of the three was Vincent, who was named Zambian Footballer of the Year in 1977 and represented his country thirty times, while younger brother was Vincent's back-up when the pair were at Nchanga Rangers in the 1980s. The eldest brother, Richard, played for Konkola Blades in the late Sixties.
AC Milan's Gianluigi Donnarumma older brother Antonia was also on Milan's books but failed to start a game for the Rossoneri but went on to enjoy a successful loan spell with Bari.
Former PSV Eindhoven and Feyenoord goalkeeper Ton van Engelen's son Yvo was on NAC Breda's books before joining TOP Oss.
Victorian goalkeeper and England international John Maynard's son, Alfred, was also capped by his country albeit as a Rugby Union player.
Lincoln City keeper Bill Sissons' cousin, Albert, was a centre forward for Leeds United. Albert's son Graham was a defender with Birmingham City and Peterborough United among others.
Former Catania, Cagliari and Bologna goalkeeper Roberto Sorrentino's son, Stefano, followed in his father's footsteps and kept goal for Torino, AEK Athens, Chievo and Palermo.
Allan van Rankin, a Mexican goalkeeper of Dutch descent, has a twin brother, Elliot, who is a racing driver in the NASCAR Corona Series plus another brother, Josecarlos, who plays for Pumas UNAM in the Mexico league.
Former Sheffield United and Hartlepool United goalkeeper John Hope's two sons, Chris and Richard, both joined the professional ranks as defenders. Chris racked up over 500 league appearances during a career that included spells with Scunthorpe United and Gillingham while Richard made more than 350 appearances for a variety of clubs including Northampton Town and Shrewsbury Town.
Arsenal Ladies and Republic of Ireland goalkeeper Emma Byrne is married to former Queens Park Rangers and Crewe Alexandra defender Marcus Bignot.
Southampton goalkeeper Harry Lewis is the grandson of former Manchester City and Shrewsbury Town goalkeeper Ken Mulhearn.
The Roffey family have a strong relationship with Sutton United with both Dave Roffery and his son Trevor turning out for the club in goal. Dad Dave was part of the Sutton team that lost 6-0 to Don Revie's all-conquering Leeds United side in the FA Cup back in 1970 while Trevor was between the sticks when the club famously beat Coventry City in the same competition in 1989.
In a similar vein, Kevin and Kyle both played for Tampa Bay Rowdies but while Kevin was a goalkeeper, his son Kyle preferred a career in midfield.
Football and cricket played a big part in the lives of the Storer family. Woolwich Arsenal and Liverpool goalkeeper Harry Storer and his brother, William, who played for Derby County, also played cricket for Derbyshire. Harry's son, Harry junior, followed in his father's footsteps, turning out for Grimsby Town and Derby and playing cricket for the same county.
Tino Lettieri, who kept goal for Canada in the 1986 World Cup as well as enjoying a career with Minnesota Kicks and Vancouver Whitecaps, married the daughter of Minnesota North Stars hockey player and general manager, Lou Nanne. Lettieri's son, Vinni, decided to follow in his grandfather's footstep and took up ice hockey, joining the New York Rangers in 2017.
Slovenia international Jan Oblak's sister, Teja, is also an international, representing Slovenia at Basketball.
Southampton and Clapton Orient goalkeeper Arthur Wood was the son of former England international striker Harry Wood.
Jimmy Maidment had the unique distinction of not only playing alongside his brother at Lincoln City but also his uncle, inside left Billy Charlton, during a spell with Newport County.
Lincoln City goalkeeper William Gresham played in the Imps first-ever league game alongside his brother James way back in 1892. The brothers were ever-present in Lincoln's debut season.
Football talent certainly ran in the Furr family, with brothers Harry, George, Vic and Willie all playing professional football during the early part of the 20th century. However only Harry was a goalkeeper, turning out for Brentford and Leicester Fosse among others. As an aside, their sisters Amelia and Miriam both married footballers too - William Grimes and George Payne respectively.
Croatian goalkeeper Miro Varvodić followed in his father Zoran's footsteps when he made his debut for Hajduk Split in 2006.
Olympic figure skating gold medalist Robin Cousins came from a sporting family. His father, Fred, had ambitions to be a professional goalkeeper and was once on the books of Millwall Football Club.
Archie Boyd played alongside his brother James for Heart of Midlothian before the start of World War One.
Roy Ironside, who kept goal for Rotherham United in the 1961 League Cup Final team, started something of a football dynasty in Yorkshire, with not only his son but also his grandson following in his footsteps and carving out a career in professional football. Son Ian was also a goalkeeper, spending the majority of his career with Scarborough but grandson Joe turned his back on the family trade and became a striker, turning out for Sheffield United.
Albania international goalkeeper Foto Strakosha, who won 73 caps for his country, was followed onto the international stage by his son, Thomas, who currently plays for Inter Milan. His eldest son, Dhimitri, was a striker who played for Albanian club KF Himara.
Tom Baddeley, who played over 300 times for Wolverhampton Wanderers before the First World War, had three brothers - Amos, George and Sam - who also played professional football, albeit as outfield players.
Former Bolton Wanderers, Wigan Athletic and Finland goalkeeper Jussi Jääskeläinen's son William is currently on the books of Crewe Alexandra, having come up through the youth ranks of his father's former club, Bolton.
Baltika Kaliningrad, Torpedo Moscow and Ukraine goalkeeper Aleksandr Pomazun watched his son, Ilya, follow in his footsteps when he made his debut for CSKA Moscow.
Oscar Wirth, who won 12 caps for Chile and was part of their 1982 World Cup squad, had the privilege of seeing his son turn out for not one but two of his former clubs - Colo-Colo and Universidad Católica.
Ex-Botafogo goalkeeper Helton Leite is the son of Brazilian international João Leite.
Former Barcelona goalkeeper Ruud Hesp played alongside his brother, defender Danny, during his three-year spell with Roda.
Father and son Agustín and Ignacio Eizaguirre enjoyed similar careers, turning out for both Real Sociedad and Spain. Agustín won a Silver Medal at the 1920 Olympic Games in Antwerp with while Ignacio kept goal during the 1950 World Cup Finals in Brazil.
The Scottish League Cup tie between Stranraer and Clyde in July, 2018 saw Blues goalkeeper Max Currie come up against his older brother Blair, who was between the sticks at the other end of the pitch. Blair won bragging rights around the family dinner table with Clyde enjoying a 3-1 victory.
Norwegian Arild Andresen kept goal for Vålerenga alongside his brothers Thorbjørn and Ivar in the 1950s.
The Foster family of Barbados dominated the island's international football team during the 1930s. For one match, against Trinidad in November 1933, goalkeeper Collin Foster lined up alongside his Dad, Kelly, his brother, Reyn, and two cousins Seymour and Leon. His brothers, Mike and John, and a third cousin, Lisle, also later played for Barbados.
Former Bolton Wanderers goalkeeper Stan Hanson, who kept goal for the losing side against Blackpool in the Matthews Cup Final of 1953, came from a footballing family. His brother Alf was an Outside Left for Liverpool and Chelsea and won a cap for England.
Liverpool goalkeeper Alisson Becker followed in his brother Muriel's footsteps when he graduated from Internacional's youth team to keep goal for the Colorados.
Brothers Jim and Alex Ferguson both carved out professional careers between the wars. Jim played for Brentfor and Notts County while Alex kept goal with Gillingham, Bury and Swansea Town among others.
Livingston goalkeeper Liam Kelly is the brother of St. Mirren, AFC Wimbledon and Ross County defender Sean Kelly
France's World Cup winning captain Hugo Lloris also has a brother who is a defender. Gautier, who is the younger sibling of the Tottenham goalkeeper, currently plays for Nice.
England cricketer and one-time Southampton goalkeeper Phil Mead's brother-in-law Frank Englefield was a teammate during his time at The Dell.
Old Malvernians goalkeeper Joe Mears was the son and nephew of Joseph and Gus Mears and eventually joined the board at Stamford Bridge, where he was chairman when they won their first League title in 1955.
Jürgen Klinsmann's son Jonathan decided not to follow in his father's footsteps and play upfront. Instead he saw sense and decided to go in goal instead, turning out for Hertha Berlin and FC St. Gallen as well as United States youth sides.
French goalkeeper Jérémy Deichelbohrer, who enjoyed spells with Sochaux, Tours and Dijon, followed his father, Gilles, into the world of professional football, albeit as a goalkeeper rather than a midfielder like his dad.
Another goalkeeper to follow in his father's footsteps was Rangers legend Peter McCloy. Jimmy McCloy had enjoyed a career with St. Mirren and Bradford City before the start of World War Two.
Germany goalkeeper Frank Rost, who enjoyed spells with Werder Bremen and Schalke 04, came from a very sporting family. His father Peter won a gold medal at the 1980 Olympic Games in handball while his mother Christina, won handball silver at the 1976 Summer Olympics and bronze at the 1980 Games.
It may come as no surprise to learn that TOP Oss goalkeeper Ronald Koeman Jr is the son of former Netherlands captain Ronald Koeman. His uncle Erwin and grandfather Martin also played for the national team.
French goalkeeper Alban Lafont is another keeper to come from a sporting family. The Fiorentina keeper, who made his debut with Toulouse in 2015, followed in the footsteps of his grandfather who played for ten years in Burkina Faso while his mother was a member of the national handball team.
The Coddingtons were something of a footballing dynasty, albeit with various levels of success. Having started out at Middlesbrough, Luke Coddington enjoyed spells with Huddersfield Town and Northampton Town while his Dad Matthew was also a goalkeeper at Middlesbrough, although he never made an appearance. Luke's grandfather John was also a professional footballer who played as a defender, who captained Huddersfield Town in the 1960s.
Newcastle United's 1951 FA Cup winning goalkeeper Jack Fairbrother was the nephew of former Everton and England outside left George Harrison.
Guinea-Bissau international keeper Papa Fell's brother, Ousmane, is a FIFA referee.
Odds BK goalkeeper Sondre Rossbach is the son of former Norway international Einar Rossbach, who played for Pors Grenland, Lyn and Odd Grenland among others.
Chester City's Grenville Millington, who once snapped a goalpost during a game, was the younger brother of Peterborough and Swansea City keeper Tony Millington.
He may have lived in the shadow of his brother Johnny, who enjoyed a successful career with AZ67 Alkmaar, Real Madrid and Nottingham Forest, but goalkeeper Edward carved out a pretty decent career of his own with Haarlem and Sparta Rotterdam, winning one cap with for the Netherlands.
Argentine goalkeeper Rubén Cousillas, who enjoyed a ten-year spell with San Lorenzo and is probably best known being the assistant manager to Manuel Pellegrini at Manchester City and West Ham United, has a son Agustín who is also a professional goalkeeper and on the books of Uruguayan club Rentistas.
GIF Sundsvall and AGF goalkeeper William Eskelinen decided not to become a striker like his father Kaj, who ended the 1990 Allsvenskan season in Sweden as top scorer.
Striker Roy Massey, who carved out a career with Orient, Colchester United and Rotherham United, was the grandson of former Doncaster Rovers and Sheffield Wednesday goalkeeper James Massey.
Paraguay goalkeeper Ricardo Tavarelli sister Giselle married his international teammate Roque Santa Cruz.
Dijon and Olympiacos goalkeeper Bobby Allain's uncle Xavier Perez kept goal for French club Red Star in the 1980s.
Scottish goalkeeper Ray Allan, who enjoyed spells with Cowdenbeath and Brechin City, was the grandson of former East Stirlingshire goalkeeper George Kyle.
When Dino Ballarin was signed by Torino in 1947 he joined his brother Aldo, who was an established defender in the great Grande Torino team. The brothers both perished in the Superga air disaster after Aldo convinced the club to take Dino as reserve goalkeeper for the ill-fated friendly against Benfica.
Spanish goalkeeper Armando Ribeiro, who spent the majority of his career at Cadiz, had the pleasure of watching his son Alain play in midfield for CD Vitoria while on the coaching staff of the opposition, Athletic Bilbao's farm team CD Basconia. His youngest son Iban, is also a professional footballer.
Former Exeter City goalkeeper Ross Bellotti is the son of Derek Bellotti, who played for Charlton Athletic, Southend United and Swansea City among others during his career.
Goalkeeper Chris Weale, who played for Yeovil Town, Leicester City and Shrewsbury Town during his career, has a twin brother, Sam, a modern pentathlete who competed for Great Britain at both the 2008 and 2012 Summer Olympics.
Brothers Len and Jack Weare both carved out careers as goalkeepers. Jack played for Wolverhampton Wanderers, West Ham and Bristol Rovers while Len played over 600 times for Newport Count and was inducted into their Hall of Fame in 2012.
Former Twente goalkeeper Joël Drommel's father Piet-Jan was also a professional footballer and played for AZ and SC Telstar.
Wales Ladies goalkeeper Jo Price comes for a very sporting family. Her father and uncle both played rugby for St. Davids RFC while two of her brothers played for St. Davids' football team. Her elder sister Katie also played hockey.
American goalkeeper Caroline Stanley, who represented the United States at under-20, under-18, under-17, and under-15 level, is married to Baltimore Orioles pitcher John Means.
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It is a final resting place fit for "The King": six months after the death of the man widely considered the greatest footballer of all time, Brazil opened Pele's gilded, football-turfed burial chamber to the public Monday. Pele, who died on December 29 at age 82 after a battle with cancer, was laid to rest…
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It is a final resting place fit for “The King”: six months after the death of the man widely considered the greatest footballer of all time, Brazil opened Pele’s gilded, football-turfed burial chamber to the public Monday.
Pele, who died on December 29 at age 82 after a battle with cancer, was laid to rest at the Ecumenical Memorial Cemetery in Santos, Brazil. It is a high-rise, 14-story mausoleum that holds the Guinness world record for the tallest cemetery on Earth.
Fans were greeted by two life-size golden statues of the player nicknamed “O Rei” — The King — whose remains rest inside a large golden vault displayed in the middle of a 200-square-meter (more than 2,000-square-foot) room carpeted in artificial turf.
“It surpassed my expectations. It’s a really beautiful place,” said Ronaldo Rodrigues, 44, a businessman who was first in line to visit the tomb, along with his wife.
“I hope lots of tourists will come visit and get to know a little about Pele’s story, what he represented for Santos, Brazil and the entire world.”
Born Edson Arantes do Nascimento, Pele is the only player in history to win three World Cups (1958, 1962 and 1970).
He scored a world record 1,281 goals during his more than two-decade career with Santos (1956-74), the New York Cosmos (1975-77) and the Brazilian national team.
In tears, Pele’s son Edinho told reporters who flocked to the southeastern port city that the family was still struggling to cope with their loss.
“But we’re also very proud and happy at all the affection and reverence that’s kept pouring in,” he said.
For now, entries to the tomb are limited to 60 people a day, via a sign-up form on the cemetery’s website.
Topped with a cross, Pele’s golden vault has black etchings on its sides, depicting his 1,000th goal and his famous raised-fist goal celebration. The room is wallpapered with images of fans in a football stadium.
The resort-like cemetery also features an auto museum that now includes the Mercedes Benz S-280 the company gave Pele in 1974 to commemorate his 1,000th goal.
“It’s a place that’s rich in detail, all lovingly assembled in tribute, as the ‘King’ deserves,” cemetery manager Paulo Campos told AFP.
The mausoleum sits less than a kilometer (0.6 mile) from the Vila Belmiro, the stadium where Pele played most of his storied career.
Credit : Voice of America (VOA), Photo Credit : Associated Press (AP)
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Christopher Kamara (born 25 December 1957), often referred to as "Kammy", is an English former professional football player and manager who worked as a presenter and football analyst at Sky Sports from 1992 to 2022.
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كريس كامارا (بالإنجليزية: Chris Kamara) هو معلق رياضي ولاعب كرة قدم ومدرب كرة قدم بريطاني في مركز الوسط، ولد في 25 ديسمبر 1957 في ميدلزبرة في المملكة المتحدة. لعب مع برادفورد سيتي وستوك سيتي وسويندون تاون وشيفيلد يونايتد وليدز يونايتد ونادي برينتفورد ونادي بورتسموث ونادي لوتون تاون ونادي ميدلزبره. (ar)
Christopher Kamara (born 25 December 1957), often referred to as "Kammy", is an English former professional football player and manager who worked as a presenter and football analyst at Sky Sports from 1992 to 2022. As a player, he was known as a tough-tackling midfielder. He joined the Royal Navy at the age of 16, before being signed by Portsmouth in November 1974. He spent three years at the club before being sold on to Swindon Town for £14,000. He returned to Portsmouth in 1981 for a £50,000 fee but was transferred to Brentford in October 1981. He spent four years with the "Bees" before leaving the club after picking up a runners-up medal in the Football League Trophy in 1985. He re-signed with Swindon Town in August 1985 and helped the club to two successive promotions into the Second Division. He moved on to Stoke City in 1988, and a successful spell with the club won him a move to Leeds United in 1990. He helped the club to the Second Division title in 1989–90 but was injured for eight months before being sold to Luton Town for £150,000 in 1991. He had loan spells with Premier League clubs Sheffield United and Middlesbrough, before joining Sheffield United on a permanent basis in 1993. The following year he joined Bradford City as a player-coach. He was appointed Bradford City manager in November 1995 and took the club from a relegation scrap to promotion out of the Second Division via the play-offs in 1996. He left the club in January 1998 and quickly took the reins at Stoke City, before he left the "Potters" in April 1998. From there he became a broadcaster with Sky Sports and has since appeared as a presenter on numerous other television programmes. (en)
Christopher „Chris“ Kamara (* 25. Dezember 1957 in Middlesbrough) ist ein ehemaliger englischer Fußballspieler und -trainer. Der Mittelfeldspieler war zunächst bei unterklassigen Profiklubs beschäftigt, bevor er im späten Fußballeralter von 32 Jahren mit Leeds United erstmals in der ersten Liga spielte. Er galt als eine der schillerndsten Figuren im englischen Fußball der späten 1970er bis frühen 1990er Jahre und sah sich aufgrund seiner dunklen Hautfarbe häufig rassistischen Ressentiments ausgesetzt. Nach einem nur kurzen Wechsel ins Trainerfach im Anschluss an seine aktive Karriere entschied er sich für eine journalistische Laufbahn als Experte und Reporter und ist dort zumeist für den Fernsehsender Sky Sports tätig. (de)
Christopher Kamara, couramment appelé Chris Kamara, est un footballeur puis entraîneur anglais, né le 25 décembre 1957 à Middlesbrough, Angleterre. Évoluant au poste de milieu de terrain, il est principalement connu pour ses saisons à Portsmouth, Brentford, Swindon Town, Stoke City et Luton Town ainsi que pour avoir entraîné Bradford City et Stoke City. Depuis la fin de sa carrière, il s'est reconverti comme consultant, présentateur télé et acteur. (fr)
Chis Kamara (Middlesbrough, 25 dicembre 1957) è un ex allenatore di calcio ed ex calciatore inglese, di ruolo centrocampista. (it)
Christopher ("Chris") Kamara [uitspraak: 'kɑmɑrɑ ; 'kamara', niet Afrikaans 'kamaara']? (Middlesbrough, 25 december 1957) is een Engels televisiepresentator en voormalig voetballer van Sierra Leonese afkomst. Kamara was een middenvelder. (nl)
Кристофер Камара (англ. Christopher Kamara; 25 декабря 1957, Мидлсбро, Англия) — английский футболист, играющий на позиции полузащитника. (ru)
Christopher Kamara (Middlesbrough, 25 de Dezembro de 1957), mais conhecido por Chris Kamara, é um ex-futebolista inglês que jogava como meio-campista. Depois de se aposentar dos campos, treinou as equipes do Bradford City e Stoke City por alguns anos, antes de se tornar comentarista esportivo no canal Sky Sports. (pt)
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12 characters and a 40-year history
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2022-05-12T00:00:00
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Unicamp publisher completes four decades in a trajectory that is intertwined with that of the University; exhibition portrays the period
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en
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https://unicamp.br/unicamp/sites/default/files/favicon_3_0.ico
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Unicamp
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https://unicamp.br/en/unicamp/ju/noticias/2022/05/12/12-personagens-e-uma-historia-de-40-anos
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It was in a small room on the campus of the State University of Campinas, in Barão Geraldo, that the history of Editora da Unicamp began. Institutionalized in December 1982, the organization has reached 40 years as a reference in the publishing market, with more than 1,2 published titles. O Journal of Unicamp heard from 12 characters, including former directors and active employees, who helped to amalgamate this trajectory, which will be the subject, among other actions, of an exhibition to be opened on May 13th (Friday), at the Cesar Lattes Central Library.
Listen to the audio from Rádio Unicamp about the exhibition.
Linguist Edwiges Morato, director of the Unicamp Publishing House and professor at the Institute of Language Studies (IEL), reveals that the exhibition commemorating the Editora's 40th anniversary includes a set of events and celebration of milestones of editorial and academic interest relating to the year 2022.
According to the director, in this context, an exhibition is also planned in June with titles from the catalog that refer to the bicentenary of Independence, the centenary of the Modern Art Week and the one hundred years of the rise of fascism. In September, continues Edwiges, the Book Festival will take place in the Unicamp gymnasium, which will be accompanied by the seminar “Discussing Brazil and the world”, organized by the Editorial Board.
“The perception of the Editora as an academic and cultural entity, part of the university body, is the main guide for the editorial policies and initiatives of the current management”, reveals Edwiges, who has been in the position for a year.
Among the priorities of her mandate, the director highlights the dynamization of communication, the opening and expansion of lines, Collections and Editorial Series, the promotion of seminars and academic events associated with editorial production and documentary actions aimed at disseminating its practices and of your objectives.
On another front, the director plans to draw up a five-year structural and functional plan for the Editora within the scope of Unicamp's Planes (Strategic Planning).
Asked to evaluate the role of the Editora over its 40 years, Edwiges considers that it is not possible to dissociate the line of action of an academic publisher from the values disseminated or assumed by the university to which it belongs.
In this sense, the linguist reaffirms, “the Editora reaches maturity with much to be proud of and open to the various challenges that it will always face, due to its scientific-cultural vocation and its concern with the objectives of Unicamp, a university of excellence, public, free and socially referenced”. (Read article by Edwiges Morato.)
Favorable situation
For the body's first director, historian Jaime Pinsky, the Editora emerged in a situation that brought together conditioning factors that would result in its creation, including the weakening of the military dictatorship and the expansion of the University in all areas - from physical space to faculty and staff.
Furthermore, Pinsky recalls, there was a pressing need to disseminate the teaching content produced by teachers, both inside and outside the classroom. “We invested in this aspect, including in co-editions, with publications from all areas of knowledge”, recalls the historian, who at the time was a professor at the Institute of Philosophy and Human Sciences (IFCH).
In the opinion of Pinsky, whose management was from 1983 to 1985, a university press can and should be a channel of communication between the production of knowledge and society. “Unicamp is a storehouse of talent and competent professionals. It is up to the Editor to circulate and democratize the knowledge produced in our space”, he says.
The graphic secretary Ednilson Tristão, known as Edinho, is another witness to the beginnings of the Editora, which he joined in 1990 after working as a messenger in the Rector's Office. “Professor Carlos Vogt [rector between 1990 and 1994] saw me drawing, thought I had talent and suggested I look for a position in the publishing department’s graphics department”, he recalls.
In his more than 30 years in the profession, Edinho has witnessed all the transformations that the sector in which he works has undergone – from covers made on the drawing board, with ink, to the most advanced software. Performed the functions of diagrammer, inker, editorial producer, graphic arts technician until reaching the position of graphic secretary, which he currently holds.
Tristão highlights that, over the course of more than three decades of work, contact with different contents enabled his professional improvement, materialized in recognition for the work carried out, both among peers and in the form of awards. “The Editora has always been a source of knowledge and inspiration for me.”
Sílvia Helena Pires de Campos Gonçalves joined the Editora's administrative sector in 1989, being transferred two years later to layout, a role she held for more than two decades, moving back and forth between other areas of the organization.
Like Tristão, Sílvia witnessed several changes in the book's production processes. “I went from linotype to digital. I had the privilege of going through all the stages, from the initial steps to completion, including the bureaucratic part, marketing and distribution”, says Sílvia.
The employee returned to the administrative sector in 2018, but never stopped expressing the importance of the book in her professional career. “EveryoneMy wealth of knowledge was acquired in this relationship with the works published by the Editora”, he states. “I often say that participating in the creation of a book is like gestation. All things considered, I must have had around 600 children”, he jokes.
Breaking the lock
For linguist Eduardo Guimarães, director of Editora in two periods (1986-1997 and 2013-2017), an One of the organization's main hallmarks lies in the fact that it created conditions so that many Unicamp professors and researchers could publish their works, breaking the blockade of a market governed, invariably, by profit. “Unknown authors found their space. Many gained notoriety, even receiving awards”, he points out.
On the other hand, Guimarães assesses, the publisher made it possible to publish important works in the history of science, philosophy and the arts, including in this list classics that had not had a new edition for a long time. “The publisher kept works that would be unlikely to be republished available to interested parties. That’s how he started to have an expressive catalogue”, says Guimarães. “In parallel, the Editora knew how to follow new market movements, such as the publishing of ebooks and online sales”, he adds.
The former director, who is a professor at IEL, highlights as relevant initiatives of his two administrations the publication of teaching manuals and collections dedicated to poetry and the history of thought, the implementation of sales and distribution mechanisms, and the implementation of two Editora bookstores in campus by Barão Geraldo.
It was in one of these bookstores that the journey of Ana Lúcia Ângelo de Andrade began at Editora in March 1996. Originally from Monte Castelo (SP), Ana Lúcia remembers that, when she disembarked in Campinas to accompany her brother who had suffered an accident, she only had a suitcase and R$700 in her bag. “After 26 years, I built a house and gave another to my mother”, says Ana Lúcia, now working at the Livraria da Editora located in the Unicamp Central Library.
“I am very grateful to Editora for everything I have achieved, but what moves me is working with the public, which is very diverse and interested. Book selling is an art”, says Ana Lúcia, whose routine includes a lot of reading and daily updates on the titles that hit the shelves. “I often recommend works to clients.”
In addition to reading, the employee mentions daily contact with students and teachers as a source of expanding her personal and professional horizons. She fondly remembers, for example, the frequent incursions of sociologist Octavio Ianni, who, as soon as he entered the Bookstore, between comments on books and conversations about prosaic topics, would always tell Ana, with affection, that he had a granddaughter of the same name. “This type of interaction made my learning a daily experience. I have evolved a lot thanks to my work at Editora.”
Ezequiel Theodoro da Silva, director of Editora between February and December 1998 and collaborating professor at the Faculty of Education (FE), reveals that his experience at the head of the body he paved the way for learning about the techniques and stages of producing printed books. “In this way, I was able to bring together the reception pole – reading, the focus of my academic concerns – with the printed production pole of a professional publisher.”
The former director says he has always related the Editora's work to the flow and amplification, through different means, of Unicamp's academic production, especially scientific production. “The multiple awards received throughout its history are clear proof of its excellent editions in terms of care in the selection process and professionalism in the editing processes”, evaluates Ezequiel.
Correct strategy
Like his predecessors, mechanical engineer Luiz Fernando Milanez, director between 1999 and 2002, believes that Editora da Unicamp adopted the correct strategy by prioritizing the dissemination of works authored by professors, researchers and students at the University.
In the former director's opinion, it is up to university publishers to fulfill this role. “This line of action and the different initiatives adopted over 40 years, including the publication of translations, classic texts and relevant works of academic and general public interest, have yielded awards and well-deserved recognition.”
Milanez, who was a professor at the Faculty of Mechanical Engineering (FEM), was the only director of the Editora not from the humanities area. “In the previous administration, I was part of the Editorial Board and the then dean Hermano Tavares asked me to take over the Editor on an interim basis while he looked for a name in the humanities. As no professor accepted the role, the dean asked me to direct the organization”, he recalls.
Jacion Sabino da Silva joined Editora as a patrolman in 2000, during Milanez's management. Two years later, he was hired as an administrative assistant, rising to other positions until he became commercial manager, a position he assumed in 2017. “I worked in all areas, with the exception of book production”, he is proud.
The fact of moving through different areas throughout his career allowed Jacion to acquire a vision of the whole. Currently responsible for the entire commercial area, the manager sees the implementation of stock as a game changer. “The Editora changed its level. The organization provided by the stock professionalized the commercial sector once and for all, it was a great evolution. The end consumer began to be served more quickly”, he diagnoses.
Father of an 11-year-old girl, Jacion credits Editora with his growth on all levels, from intellectual to professional. “Thanks to my work, I graduated in Accounting, started a family, lived with people who opened paths for me. I can say that I achieved everything I wanted,” he reveals.
The essayist and writer Paulo Franchetti, director of the organization between 2002 and 2013, adopts parsimony when taking stock of the Editora due to its different configurations in the period. “In its best moments, the Editora published books of great relevance; at its worst, it had a localist or accounting tendency, as if it were a printing press destined to publish local production or to gather resources”, he asserts.
“But, in general, especially those first years in which it had the full support of the Rectory, it was a good reference in the editorial world”, evaluates Franchetti. Teacher from the Institute of Language Studies when he took over, he reveals that he had three objectives: tmake the organization a national and international reference, both in terms of catalog and editorial quality; give fiscal existence to the Publisher; and create a regiment and a series of public standards.
According to Franchetti, the first objective was achieved through the choice of an Editorial Board of the highest level, making the Editora da Unicamp logo a seal of quality. The second, continues Franchetti, was achieved with the help of José Tadeu Jorge and Paulo Eduardo Rodrigues Moreira da Silva, respectively, general coordinator and pro-rector of University Development at the time. “The third was a result of the first two and was the easiest to carry out”, he recalls.
The power of the book
The journey of events supervisor Gracinda Maria Baptista, as well as that of some colleagues at the organization, is an emblematic example of how working at the Editora – and immersion in the book universe – can be transformative. Gracinda worked in the treasury of a school when she was fired. Needing a job, she joined Editora in 2000, as a cleaner, a role she held for three months.
Approved in a University competition, she soon went to reception, occupying roles in other sectors over the years, from the management secretariat to the administrative department. When working as an assistant in the Events sector, encouraged by the then director Paulo Franchetti, she decided to attend advertising and marketing college, enrolling after graduating in a Spanish course.
In 2007, she took on the role of events supervisor. In this role, she coordinated work at local, national and international biennials and fairs, even representing the Editora abroad. Gracinda resorts to modesty and gratitude when asked what she thinks of her career: “I never imagined becoming a supervisor. The Editora is like an extension of my family.”
For Márcia Abreu, director of the organization between 2017 and 2021, a university publisher must be guided by the dissemination of knowledge, fueling scientific debate and favoring the development of culture, without having financial results as its goal. “Although pecuniary gain is not its purpose, good sales results are an indication of correct editorial policy, as they suggest that the books have reached the hands of readers”, highlights Márcia.
“Combining good financial performance with the publication of relevant titles for various areas of knowledge and for the general public, the Editora's fundamental purpose is fulfilled”, believes the former director, who is a professor at the Institute of Language Studies.
Márcia Abreu states that her management prioritized a policy of lowering the price of books through various sources, including the website Editora, book fairs and events in campus. “We also consider that the reader's encounter with the book does not necessarily involve purchasing it. Therefore, the donation campaign was carried out for public institutions”, he concludes.
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JORNAL JOVEM PAN - 14/11/22
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Jovem Pan News war live.
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https://www.scribd.com/document/500686664/World-Cup
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Defender (Association Football)
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World Cup - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free.
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https://s-f.scribdassets.com/scribd.ico?a649fa1dd?v=5
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https://www.scribd.com/document/500686664/World-Cup
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Make Your Day
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By Rádio AratibaFacebook
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RECADOS E CANÇÕES!
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https://www.goalkeepersaredifferent.com/keepers/getting-personal.html
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Goalkeepers are Different
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Personal oddities, goalkeeper superstitions, goalkeeper nicknames and the family ties of goalkeepers around the world
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Personal Oddities
Manchester City and England goalkeeper Jim Mitchell is the only man to play for England while wearing spectacles, doing so in 1924 when capped against Ireland. He also played in the 1922 FA Cup Final for West Bromwich Albion wearing his specs.
Sheffield United's first ever goalkeeper was a bespectacled fellow by the name of Charlie Howlett.
Another keeper who played in his glasses was Swiss goalie Markus Schluepp, who played for St. Gallen in the late '70s/early '80s.
Former Millwall and Northern Ireland goalkeeper Ted Hinton used to keep his false teeth at the back of his net.
Newcastle United and Celtic goalkeeper Ronnie Simpson took great delight in telling the press how he kept his false teeth safe during games by rolling them in a handkerchief and putting them in his cap in the back of the net.
Queen of the South goalkeeper Willie Fotheringham actually left his false teeth in the back of his net following a game away to Arbroath. The gnashers were returned via a fish delivery lorry the following week.
After losing the sight of one eye in a car accident, Gordon Banks retired from the professional game but went on to play in the odd charity and exhibition match as well as spending a season in the North American Soccer League.
The oldest player ever to play a competitive game in England was New Brighton's Neil McBain, who turned out against Hartlepools United in a Division Three (North) game in 1947 at the ripe old age of 51 years and 120 days. McBain was New Brighton's manager and had to play as an emergency goalkeeper, almost 32 years to the day since he made his professional debut.
Former England international Dave Beasant was named as one of Stevenage Borough's substitutes during their league game against Carlisle United in October, 2014 at the tender age of 55.
In 1964, Sunderland goalkeeper Derek Foster became the youngest person to play in the First Division when he made his debut against Leicester City at the age of 15 years and 185 days.
The oldest player ever to appear in a World Cup Final was Italy's goalkeeper and captain, Dino Zoff, who played in the 1982 final in Spain aged 40 years, 4 months and 13 days.
At the age of 38 years and 232 days, Germany goalkeeper Jens Lehmann became the oldest player ever to appear in the European Championship final when Germany lost to Spain in 2008.
Egypt goalkeeper Essam El-Hadary becamse the oldest player ever to compete in the World Cup finals when he lined up against Saudi Arabia at the age of 45 in their group clash at the 2018 World Cup in Russia, marking his appearance by saving a first half penalty. El-Hadary broke the record set by Colombia's Faryd Mondragón, who made a substitute appearance at the 2014 Finals in a game against Japan at the tender age of 43 years and 3 days.
In January 2013, former Spanish international and Manchester United goalkeeper Ricardo came out of retirement to rejoin Osasuna after back-up keeper Asier Riesgo suffered a foot injury. Later that year he played against Real Madrid at the age of 41, becoming La Liga's oldest ever player in the process.
Cittadella keeper Andrea Pierobon holds the record for being the oldest professional player in the history of Italian football, having surpassed the previous record holder, fellow goalkeeper Marco Ballotta, in May. Pierobon is still going strong at the age of 45 in Italy's Serie B.
In April 2010, Dundee's Bobby Geddes replaced Tony Bullock in goal during a game against Raith Rovers after Bullock was forced off with a hamstring injury. Geddes was 49-years-old at the time.
Legendary Baggies Keeper John Osborne apparently had a plastic knuckle - but this didn't prevent him from winning the FA and League Cup with West Brom during the 1960s.
Bulgarian International and former Reading 'keeper Borislav Mihaylov gained notoriety during the 1994 World Cup Finals in the United States when he suddenly appeared with a full head of hair having been completely bald on top only weeks before. It turned out that he had decided to wear a wig to help promote his toupee company back home (During the Quarter Final game against Mexico, the poor man had to adjust his hairpiece under the protection of a towel after the blazing sun had caused him to sweat just a little too profusely…)
Probably the most instantly recognisable international goalkeeper of recent times was Faeroe Islands' goalie Martin Knudsen, who nearly used to always wear a bobble hat when he played.
In a similar vein, Hungarian goalkeeper Gábor Király always wears a pair of grey tracksuit bottoms rather than shorts when he plays.
Peterborough United goalkeeper Fred Barber used to run out onto the pitch wearing a Freddie Kruger mask from the film Nightmare on Elm Street. When The Posh reached Wembley in the play-off finals he was politely told it was not the done thing to do at the home of football but wore it anyway.
Former Glasgow Rangers and Scotland goalkeeper Andy Goram suffered from schizophrenia in the latter part of his career.
US international Tim Howard suffers from Tourette's Syndrome.
Tom Farquharson, Cardiff City's keeper in their 1927 FA Cup triumph, apparently always carried a hand gun with him!
Dutch goalkeeper Edwin Zoetebier used to bring his own lunch with him when he was with Feyenoord, which consisted of smoked fish, a speciality he first savoured when he was living in the seaside town of Volendam.
Turkish keeper Rüstü Reçber applies a thick layer of black charcoal under his eyes for almost every game, claiming that it helps block out the glare from stadium floodlights.
To celebrate winning his 50th international cap, Wales goalkeeper Paul Jones decided a trip to the barber's was in order and emerged from the players' tunnel sporting a "50" on either side with a Welsh dragon at the back. Unfortunately for Jones, he had a nightmare between the sticks as Slovakia ran out 5-1 winners in Cardiff.
Before the start of each half, Blackburn Rovers keeper Jason Brown performs a ritual that involves resting his head against each of his posts in turn, with his eyes closed and his hands in front of him as if in prayer.
Brazilian goalkeeper Carlos José Castilho was colour-blind and often had trouble picking out white balls during night games.
Having grown tired of continually being overlooked by successive England managers - despite a string of impressive performances - West Ham United's Robert Green decided to make point when the Hammers played Birmingham City in February 2008 by wearing a pair of gloves with "England's number 6" emblazoned across them.
Former American international Alan Mayer used to wear an ice hockey-style helmet when he kept goal during the 1970s.
Ned Doig, who kept goal for Sunderland, Liverpool and Scotland at the end of the 19th Century, always wore a cap when playing to hide his baldness.
When former Tottenham Hotspur goalkeeper Milija Aleksic began his career, he was so keen that he used to iron his bootlaces before playing.
Steve Ogrizovic was told he had to give up the fags if he wanted one final contract with Coventry City while the club were still in the top flight, which he duly did.
For reasons best known to himself, Saint-Etienne goalkeeper Jeremie Janot decided to don a Spider-man outfit in 2005 for a game against FC Istres and yes, that did include the mask...
Former Aldershot, Tottenham and Southampton keeper Ron Reynolds was reputedly one of the first professional footballers ever to wear contact lenses.
Australia's Mark Schwarzer has worn the same pair of shinpads since he was six years old.
Blackburn Athletic and Bradford Park Avenue goalkeeper Chick Farr was born with Syndactyly (webbed fingers).
Former West Bromwich Albion goalkeeper Jimmy Sanders used to wear his 1954 FA Cup Winners medal around his neck when serving behind the bar of his pub after he retired from football.
Airdrieonians keeper John Martin would often swing from the crossbar during games if supporters behind his goal asked him too!
Aberdeen's Harry Blackwell wore a waterproof coat and took to the field with an umbrella borrowed from a spectator in the inclement weather when Aberdeen beat Peterhead 13-0.
One-time Celtic and Portsmouth goalkeeper Dick Beattie was a horse-racing fan and used to wear a jockey's cap when in goal.
Tony Chursky, who kept goal for Seattle Sounders and Canada in the 1970s, was deaf in one ear as is Ajax, Fulham and Netherlands international Maarten Stekelenburg.
Namibia international goalkeeper Athiel Mbaha has been deaf since the age of seven and apparently communicates with his teammates by screaming at them.
Wigan Athletic's Chris Kirkland was the last top-flight goalkeeper to wear a baseball cap to keep the sun out of his eyes, doing so during a game against West Ham United back in 2009.
Former Southampton and Aldershot goalkeeper Tony Godfrey holds the distinction of being Basingstoke Town's youngest and oldest player. Having turned out for The Dragons while still a schoolboy, he returned for one game in 1985 at the age of 45 after an injury crisis left the club without a keeper.
Hungary's Gábor Király became the oldest player to appear in the finals of the European Championships when he turned out against Austria in the Magyars' opening game of 2016 at the age of 40 years and 75 days, beating the record held by Lothar Matthäus.
When Sander Boschker finally made his international debut for the Netherlands in 2010 at the age of 39, he became his country's oldest ever debutant and capped player.
AC Milan's Gianluigi Donnarumma became the youngest ever goalkeeper to start a match in the history of Italian football when he turned out for against Sassuolo at the age of 16 years and 8 months.
Bengt Andersson shows no signs of retiring from football just yet. The former Sweden international goalkeeper recently joined Särö IK on a semi-professional basis and has form in this department. One of the oldest players to have appeared in the Allsvenskan, he won the Swedish league title with IFK Göteborg for the first time at the tender age of 41, become the oldest player to do so in the process.
Indian goalkeeper Shilton Paul was named after England goalkeeper Peter Shilton. His dad was a big fan.
Ayr United goalkeeper Hugh Sproat admitted to Shoot! magazine in 1977 that he was such a fan of Punk Rock that he regularly wore earrings shaped like razor blades - one was green, the other blue in a nod to the auld firm...
When Arbroath famously beat Bon Accord 36-0 in the Scottish Cup back in 1885, their goalkeeper, Jim Milne Sr, was apparently such a spectator that he smoked his pipe during the game.
There were many tales about former Queen's Park and Hearts goalkeeper Jim Cruickshank, most of which were probably apocryphal. However, one of the most frequent stories shared about the goalie was habit of walking onto the field of play with a transistor radio hidden in his towel, which was placed carefully beside the post and occasionally adjusted during lulls in play so he could tune into the horse racing from various circuits around the country.
In the early 90s, West Ham United goalkeeper Ludek Miklosko received a compliment of sorts when Hammers fan Danny Noise changed his name by deed poll to Danny Miklosko in honour of the Czech stopper.
Dutch goalkeeper Diederik Boer enjoyed a successful career with PEC Zwolle despite missing the little finger of his right hand, meaning he plays with only 9 fingers.
Sweden international and former Chelsea Ladies goalkeeper Hedvig Lindahl suffers from vitiligo and has to apply high factor sunscreen before and during matches.
Former Dundee United goalkeeper Luis Zwick, who also had spells with Hansa Rostock and Schweinfurt 05, suffered from epilepsy as a child.
Denmark's Henry From was the epitome of cool when he faced a penalty in the semi-finals of the 1960 Olympic football tournament against Hungary. With his team leading 1-0, From readied himself for the spot kick by removing his chewing gum and sticking it to the side of his goalposts. After he saved Pal Varhidi's shot, he pciked the chewing gum off the post and put it back his mouth, with Denmark going on to win the game 2-0.
United States international goalkeeper Ruth Harker was blind in her left eye.
Birmingham City, Hibernian and Scotland goalkeeper Jim Herriot used to smear dollops of mud from his goalmouth under his eyes before a game to combat the glare from floodlights, especially during midweek games.
Roma's Francesco Quintini was reputedly the shortest goalkeeper to play in Serie A, standing at a height of just 1.68 m (5 ft 6 in).
Former Liverpool and Blackburn Rovers Ladies goalkeeper Danielle Gibbons was rendered deaf in her left ear following surgery in 2015 to remove a vestibular schwannoma.
Scottish goalkeeper Andy Greig, who enjoyed a career with Aberdeen, Darlington and Montrose either side of World War One, was born deaf.
Superstitious Goalkeepers
Former Wales international and Stoke City goalkeeper Leigh Richmond Roose was famously superstitious and always wore a lucky shirt beneath his goalkeeping jersey - an old black-and-green Aberystwyth top, was reputedly never washed.
Former Canadian international and Minnesota Kicks goalkeeper Tino Lettieri used to keep a lucky mascot in the form of a stuffed parrot called 'Ozzie' at the back of his net during games.
Something of a superstitious chap, former Scotland international Alan Rough always carried an old tennis ball and a key ring with a thistle motif on it to the ground with him and insisted on having a shave on the morning of every match. He always had to hang his clothes on peg No 13 too...
Another keeper with a superstitious streak in him was former Manchester United and England goalie Gary Bailey. The one-time Old Trafford custodian readily admits to using juju - an African form of black magic - during his spell with South African side Kaiser Chiefs. There must have been something in it as they won every domestic trophy while Bailey was in goal.
Aberdeen's Bobby Clark attributed his side's victory in the Scottish League Cup during the 1976/77 season to the white tie he wore with his match-day suit before every round, up to and including the final. Clark, a notoriously superstitious keeper, refused to change his tie during the competition, saying that it brought his side luck!
The much travelled former England goalkeeper David James has many pre-match superstitious rituals, probably the most disturbing of which is the need to spit on the walls of the changing room urinals before games.
Argentina's Sergio Goycochea developed an equally disturbing superstitious ritual during the 1990 World Cup Finals, namely urinating on the pitch before his side's penalty shoot-outs against Yugoslavia and Italy. It must have worked as Argentina won on both occasions to reach the final.
Ghana international Robert Mensah was something of a flamboyant goalkeeper who would often mock opponents by reading a newspaper while the game was in full flow. He was also prone to wearing an over-size flat cap during games in attempt to put strikers off and he'd often get into scraps when opposition players tried to remove it, believing it was bringing them bad luck through the use of juju.
Another Ghana goalkeeper with a lucky charm is Brimah Razak, who carried his favourite Spider-man action figure onto the pitch with him during the 2015 African Cup of Nations. Ghana reached the final but the comic book hero was powerless to prevent Razak from missing the decisive penalty in the shoot-out against the Ivory Coast in the final.
When former England international Reg Davies visited Bisham Abbey with Brian Clough's Derby County for a training session in the late 1960s, he refused to enter the building after being unnerved by a "ghostly vibe" that he picked up following the team's arrival.
Pior to every game he competed in, Irish keeper Shay Given, who enjoyed a successful career with Blackburn Rovers and Newcastle United among others, would place a vial of holy water from Lourdes at the back of his goal as a lucky charm.
Another Irish goalkeeper with a superstitious habit was Celtic custodian Packie Bonner, who carried a piece of clay from County Donegal with him in his glove bag.
When Scotland played in the 1978 World Cup finals in Argentina, goalkeeper Alan Rough took with him a good luck message from a Blue Peter viewer who won a competition on the programme and placed it in his net at the start of every game.
Jack Robinson, who played eleven times for England at the turn of the 20th Century and enjoyed spells with Lincoln City, Derby County and Millwall among others, was something of a superstitious chap and insisted on having a bowl of rice pudding before every game. There may have been something in it because the one time he failed to have his lucky pre-match meal, he was beaten eleven times!
Bristol Rovers goalkeeper Herbert Hoyle had a liking for oranges and apparently always placed one at the back of his net for good luck.
Iker Casillas is a rather superstitious goalkeeper. Among his many quirks is the need to touch his own crossbar whenever his team scored. However, one of Casillas' oddest rituals was when he wore his socks inside out on the advice of a gypsy prison inmate. He carried on doing so until manager Jose Mourinho benched him!
Former Liverpool goalkeeper Pepe Reina developed a couple of pre-match rituals during his time at Anfield. Before every game he used to fill his car up with petrol at the same service station - even if he didn't need to - and insisted on parking in bay 39 in the players' car park at the ground.
During UEFA Euro 2012, the Czech Republic squad decided not to shave, believing to do so would bring bad luck. Such was their commitment that goalkeeper Petr Čech refused to get out his razor even when his wife told him he looked awful and should have a shave!
Spartak Moscow goalkeeper Artem Rebrov kisses his goalposts before each game.
Before found international fame at the 1990 World Cup finals, Colombia goalkeeper Rene Higuita visited a fortune teller with Atletico Nacional teammate Carlos Perea in a bid to improve their form, who advised them that their fortunes would change if the team wore blue belts and underparts. Having taken the advice on board, the club went on to win the Copa Libertadores in 1989.
West Ham goalkeeper Adrian sought a bit of luck before his side's London derby against Chelsea during the 2017/18 season and thought rubbing the head of Argentine teammate Pablo Zabaleta during training sessions would do the job. The ritual earned the goalkeeper a bit of publicity, with the Spaniard telling journalists that rubbing a bald head is supposed to bring good luck but it didn't work as he was dropped in favour of England goalkeeper Joe Hart. The match ended 1-1.
Every time Barcelona score a goal, their keeper, German Marc-André ter Stegen, takes a quick drink from his water bottle, positioned at the side of his net.
Belgium goalkeeper Thibaut Courtois performs the same ritual prior to international games during the playing of his country's national anthem, La Brabanconne. While singing along to the anthem, Courtois touches his chin for good luck!
Borussia Dortmund goalkeeper Roman Burki has to touch the match ball before the game kicks off, sometimes going to extreme measures, including taking the ball off of mascots, in order to do so.
Coventry and Manchester City goalkeeper Perry Suckling kept a bible in the back of his net for good luck.
Former Leicester City and Bournemouth goalkeeper Ian Andrews was a creature of habit and always put his left boot on first before a match.
Back in 1996, when Rafael Benitez's tenure at Real Valladolid was under threat, his kit man placed some garlic behind the goal of Valencia goalkeeper Andoni Zubizarreta hoping to bring him some bad luck. It seemed to work as the former Spanish goalkeeper had to be replaced before the game after he was injured during the warm-up. Unfortunately for Benitez and his kit man, the in-coming Jorge Bartual played a blinder, winning the Man of the Match award as Valencia triumphed 5-2.
During is spell at Maine Road, Manchester City goalkeeper Joe Corrigan began to receive a sprig of lucky heather before every home game from flower seller and City fan Helen Turner, with the pair captured for posterity in the 1981 Topical Times Football Book performing the ritual.
Former Scotland and Norwich City goalkeeper Bryan Gunn had an interesting pre-match ritual while he was with Aberdeen; he would attempt to head-butt the crossbar, much to the amusement of manager Alex Ferguson.
Manchester United's David de Gea has an in-match ritual where he touches his crossbar every time his teammates score a goal.
Goalkeeper Nicknames
The Black Octopus - Lev Yashin
Tim- Reg Williamson (England & Middlesbrough)
Tim - Ernest Williamson (England & Arsenal) - Ernest was named after Reg
The Cat - Peter Bonetti, Tim Flowers, Reg Davies
Bert - Bernhard Trautmann (Manchester City)
Big Norm - Mark Crossley (Nottingham Forest, Fulham & Wales)
Banks of England - Gordon Banks
Lurch - Dave Beasant (Wimbledon, Newcastle United, Chelsea & England)
The Clutch - Gil Merrick (Birmingham City & England)
H - David Seaman (Arsenal, Manchester City & England)
The Marx Brothers - Gordon Banks, Peter Bonetti and Ron Springett
Colonel Mustard - Tony Coton (Manchester City)
El Loco - Ramon Quiroga (Peru), René Higuita (Columbia)
Tarzan - Peter Shilton
Dai the Drop - Dai Davies (Everton, Swansea City & Wales)
Prince of Goalkeepers - James McAulay (Dumbarton & Scotland)
Big Swifty - Frank Swift (Manchester City & England)
Tiger - Alexi Khomich (Dynamo Moscow & USSR)
Stonewall Jackson - John Jackson (Crystal Palace, Leyton Orient & Millwall)
The Archdeacon - Leigh Richmond Roose (Sunderland, Aston Villa & Wales)
Budgie - John Burridge
Calamity James - David James (Watford, Liverpool, Aston Villa, Manchester City & England)
Little Willie - William Foulke
Mister Magoo - Kasey Keller (Millwall, Leicester City, Tottenham & USA)
The Flying Pig - Tommy Lawrence (Liverpool)
Happy Jack - Jack Hillman (Burnley & Manchester City)
The Freak - Mark Bosnich (Aston Villa, Manchester United & Australia)
Monty - Jim Montgomery (Sunderland), Morton Betts (Wanderers & England)
Elastic - Milija Aleksic (Luton Town, Tottenham Hotspur)
Denzil (from 'Only Fools & Horses') - Tony Warner (Millwall)
The Duck - Ubaldo Fillol (Racing Club, River Plate & Argentina)
Lettuce - Carlos Roa (Argentina)
The Rabbit - Oscar Peréz (Cruz Arul & Mexico)
The Panther - Boukar Alioum (Samsunspor & Cameroon)
Ding Dong - Andy Bell (AFC Wimbledon)
Pagliaccio (Clown) - Gianluca Pagliuca (Sampdoria, Bologna & Italy)
Spinky Winky - Nigel Spink (Aston Villa, Millwall)*
Laa-Laa - Tim Carter (Oxford United, Sunderland, Millwall, Halifax Town)*
Saint Marcos - Marcos (Palmeiras, Brazil)
Jonah - Paul Jones (Southampton, Wolves & Wales)
El Condor - Roberto Rojas (Colo Colo & Chile)
Willow - Bob Wilson (Arsenal & Scotland)
Peter the Great - Peter Schmeichel
Scruff - Alan Rough (Celtic, Partick Thistle & Scotland)
Rolls - Simon Royce (Southend United, Leicester City & QPR)
Pigskin - Angelo Peruzzi (Juventus, Italy)
Dumbo - Edwin van der Sar (Ajax, Netherlands)
Walks - Ian Walker (Tottenham, Leicester City & England)
Bullneck - Andy Goram (Oldham Athletic, Rangers, Manchester United & Scotland)
Meteor - Pablo Cavallero (Celta de Vigo, Espanyol & Argentina)
Woody - Andy Woodman (Brentford, Oxford United)
Aunty - Anti Niemi (Hearts, Southampton & Finland)
Baggy - Neville Southall (Everton & Wales)
The Beast - Brian Jensen (Burnley)
The Bomb - Sander Westerveld (Vitesse Arnhem, Liverpool & Netherlands)
T-Ho - Tim Howard (Manchester United & United States)
Little Edwin - Ross Flitney (Fulham, Barnet)
John - Jovan Lukic (Arsenal, Leeds United)
Shaka - Neil Hislop (Reading, Newcastle United, West Ham & Portsmouth)
Spiderman - Walter Zenga (Inter, Sampdoria & Italy)
Jaguar - Luciano Castellini (Torino, Napoli)
Giddeon - Pietro Carmignani (Juventus, Fiorentina)
Sumo - Gary Phillips (Barnet)
El Brody - Jorge Campos (Cruz Azul, LA Galaxy & Mexico)
De Beer (The Bear) - Piet Schrijvers (Ajax & Netherlands)
Hitchy - Kevin Hitchcock (Chelsea)
Dingle - Mark Westhead (Oldham Athletic, Wycombe Wanderers)
Celeste - Sebastián Viera (Nacional de Montevideo & Uruguay)
Titan - Oliver Kahn (Bayern Munich & Germany)
Toni - Harald Schumacher (1.FC Koln & West Germany)
Monkey - Germán Burgos (River Plate, Athletico Madrid & Argentina)
Goyco - Sergio Goycochea (River Plate, Vélez Sarsfield, Newells Old Boys & Argentina)
Black Panther - Gyula Grosics (Honved & Hungary)
Lonners - Andy Lonergan (Preston North End)
Boaz - Glyn Myhill (Aston Villa, Bradford City, Bristol City & Hull City)
Zubi - Pascal Zuberbuhler (Grasshopper, FC Basel, & Switzerland)
Spider - Zeljko Kalac (Sydney United, Roda, Perugia, AC Milan & Australia)
The Girvan Lighthouse - Peter McCloy (Kilmarnock, Rangers & Scotland)
Sammy - Paul Sansome (Crystal Palace, Millwall & Southend United)
Erik the Viking - Erik Thorstvedt (IFK Göteborg, Tottenham Hotspur & Norway)
Frank Spencer - Richard Wright (Ipswich Town, Arsenal, Everton & England)
Gez - Paul Gerrard (Oldham Athletic, Everton & Nottingham Forest)
Der Goalie - Stefan Klos (Glasgow Rangers)
El Koke - Pedro Contreras (Real Betis)
The Poominator - Mart Poom (Derby County, Sunderland & Estonia)
Ludo - Ludek Miklosko (West Ham United & Czechoslovakia)
God's Goalkeeper - João Leite (Atlético Mineiro, Vitória de Guimarães & Brazil)
Dino Zoff - Boye Cooper (Cedar United, Mighty Barrolle a& Liberia)
Umbro - Gift Muzadzi (Dynamos, Celtics Bloemfontein, BSV Stuttgart & Zimbabwe)
Vítor Baliza (Goalmouth) - Vítor Baía (FC Porto & Portugal)
The Flying Dutchman - Gerrit Keizer (Arsenal, Charlton Athletic, Ajax & Netherlands)
Fawlty Manuel - Manuel Almunia (Arsenal)
Black Spider - Fabio Cudicini (Udinese, Roma & AC Milan)
Pepe - José Manuel Reina Páez (Villarreal, Liverpool & Spain)
Piggy - Fan Chun Yip (Buler Rangers, Happy Valley & Hong Kong)
Zibi the Hibby - Zbigniew Malkowski (Hibernian)
Wacka - James Walker (Walsall & West Ham United)
El Pato - Roberto Abbondanzieri (Rosario Central, Boca Juniors & Argentina)
Zé Gato - José Henrique (Benfica & Portugal)
Dida - Nelson de Jesus Silva (Corinthians, AC Milan & Brazil)
The Beast - Zach Thornton (Chicago Fire & USA)
De Muur (The Wall) - Dany Verlinden (Club Brugge & Belgium)
Eagle of Asia - Ahmad Reza Abedzadeh (Esteghlal FC, Persepolis & Iran)
The Octopus - Nir Davidovich (Maccabi Haifa & Israel)
Butterfingers - Rab Douglas (Celtic, Dundee & Scotland)
Börni - Bernd Dreher (Bayern Munich, KFC Uerdingen)
The Eagle - Dimitrios Eleftheropoulos (Olympiakos, AS Roma & Greece)
Shay - Seamus Given (Newcastle United & Republic of Ireland)
Neco - Luis Enrique Martínez (Independiente Santa Fe & Colombia)
Tarzan - Antonio Roma (Boca Juniors & Argentina)
Smiler - Jack Smith (Sheffield United)
La Tota - Antonio Carbajal (León & Mexico)
Len the Cat - Len Davies (Bangor City)
Elvis - Phil Priestley (Bangor City)
El Pulpo - Luis Arconada (Real Sociedad, Real Madrid & Spain)
The Cat of Maracaná - Antoni Ramallets (Real Valladolid, Barcelona & Spain)
Chocolate - Héctor Baley (Huracán, Independiente & Argentina)
Big Vlad - Vladimir Beara (Hajduk Split, Red Star Belgrade & Yugoslavia)
Chiquito - Carlos Bossio (Estudiantes, Benfica, Vitória & Argentina)
Saint Castilho - Carlos José Castilho (Fluminense & Brazil)
The Dude - Jerzy Dudek (Liverpool & Poland)
Edgie - Lewis Edge (Blackpool)
Kamikaze - Giorgio Ghezzi (Inter, Genoa & AC Milan)
Red Bird - Marcus Hahnemann (Reading & USA)
Slim Kat - Moeneeb Josephs (Cape Town Spurs, Bidvest Wits & South Africa)
El Divino - Ricardo Zamora (Espanyol, Barcelona & Spain)
The Cat of Prague - František Plánicka (SK Slavia Praha & Czechoslovakia)
Topsham Fisherman - Dick Pym (Bolton Wanderers & England)
Clooney - Antonios Nikopolidis (Panathinaikos, Olympiakos & Greece)
Oggy - Steve Ogrizovic (Liverpool & Coventry City)
The Blind Venetian - Massimo Taibi (Piacenza, Manchester United, Reggina & Atalanta)
The Ear - Daniel Örlund (AIK)
Wild Boy - Aaron Lawrence (Violet Kickers & Jamaica)
Boopie - Warren Barrett (Violet Kickers & Jamaica)
King Artur - Artur Boruc (Legia Warsaw, Celtic & Poland)
Tati - José María Buljubasich (Real Oviedo, River Plate & Universidad Catolica)
Bubu - André-Joël Eboué (Tonnerre Yaoundé & Seville)
Lasse - Lars Eriksson (Hammarby, IFK Norrköping, Porto & Sweden)
Spider - Rowen Fernandez (Kaiser Chiefs & South Africa)
Pim - Willem Doesburg (Sparta Rotterdam, PSV Eindhoven & Netherlands)
Norrie - Neil Martin (Rangers, East Fife & Queen of the South)
Killer Miller - Markus Miller (Karlsruher SC)
McKnightmare - Alan McKnight (West Ham United)
Pepín - José Casas Gris (Las Palmas, Real Betis & Spain)
El Gato - Abel Resino González (Atlético Madrid & Spain)
El Gato - Mario Osbén (Unión Española, Colo-Colo & Chile)
The Iron Curtain - Rinat Dasayev (Spartak Moscow & USSR)
Zetti - Armelino Donizetti Quagliato (São Paulo, Santos & Brazil)
Biscuits - Phil Harrington (Chester City & Cork City)
Vouno (Mountain) - Józef Wandzik (Gornik Zabrze, Panathinaikos, Apollon Smyrnis & Poland)
Dirty Jack - John Jones (Druids & Wales)
Slim Kat - Moeneeb Josephs (Ajax Cape Town, Orlando Pirates & South Africa)
Long Bob - Bob Roberts (West Brom & England)
The Legend - Nasser Hejazi (Taj, Shabaz & Iran)
The Flying Fish - Juan Yustrich (Boca Juniors & Argentina)
Big Ox - Qiu Shengjiong (Shanghai Shenhua)
The Bird - Takis Ikonomopoulos (Panathinaikos)
El Chopo (The Poplar) - José Ángel Iribar (Athletic Bilbao & Spain)
The Penalty King - Tom Farquharson (Cardiff City & Ireland)
Sheila - Eamonn Darcy (Oldham Athletic & Shamrock Rovers)
The Iceman - John Ruddy (Norwich City & England)
Shorty - Bert Slater (Falkirk, Liverpool & Dundee)
Smiler - Jack Smith (Sheffield United)
The Chariot - Kim Myong-Won (Amrokgang & North Korea)
Superman - Sergio Vargas (Independiente & Chile)
Saint Michel - Michel Preud'homme (Mechelen, Benfica & Belgium)
Berry - Robert Beresford Brown (Manchester United, Doncaster & Hartlepools United)
The Flying Pig - Jim Eadie (Cardiff City & Bristol Rovers)
Gunner Reilly - Matthew Reilly (Portsmouth & Ireland)
Beto - António Pimparel (Porto, Sevilla & Portugal)
Elfmetertöter (Penalty Killer) - Rudolf Kargus (Hamburg, 1. FC Nürnberg & West Germany)
Nonno (Grandad) - Andrea Pierobon (Cittadella)
Honest Ted - Teddy Davison (Sheffield Wednesday & England)
The Prince in the Yellow Jersey - Jerry Dawson (Rangers, Falkirk & Sccotland)
Lofty - Phil Parkes (Wolverhampton Wanderers & Vancouver Whitecaps)
The Secret - Noel Valladares (Motagua, Olimpia & Honduras)
The Walrus - Theo Custers (Antwerp, Espanyol, KV Mechelen & Belgium)
The Falcon - José Luis Munguía (FAS & El Salvador)
Lindy - Findlay Kerr (Bethlehem Steel, Fall River Marksmen & USA)
Wally - Mark Wallington (Leicester City & Derby County)
Oka - Orhej Nikolov (Eintracht Frankfurt & Macedonia)
Superman - Scott Vallow (Colorado Rapids & Rochester Rhinos)
Bebote - Jimmy Schmidt (Plaza Colonia & Sport Ancash)
Milly - Tony Millington (West Brom, Peterborough, Swansea City & Wales)
Kamikaze - Alan Mayer (San Diego Sockers, California Surf & USA)
The Pastor - Vincent Enyeama (Hapoel Tel Aviv, Lille & Nigeria)
Uomo di Gomma (the Rubber Man) - Gianpiero Combi (Juventus & Italy)
El Mono (Monkey) - Carlos Navarro Montoya (Boca Juniors, Chacarita Juniors & Colombia)
Saracinesca - Luigi Griffanti (Fiorentina, Torino, Venezia & Italy)
Dusty - David Hudock (Seattle Sounders & Charleston Battery)
Gentleman Jess - Jesse Whatley (Bristol Rovers)
Tiger of Budapest - Walter Zeman (Rapid Vienna & Austria)
The Rock - Tony Macedo (Fulham)
The Eel - Dragoje Leković (Budućnost Titograd, Kilmarnock & Yugoslavia)
Rubber Man - Manuel Bento (Benfica & Portugal)
Black Panther - Erwin Ballabio(FC Grenchen, FC Thun & Switzerland)
Otto - Wolfgang Kleff (Borussia Mönchengladbach, Fortuna Düsseldorf & West Germany)
Heini Fausten - Heinz Kwiatkowski (Borussia Dortmund, Rot-Weiss Essen & West Germany)
Bionic - John Osborne (Chesterfield & West Bromwich Albion)
Ripper - Jimmy Whitehouse (Grimsby Town & Manchester United)
The Flying Schoolmaster - Fritz Herkenrath (1.FC Köln, Rot-Weiss Essen & West Germany)
El Arquero cantor (The Singing Goalkeeper) - Julio Musimessi (Newell's Old Boys, Boca Juniors & Argentina)
Tippen - Henry Johansen (Vålerenga & Norway)
de Kat (The Cat) - Pim Bekkering (PSV Eindhoven)
El Puma Mayor (The Eldest Puma) - Sergio Bernal (UNAM Pumas & Mexico)
Pepin - José Casas Gris (Las Palmas, Real Betis & Spain)
Criptonita (Kryptonite) - Miguel Pinto (Universidad de Chile, Atlas & Chile)
Gas Meter - Peter Latchford (Celtic & Clyde)
El Pulpo (the Octopus) - Denis Espinoza (San Marcos, Walter Ferretti & Nicaragua)
Little Pilgrim - Harry Sweptsone (Clapton, Corinthian, Swifts & England)
Zimbo - Uwe Zimmermann (SV Waldhof Mannheim, VfL Wolfsburg & Eintracht Braunschweig)
Iron Man Bill - Bill Lambton (Peterborough United & Doncaster Rovers)
Magic Hands - Kossi Agassa (Metz, Reims & Togo)
Coco - Tim Clarke (Huddersfield Town & Shrewsbury Town)
Lofty - Phil Parkes (Wolverhampton Wanderers & Vancouver Whitecaps)
Scorpion - Melvin Barrera (Águila & El Salvador)
Rambo - Zoran Varvodić (Hajduk Split, Spartak Subotica & Olimpija Ljubljana)
Crazy Sword - Chow Chee Keong (Jardine, South China & Malaysia)
Tubby - John Ogston (Aberdeen & Doncaster Rovers)
Apu - Peter Fregene (ECN, Stationery Stores F.C. & Nigeria)
Pull-it - W.E. Powell (Burslem Port Vale)
El Buldog (the Bulldog) - José Luís Chilavert (San Lorenzo, Real Zaragoza, Vélez Sarsfield & Paraguay)
Heinz Kroket (Heinz Croquette) - Heinz Stuy (Telstar & Ajax Amsterdam)
The Dancing Dervish - Tommy Moore (Millwall Athletic & Thames Ironworks)
Jimmy - Alberto Fontana (Cesena, Bari, Atalanta & Palermo)
The Secret - Noel Valladares (Motagua, Olimpia & Honduras)
Yorkie - Chris Turner (Manchester United, Sheffield Wednesday & Sunderland)
Zamora - Bengt Nyholm (IFK Norrköping & Sweden)
Yashin - Robert Mensah (Mysterious Dwarfs, Asante Kotoko & Ghana)
Legend - Alan Knight (Portsmouth)
Frost - Frank Rost (Werder Bremen, Schalke 04, Hamburg & Germany)
Chino - Kyle Goldwin (Gibraltar United, Lincoln United & Gibraltar)
Freddie - Tony Lange (Aldershot, West Bromwich Albion & Fulham)
Yoda - Ron Corry (Sydney United, Manly & Australia)
Breadstick - Arturo Rodenak (Audax Italiano & Rangers de Talca)
Colt Seavers - Jörg Sievers (Hannover 96)
La Bruja - Óscar McFarlane (Panama Viejo, Tauro & Panama)
Lettuce Hands - Ricardo Tavarelli (Grêmio, Olimpia & Paraguay)
San Siro-Sven - Sven Andersson (Helsingborg)
Gripen - Helge Bengtsson (Malmö & Sweden)
Spiderman - Brian Baloyi (Kaizer Chiefs, Mamelodi Sundowns & South Africa)
El Puma Mayor (The Eldest Puma) - Sergio Bernal (UNAM Pumas)
Fock - Fredson Jorge Ramos Tavares (Sporting Praia, Mindelense & Cape Verde)
Father Fry - Arthur Fry (St. Mary's)
The Fat Goalie - David Felgate (Lincoln City, Bolton Wanderers & Chester City
el Chocolate - Milton Flores (Real España & Honduras)
Blue - Bruce Grobbelaar (Crewe Alexandra, Liverpool & Southampton)
Ghost - Joseph Mulenga (Red Arrows & Zambia)
The Elephant Man - George Dunlop (Manchester City, Glentoran, Ballymena United & Northern Ireland)
Kucku - Victor Olsson (Hammarby IF & Sweden)
The Magnet - Colin Coosemans (Club Brugge & Mechelen)
The Black Cat - Michalis Delavinias (AEK Athens & Greece)
Simpson - Nelson Tapia (O'Higgins, Universidad Católica & Chile)
Ruso - Vladimiro Tarnawsky (Newell's Old Boys, San Lorenzo, Boston Beacons & Argentina)
The Alley Cat - Allan Thomas (Moroka Swallows)
Potso - Apostol Sokolov (Levski Sofia & Bulgaria)
Scoop - Vojislav Stanisic (New York Cosmos, Chicago Sting & USA)
Pius - Arthur Fahr (FC Basel)
Pulpo (The Octopus) - Dany Luis Quintero (Cienfuegos, Nollingen & Cuba)
Big Ben - Michelangelo Rampulla (Cesena, Cremonese & Juventus)
Skilly - Reginald Williams (Watford & Brighton)
*Tim Carter and Nigel Spink picked up their nicknames while playing for Millwall at the height of Teletubbie-mania in 1997. Their choice of goalkeeping kit (lurid green and yellow) probably had something to do with it...
Quirky Middle Names
Primrose - Bob Wilson (Arsenal & Scotland)
Boleslaw - Peter Schmeichel
Agnew - Colin McDonald (Burnley & England)
Hewitt - Leslie Gay (Old Brightonians, Corinthians & England)
Purvis - John Hawtry (Old Etonians & England)
Dallas Fyfe - Bill Brown (Tottenham Hotspur & Scotland)
Barkley - George Raikes (Oxford University & England)
Peel - John Rawlinson (Cambridge Univeristy & England)
Oak - Ernie Scattergood (Derby County & England)
Albermarle - Harry Swepstone (Corinthians & England)
Rodwell - Leonard Wilkinson (Oxford University & England)
Garnet - Reg Williamson (Middlesbrough & England)
Darnley - Rupert Anderson (Old Etonians & England)
Peto - Morton Betts (Wanderers & England)
Hallows - Teddy Taylor (Huddersfield Town & England)
De Courtenay - Reginald Welch (Harrow Chequers & England)
Fane - Charlie Preedy (Arsenal & Bristol Rovers)
Winter - Jesse Whatley (Bristol Rovers)
Diamond - Jack Harkness (Hearts & Scotland)
Hardy - Jock Robson (Arsenal & Bournemouth)
Henderson - Ian Black (Southampton, Fulham & Scotland)
Sandilands - Sandy Kennon (Norwich City & Colchester United)
Fairclough - Ted Adams (Wrexham, Southport & Burnley)
Sandlands - Thomson Allen (Dundee & Scotland)
Calderwood McKinstrey - Allan Todd (Cowdenbeath, Port Vale & Nottingham Forest)
Foster - John Potts (Leeds United & Port Vale)
Hewitson - Bob Dixon (Stoke City & West Ham United)
MacArthur - George Yardley (East Fife & Forfar Athletic)
Partridge - Tommy Clish (Darlington & West Ham United)
Pollock - John Eadon (Tottenham Hotspur)
Grimmond - Sandy Davie (Dundee United, Luton Town & New Zealand)
Hardisty - Joshua Wilkinson (Glasgow Rangers & Dumbarton)
Johnstone - Tommy Lawrence (Liverpool & Scotland)
Shepherd - Jim Rollo (Oldham Athletic, Southport & Bradford City)
Dallas Ochterlony - W. D. O. Greig (Wanderers)
Scougal - Drew Brand (Everton & Hereford United)
Clews - Jimmy Cowan (Greenock Morton, Sunderland & Scotland)
March - John Hope (Darlington, Sheffield United & Hartlepool United)
Steel - David Stewart (Ayr United, Leeds United & Scotland)
Talbot - Percy Ames (Colchester United)
Dutton - Jack Benton (Stoke City & Glentoran)
Smithson - Charles Blakey (Lincoln City & Doncaster Rovers)
Beresford - Berry Brown (Manchester United & Hartlepools United)
Hallimond - Des Fawcett (Darlington, Preston North End & Rochdale)
Scrimgeour - Don Mackay (Forfar Athletic, Dundee United & Dallas Tornado)
Kendall - Jake Kean (Blackburn Rovers & Hartlepool United)
Redmond - Hugh Kelly (Fulham, Southampton, Exeter City & Republic of Ireland)
Mansell - Bill Heath (Bournemouth & Lincoln City)
Gladstone - Sam Gillam (Bolton Wanderers & Wales)
Gibb - Bill Robertson (Chelsea & Leyton Orient)
Murdoch Morrison - Willie Whigham (Falkirk & Middlesbrough)
McCourt - Norman Uprichard (Arsenal, Portsmouth, Swindon Town & Northern Ireland)
Vallance - David Robertson (St. Mirren & York City)
Watson - Harry Thomson (Burnley, Blackpool & Barrow)
Huitson - Edwin Blackburn (Hull City, York City & Hartlepool United)
Gilchrist - Ron Brebner (Chelsea, Huddersfield Town & Leicester Fosse)
Pettigrew - Ian MacFarlane (Dumbarton, Clydebank & Hamilton)
Mars - Jimmy Ferguson (Oldham Athletic, Crewe Alexandra & Darlington)
Lamont McQueen - Dave Smith (Albion Rovers, Hamilton Academical, Gillingham & Brentford)
McQueen Anderson - Jimmy Smith (Tottenham Hotspur, St Johnstone, Norwich City & Ayr United)
Ashby - Tommy Spicer (Woolwich Arsenal & Brentford)
Carr - Tommy Forgan (Hull City & York City)
Barlow - Peter Pickering (York City, Chelsea & Northampton Town)
Gears - Kingsley Whiffen (Chelsea & Plymouth Argyle)
Cockburn - Jimmy Hugall (Clapton Orient, Hamilton Academical & Durham City)
Holliday - Ike Tate (West Ham United & Doncaster Rovers)
Kessack - John Ogston (Aberdeen & Doncaster Rovers)
Nelson - Mark Paston (Napier City Rovers, Bradford City, Wellington Phoenix & New Zealand)
Brown - Willy Nimmo (Alloa Athletic & Doncaster Rovers)
Pryer - Hubert Pearson (West Bromwich Albion)
Sowerby - Tom Rowlandson (Sunderland & England Amateurs)
Lynch - Tom Moore (Darlington)
Dalgleish - Geoff Morton (Watford & Southend United)
Burns - Tom Hetherington (Burnley & Gateshead)
Lockhead - Harry Fearnley (Leeds United & Newport County)
July - Willy Gueret (Millwall, Swansea City & MK Dons)
Knox - Stan Gullan (Clyde, Queens Park Rangers & Montrose)
Blackstoke - John Miller (Dumbarton)
St Aubyn - Dwayne Miller (Harbour View, Syrianska & Jamaica)
McQ - Steve Anderson (Dumbarton, Alloa Athletic & East Fife)
Cromwell - Ernie Beecham (Fulham & Queens Park Rangers)
Carr - Jack Bell (Sunderland, Accrington Stanley & Bradford Park Avenue)
Pafford - Harry Medhurst (West Ham United, Chelsea & Brighton)
Preston - William Young (Brentford)
Lewington - Jimmy Whitehouse (Grimsby Town, Aston Villa & Manchester United)
Wheeler - Fred Nickson (Liverpool)
Stirling - Jim Ferguson (Brentford & Notts County)
Baden - Robert Radford (Port Vale)
Chase - Percival Parr (Oxford University & England)
Nelson - Walter McBride (Oxford University)
Gilding - Graham Davies (Watford, Colchester United & Merthyr Tydfil)
Scobie - Will Huffer (Leeds United)
Charlton - Freddie Houldsworth (Swindon Town, Stoke City & Reading)
Bell - John Brown (Clyde, Dundee & Scotland)
Stirling Brown - Alex Ferguson (Gillingham, Swansea Town & Bury)
Walker - Ethan Ross (Worcester City & Colchester United)
Riddell - Ed Robson (Portsmouth, Sunderland & Wrexham)
McDonald - Ronnie Sinclair (Bristol City, Stoke City & Chester City)
Young - Matt Middleton (Southport, Sunderland & Bradford City)
Twaddle - Archibald Milliken (Kilmarnock & Dumbarton)
Blackstock - John Miller (Dumbarton)
Smithson - Charles Blakey (Lincoln City & Doncaster Rovers)
Campbell - Israel Campbell Money (St. Mirren)
Wardlaw - John Johnston (Motherwell)
Gourlay Nicholl - Bob Wyllie (Dundee United, Blackpool & Mansfied Town)
Mackie - Jackie Wren (Hibernian, Berwick Rangers & Hellenic)
Cullen - Joe Duckworth (Aberdare Athletic, Reading & Brighton & Hove Albion)
Devlin - Eddie Connachan (Dunfermline Athletic, Middlesbrough & Falkirk)
Glover - Fred Craig (Plymouth Argyle, Hamilton Academical & Motherwell)
Parkinson - Harry Dukes (Ipswich Town & Norwich City)
Rutherford - William Douglas (Queens Park)
Rambo - David Becker (Correcaminos & Inter de Lages)
Montandon - Herbert "Monty" Garland-Wells (Clapham Orient & Fulham)
Robertson - Stuart Garden (Brechin City, Forfar Athletic & Notts County)
Brown Robertson - Bert Gebbie (Queen of the South & Bradford Park Avenue)
Smith - Jimmy Raeside (Third Lanark & Bury)
Bell Alexander - Bobby Reid (Swansea Town, Arbroath & Raith Rovers)
McIntosh - George Ramage (Third Lanark, Colchester United & Leyton Orient)
Garvin - Jim Stewart (Kilmarnock, Middlesbrough & Rangers)
Harrington - James Trafford (Manchester City, Accrington Stanley & Bolton Wanderers)
Denman - Jack Cooper (Barnsley & Newport County)
Brymer - James Crumley (Dundee Hibernian, Darlington and Bournemouth & Boscombe Athletic)
White - Bob Hepburn (Third Lanark & Ayr United)
Charlton - Jimmy Maidment (Newport County, Notts County & Accrington Stanley)
Espie - Ally Maxwell (Motherwell, Rangers & Greenock Morton)
Liddell - Andrew Aitken (Liverpool & Hartlepools United)
Watkin - Dan Allsopp (Nottingham Forest)
Hughes - Bobby Beale (Brighton & Hove Albion & Manchester United)
Gunn - John Falconer (Cowdenbeath, Celtic & East Stirlingshire)
Halbert - Doug Flack (Fulham & Walsall)
Gwendy - Joseph Hughes (West Ham United & Bolton Wanderers)
Gemmell - Frank Walker (Queen's Park, Third Lanark & Scotland)
Leitham - Peter Gardiner (Falkirk & St. Johnstone)
Unfortunate Monikers
When Australia were beaten 17-0 by a touring English FA XI in 1951, their goalkeeper was one Norman Conquest.
In 1958, Danish side Frem Copenhagen had a goalkeeper called Bent Koch on their books.
In 2005, Nottingham Forest signed a young goalkeeper by the name of Paddy Gamble.
Has there ever been a more apt name for a Scottish goalkeeper than Dundee United's Hamish McAlpine?
Shrewsbury Town once had a goalkeeper by the name of Dick Brush.
French side Bordeaux have the unique distinction of having not one but two goalkeepers called Dropsy on their books - former French international Dominique Dropsy and his son Damien.
Back in the 1980s, schoolboys around England had a good laugh or two at the expense of Brighton & Hove Albion's Perry Digweed and Crystal Palace's Perry Suckling.
Egypt's goalkeeper in their only game of the 1934 World Cup was Mustafa Kamel Mansour, who later played for Queen's Park while studying in Scotland.
In 1964 Darlington signed the delightfully named Ray Snowball from non-league Crook Town.
Keeping with the winter theme, York City signed Jack Frost from Grimsby Town in 1948 after he was "frozen out" at Blundell Park.
Port Vale and Middlesbrough had a goalkeeper on their books called Joe Frail, who was once suspended by Vale after he missed a train to a match against Rotherham United and failed to give a suitable reason as to why.
Chelsea once signed a goalkeeper called Les Fridge, who only played once for the Blues in a 5-1 defeat against Watford. He later enjoyed a career north of the boarder with St. Mirren and Clyde among others.
NASL side Chicago Sting once signed a keeper called Paul Coffee.
There can't be many goalkeepers named after a United States president but Belize international Woodrow Wilson West is certainly one of them.
Belgian goalkeeper Cyprien Baguette earned his "crust" between the sticks for Charleroi and FC Brussels.
Keeping it in the Family
Spurs and England goalie Ian Walker's Dad Mike used to keep goal for Colchester United back in the Seventies. Mike tried to buy his son during his first spell in charge of Norwich City.
Midfielders Stephen Clemence and Sam Shilton decided not to follow in their fathers' footsteps and battle it out for the England No1 spot like their dads, Ray and Peter, did in the late 70s/early 80s. They both opted for a career in the middle of the park instead, although Stephen was once forced to play in goal for Birmingham City after Nico Vassen was sent off.
Peter Schmeichel's son Kasper followed in his father's footsteps, signing pro-forms with Manchester City before enjoying a career with Leicester City and Leeds United among others.
Dad Bobby may have played for Wales and been manager of the Welsh side at the time but when it came to his own International career Celtic keeper Jonathon Gould opted to play for Scotland instead, receiving a call-up to the Scottish World Cup Squad in 1998 following Andy Goram's departure.
Birmingham City once boasted brothers Bob and Dave Latchford in their line-up. Centre forward Bob later found fame and fortune with Everton and England while their brother, Peter, who also happened to be a goalkeeper like Dave, went to Scotland and won an awful lot of trophies with Celtic.
Former Glasgow Rangers and England goalkeeper Chris Woods' great uncle was none other than Eric Houghton, one of the first stars of the modern game between the wars.
Only one set of goalkeeping brothers have ever been part of the same World Cup squad. Victor and Vyacheslav Chanov went to the 1982 World Cup Finals with the Soviet Union as understudies to Rinat Dassajev but neither played a game.
Irish goalie Tommy Gordon let in nine goals when he won his last International cap against England in 1895. His brother Hugh just happened to be making his International debut in the very same game. A third brother, Willie, also later played for the Irish national team.
Chelsea legend and former England international John Hollins' brother Dave played in goal for Wales.
Brothers Willie and Elisha Scott both played in goal at full international level for Ireland.
Goalkeeper Jimmy Trainer and his brother Harry both played for Wales towards the end of the 19th Century. Jimmy even captained his country when Wales played England between the years 1895-97.
Goalkeeping ran strong in the Springett family. Ron was capped thirty-three times by England, keeping seven clean sheets along the way, and was part of the 1966 World Cup winning squad while brother Peter was an England Under-23 International.
England also capped goalkeeping cousins Harold Pearson and Harry Hibbs. Pearson's father Hubert was also a goalkeeper and was picked to play for England against France in 1923 but missed the match through injury and was never selected again.
England and Nottingham Forest liked to keep it in the family at the turn of the century. Goalkeeper Harry Linacre played alongside his brothers-in-law Frank and Frederick Forman while at Forest and all three were capped by England, albeit in separate games.
The Republic of Ireland also like to keep it in the family. When keeper Alan Kelly was injured against Turkey in the recent Euro 2000 play-offs manager Mick McCarthy called up his older brother Gary to the squad to replace him for the second leg. Their father, Alan Snr, was also a goalkeeper and played for Preston North End.
England goalkeepers Billy Moon and Teddy Taylor both had relatives who played Test cricket for England. In Moon's case it was his brother Leonard while Charlie Hallows was Taylor's cousin.
Former England and Nottingham Forest full back Jim Iremonger was a tall bloke but his brother Albert, who played for Notts County, was taller. At 6' 5", Albert was one of the tallest goalkeepers ever to play League football. He also scored an own goal after taking a penalty at the opposite end of the pitch...
Former Spurs and England keeper Ted Ditchburn's father was once a champion boxer.
Reg Birkett, the first football international to play rugby union for England, came from a strong rugby playing family. Both his son and his brother were also rugby union internationals.
Balding Bulgarian goalie and former Reading 'keeper Borislav Mihaylov followed in his father's footsteps when he went between the sticks. His Dad kept goal for the national side during the 1960s while his son, Nikolay, made it a hattrick of international keepers when he made his debut for Bulgaria in 2006.
Wolves' Michael Oakes father is former Manchester City defender Alan Oakes. Michael's cousin, Andy Oakes, played for Derby County.
Spanish giants Barcelona can boast another father and son goalkeeping dynasty with current shot-stopper Jose Reina following in his father's footsteps. Miguel Reina played for the Catalan side in the 1970s as well as keeping goal for Athletico Madrid later in his career.
Aston Villa's Peter Enckelman's father, Göran, played for Finland against England at Wembley in 1976.
Former Manchester United and England goalie Gary Bailey had a lot to live up to. His dad, Roy, was Ipswich Town's Championship-winning custodian in 1962.
Another player with a lot to live up to is Chelsea's Carlo Cudicini. Father Fabio was capped by the Italian national side and is a legend at AC Milan.
Italian keeper Gianluigi Buffon comes from a very sporting family - his dad was a shot-putter, his mother used to throw the discus while his two sisters play in Italy's top volleyball league! What's more, former AC Milan and Inter goalkeeper Lorenzo Buffon is a distant cousin.
The first pair of brothers to play together at international level were James and Robert Smith of South Norwood Football Club, who played for Scotland in the first ever international against England way back in 1872. Robert Smith started the game outfield but replaced captain Bob Gardner in goal at the start of the Second Half. Both he and Gardner kept a clean sheet in a 0-0 draw.
Former Spurs player David Howells played alongside his goalkeeping brother Gareth in the Tottenham youth team. Gareth later went on to play for Torquay United and currently turns out for non-league Aldershot.
It has often been said that there is nothing harder than following in your father's footsteps. Thankfully, Pele's son, Edinho, saw sense and decided to become a goalkeeper, playing for the same team as his dad, Santos.
Saudi Arabia's long-serving keeper Mohammad Al-Deayea replaced his brother in the Saudi National team before going on to play in two World Cup finals.
Southampton and Wales goalkeeper Paul Jones followed his eldest brother Mark into League football. His brother once had a spell with Hereford United.
The Dunne brothers both played for Manchester United during the 1960s. Goalkeeper Pat made several appearances during United's Championship winning season of 1964/65 before being replaced by Alex Stepney. He went on to play for the Plymouth Argyle and the Republic of Ireland while fullback Tony stay behind at Old Trafford and was part of the team that won the European cup in 1968.
Born in Southampton, both Aaron and Darryl Flahaven played for the Saints youth team before finding first team success at Portsmouth and Southend United respectively.
Kasey Keller's dad was a semi-pro softball pitcher in the States.
Celtic's Ronnie Simpson, who was first capped by Scotland in 1967, followed his father Jimmy, who played for Rangers, into the national side, although Jimmy had more sense than to go in goal...
One the most talented players ever to play for Bulgaria, Georgi Sokolov, was the son of a goalkeeper, the legendary - in Bulgarian football at least! - Apostol Sokolov.
Joe and George Sealey, have both followed the example set by their late father Les, the ex-Manchester United, Aston villa and Luton Town custodian, and are trainee goalkeepers at one of their father's former clubs, West Ham United. It's also worth noting that Les Sealey's uncle was former West Ham United striker Alan Sealey.
Manchester City stalwart Tony Book's brother, Kim, also played professional football and was the unfortunate goalkeeper between the sticks for Northampton Town when George Best ran riot for Manchester United in an 8-2 victory. Kim's son Steve followed him into goal, playing for the likes of Cheltenham and Swindon Town.
Goalkeeper Hans Klodt played alongside his brother, winger Bernhard, in the FC Schalke 04 side that dominated German football in the 1930s.
French international goalkeeper Fabien Barthez's father was a top-class Rugby Union player. Fabien himself used to play rugby before taking up football.
Former Bolton Wanderers and England goalkeeper John Sutcliffe's brother Charles was also a keeper, turning out for Sheffield United in the 1925 F.A. Cup Final.
Ipswich Town youngster Carl Pentney hopes to go one better than his dad, Lloyd, by making his League debut before too long. Despite playing non-league football with the likes of Clacton Town, Harwich & Parkeston and Wivenhoe Town, the nearest Lloyd came to the Coca-Cola Championship was the Rymans League.
Dynamo Kiev keeper Nikolai Trusevich played in the same all-conquering Kiev side as his brother-in-law, Iosif Livshitz. Trusevich later played for FC Start against the German military, including the infamous 'Death Match', during the Second World War after he was taken prisoner.
There's only two John Lukics... Former Arsenal and Leeds United goalkeeper John Lukic's son, also called John, was signed by Grimsby Town in the summer of 2005. John is also a goalkeeper like his father, er, John.
Uruguayan international and Nacional de Montevideo goalkeeper Sebastián Viera also followed in his father's footsteps. Mario Viera was also a goalkeeper for some note and played for his country in the 1979 FIFA World Youth Championship in Japan.
Crawley Town goalkeeper Scott Ward, on the other hand, decided not to following in the footsteps of his brothers, Darren and Elliot, both of whom are centre halves for Crystal Palace and West Ham United respectively.
When New Youngs met Air Force in a Sri Lankan FA Cup tie in June 2006, there was a bit of sibling rivalry involved. New Youngs lined-up with Damith Dayawansa between the posts while Air Force had his brother Saman as their goalkeeper. The game was eventually abandoned after Damith was arrested for going AWOL from his military unit. His unit? The Air Force, of course!
Football was in the blood of Icelandic brothers Johannes and Alti Edvaldsson. Johannes turned out for Celtic and Motherwell while Alti plied his trade in Germany with Borussia Dortmund and Fortuna Dusseldorf. Both were capped at international level. Their father, Evald Mikson, was also a footballer and played in goal for Estonia. He fled to Iceland at the end of the Second World War after collaborating with the Nazis.
Manchester City legend Frank Swift's brother, Fred, was also a goalkeeper and turned out for Oldham Athletic. During the summer months they ran a pleasure boat together on Blackpool seafront!
Rosenborg goalkeeper Espen Johnsen's younger brother, Marius, plays in defence for Start and Norway.
Malcolm Webster, who had spells with Arsenal, Fulham, Southend United and Cambridge, was goalkeeping coach at Norwich City when his son, Ben, had a trial with The Canaries in 1999. He now plays for Soham Town Rangers.
Jose Mourinho may not have played football professionally but his father, Felix, kept goal for Portugal, and gave "The Chosen One" his first job as a scout at Rio Ave.
Thomas Ravelli's twin brother, Andreas, was also a professional footballer, playing alongside his brother at IFK Göteborg. Both were capped by Sweden, although goalkeeper Thomas won 143 caps to his brother's 41.
Welsh international Leigh Richmond Roose was the brother-in-law of Jack Jenkins, a Welsh rugby union international.
Pat Jenning's son, also called Pat, has played professionally with Eircom League clubs UCD and Derry City.
Former Spanish international Luis Arconada's brother, Gonzalo, is now manager of Real Sociedad.
The much-travelled Andy Dibble, who kept goal for seventeen different clubs during his career including Middlesbrough and Manchester City, followed his father Alan into goals after initially playing as a left back at school.
Franck Songo'o, the son of former Cameroon international Jacques Songo'o - who played in every World Cup between 1990-2002, can be seen strutting his stuff as a midfielder with Portsmouth at Fratton Park.
Josh Lillis followed his father's footsteps by signing professional forms with Scunthorpe United. However Josh decided to be a goalkeeper rather than centre forward like his dad, Irons' stalwart Mark Lillis.
The Brazilian Football Federation obviously like to keep it in the family. When former international goalkeeper Aymoré Moreira became coach of the national side, eventually leading them to World Cup glory in 1962, one of his predecessors was his brother Zezé. A third brother, Ayrton, was alos a respected coach in Brazil.
Dutch brothers, Ruud, who kept goal for Barcelona and Roda JC, and Danny, who played for NEC, Roda and AZ Alkmaar amongst others, both carved out respectable professional careers during the 1990s.
American international Nick Rimando is married to female soccer star Jacqui Little, who plays for Washington Freedom.
When former Manchester United Youth team midfielder David Fox joined Blackpool in January 2006, he teamed up with his dad Peter, The Seasiders' goalkeeping coach who used to keep goal for Stoke City in the 1980s.
Some might say Liverpool have got it in for this family, but having dispensed with the services of goalkeeper David James some years ago, the Merseyside club saw fit to release his nephew, striker James Frayne, in the summer of 2006.
During the 1950 and 60s, the Unity Club of Belize benefited from the footballing talents of Keith Gardiner and his goalkeeping brother, Charlie.
Liverpool and England goalkeeper Scott Carson's brother, Grant, is also a keeper and currently on the books of Carlisle United.
The Cooper family have strong links with Dallas football. Having played for Blackburn Rovers, Kenny Cooper Senior joined the Dallas Tornado in the North American Soccer League and became an NASL All-Star. His son, also called Kenny, is now a centre forward for FC Dallas in the MLS.
Croatian international Joey Didulica's brother, John, is a former player and the current CEO of the Australian Professional Footballers' Association.
Donald Farquharson, son of Tom Farquharson who played in goal for Cardiff City when they won the FA Cup in 1927, emigrated to Canada and become one of the leading exponents of Masters Athletics in the 1970s. His son, Steve, became a Minor League Hockey player.
French footballing brothers Sébastien and Nicholas Frey both ply their trade in Italy. Sébastien keeps goal for Fiorentina while Nicholas plays for Modena in Serie B. Their father, Raymond, and grandfather, André, also played professionally.
The Late Niccolò Galli, who played for Arsenal and Bologna, was the son of former Italian international goalkeeper Giovanni Galli.
Goalkeeping is in the blood of the Henderson family. Wayne Henderson currently plays for Brighton & Hove Albion and is a Republic of Ireland international while his nephew Stephen is on Aston Villa's books. Wayne's father Paddy kept goal for Shamrock Rovers in the 1960s while his older brothers, Dave and Stephen, both played with some success in the League of Ireland.
China have benefitted from the goalkeeping expertise of the Jiang family with brothers Jin and Hong both turning out for the national side.
Australian brothers Jason and Michael Petkovic have both been capped by the Socceroos, having played for the same junior club, Spearwood, in Western Australia. Jason later turned out for Perth Glory while Michael kept goal for South Melbourne.
Celestine Babayaro's goalkeeping brother, Emmanuel was part of the Nigeria squad that won gold at the 1996 Olympic Games.
Maccabi Haifa's Nir Davidovich followed in the footsteps of his father, Benjamin, who also played in goal for Haifa after the Second World War.
Dynamo Moscow goalkeeper Vasily Frolov has a lot to live up to. His grandfather was Lev Yashin.
Norwich City and Scotland keeper Paul Gallacher is the son of Jim Gallacher, a goalkeeper who played Scottish League Football for 22 years between 1968 and 1990, firstly with Arbroath and more famously with Clydebank.
Sparta Prague's Zdenek Zlámal's followed his uncle František between the sticks and it was his uncle, who kept SK Slavia Prague in the 1970s, who bought him his first pair of gloves.
Another Sparta Prague keeper who followed the family tradition is Zlámal's teammate Milan Švenger, who's father was also a professional goalkeeper, donning the gloves for FK Jablonec 97 and FC Bohemians 1905.
Israeli Under-21 goalkeeper Ohad Levita Hapoel and his grandfather, Yair Levita, both kept goal for Kfar-Saba FC.
Hartlepool United's Danish keeper Jan Budtz, who has also kept goal for Doncaster Rovers, has a twin brother, Ole, who is a defender with Aarhus.
Former Celtic and Motherwell goalkeeper Gordon Marshall followed his father, also a goalkeeper called Gordon, into the game. But while Gordon Senior was capped by England at under-23 level, Gordon junior elected to play for Scotland, winning one full cap against the United Stated in May 1992. His brother Scott also became a professional footballer and went on to play for Southampton and Celtic, but elected not to become a keeper like the rest of his family.
David Martin is the son of former West Ham defender Alvin Martin. His brother Joe followed in his father's footsteps and became a defender.
Paraguay goalkeeper José Luís Chilavert was selected alongside his brother, Rolando - a midfielder, for the 1986 World Cup Finals in Mexico.
The much travelled Nathan Abbey also has a brother who is also a professional footballer. However, unlike the former Luton Town, Chesterfield and Boston United goalkeeper his brother Zema prefers to play up front.
For the Wallace family, it was like father like son. Jock Wallace senior kept goal for Raith Rovers, Derby County and Blackpool while Jock Wallace junior carved out a modest career with Berwick Rangers, Airdrieonians and West Bromwich Albion before tasting success as a manager with Glasgow Rangers and Leicester City, famously scaring future tv presenter Gary Lineker in the process!
Uruguayan international Walter Corbo played alongside his brother Ruben Romeo, a left winger, in the Penarol side of the 1970s.
Tottenham's Ben Alnwick has a brother Jak who is also a goalkeeper and currently in the youth set-up at Newcastle United.
Football played a big part in the Behan family. Keeper Billy played for Shelbourne and Shamrock Rovers and had a spell with Manchester United in the 1930s while his brothers John and Paddy also played for Shamrock. His son, William junior, followed in the family footsteps and also kept goal for the Rovers side.
French goalkeeper Damien Dropsy kept it in the family when he signed his first professional contract with Girondins Bordeaux in 2006. His father Dominique played over 200 times for the club before retiring after a successful career that included stints with RC Strasbourg and the French National Side.
Former Spanish international Juan Carlos Ablanedo playerd alongside his elder brother José Luis, who was a centre half, in the Sporting Gijón side of the 1980s.
FC Twente's Cees Paauwe followed his older brother Patrick into the world of Professional football. However, while Cees chose a career between the sticks, Patrick preferred to play in midfield, carving out a career with Fortuna Sittard, Feyenoord and Borussia Mönchengladbach amongst others.
Juan Valdivieso, who played for Peru in the 1930 World Cup Finals, later watched his grandson, also called Juan, compete in the swimming events at the 2000 and 2004 Olympic Games.
Sunderland goalkeeper Trevor Carson is the nephew of comedian Frank Carson.
FC St. Pauli's Mathias Hain is the younger brother of Eintracht Braunschweig's goalkeeping coach Uwe Hain.
Another pair of goalkeeping brothers were the Hancocks - Ken and Ray. Ken, the younger of the two siblings, had the more impressive career, playing for Ipswich Town, Tottenham Hotspur and Bury after following his brother into the first team at Port Vale.
Cousins Jasmin and Samir Handanovic have both kept goal for the Slovenian national side.
Liverpool legend Sam Hardy's nephew, Eddie, and grandson, also called Sam, both played professionally for Chesterfield. Hardy's cousins, brothers Ernest and Harry Blackwell kept goal for Sheffield United and Aberdeen respectively.
The Brown family of Troon could boast of three brothers who played professionally. The eldest, Jim, carved out a career in the United States and despite being born in Scotland went on to be part of the USA team that reached the semi-finals of the 1930 FIFA World Cup while his brother John kept goal for Hibs and Clyde and was capped by Scotland. The third and youngest brother, Tom, kept goal for Ipswich Town but lost much of his career to World War Two, when he served as a commando in the armed forces.
Former Scottish international Andy Goram's Dad, Lewis, also played in goal, turning out for Third Lanark and Bury after the Second World War.
Ghana international keeper Richard Kingson has played alongside his brother Laryea Kingston in the national side. The difference in spelling is apparently due to "irregularity on their identity documents" although the Ghanaian FA list both players as 'Kingston'.
New Zealand goalkeeper Frank van Hattum, who went to Spain in 1982 with the All-Whites for the World Cup, came from a sporting family. Two of his sisters - Marie-Jose Griffith and Grazia MacIntosh (née van Hattum) - also represented New Zealand at international level in the women's game while a third - Stella - was a member of the Kiwis' karate squad.
Shamrock Rovers had keeper Tony O'Dowd and his brother Greg on their books in the late 1990s.
Although Colin Stewart followed in his fathers footsteps - former Scotland international Jim Stewart - by breaking into the Kilmarnock first team he could emulate his dad's impact, playing only once for Killie compared to Stewart Senior's 136 appearances. He later married Julie Fleeting, star of the Women's game in Scotland.
It's often said that goalkeepers are mad but there are two who could safely call themselves Mentel - former Inter Bratislava keep Miroslav and his son Filip, who plays for Dundee United.
Former Israeli Under-21 goalkeeper Danny Amos' brother Nathan is a notable rugby union player.
Former Chester City and Carlisle United goalkeeper Jim MacLaren led the way for his three younger brothers, who were all on the books of at least one football league side. Roy played for St. Johnston, Bury and Sheffield Wednesday, Dave for Dundee, Leicester City and Plymouth Argyle and finally Monty, who was signed by Liverpool
Willie White, who played in goal with distinction for Hearts and Southampton, was also one of four brothers who played top-class football - John was an inside-forward with Heart of Midlothian and Leeds United, Thomas played for Motherwell while James had a spell with Alloa Athletic
Former Norwich City goalkeeper Bryan Gunn's son, Angus, followed in his father's footsteps and signed for The Canaries as a schoolboy before earning a move to Manchester City in the summer of 2011. However, unlike his father and despite his name, Angus had no intention of playing for Scotland and declared himself available for England, earning several Under-16 caps and representing his country of birth up to Under-21 level, before a change of heart saw him make his debut for Scotland in the opening Euro 2024 qualifier against Cyprus.
Walsall's Dávid Gróf's father Attila also played professionally as a goalkeeper turning out for Ujpest Dozsa, Videoton, Honved and Hungary during his career.
Northern Ireland goalkeeping legend Pat Jenning's son, also called Pat, has made his own mark in the game, turning out for UCD, Derry City and Glenavon in an eleven-year career.
Goalkeeper Eddie Edgar and his son David both played professionally for Newcastle United. Eddie enjoyed some success with Hartlepool United before joining the NASL while David joined Burnley and has been capped by Canada.
George Raikes, who made four appearance for England in the later 1890s, also enjoyed a successful County Cricket career, as did his brother Ernest and his nephew Thomas.
Conor Ripley, son of former Middlesbrough and England winger Stuart, followed his dad into the Boro side, albeit between the sticks.
Former Southampton and York City goalkeeper George Thompson had the privilege of seeing both his sons following in his footsteps. George Jnr played with distinction for Scunthorpe United, Preston North End, Manchester City and Carlisle United and was a losing FA Cup finalist in 1954 with North End while Des enjoyed a career with York City, Burnley and Sheffield United.
There was plenty of football talent in the Milburn family - with Jackie, Jack, Jim, Stan and George all playing professionally, not to mention their World Cup Winning nephews, Jack and Bobby Charlton. However, it's Jack, Jim, Stan and George's brother-in-law, Jim Potts, who is of most interest, having kept goal for Leeds United!
Francisco Quintero Nava, who represented Mexico during the 1948 Olympic Games in London, is the grandfather of Atlanta Silverbacks keeper Felipe Quintero Monsivais.
Northern Ireland enjoyed the services of the Irvine brothers during the 1960s while Burnley striker Willie Irvine was scoring at one end, Stoke City and Linfield keeper Bobby Irvine was keeping them out at the other end.
Arsenal's Wojciech Szczesny followed in his father, Maciej, into both the Legia Warsaw side and the Polish National team. His brother Jan is also a goalkeeper and currently plies his trade with Gwardia Warsaw.
Brothers Ralf and Falk Fährmann both ply their trade between the sticks in Germany. Ralf, a former U-21 international, currently plays for Schalke 04 while Falk was on the books of FSV Zwickau.
Former Scunthorpe United, Wrexham and Halifax Town goalkeeper Darren Heyes is the son of George Heyes, who kept goal for Leicester City and Swansea.
Ex-Russia international and Chelsea goalkeeper Dmitri Kharine's younger brother, Mikhail, was also a professional keeper but failed to reach the heights his brother attained and was restricted to Torpedo Moscow's reserve team for most of his career.
Dale Belford may have only managed one league appearance in his career - for Notts County in 1987 - but son Cameron has already over 100 appearances to his name after spells with Bury and Southend United while Cameron's brother Tyrell is currently on Liverpool's books.
Another player with a pair of goalkeeping sons is former Shelbourne United player Robert O'Neill. Eldest son Alan enjoyed spells with Shamrock Rovers and Dundalk while his younger brother Dermot made over 400 appearances for Bohemians and Glenavon.
St. Mirren goalkeeper Grant Adam is the younger brother of Scotland midfielder Charlie Adam.
San Marino's Aldo Simoncini often plays in the national side alongside his twin brother Davide. In September 2010, the brothers set an unfortunate record when they became the first twins to score an own goal in the same game in international competition, with Sweden being the fortunate beneficiaries of such generosity!
Former Watford and Grimsby Town goalkeeper Steve Sherwood's older brother, John, won a bronze medal in the Men's Hurdles at the 1968 Olympic Games.
Tony Macedo, Fulham's Gibraltarian goalkeeper in the 1950s/60s, was the son of a former Spanish international footballer who played for Real Madrid.
Not wishing to compete with his father, Ulf Kirsten, who was a German international and finished as the leading goalscorer in the Bundesligh three times, son Benjamin decided to become a goalkeeper rather than a striker, carving out a career with Dynamo Dresden.
Former Charlton Athletic and Republic of Ireland keeper Dean Kiely's son Chris was once on Gillingham's books.
The Football League boasted a trio of footballing brothers either side of the Second World War in Frank, Ray and George King. Frank kept goal for Everton and Derby before injury cut his career short while Ray made over 250 appearances for Port Vale. George was the black sheep of the family and became a centre forward.
South Africa's Kaiser Chiefs once boasted goalkeeper Itumeleng Khune and his younger brother Lucky on their roster.
Double Olympic swimming gold medalist Rebecca Adlington is the grandniece of former Derby County and Torquay United goalkeeper Terry Adlington.
Swedish legend Ronnie Hellström's son, Erland, followed in his father's footsteps, keeping goal for Assyriska Föreningen and Hammarby amongst others.
Kyle Letheren is another goalkeeper who followed his father's career path. The much travelled former Wales Under-21 keeper, who has been on Swansea City and Kilmarnock's books amongst others, his the son of one-time Leeds United and Swansea City stopper Glan.
Between the wars, Bristol City had three brothers on their books - Jack, Arthur and Frank Vallis. Frank played over 200 times on goal for the Robins.
Not only were brothers Elias and William Owen capped by Wales in the late 19th Century, but their cousins Morgan and Hugh Morgan-Owen also represented the principality.
Stoke City had all four Baddeley brothers - Amos, George, Sam and Tom - on their books at one time or another during their careers. Only Tom was a goalkeeper.
Former Millwall, Bolton and Republic of Ireland goalkeeper Keith Branagan's son Ritchie made two appearances for Bury before joining Salford City in 2012.
Belgium international and Liverpool keeper Simon Mignolet followed in his father Stefan's footsteps when he abandoned a career in midfield to go in goal.
Rene Higuita, the Colombian madcap goalkeeper, had the pleasure of seeing his son Cristian Andrés Higuita also become a professional footballer with Asociación Deportivo Cali. He was also capped by Colombia's U-20 side although he opted to play in midfield rather than go in goal.
Stoke City's Asmir Begovic is another goalkeeper who followed in his father's footsteps. His dad, Amir, kept goal for FK Leotar FK Iskra in his native Yugoslavia.
Republic of Ireland international Darren Randolph, who's career has seen him keep goal for Charlton Athletic, Motherwell and Birmingham City amongst others, is the the son of Ed Randolph, one of the first American imports into the Irish Basketball League.
Standard Liege keeper Yohann Thuram-Ulien, who spent the 2013/14 season on loan at Charlton Athletic, is the cousin of former France international defender Lilian Thuram.
Spurs, Wolves and Newport County goalkeeper Mark Kendall once played in goal against his son Lee. Kendall senior was between the sticks for Cwmbran while Kendall junior kept goal for Barry Town during a Welsh Premier League game in 2000.
United States international goalkeeper and double Olympic gold medalist Hope Solo is married to former NFL star Jerramy Stevens, who played for the Seattle Seahawks and Tampa Bay Buccaneers.
Goalkeeper Will Lilley played alongside his brother Harry for Sheffield United from1890-1894.
Former Darlington, Millwall and Middlesbrough goalkeeper Pat Cuff's son Phil played rugby for West Hartlepool.
Bert Crossthwaite, who kept goal for Fulham, Birmingham City and Blackpool before the First World War, had a cousin called Harry who played for Stockport County and Stoke City.
When Wimbledon's FA Cup winning goalkeeper Dave Beasant joined Stevenage Borough as a their specialist goalkeeping coach in the summer of 2014, one of the keepers in his charge was his son, Sam.
Former Birmingham City goalkeeper Dan Tremelling, who was also capped by England, had a younger brother, Billy, who also played professionally with Blackpool and Preston North End.
French football legend Zinedine Zidane's four sons are all members of Real Madrid's youth team academy and currently playing for various different clubs in Spain. However, while Enzo, Theo and Elyaz all followed in their father's footsteps and play in midfield, Luca proved to be the real genius of the family and opted to go between the sticks and carve a career out as a goalkeeper.
The Millington brothers, Grenville and Tony both carved out careers as the last man of defence, although Tony was the marginally more successful of the two. While Grenville chalked up around 300 appearances for Chester, Tony enjoyed spells with West Brom, Peterborough United and Swansea City and was capped 21 times by Wales. The two faced each other in January 1971 when Swansea beat Rhyl in the third round of the FA Cup, 6-1.
PSV Eindhoven and Netherlands goalkeeper Jan van Beveren was part of a very sporting family. His father Wil van Beveren represented the Netherlands at 1936 Olympic Games, competing against Jesse Owens in the 200 metres, while his mother was also a regional athlete. His brother, also called Wil, was one of the few bespectacled footballers to play professionally.
Jan Jongbloed, who kept goal for Holland in the 1974 and 1978 World Cup Finals, was still playing professionally for Go Ahead Eagles at the age of 44 when his son, Erik, was playing in the fourth tier of Dutch football with Amsterdamsche Football Club Door Wilskracht Sterk (DWS). Sadly Erik was killed when he was struck by lightning during a game against VV Rood-Wit (See Quirky Injuries).
The Mandanda family can boast of four goalkeepers in their ranks with brothers Steve, Parfait, Riffi and Ever all making the grade as professionals. Steve, the eldest of the four, is first choice at Marseille and a French international. Parfair keeps goal for Belgian side Charleroi and is also an international but with the Democratic Republic of Congo while Riffi has been capped at Under-16 level and is in Caen's squad. Ever, the youngest of the brood, is the first-choice keeper for Lusitanos Saint-Mau.
The sons of former Partick Thistle goalkeeper Brian Osborne both followed in their father's footsteps and into the professional game north of the border. David Osborne enjoyed a spell with Fort William late his career while his brother Mark played for Albion Rovers.
Chelsea's Thibaut Courtois' sister is Valérie, is a Belgian international volleyball player. Courtois' parents were both volleyball players too.
American international Hope Solo is married to former American football player Jerramy Stevens, former receiver with Seattle Seahawks and Tampa Bay Buccaneers.
Blackburn Rovers and Scotland striker Jordan Rhodes is the son of former Oldham Athletic and St. Johnstone goalkeeper Andy Rhodes.
Goalkeeper John Gardiner and his son Ross, a defender, both played for Dundee United and Montrose during their respective careers.
Former Brentford keeper Gordon Phillips' sons Kelly and Trent both became footballers, albeit at non-league level for Staines Town, although only Trent was a goalie.
Queen of the South stalwart Alan Davidson was the son of former FIFA referee Bob Davidson, who officiated in three World Cup finals.
East Germany's Horst Weigang, who enjoyed a career with Lokomotive Leipzig and Rot-Weiß Erfurt, is the father of swimmer Birte Weigang, who won three medals at Seoul in the 1988 Olympic Games.
Gary Plumley, who played for Newport County and Cardiff City, married Olympic showjumper Debbie Johnsey. Their daughter Gemma is also an established rider and competes professionally.
Accrington Stanley and Berwick Rangers goalkeeper Tom McQueen was the father of Manchester United and Scotland centre half Gordon and assistant secretary and treasurer of the Scottish Junior Football Association, Iain McQueen.
Former Millwall, Wolverhampton Wanderers and Manchester City winger Mark Kennedy's brother Brendan enjoyed as successful career as a goalkeeper in the Republic of Ireland with Kildare County, Dublin City and Monaghan United among others.
Another pair of Irish brothers that enjoyed careers in football were Mick and Ollie Kearns. Mick kept goal for Oxford United and Walsall, winning 19 caps for Eire in the process, while Ollie was a striker with Reading, Walsall, Hereford United and Wrexham.
San Jose Earthquakes and Team USA keeper David Bingham followed in the footsteps of his sister, Kimberley, who represented the United States at Under-19 and Under-21 level.
Alf Jefferies, who made over 100 appearances between 1947-54 for Brentford, had strong family connections at Griffin Park. Both his brother and son were also contracted to the Bees, although neither made a first team appearance.
Former Glasgow Rangers goalkeeper Gerry Neef's daughter Melanie was a successful 400-metre runner during the mid-1990s, winning the Scottish and British titles at the distance.
Lionel Messi's grandfather, Julio Musimessi, won 14 caps in goal for Argentina and played over 100 times for both Newell's Old Boys and Boca Juniors.
Juan Valdivieso, who kept goal for Peru in the 1930 World Cup finals and in the Summer Olympics of 1936, had the pleasure of seeing his grandson, Juan Pablo Valdivieso, also become an Olympian, albeit as a swimmer, representing Peru in the 2000 and 2004 Olympics.
Czech Republic international Petr Kouba, who kept goal in the 1996 European Championships, followed in his father Pavel's footsteps, keeping goal for both Sparta Prague and the Czechoslovakian national team.
Cardiff City, Scunthorpe United and Charlton Athletic goalkeeper Ken Jones came from a rather large footballing family. His father Emlyn enjoyed a career with Southend United while uncles Shoni, Ivor, Bryn and Bert plus cousins Bryn and Cliff also played while Ivor's great grandson, Scott Neilson, later became a professional footballer. Must be something in the genes...
Father and son James and Jim Barron both enjoyed professional careers between the sticks. James' career with Blackburn Rovers was brought to a premature end by the Second World War but Jim had slightly more success with Oxford United, Nottingham Forest, Swindon Town and Connecticut Bicentennials among others.
Two of Bermudian defender Derek Bell's children followed him into the game. His daughter, Cheyra, won three international caps as a striker while his son, Tahj-Michael, won two caps for the mens' national team as a goalkeeper and enjoyed brief spells with Hitchin Town and Aylesbury United in England.
Moldova international goalkeeper Nicolae Calancea's elder brother, Valeriu, has won World and European weightlifting titles for Romania.
United States international Joe Cannon's twin brother John was a minor league baseball pitcher with the Shreveport Swamp Dragons, who were affiliated to the San Fancisco Giants. Their brother Cody played water polo with the junior national team while the youngest brother, Colt, was an amateur world champion skateboarder!
Sporting Gijón goalkeeper Jesús Castro González's brother, Enrique (who was also known as Quini), was a striker who also played for Sporting as well as Barcelona.
The Chileshe family produced three goalkeepers, all of whom carved out careers in their native Zambia. The most successful of the three was Vincent, who was named Zambian Footballer of the Year in 1977 and represented his country thirty times, while younger brother was Vincent's back-up when the pair were at Nchanga Rangers in the 1980s. The eldest brother, Richard, played for Konkola Blades in the late Sixties.
AC Milan's Gianluigi Donnarumma older brother Antonia was also on Milan's books but failed to start a game for the Rossoneri but went on to enjoy a successful loan spell with Bari.
Former PSV Eindhoven and Feyenoord goalkeeper Ton van Engelen's son Yvo was on NAC Breda's books before joining TOP Oss.
Victorian goalkeeper and England international John Maynard's son, Alfred, was also capped by his country albeit as a Rugby Union player.
Lincoln City keeper Bill Sissons' cousin, Albert, was a centre forward for Leeds United. Albert's son Graham was a defender with Birmingham City and Peterborough United among others.
Former Catania, Cagliari and Bologna goalkeeper Roberto Sorrentino's son, Stefano, followed in his father's footsteps and kept goal for Torino, AEK Athens, Chievo and Palermo.
Allan van Rankin, a Mexican goalkeeper of Dutch descent, has a twin brother, Elliot, who is a racing driver in the NASCAR Corona Series plus another brother, Josecarlos, who plays for Pumas UNAM in the Mexico league.
Former Sheffield United and Hartlepool United goalkeeper John Hope's two sons, Chris and Richard, both joined the professional ranks as defenders. Chris racked up over 500 league appearances during a career that included spells with Scunthorpe United and Gillingham while Richard made more than 350 appearances for a variety of clubs including Northampton Town and Shrewsbury Town.
Arsenal Ladies and Republic of Ireland goalkeeper Emma Byrne is married to former Queens Park Rangers and Crewe Alexandra defender Marcus Bignot.
Southampton goalkeeper Harry Lewis is the grandson of former Manchester City and Shrewsbury Town goalkeeper Ken Mulhearn.
The Roffey family have a strong relationship with Sutton United with both Dave Roffery and his son Trevor turning out for the club in goal. Dad Dave was part of the Sutton team that lost 6-0 to Don Revie's all-conquering Leeds United side in the FA Cup back in 1970 while Trevor was between the sticks when the club famously beat Coventry City in the same competition in 1989.
In a similar vein, Kevin and Kyle both played for Tampa Bay Rowdies but while Kevin was a goalkeeper, his son Kyle preferred a career in midfield.
Football and cricket played a big part in the lives of the Storer family. Woolwich Arsenal and Liverpool goalkeeper Harry Storer and his brother, William, who played for Derby County, also played cricket for Derbyshire. Harry's son, Harry junior, followed in his father's footsteps, turning out for Grimsby Town and Derby and playing cricket for the same county.
Tino Lettieri, who kept goal for Canada in the 1986 World Cup as well as enjoying a career with Minnesota Kicks and Vancouver Whitecaps, married the daughter of Minnesota North Stars hockey player and general manager, Lou Nanne. Lettieri's son, Vinni, decided to follow in his grandfather's footstep and took up ice hockey, joining the New York Rangers in 2017.
Slovenia international Jan Oblak's sister, Teja, is also an international, representing Slovenia at Basketball.
Southampton and Clapton Orient goalkeeper Arthur Wood was the son of former England international striker Harry Wood.
Jimmy Maidment had the unique distinction of not only playing alongside his brother at Lincoln City but also his uncle, inside left Billy Charlton, during a spell with Newport County.
Lincoln City goalkeeper William Gresham played in the Imps first-ever league game alongside his brother James way back in 1892. The brothers were ever-present in Lincoln's debut season.
Football talent certainly ran in the Furr family, with brothers Harry, George, Vic and Willie all playing professional football during the early part of the 20th century. However only Harry was a goalkeeper, turning out for Brentford and Leicester Fosse among others. As an aside, their sisters Amelia and Miriam both married footballers too - William Grimes and George Payne respectively.
Croatian goalkeeper Miro Varvodić followed in his father Zoran's footsteps when he made his debut for Hajduk Split in 2006.
Olympic figure skating gold medalist Robin Cousins came from a sporting family. His father, Fred, had ambitions to be a professional goalkeeper and was once on the books of Millwall Football Club.
Archie Boyd played alongside his brother James for Heart of Midlothian before the start of World War One.
Roy Ironside, who kept goal for Rotherham United in the 1961 League Cup Final team, started something of a football dynasty in Yorkshire, with not only his son but also his grandson following in his footsteps and carving out a career in professional football. Son Ian was also a goalkeeper, spending the majority of his career with Scarborough but grandson Joe turned his back on the family trade and became a striker, turning out for Sheffield United.
Albania international goalkeeper Foto Strakosha, who won 73 caps for his country, was followed onto the international stage by his son, Thomas, who currently plays for Inter Milan. His eldest son, Dhimitri, was a striker who played for Albanian club KF Himara.
Tom Baddeley, who played over 300 times for Wolverhampton Wanderers before the First World War, had three brothers - Amos, George and Sam - who also played professional football, albeit as outfield players.
Former Bolton Wanderers, Wigan Athletic and Finland goalkeeper Jussi Jääskeläinen's son William is currently on the books of Crewe Alexandra, having come up through the youth ranks of his father's former club, Bolton.
Baltika Kaliningrad, Torpedo Moscow and Ukraine goalkeeper Aleksandr Pomazun watched his son, Ilya, follow in his footsteps when he made his debut for CSKA Moscow.
Oscar Wirth, who won 12 caps for Chile and was part of their 1982 World Cup squad, had the privilege of seeing his son turn out for not one but two of his former clubs - Colo-Colo and Universidad Católica.
Ex-Botafogo goalkeeper Helton Leite is the son of Brazilian international João Leite.
Former Barcelona goalkeeper Ruud Hesp played alongside his brother, defender Danny, during his three-year spell with Roda.
Father and son Agustín and Ignacio Eizaguirre enjoyed similar careers, turning out for both Real Sociedad and Spain. Agustín won a Silver Medal at the 1920 Olympic Games in Antwerp with while Ignacio kept goal during the 1950 World Cup Finals in Brazil.
The Scottish League Cup tie between Stranraer and Clyde in July, 2018 saw Blues goalkeeper Max Currie come up against his older brother Blair, who was between the sticks at the other end of the pitch. Blair won bragging rights around the family dinner table with Clyde enjoying a 3-1 victory.
Norwegian Arild Andresen kept goal for Vålerenga alongside his brothers Thorbjørn and Ivar in the 1950s.
The Foster family of Barbados dominated the island's international football team during the 1930s. For one match, against Trinidad in November 1933, goalkeeper Collin Foster lined up alongside his Dad, Kelly, his brother, Reyn, and two cousins Seymour and Leon. His brothers, Mike and John, and a third cousin, Lisle, also later played for Barbados.
Former Bolton Wanderers goalkeeper Stan Hanson, who kept goal for the losing side against Blackpool in the Matthews Cup Final of 1953, came from a footballing family. His brother Alf was an Outside Left for Liverpool and Chelsea and won a cap for England.
Liverpool goalkeeper Alisson Becker followed in his brother Muriel's footsteps when he graduated from Internacional's youth team to keep goal for the Colorados.
Brothers Jim and Alex Ferguson both carved out professional careers between the wars. Jim played for Brentfor and Notts County while Alex kept goal with Gillingham, Bury and Swansea Town among others.
Livingston goalkeeper Liam Kelly is the brother of St. Mirren, AFC Wimbledon and Ross County defender Sean Kelly
France's World Cup winning captain Hugo Lloris also has a brother who is a defender. Gautier, who is the younger sibling of the Tottenham goalkeeper, currently plays for Nice.
England cricketer and one-time Southampton goalkeeper Phil Mead's brother-in-law Frank Englefield was a teammate during his time at The Dell.
Old Malvernians goalkeeper Joe Mears was the son and nephew of Joseph and Gus Mears and eventually joined the board at Stamford Bridge, where he was chairman when they won their first League title in 1955.
Jürgen Klinsmann's son Jonathan decided not to follow in his father's footsteps and play upfront. Instead he saw sense and decided to go in goal instead, turning out for Hertha Berlin and FC St. Gallen as well as United States youth sides.
French goalkeeper Jérémy Deichelbohrer, who enjoyed spells with Sochaux, Tours and Dijon, followed his father, Gilles, into the world of professional football, albeit as a goalkeeper rather than a midfielder like his dad.
Another goalkeeper to follow in his father's footsteps was Rangers legend Peter McCloy. Jimmy McCloy had enjoyed a career with St. Mirren and Bradford City before the start of World War Two.
Germany goalkeeper Frank Rost, who enjoyed spells with Werder Bremen and Schalke 04, came from a very sporting family. His father Peter won a gold medal at the 1980 Olympic Games in handball while his mother Christina, won handball silver at the 1976 Summer Olympics and bronze at the 1980 Games.
It may come as no surprise to learn that TOP Oss goalkeeper Ronald Koeman Jr is the son of former Netherlands captain Ronald Koeman. His uncle Erwin and grandfather Martin also played for the national team.
French goalkeeper Alban Lafont is another keeper to come from a sporting family. The Fiorentina keeper, who made his debut with Toulouse in 2015, followed in the footsteps of his grandfather who played for ten years in Burkina Faso while his mother was a member of the national handball team.
The Coddingtons were something of a footballing dynasty, albeit with various levels of success. Having started out at Middlesbrough, Luke Coddington enjoyed spells with Huddersfield Town and Northampton Town while his Dad Matthew was also a goalkeeper at Middlesbrough, although he never made an appearance. Luke's grandfather John was also a professional footballer who played as a defender, who captained Huddersfield Town in the 1960s.
Newcastle United's 1951 FA Cup winning goalkeeper Jack Fairbrother was the nephew of former Everton and England outside left George Harrison.
Guinea-Bissau international keeper Papa Fell's brother, Ousmane, is a FIFA referee.
Odds BK goalkeeper Sondre Rossbach is the son of former Norway international Einar Rossbach, who played for Pors Grenland, Lyn and Odd Grenland among others.
Chester City's Grenville Millington, who once snapped a goalpost during a game, was the younger brother of Peterborough and Swansea City keeper Tony Millington.
He may have lived in the shadow of his brother Johnny, who enjoyed a successful career with AZ67 Alkmaar, Real Madrid and Nottingham Forest, but goalkeeper Edward carved out a pretty decent career of his own with Haarlem and Sparta Rotterdam, winning one cap with for the Netherlands.
Argentine goalkeeper Rubén Cousillas, who enjoyed a ten-year spell with San Lorenzo and is probably best known being the assistant manager to Manuel Pellegrini at Manchester City and West Ham United, has a son Agustín who is also a professional goalkeeper and on the books of Uruguayan club Rentistas.
GIF Sundsvall and AGF goalkeeper William Eskelinen decided not to become a striker like his father Kaj, who ended the 1990 Allsvenskan season in Sweden as top scorer.
Striker Roy Massey, who carved out a career with Orient, Colchester United and Rotherham United, was the grandson of former Doncaster Rovers and Sheffield Wednesday goalkeeper James Massey.
Paraguay goalkeeper Ricardo Tavarelli sister Giselle married his international teammate Roque Santa Cruz.
Dijon and Olympiacos goalkeeper Bobby Allain's uncle Xavier Perez kept goal for French club Red Star in the 1980s.
Scottish goalkeeper Ray Allan, who enjoyed spells with Cowdenbeath and Brechin City, was the grandson of former East Stirlingshire goalkeeper George Kyle.
When Dino Ballarin was signed by Torino in 1947 he joined his brother Aldo, who was an established defender in the great Grande Torino team. The brothers both perished in the Superga air disaster after Aldo convinced the club to take Dino as reserve goalkeeper for the ill-fated friendly against Benfica.
Spanish goalkeeper Armando Ribeiro, who spent the majority of his career at Cadiz, had the pleasure of watching his son Alain play in midfield for CD Vitoria while on the coaching staff of the opposition, Athletic Bilbao's farm team CD Basconia. His youngest son Iban, is also a professional footballer.
Former Exeter City goalkeeper Ross Bellotti is the son of Derek Bellotti, who played for Charlton Athletic, Southend United and Swansea City among others during his career.
Goalkeeper Chris Weale, who played for Yeovil Town, Leicester City and Shrewsbury Town during his career, has a twin brother, Sam, a modern pentathlete who competed for Great Britain at both the 2008 and 2012 Summer Olympics.
Brothers Len and Jack Weare both carved out careers as goalkeepers. Jack played for Wolverhampton Wanderers, West Ham and Bristol Rovers while Len played over 600 times for Newport Count and was inducted into their Hall of Fame in 2012.
Former Twente goalkeeper Joël Drommel's father Piet-Jan was also a professional footballer and played for AZ and SC Telstar.
Wales Ladies goalkeeper Jo Price comes for a very sporting family. Her father and uncle both played rugby for St. Davids RFC while two of her brothers played for St. Davids' football team. Her elder sister Katie also played hockey.
American goalkeeper Caroline Stanley, who represented the United States at under-20, under-18, under-17, and under-15 level, is married to Baltimore Orioles pitcher John Means.
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Cryopreservation of mammalian embryos
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[
"Zsuzsanna Polgar",
"Duangjai Boonkusol",
"unideb.academia.edu",
"independent.academia.edu"
] |
2015-11-20T00:00:00
|
Although intensive research has been conducted on a worldwide scale, cryopreservation of embryos in many species has not yet been possible with sufficient success rates. Embryo cryopreservation in farm animals is a valuable tool to maintain genetic
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https://www.academia.edu/18713640/Cryopreservation_of_mammalian_embryos
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The aim of the present review is to provide information to researchers and practitioners concerning the reasons for the altered viability and the medium- and long-term consequences of cryopreservation of manipulated mammalian embryos. Embryo manipulation is defined herein as the act or process of manipulating mammalian embryos, including superovulation, AI, IVM, IVF, in vitro culture, intracytoplasmic sperm injection, embryo biopsy or splitting, somatic cell nuclear transfer cloning, the production of sexed embryos (by sperm sexing), embryo cryopreservation, embryo transfer or the creation of genetically modified (transgenic) embryos. With advances in manipulation technologies, the application of embryo manipulation will become more frequent; the proper prevention and management of the resulting alterations will be crucial in establishing an economically viable animal breeding technology.
Preimplantation embryos from cattle, sheep, and goats may be cryopreserved for short- or long-term storage. Preimplantation embryos consist predominantly of water, and the avoidance of intracellular ice crystal formation during the cryopreservation process is of paramount importance to maintain embryo viability. Embryos are placed into a hypertonic solution (1.4 - 1.5 M) of a cryoprotective agent (CPA) such as ethylene glycol (EG) or glycerol (GLYC) to create an osmotic gradient that facilitates cellular dehydration. After embryos reach osmotic equilibrium in the CPA solution, they are individually loaded in the hypertonic CPA solution into 0.25 ml plastic straws for freezing. Embryos are placed into a controlled rate freezer at a temperature of -6°C. Ice crystal formation is induced in the CPA solution surrounding the embryo, and crystallization causes an increase in the concentration of CPA outside of the embryo, causing further cellular dehydration. Embryos are cooled at a rate o...
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Pois nao: Brazilian Portuguese Course for Spanish Speakers, with Basic Reference Grammar
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Pois não THIS PAGE INTENTIONALLY LEFT BLANK Pois nãoBrazilian Portuguese Course for Spanish Speakers, with Basic ...
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Pois não
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Pois não
Brazilian Portuguese Course for Spanish Speakers, with Basic Reference Grammar
― Com
licença!?
― Pois não.
Saci
Caapora
Antônio Roberto Monteiro Simões
For reasons of economy and speed this volume has been printed from camera-ready copy furnished by the author, who assumes full responsibility for its contents. Copyright © 2008 by Antônio R. M. Simões All rights reserved Printed in the United States of America First edition, 2008 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ANSI/NISO Ο Z39.48-1992 (R1997) (Permanence of Paper).
Library of Congress Cataloging-in-Publication Data Simões, Antônio R. M. Pois não : Brazilian Portuguese course for Spanish speakers, with basic reference grammar / Antônio Roberto Monteiro Simões. p. cm. Rev. ed. of Com licença / Antônio Roberto Monteiro Simões (University of Texas Press, 1992). English, Portuguese, and Spanish. Includes index. ISBN 978-0-292-71781-7 (pbk. : alk. paper) 1. Portuguese language―Textbooks for foreign speakers―Spanish. 2. Portuguese language―Grammar. I. Simões, Antônio R. M., Com licença. II. Title. PC5067.3.S56 2007 469.2'461―dc22 2007041740
En souvenir de Papou, and to Fábio, Bruno, Lindsey and Isabella
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Contents Preface .................................................................................................xix Acknowledgments..............................................................................xxiii Introduction ............................................................................................ 1 0.1 Brazilian Portuguese and Spanish............................................................................ 2 0.1.1 False Cognates: “Eu Não Falo Português” by Daniel Samper Pizano ...... 2 0.1.2 False Cognates: Word List ............................................................................... 5 0.1.3 Common Mistakes ............................................................................................ 8 0.1.4 Mopho-Syntactic Differences: Preliminary Remarks.................................. 10 0.2 The Sound Systems of Spanish and Brazilian Portuguese.................................. 12 0.2.1 Some Consonant Features: b, d, g; “S” in Syllable Final Position ............ 13 0.2.2 The Oral Vowels: Spanish and Brazilian Portuguese ................................. 14 0.2.3 The Nasal Vowels: Brazilian Portuguese...................................................... 16 0.3 The Consonants: Spanish and Brazilian Portuguese........................................... 17 0.3.1 Summary of Sounds of Brazilian Portuguese That Are Not Part of the Inventory of Spanish Sounds....................................................................... 18 0.3.1.2 Comparison of Spanish ll and ñ with Portuguese lh and nh.......... 19 0.4 Names of the Alphabet Letters; Phonetic Symbols ............................................ 20 0.5 Diacritics, Hyphen and Other Symbols ................................................................ 23 0.6 The Portuguese Alphabet and Writing System .................................................... 25 0.7 Accentuation............................................................................................................. 25 0.8 Warming Up: Getting Ready to Use the Language ............................................. 28 0.8.1 Useful Expressions for Classroom Activities .............................................. 28 0.8.2 Colloquial Greetings (Saudações)..................................................................... 29 0.8.3 Leave-Takings (Despedidas) ............................................................................. 29 0.8.4 Introductions (Apresentações), Reactions (Reações)......................................... 29 0.8.5 General Expressions ....................................................................................... 30 0.9 Short Dialogues Using the Preceding Expressions ............................................. 30 0.10 Translation .............................................................................................................. 32 0.11 Dictation ................................................................................................................. 32 0.12 Brazilian Popular Music (Música Popular Brasileira – MPB) ............................... 33
Unit 1. Primeiros Contatos.................................................................... 35 1. NA UNIVERSIDADE ............................................................................ 36
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1.1 Dialogue: O Primeiro Dia na Universidade..........................................................36 1.2 Indicative Mode, Present Tense .............................................................................39 1.2.1 Regular Verb Forms ........................................................................................39 1.2.2 Present Tense ...................................................................................................39 1.3 Pronunciation: /e/, /ε/; /o/, /ø/; /i/, /ĩ/; “ti, te, di, de” ................................. 43 1.3.1 Nine Simplified Rules of Pronunciation....................................................... 43 1.3.2 Lip Configurations of the Seven Oral Vowels of Brazilian Portuguese...... 46 1.3.3 The Vowels /e/ and /ε/, /o/ and /ø/ ........................................................ 46 1.3.3.1 Auditory Identification ...........................................................................47 1.3.3.2 VISUAL Identification of Brazilian Portuguese Sounds .................. 49 1.3.3.3 Comprehension and Production ...........................................................50 Trava-língua – O Malandro ...................................................................................50 1.3.4 The Vowels /i/ and /ĩ/ ..................................................................................52 1.3.4.1 VISUAL Identification of the Vowels /i/ and /ĩ/............................. 54 1.3.5 Pronunciation of [t¸i] and [d¸i]..........................................................................54 1.4 Spanish and Portuguese Diphthongs.....................................................................56 1.4.1 Spanish Stem-Changing Verbs and Their Portuguese Counterparts ........ 56 1.4.2 Spanish Stem-Changing Nouns and Their Portuguese Counterparts ...... 57 1.4.3 Spanish Gustar and Portuguese Gostar de.......................................................59 1.5 Primeiros Contatos ..................................................................................................59 1.5.1 Greetings and Leave-Takings.........................................................................60 1.5.2 Forms of Address ............................................................................................60 1.6 The Negative.............................................................................................................64 1.7 Articles ....................................................................................................................... 65 1.7.1 Definite Articles ...............................................................................................65 1.7.2 Indefinite Articles ............................................................................................66 1.8 Noun Gender and Plurals .......................................................................................67 1.8.1 Gender...............................................................................................................67 1.8.2 Plurals ................................................................................................................68 1.9 Dictation.................................................................................................................... 70 1.10 Translation ..............................................................................................................71 1.11 Diversões, Bate-Bola e Pipoca Quentinha.......................................................... 72 1.11.1 Spelling, Accentuation, Plurals.....................................................................72 1.12 Song: “O Estrangeiro” (1989) by Caetano Veloso ............................................ 73 1.13 Carrying On – Drills on Communicative Competence .................................... 76 1.13.1 Situations to Use and Create with the Language....................................... 77 Nicknames (Port. apelidos, Span. apodos) ............................................................77 Semantic Fields.....................................................................................................78 1.14 Active Vocabulary ..................................................................................................81
Unit 2. Vamos Sair um Pouco............................................................... 87
Contents
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2. PONTOS DE ENCONTRO: RESTAURANTES, BARZINHOS E BOTECOS ............................................................................................... 88 2.1 Dialogue: No Restaurante....................................................................................... 88 2.2 Irregular Verbs ......................................................................................................... 91 2.2.1 Present Tense, Indicative Mode .................................................................... 91 2.2.2 A Comparison of Ser, Estar and Ficar ........................................................... 92 2.2.3 Ser, Estar and Ficar : More ............................................................................. 94 2.2.4 Agreement with Ser ......................................................................................... 96 2.2.5 Estar: Present Progressive, Indicative Mode.............................................. 101 2.3 Pronunciation: /a/ and /ã/.................................................................................. 101 2.3.1 Pronunciation Review: /e/ and /ε/, /o/ and /ø/ ................................... 101 2.3.2 Pronunciation: /a/ and /ã/, /s/ and /z/.................................................. 102 2.3.3 Pronunciation: /s/ and /z/ ......................................................................... 104 2.3.3.1 VISUAL Identification of Brazilian Portuguese Sounds................. 104 2.3.3.2 Sounds [e] and [ε], [o] and [ø], [z] and [ã] .......................................... 105 2.4 Combination of em, de, a, por and Articles.......................................................... 106 2.4.1 Obligatory Combinations (Definite Articles) ............................................ 106 2.4.2 Optional Combinations (Indefinite Articles)............................................. 107 2.5 More Verbs ............................................................................................................. 109 2.5.1 Present Tense, Indicative Mode: Ir, Ir + Infinitive ................................... 109 2.5.2 Present Tense, Indicative Mode: Pôr, Querer, Ter, Vir............................... 110 2.6 Diminutives and Augmentatives.......................................................................... 112 2.6.1 Diminutives.................................................................................................... 112 2.6.2 Augmentatives ............................................................................................... 113 2.7 Interrogative and Exclamatory Words: Word Order ........................................ 114 2.7.1 Interrogatives ................................................................................................. 114 2.7.2 Exclamatory Words....................................................................................... 115 2.7.3 Word Order.................................................................................................... 115 2.8 Comparatives and Superlatives ............................................................................ 117 2.8.1 Comparatives ................................................................................................. 117 2.8.2 Superlatives..................................................................................................... 117 2.8.3 Comparatives and Superlatives of bom (Span. bueno), mau (Span. malo), grande (Span. grande) and pequeno (Span. pequeño).................... 119 2.9 Cardinal Numbers: 0–29 ....................................................................................... 120 2.9.1 Related Words................................................................................................ 122 2.10 Constructions with Estar com and Ficar com ...................................................... 123 2.10.1 Common Combinations with Estar com and Ficar com ............................ 123 2.11 Dictation ............................................................................................................... 125 2.12 Translation ............................................................................................................ 125 2.13 Diversões, Bate-Bola e Pipoca Quentinha ....................................................... 126 2.14 Song: “Soy Loco por Ti, América” (1967) by Gilberto Gil and José Carlos Capinam.................................................................................................... 128
x
Pois não – Simões 2.15 Carrying On – Drills on Communicative Competence ..................................130 2.16 Active Vocabulary ................................................................................................137
Unit 3. Entre Familiares e Amigos ..................................................... 145 3. REUNINDO-SE COM A FAMÍLIA........................................................ 146 3.1 Dialogue: Dando um Telefonema........................................................................146 3.2 Present Tense, Indicative Mode ...........................................................................149 3.2.1 Dar, Dizer, Fazer, Medir, Ouvir, Pedir, Poder, Trazer, Saber ...........................149 3.2.2 Verbs Ending in -cer .....................................................................................151 3.3 Pronunciation: /u/, /u~/; /š/, /ž/; -m Endings ................................................152 3.3.1 /u/ and /u~/....................................................................................................153 3.3.2 /š/ and /ž/.....................................................................................................153 3.3.3 -m Ending .......................................................................................................154 3.3.4 Auditory Training and Production ..............................................................155 “Poema das Sete Faces” (1930) by Carlos Drummond de Andrade ..........155 “Uns” (1983) by Caetano Veloso ....................................................................156 “Na chácara do Chico Bolacha” (1964) by Cecília Meireles ........................156 3.4 Possessive Adjectives and Pronouns ...................................................................158 3.4.1 Adjectives........................................................................................................159 3.4.2 Pronouns.........................................................................................................160 3.5 Interrogative Words (continued)..........................................................................162 3.5.1 Combined Forms...........................................................................................162 3.5.2 Por que, Porque, Por quê and Porquê................................................................162 3.6 Cardinal Numbers: 30–99 .....................................................................................163 3.7 Spelling: The letters g/gu, g/j, c/ç, c/qu ............................................................166 3.7.1 Spelling Changes: Portuguese g, gu and j → [g] and [ž] ...........................166 3.7.2 Spelling Changes: Portuguese c/ç, qu/c → [s] and [k].............................167 3.8 Dictation..................................................................................................................168 3.9 Translation ..............................................................................................................169 3.10 Diversões, Bate-Bola e Pipoca Quentinha........................................................170 3.11 Song: “Pedro Pedreiro” (1965) by Chico Buarque ..........................................173 3.12 Carrying On – Drills on Communicative Competence ..................................174 3.13 Active Vocabulary ................................................................................................179
Unit 4. Fantasias, Sonhos e Realidades .............................................. 183 4. NO MUNDO DA IMAGINAÇÃO .......................................................... 184 4.1 Reading: “O Menino Maluquinho” by Ziraldo (Alves Pinto) ..........................184
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xi
4.2 Indicative Mode, Past and Present ...................................................................... 186 4.2.1 Past: Preterite of Regular Verbs .................................................................. 187 4.2.2 Past: Imperfect of Regular Verbs................................................................ 188 4.2.3 Past: Preterite and Imperfect: Ser, Ir, Estar, Poder, Ter .............................. 189 4.3 Pronunciation: /e/ and /ε~/; /l/, /r/ and /R/ .................................................. 192 4.3.1 /e/ and /ε~/ .................................................................................................... 192 4.3.2 /l/, /r/ and /R/............................................................................................ 193 4.3.3 Auditory Identification ................................................................................. 195 4.3.4 VIDEOS – Lip and Facial Gestures........................................................... 196 “Pregão do Vendedor de Lima” and “A Lua é do Raul” (1964), by Cecília Meireles............................................................................................. 198 4.4 Expressions of Time.............................................................................................. 199 4.4.1 Telling Time ................................................................................................... 199 4.4.2 Days of the Week, Months, Special Vocabulary ....................................... 201 4.4.3 Fazer and Haver ............................................................................................. 203 4.4.4 Weather and Time with Ser, Estar, Fazer and Haver................................. 204 4.5 Demonstratives: Adjectives and Pronouns ........................................................ 206 “Ou Isto ou Aquilo” (1964) by Cecília Meireles ........................................... 206 4.5.1 Combinations with Em and De................................................................... 207 4.5.2 Combinations with A ................................................................................... 208 4.6 Prepositional Pronouns and Combinations ....................................................... 208 4.6.1 Pronouns as Objects of Prepositions ......................................................... 208 4.7 Cardinal Numbers: 100 – 1,000,000 .................................................................... 209 4.8 Spelling: Letters a, e, é, i, o, ó, u; p, b, t, d, f, v .................................................. 212 4.9 Dictation ................................................................................................................. 213 4.10 Translation ............................................................................................................ 213 4.11 Writing Drills: Bilhete.......................................................................................... 214 4.12 Diversões, Bate-Bola e Pipoca Quentinha ....................................................... 214 4.12.1 Subjunctive Sem Estresse .............................................................................. 216 4.13 Song: “A Banda” (1966) by Chico Buarque ..................................................... 217 4.14 Carrying On—Drills on Communicative Competence .................................. 220 4.15 Active Vocabulary: Measurements, Numbers, Interrogatives, Expressions of Time; General.................................................................................... 222
Unit 5. Gestos Lingüísticos e Culturais .............................................. 227 5. A CULTURA DOS GESTOS LINGÜÍSTICOS ......................................... 228 5.1 Reading: A Capoeira e o Berimbau ..................................................................... 228 5.2 Indicative Mode, Past and Present ...................................................................... 232 5.2.1 Past: Preterite ................................................................................................. 232
xii
Pois não – Simões 5.2.2 Past: Imperfect: Pôr, Vir, Haver....................................................................234 5.2.3 Present Tense, Mode Indicative of Servir, Repetir, Dormir, Tossir and Seguir ..................................................................................................................235 5.3 Pronunciation: Schwa, Lengthening and Diphthong ........................................236 5.3.1 Vowel Reduction (schwa) and Lengthening (diphthongization).............237 5.3.2 Brazilian Portuguese Diphthongs and Their Spanish and English Equivalents...............................................................................................................238 5.3.3 Auditory Identification..................................................................................239 5.3.4 Pronunciation: Linking Cases.......................................................................241 5.4 Special Vocabulary .................................................................................................243 5.4.1 Human Body ..................................................................................................243 5.4.2 Expressions Referring to Body Parts ..........................................................245 5.5 Direct and Indirect Object Pronouns: Usage and Placement ..........................247 5.5.1 Placement and Usage of Pronouns: A Quick Reference Guide..............248 5.5.2 Usage of Unstressed Pronouns: Detailed Presentation ............................250 5.5.3 Attachment of Unstressed Pronouns: Detailed Presentation ..................251 5.5.3.1 Finding the Direct and Indirect Pronouns ........................................251 5.5.3.2 The Written (Careful) and Spoken (Informal) Languages ...............253 5.6 Ordinal Numbers: 1–1,000 ...................................................................................259 5.7 Spelling: Nasalization with m, n, nh and ~...........................................................261 5.8 Dictation..................................................................................................................262 5.9 Translation ..............................................................................................................263 5.10 Writing Drills: Letters and Messages .................................................................263 5.11 Diversões, Bate-Bola e Pipoca Quentinha........................................................266 5.11.1 Subjunctive Sem Estresse...............................................................................268 5.12 Song: “Meu Caro Amigo” (1976) by Chico Buarque and Francis Hime......269 5.13 Carrying On—Drills on Communicative Competence ..................................271 5.14 Active Vocabulary ................................................................................................273
Unit 6. Crônicas Brasileiras ................................................................ 277 6. UMA OLHADA RÁPIDA NOS POVOS QUE FORMARAM O BRASIL ...... 278 6.1 Reading: “O Turco” by Fernando Sabino ..........................................................279 6.2 Indicative Mode, Past Tense.................................................................................281 6.2.1 Simple Past Perfect........................................................................................281 6.2.2 Compounds: Present and Past Perfect........................................................282 6.2.2.1 Past Participle Forms ............................................................................283 6.2.3 Present Perfect ...............................................................................................283 6.2.4 Past Perfect.....................................................................................................287 6.3 Pronunciation Review: Open Vowels, Stops /b, d, g/ .....................................288
Contents
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6.3.1 More Review of Open and Closed Vowels................................................ 288 6.3.2 Stops /b, d, g/ ............................................................................................... 289 6.3.3 Transcription.................................................................................................. 291 6.4 Special Words ......................................................................................................... 291 6.4.1 Mesmo in Emphatic Constructions .............................................................. 291 6.4.2 Ser Intrusivo .................................................................................................. 293 6.4.3 Até.................................................................................................................... 293 6.4.4 Mas, Mais, Más................................................................................................ 294 6.5 Spelling: The Letter x ............................................................................................ 295 6.6. Os “Turcos” e Outros Povos do Brasil ............................................................. 296 6.7 Dictation ................................................................................................................. 298 6.8 Translation .............................................................................................................. 299 6.9 Writing Drills.......................................................................................................... 299 6.10 Diversões, Bate-Bola e Pipoca Quentinha ....................................................... 300 6.10.1 Placement of Object Pronouns ................................................................. 301 6.10.2 Subjunctive Sem Estresse .............................................................................. 302 6.11 Songs: “No Dia em Que Eu Vim-me Embora” and “Sampa” by Caetano Veloso ....................................................................................................... 303 6.12 Carrying On—Drills on Communicative Competence .................................. 305 6.13 Active Vocabulary................................................................................................ 306
Unit 7. As Viagens .............................................................................. 307 7. A GEOGRAFIA DO BRASIL ................................................................ 308 7.1 Reading: Férias de Natal e Ano Novo ................................................................ 308 7.2 Indicative Mode, Future and Present .................................................................. 310 7.2.1 Simple Future................................................................................................. 310 7.2.2 “Future of the Preterite” (Conditional) ...................................................... 312 7.2.3 Simple Present: Verbs Ending in -ear, -iar, -uir......................................... 314 7.2.4 Simple Present: Perder, Valer, Caber, Seguir.................................................. 315 7.3 Pronunciation ......................................................................................................... 316 7.3.1 /v/ and /b/ ................................................................................................... 316 “O Violão e o Vilão” (1964) by Cecília Meireles........................................... 317 7.3.2 Stress Differences.......................................................................................... 317 7.4 Feira, Férias, Feriado................................................................................................. 319 7.5 Mapa e Regiões do Brasil...................................................................................... 320 7.5.1 Use of Articles before Countries, States, and Cities ................................. 320 7.5.2 Symbols of Brazil: The Ipê Amarelo and Sabiá............................................ 320 7.6 Expressions Using Embora and Saudade .............................................................. 322
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7.7 The Personal Infinitive ..........................................................................................323 7.8 Spelling: s, ss, ç, z; –isar or –izar............................................................................325 7.9 Dictation..................................................................................................................326 7.10 Translation ............................................................................................................327 7.11 Writing Drill: Composition.................................................................................327 7.12 Diversões, Bate-Bola e Pipoca Quentinha........................................................328 7.12.1 Subjunctive Sem Estresse...............................................................................330 7.13 Song: “San Vicente” (1972) by Milton Nascimento and Fernando Brandt...... 332 7.14 Carrying On—Drills on Communicative Competence ..................................333 7.15 Active Vocabulary ................................................................................................334
Unit 8. Cuidando dos Filhos, da Vida e da Cozinha .......................... 339 8. DIÁLOGO: CUIDANDO DOS FILHOS ................................................. 340 8.1 Reading: “Hora de Dormir” by Fernando Sabino .............................................340 8.2 Indicative Mode, Reflexive Verbs, Impersonal Se and Passive Voice; Estar with Past Participle.............................................................................................343 8.2.1 Reflexive Verbs, Spanish Se le Sentences and Similar Ones....................343 8.2.2 Uses of Impersonal Se...................................................................................351 8.2.3 Uses of (a) Gente .............................................................................................353 8.2.4 Passive Voice, Past Participle .......................................................................354 8.2.5 Estar with Past Participle .............................................................................358 8.3 Pronunciation Review............................................................................................359 8.3.1 /e/ and /ε/; /o/ and /ø/ ............................................................................359 8.4 Negations: Não, Nunca, Nenhum, Nenhuma, Ninguém, Nada, Nem; Absolutamente, Em Absoluto ...........................................................................................361 8.4.1 Adverbs: Não, Nunca......................................................................................362 8.4.2 Adjectives: Nenhum, Nenhuma.......................................................................362 8.4.3 Pronouns: Ninguém, Nada, Nenhum, Nenhuma.............................................362 8.4.4 Nem ..................................................................................................................362 8.4.5 Absolutamente, Em Absoluto ............................................................................363 8.5 Todo(s), Toda(s), Tudo; Todo (o) Dia.........................................................................364 8.6 Reading – Cuidando da Vida: “Olê, Olá” (1965) by Chico Buarque ..............365 8.7 Imperative Mode, All Verbs .................................................................................367 8.7.1 Irregular Forms: Imperative .........................................................................367 8.8 Reading – Carpe diem (Cuidando da Vida e da Cozinha): “Feijoada Completa” (1977) by Chico Buarque .......................................................368 8.8.1 Vocabulary for Food: Portuguese-Spanish-English..................................370 8.9 Writing Drill: Going from Verse into Prose; Writing Verses...........................373
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8.10 Dictation ............................................................................................................... 373 8.11 Translation ............................................................................................................ 373 8.12 Diversões, Bate-Bola e Pipoca Quentinha ....................................................... 375 8.12.1 Subjunctive Sem Estresse .............................................................................. 376 8.13 Songs: “O Meu Guri” (1981) by Chico Buarque and Francis Hime ............ 378 8.14 Carrying On—Drills on Communicative Competence .................................. 380 8.15 Active Vocabulary................................................................................................ 382
Unit 9. Cultura e Diversões Populares................................................ 387 9. FUTEBOL, CARNAVAL E FOLCLORE: DIVERSÕES POPULARES ........ 388 9.1 Reading: As Grandes Festas do Povo ................................................................. 388 “Atrás do Trio Elétrico” (1969) by Caetano Veloso.......................................... 389 9.2 Subjunctive: General Remarks ............................................................................. 391 9.2.1 Subjunctive Mode, Present........................................................................... 393 9.3 Infinitive and Personal Infinitive Instead of Subjunctive or Indicative.......... 397 9.3.1 Infinitive Instead of the Present Subjunctive or Indicative ..................... 397 9.3.2 Infinitives in Spanish and Portuguese Compared ..................................... 400 9.4 Comparisons: Adjectives and Adverbs ............................................................... 401 9.5 Reading: “Matemática” by Luís Fernando Veríssimo....................................... 402 9.6 Subjunctive Mode, Past or Imperfect and Future ............................................. 405 9.6.1 Past Tense of the Subjunctive ..................................................................... 405 9.6.2 Subjunctive vs Indicative in If-Clauses....................................................... 407 9.6.3 Future Subjunctive ........................................................................................ 408 9.6.4 Adverbial Conjunctions – Indicative or Subjunctive: A Summary......... 411 9.6.5 Adverbial Conjunctions followed by the Subjunctive or Indicative....... 412 9.6.6 Future Subjunctive: Portuguese and Spanish Compared......................... 413 9.7 Diversões, Bate-Bola e Pipoca Quentinha ......................................................... 414 9.8 Carrying On—Drills on Communicative Competence .................................... 415 9.8.1 Cohesion – Linking Words, Connectors.................................................... 415 9.8.2 Cantigas de Roda ........................................................................................... 417 9.9 Active Vocabulary.................................................................................................. 418
Appendixes ......................................................................................... 421 Appendix-1 – Phonetic Symbols................................................................................ 423 Vowels in Brazilian Portuguese............................................................................. 424 Diphthongs in Brazilian Portuguese..................................................................... 425 Appendix-2 – The Alphabet ....................................................................................... 427 Consonant Clusters................................................................................................. 428
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Appendix-3 – Orthography.........................................................................................429 Lexical Notation: Portuguese Diacritics, Hyphen and Other Symbols ...........429 Accentuation in Brazilian Portuguese – português-padrão.....................................430 Rules of Accentuation Based on Native Speaker’s Intuition.............................432 Divergences Between Portugal and Brazil Due to Different Pronunciation of Open and Closed Vowels........................................................434 Syllabication .............................................................................................................435 SPELLING REFORM or Reforma Ortográfica (2008).................................................436 Reading Aloud According to the Written Language: Placement of Stress in Spoken Language.....................................................................................437 Appendix-4 – Por and Para.........................................................................................439 Appendix-5 – Articles, Their Combinations and Contractions with Prepositions...................................................................................................................441 Appendix-6 – Gender and Number...........................................................................443 Appendix-7 – Cardinal and Ordinal Numbers; Related Expressions....................445 Related Words .........................................................................................................446 Dates in Brazilian Portuguese Are Written This Way ........................................446 Cardinals ...................................................................................................................446 Value and Use of Cardinals....................................................................................447 Use of the Conjunction “e” With Cardinal Numbers ........................................447 Ordinal Numbers ....................................................................................................448 Values and Use of Ordinals ...................................................................................448 Use of Roman Numbers ........................................................................................448 Multiplicative Words...............................................................................................449 Use of Multiplicative Words ..................................................................................450 Fractional Words.....................................................................................................450 Use of Fractional Expressions...............................................................................450 Number Table..........................................................................................................451 Grouping Numbers (números coletivos)....................................................................451 Appendix-8 – Pronouns ..............................................................................................453 Clitic Attachment According to the Norm (português-padrão).............................454 General Rules According to the Norm ................................................................454 Clitic Attachment With One Verb........................................................................454 Clitic Attachment With More Than One Verb ...................................................457 Appendix-9 – Formal Forms of Address; Querido vs Caro; Tu, Você, O Senhor, A Senhora, A gente..........................................................................................459 Querido and Caro; Tu and Você...............................................................................461 O Senhor, a Senhora and a Senhorita/a Menina........................................................461 A Gente......................................................................................................................462 Appendix-10 – Models of Formal and Informal Letters.........................................463 Carta a um Reitor ....................................................................................................463 Ofício ao Presidente da República........................................................................464 Bilhete .......................................................................................................................465 Recado aos Pais .......................................................................................................465 Carta de uma Amiga a um Amigo.........................................................................466 Carta de um Amigo a uma Amiga.........................................................................467
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Carta de Amor de um Homem para uma Mulher .............................................. 468 Carta de Amor de uma Mulher para um Homem .............................................. 469 Memorando Oficial ................................................................................................ 470 Memorando Expedido por Órgão Não Oficial .................................................. 471 Modelo de Ofício.................................................................................................... 472 Carta Comercial Tradicional.................................................................................. 473 Carta Comercial Moderna...................................................................................... 474 Circulares.................................................................................................................. 475 Carta-Circular de um Clube para seus Associados ............................................. 476 Carta a um Professor.............................................................................................. 477 Carta a um Diretor ou Presidente de Empresa................................................... 478 Carta a um Arcebispo............................................................................................. 479 Modelo de Memorando Oficial............................................................................. 480 Appendix-11: Portuguese Verbs ................................................................................ 481 Regular Verbs: falar, comer, garantir.................................................................... 481 Irregular Verbs ........................................................................................................ 485 Grupo I: abrir, aceitar, aderir, ... destruir, dirigir, distribuir, ... premiar, ... semear, suar, subtrair, tossir, trair, voar ............................................................... 485 Grupo II: ter, ser, estar, haver............................................................................... 490 Grupo III: caber, cobrir, construir, dar, ... sentir, trazer, ver, vir ..................... 493 Appendix-12: Rubrics for Presentations; Sample of an Exam............................... 519
Vocabulary .......................................................................................... 527 General Index...................................................................................... 563
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Preface Pois não accomplishes two main goals. First, it teaches the equivalent of one year of college Portuguese in one semester, three times a week, to Spanish speakers who also have a solid English foundation. Secondly, this book serves as a basic reference guide to Brazilian Portuguese, for the same audience. Cela va sans dire, it is an intensive course contrasting Portuguese and Spanish with reliance on English comprehension. The target audience of Pois não is Spanish speakers learning Brazilian Portuguese, but the book is useful to any user—students, teachers or anyone else who wants to learn Brazilian Portuguese. Thus, Pois não relies on grammar and pronunciation explanations and drills to teach Brazilian Portuguese. Most importantly, it provides explanation to all grammar and pronunciation topics dealt with in the book enabling adult learners to acquire the language piece-bypiece. In other words, Pois não satisfies an adult expectation with respect to language learning by breaking down Portuguese into small components. Pois não discusses important pronunciation and grammar concepts that other teaching materials leave out. Instructors and students who consult this book will learn about concepts such as subordination, phonology, phonetics, to mention some. These concepts have become taboos for some instructors and students, but Pois não attempts to eliminate these taboos while also giving the option of skipping these discussions. Hence, the user of these materials— depending on his or her needs—can either focus on the drills in the book, concentrate on both the explanations and drills, or use the book as a reference grammar, that is to say for consultation only. In addition to teaching pronunciation and grammar concepts, Pois não also realizes that language learning or acquisition in the classroom depends mainly on use and imagination. A successful teaching and learning program must convey to the student that the language network is a living organism. Like all natural languages, Brazilian Portuguese is a network of interrelated components, viz. grammar, pronunciation, culture, nationhood, behavior, language memory, language history, literature, music, to mention some. The role of a teacher is to present this living network to the students in the target language. In other words, speak Portuguese as much as possible with a reasonable degree of accuracy. Although students will learn Portuguese pronunciation primarily by listening to their instructor, the ideal pronunciation acquisition should also include other sources of input through imitation, comprehensive input, and the use of creativity. This course uses the language television speakers, especially from the two main cultural centers of Brazil, Rio de Janeiro and Salvador, Bahia, as its main reference for pronunciation. Pronunciation should be one of the main focus of Spanish speakers learning Portuguese.
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Pois não contains a number of mechanical explanations regarding pronunciation using minimal pairs, such as pôde/pode, são/sal, pães/pais, etc., which are important in a contrastive course such as this one. However, it is sufficient to go through them once. It is not necessary to repeat them in pairs; imitations are only necessary for fine tuning. Once the students become aware of the significance of these differences, the teacher should move away from mechanical and controlled practices and into actual discourse (comprehensive input). Students should then be guided to become inventive and take initiative with the language. For those students who do not feel comfortable speaking in the classroom, small group activities are helpful to get them involved in using the language. In addition, the instructor may suggest that students write journals and make regular recordings (reading aloud, spontaneous narration without reading, or dialogues with other students) outside the classroom. These journals and recordings can be handed in every 2-4 weeks, so that the instructor can follow the student’s progress. Filming students’ performances in the target language is also very helpful, if the students have access to adequate filming facilities. In either case, audio-recording or filming, the results will be better if the students listen to or see themselves after the recordings. Pronunciation and grammar are the focuses of this book; however, Pois não also offers innovative learning techniques through its work with gestures (facial gestures) in communication. This book contains drills on gestures in order to create an awareness of the importance of gestures in communication and improve pronunciation, especially in words ending in –m and nasal vowels, in Portuguese. Note that imitation plays a major role in learning gestures. With respect to the recordings of dialogues for this course, sometimes they will not match what appears in print. People who performed the recordings were instructed to change the written dialogues as needed, to make them feel comfortable with their performance and be as natural as possible. Students should not be surprised if the recorded dialogues differ from what is actually seen in the book. This was done on purpose. Therefore, use the written dialogues in the book as a guide to what was actually recorded, as you exercise your ear during the listening process. Many parts will coincide, but some will not. The differences, as it will be realized, are not difficult to catch. The main goal of the recordings is to promote oral and visual comprehension, that is passive learning. Speaking, namely active learning is expected to happen in the classroom and in other opportunities. The contents in Pois não are complemented nicely by the layout of the book, which is designed to advance the student quickly toward language creation and immersion. Pois não contains mechanic, controlled exercises in the beginning and then moves gradually into less controlled exercises and finally into drills that should allow the student to use and take initiative, to create with the language. Errors that might occur in a student’s attempt to create with the
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language should not slow down their production. These errors should be simply monitored by the instructor or the student for developing an awareness of their learning process. While awareness of error patterns may not help some students, it may help others, so gauge accordingly. There is a considerable amount of material in this course. The instructor may not have time to teach everything in one semester. Some classes may finish everything before the end of the semester, but some may not. Here are a few suggestions in order to help the teacher and student advance quickly through the coursework: •
If the teacher finds that there is too much to cover in one period, he/she should select the most important parts. I would suggest that the selection include the use and placement of object pronouns (Unit 5); the present perfect compared with the preterite (Unit 6); and the future subjunctive and the personal infinitive (Unit 9). The personal infinitive should not take much time to understand, but it is important to cover it.
•
Some of the reading sections of this course are intended for users of advanced university preparation, such as senior undergraduate, graduate students, and teachers. For this reason, the beginning and end of these sections are identified with the labels below. The instructor or the student may skip these readings if they wish to do so. LEITURA DE NÍVEL AVANÇADO FIM DA LEITURA DE NÍVEL AVANÇADO
•
Pois não contains answers to all exercises. By providing the answers, we hope to make this book self-explanatory and easier for students and teachers accustomed to studying on their own. However, it is crucial to the success of this course that the users answer the exercises before looking them up. Providing answers also saves time in the classroom. Exercises with answers often make explanations easier to understand, especially for an audience of Spanish speakers who already understand similar grammatical structures. This also means that a teacher may skip over some of the grammar points if the students are clear on the answers. Consequently, the teacher will have more time to use the language in speaking and writing activities in the classroom, especially through the situations suggested at the end of each unit.
For those interested in increasing their contact with the Portuguese language outside the classroom, there are many Brazilian radio stations, newspapers, and Portuguese language websites available on the internet. They are usually free and provide an excellent way to have more input of a foreign
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language—a subtle yet effective way of helping the student absorb the language. Listening to a foreign radio station while we work, eat, or do anything else can also make our living more pleasant. Below is a list of links, current as of 2007. This list is also available and updated on my website web.ku.edu/~brasilis. Happy navigating! http://www.estacaodaluz.org.br (Museu da Língua Portuguesa, em São Paulo) http://www.carla.umn.edu (Center for Advanced Research on Language Acquisition) http://www.cambito.com.br/ http://www.hildebrando.com.br/licoes.html http://clubedoprofessor.com.br/escolas/joanadarc/tarefas/ (for children, but useful) http://www.saunalahti.fi/~huuhilo/portuguese/ http://www.tvcultura.com.br/aloescola/linguaportuguesa/ http://www.gramaticaonline.com.br/ http://www.word2word.com/coursead.html#portuguese http://www1.universia.net/CatalogaXXI/pub/ir.asp?IdURL=132635&IDC=10010& IDP=ES&IDI=1 http://languagecenter.cla.umn.edu/lc/Citlali/Portugues.html http://www.bbc.co.uk/portuguese/ http://tltc.la.utexas.edu/brazilpod/tafalado/ http://www.laits.utexas.edu/orkelm/ppe/intro.html http://www.laits.utexas.edu/orkelm/casos/intro.html http://www.uni.edu/becker/PortugueseWebsites.html http://www.bibvirt.futuro.usp.br/index.php http://www.maria-brazil.org http://www1.lanic.utexas.edu/la/brazil/ http://www.latam.ufl.edu/portugueselanguagejournal/index.html http://www.verbix.com/languages/portuguese.shtml http://www.logosconjugator.org/newverb/verba_dba.verba_main.create_lang_page?l ang=PT&total_verb=4972 http://revisor.com.ar/ http://200.225.157.123/dicaureliopos/home.asp?logado=true (Aurélio Dictionary)
IMPORTANT – In 2007, as we finalized the publication of this book, the new Portuguese spelling reform generated considerable discussion in Brazil. This spelling reform may take effect in 2008. Pois não has not adopted the changes in this edition because they affect minimally this course. The users of Pois não, however, should consult the section “Spelling Reform – Reforma Ortográfica,” in Appendix 3 – Orthography, which summarizes the new reform. Antônio Roberto Monteiro Simões Lawrence, Kansas, USA September 2007
Acknowledgments At first, I would like to recognize the help that I received in a variety of ways, from the following people, in alphabetical order: Affonso Romano de Sant’Anna, Andréa Lemos Ferreira, Antonio Duarte, Antonio Moreno, April del Campo, Beth Anne Schmierer for her priceless suggestions and support, Bobby Chamberlain, Bruno Germain Simões, Bruno Pieroni, Cacilda Rêgo, Carlos von Monfort, Carmen Tesser, Charles A. Perrone, Clarice Amorim, Dale April Koike, Denise Reis, Duc Nguyen, Edma Delgado, Elizabeth Jackson, Elizabeth Herron-Sweet, Fábio Germain Simões, Fred Ellison, Gustavo Sudré, Jim and Martha Graham, Jon Vincent (in memoriam), Jonathan Max Bloch, Joscicleide Santos, José Augusto Carvalho, Karin Van den Dool (in memoriam), Kenneth David Jackson, Leonardo Veronez Simões, Lori Hope, Marcella Vasconcellos, Margo Milleret, Marilene Magario, Mary Dorst, Michael Conroy, Milton Azevedo, Odessa Popinhak dos Reis, Orlando Kelm, Pam LeRow, Patrick Sullivan de Oliveira, Paul Sneed, Paula Courtney, Peter Dixon, Rafael DeMarco, Rebecca Magario, Regina Lauderdale, Rita de Cássia Santos, Roberta Donateli Simões, Roberta M. Cavitt, Roziany A.M. Villaça, Severino Albuquerque and Steve Thomas. Thanks to the following authors, their families and heirs, I was able to use the Portuguese and Spanish texts in this book. Caetano Veloso, Carlos Drummond de Andrade, Cecília Meireles, Chico Buarque de Hollanda, Daniel Samper Pizano, Fernando Sabino, Francis Hime, Gilberto Gil, José Carlos Capinam, Luís Fernando Veríssimo, and Ziraldo Alves Pinto. Their texts are key to the success of this course. They are acknowledged accordingly were their texts appear in the course. The following people either authorized to use their photos or helped me reaching the authors or companies whose texts or photos are used in this book: Alexandre Carlos Teixeira (texts by Cecília Meireles), Andréa dos Santos (Fermata, texts by Chico Buarque), Aurélio Simões Monteiro (in memoriam), Bias Arrudão (Dedoc – Editora Abril), Clara Recht Diament (texts by Carlos Drummond de Andrade), Daniel da Silva Rocha (texts by Carlos Drummond de Andrade), Debora de Souza (Caetano Veloso), Grace de Souza (Editora Abril, Veja Magazine), Herculano José (texts by Caetano Veloso), João Bethencourt (texts by Carlos Drummond de Andrade), Joaquim Palmeiro (Brazilian Embassy, Washington, D.C.), Kelly J. Chalou (texts by Caetano Veloso), Margarete Pereira, Marilda Ferreira (Marola Edições, texts by Chico Buarque), Marta Antunes (Brazilian Embassy in Washington, D.C), Miriam
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Campos (texts by Luís Fernando Veríssimo), Pablo La Rosa (his own photos), Priscila Azul, Sônia Pepe (text by Gilberto Gil and José Carlos Capinam), Tadeu Monteiro Simões, Tarcísio Zandonade (Brazilian Embassy in Washington, D.C), and Waldemar Marchetti (texts by Caetano Veloso). The folklore figures were drafted by Sylvie G. Covey under my orientation, whose works can be found at www.sylviecovey.com. Sylvie gave a new stylized look to the figures of Saci and Caapora. Beth Anne Schmierer kindly edited several passages of the manuscript. Theresa May, who welcomed Com licença! to UT Press, was again the key person behind this new project to produce Pois não. The University of Kansas provided me with the academic support of the Department of Spanish and Portuguese and the recording facilities of the EGARC Language Laboratory in the production of this book. The recording were made with the invaluable help of its former director, Bill Comer. Jonathan Perkins, the Associate Director of EGARC, and his laboratory assistants, Jennifer Laverentz, Nathan McKee, Matt Walker and Garrett Anderson have also been of great assistance to this project. Part of the research underlying this work was possible thanks to a grant from the United States Department of Education, Title VI International Research and Studies Program, under the supervision of USDE Officer José Martínez.
Flight of the 14bis (1906), built by Brazilian engineer Alberto Santos Dumont (1873-1932), in France. Courtesy of the Brazilian Embassy in Washington
Pois não
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Introduction Olá! Meu nome é Saci Pererê, mas também tem gente que me chama de Matita Pereira e outros nomes. A Caapora gosta de mandar em mim, e é por isso que estou sempre me escondendo dela. (¡Hola! Mi nombre es Saci Pereré, pero también hay quienes me llaman Matita Pereira y otros nombres. A Caapora le gusta darme órdenes y es por eso que siempre me escondo de ella.)
Sou Caapora, Caipora ou Curupira, depende da região. Tenho que botar o Saci na linha porque ele é muito levado. Se você também for muito levado que nem o Saci, abra o olho comigo. (Soy Caapora, Caipora o Curupira, eso depende de la región. Tengo que hacerle a Saci portarse bien porque es muy travieso. Si eres también travieso como Saci, ¡ojo! )
The title of this course, Pois não, is a reply to the question Com licença? In English, it would be equivalent to answering “Sure,” “Yes,” “Go Ahead,” etc. to the requests “May I?,” or “Pardon me!?,” which are approximate translations of Com licença? In the title cover of this book Caapora says “Com licença!?” and Saci Pererê replies with the title of the book: “Pois não.” In sum, generally pois não means pois sim, namely “Yes.” The preceding dialogue between Saci and Caapora will probably prompt an important question: When is it appropriate to use informal or formal Brazilian Portuguese? Although it depends in large part on the situation, there are essentially two forms of Brazilian Portuguese—the informal or colloquial and the formal or careful language. It is important that the student learn to navigate and distinguish between both early on in the learning process. Brazilians, compared to other cultures, are often perceived as a more informal people. Foreigners who learn Portuguese in Brazil or with Brazilians may develop a tendency to write using short forms and expressions that are more suitable in the spoken language or in contexts such as chatting on the internet. The student should get used to distinguishing these forms, especially in formal (usually letters, compositions, essays, and even some personal notes) from the informal language (usually the spoken language). Of course, there is a careful spoken language, which it is similar to the careful or formal written language. Pois não presents many slang words and expressions suitable for spoken Portuguese, but it also makes the student aware of the need to avoid overusing informality in writing. For example, instead of dele, one may need to use seu or some other constructions, in a more careful style; likewise, instead of dum, use
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de um; instead of tá use está; instead of bão use, bom; and many others. In spoken and informal contexts, however, it is almost obligatory to pay attention and practice the use of slang and new constructions in Brazilian Portuguese because language is a living organism.
0.1 Brazilian Portuguese and Spanish This section acquaints students with the textbook style and introduces the course to them in the first days of class. There is no separate laboratory manual or workbook; everything is integrated into a single volume. A comparison of written Spanish and Brazilian (or Peninsular) Portuguese reveals more similarities than differences for a novice in the study of languages. Both languages are still heavily characterized by Arabic borrowings. J. N. Green (The Romance Languages, ed. M. Harris and N. Vincent, Oxford University Press, 1988, pp. 123–124) estimates that cognates between Castilian Spanish and Peninsular Portuguese may be as high as 89 percent. In the case of Brazilian Portuguese, these numbers, of course, change—and probably decrease—if we compare the vocabularies of Spanish and Brazilian Portuguese because of borrowings from African and Brazilian Indigenous languages. This book contains a glossary of approximately fifteen-hundred words. We can estimate that about half of these words are spelled similarly to their Spanish counterparts and probably easy to understand for college students who speak Spanish. The rest of the vocabulary will require some effort on the part of students if they want to understand Brazilian Portuguese. To produce satisfactorily in Brazilian Portuguese, a good deal of attention should be paid to spelling and pronunciation in general. Sections 0.1.1 and 0.1.2 below present many false cognates which are amusing and sometimes embarrassing.
0.1.1 False Cognates: “Eu Não Falo Português” by Daniel Samper Pizano The text below synthesizes with very intelligent humor some vocabulary traps or falsos amigos in Portuguese and Spanish. Enjoy the reading and try to learn some of these vocabulary differences. They are explained in the text itself and most of them will reappear during this course.
Introduction
3
Eu Não Falo Português de Daniel Samper Pizano A diferencia de la mayoría de las personas – que entienden idiomas pero no los hablan –, a mí me sucede con el portugués que lo hablo pero no lo entiendo. Es decir, aprendí la música pero me falta la letra. Y como saben que adoro a Brasil, aunque nos hayan secuestrado a Amparito Grisales, mis amigos me aconsejaban que tomara unas clases para aprenderlo como Deus manda. Yo pensé que era una pendejada, pues español y portugués se parecen tanto que no precisaba tomar clases. Sin embargo, para salir de dudas, resolví preguntárselo a Norma Ramos, una buena amiga brasileña con la que me encontré cierto día en que ambos almorzábamos en una churrasquería rodizio. - Norma: dime la verdad. Siendo el portugués un dialecto derivado del español, ¿tú crees que necesito tomar clases de portugués? – le pregunté en el mejor portugués de que fui capaz. - Al fondo a la derecha – me contestó Norma, y siguió comiendo. Fue una experiencia terrible. Allí mismo decidí que no solo iba a tomar clases de portugués, sino que Norma tendría que ser mi profesora. Ella – que es puro corazón y mechas rubias – aceptó con resignación misericordiosa. Y como yo le insistiera que me hablase en portugués todo el tiempo, me dijo que desde el lunes nos sentaríamos a estudiar dentro de su escritório. Me pareció bastante estrecho el lugar, pero llegué ese lunes decidido a todo. Yo creía que el portugués era el idioma más fácil del mundo. Pero la primera lección que saqué es que resulta peligrosísimo justamente por lo que uno cree que se trata tan solo de español deshuesado. Escritório no quiere decir escritorio, sino oficina; en cambio, oficina quiere decir taller; y talher, significa cubiertos de mesa. No me atrevía a preguntar a Norma cómo se dice escritorio (nuestro tradicional escritorio de cajones y vade, en el caso de gerentes de medio pelo); pero ella, que es tan inteligente, lo adivinó en mis ojos aterrados. “Escritorio se dice escrivaninha”, observó Norma. “¿Escriba niña?” comenté desconcertado: “Así decimos a las secretarias”, Norma sonrió con benevolencia. Le pedí que decretáramos un rato de descanso. “Un rato en portugués es un ratón”, respondió inflexible. “Fíjate lo que me pasa por hablar como un loro”, traté de disculparme. “Um louro en portugués es un rubio”, dijo ella. “Y rubio seguramente se dirá ‘papagayo’”, comenté yo tratando de hacer un chiste. Glacial, Norma aclaró: - Ruivo es pelirrojo; y papagaio es loro. - Perdóname, Norma, pero es que yo hablo mucha basura. - Vassoura, no. Lixo. Vassoura quiere decir escoba. - Y escoba, ¿significa . . .? - Escova significa cepillo. Era suficiente para el primer día. A la siguiente lección regresé dispuesto a cometer la menor cantidad posible de errores. Le rogué a Norma que me regalara un tinto, a fin de empezar con la cabeza despejada. Me lo trajo de café
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brasileño, a pesar de lo cual quise ser amable y dije que lo encontraba exquisito. - No veo porque te desagrada – me contestó ella. - Al contrario: lo encuentro exquisito – insistí yo, sin saber que ya había cometido el primer error del día. “Esquisito quiere decir en portugués, desagradable, extraño”, suspiró Norma. Confundido, le eché la culpa a la olla. “La panela, corrigió Norma. “No lo noté endulzado”, comenté yo. “La panela, en portugués, es la olla”, dijo Norma. ¿”Y olla no quiere decir nada?”, pregunté yo. “Olha, quiere decir mira”, contestó ella. “Supongo que tendrán alguna palabra para panela”, me atreví a decir. “Panela se dice rapadura”, sentenció Norma. No quise preguntar cómo llamaban a la raspadura. Simplemente le dije que salía un segundo al baño y sólo volví una semana más tarde. Norma estaba allí, en su escritório (¿en su panela? ¿en su lixo?), esperándome con infinita paciencia. Siempre en portugués, le pedí perdón y le dije que me tenía tan abrumado el portugués, que ya no me acordaba ni de mi apellido. “De su sobrenome, dirá” comentó ella: “apelido quiere decir apodo”. Intenté sonreír: “Trataré de no ser tan torpe”. Dijo Norma: “no exagere: torpe es infame; inábil sí es torpe”. Con este nuevo desliz se me subió la temperatura. Quise tomar un vaso de água (“vaso es florero – corrigió ella – ; copo es vaso y floco es copo”) y me justifiqué diciendo que el viaje hasta su escritório había sido largo, porque venía de una finca. “Comprido, no largo; fazenda, no finca”, dijo Norma. “Largo quiere decir ancho, así como salsa significa perejil y molho significa salsa. Me di por vencido. Acepté que el portugués era un idioma difícil y entonces sí se iluminaron los ojos a Norma. La cuestión era de orgullo. De ahí en adelante no me regañó sino que me mostró todas las diferencias que existen entre palabras homófonas de los dos idiomas. Caro se disse costoso, porque custoso quiere decir difícil; morado se dice roxo, porque rojo se dice vermelho; escenario se dice palco, porque palco se dice camarote; cadeira no es cadera, sino asiento; bilhete no es billete, sino nota; pero en cambio nota sí quiere decir billete; maluco es loco y caprichosa es limpia; distinto es distinguido y presunto es jamón. “Pero – remató Norma – sobre todo, nunca vas a decir buseta en el Brasil, porque boceta en realidad es cuca y cuca quiere decir cabeza, de manera que esta última, aunque no la puedes decir en Cuba, sí puedes mencionarla en el Brasil”. Era demasiado. Pedí permiso para no volver nunca a clases de portugués, el idioma más difícil del mundo. Norma me preguntó por qué. - La verdad, Norminha, estoy “mamao” . . . - Mamão, no – corrigió Norma antes de que yo huyera para siempre: esgotado. Mamão quiere decir papaya. Pero no vas a decirlo nunca en Cuba. Reprinted with permission in Pizano, Daniel Samper. Postre de Notas. Bogotá, Colombia: P & J Editores [1983, 1984].
Introduction
5
Can you remember some of the Portuguese vocabulary above? First, try to fill in the spaces in the passage below, without looking at the text. Then, after you finish, look at the text above and compare your answers. Yo creía que el portugués era el idioma más fácil del mundo. Pero la primera lección que saqué es que resulta peligrosísimo justamente por lo que uno cree que se trata tan solo de español deshuesado. ____________ no quiere decir escritorio, sino oficina; en cambio, ____________ quiere decir taller; y ____________, significa cubiertos de mesa. No me atrevía a preguntar a Norma cómo se dice escritorio (nuestro tradicional escritorio de cajones y vade, en el caso de gerentes de medio pelo); pero ella, que es tan inteligente, lo adivinó en mis ojos aterrados. “Escritorio se dice ____________”, observó Norma. “¿Escriba niña?” comenté desconcertado: “Así decimos a las secretarias”, Norma sonrió con benevolencia. “Un ____________ en portugués es un ratón”, respondió inflexible. - ____________ significa cepillo. “____________ quiere decir en portugués, desagradable, extraño”, suspiró Norma. Con este nuevo desliz se me subió la temperatura. Quise tomar ____ ________ ____ água (“____________ es florero – corrigió ella – ; ____________ es vaso y floco es copo”) y me justifiqué diciendo que el viaje hasta su escritório había sido largo, porque venía de una finca. “____________, no largo; ____________, no finca”, dijo Norma. “____________ quiere decir ancho, así como ____________ significa perejil y ____________ significa salsa. Me di por vencido. Acepté que el portugués era un idioma difícil y entonces sí se iluminaron los ojos a Norma.
0.1.2 False Cognates: Word List Portuguese ainda acordar açougue anedota apelido apenas aula balcão
Spanish todavía despertarse carnicería chiste sobrenombre sólo, solamente clase tablero
There is another word for dog, “cão.” “Cão” has a more limited usage when referring to a dog. It is common to say “cão” in the sense of “demon, devil; mean person,” e.g. Esse cara é o cão. Interestingly, it is often used in home signs to alert visitors of dogs, maybe to emphasize the devilish, ferocious nature of the dog: Cuidado com o cão (“Beware of dog”). The feminine, cadelinha (or cadela), is commonly used. 1
6
Pois não – Simões
banana barata bater, dar porrada bilhão (v. trilhão) borracha borracharia borracheiro botar brincar cachorro 1 cachorrinho; filhote de cachorro camareiro (v. garçom) catarro (v. meleca) cena *chingar (v. xingar) cigarro criança doce embaraçado escova escritório esquisito estorinha, narração fechar galho garçom (v. camareiro) gracejador; espirituoso graciosa (usado para mulheres) graduado de universidade (v. posgraduado) jornal ladrilho (v. tijolo) largo mala ninguém ninho novela (v. romance) oficina padre palco paquete pegar película pelo pó (v. polvo) podre
plátano cucaracha; femenino de barato pegar mil millones caucho lugar donde se arreglan llantas/neumáticos persona que arregla llantas/neumáticos poner, colocar jugar perro cachorro sirviente/criado de cuarto moco tablado, escena de teatro --cigarrillo niño dulce turbado, desconcertado, avergonzado cepillo oficina (Span. escritorio = Port. escrivaninha) raro, extraño anédocta cerrar rama camarero gracioso chica elegante subgraduado (Latin America) periódico azulejo ancho equipaje nadie nido telenovela taller cura tablado, escenario término vulgar para menstruo, reglas coger; sacar; agarrar piel fina pelo de animal polvo podrido
Introduction polvo (v. pó) porra (vulgar), esperma posgraduado (v. graduado) pronto (rapidamente) punheta rato reparar ressaca romance (v. novela) saco salsa saltar sobremesa sobrenome sótão taça taco talher tijolo (v. ladrilho) tirar trilhão (v. bilhão) turma vaso vassoura venta xingar
7
pulpo esperma graduado (Latin America) preparado, listo (pronto) masturbación (término vulgar) ratón notar, ver cruda; el momento tras una borrachera novela bolsa que contiene los testículos; escroto parejil brincar, saltar postre apellido desván copa taco de billar una pieza del servicio de mesa ladrillo quitar; sacar un millón de millones grupo de personas; estudiantes en una clase jarrón; asiento para evacuar el vientre escoba ventanas de la nariz insultar con palabras vulgares
Focinho de porco (hocico de cerdo) é focinho de porco, tomada elétrica (enchufe) é tomada elétrica, rato é rato, camundongo é camundongo; mosca é mosca, mosquito é mosquito; borboleta é borboleta, mariposa é mariposa; ananás é ananás e abacaxi é abacaxi. Abacaxi is native to Brazil. Generally, it has a slightly sweeter and softer pulp than ananás. It usually has a cuneiform shape and its leaves have sharper needles.
This list shows the main usage of these words in Portuguese. A dictionary may show that some of these words have an additional and similar meaning to their Spanish counterparts, but Brazilians do not usually use them in that sense. For instance, one of the meanings of gracioso in Portuguese is encantador, que tem graça, usually employed to describe a gracious woman. That is true, but most frequently Brazilians employ gracioso with the meaning of gracejador, i.e. a
Pois não – Simões
8
negative connotation for someone who likes to make jokes—a kind of wisecracker. There are sentences that will mislead speakers in both languages: “Esta comida está esquisita” has a negative connotation in Brazilian Portuguese because esquisito means “strange.” “Seu saco é esquisito” does not translate as the Spanish “Su saco es exquisito,” because saco has several translations in Brazilian Portuguese, depending on the context, but in this sentence it will be interpreted most likely as “testicle(s).” Likewise, some frequently-used words in Spanish are of difficult usage for Brazilians, such as the verbs volverse, ponerse, and llegar a. Spanish differentiates between calidad and cualidad, but both words are translated in Portuguese (and English as well) as qualidade and “quality” respectively. The list of false cognates above and in general are also traps for Brazilians, e.g. Span. anécdota, billón, brincar, coger, ladrillo, pegar, presunto, rato, and many others. A Spanish speaker traveling through Brazil will find amusing situations due to false cognates and cultural differences between Brazilians and Hispanics. Take a look at the next picture and answer the following question. Las fotos A y B a continuación son de 1. un tipo de taberna popular en Brasil. 2. un negocio de arreglar y vender llantas. 3. una taberna que suele estar cerca de un motel. 4. un negocio de ventas de productos derivados del caucho. 5. un negocio de jardinería. 6. una taberna y dancetería donde suelen ir los universitarios. A.
B.
Answer: See in the next page, below the section “Do not say... Say Instead.”
0.1.3 Common Mistakes Taking into account the preceding section, the table below shows common expressions in Portuguese—with direct correlations to Spanish—that should not be said in Portuguese. The list is not intended to be exhaustive, but it
Introduction
9
contains expressions commonly heard among learners of Portuguese who often makes wrong guesses regarding the meaning of Spanish and Portuguese words with similar forms. The asterisk indicates that the expression is not Brazilian Portuguese. When there is no asterisk it means that it is an acceptable expression but the actual meaning may surprise. Do not say A gente meaning “people” (a gente = nós) Carniceiro or carniceria “Cu” for the letter “q” (cu = culo en español) Desgraçadamente Despertar-se (menos común) *Dormir-se *É/Parece/etc. como isso/assim Estou casado/a. Está casado/a. Estou cheio (después de comer, pero hoy en dia se oye cada vez más esa expresión entre brasileños) Esquisito, rico (en relación a la comida) *Ficar-se *Isto é de você. Levava uma camisa. Maior (para el hijo primogénito, el más viejo) *Mais grande *Mais pequeno *Me comí um sanduíche riquíssimo. *Me gosto isso/disso. *Morrer-se *Nos vamos. *Nos vemos, adeus. Paquete (término vulgar para menstruación) *Parar-se Posso borrar (borrar =puedo cagar or ensuciar) o quadro-negro? Punheta (=término vulgar para masturbación) *Ruvio/rubio *Tirar-se Vamos baixar. Varão/barão Volto num rato. (=Vuelvo llevado por/ montado en un ratón.) *Vou a me acostar um pouco.
Say instead As pessoas Açougueiro or açougue “Que” [ke] Infelizmente Acordar Dormir É/Parece assim. É casado/a. Me casei. Se casou. Estou satisfeito/a; Comi bem. Delicioso, gostoso Ficar Isto é seu. Vestia uma camisa. Mais velho Maior Menor Comi um sanduíche delicioso. Gosto disso. Morrer Vamos embora. Até logo. Tchau. Até mais. Pacote Parar Posso apagar o quadro-negro? Quebrei or machuquei o pulso. Louro (ruivo quiere decir pelirrrojo) Jogar-se; atirar-se; tirar Vamos descer. Homem; rapaz Volto num/em um instante/minuto. Vou (me) deitar.
Answers to the preceding question regarding the pictures Borracharia and Rei da Borracha: A.2. and B.4. Borracharia é um estabelecimento onde se vendem e consertam pneumáticos (esp. llantas, ing. tires). Em espanhol e inglês borracha quer dizer caucho e rubber, respectivamente.
Pois não – Simões
10
0.1.4 Mopho-Syntactic Differences: Preliminary Remarks Morphological and syntactic differences exist in great number. In order to deal with the differences, we suggest testing the student on verb and noun forms, regularly. Syntactic differences, such as certain uses of the subjunctive— especially the future subjunctive and the use of the present perfect (Spanish he hablado, has hablado, . . .)—require special attention from Spanish speakers. The future subjunctive is not used in Spanish anymore, except in some literary expressions of very limited usage, e.g. fuere lo que fuere, sea lo que fuere (Eng. “Whatever will be”), viniere lo que viniere (Eng. “Whatever comes”). On the other hand, in Portuguese the future subjunctive is still highly productive even among children: Se Deus quiser (Eng. “God willing”), Seja o que for (Eng. “Whatever will be”), quando eu puder (Eng. “whenever I can”). Although the subjunctive is not explained until the last unit, instructors should start using the subjunctive as soon as possible because students in this course are already accustomed to using the subjunctive in Spanish. This can be done by pointing it out to students whenever it happens spontaneously in class or by short presentations of selected cases of usage of the subjunctive, as the course progresses. Furthermore, if a student goes abroad he/she will hear the subjunctive already in the first days of his/her stay and will normally want to know how to use it immediately. This course does not advise testing the subjunctive in exams before the last unit, though. The subjunctive should simply be briefly discussed during class activities if the occasion happens. For this reason, the subjunctive will be used several times before the last unit, especially in the “Diversões, Bate-Bola e Pipoca Quentinha” sections, starting in Unit 4, until Unit 8. Other syntactic differences include the use of personal a in Spanish, as in
Al gato persigue el perro versus Portuguese, O cachorro está correndo atrás do gato (Eng. “The dog is chasing the cat”). Neither Portuguese nor English use personal a as Spanish does.
Similarly, the use of another kind of a in Spanish, in periphrastic constructions, is not present in their Portuguese equivalents: Voy a comenzar mañana. Vou começar amanhã.
(Eng. “I will start tomorrow”) (Eng. “I will start tomorrow”)
With respect to word order, we find differing trends in Portuguese and Spanish. Like other Romance languages, both languages inherited from Latin a great deal of flexibility in the ordering of words. However, Spanish has a greater tendency to a verb + subject word order. The sentence below, Sí, lo decidimos nosotros 2.
decidimos (verb) + nosotros (subject)
Daniel Samper’s text “Eu não falo português,” pp. 2-4, has many examples of reverse order verb+subject in Spanish (e.g. insistí yo, respondió ella, contestó ella, etc.) which can be used for discussion in the classroom.
2
Introduction
11
is equivalent to Sim, nós decidimos isso.
nós (subject) + decidimos (verb)
Obviously, Brazilian Portuguese can have a verb + subject word order. However, just like many other similarities between both languages, one feature is more predominant in one language than in the other. Another topic of interest in Portuguese and Spanish is the use of subject pronoun. In Brazilian Portuguese, the subject pronoun may not appear in commonly used expressions or in a sentence where the subject is obvious, “– Cê viu esse filme? – Vi sim,” without the subject “eu” before “vi.” A good way to understand how this works in Brazilian Portuguese is to compare the use of subject pronoun in English, Spanish and other Romance languages. In general, Brazilian Portuguese has shown in the last two hundred years or so a shift toward an increasing use of explicit subject (sujeito pleno), especially in the spoken language. The works of Fernando Tarallo, at UNICAMP in São Paulo, are a good point of departure to understand this trend in Brazilian Portuguese. Some languages, known as null-subject languages, do not need to use an explicit subject, because the verb ending clearly indicates the subject. In between these languages with explicit and null subjects there are pro-drop languages. Pro-drop languages use explicit or null subjects to varying degrees. English and French, for instance, need to use explicit subjects. Italian and Latin are more like a null-subject language. If we placed these languages as well as Spanish and Brazilian Portuguese in an axis going from languages with explicit subject to null subject, this is how we could depict them: Explicit Subject
Pro-Drop
Null Subject
English-French—―—―–―――–Brazilian Portuguese——―–Spanish—――Italian–Latin
In the case of Brazilian Portuguese, it is necessary to distinguish between the written and the spoken language. In our time, spoken Brazilian Portuguese seems to be shifting toward French for its frequent use of explicit subject pronouns. The written language is still a pro-drop language, but less than Spanish. A new language style or register in Brazilian Portuguese is currently being created on the internet, especially in e-mails and chatting rooms (e.g. naum instead of não). This internet code shows a mix of spoken and written language in Brazilian Portuguese with a pro-drop tendency. With respect to the use of object pronoun, Brazilian Portuguese is very different not only from English and Spanish, but also from Peninsular Portuguese. In Brazilian Portuguese, especially in the spoken language, the object pronoun is frequently omitted as in the short dialogue above, Vi sim,
12
Pois não – Simões
which is unlikely to happen in Spanish (Sí, lo vi.). This is due to a number of factors, especially the difficulty Brazilians have with the grammatical rules of pronoun placement, which are explained in Unit 5. In closing this section, it is worth mentioning that one of the main purposes of this book is to give an awareness of these differences, which often surprise Spanish speakers learning Portuguese who are misled by the idea of two very similar languages. Knowing Spanish can be both an advantage and a disadvantage. A helpful strategy to use this advantage as an advantage is to study Portuguese as if you were studying another language as distant as Greek, Chinese or Yoruba. Now let us look at pronunciation, the main linguistic component that differentiates these two languages.
0.2 The Sound Systems of Spanish and Brazilian Portuguese It is curious that native speakers of Portuguese understand a good deal of spoken Spanish whereas native speakers of Spanish frequently have more difficulty understanding spoken Portuguese. I was told that the late Brazilian linguist Mattoso Câmara, Jr., explained that this was due to the difference in the number of vowels of the two languages. That is in fact one of the reasons, but there are others. For many centuries, Spanish has been characterized by a system of five stable vowels, whereas Portuguese has a system of twelve unstable vowels, namely vowels that change in quality. Changes in vowel quality permeates Portuguese and this instability has characterized the language throughout its evolution. Vowels in Portuguese change their quality according to their position. If they are in a strong position they keep their quality. Changes occur in weak position. The vowels e and o, for example, in the word escrito are pronounced [i] and [u] because they are in weak positions in the word: [iS.krí.tu]. 3 The vowel i in the syllable -cri- is in a strong position (i does not change in an easily noticeable way in Portuguese). On the other hand, at the end of the word escritor the vowel o is pronounced [o] because it is in a strong position: [iS.kri.tóR]. Spanish is different from Portuguese in this respect. Relative to Portuguese or English, what we see in written Spanish tends to mirror what you hear or say in spoken Spanish. In addition to coming to grips with vowel instability in Portuguese, Spanish speakers will have to learn seven more vowels to become proficient in Brazilian Portuguese. Although the Portuguese alphabet contains five letters Capital “S,” “Z” and “R” in these transcriptions mean that these sounds vary depending on the region and sometimes the speaker. Later on in this book, we offer more explanation about this topic. Symbols enclosed in slashes or square brackets indicate pronunciation. Slashes (//) enclose phonological transcription, i.e. phonemes, broad transcription, whereas brackets ([ ]) enclose phonetic transcription, i.e. more details. 3
Introduction
13
that represent its vowels (a, e, i, o, u), these letters do not sufficiently represent the actual number of vowel sounds. For this reason, other letter symbols are introduced as visual aids for pronunciation. Specifically, in this text we look at a set of twelve: one subset of seven oral vowels and one subset of five nasal vowels. Spanish, on the other hand, has five oral vowels and no nasal vowels that affect word meaning as Portuguese nasal vowels do. This point will become more clear in the sections on pronunciation involving open vowels and nasal vowels. For now, it is sufficient to point out that open vowels in Brazilian Portuguese are probably the greatest concern to Spanish speakers of Portuguese, with respect to pronunciation.
0.2.1 Some Consonant Features: b, d, g; “S” in Syllable Final Position The pronunciation of vowels is not the only difference between Portuguese and Spanish. Consonants in Brazilian Portuguese are also pronounced much differently than they are in Spanish, especially the consonants in Spanish varieties spoken in Latin America and the Caribbean—or any place outside the center and north of Spain, where castellano is spoken. Phonetically, consonants differ from vowels in that the articulators (lips, tongue, etc.) come into contact when we produce consonants. However, Spanish spoken outside the center and north of Spain—not castellano—changes considerably the pronunciation of the stop consonants “b, d, g” into soft or “fricative”-like consonants (e.g. “aβoγaðo,” “abogado” or “abogao”). Depending on the situation, these consonants may simply not be heard (e.g. “a o á o” for abogado). What happens to these consonants in Spanish is that the articulators move toward each other but stop before making contact. The sentence below is an illustration of this common type of pronunciation in Spanish. Note in this example that the letters “b, d, g” are reduced and sometimes “deleted,” depending on when, where, and by whom they are said: Mi abuelita está cansada, ya no aguanta más. These highlighted consonants have varying degrees of reduction, e.g. abuelita, a’uelita, auelita; cansada, cansa’a, cansá; aguanta, a’uanta, auanta. Examples of consonant weakening and deletion are abundant in the Spanish speaking world, especially in the so-called tierras bajas of Latin America—the Caribbean, Argentina, Chile, etc.—and in the south of Spain. Examples can easily be found on the streets in the south of Spain or in the formal speech of a president of Chile explaining to his nation that he had nothing to hide from the accusations of political corruption: - No hay na’a, a’solutamente na’a …” (Eng. “There is nothing, nothing at all…”)
14
Pois não – Simões
The “d” in “nada” was not pronounced. Likewise, Martin Fierro’s gaucho characters would have a similar deletion of consonants in their dialogues, e.g. “cuñao” instead of “cuñado” (Eng. “brother-in-law”). This consonant weakening is not limited to “b, d, g.” The famous Argentine comic strip, Mafalda, or many real life speakers in Argentina, Chile, Uruguay, Cuba, Dominican Republic, Puerto Rico, the coastal areas of Venezuela, and so on may not pronounce the alveolar “s” in syllable final position, as in the words “este” (Eng. “this”) or “dos panes” (Eng. “two breads”). Instead, they will change the “s” into an h-like sound, like in the English word “high,” namely “ehte” and “doh paneh” or they will not pronounce the “s” at all, e.g. “ete” or “do pane.” The singer Bebe, probably from Extremadura, Spain, has an outstanding interpretation of her song “Malo” (2005, www.holatv.ca) in which these and other features can be heard in passages like “morao (morado) de mis mejillas,” “estoy cansá (cansada),” “una ve má no (una vez más no)” to mention some. On the other hand, in Brazilian Portuguese and English the articulators normally come into contact. For example, when pronouncing the word “bum!” in Brazilian Portuguese or “bang” in English inside a sentence, the lips will meet to produce a hard b. Thus—and as seen in more detail in the pronunciation drills later in this book—the consonants b, d, and g are different in Brazilian Portuguese and Spanish, especially the consonant d, which is dental in Spanish and alveolar or alveopalatal for the majority of the Brazilian population. Everyone needs to learn new sounds and sentence constructions when studying a different language. It is helpful to compare the Spanish and the Brazilian Portuguese systems and then draw a list of new sounds on which oral drills are based. The new sounds are illustrated in drawings according to the vocal-tract forms required to produce them. If there are no drawings, that is because in these cases the illustrations are not helpful (e.g. nasal vowels). The listing of the two sound systems uses English as an interface when the simple comparison of Spanish and Brazilian Portuguese is not sufficient.
0.2.2 The Oral Vowels: Spanish and Brazilian Portuguese Among the seven oral vowels of Brazilian Portuguese, two are known for requiring particular attention from Spanish speakers because Spanish does not have them. They are the open vowels /ø/ and /ε/. English has two vowels usually described in English phonetics as tense (/ø/), as in dog, saw, bore, bought, and lax (/ε/), as in pet, fresh, bet, which are very similar to but not the same as the ones in Brazilian Portuguese. Consequently, the Brazilian Portuguese vowels will require some work on the part of English speakers as well.
Introduction
15
Students are often misled by some of the comparisons made to help them learn these two vowels. For example, the vowels in the words bait and bet, boat and bought are used as equivalents to the Portuguese sounds /e/, /ε/, /o/, and /ø/. This is helpful only if we think of them as monothongs, or the nucleus of these diphthongs (bait) because their Portuguese counterparts are not long or lengthened. In other words, they are not diphthongs or diphthongized in Portuguese as they are in English. An effective drill to feel these differences is to practice these English words with short or stable (not lengthened) vowels, with an abrupt ending, unlike the typical dumping ending of English vowels. English speakers who have knowledge of Spanish can perceive the differences between long or lengthened vowels of English and abrupt-ending vowels in Spanish, in order to work on their pronunciation of Portuguese abrupt ending vowels. Vowel Quality in English, Spanish and Portuguese As you listen to the audio and video recordings in this book, feel free to stop them at any moment, as needed. The speaker in this section is male, a capixaba-colatinense from Espírito Santo. Eng
Span Eng
Span Eng
Span Eng
Span Eng
Span
no
no
sí
sé
lo
tri
sea
say
low
tree
This is what it would be for something similar in English and Portuguese in terms of open/closed vowels: Eng
BrP
boat boto (golfinho; type of fish) paw pode (poder, present tense)
Eng
BrP
Eng
BrP
bonus saw
bônus só
web
webi
Interestingly, students from northeastern U.S. have an advantage because their pronunciation of paw and Poe are closer to the vowels of Brazilian Portuguese than other US varieties. In the case of open /ε/, it may be helpful to initially target the English vowel /æ/, as in “Pat” or “bat,” to arrive at the pronunciation of Brazilian Portuguese /ε/ as in (eu) peso, quero, Zeca, etc. Although these are different phonemes 4, this strategy may prove helpful for both English and Spanish speakers who also speak English. Below is a table that compares oral vowels. To better understand the table, note the following: •
4
“No equivalent” means that there is no equivalent phoneme; that is, the sound does not exist, or it may exist but the speaker may not be aware of it.
A phoneme can be described in practical and brief terms as the most basic linguistic sound that affects the meaning of a word.
Pois não – Simões
16 • •
The phonetic symbols of the International Phonetic Alphabet (IPA) for the semi-vowels /y, w/ are not used in this table. In the phonetic transcriptions they will be represented with raised “i”s [i] and “u”s [u]. Colon (:) after vowels indicates lengthening. Comparison of Oral Vowels in Spanish and Brazilian Portuguese, Using English Vowels When Spanish Lacks the Equivalent (Male speaker, capixaba-colatinense from Espírito Santo)
Spanish /i/ Brasilia /e/ (el) peso No equivalent /a/ Machado No equivalent /o/ pozo /u/ Hugo
Brazilian Portuguese /i/ Brasília /e/ (o) peso /ε/ (eu) peso /a/ Machado /ø/ posso /o/ poço /u/ Hugo
English closer equivalents /e:/bait; (also /ι/ as in bit) /ε/ pet; (also /æ/ as in Pat) / ø / dog or /ø:/ bought /o:/ boat (French beau)
0.2.3 The Nasal Vowels: Brazilian Portuguese In general, neither Spanish nor English have nasal vowels that are significant enough to change the meaning of a word. Again, English speakers may have an advantage here because English does have the interjection “uh-huh” (/ã´hã/), which can be regarded for teaching purposes as a very close equivalent of Brazilian Portuguese /ã/, as in cantando. Spanish does not have nasal vowels as in Brazilian Portuguese, especially if we consider nasal sounds at the end of a word. For the nasal sounds, it is very important to practice auditory drills in combination with production drills. The student must hear the different nasal feature of these vowels. The table below provides a summary of the nasal vowels. Spanish closer equivalents tinto centro zanja tonto mundo
Brazilian Portuguese /i~/ assim /ε~/ centro /ã/ rã /õ/ tom /u~ / atum
English closer equivalents No equivalent No equivalent uh-uh No equivalent No equivalent
Note that Spanish speakers should not have difficulties using Portuguese nasal vowels inside a word. Their difficulty will appear in nasals at the end of a word. The visual image of words spelled with a final –m tends to mislead
Introduction
17
non-native speakers. Despite its spelling, this ending is in fact a nasal vowel or a diphthong, e.g. som, nenhum, assim, falam, vem, porém, aparecem, etc.
0.3 The Consonants: Spanish and Brazilian Portuguese Here too, Spanish speakers have a considerable number of new sounds to learn, as indicated in the table below. It can never be overemphasized that the similarities of Spanish and Portuguese may be an advantage, but if this advantage is not properly used, it will become a disadvantage. For example, the Spanish sounds “ll” and “ñ” are close to Brazilian Portuguese lh and nh, but if not differentiated as it should be, they will result in a strong accent. In an attempt to help students with proper pronunciation of these sounds, we represent them in the bracket transcriptions as close as possible to the sequence of tongue movements in their pronunciation. Therefore, the symbols [i ~y ] and [liy] are visually more informative for English and Spanish speakers, than the other alternatives of the IPA, [ŋ] and [λ] respectively. For this reason, [i~y] and [liy] or simply [y~] and [li] are the options used here. Lastly, Spanish jota [x] substitutes very well for the Brazilian Portuguese sounds of the letters rr (carro) and r at the beginning of a word (rio) or at the end of a syllable (Marcos). In addition to Spanish jota, there are other alternatives in the pronunciation of these r-letters in Brazilian Portuguese. Among the other alternatives, we find English “h” sound, French r-grasseyé, Spanish trill, and also a “mute” r in word final position. The jota pronunciation is an advantage that Spanish speakers should use. Comparison of Spanish and Brazilian Portuguese Consonants, Using Some of the English Consonants as Interface (Male speaker, capixaba-colatinense from Espírito Santo) Spanish Brazilian Portuguese English /p/ pura /
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3394
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dbpedia
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2
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https://onefootball.com/en/news/palmeiras-2-1-ceara-10-man-verdao-hold-on-late-to-keep-league-lead-22235852
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en
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📝Palmeiras 2-1 Ceará: 10-man Verdão hold on late to keep league lead | OneFootball
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https://photobooth-api.onefootball.com/api/screenshot/%2Fv2%2Fphotobooth%2Fcms%2Fen%2F22235852%3Fdate=2024-08-13
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https://photobooth-api.onefootball.com/api/screenshot/%2Fv2%2Fphotobooth%2Fcms%2Fen%2F22235852%3Fdate=2024-08-13
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[] |
[] |
[
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] | null |
[] |
2018-10-21T00:00:00
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Read this news on OneFootball.
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en
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OneFootball
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https://onefootball.com/en/news/palmeiras-2-1-ceara-10-man-verdao-hold-on-late-to-keep-league-lead-22235852
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5 most outrageous transfer rumours doing the rounds right now
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3394
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| 17
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https://www.academia.edu/18713640/Cryopreservation_of_mammalian_embryos
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en
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Cryopreservation of mammalian embryos
|
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[] |
[] |
[
""
] | null |
[
"Zsuzsanna Polgar",
"Duangjai Boonkusol",
"unideb.academia.edu",
"independent.academia.edu"
] |
2015-11-20T00:00:00
|
Although intensive research has been conducted on a worldwide scale, cryopreservation of embryos in many species has not yet been possible with sufficient success rates. Embryo cryopreservation in farm animals is a valuable tool to maintain genetic
|
https://www.academia.edu/18713640/Cryopreservation_of_mammalian_embryos
|
The aim of the present review is to provide information to researchers and practitioners concerning the reasons for the altered viability and the medium- and long-term consequences of cryopreservation of manipulated mammalian embryos. Embryo manipulation is defined herein as the act or process of manipulating mammalian embryos, including superovulation, AI, IVM, IVF, in vitro culture, intracytoplasmic sperm injection, embryo biopsy or splitting, somatic cell nuclear transfer cloning, the production of sexed embryos (by sperm sexing), embryo cryopreservation, embryo transfer or the creation of genetically modified (transgenic) embryos. With advances in manipulation technologies, the application of embryo manipulation will become more frequent; the proper prevention and management of the resulting alterations will be crucial in establishing an economically viable animal breeding technology.
Preimplantation embryos from cattle, sheep, and goats may be cryopreserved for short- or long-term storage. Preimplantation embryos consist predominantly of water, and the avoidance of intracellular ice crystal formation during the cryopreservation process is of paramount importance to maintain embryo viability. Embryos are placed into a hypertonic solution (1.4 - 1.5 M) of a cryoprotective agent (CPA) such as ethylene glycol (EG) or glycerol (GLYC) to create an osmotic gradient that facilitates cellular dehydration. After embryos reach osmotic equilibrium in the CPA solution, they are individually loaded in the hypertonic CPA solution into 0.25 ml plastic straws for freezing. Embryos are placed into a controlled rate freezer at a temperature of -6°C. Ice crystal formation is induced in the CPA solution surrounding the embryo, and crystallization causes an increase in the concentration of CPA outside of the embryo, causing further cellular dehydration. Embryos are cooled at a rate o...
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[
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[
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Find the perfect andre 003 jpg stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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en
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Alamy
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https://www.alamy.com/stock-photo/andre-003-jpg.html
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 13/08/2024 Alamy Ltd. All rights reserved.
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en
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Soccer Nostalgia
|
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Short International Careers, Part Nine
1- David Gerald Unsworth
Everton defender David Unsworth caught the eye of Terry Venables in Everton’s FA Cup winning run of 1994/95.
For the Umbro Cup that was to take place in the summer of 1995, Unsworth was called up as a replacement after Tony Adams had to withdraw because of injury.
His only cap was in the very first match on June 3rd, 1995 vs. Japan (2-1 win).
He was never called up again.
Photo From: Calcio 2000, Issue 27, February 2000
(David Unsworth)
2- Pascal Baills
French defender Pascal Baills was a teammate of Laurent Blanc at Montpellier. His solid performances allowed Montpellier to reach the quarterfinals of the Cup Winners Cup in 1990/91 where they were eliminated by Manchester United.
He earned his only cap a few weeks after this elimination when he came on as a substitute for Pascal Vahirua in the 56th minute of France’s EC Qualifier vs. Albania at Paris (March 30, 1991, France 5-Albania 0).
His total International career amounted to 34 minutes. He was never called up again as a big move to Olympique Marseille in the offseason did not increase his chances, since he was unable to break into such a competitive squad full of Internationals.
Photo From: Onze-Mondial, Issue 25, February 1991
(Pascal Baills with Montpellier, 1990/91)
3- Massimiliano Cappioli
Italian Midfielder Massimiliano Cappioli was a member of the Cagliari squad that earned promotion to the Serie A in 1990 and qualified for the UEFA Cup in 1993.
These performances earned him a move to AS Roma in 1993. Arrigo Sacchi selected him only once in a Friendly vs. France in Naples on February 16, 1994 (1-0 France win).
He replaced Giovanni Stroppa in the 65th minute. Therefore his International career amounted to 25 minutes.
Photo From: Guerin Sportivo-January 30-February 5, 1991
(Massimiliano Cappioli with Cagliari, 1990/91)
4- Jerry Murrien de Jong
Dutch defender Jerry De Jong was signed by PSV Eindhoven in the summer of 1989. He earned only 3 caps in his career and all were during the 1990/91 season and all were European Championship qualifiers.
November 21, 1990-Holland 2-Greece 0
December 19, 1990-Malta 0-Holland 8
April 17, 1991-Holland 2-Finland 0
He is the father of current Dutch International Nigel De Jong.
Photo From: Het Nederlands Elftal, de histoire van oranje, 1989-1995, Authors: Matty Verkamman and Henk Mees
(Jerry De Jong before his first ever cap, November 21, 1990, EC Qualifier, Holland 2-Greece 0)
5- Paul Steiner
Long serving Koln defender Paul Steiner was previously uncapped when he was surprisingly chosen, as a 33 year old, as one of the final 22 members of West Germany’s 1990 World Cup winning squad by Franz Beckenbauer.
His only cap was prior to the World Cup, when he replaced Klaus Augenthaler in the second half of a Friendly vs. Denmark on May 30, 1990 at Gelsenkirchen (1-0 win). He never played for Germany again.
Photo From: Fussball Magazin, January february 1984
(FC Koln’s Paul Steiner, 1983/84)
↧
↧
The First Time ….., Part Nine
1-The First time that a Republic of Ireland International came on as a substitute was in a World Cup Qualifier on April 8, 1934 (Holland 5-Ireland 2).
Alfred Horlacher replaced William Jordan in the 40thminute.
Photo From: Football Association of Ireland-75 Years, Author Peter Byrne, 1996
(Alfred Horlacher, May 11, 1930, Belgium 1-Ireland 3)
2- The First Time ever that a Danish player became a Professional was when
Carl William Hansen of BK 1903 Copenhagen joined Scotland’s Rangers Glasgow in 1921.
Photo From: IFFHS, Danmark (1908-1940), Sverige (1908-10940)
(Carl William Hansen, October 1918 before an International , October 6, 1918, Denmark 4-Norway 0)
3- The First Time that an English League match was televised was on August 29, 1936, Arsenal 3-Everton 2.
4- The First Time that a Welsh international was ever sent off was in a World Cup Qualifier, on September 28, 1973 (Poland 3-Wales 0), when Trevor Hockey was sent off in the 39th minute.
5- The First Time that a Home Team (British) lost at home to a foreign opposition was when Scotland lost a Friendly vs. Austria on December 13, 1950 at Glasgow (0-1 loss).
Photo From: Österreichs Fußball Länderspiele Chronik 1902 – 1993, Author: Anton Egger
(Austria squad, December 13, 1950, Scotland 0-Austria 1)
Photo From: Österreichs Fußball Länderspiele Chronik 1902 – 1993, Author: Anton Egger
(Theodor Wagner and William Alexander Woodburn, December 13, 1950, Scotland 0-Austria 1)
↧
Football’s Quarrels and Feuds, Part Seven
1- Stephane Demol and Leo Clijsters, 1986-1991
Belgian International defenders Stephane Demol and Leo Clijsters had an ongoing feud as both were vying for the Libero position in the national Team. On the plane to Mexico for the 1986 World Cup, apparently Demol made a public jibe that Clijsters was only coming to carry everyone’s luggage.
Later on, the very first time that started a match together in the heart of defense with Clijsters as Libero and Demol as Stopper, Demol was overheard telling Clijsters that it was the last time he would be playing as Libero since he would replace him.
More often than not it was Clijsters that would start as the Libero.
Photo From: Foot Foot Magazine, May 1990
(Leo Clijsters)
Photo From: Foot Foot Magazine, May 1990
(Stephane Demol)
2- Mario Corso and Giovanni Ferrari, 1962/64
There were many who felt that Internazionale Milano defender Mario Corso was unjustly excluded from Italy’s 1962 World Cup Finals squad for Chile.
The player himself certainly held a grudge. During a Friendly between Inter and the Czechoslovakian National team in March 1964, Italy’s 1962 World Cup selectors Manager Giovanni Ferrari and Paolo Mazza (who made up the Technical Commission) were in the audience.
After scoring a goal, Mario Corso rushed towards the VIP stands and made an obscene gesture directed at them.
He was fined for his actions.
Photo From: 100 Anni del Campionato del Calcio
(Mario Corso)
Photo From: Calcio 2000, Issue 19, May 1999
(Giovanni Ferrari in his playing days)
3- Edgar Davids and Fabio Capello, 1997
When Fabio Capello returned to manage AC Milan in 1997, he sidelined Dutch midfielder Edgar Davids. The temperamental Davids made his displeasure very public. As a result Davids was transferred to Juventus in the November transfer window and found a new lease on life by helping them win the Scudetto.
Capello for his part explained to the media that Davids was a very difficult character. He claimed that he was so difficult that even his former Ajax Manager Louis van Gaal did not sign him for Barcelona like he was doing with his other players and urged the media to ask van Gaal.
Photo From: World Soccer, January 1999
(Edgar Davids)
Photo From: Onze-Mondial, Issue 131, December 1999
(Fabio Capello)
4- Hugo Sanchez and Leo Beenhakker, 1992
By the 1991/92 season, Mexican striker Hugo Sanchez was at his seventh season at Real Madrid. He had missed a lengthty part of the season due to injury. When he was fit, Dutch Manager Leo Beenhakker felt he was not ready to start matches and sidelined him for some matches which angered the striker famous for his ego.
Sanchez grew angrier and verbally attacked the Management. Things deteriorated to such a point that he was axed from the team by Club President Ramon Mendoza and trasnfered back to Mexico at the conclusion of the season.
Photo From: World Soccer, Summer 2008
(Leo Beenhakker)
Photo From: Foot Magazine, March 1986
(Hugo Sanchez)
5- Stephem Keshi and Aad De Mos, 1990/91
Nigerian defender Stephen Keshi left Anderlecht at the end of the 1990/91 season because of his difficulties dealing with Dutch Manager Aad De Mos. He even said many felt had left the club because of the Manager.
Photo From: World Soccer, June 1989
(Aad De Mos)
Photo From: France Football, Issue 2375, October 15, 1991
(Stephen Keshi)
↧
The uncapped, Part Seven
1- Frans van Rooy
Dutch midfielder Frans van Rooy started at out PSV Eindhoven. Due to stiff competition he was first loaned to Belgian club Antwerp, before joining them outright.
He was tipped to be capped for Holland’s Friendly vs. Brazil at Rotterdam on December 20, 1989 (0-1 Brazil win), however, an injury deprived him of that chance and he was never called up again.
Photo from: Voetbal International, October 26, 1985
(Frans van Rooy at PSV Eindhoven, 1985/86)
2- Fausto Pari
Italian midfielder Fausto Pari was one of the unsung heroes of Sampdoria’s Scudetto win in 1991.
Arrigo Sacchi called him up in his first ever squad for the EC Qualifier vs. Norway on November 13, 1991 (one to one tie).
However, he never even made the bench and was not called up again.
Photo from: Calcio 2000, Issue 22, August 1999
(Fausto Pari)
3- Peter Luccin
Peter Luccin was one of the bright young hopes of France in the late 90s when he starred at a young age for clubs such as Bordeaux, Olympique Marseille and Paris St. Germain. He was often tipped as a future International. Despite successful stints in the Spanish La Liga with Celta, Real Zaragoza and Atletico Madrid, he was never called up for International duty.
Photo from: World Soccer, September 2000
(Peter Luccin with Paris St. Germain, 2000/01)
4- Harald Kohr
West German striker Harald Kohr was a consistent goalscorer for Kaiserslautern in the late 1980s. International recognition eluded him and he ended up in the Swiss League with Grasshoppers Zurich in 1989.
Photo from: Fussball Magazin, May 1987
(Harald Kohr with Kaiserslautern)
5- David Burrows
Kenny Dalglish signed promising English defender David Burrows in 1988 from West Bromwich Albion. He found the competition tough at Liverpool, though he did earn English U-21 and B caps, but was unable to make the leap to earn full International honors.
↧
Diego Maradona and Michel Platini, Part Seven
Diego Maradona
(Magazine / Language : El Gráfico 1978 / Spanish by Jack Barski and Enrique Omar Sivori)
(Magazine / Language : France Football, Issue 1713, February 14, 1979 / French)
(Magazine / Language : EL GRAFICO Nº 3274 (1982) / Spanish)
(Magazine / Language : Don Balon, Issue 361, September 7, 1982 / Spanish by Miguel Rico and Miguel Moreno)
(Magazine / Language : France Football, Issue 1915, December 21, 1982 / French By Andres Merce Varela)
(Magazine / Language : Start 1983 №14 / Czech By Stefan Rosival)
(Magazine / Language : Foot Magazine, Issue 39, October 1984 / French By Christian Marteleur)
Photo From : Foot Magazine, Issue 39, October 1984
(Diego Maradona at Napoli, 1984/85)
Diego Maradona
Michel Platini
(Magazine / Language : AS Color, Issue 314, May 24, 1977 / Spanish)
(Magazine / Language : AS Color, Issue 324, August 2, 1977 / Spanish)
(Magazine / Language : Don Balon, Issue 100, September 8, 1977 / Spanish)
(Magazine / Language : France Football, Issue 1656, January 3, 1978 / French)
(Magazine / Language : France Football, Issue 1658, January 17, 1978 / French)
(Magazine / Language : Mondial, new series, issue 29, August, 1982 / French)
(Magazine / Language : Mondial, new series, issue 30, September 1982 / French By Serge Mesones)
(Magazine / Language : France Football, Issue 1912, November 30, 1982 / French By Victor Sinet)
Photo From : Mondial, new series, issue 29, August 1982
(Michel Platini at Juventus, 1982/83)
↧
↧
Error in Casting, Part Five
1- David Platt and Juventus 1992/93
England Captain David Platt arrived at Juventus with high expectations in the summer of 1992. He was expected to shine in a squad containing Roberto Baggio and Gianluca Vialli among others. His first and only season coincided with the implementation of the rule that clubs could sign as many foreigners as they liked, but only three could play at a given time. Juventus’ other three foreigners: German stopper Jurgen Kohler, Brazilian sweeper Julio Cesar and German midfielder Andreas Moeller were ahead of Platt in the pecking order and as a result his play was limited.
At the end of the season he joined Sampdoria to have more playing time.
Photo From: World Soccer, April 1991
(David Platt at Aston Villa, 1990/91)
2- Richard Witschge and Barcelona 1991/93
Young Dutch midfielder was seen as the bright future of Holland at Ajax. It was inevitable that he would join a big club like Barcelona in 1991. Barcelona Manager Johann Cruyff saw much potential in him having coached him many years before at Ajax.
However, he was also victim of League regulations that allowed four foreigners but only three could play. The three foreign players ahead were more experienced (Ronald Koeman, Michael Laudrup and Hristo Stoichkov) and naturally played more. After two disappointing seasons, he left to join French club Bordeaux and Brazilian Romario replaced him at Barcelona in 1993.
Photo From: World Soccer, September 1991
(Richard Witschge at Barcelona, 1991/92)
3- Colombian stars at Real Valladolid 1991/92
Spanish club Real Valladolid already had Colombian Leonel Alvarez on their books when they signed eccentric goalkeeper Rene Higuita and Captain Carlos Valderrama in the summer of 1991. They went even further by hiring their National Team Manager Francisco ‘Pacho’ Maturana.
However, the Colombian experiment was a fiasco and the three players were all shipped out by midseason. An isolated Maturana was fired by the end of the season.
Photo From: World Soccer, September 1991
(Carlos Valderrama at Real Valladolid, 1991/92)
Photo From: Soccer International, Issue 4, April 1990
(Rene Higuita)
4- John van Loen and Anderlecht 1990/91
Dutch striker John van Loen was signed from Roda JC Kerkrade in the summer of 1990. He was expected to score many goals, however, he never settled and only managed three goals the entire season. The emergence of 16 year old Ghanaian revelation Nii Lamptey and the consistency of Luc Nilis blocked his path.
He was relieved to return to the Dutch league and joined Ajax at the end of the season.
Photo From: Foot Magazine, Issue 107, September 1990
(John van Loen at Anderlecht, 1990/91)
5- Georges Leekens and Anderlecht 1987/88
Future Belgium National Team manager Georges Leekens was regarded as a rising Manager at Cercle Brugge when he was appointed as Anderlecht Manager in 1987. He joined a squad hampered by the loss of star Enzo Scifo to the Italian League and injury of Juan Lozano, and seemed out of his depth managing a team of Anderlecht’s standing.
Midway through the season he was sacked and replaced by Raymond Goethals.
Photo From: Le Siecle des Diables Rouges, Author: Christian Hubert
(Georges Leekens as Belgian National Team Manager)
↧
Tributes-Part 6
Tributes: Ronald Patrick Henry (August 17, 1934-December 27, 2014)
Erich Retter (February 17, 1925 – December 27, 2014)
Javier Fragoso(April 19, 1942 - December 28, 2014)
Odd Iversen (November 6, 1945-December 29, 2014)
Walter Roque(May 8, 1937 -December 30, 2014)
Romanus Orjinta(August 12, 1981 -December 31, 2014)
Antonio Fuertes(December 3, 1929-January 5, 2015)
Angelo Anquiletti(April 25, 1943- January 9, 2015)
Fritz Pott(April 23,1 939 - January 11, 2015)
Jeno Buzanszky(May 4, 1925 - January 11, 2015)
Vladimir Petrovich Kesarev(February 26, 1930-January 19, 2015)
Wilfred Agbonavbare(October 5, 1966- January 27, 2015)
Alberto Cardaccio(August 26, 1949- January 28, 2015)
Ole Sorensen (November 25, 1937- January 28, 2015)
Walter Glechner (February 12, 1939- January 29, 2015)
Harold William Hassal (March 4, 1929- January 30, 2015)
Udo Latteck (Janaury 16, 1935-February 1, 2015)
Frank Borghi (April 9, 1925- February 2, 2015)
Henryk Szczepanski (October 7, 1933- February 2, 2015)
NicoKarl-Erik Palmer (April 17, 1929- February 2, 2015)
Ion Nunweiller (January 9, 1936- February 3, 2015)
Henri ‘Rik’ Coppens(April 29, 1930- February 5, 2015)
Jean Lechantre(February 13, 1922- February 12, 2015)
Ivan Aleksandrov Davidov(October 5, 1943- February 19, 2015)
Ibrahim Biogradlic(March 8, 1931- February 20, 2015)
Marian Szeja(August 20, 1941- February 25, 2015)
Wolfram Wuttke(November 17, 1961- March 1, 2015)
David Craig Mackay(November 14, 1934- March 2, 2015)
Ronald Patrick Henry
Ron Henry was an English defender who played for Tottenham Hotspur in the 1950s and 60s.
He earned a solitary cap for his nation in a EC Qualifier vs. France on February 27, 1963 (2 to 5 France win).
He passed away on December 27th , aged 80.
Photo From : England, Player By Player, Author Graham Betts
(Ron Henry)
Erich Retter
Erich Retter was a West German defender who represented Stuttgart from the 1940s to the 60s.
He earned 14 caps between 1952 and 1956.
He passed away on December 27th , aged 89.
Javier Fragoso
Javier Fragosowas a Mexican striker who represented Club America in the 1960s.
He earned 46 caps between 1965 and 1975. He was a member of Mexico’s World Cup squads of 1966 and 1970.
He passed away on December 28th , aged 72.
Odd Iversen
Odd Iversen was a Norwegian striker who played for Rosenborg Trondheim in three separate spells from the 1960s through 1980s.
He earned 45 caps between 1967 and 1979. He is the father of Steffen Iversen, also a Norwegian International from the 1990s and 2000s.
He passed away on December 29th , aged 69.
Photo From : Landslaget, Det Norske Fotballandslagets Historie, authors Egil Olsen, Arne Scheie,Per Jorsett, Otto Ulseth, 1997
(Odd Iversen)
Walter Roque
Walter Roque was a Uruguay International winger who most notably represented Rampla Juniors.
He earned 16 caps in the 1950s. He also managed the Venezuelan National Team from 1978 to 1985.
He passed away on December 30th , aged 77.
Romanus Orjinta
Romanus Orjinta was a Nigerian international midfielder who earned 13 caps between 2003 and 2004.
He was found dead at his home on December 31st, aged just 33.
Antonio Fuertes
Antonio Fuerteswas a Spanish midfielder who played for Valencia in the 1950s.
He earned a solitary cap for his nation in a Friendly vs. Argentina on December 7, 1952 (0 to 1 Argentina win).
He passed away on January 5th , aged 85.
Photo From : Todo Sobre La Seleccion Espanola, Felix Martialay, 2006
(Antonio Fuertes, December 7, 1952, Spain 0-Argentina 1)
Angelo Anquiletti
Angelo Anquilettiwas an Italian defender who represented AC Milan for over a decade in the 1960s and 70s.
He earned two caps for Italy, both in 1969.
He passed away on January 9th , aged 71.
Fritz Pott
Fritz Pottwas a West German defender who played for FC Koln from the 1950s through 1970.
He earned 3 caps between 1962 and 1964.
He passed away on January 11th , aged 76.
Photo From : Kicker, 40 Jahre Bundesliga, 2003
(Fritz Pott with FC Koln)
Jeno Buzanszky
Jeno Buzanszkywas a Hungarian defender who represented Dorogi from 1947-60.
He earned 48 caps between 1950 and 1956. He was the last surviving member of the ‘Mighty magyars’ squad of the 1950s.
He passed away on January 11th , aged 89.
Photo from: La Glorieuse Epopee de la coupe du monde, by Mondial, 1982
(Jeno Buzanszky, July 4, 1954, World Cup, West Germany 3-Hungary 2)
Vladimir Petrovich Kesarev
USSR international Vladimir Kesarevstarred for Dinamo Moscow in the 1950s and 1960s.
He earned his 14 caps from 1956 to 1965.
He was a member of the 1958 World Cup squad as well as the 1960 European Championship squad.
He passed away on January 19th , aged 84.
Wilfred Agbonavbare
Nigerian International goalkeeper Wilfred Agbonavbare is mostly remembered for his stint in the 1990s in the Spanish La Liga with Rayo Vallecano.
He earned 15 caps between 1983 and 1994.
He died due to cancer on January 27th, aged just 48.
Alberto Cardaccio
Alberto Cardaccio was a Uruguay International midfielder who most notably represented Danubio in the 1970s.
He earned 19 caps between 1972 and 1974. He was a member of the 1974 World Cup squad.
He passed away on January 28th , aged 65.
Ole Sorensen
Ole Sorensen was a 1960s Danish International who had spells at KB Copnehagen, FC Koln and PSV Eindhoven.
He earned 25 caps between 1961 and 1969.
He passed away on January 29th , aged 77.
Photo From : Landsholdenes 2198 Spiller Profiller-fra Krolben til Kroldrup’
(Ole Sorensen)
Walter Glechenr
Walter Glechner was an Austrian international defender who represented Rapid Wien from 1950s through 70s.
He earned 35 caps between 1960 and 1968.
He passed away on January 29th , aged 75.
Photo From: Österreichs Fußball Länderspiele Chronik 1902 – 1993, Author: Anton Egger
(Walter Glechner)
Harold William Hassal
Harold Hassal was an English striker who played for Huddersfield and Bolton Wanderers in the 1940s and 1950s.
He earned 5 caps for England between 1951 and 1953.
He passed away on January 30th , aged 85.
Udo Latteck
West German striker Udo Latteck had an undistinguished playing career at Osnabruck in the 1960s. However, he became one of the greatest and most successful managers in the history of the game.
He managed with equal success the 1970s squads of Bayern Munich and Borussia Moenchengladbach. He managed Barcelona in the 1980s before returning to Bayern in 1983.
He passed away on February 1st, aged 80.
Photo From : Mondial, new series, issue 69, December 1985
(Udo Latteck)
Frank Borghi
USA International goalkeeper Frank Borghi is mostly remembered for being the goalkeeper for the famous win vs. England during the 1950 World Cup.
He served during the Second World War and won the Bronze star and Purple Heart.
He passed away on February 2nd, aged 89.
Photo From: Soccer International, March 1990
(Frank Borghi)
Henryk Szczepanski
Polish International midfielder Henryk Szczepanski earned 45 caps for Poland between 1957 and 1965.
He passed away on February 2nd, aged 81.
Karl-Erik Palmer
Karl-Erik Palmer was a Swedish International midfielder who represented Malmo in the 1940s and early 50s and then had a long stint in the Italian league with Legnano.
He earned 14 caps for Sweden between 1949 and 1952.
He passed away on February 2nd, aged 85.
Ion Nunweiller
Romanian mdefender Ion Nunweiller spent the majority of his career at Dinamo Bucharest in two separate spells that spanned from the 1950s into the 70s.
He earned 26 caps for Romania between 1958 and 1967.
He passed away on February 3rd, aged 79.
Henri ‘Rik’ Coppens
Belgian striker Henri Coppens was one of the best players of Belgium in the 1950s.
He had spells at Beerschot (1946/61) and Molenbeek (1962/67).
He earned 47 caps for Belgium between 1949 and 1959.
He passed away on February 5th , aged 84.
Photo From: Rode Duivels & Oranje Leeuwen., 100 jaar Derby der Lage Landen, Authors Ralf Willems, Matty Verkamman
(Henri Coppens, October 25, 1953, Holland 1-Belgium 0)
Jean Lechantre
French striker Jean Lechantre was born in Belgium and represented Lille and CO Roubaix-Tourcoing in the 1940s and 50s.
He earned 3 caps for France between 1947 and 1949.
He passed away on February 12th, aged 92.
Ivan Aleksandrov Davidov
Ivan Davidov was a Bulgarian International midfielder who most notably represented Slavis Sofia in the 1960s into the early 70s.
He earned 11 caps between 1965 and 1971. He was a member of the 1966 and 1970 World Cup squads.
He passed away on February 19th , aged 71.
Ibrahim Biogradlic
Ibrahim Buiogradlic was a Yugoslvian defender who most spent his entire career at FK Sarajevo during the 1950s into the early 60s.
He earned a single cap for Yugoslavia during the 1956 Olympics (December 4, 1956, Yugoslavia 4-India 1), where Yugoslavia ended as Silver Medalists.
He passed away on February 20th , aged 83.
Marian Szeja
Marian Szeja was a Polish goalkeeper who most spent over a decade at Zaglebie Walbrzych in the 1960s and early 70s.
He also played in France in the 1970s for Metz and at Guy Roux’s Auxerre squad still in the second division.
He earned 15 caps between 1965 and 1973. He was a member of the 1972 Olympics Gold winning squad, though he was a substitute.
He passed away on February 25th , aged 73.
Wolfram Wuttke
West German midfielder Wolfram Wuttke played for a number of Bundesliga clubs such as Schalke, Moenchengladbach, SV Hamburg and Kaiserslautern.
He earned 4 caps between 1986 and 1988 under Franz Beckenbauer and was a member of the 1988 UEFA European championship squad.
He had a spell at RCD Espanol in the early 90s before returning for final season at Bundesliga with Saarbrucken (1992/93).
Many regard his and Dieter Schatzschneider’s double signing by SV Hamburg in 1983 (to replace Lars Bastrup and Horst Hrubesch) as one of the biggest Bundesliga transfer flops. Others also remarked that were it not for his difficulties with management he would have earned more caps.
He passed away on March 1st from organ failure caused by cirrhosis, aged just 53.
Photo From: Fussball Magazin, March april 1982
(Wolfram Wuttke at Moenchengladbach, 1981/82)
David Craig Mackay
David Mackay was a Scottish International who starred for Hearts in the 1950s. He later joined Tottenham and was part of the 1960/61 Double winning squad.
He was one of Brian Clough’s first key signings for Derby County in 1968 and helped them to get promoted.
He later turned to management and led Derby County to the League title in 1975.
He also spent nearly a decade in Kuwait in the late 70s and 80s.
He earned 22 caps between 1957 and 1965.
He passed away on March 2nd , aged 80.
Photo From: Scotland, The Team, 1987
(David Mackay)
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Managers and Tactics, Part Five
Five Interviews and Six Profiles on West German Manager Helmut Schoen
(Magazine / Language : World Soccer, December 1966 / English by John Goodbody)
(Magazine / Language : Placar, Issue 14, June 19, 1970 / Portuguese by Jose Maria de Aquino)
(Magazine / Language : World Soccer, August 1972 / English by Arthur Rotmil)
(Magazine / Language : World Soccer, August 1973 / English)
(Magazine / Language : kicker_WM-Sonderheft_1974 / German by Werner Schilling)
(Magazine / Language : World Soccer, April 1975 / English by Leslie Vernon)
(Magazine / Language : AS Color, Issue 258, April 27, 1976 / Spanish)
(Magazine / Language : AS Color, Issue 261, May 18, 1976 / Spanish by Luis Arnaiz)
(Magazine / Language : kicker_WM-Sonderheft_1978 / German by Wolfgang Rothenburger)
(Magazine / Language : Shoot, December 16, 1978 / English)
(Magazine / Language : World Soccer, April 1996 / English by Keir Radnedge)
Photo From: kicker_WM-Sonderheft_1974
(Helmut Schoen)
Four Articles about the ‘La Zona’ tactic
(Magazine / Language : Calcio 2000, Issue 22 Supplement, August-September 1999 / Italian By Carlo F. Chiesa)
(Magazine / Language : Calcio 2000, Issue 24, November 1999 / Italian By Carlo F. Chiesa)
(Magazine / Language : Calcio 2000, Issue 25, December 1999 / Italian By Carlo F. Chiesa)
(Magazine / Language : Calcio 2000, Issue 26, January 2000 / Italian By Carlo F. Chiesa)
Photo From: Calcio 2000, Issue 24, November 1999
(Nils Liedholm’s AS Roma formation)
Photo From: Calcio 2000, Issue 25, December 1999
(Arrigo Sacchi’s AC Milan formation)
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Second Acts and comebacks, Part Three
1- Laurent Blanc and Auxerre, 1995/96
French sweeper Laurent Blanc’s career seemed to have stagnated since leaving Napoli in 1992. He had been playing for teams like Nimes and Saint Etienne, which were teams far below his standing. In the Summer of 1995, Guy Roux acquired him knowing fully well his potential. Blanc like the rest of his teammates had an excellent season and restored his reputation. He helped Auxerre clinch the League and Cup double. At the end of the season with the Bosman Ruling in effect he joined Spanish Giants Barcelona.
Photo From: Onze-Mondial, Issue 79, August 1995
(Laurent Blanc with Auxerre, 1995/96)
2- Juan Ernesto Simon and Gabriel Calderon and Argentina 1990
Argentine duo of defender Juan Simon and midfielder Gabriel Calderon had first been selected by Cesar Luis Menotti in the early 80s. After Bilardo took charge they were both out of international reckoning. Gabriel Calderon’s transfer to Paris St. Germain in the late 80s and Simon’s fine form for Boca Juniors earned both International recalls with the 1990 World Cup approaching and both saw significant action in the 1990 World Cup where Argentina reached the Final.
Photo From: El Grafico Number 3691, 1990-extra
(Juan Ernesto Simon, July 3, 1990, World Cup, Italy 1-Argentina 1)
Photo From: El Grafico Number 3678, 1990
(Gabriel Calderon and Robert Fleck, March 28, 1990, Scotland 1-Argentina 0)
3- Ciro Ferrara and Juventus 1994/95
Italian and former Napoli defender had been out of the International limelight after Arrigo Sacchi had taken over as National Team Manager in 1991.
When former Napoli Manager Marcelo Lippi was appointed as Juventus Manager in 1994, he brought Ferrara with him. Ferrara resurrected his career and helped Juventus win the Scudetto that season and earned a recall to the national team.
Photo From: World Soccer, August 1996
(Ciro Ferrara with Juventus, 1995/96)
4- Thomas Berthold and Stuttgart 1993
German defender Thomas Berthold’s career had been in a downfall since 1991. After being sent off in an EC Qualifier in June 1991 vs. Wales, he earned a suspension that seemed to have ended his International career. That summer he transferred to Bayern Munich, but the move did not work out. He was offloaded to Stuttgart in the summer of 1993. This move worked out and he adapted well at Stuttgart. His fine form that season earned him a recall to the National Team and he was selected for Germany’s 1994 World Cup finals squad.
Photo From: Onze-Mondial, Issue 23, December 1990
(Thomas Berthold with AS Roma, November 28, 1990, UEFA Cup, AS Roma 5-Bordeaux 0)
5- Alex Czerniatinski and Antwerp 1992/94
Belgian striker Alex Czerniatinski had last played for Belgium in 1986 and by all accounts his International career seemed over. His impressive displays in 1992 with Antwerp earned him a recall to the National Team. He was involved for the 1994 World Cup Qualification campaign and participated in the 1994 World Cup.
Photo From : Le Dictioonaire Des Diables Rouges, 2000
(Alex Czerniatinski)
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↧
New Addition: Panini World Cups, Part one
Another new feature that I will be starting on this blog is to add Panini World Cup Albums piece by piece, featuring two nations per edition
Panini World Cup 1970:
Panini World Cup 1978:
Panini World Cup 1982:
Nations: Italy and Poland
Panini World Cup 1994:
↧
New Addition: Cartoons and Diagrams, Part one
Another new feature that I will be starting on this blog is about Editorial cartoons and Diagrams related to the game
Cartoon I:
Photo From: Don Balon, Issue 100, September 8, 1977
Explanation: According to sources, for the Summer Spanish tournament of ‘Torneo Ciudad de Zaragoza’ , CSKA Sofia players were offered bonuses that were the equivalent of 4 dollars (remember communist era, ‘Amateurs’).
The cartoon pokes fun at that by showing the bonus prize to be the equivalent of an ice cream.
Cartoon II:
Photo From: Football Magazine, Issue 3, April 1960
Explanation: This cartoon references the possibility of Spain (then under General Franco) and Communist USSR being paired together for the 1960 UEFA European Championships.
Cartoon III:
Photo From: France Football, Issue 1661, February 7, 1978
(Drawn by Dero)
Explanation: This cartoon references the hunt for the acquisition of Michel Platini by foreign clubs.
The foreign emissaries (from Inter, Torino, Valencia and Barcelona) are in line waiting outside the office of Nancy President Claude Cuny.
They all seem to be suffering from a cold (a reference to the cold weather at Nancy).
Cartoon IV:
Photo From: France Football, Issue 1808, December 2, 1980
(Drawn by Dero)
Explanation: This cartoon references the fact that France’s Didier Six kept changing clubs.
It shows him checking in to a hotel at Strasbourg (his new club). He is shown carrying a suitcase referencing some of the other clubs he had played up to that point.
The receptionist asks him ‘will you stay long or are you just passing through?’
Cartoon V:
Photo From: France Football, Issue 1976, February 21, 1984
(Drawn by Ken Mahood of Daily Mail)
Explanation: This cartoon references West Bromwich Albion appointing Johnny Giles as player-manager with Norman Hunter and Nobby Stiles as assistants. All three had reputations as hard men and physically tough players.
The office with the names of all 3 is shown, with two WBA players looking at it, one says ‘I don’t know what this will do to the opposition but I am terrified’
Cartoon VI:
Photo From: France Football, Issue 2309, July 10, 1990
Explanation: Diagrams of the goals in the first round of 1990 World Cup for Group A, containing Italy, Czechoslovakia, Austria and USA
For clearer view see:
Cartoon VII:
Photo From: Mondial, Old Series, Issue 1, February 1977
Explanation: This shows Bayern Munich’s Gerd Muller nearing 600 career goals.
Cartoon VIII:
Photo From: Placar, Issue 13, June 12, 1970
Explanation: This cartoon references Pele’s famous long distance shot that narrowly missed the goal in Brazil and Czechoslovakia match during the 1970 World Cup (June 3, 1970, 4-1 Brazil win)
For clearer view see:
Cartoon IX:
Photo From: Start1988_june 06_№24
Explanation: A portrait of Gianluca Vialli
Cartoon X:
Photo From: Foot Magazine, Issue12, April 1982
Explanation: A portrait of Kevin Keegan
Cartoon XI:
Photo From: 90 minutes, March 12, 1994
(By Nick Davies)
Explanation: If you watched Chelsea matches (1993/94) , you could always see a few cars behind the goal. This cartoon references that fact by showing a car salesman trying to sell a car and Chelsea’s Dennis Wise accidentally breaks the glass with a shot.
Note: can someone explain the reason the cars were there?
Also the car salesman looks very much like Vinnie Jones, can someone explain if that is the case, if so what is the reason?
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Teams of the year, Part Three
France Football annually ranks National Teams per calendar year, and ESM (European Sports Magazines) select the ‘Team of the season’ by position
France Football’s Team of the Year
Year 1980:
Europe: West Germany
Africa: Algeria
South America: Argentina
The rankings and matches of the year
(Magazine / Language : France Football, Issue 1813, January 6, 1981 / French)
(Magazine / Language : France Football, Issue 1814, January 13, 1981 / French)
Photo From: Onze, Issue 55, July 1980
(West Germany squad, Top, left to right:Ulrich Stielike, Karlheinz Förster, Horst Hrubesch, Hans-Peter Briegel, Karl-Heinz Rummenigge, Bottom, left to right: Klaus Allofs, Manfred Kaltz, Bernard Dietz, Harald Anton ‘Toni’ Schumacher, Bernd Schuster, Hans Peter ‘Hansi’ Muller , June 14, 1980, European Championships, West Germany 3-Holland 2)
FF National Team of the Year
ESM’s Team of the Year
Season 1996/97:
Angelo Peruzzi (Italy and Juventus)
Jocelyn Angloma (France and Internazionale Milano)
Ciro Ferrara (Italy and Juventus)
Fernando Hierro (Spain and Real Madrid)
Roberto Carlos (Brazil and Real Madrid)
Luis Enrique (Spain and Barcelona)
Clarence Seedorf (Holland and Real Madrid)
Raul (Spain and Real Madrid)
Alessandro Del Piero (Italy and Juventus)
Davor Suker (Croatia and Real Madrid)
Ronaldo (Brazil and Barcelona)
Photo From: World Soccer, July 1997
(Team of the season 1996/97)
ESM team of the season
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When Calcio Ruled the Football World-A Personal Journey-Part Five (1986/87)
The 1986/87 season started in the aftermath of the 1986 World Cup that Diego Maradona had dominated single handedly.
In doing so he had signaled a power shift. He was now the undisputed number one player on the planet, replacing the ageing Michel Platini.
The previous season’s Scudetto triumph could not hide the fact that Juventus was clearly fading after dominating for most of the 1970s and 80s.
Legendary manager Giovanni Trappatoni left Juventus that summer after a decade filled with triumphs to take over at Internazionale Milano.
Juventus appointed former Como Manager Rino Marchesi who many felt had done a good job by keeping up a small team like Como in the elite.
Juventus had actually achieved a major coup that summer by acquiring the highly coveted Welsh striker Ian Rush of Liverpool. Due to a foreign players transfer embargo on all teams (except newly promoted ones), he was loaned back to Liverpool that season, in line to replace the following season Platini, who many already expected to depart.
Otherwise the squad remained intact with Platini, Michael Laudrup as foreigners and with a backbone of veterans such as Scirea, Cabrini, Brio, Manfredonia and Bonini. Inter property Aldo Serena was loaned for another season at Juventus. Their main acquisitions were Beniamino Vignola (returning after a season at Verona) and Roberto Solda from Atalanta.
After the World Cup triumph, many expected Maradona to lift Napoli even higher. The previous season’s third place had opened the door to European Football and just like the previous season, they made some efficient purchases.
The side managed by Ottavio Bianchi signed the young Italian International midfielder, the appropriately named, Fernando De Napoli from Avellino, along with future Italian International striker Andrea Carnevalle from Udinese. Their other key arrivals included Francesco Romano from Triestina and Giuseppe Volpecina from Pisa.
Photo From: Guerin Sportivo, September 24-30, 1986
(Napoli new signing Andrea Carnevalle)
These additions made a squad that already contained current and former Italian Internationals such as Salvatore Bagni and Bruno Giordano even stronger.
Internazionale Milano also reinforced itself for the coming campaign. In addition to handing over the reins to Trappatoni, talented midfielder Gianfranco Mateolli arrived from Sampdoria (He would earn his only caps for Italy that season), Adriano Piraccini joined from Bari and Oliviero Garlini from Lazio.
The side was already high on quality and contained Walter Zenga, Riccardo Ferri, Giuseppe Bergomi, Giuseppe Baresi, Marco Tardelli, Alessandro Altobelli, Pietro Fanna and West Germany’s Karl-Heinz Rummenigge.
They had made a change as far as their second foreigner, gone was Republic of Ireland veteran Liam Brady, who was offloaded to Ascoli. In his place came Argentina’s former Captain Daniel Passarella from Fiorentina.
Other veterans such as Evaristo Beccalossi and Fulvio Collovatti were offloaded to Brescia and Udinese respectively, while Giampiero Marini retired.
This was Silvio Berlusconi’s first full season as owner of AC Milan. He made some team additions while still retaining Nils Liedholm (for the time being) in control of the team. An ageing Paolo Rossi was offloaded to Verona and in his place came Giuseppe Galderisi from the opposite direction. AS Roma Defender Dario Bonetti, Atalanta Midfielder (and soon new International) Roberto Donadoni arrived along with Fiorentina pair of goalkeeper Giovanni Galli and Daniele Massaro. The English pair of Ray Wilkins and Mark Hateley were still retained, however, as the season progressed it became apparent that both would soon be replaced with the Dutch pair of Ruud Gullit and Marco van Basten.
Photo From: Guerin Sportivo, September 24-30, 1986
(AC Milan’s Roberto Donadoni)
Photo From: Guerin Sportivo, December 10-16, 1986
(Paolo Rossi at Verona)
Argentinean talent Claudio Borghi had also been signed to be integrated once the embargo was lifted.
Sampdoria appointed the Yugoslav Vujadin Boskov as Manager and registered the arrivals of foreign pair of West German Hans-Peter Briegel from Verona and AS Roma’s Brazilian midfielder Toninho Cerezo.
AS Roma, still under the Swede Sven-Goran Eriksson (although Angelo Sormani actually possessed the license to manage), held on to the Pole Zbigniew Boniek and other ageing stars like Bruno Conti and Roberto Pruzzo. Their main acquisition was Denmark’s Klaus Berggreen from Pisa.
The rest of their arrivals were relative young unknowns such as Marco Baroni, Paolo Baldieri and Massimo Agostini.
Other notable transfers included the arrival of Swedish striker Johnny Ekstroem at newly promoted Empoli (in November), Argentinean striker Ramon Diaz moving from Avellino to Fiorentina, Dutch striker Wim Kieft joining Torino from Pisa and the double transfer of veteran strikers Francesco Graziani (from AS Roma) and Argentinean striker Daniel Bertoni (from Napoli) to Udinese.
Before the season had even started Udinese seemed destined to be one of the relegated teams, since the League had imposed them a nine-point handicap due to a match fixing scandal (Totonero 1986).
As for myself, at the end of previous season I had by chance discovered the magazine ‘Soccer America’ and had subscribed to it. This weekly magazine kept me up to date with all the scores and the news.
This was the only specialized Soccer magazine in the United States at the time (At least that’s what I believe, I never came across another). Their coverage of the European Soccer scene and International matches in general was very informative, specially given the lack of interest in the nation as a whole.
While there was still no television coverage to speak of, at least I could read about the events and the scores.
This was still a better alternative than the previous year, when I was completely in the dark for the entire season.
As far the events on the field, both Juventus and Napoli started the season in strong fashion. Until the eighth match of the season the teams were equal on points and undefeated.
They had both been eliminated on the European front at that stage. Napoli had been defeated by French Club Toulouse in the First Round of the UEFA Cup and Juventus had been eliminated by Real Madrid in the second round of the Champions Cup.
The turning point of the season was on Matchday 9 (November 9th), when Napoli visited Juventus in the table-topping clash of the season.
Juventus struck first early in the second half through Michael Laudrup, however, a more confident Napoli struck back with three goals through Ferrario, Giordano and Volpecina. This win signaled Napoli’s title winning potential in addition to Juventus’ decline and capitulation.
Photo From: Mondial, new series, issue 83, February 1987
(Diego Maradona between Massimo Bonini and Sergio Brio, November 9, 1986, Juventus 1-Napoli 3)
Juventus never really recovered from this loss and in the following weeks went further behind and suffered more heavy losses vs. AS Roma and Sampdoria.
Inter became Napoli’s closest challengers and narrowed the gap.
By Matchday 14, the two teams were level on points as Napoli suffered its first defeat of the season at the hands of Fiorentina (1-3).
However, by the following week Napoli was back on top after a win at Ascoli coupled with Inter’s loss at Verona.
Napoli started the second half of the season with five consecutive wins, but Inter still kept pace.
By March, AS Roma crept up the table and was runner-up, but quickly lost pace and Inter was back on.
Inter’s Daniel Passarella was involved in an ugly incident, when he kicked a ball boy in a match vs. Sampdoria on March 8th (1-3 loss), who was guilty in his eyes of delaying in giving him the ball. He was fined, suspended (6 matches) and apologized.
With seven matches left, Inter defeated Napoli (1-0) to close the gap somewhat.
By Matchday 26 (April 12th), there were some worries in the Napoli camp as they were defeated (0-3) at Verona. Inter won that same day to close the gap to 2 points.
This was as close Inter got and in the coming weeks they imploded and lost composure by losing two of their last four matches.
The title decider was on Matchday 29 (May 10th), Napoli hosted Fiorentina and the one-one tie gave them the point they needed to win their first ever Scudetto.
Diego Maradona even stated that Napoli’s title had made him even happier than winning the World Cup.
Photo From: Onze, Issue 138, June 1987
(May 10, 1987, Napoli 1-Fiorentina 1)
Diego Maradona endured an unforgettable season during which he also became a father for the first time and also had to deal with a paternity suit early in the season.
Napoli ended a memorable season a few weeks later by clinching the League and Cup double by defeating Atalanta.
Other noteworthy events at this end of the season included Silvio Berlusconi’s decision to remove Liedholm and appoint Fabio Capello to guarantee European qualification for AC Milan. He did so by winning a playoff vs. Sampdoria following the conclusion of the regular season.
AC Milan’s Pietro Paolo Virdis was the top goalscorer with 17 goals, with a young Gianluca Vialli behind with 12 goals.
Photo From: Guerin Sportivo, September 24-30, 1986
(AC Milan’s Pietro Paolo Virdis)
The already condemned Udinese was relegated with Atalanta and Brescia.
By the last match, Juventus surprisingly moved up to second position, having more or less been out of the title race for much of the season.
Juventus’ last match (May 17, Brescia 3-2 win) was significant as it was Frenchman Michel Platini’s last ever official match as he retired from the game. The triple European player of the year enjoyed great success in Italy, except this last season, where he was a shadow of his former self. Though still young enough (almost 32 years old), it was clear that the stress of the Italian Serie A had aged and jaded him.
Photo From: Onze, Issue 138, June 1987
(Platini at the conclusion of his last ever match, may 17, 1987, Juventus 3-Brescia 2)
His retirement coincided with the general decline of Juventus as they would not win another Scudetto for nearly a decade. In the coming years they would lose their position in the hierarchy, as the new power was Napoli and the two Milanese clubs. The Juventus/Roma axis that had dominated the League for most of the decade was now overtaken.
Photo From: Mondial, new series, Issue 85, April 1987
(the changing of the guard)
This end of the season also brought an end for many stars of the past. In addition to Platini, other foreigners such as Liam Brady (transferred at midseason to West Ham United), Karl-Heinz Rummenigge (eventually transferred to Servette) and Daniel Bertoni (retirement) left the Serie A.
AC Milan’s Ray Wilkins and Mark Hateley transferred to the French League and Wim Kieft joined the ambitious PSV Eindhoven.
In addition many of the stars of the 1982 Generation also ended their Serie A careers. Gabriele Oriali and Paolo Rossi retired after final seasons at Fiorentina and Verona respectively. Claudio Gentile left Fiorentina to play one last final season in the Serie B with Piacenza. Giancarlo Antognoni (Fiorentina) and Marco Tardelli (Inter) left the Serie A and started the process of pre-retirement by joining Rummenigge in the Swiss League.
With the transfer embargo on the foreign players now lifted the new season looked exciting with the impending arrivals of Careca (Napoli), Rush (Juventus), Gullit and van Basten (AC Milan), Voeller (AS Roma), Scifo (Inter) and Berthold (Verona).
However, historically, the most significant decision turned out to be a coaching appointment (1987/88 season, to be continued…..)
Photo From: Mondial, new series, issue 83, February 1987
(Napoli squad, Top, left to right: Giuseppe Bruscholotti,Tebaldo Bigliardi , Raffaelle Di Fusco, Claudio Garella, Andrea Carnevalle, Massimo Filardi , Middle, left to right: Ciro Ferrara, Fernando De Napoli, Antonio Carranante, Giuseppe Volpecina, Salvatore Bagni, Moreno Ferrario, Luciano Sola, Alessandro Renica , Bottom, left to right: Ciro Muro, Costanzo Celestini, Diego Maradona, Ottavio Bianchi (Manager), Luigi Caffarelli, Bruno Giordano, Pietro Puzone)
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Full Magazines, Part Six
1- Magazine Name: Onze
Issue: Issue 14, February 1977
Language/Nation: French/France
Photo From: Onze, Issue 14, February 1977
2- Magazine Name: Onze
Issue: Issue 59, November 1980
Language/Nation: French/France
Photo From: Onze, Issue 59, November 1980
3- Magazine Name: Onze-Mondial
Issue: Issue 25, February 1991
Language/Nation: French/France
Photo From: Onze-Mondial, Issue 25, February 1991
4- Magazine Name: World Soccer
Issue: March 1963
Language/Nation: English/UK
Photo From: World Soccer, March 1963
5- Magazine Name: World Soccer
Issue: April 1975
Language/Nation: English/UK
Photo From: World Soccer, April 1975
6- Magazine Name: World Soccer
Issue: June 1984
Language/Nation: English/UK
Photo From: World Soccer, June 1984
7- Magazine Name: World Soccer
Issue: April 1994
Language/Nation: English/UK
Photo From: World Soccer, April 1994
8- Magazine Name: Mondial
Issue: Old Series, Issue 7, August 1977
Language/Nation: French/France
Photo From: Mondial, old series, Issue 7, August 1977
9- Magazine Name: Mondial
Issue: New series, issue 6, September 1980
Language/Nation: French/France
Photo From: Mondial, New series, issue 6, September 1980
10- Magazine Name: Fussball Magazin
Issue: Issue 6, September October 1977
Language/Nation: German / West Germany
Photo From: Fussball Magazin, Issue 6, September October 1977
11- Magazine Name: Fussball Magazin
Issue: Issue 5, May 1987
Language/Nation: German / West Germany
Photo From: Fussball Magazin, Issue 5, May 1987
12- Magazine Name: Voetbal International
Issue: November 19-24, 1979
Language/Nation: Dutch / Holland
Photo From: Voetbal International, November 19-24, 1979
13- Magazine Name: Voetbal International
Issue: July 26-31, 1982
Language/Nation: Dutch / Holland
Photo From: Voetbal International, July 26-31, 1982
14- Magazine Name: Voetbal Weekblad
Issue: Issue 28, July 8-14, 1972
Language/Nation: Dutch / Holland
Photo From: Voetbal Weekblad, Issue 28, July 8-14, 1972
15- Magazine Name: Voetbal Revue
Issue: Nummer 14, February 27-March 12, 1981
Language/Nation: Dutch / Holland
Photo From: Voetbal Revue, Nummer 14, February 27-March 12, 1981
16- Magazine Name: Foot Magazine
Issue: Issue 18, November 1982
Language/Nation: French/Belgium
Photo From: Foot Magazine, Issue 18, November 1982
17- Magazine Name: Soccer International
Issue: Issue 9, October 1990
Language/Nation: English / USA
Photo From: Soccer International, Issue 9, October 1990
18- Magazine Name: Guerin Sportivo
Issue: May 18-24, 1988
Language/Nation: Italian / Italy
Photo From: Guerin Sportivo, May 18-24, 1988
19- Magazine Name: Football Magazine
Issue: Issue 30, July 1962
Language/Nation: French/France
Photo From: Football Magazine, Issue 30, July 1962
20- Magazine Name: Goal
Issue: Issue 28, January 1998
Language/Nation: English/UK
Photo From: Goal, Issue 28, January 1998
21- Magazine Name: Four Four Two
Issue: Issue 32, April 1997
Language/Nation: English/UK
Photo From: Four Four Two, Issue 32, April 1997
22- Magazine Name: Shoot
Issue: June 18, 1977
Language/Nation: English/UK
Photo From: Shoot, June 18, 1977
23- Magazine Name: Shoot
Issue: February 20, 1988
Language/Nation: English/UK
Photo From: Shoot, February 20, 1988
24- Magazine Name: Shoot
Issue: November 20, 1993
Language/Nation: English/UK
Photo From: Shoot, November 20, 1993
25- Magazine Name: Football Weekly News
Issue: January 2-8, 1980
Language/Nation: English/UK
Photo From: Football Weekly News, January 2-8, 1980
26- Magazine Name: Placar
Issue: Issue 30, October 9, 1970
Language/Nation: Portuguese / Brazil
Photo From: Placar, Issue 30, October 9, 1970
Placar, Issue 30, October 9, 1970
27- Magazine Name: Placar
Issue: Issue 1051, August 10, 1990
Language/Nation: Portuguese / Brazil
Photo From: Placar, Issue 1051, August 10, 1990
Placar, Issue 1051, August 10, 1990
28- Magazine Name: Marca
Issue: June 28, 1950
Language/Nation: Spanish / Spain
Photo From: Marca, June 28, 1950
29- Magazine Name: Marca
Issue: June 20, 1962
Language/Nation: Spanish / Spain
Photo From: Marca, June 20, 1962
30- Magazine Name: Marca
Issue: June 14, 1974
Language/Nation: Spanish / Spain
Photo From: Marca, June 14, 1974
31- Magazine Name: Marca
Issue: April 29, 1987
Language/Nation: Spanish / Spain
Photo From: Marca, April 29, 1987
32- Magazine Name: El Grafico
Issue: Issue 3546, 1987
Language/Nation: Spanish / Argentina
Photo From: El Gráfico, Issue 3546, 1987
33- Magazine Name: Don Balon
Issue: Issue 185, April 24, 1979
Language/Nation: Spanish / Spain
Photo From: Don Balon, Issue 185, April 24, 1979
34- Magazine Name: Don Balon
Issue: Apendice Extra Liga 1980/81
Language/Nation: Spanish / Spain
Photo From: Don Balon- Apendice Extra Liga 1980/81
35- Magazine Name: Don Balon
Issue: Issue 1006, January 23-29, 1995
Language/Nation: Spanish / Spain
Photo From: Don Balon, Issue 1006, January 23-29, 1995
36- Magazine Name: Don Balon
Issue: Edicion Chile, Issue 241, January 14-20, 1997
Language/Nation: Spanish / Spain
Photo From: Don Balon, Edicion Chile, Issue 241, January 14-20, 1997
Don Balon, Edicion Chile, Issue 241, January 14-20, 1997
37- Magazine Name: Kicker Sportsmagazin
Issue: Kicker_WM-Sonderheft_1986
Language/Nation: German / West Germany
Photo From: Kicker_WM-Sonderheft_1986
Kicker_WM-Sonderheft_1986
38- Magazine Name: Sport Bild
Issue: Issue 13, March 31, 1999
Language/Nation: German / Germany
Photo From: Sport Bild, Issue 13, March 31, 1999
Sport Bild, Issue 13, March 31, 1999
39- Magazine Name: Fussball Woche
Issue: Issue 9, February 23, 1976
Language/Nation: German / West Germany
Photo From: Fussball Woche, Issue 9, February 23, 1976
Fussball Woche, Issue 9, February 23, 1976
40- Magazine Name: Soccer Monthly
Issue: June 1979
Language/Nation: English/UK
Photo From: Soccer Monthly, June 1979
Soccer Monthly, June 1979
41- Magazine Name: Football Monthly
Issue: March 1981
Language/Nation: English/UK
Photo From: Football Monthly, March 1981
Football Monthly, March 1981
42- Magazine Name: 90 minutes
Issue: March 26, 1994
Language/Nation: English/UK
Photo From: 90 minutes, March 26, 1994
90 minutes, March 26, 1994
43- Magazine Name: The Game
Issue: Issue 8, November 1995
Language/Nation: English/UK
Photo From: The Game, Issue 8, November 1995
The Game, Issue 8, November 1995
44- Magazine Name: France Football
Issue: Issue 542, August 7, 1956
Language/Nation: French/France
Photo From: France Football, Issue 542, August 7, 1956
France Football, Issue 542, August 7, 1956
45- Magazine Name: France Football
Issue: Issue 1028, November 23, 1965
Language/Nation: French/France
Photo From: France Football, Issue 1028, November 23, 1965
France Football, Issue 1028, November 23, 1965
46- Magazine Name: France Football
Issue: Issue 1590, September 28, 1976
Language/Nation: French/France
Photo From: France Football, Issue 1590, September 28, 1976
France Football, Issue 1590, September 28, 1976
47- Magazine Name: France Football
Issue: Issue 1901, September 14, 1982
Language/Nation: French/France
Photo From: France Football, Issue 1901, September 14, 1982
France Football, Issue 1901, September 14, 1982
48- Magazine Name: France Football
Issue: Issue 2428, October 20, 1992
Language/Nation: French/France
Photo From: France Football, Issue 2428, October 20, 1992
France Football, Issue 2428, October 20, 1992
49- Magazine Name: Calcio 2000
Issue: Issue 22, August 1999
Language/Nation: Italian / Italy
Photo From: Calcio 2000, Issue 22, August 1999
Calcio 2000, Issue 22, August 1999-part 1
Calcio 2000, Issue 22, August 1999-part 2
50- Magazine Name: Sport 1982
Issue: Issue 6
Language/Nation: Romanian / Romania
Photo From: Sport 1982, Issue 6
Sport 1982, Issue 6
51- Magazine Name: Ceskoslovensky sport
Issue: 1984 06 28 #1-2 5-8
Language/Nation: Czech / Czechoslovakia
Ceskoslovensky sport 1984 06 28 #1-2 5-8
52- Magazine Name: L’Equipe
Issue: June 18, 1974
Language/Nation: French/France
Photo From: L’Equipe Magazine, June 18, 1974
L’Equipe Magazine, June 18, 1974
53- Magazine Name: Start
Issue: 1982, aug2_№31-32
Language/Nation: Czech / Czechoslovakia
Photo From: Start, 1982, aug2_№31-32
Start, 1982, aug2_№31-32
54- Magazine Name: Football International
Issue: April 1996
Language/Nation: French/France
Photo From: Football International, April 1996
55- Magazine Name: AS Color
Issue: Issue 258, April 27, 1976
Language/Nation: Spanish / Spain
Photo From: AS Color, Issue 258, April 27, 1976
AS Color, Issue 258, April 27, 1976
56- Magazine Name: FUWO (Fussball Woche)
Issue: Issue 11, March 15, 1966
Language/Nation: German / East Germany
Photo From: FUWO (Fussball Woche), Issue 11, March 15, 1966
FUWO (Fussball Woche), Issue 11, March 15, 1966
57- Magazine Name: FUWO (Fussball Woche)
Issue: Issue 20, May 21, 1975
Language/Nation: German / East Germany
Photo From: FUWO (Fussball Woche), Issue 20, May 21, 1975
58- Magazine Name: FUWO (Fussball Woche)
Issue: Issue 15, April 9, 1985
Language/Nation: German / East Germany
Photo From: FUWO (Fussball Woche), Issue 15, April 9, 1985
FUWO (Fussball Woche), Issue 15, April 9, 1985
59- Magazine Name: FUWO (Fussball Woche)
Issue: Issue 18, May 2, 1990
Language/Nation: German / East Germany
Photo From: FUWO (Fussball Woche), Issue 18, May 2, 1990
FUWO (Fussball Woche), Issue 18, May 2, 1990
60- Magazine Name: Football-Hockey
Issue: Issue 47, November 24, 1968
Language/Nation: Russian / USSR
Photo From: Football-Hockey, Issue 47, November 24, 1968
Football-Hockey, Issue 47, November 24, 1968
61- Magazine Name: Football-Hockey
Issue: Issue 39, September 25, 1977
Language/Nation: Russian / USSR
Photo From: Football-Hockey, Issue 39, September 25, 1977
Football-Hockey, Issue 39, September 25, 1977
62- Magazine Name: Football-Hockey
Issue: Issue 26, June 27, 1982
Language/Nation: Russian / USSR
Photo From: Football-Hockey, Issue 26, June 27, 1982
Football-Hockey, Issue 26, June 27, 1982
63- Magazine Name: Football-Hockey
Issue: Issue 18, May 3, 1992
Language/Nation: Russian / USSR
Photo From: Football-Hockey, Issue 18, May 3, 1992
Football-Hockey, Issue 18, May 3, 1992
64- Magazine Name: Miroir du Football
Issue: Issue 32, August 1962
Language/Nation: French/France
Photo From: Miroir du Football , Issue 32, August 1962
Miroir du Football , Issue 32, August 1962
65- Magazine Name: Planete Foot
Issue: April 1996
Language/Nation: French/France
Photo From: Planete Foot, April 1996
Planete Foot, April 1996
66- Magazine Name: Inside Football
Issue: Issue 28, 1990
Language/Nation: English/UK
Photo From: Inside Football, Issue 28, 1990
Inside Football, Issue 28, 1990
67- Magazine Name: Sport Magazine-Foot magazine
Issue: Issue 42, October 13, 2004
Language/Nation: French/Belgium
Photo From: Sport Magazine-Foot magazine, Issue 42, October 13, 2004
Sport Magazine-Foot magazine, Issue 42, October 13, 2004
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Soccer Memories-Part 27
The European Invasion of the Americas of the Summer of 1977
In the Summer of 1977, Argentina’s World Cup was one year away. Argentina as hosts, were condemned to Friendly matches in preparations for their World Cup.
To test themselves against worthy European Competition that they would surely be facing, the Argentine Federation invited many European nations to play vs. the national team that summer.
Argentina under the control of a Junta led by General Videla was beset by political problems and terrorism. There were questions about their ability to host the event. The authorities wanted to showcase these friendlies to display to the world, their competence and willingness to host the Main Event without any problems.
The European nations themselves were more than willing to partake on this Trans-Atlantic journey to get acquainted with the climatic conditions and the venues and the atmosphere they would be facing (provided they were lucky to qualify).
The teams in question were defending World Cup Champions West Germany, England, Poland, France, Scotland, Yugoslavia and East Germany.
The action was not only restricted in Argentina, most of these European nations chose to tour the continent as a whole, for these months of May, June and July.
Just about all of them arranged Friendlies vs. the continent’s powerhouse Brazil, as well as other South American nations (not to mention local clubs) along the way.
Argentina Manager Luis César Menotti was very keen on this endeavor. He wanted the National team to play many matches in a period of a month, to mirror World Cup Finals conditions, where one would have to play a minimum of seven matches to reach the Final. He also believed many friendlies were essential as a way of team and group building.
Menotti wanted to impose an attacking style of play for the National team. He wanted the National Team to play like his Huracan squad of 1973 that had won the title. Their (his) tactics consisted of Zonal defense and a short passing game.
He was at odds with the tactics of Boca Juniors Manager Juan Carlos Lorenzo. Though Boca Juniors were a successful side at the time, their style was the antithesis of Menotti. Though successful, Lorenzo’s Boca were a physical, defensive side.
Lorenzo had predicted that Menotti’s Argentina would fail and not be able to defeat any European side. According to Lorenzo, the game had changed in the past decade, and teams had to be more athletic and faster to win. (One could say Lorenzo was Menotti’s Bilardo of the next decade). In any case, Menotti’s desire seemed a tall order at a time, when only a handful of Argentinean clubs played with tactics resembling his.
Menotti had recently been successful in making the Argentinean Federation to pass a law forbidding potential National team players to be transferred to European Clubs until at least the end of the World Cup. The law had been passed too late to stop Norberto Alonso and Mario Kempes from joining Olympique Marseille and Valencia respectively. Menotti repeatedly stated that he would not call up any European based player; he did however acknowledge that Kempes would be the hardest player to replace. Nevertheless, as far as this 1977 summer was concerned, Kempes and all the other foreign-based players were out of World Cup contention.
The Argentina squad itself had a backbone of players, many of who would make the Finals squad by the following summer.
The squad included the eccentric goalkeeper Hugo Gatti, Captain Jorge Carrascosa, Alberto Tarantini, Jorge Olguin, Daniel Passarella, Osvaldo Ardiles, Ricardo Villa, Ricardo Bochini, Americo Gallego, Daniel Bertoni, Leopoldo Luque, René Houseman and Omar Larrosa.
Brazil for their part were preparing for their final phase of World Cup qualification to take place in July. The new Manager Claudio Coutinho had replaced Osvaldo Brandao in March. He publicly looked forward to the matches to test with ‘the best schools of European Football’. He considered Poland as the most dangerous opponent and then West Germany and England. He felt France were still not at their level yet. He wanted to try 4-3-3 that was employed by most Brazilian clubs. His squad contained stars such as goalkeeper Emerson Leao, Luis Pereira, Marinho, Edinho, Toninho Cerezo, Zico, Paulo Cesar, Roberto Dinamite, as well as veteran Roberto Rivellino.
The series of matches started on May 29th, with Argentina hosting Poland at Buenos Aires. Argentina chose Boca Juniors’ ‘La Bombonera’ as its venue for all their matches.
Jacek Gmoch’s Poland squad were comfortably set to qualify for the World Cup and were one of the finest teams in Europe at the time.
The squad had many leftovers from the glorious 1974 squad, including Captain Kazimierz Deyna, penalty stopping goalkeeper Jan Tomaszewski, Władysław Żmuda, Grzegorz Lato, Andrzej Szarmach and Henryk Kasperczak. The new rising star was Zbigniew Boniek who in time would become an international star.
Poland had arrived at Argentina just the day before the match. They were the better team in the first half and scored first through Lato in the 32ndminute.
Just before halftime, Argentina was awarded a penalty kick, which was scored by Daniel Bertoni, after a handball offense in the box.
Argentina was missing René Houseman, who had been suspended by his club Huracan for indiscipline. They gradually took control in the second half, as fatigue caught up with the Polish. First Leopoldo Luque and then midway through the second half Daniel Bertoni scored again for a convincing (3-1) win.
Photo From : EL GRAFICO Nº 3008 (31-5-1977)
(Leopoldo Luque, May 29, 1977, Argentina 3-Poland 1)
The defending World Cup Champions West Germany was the next team to visit the hosts at ‘La Bombonera’ on June 5th. West German Manager Helmut Schoen had to contend with the loss of inspirational Captain Franz Beckenbauer to the NASL’s New York Cosmos. Berti Vogts, ‘Der Terrier’, was the new Captain, with veterans such as goalkeeper Sepp Maier, Rainer Bonhof and Bernd Holzenbein leading a squad that included many new youngsters such as Manfred Kaltz, Karl-Heinz Rummenigge and Rudiger Abramczik. They could no longer count upon Gerd Muller to score goals at will, however, many had high hopes for his namesake Dieter Muller and Klaus Fischer.
As far as the match itself, the Germans (wearing green) dominated the hosts with Fischer scoring twice and Holzenbein delivering the third, before Daniel Passarella scored a consolation goal. The Germans were in total domination and the crowd applauded them at the end and were praised by the Argentinean media for their display.
Photo From : EL GRAFICO Nº 3009 (07-06-1977)
(June 5, 1977, Argentina 1-West Germany 3)
Three days later on June 8th, West Germany defeated a listless and uninspired Uruguay (2-0) at Montevideo’s Estadio Centenario, with goals by Heinz Flohe, early in the second half, and Dieter Muller at the death. Uruguay had already been eliminated from the World Cup qualifiers, as a result they were dejected and not much could have been expected of them.
On the same day, Brazil hosted England at Rio’s Maracana Stadium. All was not well in the English Camp. In the previous week they had been defeated twice at Wembley to Wales and Scotland in the Home Championship. The Scotland match was marred by the Scottish fans’ invasion of the pitch and the destruction of the goalposts. The talking point had been star Kevin Keegan’s recent transfer from Liverpool to SV Hamburg. World Cup qualification seemed bleak with Italy seemingly in the driver’s seat. In fact for this match vs. Brazil, England Manager Don Revie had to miss to go to Helsinki to watch the qualifier between Finland and Italy. Of course, there was more to this trip for Revie, which transpired later (that we shall get to), but Italy’s (3-0) win effectively dashed England’s hopes. With Revie absent, Les Cocker was in charge to pick a squad that in addition to Keegan, contained the likes of goalkeeper Ray Clemence, Phil Neal, Trevor Cherry, Emlyn Hughes, Trevor Francis and Ray Wilkins to name a few. The day before the match Trevor Brooking was sent home due to injury.
England played well defensively and kept Brazil at bay. Rivellino, though impressive in this match, was unable to break the resilient English defense. Brazil mostly controlled the second half, but Ray Clemence made many fine saves to keep the match scoreless. Brazilian winger Gil was well guarded by Trevor Cherry and had no impact. Gil’s frustration was apparent when he openly complained that Coutinho was hampering him by playing him in the right wing. Brazil was whistled off the park by their own fans at the end of the match. This was the first time that England had not lost at Brazil.
Two days later on June 10th, Poland continued its tour by playing at Lima vs. Peru. They were fresher for that match and dominated the hosts from the start. Szarmach and Deyna scored within the first twenty minutes to give Poland a commanding lead. Luces pulled a goal back in the 62ndminute, however, just a minute later the impressive Kasperczak scored Poland’s third.
Two days later, June 12th turned out to be the busiest day on the continent as three matches were played. At LaPaz, Poland continued its fine form by defeating the hosts (2-1) with goals by Lato and Kapka in the 90thminute.
Brazil and West Germany tested one another at Maracana. The impressive West Germans were unfazed and held their own against the hosts. They scored first early in the second half through Fischer, however, with minutes remaining Rivellino, celebrating his 100th cap, evened the score.
Photo From : Fussball Magazin, Issue 6, September October 1977
(Rudiger Abramczik and Rodrigues Neto, June 12, 1977, Brazil 1-West Germany 1)
Most of the drama of the day occurred at ‘La Bombonera’ where Argentina hosted England. The atmosphere was tense, even before the match started. The Argentinean fans booed the English National Anthem. They chanted ‘Animals’, in reference to Alf Ramsey’s insult from the 1966 World Cup. They also chanted ‘Pirates’, in reference to the Falkland Islands dispute (that would eventually erupt into a war in 1982).
Argentina was still missing the suspended Houseman, but also Hugo Gatti, Jorge Carrascosa and Ricardo Villa.
England scored within two minutes when Stuart Pearson scored from Mick Channon’s near post cross. In the 15th minute, Brian Greenhoff fouled Daniel Bertoni near the edge of the box and Bertoni himself scored from the free kick. Otherwise, the match was a cautious defensive affair. Kevin Keegan rarely threatened and had no impact.
With ten minutes remaining, Trevor Cherry fouled Bertoni. When Bertoni got up he punched Terry and knocked some teeth out.
The pair, who had been booked before, were immediately sent off. The Argentinean Federation suspended Bertoni for four matches and also exonerated Cherry.
Photo From : EL GRAFICO Nº 3010 (14-6-1977)
(Daniel Bertoni scoring from a free kick, June 12, 1977, Argentina 1-England 1)
On June 14th, West Germany continued its tour with a layover at Mexico. The somewhat tired Germans fell behind twice in the first half. They gradually got back in the game in the second half and Klaus Fischer scored twice to tie up the match.
England wrapped its tour the next day, June 15th, with a scoreless tie vs. the dispirited Uruguay squad at Montevideo. The scoreless draw was a continuation of England’s defensive tactics that many critics decried. Revie’s 4-4-2 tactics were roundly criticized and blamed for the unimpressive performances.
Both teams were booed off the field at the end. This match turned out to be the only match that Revie named an unchanged side.
On the same day, Scotland made their debut on the tour at Santiago vs. Chile. Chile had also been eliminated from the World Cup qualifiers and had arranged a team with little preparation. It was no surprise that they were defeated (4-2) with Kenny Dalglish, Lou Macari (twice) and Asa Hartford scoring. Scotland was coming off a victory in the Home Championship and had appointed Alistair Mc Leod as Manager just the previous month.
Three Days later, on June 18th, Scotland lined up vs. Argentina. Incidentally the Argentinean fans did not boo the same National Anthem that they had booed vs. England.
Just like the match vs. England, it was a tight match with many fouls and the result was one-all tie. Both sides scored their goals through penalty kicks. With less than 13 minutes remaining Scotland were awarded their penalty kick from which Donald Masson scored. Three minutes later Argentina were awarded a penalty kick of their own and Daniel Passarella scored. And just like the match vs. England two players were sent off. In the 56th minute, Argentina’s Vicente Pernia punched Scotland’s Willie Johnston in retaliation after a foul. Both players were sent off.
Menotti, in uncharacteristic fashion, defended the violent tactics of his players.
Photo From : World Soccer, August 1977
(June 18, 1977, Argentina 1-Scotland 1)
The following day, June 19th, Poland ended its tour by playing Brazil at São Paulo. Zico and Roberto Dinamite were left out of the lineup, replaced by Paulo Isidoro and Reinaldo. Brazil was excellent for most of the match and deservedly scored through Paulo Isidoro and Reinaldo in the first half. Rivellino scored Brazil’s third from a penalty kick in the second half. Poland got back into the game towards the end and scored a consolation goal from Boniek.
Photo From : Onze, Issue 27, March 1978
(Andrzej Szarmach and Toninho Cerezo, June 19, 1977, Brazil 3-Poland 1)
A few days later, on June 23rd, Scotland finished its own tour by visiting Brazil at Maracana. They held out bravely against Brazil before succumbing to a Zico free kick with twenty minutes remaining. Rivellino scored Brazil’s second five minutes later.
On June 26th, France and Yugoslavia made their first appearances. Yugoslavia faced Brazil at Belo Horizonte and almost won with Ivica Surjak particularly impressive. Yugoslavia was better in the first half, with Brazil gradually asserting themselves in the second half but unable to break the Yugoslav defense. Claudio Coutinho described this as Brazil’s hardest match of the tour. Brazil was predictably whistled off the field at the end.
Michel Hidalgo’s rejuvenated France squad was led by skipper Henri Michel and Libero Marius Tresor. Nancy’s Michel Platini and other youngsters such as Patrick Battiston, Maxime Bossis and Didier Six represented the new generation.
Many French managers, most notably Saint Etienne’s Robert Herbin, had been opposed to this grueling tour at the end of the season. Herbin was particularly concerned about his players Christian Lopez and Dominique Bathenay, who were exhausted.
However, Hidalgo insisted it was necessary and an opportunity not to be missed for the experience and the preparations of the national team.
Against the hosts Argentina, France was in better shape and pressed Argentina. The French were the better side in the first half, in the second half, Ricardo Villa and Houseman pressed the French harder but to no avail. Though the match ended scoreless, France had looked better. The French camp was surprised as they expected a stiffer test. Platini described the Argentina squad as too static and lacking the quality of surprise to worry most European teams.
Argentinean Press tried in vain to make Hidalgo give reasons why Argentina were playing poorly, however, Hidalgo limited his responses on his own squad.
Photo From : Mondial, Old Series, Issue 6, July 1977
(Olivier Rouyer between Jorge Carrascosa and Daniel Killer, June 26, 1977, Argentina 0-France 0)
The most exciting match of the tour was four days later at Maracana when Brazil took on France.
Before the match Hidalgo had stated that France had come in all modesty to learn from this tour, while Coutinho emphasized that Brazil had to earn back its colors and pride.
Brazil started the match in strong fashion, especially Cerezo. Not surprisingly, given their domination, Edinho scored Brazil’s first goal in the 30thminute. However, after the goal Brazil appeared to take their foot off the pedal. Hidalgo had remarked this and urged his team to attack as he sensed Brazil were tiring. However, Brazil scored again early in the second half through Roberto Dinamite and Hidalgo’s plan seemed to have backfired. Undeterred he urged his squad to continue attacking. In the next minute, Didier Six scored a spectacular effort from long range to give France some hope (some time later, Didier Six admitted he had used his hand to control the ball).
The goal spurred France on and they continued attacking. With five minutes left, Olivier Rouyer took a corner, which was headed in by Marius Tresor. The Brazilian public was taken by France’s audacity and applauded Tresor. At the end of the match, the public even chanted ‘França, França’.
The overjoyed Hidalgo was very emotional with these chants and described this match as France’s best since the 1958 World Cup.
Photo From : Mondial, Old Series, Issue 6, July 1977
(Paulo Isidoro and Omar Sahnoun, June 30, 1977, Brazil 2-France 2)
A few days later on July 3rd, a tired France concluded its tour with a loss (1-3) against Brazilian club Atlético Mineiro.
On the same day, Argentina hosted Yugoslavia in another tight affair and only won with a penalty kick by Passarella in the first half.
Photo From : EL GRAFICO Nº 3013 (05-7-1977)
(Ruben Galvan, July 3, 1977, Argentina 1-Yugoslavia 0)
On July 12th, the series of Friendlies ended when Argentina hosted East Germany (in its only match of the tour). Argentina ended the summer on a positive note with a much-improved performance in defense and won (2-0) with goals by Houseman and Carrascosa.
Photo From : EL GRAFICO Nº 3015 (19-7-1977)
(Oscar Ortiz, July 3, 1977, Argentina 2-East Germany 0)
So what were the lessons learned? The Argentinean public was disappointed with its team. The press in particular was opposed to Menotti’s tactics and the violent fouls in the England and Scotland matches. During all their matches played at ‘La Bombonera’, the public chanted for the appointment of Juan Carlos Lorenzo of the successful Boca team. As far as the World Cup Finals, the Argentinean Federation chose to select River Plate’s Stadium (El Monumental) as its venue for home matches.
Even though, Menotti had vowed he would not select foreign-based players, the squad’s limitations forced him to make a concession on that principle. He stated he would have to call up at least a few of the foreign-based players with Mario Kempes on the top of the list.
Given Menotti’s preaching of beautiful, attacking Football, it was ironic how violent they were in some of these matches. This carried over into the World Cup the following year, with the shameful display that led to the sending offs of Andras Torocsik and Tibor Nylasi, as well as the physical battle with Brazil, not to mention the gamesmanship used in the Final concerning Dutchman Rene van der Kerkhof’s plaster cast on his arm (Leaving out the 6-0 Peru win and all the conspiracy theories surrounding it).
It’s also strange, given Menotti’s image of a free and open thinker, that his training camps were like Army barracks. This may have led to the exclusion of Hugo Gatti. His refusal to join a training camp in February 1978 to recuperate from an injury sealed his fate and Ubaldo Fillol replaced him. These training camps were also too much for Captain Jorge Carrascosa who left the squad on his own accord. The reason that he gave was that ‘His Parents had earned the right to see their son’, not to mention his wife was due to give birth during the Finals. There were also reports that both players were at odds with the Federation over bonus payments.
As far as Brazil, the general analysis was that they lacked a genuine center forward. Though Rivellino was impressive that summer, by the following year he would be a spent force. By the time of the World Cup, Claudio Coutinho, much like Mario Zagallo with the 1974 team, was attempting to ‘Europeanize’ the team’s tactics. Coutinho would sadly be killed in 1981 in a scuba diving accident.
Of all the team on tour, West Germany was the most impressive. Klaus Fischer received much praise, as did Holzenbein and Abramczik. The duo of Manfred Kaltz and Rolf Russman seemed to have been able replacements for Beckenbauer and Georg Schwarzenbeck. However, by the time of the World Cup, the loss of Beckenbauer would be sorely felt and in contrast to this tour the Germans ended up having a poor World Cup.
Poland in general lived up to their reputation with Henryk Kasperczak as the pick of the bunch.
Scotland gave a positive impression on this tour, with goalkeeper Alan Rough voted by the Scottish press as their best player.
By the time of the World Cup, a false sense of security and confidence had set in. They entered the World Cup as an outside bet, however were shellacked by Peru and were unable to defeat Iran. The unlucky Willie Johnston, who was punched and sent off in this tour, had an even worse World Cup, when he failed a dope test and was suspended.
France gave a good impression, though they were still years sway from being a great side.
England ended up having an eventful summer especially off the field. At the beginning of the tour, Don Revie was supposedly away supervising World Cup qualifying group opponents Finland and Italy. However it was discovered by ‘Daily Mail’ that he was in fact negotiating with officials from the United Arab Emirates. Revie was banned for breach of contract and in his place Ron Greenwood was appointed.
For a (Non-World Cup) summer, an entire continent was witness to a feast of football, where lessons were learned (perhaps).
In a way this comprehensive tour was a precursor to mini tournaments that World Cup hosts usually hold a year ahead of the Tournament as a dress rehearsal (These days the Confederations Cup fills that role).
The Sequence of Matches:
May 29, 1977- Buenos Aires, (La Bombonera)-Argentina 3-Poland 1
June 5, 1977- Buenos Aires, (La Bombonera)-Argentina 1-West Germany 3
June 8, 1977- Montevideo, (Estadio Centenario)-Uruguay 0-West Germany 2
June 8, 1977- Rio de Janeiro, (Estádio do Maracanã)-Brazil 0-England 0
June 10, 1977- Lima, (Estadio Nacional)-Peru 1-Poland 3
June 12, 1977- Buenos Aires, (La Bombonera)-Argentina 1-England 1
June 12, 1977- La Paz, (Estadio Libertador S.Bolivar)-Bolivia 1-Poland 2
June 12, 1977- Rio de Janeiro, (Estádio do Maracanã)-Brazil 1-West Germany 1
June 14, 1977- Mexico City, (Estadio Azteca)-Mexico 2-West Germany 2
June 15, 1977- Montevideo, (Estadio Centenario)-Uruguay 0-England 0
June 15, 1977- Santiago, (Estadio Nacional)-Chile 2-Scotland 4
June 18, 1977- Buenos Aires, (La Bombonera)-Argentina 1-Scotland 1
June 19, 1977- São Paulo, (Estadio Morumbi)-Brazil 3-Poland 1
June 23, 1977- Rio de Janeiro, (Estádio do Maracanã)-Brazil 2-Scotland 0
June 26, 1977- Belo Horizonte, (Estádio Mineirão)-Brazil 0-Yugoslavia 0
June 26, 1977- Buenos Aires, (La Bombonera)-Argentina 0-France 0
June 30, 1977- Rio de Janeiro, (Estádio do Maracanã)-Brazil 2-France 2
July 3, 1977- Belo Horizonte, (Estádio Mineirão)- Atlético Mineiro- (Brazil) 3-France 1
July 3, 1977- Buenos Aires, (La Bombonera)-Argentina 1-Yugoslavia 0
July 12, 1977- Buenos Aires, (La Bombonera)-Argentina 2-East Germany 0
↧
New Addition: Guest Contribution, Part One
A new Addition to the blog, where contributors submit articles on soccer related topics
By Beth Kelly from Chicago, IL
Twitter: @bkelly_88
What Next for Manchester City?
Manchester City fans have been on a roller coaster ride since Sheikh Mansour took control of the club in 2008. An owner with unlimited resources and a rapacious appetite for success was just what the doctor ordered for the blue side of Manchester, and the £33 million signing of Robinho made it clear that the Sheikh was happy to dip into his deep pockets. A spending spree followed that was unlike anything that had ever been witnessed in the English game, and the 2011 F.A. Cup final saw the Sky Blues lift their first silverware since 1976.
The joy of City fans only intensified the following year as the side clinched their first title since the 1960s on the last day of the 2011-12 Premier League season. Adding to their exhilaration was the bonus that Sergio Agüero’s injury time winner against QPR had dashed the cup from the lips of their crosstown nemesis. United were on the field at Sunderland celebrating their twentieth championship when news came through that the Argentine had scored.
One could be forgiven for thinking that City fans must be pinching themselves to make sure that they are not dreaming, but rumblings of discontent are starting to be heard around the Etihad. Mansour has spent over a billion pounds assembling a squad to challenge Europe’s best, but some experts feel that the team will require a complete makeover in the coming seasons. The problem is age, and many of Manchester City’s most important players will soon be on the wrong side of 30. The team is built around its formidable spine, but Vincent HYPERLINK "http://www.espnfc.com/barclays-premier-league/story/2391390/man-city-captain-vincent-kompany-may-miss-man-united-derby-clash"Kompany, Yaya HYPERLINK "https://uk.eurosport.yahoo.com/blogs/pitchside-europe/should-manchester-city-drop--uninterested--yaya-toure-for-the-manchester-derby-095229168.html"Toure and David Silva will all have to be replaced in coming transfer windows.
While that may not seem like much of a problem for a team with unlimited funds, UEFA’s financial fair play rules have changed the way that clubs can spend. Teams must now spend within their means, and club revenues limit the amount that wealthy owners can throw around. City have raised eyebrows with sponsorship deals from companies associated with the Sheikh that make little financial sense, and UEFA’s president Michel Platini is on record as saying that such deals will be closely scrutinized in the future. City have already seen the size of their Champions League squad reduced because of FFP violations, and continued noncompliance could see the side banned from the tournament completely.
Adding to the challenge facing City is the financial muscle of their main competitors. Paul Pogba is seen by many as the heir apparent to Yaya Toure, but clubs with far higher revenues like Manchester United and Real Madrid have also been linked with the Juventus star. Outrageous wages have been the tool used by City to lure top signings away from their more glamorous competitors, but paying top dollar for talent has not always proved successful. The club spent $25 million to bring Emmanuel HYPERLINK "http://www.theguardian.com/football/2015/mar/16/emmanuel-adebayor-tottenham-spurs-premier-league"Adebayor in from Arsenal in 2009, but his reported wages of £170 thousand per week made the Togolese striker difficult to move on when his on field performances failed to live up to his paycheck.
The biggest challenge facing City is their perceived lack of pedigree compared to the European football elite. Top players will often take less money if it means that they can line up for Bayern Munich or Barcelona, but Manchester City do not have that type of allure. The club has taken steps to address this, and enormous investment has been made on facilities designed to develop and nurture young players. However, none of these players look likely to break into the first team anytime soon.
Manchester City have attracted a great many American fans in recent years, and NBC Premier League or Dish Latino packages mean that these new fans can watch any EPL game involving the Sky Blues. However, City fans in the United States and elsewhere must be wondering if the FFP rules will send their roller coaster plummeting once more.
↧
Old Team Photographs-Part 28d
Photo From: (Magazine Source unknown) / Contribution From a blog viewer (special thanks to Daniel Antonio Escobar Riquelme)
(Brazil World Cup 1990 squad)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer (special thanks to Daniel Antonio Escobar Riquelme)
(Universidad Catolica squad 1975)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer (special thanks to Daniel Antonio Escobar Riquelme)
(Colo Colo squad, Copa Digeder 1988)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer (special thanks to Daniel Antonio Escobar Riquelme)
(Argentina squad, Top, left to right: Américo Tesoriere, Manuel Dellavalle, Emilio Solari, Jose Alfredo López, Florindo Bearzotti, Adolfo Celli , Bottom, left to right: Pedro Bleo Fournol "Calomino" , Julio Libonatti, Gabino Sosa, Raúl Echeverría, Jaime Chavín , October 2, 1921, Copa America, Argentina 1-Brazil 0)
Photo From: Onze-Mondial, Issue 122, March 1999
(Kaiserslautern squad, 1998/99)
Photo From: Onze, Hors Serie 12, 1982
(Scotland squad, Top, left to right: William Fergus Miller, David Alexander Provan, Arthur Graham, Joseph Jordan, Gordon McQueen, Kenneth H.Burns, David Narey, Raymond Strean McDonald Stewart, Francis Tierney Gray, Alan Roderick Rough, Richard ‘Asa’ Hartford, Wales 2-Scotland 0, 1981, Home Championship, Wales 2-Scotland 0)
Photo From: Onze, Issue 65, May 1981
(Liverpool squad 1980/81, Top, left to right: Avi Cohen, Phil Neal, Ray Clemence, Steve Ogrizovic, Alan Hansen, Colin Irwin, Ian Rush , Middle, left to right: Joe Fagan (Assistant), Richard Money, David Fariclough, Ray Kenendy, David Johnson, Graeme Souness, Alan Kennedy, Ronnie Moran (Assistant) , Bottom, left to right: Jimmy Case, Steve Heighway, Kenny Dalglish, Bob Paisley, Phil Thompson, Terry McDermott, Sammy Lee )
Photo From: Onze, Issue 57, September 1980
(Linfield squad, 1980/81)
Photo From: Onze, Hors Serie 5, 1977
(Dukla Prague squad, September 14, 1977, Champiosn cup, Dukla Prague 1-Nantes 1)
Photo From: Mondial, New Series, Issue 26, May 1982
(Czechoslovakia squad, Top, left to right: Zdenek Nehoda, Zdenek Hruska, Jan Fiala, Petr Janecka, Frantisek Stambachr, Rotislav Vojacek, Jozek Kukucka, Karel Jarolim, Ladislav Vizek, Frantisek Jakubec, Premsil Bicovsky, April 14, 1982, West Germany 2-Czechoslovakia 1)
Note; The photograph is mirrored
Photo From: Mondial, old series, Hors-Serie, Issue 7, 1979
(Nantes squad 1979/80, Top, left to right: Jean-Paul Bertrand-Demanes, Patrice Rio, Maxime Bossis, Enzo Trossero, Thierry Tusseau, Henri Michel, Bottom, left to right: Oscar Muller, Eric Pecout, Oscar Trossero, Gilles Rampillon, Loic Amisse)
Photo From: Placar, Issue 556, January 5, 1981
(Uruguay squad, Top, left to right: Rodolfo Sergio Rodríguez, Walter Daniel Olivera, Eduardo Maria De La Peña, Waldemar Victorino, Ariel José Krasowksi, Julio César Morales, VenancioAriel Ramos Villanueva, Daniel Martínez, José Hermes Moreira, Ruben Walter PazMárquez, Hugo Eduardo De León Rodriguez, January 3, 1981, Mundialito, Uruguay 2-Italy 0)
Photo From: Guerin Sportivo-La Grande Storia Del Calcio Italiana-1955-1956
(Fiorentina squad 1955/56, Top, left to right: Sergio Cervato, Francesco Rosetta, Bruno Mazza, Ardico Magnini, Giuseppe Virgili, Guido Gratton, Bottom, left to right: Julinho, Giuseppe Chiappella, Armando Segato, Giulliano Sarti, Miguel Montuori)
Photo From: Guerin Sportivo-La Grande Storia Del Calcio Italiana-1955-1956
(AC Milan squad 1955/56, Top, left to right: Cesar Maldini, Omero Tognon, Nils Liedholm, Amleto Frignani, Gunnar Nordahl, Juan Alberto Schiaffino, Bottom, left to right: Giorgio Dal Monte, Mario Bergamaschi, Lorenzo Buffon, Francesco Zagatti, Amos Mariani )
Photo From: France Football, Issue 1870, February 9, 1982
(FC Metz squad 1981/82, Top, left to right: Michel Ettore, Francois Zdun, Bosko Jankovic, Phillipe Thys, Branko Tukac, Phillipe Mahut, Bottom, left to right: Luc Sonor, Phillipe Hindschberger, Vincent Bracigliano, Phillipe Piette, Pascal Raspollini )
Photo From: Don Balon, Issue 168, December 26, 1978
(RCD Espanol squad, 1978/79)
↧
↧
Old team Photographs-Part 28e
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Denmark squad, Top, left to right: Peter Schmeichel, Marc Rieper, Jes Høgh, Michael Schjønberg, Ole Tobiasen, Morten Wieghorst , Bottom, left to right: Miklos Molnar, Jan Heintze, Brian Laudrup, Thomas Helveg, Allan Nielsen , October 11, 1997, World Cup Qualifier, Greece 0-Denmark 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Denmark squad, Top, left to right: Ole Rasmussen, John Lauridsen, Ole Madsen, Preben Elkjaer, Soren Lerby, Ole Kjær, Bottom, left to right: Jens Jorn Bertelesen, Klaus Berggreen, Morten Olsen, Ivan Nielsen, Allan Simonsen , June 1, 1983, EC Qualifier, Denmark 3-Hungary 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Denamrk squad, Top, left to right: Knud Petersen, Ole Sørensen, Ole Madsen, Karl Hansen, Egon Hansen, Henning Enoksen, Bottom, left to right: Preben Arentoft, Leif Nielsen, Leif Hartwig, Bent Hansen, Jens Jørgen Hansen, June 20, 1965, Nordic Cup, Denamrk 2-Sweden 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(East Fermany squad, Top, left to right: Ronald Kreer, Dirk Heyne, Dirk Stahmann, Rainer Ernst, Burkhard Reich, Matthias Lindner, Matthias Sammer, Rico Steinmann, Matthias Döschner, Ulf Kirsten, Andreas Thom , August 23, 1989, East Germany 1-Bulgaria 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Colombia squad, Top, left to right: Freddy Rincón, Oscar Córdoba, Adolfo Valencia, Alexis Mendoza, Luis Carlos Perea, Gabriel Jaime Gómez , Bottom, left to right: Leonel Álvarez, Diego Leon Osorio, Luis Fernando Herrera, Víctor Hugo Aristizábal, Carlos Valderrama, , June 16, 1993, Copa America, Colombia 2-Mexico 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Colombia squad, Top, left to right: Eugenes Cuadrado, Gonzalo Soto, Luis Rafael Reyes, Américo Quiñonez, Luis Octavio Gómez, Jorge Porras , Bottom, left to right: Carlos Ricaurte, Victor Lugo, Willington Ortíz, Arnaldo Iguaran, Luis Norberto Gil, April 28, 1985, Colombia 2-Uruguay 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Colombia squad, April 30, 1961, World Cup Qualifier, Colombia 1-Peru 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right:AdilsonDias Batista, Paulo César Batista Dos Santos‘Paulão’, Ivanilton Sérgio Guedes, LeonardoNascimento de Araujo, José Gildasio Pereira de Matos ‘Gil Baiano’, Carlos César SampaioCampos, Bottom, left to right: ’Charles’Fabian Figueiredo Santos, Marcos Evangelista Moraes‘Cafu’, Donizete Francisco de Oliveira, Edson Arantès do Nascimento‘Pelé’, Reinaldo , October 31, 1990, Pele’s 50th Anniversary , World XI 2-Brazil 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: William Douglas Humia Menezes, Nelson Luis Kerchner‘Nelsinho’, ‘Carlos’ Roberto Gallo, ’Júlio César’ da Silva , Ricardo Roberto Barreto da Rocha, Josimar’Higinio Pereira, Bottom, left to right: Luís Antônio Corrêa da Costa‘Müller’ , ‘Raí’Souza Vieira de Oliveira, Antônio de Oliveira Filho‘Careca’, Carlos Eduardo‘Edu Marangon’, ’Valdo’ Cândido Filho , July 3, 1987, Copa America , Chile 4-Brazil 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: Zé Maria José Maria Rodrigues Alve, Emerson Leão, Hércules de Brito Ruas, Vantuir Galdino Gomes, Clodoaldo Avares de Santana, Marco AntônioFeliciano , Bottom, left to right: Jairzinho Jair Ventura Filho, Gérson de Oliveira Nunes, Eduardo Gonçalves de Andrade Tostão, João Leiva Campos Filho Leivinha, Roberto Rivellino , July 5, 1972, Brazil Independence Cup , Brazil 1-Scotland 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: José Maria Fidélis dos Santos, José Eli de Miranda Zito, Gilmar dos Snatos Neves, Hércules de Brito Ruas , Altair Gomes de Figueiredo, Paulo Henrique Souza de Oliveira, Bottom, left to right: Jairzinho Jair Ventura Filho, Gérson de Oliveira Nunes, Servilio de Jesus Filho Servílio II , Edson Arantes do Nascimento ‘Pelé’, Amarildo Tavares da Silveira, June 21, 1966, Atletico Madrid 3-Brazil 5)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Brazil squad, Top, left to right: Djalma Santos, Gerson dos Santos, Antenor Lucas Brandãozinho,NíltonReis dos Santos, Caetano Silva Veludo, José Carlos Bauer, , Bottom, left to right: Julio Botelho Julinho I, Humberto Barbosa Tozzi, Osvaldo da Silva Baltazar I, Waldir Pereira‘Didi’, Mauro Raphael Maurinho , March 21, 1954, World Cup Qualifier, Brazil 4-Paraguay 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right: Sergio Fabian Vázquez, Fernando Carlos Redondo Neri, Sergio Javier Goycochea, José Antonio Chamot, Oscar Alfredo Ruggeri , Diego Armando Maradona, Bottom, left to right: Hugo Leonardo Perez, Diego PabloSimeone, Abel Eduardo Balbo, Gabriel Omar Batistuta, Carlos Javier Mac Allister, November 17, 1993, World Cup Qualifier, Argentina 1-Australia 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right: Daniel Alberto Passarella, Jorge Mario Olguín, Luis Adolfo Galván, Mario Alberto Kempes, Alberto César Tarantini, Ubaldo Matildo Fillol, Bottom, left to right: Osvaldo Cesar Ardiles, Juan Alberto Barbas, Diego Armando Maradona, Gabriel Humberto Calderon, Daniel Ricardo Bertoni , July 2, 1982, World Cup, Brazil 3-Argentina 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right: Daniel Alberto Passarella, René Orlando Houseman, Jorge Mario Olguín, Alberto Cesar Tarantini, Mario Alberto Kempes, Ubaldo Matildo Fillol , Bottom, left to right: Américo Ruben Gallego, Osvaldo Cesar Ardiles, Leopoldo Jacinto Luque, Jose Daniel Valencia, Jose Daniel Valencia, June 6, 1978, World Cup, Argentina 2-France 1)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, August 31, 1969, World Cup Qualifier, Argentina 2-Peru 2)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, June 24, 1956, Argentina 1-Italy 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Argentina squad, Top, left to right: Guillermo Stabile (manager), Vicente De la Mata, Norberto Doroteo Mendez , Adolfo Alfredo Pedernera, Angel Amadeo Labruna, Felix Loustau, Bottom, left to right: Jose Salomon, Juan Carlos Sobrero, Juan Carlos Fonda, Leon Strembel , Claudio Vacca, Natalio Agustín Pescia, February 10, 1946, Copa America, Argentina 2-Brazil 0)
↧
Old Team Photographs-Part 28f
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Holland squad, Top, left to right:Johannes Frederik ‘Joop’ Hiele, Adrianus Andreas ‘Adri’ van Tiggelen, Ronald Koeman, Franklin Edmundo ‘Frank’ Rijkaard, Rudi Dil ‘Ruud’ Gullit, Bottom, left to right: Arnoldus Johannes Hyacinthus ‘Arnold’ Mühren, Jan Jacobus Wouters, Gerald Mervin Vanenburg, Johannes Nicolaas ‘John’ van't Schip, Marcel ‘Marco’ van Basten, Jan Jacobus ‘Sonny’ Silooy , April1 29, 1987, EC Qualifier, Holland 2-Hungary 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Holland squad, Top, left to right: Rudolf Jozef ‘Ruud’ Krol, Jan van Beveren, Willem ‘Wim’ van Hanegem , Johannes Jacobus ‘Johan’ Neeskens , Willem Jozef Theresia Maria ‘Willy’ Brokamp, Peter Johannes ‘Piet’ Keizer, Nicolaas ‘Johnny’ Rep, Willem Lourens Johannes ‘Wim’ Suurbier, Arend ‘Arie’ Haan, Bernardus Adriaan ‘Barry’ Hulshoff, Hendrik Johannes ‘Johan’ Cruijff , August 22, 1973, World Cup Qualifier, Holland 5-Iceland 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Holland squad, Top, left to right: Jan van Beveren, Johannes Antonios ‘Hans’ Eijkenbroek, Marinus David ‘Rinus’ Israël, Eimert ‘Epi’ Drost, Reinier Johannes Maria ‘Nico’ Rijnders, Wietse Harm Veenstraa, Mattheus Wilhelmus Theodorus ‘Theo’ Laseroms , Bottom, left to right: Jacques ‘Sjaak’ Roggeveen, Hendrik ‘Henk’ Houwaart, Johannes Teunes ‘Jan’ Klinjan, Pieter Robert ‘Rob’ Resenbrink, April1 16, 1969, Holland 2-Czechoslovakia 0)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(Germany squad, Top, left to right: Christian Wörns, Markus Babbel, Jörg Heinrich, Dietmar Hamann, Marco Bode, Oliver Bierhoff , Bottom, left to right: Jens Jeremies, Oliver Neuville, Thomas Strunz, Oliver Kahn, Lothar Herbert Matthäus, March 27, 1999, EC Qualifier, Northern Ireland 0-Germany 3)
Photo From: (Magazine Source unknown) / Contribution From a blog viewer
(West Germany squad, Top, left to right:Lothar Herbert Matthäus, Guido Buchwald
|
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3394
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dbpedia
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2
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https://www.tiktok.com/%40dansali13/video/7318128485157915922
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en
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Make Your Day
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3394
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dbpedia
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1
| 61
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https://www.tiktok.com/%40edinho_voxoficial/video/7115443655250414853
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en
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Make Your Day
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wrong_mix_random_publicationDate_00046
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FactBench
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2
| 7
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https://m.facebook.com/groups/4586629500/posts/10161122359864501/
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en
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Du wurdest vorübergehend blockiert
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[
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de
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FactBench
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3
| 16
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https://shelftalkblog.wordpress.com/2015/06/05/science-fiction-checklist-challenge-new-wave-science-fiction/
|
en
|
Science Fiction Checklist Challenge: New Wave Science Fiction
|
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2015-06-05T00:00:00
|
By David H. At the beginning of the 1960’s, science fiction was in a rut. While grand masters, such as Isaac Asimov and Arthur Clarke, were still writing interesting and worthwhile work, the genre itself had become fossilized. The tropes of pulp science fiction (rockets ships, robots, aliens barely distinguishable from humans, and square-jawed, flawless…
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en
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Shelf Talk
|
https://shelftalkblog.wordpress.com/2015/06/05/science-fiction-checklist-challenge-new-wave-science-fiction/
|
By David H.
At the beginning of the 1960’s, science fiction was in a rut. While grand masters, such as Isaac Asimov and Arthur Clarke, were still writing interesting and worthwhile work, the genre itself had become fossilized. The tropes of pulp science fiction (rockets ships, robots, aliens barely distinguishable from humans, and square-jawed, flawless good guys) were still being used by many authors and a whiff of stagnation had begun to fill the air. The real world concerns of the time (war, segregation, the changing roles of women, political unrest and student protests) went unacknowledged and unseen in the genre. But a revolution was about to sweep through science fiction.
The roots of this new wave began in Great Britain. In 1964, author Michael Moorcock took over the editorship of New Worlds magazine with the purpose of re-defining the style and content of science fiction. Inspired by writers like William S. Burroughs (who used science fiction concepts in such books as Naked Lunch a nd Nova Express), Moorcock championed writers who were willing to experiment with literary styles and untraditional subject matter. Writers like J.G. Ballard published dark dystopian novels like The Drowned World and Concrete Island, stories featuring everymen who instead of conquering were struggling to survive. Young adult writer John Christopher’s The Tripods trilogy posited a future where the Martians from War Of The Worlds had conquered Earth and the rebellion recruits children in an attempt to destroy their overlords.
In America, the standard bearer was multi-award winning writer Harlan Ellison. The pugnacious Ellison writes in virtually any genre that intrigues him, including horror, science fiction, fantasy, television criticism, and screenwriting (including the Star Trek episode “City On The Edge of Forever”). His fiction often featured anti-heroes struggling to survive in a hostile and unpredictable world: his story “I Have No Mouth and I Must Scream” depicts the ordeal of the last living humans, entombed inside the supercomputer that had destroyed the world. Ellison’s anthology Dangerous Visions sought out stories that would push the envelope and featured New Wave writers Philip Jose Farmer (Riverworld), Philip K. Dick (The Three Stigmata of Palmer Eldritch), Norman Spinrad (Bug Jack Barron), John Brunner (Stand On Zanzibar) and Samuel Delany (Nova). Delany also wrote what is often considered the New Wave’s magnum opus, Dhalgren. Set in the fictional city of Bellona, a place cut off from the rest of the world by an unknown catastrophe, it’s a hallucinogenic trip that is considered one of the best science fiction novels ever published or one of the worst, depending on who’s talking.
When hard science fiction regained popularity in the 70’s, the New Wave diminished in influence. However, its style and concerns became integrated within the genre, creating what is sometimes called “soft science fiction” and becoming a major influence on the emerging genres of cyberpunk and slipstream. In the end, the New Wave might have receded but it lifted up a genre that had been foundering in the shallows.
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wrong_mix_random_publicationDate_00046
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FactBench
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0
| 43
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https://www.goodreads.com/en/book/show/23930.The_Wild_Boys
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en
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The Wild Boys: A Book of the Dead
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Read 273 reviews from the world’s largest community
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December 23, 2008
Anybody that "likes" William S. Burroughs only says that because they want to sound like they can comprehend what in the hell he's talking about when NO ONE actually can. Or they just saw the Naked Lunch movie and thought that talking beetle type-writers are cool.
November 16, 2007
I learned that reading Burroughs on the bus makes me feel incredibly filthy and awkward from this book. It could be all the allusions to the smell of rectal mucus, or maybe I'm just weird.
February 10, 2008
I was relatively innocent when I read The Wild Boys and it gave me nightmares. The staccato, choppy plot is too disjointed to ever really allow anything to come to a close so the images tend to remain in some vestibule of the brain and come spilling out at night when your poor consciousness tries to form them into some kind of completeness.
The images themselves are sometimes gruesome and you can almost sense Burroughs' lunatic energy and all his wild imaginings spilling out on the page and being herded-somewhat unsuccessfully- into the form of a novel. Some people will have trouble with the homosexual imagery, but almost everyone will be haunted to some extent by the casual eroticization of death and cruelty-I think the Mayan sequences are some of the most persistent.
But this is not mere incoherent pornography, there is a wild, energetic beauty and an almost religious devotion to wontonly intense experience that is-along with WSB's poetic style-unforgettable.
Lynn Hoffman, author of the much-less disturbing bang BANG: A Novel and the downright soothing New Short Course in Wine,The
February 11, 2020
Sir, we've been overrun by clawed pubescent urchins, requesting backup. Choppy, anarchic, gleefully pornographic, confrontationally off-putting. Yet satirical, clever, kinetically experimental, serially engaging in spite of itself. And completely caught up in its own desires to denial of any other readerly needs, which has its merits, even if the stuttering stop-start-repeat of the images here has a decidedly masturbatory (quite literally) aspect and associated outside boredome. With some of the play with viewpoint and camera here (the roving pan shot, the peepholes that unify disparate material) this has a Robbe-Grilletian aspect, but with a direct gay gaze that still seems daring only a decade after the censorship of Naked Lunch. For all of this, and despite the Problems in evidence throughout the weird cultural artifact that is Burroughs, this might be his best.
July 2, 2013
This book is not for everyone - probably not for most people. It requires work and an understanding of what the Beat authors were trying to do and more specifically a grasp of Burroughs' literary aims and personal story. I recommend that those not familiar with Burroughs first read to the introduction to "Queer Beats", edited by Regina Marler. It does a nice job explaining the movement and giving a brief literary biography to Burroughs and related authors/poets; Marler also discusses the social and literary significance of the Beat movement.
The Wild Boys has no coherent story. That is not the way Burroughs writes. It is a collection of cinematic/fantasy scenes that are often visceral, pornographic, violent, surreal, brutal, beautiful, and disturbing. Images and scenes double back and are retold or re-imagined repeated. Nothing is taboo. Most of the sexual scenes are male on male, and since many come from Burroughs' memory and fantasies, they involve under-age boys and are very graphic and explicit. Burroughs creates an anti-conventional fantasy world (a queer Neverland populated with anarchistic gay lost boys) where he flips the bird to conventional mores and ideals, using his mastery of language and imagery as a weapon and a paint brush. I think that this is an amazing book and that Burroughs is a great author; I suspect that most readers will think it is trash and pornography.
November 26, 2023
William S. Burroughs created the Wild Boys by repairing the severed reproductive organs of Cybele's castrated priests using petroleum adhesive. It is the responsibility of Cybele's deceased and resurrected admirers to detach their phalluses anew and use the fragments to fertilize her gardens.
July 4, 2021
Oh Billy boy, what a merry dance you lead.
It's ages since I last read any Burroughs, and even longer since I last read any Burroughs for the first time. It may seem odd that I hadn't read this before – it's one of his most celebrated, after all – but Cities Of The Red Night is such sublime perfection that I tend to keep helplessly rereading it rather than reach for anything else.
And in fact it did take me a while to get into this one. Whether the problem was with the opening chapters themselves or with my pop-lit-softened brain, I can't rightly say. But as yet another beautiful boy fondled yet another sweaty jockstrap for the 23rd time, I found myself thinking: Oh come on, this is Burroughs-by-numbers, what a yawn.
Until... BOOM, up and away it took flight.
Souvenir post cards a violet evening sky rising from the boy's groin ... sad 1920 scraps ... dim jerky faraway stars splash the stagnant creek ... "I was waiting there" ... held a little-boy photo in his withered hand ... The boy was footsteps down the windy street a long time ago.
Read it and weep. It's that combination of utter abandon and utter control that I find so mysterious and compelling. A devastated psyche, but an immaculate technique. How in hell did he do it?
Well, one way he did it was by drawing inspiration from The Tibetan Book Of The Dead (this novel's full title is The Wild Boys: A Book Of The Dead). Just to be clear, though: the inspiration was literary, not spiritual. Despite his association with the Naropa Institute, Burroughs (according to Literary Outlaw: The Life and Times of William S. Burroughs) didn't actually give two hoots about Buddhism, except insofar as he could use its facilities – and in this case, its masterpieces – for his own ends. If I remember rightly, it was Gysin who introduced Burroughs to The Tibetan Book Of The Dead, and Gysin's own interest in it was more authentically spiritual, resulting in the textual sprawl that ultimately became The Last Museum (which I reviewed here)... but I digress.
Long story short: Burroughs was a stone cold genius, damn his eyes.
August 19, 2011
William S Burroughs does not like women or at least he did not like his distopian fantasies to contain any flattering versions of them. I would not expect a man who shot his wife in the head accidentally while trying to shoot a shot glass off her head (while wasted I might add) to have any use for women (although it is said that he was deeply sorry and remorseful for having "accidentally" murdered his wife.) He even says so in his wild distopian world where women are eventually used as surrogates to make more wild boys and they have no need to even come remotely in contact with any awful women creatures from the time they are born. That being said I still enjoy Burroughs' writing. It is engaging and creative and perverse in a way that only Burroughs can be. This book is filled with pages and pages of raw sweaty gay male sex (but is not without its own sensitivities), war, violence, decadence and drug references. This is why I love Burroughs he just said things in a way no one else does and the fact that he does not want any women in his distopian fantasy world filled with young men who are filled with an isatiable lust for each other and a lust for violence really does not bother me one bit. This is his fantasy world not mine and I am glad he wrote it down so I could get a glimpse into it. We need books like this. Books that scare and disgust people but at the same open your mind to a new way of thinking and writing.
October 27, 2020
The phrase 'rectal mucus' appears no less than four times in this 152-page book. Just in case anyone was wondering. Are the rest of his books like this? Asking because if so I won't be reading them.
November 16, 2023
A veces parece mentira que William Burroughs estuviera alguna vez asociado a los beatniks. Uno lee los libros de errancia existencial y marcado lirismo de Kerouac y luego las novelas iconoclastas y radicales de Burroughs y parecen surgir de dos planetas distintos. Lo único que comparten, me parece, es el ánimo de deshilar la estructura narrativa de sus novelas, más allá de eso el estilo confrontativo y experimenta de Burroughs lo convierten en un caso aparte, ya no sólo dentro de los beatniks, también dentro de la literatura mundial. Porque desde Pynchon hasta Ray Loriga, escritores muy dispares y diversos, han tomado nota de ese flujo temporal de capas superpuestas, los cambios bruscos de punto de vista, la visión oblicua de algunas escenas, los pasajes oníricos intercalados con visiones fuertemente sexuales que vienen a desafiar la concepción más formal de 'buena literatura' dictada por el 'buen gusto'.
Ha sido una lectura para nada ordinaria y tampoco para nada es recomendable, porque cualquier paladar no podrá asimilar fácilmente esos largos pasajes de pornografía homosexual, la violencia hiperbólica a la que suele recurrir, así como su peculiar diegética, llena de rupturas, por lo que en general se aparta de lo ameno y accesible. En cambio sí es una parada óptima para, por un lado, gente interesada en la contracultura y, por el otro, para quienes busquen experiencias narrativas que te saquen de la zona de confort.
El libro arranca con diferentes pasajes que transcurren en Ciudad de México y Tánger, escenarios queridos por Burroughs durante sus años de autoexilio y vagabundeo por el mundo. Son escenas en las que conocemos a chicos vagabundos que conviven en entornos violentos, en los que a veces son utilzados sexualmente y que sin duda reclaman su emancipación. De forma caótica, por lo tanto conviene leer con atención a los detalles, se irá formando bien entrada la novela una especie de grupo insurgente de estos muchachos, ataviados con grandes cuchillos, taparrabos y cascos especiales, que no son más que metáforas del rechazo contra la civilización moderna, la cual entrega a los sujetos un lenguaje que enferma y corrompe, por eso estos muchachos al final también adoptan un lenguaje propio que nada tiene que ver con la lengua en la que está escrita la novela, que aún y así prueba a desafiar las convenciones y certitudes del lector.
Quien encare esta lectura debe saber que afrontará meticulosas escenas pornográficas homosexuales que por diferentes formas de pudor pueden chocar y repeler, aunque tampoco me parece que la concepción literaria de la sexualidad o la homosexualidad Burroughs sea negativa, sólo escatológica. Visto desde dentro se percibe que la sexualidad para ese grupo de chavales rebeldes adquiere propiedades místicas, incluso mágicas. Para eso basta con fijarse en ese pasaje dónde se nos explica como se resucita a un muerto y se le regresa a la vida a través de un rito sexual. Por lo tanto, no es sólo un mecanismo para repeler a la mojigatería más pudibunda, también como un medio de emancipación y elevación.
Aún a día de hoy, cincuenta años después de su publicación, esta novela William Burroughs conserva su poder subversivo y su experimentación formal continua sorprendiendo, se sabe de formas todavía más radicales, sólo que, gracias a la visión de su autor, la transgresión de su gesto todavía conserva un sentido y el conjunto resta homogenizado dentro de una novela audaz y osada, igualmente refractaria con los principios más conservadores.
October 30, 2022
I had never seen this cover, but it’s hilarious! My vision of futuristic dystopian youth gangs doesn’t look so 1950s wholesome—but I can only guess what Burroughs had in mind.
I prefer his late trilogy and his early work, but The Wild Boys is dark and satirical, and not too cut-up, like the mid-career Nova Express trilogy.
December 30, 2018
That’s a Burroughs novel alright. I could list some adjectives right now to give you a sense of what I mean by that exactly. Simply put: this novel is twisted, crazy, fucked-up, weird, sexually explicit, extreme, simultaneously unreadable and entertaining, funny, disturbing, raw, wild, satirical, avant-garde, surreal, and plenty more.
Burroughs’s unconventional semi-dystopian vision is repetitive and occasionally vaguely annoying, but it’s also filled to the brim with brilliance and state-of-the-art mindfuckery, leading the reader down a pit of unfiltered insanity. Alongside its political satire, literary experimentation, and rebellious spirit are sometimes gross and always explicit descriptions of hardcore homoerotic sexual fantasies that delve into the most bizarre corners of human sexuality and intermingle with surrealistic imagery and the implementation of Burroughs’s famous “cut-up” style, making these strange, fascinating fantasies all the more dizzying to read. Being rather used to heavily bizarre and explicit sexual content in literature (in large part thanks to the other Burroughs works I have read), not much in The Wild Boys truly shocked me; however, this numbness to the content’s shock value did not stop the memorability and insanity of these sequences from having an impact. Getting a glimpse inside the perverted and ingenious mind of William S. Burroughs is always a treat, overtly shocking or not, and this novel does not disappoint. It manages to mix surprisingly linear and plot-oriented chapters with sections of confusing, dreamlike madness with little sense beyond sexual desire or drug induced creativity driving them. It’s not his masterpiece, but it is a worthy entry in his bibliography that is a must-read for those who are as in love with experimental and transgressive fiction as I am.
October 4, 2014
So I'd been wanting to read something by William S. Burroughs for a while because his name hold such gravitas in my mind... but his writing... well... its pornographic and I nearly didn't finish the book. Definitely would not recommend. Just because something is provocative does not mean that it is worth reading.
February 13, 2024
If authors had literal superpowers, Burroughs would have the ability to transport you into the most unearthly and hideous worlds. He would lock the door, turn up the lights, and make the key disappear. Figuratively, he has been doing this to me for years. The Wild Boys is a great example of his prowess and zeal to gift the world monstrous visions.
This book (and most of his other ones) are for a very specific type of reader: one who is in it for the "ride", for the adrenaline, the visual symbolism, the powerfully unsettling prose, and the mindfuck of it all. You don't read him, you "experience" him. I tend to always find something fascinating about his writing - In The Wild Boys, one of the strongholds of the Wild Boys (the group of rebellious, anarchic, sex-crazed feral teens) is North Africa... my region of origin and one of the most conservative and sexually restrictive areas in the world. Granted, he wrote this in a different time, but to imagine the goings-on of this book in Morocco, Tunisia, Algeria, Libya, Mali, and other countries is a mindfuck in and of itself.
At times, I felt overstimulated... things got overindulgent and too pornographic. But other than that, Burroughs-wise, it's almost as good as it gets!
May 2, 2018
Man, I did this already, where did I leave it? I'm not doing it again. Beautiful, but abstract. If you dig semi-non-representational art, prose-as-poetry, dreams that someone else dreams for you, check this out. If you like a little more concrete structure, check out his older more linear work.
If you're in love with language, check out ANY and ALL THE Burroughs.
March 4, 2008
I used to think of this as the last of Burroughs' 5 cut-up novels. It's probably more appropriate to think of it as the 1st of the homoerotic adventure novels. Or something. Anyway, it's great! I read it when I was a research volunteer for a NASA study re space stn living. No shit. This was at the Phipps Clinic of Johns Hopkins University/Hospital in Baltimore. I was living in a simulated space stn environment for 15 days w/ 2 other guys. It was mainly an experiment in behavior modification designed to produce routines that wd prevent astronauts from going crazy in a restricted environment. I took "The Wild Boys" into the study w/ me particularly b/c of its anti-control theme. After the study was over, I was interviewed by a reporter for the Johns Hopkins Magazine (or some such). I remember talking about Duchamp & I probably sd a lotof things that were a bit too weird for Hopkins. This wd've been the 1st time I was ever interviewed. The article was squelched - perhaps this was an early instance of my being censored by the press? "The Wild Boys" is probably Burroughs's clearest novelistic depicition of feral revolutionaries.
December 11, 2008
The thought of William S. Burroughs is sometimes better than his actual fiction: picture if you will a man who combines brilliant science fiction with National Geographic pictorials of Amazon tribes, no women, no men, just crazy insane boys who love to kill and jerk off combined with creaky old 1940's boyish Fu Manchu pulp adventure crap. The concept is pretty nuts but the execution is, well, almost as creaky and tiresome as Fu Manchu himself.
Read
June 15, 2022
not 100% sure what went down but i think there was gay sex
August 27, 2023
Flux, torrent, symbols scattered and infinitely deep dots left for the reader to connect, sometimes the dots are so deep and self-referencing they read like the ramblings of a delusional mind, are they meaningful at all?
Our aim is total chaos.
We intend to destroy all dogmatic verbal systems.
We don’t want to hear any more family talk, mother talk, father talk, cop talk, priest talk, country talk or party talk. To put it country simple we have heard enough bullshit.
The sentences are stringed like thoughts, sometimes coherent other times disjointed; shuffling words around producing different meanings. Poetic experimentalism giving a dream quality to pain and intimacy. Curiously, when the prose doesn't make sense as whole, patterns emerge. It's a detective work of sorts to collect the reference points, a) there's always a boy, an american boy, alienated, full of desires, impulses, sickness; b) wild creativity, pulp magazines and science fiction concepts; c) death; d) framed by the dichotomy between two worlds, one young, lustful, free, the other one militarized, wasteful, hypocritical.
There are Bowery suits that appear to be stained with urine and vomit which on closer inspection turn out to be intricate embroideries of fine gold thread.
The book is mostly creative, (the sex scenes can still get very repetitive), in its depictions of violent acts and orgies. At first it can be difficult to see the tears under the dirt, but it's there, a silent frustration, fruit of forbidden desire. Death in that context is a passing, not an end. This is, after all, a Book of the dead as in The Tibetan Book of the Dead. Burroughs is explicit in his intentions to extract and distillate some form of spirituality from all this blood and cum. A Queer book of the dead. Idealizing life to achieve a meaningful release.
Rather like fairyland isn’t it except for the smell of gasoline and burning flesh.
Even with its manic feel and furious language, it's not hard to sympathize with these wild boys, it's not hard at all, which is frightening and intoxicating, as if Burroughs was daring the reader to dream a chaos of their own making. We've all been wild boys at some point, even if only in dreams, even if only in fiction
October 20, 2023
Ok so while this may not be have been as entirely obscure as his Nova Trilogy... still...
The novel deals in class striations, showing the falsely luxurious estates of the wealthy, overflowing in gluttony and the like, all compared to groups of (or like) The Wild Boys who live lives attempting to find pleasures in whatever they can, no matter how vile. Yet, in their vileness, they are hurting no one but themselves. They find pleasure in the things they cause among themselves, but eventually see the disparity between them and the gluttons.
They fight back, as all the lower class will, yet, "A highly placed narcotics official tells a grim President: "The wild-boy thing is a cult based on drugs, depravity, and violence more dangerous than the hydrogen bomb." Because the bomb is not a threat to these gluttons, class warfare and a realization of the oppression is their true downfall.
February 12, 2017
The description for this book doesn't prepare the reader in any way of what to expect. I found Wild Boys to be a porno masquerading as a novel. Burroughs had a nice joke on everyone - I guess because of the experimental writing style he got away with this smut.
I was reminded of J.G. Ballard, specifically Crash, which I also disliked. But if you liked Crash, this book would be right up your alley.
There is so much sex between and among young teenage boys it reads like a wish fulfillment of a grandscale erotic fantasy. Even when it seems like Burroughs is actually going to elaborate on a plot, he traps you right back into the same sex scene he has already written 50 times.
The plot was threadbare. Character development? Nonexistent. Sure he has an interesting concept of roving bands of homosexual teens causing havoc - rebellion against conservative values I surmise - yet all Burroughs wants to write about are butts, butts, and more butts. You have been warned!
July 9, 2019
Nick finished reading the novel and smiled. He carefully closed the book and placed it on the nightstand. He smoked a bowl of hashish and went to the window and looked out. There was Bill walking down the sidewalk in an old movie 1920s silent black and white windblown streets sprinklers on a golf course. He looked like a sheep-killing dog.
Nick opened the window and waved. He was wearing a jockstrap and sandals. "Come on up. I just finished THE WILD BOYS."
"All right. Got any hash?"
"Sure."
Years later, Bill comes through the door. "Did you like the novel Nick?"
"Yes I did. Now get on the bed Bill and take off your clothes."
"What about the hash Nick?"
Nick walked over to where Bill was on the bed, his crotch getting stiff. Machine gun rattles over the city placed it on the nightstand in an old movie down the sidewalk dim jerky faraway stars cream over the asshole night.
September 27, 2018
What a ride! How many books give you cinematic, psychedelic, bombastic queerness and also leave you with a deeper appreciation of structure and punctuation? Not many, I'll say. Covered in depth on the Bad Books for Bad People podcast: http://badbooksbadpeople.com/episode-...
June 18, 2008
He teaches me how to write. And who could read better porn than "The Frisco Kid"?
January 10, 2024
I do not have a clue what happened. I couldn't tell you a single character's name. The narrative was so fragmented that it lost all sense of narrative progression and instead read as a fever dream.
Read
February 26, 2024
I support gay rights and gay wrongs
Read
August 15, 2021
I give this book the honor of not rating it, as I feel like I do not understand fully Burroughs' vision. I believe this is the closest I've come to accidentally reading pornography.
September 25, 2014
Particolarissimo romanzo di sperimentazione linguistica e tematica, Ragazzi selvaggi è un romanzo in racconti (tipica forma narrativa di Burroughs), in cui l'autore, alla ricerca di un nuovo indirizzo espressivo, si discosta progressivamente dalla tecnica del cut-up e dalle atmosfere surreali della tossicodipendenza, recuperando un po' lo stile dei suoi primi scritti e trovando infine nuove stravaganti forme espressive.
La prima sensazione è quella di un'opera in fieri, che di pagina in pagina muta aspetto, muta stile, tema, un'opera continua di auto-riscrittura. A ben vedere, però, questa sua particolare caratteristica non tradisce l'ingenuità di un'opera in corso di definizione, ma risulta essere proprio il suo punto di forza, un romanzo dinamico che trae forza dalla sua irruenza verbale.
Gran parte dei romanzi del periodo Nova (a cominciare da Pasto Nudo) sono caratterizzati dalla centralità dell'esperienza della tossicodipendenza, che trasfigura la realtà permettendo al protagonista/narratore/autore di squarciale il velo di Maya e scorgere l'orrore della realtà in sé. Con questo romanzo Burroughs inaugura un'era diversa: la tossicodipendenza finisce in secondo piano, mentre acquista centralità l'omosessualità (secondo elemento del binomio burroughsiano per eccellenza). I ragazzi selvaggi sono, dunque, ragazzi omosessuali (saltuariamente tossicodipendenti), che si presentano come mutazione e possibile evoluzione morale del genere umano. Il richiamo, fortissimo ed evidentissimo, è al cruciale periodo di contestazione studentesca che fa proprio da setting alla stesura del libro. Ricorrendo poi a una fantascienza più limpida, Burroughs immagina una vera e propria guerra globale tra il vecchio sistema e il caotico spirito dionisiaco dei ragazzi selvaggi.
Impressionante è la vitalità che trasuda questo libro, ancora oggi: anche svilito, derubricato, abusato, lo spirito della contestazione travolge il lettore, tutt'altro che eco di altri tempi. Notevole è la cura nel dettaglio, sintomo di una riscoperta lucidità che però deve forzarsi tra le maglie dell'intrico stilistico di Burroughs (non ama parlare chiaro, davvero). C'è una forte critica sociale, brillante e variopinta, che assume i colori della parodia, della satira, e del pamphlet.
Altrettanto significativa è la ricerca espressiva. Archiviata (ma non troppo) la tecnica collage del cut-up, Burroughs elabora dei brevissimi capitoletti intermedi chiamati Peep Show, con delle forme di scrittura parecchio singolari e che non sto qui a cercare di spiegarvi perché davvero non ne sono in grado.
April 14, 2012
Ummm....where do I start? Like Interzone, this was a very confusing novel with some parts written in his trademark cut-up style and very stream-of-consciousness and not written in a strict time sequence but there were parts that I did enjoy, especially those sections in which Burroughs' dry Missourian sense of humour shines through. This book is intensively visual and reading this was more like watching a word-movie in my head. I think if you can figure out what is going on in this story (and there IS a central story going on here....kind of!) then it would be more enjoyable. I might read this again sometime to get a better understanding of what took place but only because it is a short book.
Personally, I preferred Junky and the Western Lands but this one was okay. Anyone at all homophobic though should steer well clear of this one - plenty of talk about spurting cocks and anal mucous.
The actual wild boys who appear more in the latter part of the novel reminded me of some of the characters in Cities of the Red Night and for this reason I was a little disappointed because I was hoping for something more original from Old Bill. Still, this guy really was a 'literary outlaw', a 'revolutionary of the pen' so-to-speak. If you haven't ready Junky yet, I HIGHLY RECOMMEND it as it is fantastic. Read that one first, then Naked Lunch, then the final trilogy that starts with Cities of the Red Night. They were my personal favourites. Then, if you have time, have a go at this one but it is not what I would classify as 'essential reading'.
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Publisher:Orion Publishing Co. All of our paper waste is recycled within the UK and turned into corrugated cardboard. Book Binding:N/A. World of Books USA was founded in 2005. Book Condition:GOOD. We want your experience with World of Books to be enjoyable and problem free.
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en
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eBay
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https://www.ebay.com/itm/304064628639
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Will ship within 7 business days of receiving cleared payment. The seller has specified an extended handling time for this item.Accepted within 30 days if sent through eBay International ShippingMoney BackBuyer pays for return shipping
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https://www.sffchronicles.com/threads/536730/
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en
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Any good psychedelic science fiction out there?
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[
"dask dark",
"Alex The G",
"London Town"
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2012-06-09T03:29:53+01:00
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It's hard for me to put my finger on this, but I'm looking for some really bizarre, surreal stuff with wacked out imagery and creatures. It doesn't...
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/data/assets/logo/pwa-192.jpg
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Science Fiction & Fantasy forum
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https://www.sffchronicles.com/threads/536730/
|
Rather unlikely about Cordwainer Smith (Dr. Paul Linebarger), but an interesting thought. As for the two "purple" references... "Riders of the Purple Wage" is actually a central piece in The Purple Book, and the "purple" here is an ironic reference to being "born to the purple"....
Not necessarily featuring strange creatures, etc., but a fair amount of what emerged from the "New Wave" was connected to psychedelia, and could at times be quite... odd. (Also frequently very good.) Take, for instance, Brian Aldiss' Barefoot in the Head, dealing with events of "the Acid Head War"... certainly a stylistic tour-de-force where language is stretched to its limits on a variety of levels. J. G. Ballard's novels (and short stories, for the matter of that) often have a lot of surrealistic imagery and ideation: The Drowned World being the most "normal", perhaps, becoming increasingly surrealistic with The Drought, The Crystal World, several of the pieces in The Voices of Time. Vermilion Sands, etc.... And then there's always that extreme example, The Atrocity Exhibition....
You might also find several of the stories in Dangerous Visions, and Again. Dangerous Visions, of interest (in fact, DV was the original place of publication of Farmer's "Riders of the Purple Wage"), not to mention Judith Merrill's England Swings SF, and Langdon Jones' The New SF. (Speaking of Farmer... I would think Strange Relations would be precisely the sort of thing you're looking for... sf alien encounters as seen through the lenses of Freud and Jung.) Some of Moorcock's works might also appeal, such as the five-volume-plus (the "plus" being occasional short stories, such as the recent "Sumptuous Dress") Dancers at the End of Time sequence, or The Time Dweller, The Rituals of Infinity, The Black Corridor, The Shores of Death, and some of the tales in Moorcock's Book of Martyrs... also known as Dying for Tomorrow in American editions.
I've been mentioning him a lot, but some of Ellison's works have always been viewed as being rather psychedelic, especially those written from ca. 1962-1980... ironic, as they come from a man who has an extreme antipathy to putting any such substance, including alcohol, into his system. (Ted Sturgeon's piece in I Have No Mouth and I Must Scream has something to say about this.) And even some of Sturgeon's work has its elements of the psychedelic, from "The Golden Helix" to "The [Widget], the [Wadget], and Boff"....
If the great mix-master in my head isn't going full blast it seems to me the last story in Jack Vance's THE DYING EARTH was s one of the most bizarre I remember reading. Don't remember the exact details but I could hardly believe what I was reading. Reality turning upside down in his short story "The Men Return" shouldn't fail to entertain the psychedelically inclined. And William Burroughs's THE NAKED LUNCH might spark you plug.
You mean DE collection or the Dying Earth omnibus that ends with Rhialto the Marvelous stories. The last story was the weirdest in the omnibus to me.
"Morreion"
Rhialto and his associates journey to the edge of the Universe to seek their erstwhile colleague Morreion, sent away in the distant past to locate the source of the valuable, magic-anulling IOUN stones.
Jack Vance Treasury collection have: The Men Return, The Secret, The New Prime that fit in very well with this thread.
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1
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https://classicsofsciencefiction.com/2022/07/30/the-challenge-of-writing-a-significant-time-travel-tale/
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en
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The Challenge of Writing a Significant Time Travel Tale
|
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2022-07-30T00:00:00
|
My aim is to review a time travel novel, Time's Last Gift, by Philip José Farmer, but I need to explain my attitude towards time travel stories before I can pass judgment. I bought Time's Last Gift because I read on the cover blurb that four scientists from the year 2070 travel back to 12,000…
|
en
|
Classics of Science Fiction
|
https://classicsofsciencefiction.com/2022/07/30/the-challenge-of-writing-a-significant-time-travel-tale/
|
My aim is to review a time travel novel, Time’s Last Gift, by Philip José Farmer, but I need to explain my attitude towards time travel stories before I can pass judgment. I bought Time’s Last Gift because I read on the cover blurb that four scientists from the year 2070 travel back to 12,000 BC to study the Magdalenian culture. Since I’ve recently read a number of books on prehistory that plot appealed to me. I even read a large book just on locating the origin of the people who produced the proto-Indo-European language.
Within Time’s Last Gift, one character, Robert von Billmann is obsessed with finding the people who created the Proto-Indo-Hittite language. If you’re not interested in pre-history or the origins of language you might not want to bother with Time’s Last Gift – unless another factor appeals to you, but I want to wait and mention that after the spoilers warning. Let’s just say that John Gribardson, who was made leader of the expedition at the last minute has a very interesting backstory.
Does Time’s Last Gift stand on its own as a solid story and as a good addition to the time travel theme despite any details related to actual history or literary plot gimmicks? To me, a worthy time travel story has to add something different to the theme, otherwise, it’s just a romance, thriller, or historical novel that jumps around in time.
There have been countless science fiction books about time travel, but for me, I find very few of them worthy of using the theme. Most throw their characters into the past or the future and develop a story about that new setting. What I love is a time travel adventure that also explores the wonder of time and time travel. H. G. Wells set the bar very high with The Time Machine in 1895. I’m not sure any work has ever surpassed it for its sense of wonder.
There are so many time travel stories that Michael Main has created The Internet Time Travel Database. Town & Country Magazine listed their top 35 time travel books but only three of my top favorites make their list. Read This Twice found 92 favorite time travel books, and they do list many of my favorites. About Great Books lists 30-time travel books they think are great, and seven of my favorites are there, but I don’t consider many of those books really time travel stories. But that brings up another issue.
What is time travel? Replay by Ken Grimwood is one of my all-time favorite novels, but does Jeff Winston time travel? He repeats his life over and over. I call such fiction time loop stories. Stories such as The First Fifteen Lives of Harry August by Claire North, and The Midnight Library by Matt Haig are really time loop stories too, which I consider a different theme than time travel stories. I’ve written about it before.
Are such literary classics as The Time Traveler’s Wife, Kindred, Slaughterhouse-Five, A Christmas Carol, and Woman on the Edge of Time really about time travel? Don’t they just use the gimmick of time travel to reveal deep characterization or explore social issues in a clever way? These are great novels, but I don’t really want to lump them into the kind of science fiction novel I’m pointing to. Nor do I want to consider all the novels that use time travel to hook people up romantically.
Real science fiction about time travel should make us think about the nature of time travel. Time’s Last Gift does do this. Time travel has always been plagued by paradoxes, but I believe Farmer has found a neat way around them. If a time traveler goes into the past and changes the future, it’s already happened. Whatever exists now, whether affected by time travel or not, is what is. Speculations about what might be changed are no different from what was changed. If a time traveler shows up in 12,000 BCE there was never a 12,000 BCE without a time traveler. Of course, that means everything that happens is fixed. Or is it? Does this theory about time travel require predestination? It could mean everyone has free will, but whichever way history plays out it only plays out once.
Most of Time’s Last Gift is about living in 12,000 BCE. The four scientists immediately befriend a small tribe of humans and learn their language. John Gribardsun even wears their clothing and hunts with their weapons, although he often uses his rifle when necessary to help feed the tribe. The main conflict of the story deals with the two scientists who are married, Rachel and Drummond Silverstein, and their breakup. Farmer suggests that time travel has a psychological effect, like a larger case of jet lag, and it wears on three of the scientists. Gribardsun seems immune. In fact, he thrives in the past, and his vitality attracts both Rachel and the young women of the tribe. Much of the novel is about whether or not Drummond is out to kill Gribardsun because of jealousy. I didn’t care for this part of the story. It felt like a contrived conflict to move the novel along. However, the story is very readable and kept me reading.
Beyond Here Lie Spoilers
In the 1950s Philip José Farmer wrote some very innovative science fiction stories – “The Lovers,” “The Alley Man,” “Sail On! Sail On!” and others. Then he created two series that were fairly successful, the Riverworld series and The World of Tiers. Farmer won the Hugo award for best novel for the first Riverworld story, To Your Scattered Bodies Go (1971). I loved that novel when it came out because the main character was Sir Richard Francis Burton, the 19th-century explorer, and translator. And I loved the second book, The Fabulous Riverboat (1971) because it featured Mark Twain. I had read biographies of both men and that made me partial to those Farmer’s novels.
Over the decades I have come to feel that using a famous historical person as a character in a novel is a cheat, a way to sell books. But I also consider writing book series as a crutch for writers. For the rest of his life Farmer mostly churned out books for various series, and they were just so-so. He later refined the famous person gimmick by switching to writing about famous fictional characters, and this is where Time’s Last Gift comes in. John Gribardsun is Tarzan. It’s never said within the novel, but I guess it fairly quickly. If you’ve ever read a Tarzan novel, Time’s Last Gift feels like one and could have been Tarzan’s Time Machine.
There’s nothing wrong with book series, they do help writers to pay bills, but each book feels like just another episode in a TV series to me. If you love a series, that’s great. But for me, usually, only stand-alone novels can be great.
I assume Farmer didn’t use the name Tarzan in the book because of being sued by the Edgar Rice Burroughs estate, but ISFDB even lists Time’s Last Gift among the Tarzan novels. Philip José Farmer wasn’t the only writer to continue the character. More importantly, it’s part of Farmer’s Wold Newton series where he brings many famous characters from literature into the real world. If you really like this kind of publishing gimmick, then Time’s Last Gift might excite you.
I find the Wold Newton idea fascinating in conception, but lackluster in execution. It capitalizes on the readers’ love of famous books and characters and I consider that exploitation. Heinlein did the same thing in his later books bringing back his own favorite characters and tieing them into his favorite fictional worlds. The idea is neat, but again, the execution was horrible.
As a time travel novel, Time’s Last Gift is mediocre – readable and somewhat interesting. The plot moves along well enough. The John Gribardsun character is appealing but his adventures back in 12,000 BCE aren’t that significant. If you enjoy the idea that it’s an alternate origin story for Tarzan, and Farmer makes him immortal, then you might enjoy the book more.
I judge time travel stories by how creative they are at dealing with time travel. For example, Heinlein’s “All You Zombies—” uses time travel and gender reassignment in a unique way. David Gerrold uses The Man Who Folded Himself to allow a time traveler to really get to know himself. Jack Finney in Time and Again used historical photographs to enhance his novel. Kurt Vonnegut combined memoir and fiction brilliantly. Connie Willis has explored both drama and comedy in her time travel novels. Of course, Wells illustrated both evolution and cosmology to his 19th-century readers. Wells inspired the Dying Earth genre and the idea that humanity will spin off different new species. Olaf Stapledon ran away with that idea with his novel Last and First Men.
With time travel stories, writers need to go big or go home. Philip José Farmer knew this. This is why he tacked on the Wold Newton afterward in a 1977 later edition. If you think Wold Newton is cool, then that might make Time’s Last Gift a good time travel story. If not, you might want to pass on it.
Here's a list of my favorite time travel stories. 1895 - THE TIME MACHINE by H. G. Wells 1934 - "Twilight" by John W. Campbell 1935 - "Night" by John W. Campbell 1941 - "Time Wants a Skeleton" by Ross Rocklynne 1941 - "By His Bootstraps" by Robert A. Heinlein 1943 - "Mimsy Were the Borogoves" by Henry Kuttner and C. L. Moore 1946 - "Vintage Season" by Henry Kuttner and C. L. Moore 1951 - "I'm Scared" by Jack Finney 1952 - "A Sound of Thunder" by Ray Bradbury 1952 - "Hobson's Choice" by Alfred Bester 1953 - "Who's Cribbing" by Jack Lewis 1956 - "A Gun for Dinosaur" by L. Sprague de Camp 1956 - "The Man Who Came Early" by Poul Anderson 1957 - THE DOOR INTO SUMMER by Robert A. Heinlein 1957 - "Soldier from Tomorrow" by Harlan Ellison 1958 - THE TIME TRADERS by Andre Norton 1958 - "Poor Little Warrior!" by Brian Aldiss 1958 - "The Ugly Little Boy by Isaac Asimov 1958 - "The Men Who Murdered Mohammed" by Alfred Bester 1959 - "All You Zombies---" by Robert A. Heinlein 1964 - FARNHAM'S FREEHOLD by Robert A. Heinlein 1964 - "When Time Was New" by Robert F. Young 1965 - "Traveller's Rest" by David I. Masson 1966 - "Behold the Man" by Michael Moorcock and BEHOLD THE MAN (1969) 1967 - "Hawksbill Station" by Robert Silverberg 1968 - THE LAST STARSHIP FROM EARTH by John Boyd 1969 - SLAUGHTERHOUSE-FIVE by Kurt Vonnegut, Jr. 1970 - TIME AND AGAIN by Jack Finney 1970 - THE YEAR OF THE QUIET SUN by Wilson Tucker 1971 - DINOSAUR BEACH by Keith Laumer 1973 - THE MAN WHO FOLDED HIMSELF by David Gerrold 1976 - "The Hertford Manuscript" by Richard Cowper 1967 - "Infinite Summer" by Christopher Priest 1980 - TIMESCAPE by Gregory Benford 1982 - "Firewatch" by Connie Willis 1985 - "Sailing to Byzantium" by Robert Silverberg 1988 - "Ripples in the Dirac Sea" by Geoffrey A. Landis 1992 - DOOMSDAY BOOK by Connie Willis 1995 - THE TIME SHIPS by Stephen Baxter 1995 - FROM TIME TO TIME by Jack Finney 1998 - TO SAY NOTHING OF THE DOG by Connie Willis 2003 - THE TIME TRAVELER'S WIFE by Audrey Niffenegger
Time Travel Anthologies
The Best Time Travel Stories of All Time (2003) edited by Barry N. Malzberg
The Best Time Travel Stories of the 20th Century (2005) edited by Harry Turtledove and Martin H. Greenberg (Kindle)
The Mammoth Book of Time Travel SF (2013) edited by Mike Ashley (Kindle)
The Time Travel MEGAPACK (2013) (Kindle)
The Time Traveler’s Almanac (2014) edited by Ann and Jeff VanderMeer (Kindle)
The Mammoth Book of Time Travel SF and The Time Travel MEGAPACK is currently 99 cents at Amazon for the Kindle edition.
James Wallace Harris, 7/30/22
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https://www.thecjm.org/learn_resources/336
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William S. Burroughs was, according to director John Waters, “the first person who became famous for things you were supposed to hide.” Burroughs' heroin addiction is almost synonymous with his name. He wrote about drugs and the underside of society. He showed no remorse nor attempted any justification for his actions. Burroughs has been referred to as "Gentleman Outlaw," "Pope of Dope," and a "junkie." He brought the technique of cut up writing to a wider audience and inspired David Bowie, Kurt Cobain of Nirvana, and Thom Yorke of Radiohead to experiment with it in their music. Lou Reed cites Burroughs as “the person who broke the door down. When I read Burroughs, it changed my vision of what you could write about, how you could write.” Burroughs allowed people to write about their indiscretions; his postmodern approach to literature introduced a new way to read and write. His writing created a new audience for publishers that had never existed before: those interested in style and form and uninterested in moral tales.
Why did Burroughs appeal to these musicians more than the other Beat writers? Burroughs came from a good home. He came from money. He attended Harvard University. He should have been an insider. But he was an outsider. His writing, while respected, was the most dark of the Beat Generation. His first book, Junkie, was about being a heroin addict. He was obsessed with guns. He accidentally shot his wife in an intoxicated game of William Tell. Burroughs appears to be the outsider even within the Beats. He never visits the others in On The Road; they all visit him. They have to leave society to be amongst his company.
Burroughs' musical influence and admiration spans decades and different genres. He is the only Beat writer on The Beatles’ Sgt. Peppers Lonely Hearts Club album art. Joy Division named one of their songs, "Interzone," after the metaphorical stateless city Burroughs created. In Iggy Pop’s “Lust for Life” Pop sings “Here comes Johnny Yen again with the liquor and drugs” and later sings “something called love, yeah, that's like hypnotizing chickens.” Both are references to Burroughs' writing. Music references later turn to musical collaboration. He recorded excerpts from his books and short stories that were set to music by Sonic Youth, John Cale and others, called Dead City Radio. Burroughs did a cover of R.E.M.’s "Star me Kitten," with the band. He read from his books while hip hop duo, The Disposable Heroes of Hiphoprisy, set the reading to music, creating an entire album.
Al Jourgenson, of the industrial band Ministry which rose to popularity in the nineties, looked to Burroughs (and Timothy Leary, psychologist and psychedelic drug advocate) as father figures. Jourgenson admitted to being an addict and wrote "Just One Fix" about heroin addiction and withdrawal. Burroughs first appears in the video wearing a full suit and hat, saying "Break it all down." Interspersed through the video are two young men, one of them going through withdrawal. They check into a flophouse and we watch the boy as his body breaks down fiending for just one more fix. The band plays loud and fast. Burroughs reappears in the video, wearing jeans, a button down shirt and a tie. Instead of shooting heroin, Burroughs shoots clay plates with his gun. The plates read, "reality" "control" "history" "image" "language" "society." This song and video which appear to warn off people from heroin addiction presents an intentionally mixed message by featuring the most infamous junkie of all time, who lives another five years. Ministry also released a single called “Quick Fix” with Burroughs reading over their music.
Later that same year (1993), Kurt Cobain of Nirvana collaborated with Burroughs on a song, all of which was completed by mail, "The 'Priest' They Called Him." Burroughs sent Cobain a recording of him reading the poem and Cobain recorded music to the reading and sent this back to Burroughs. This song is about a priest addicted to heroin and how he gives his last fix to a young man in pain. Because of his good deed, the priest dies, and he is released of his suffering. With this recording, Kurt Cobain introduced a whole new generation to Burroughs. The music stays true to Burroughs’ writing and themes. Discord and guitar feedback accentuate the dying priest’s desperation and addiction.
Maybe he appeals to underground musicians* because the other Beat writers focused on life and acceleration and represented the energetic spirit of America while Burroughs represented the underbelly of society. He lived in a swamp, he shot his wife, he was a self-professed junkie. Even the way they read poetry reflected their lives. Ginsberg read with animation, with a quick cadence. Kerouac read with an influence of jazz and bop, fast, movement, clean words ending efficiently. Cassady, as we know from Kerouac, did everything with an immediacy, he was the spirit of speed, passion personified. But Burroughs, he slurred his words, he said each word with effort, and slowly one word melds into another. Long silent breaks marked commas or the end of sentences.
Music references abound relating to Burroughs’ influence, inspiration, and admiration in music. There are too many to list, so I’ve kept to music I own and listen to. Just this year, Chelsea Light Moving, a new band featuring Thurston Moore of Sonic Youth, released an album with what they termed “Burroughs rock.” Although the gentleman outlaw has been dead sixteen years, his writing is still relevant. His writing and reading still inspire other people to create art.
The other Beat writers were associated with life while Burroughs was associated with death. A slow, long, addictive death. But he outlived Kerouac, Cassady, and Ginsberg. His writing was more experimental than the others and harder to decipher. He challenged his readers in ways his peers never did.
*I use the term underground loosely here. While most of the musicians mentioned in this piece rose to mainstream popularity, their roots began in the punk, gothic, industrial, and indie scenes.
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wrong_mix_random_publicationDate_00046
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FactBench
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1
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https://www.forbes.com/sites/robsalkowitz/2016/01/12/david-bowies-dangerous-visions-sf-touchpoints-for-the-thin-white-duke/
|
en
|
David Bowie's Dangerous Visions: Sci-Fi Touchpoints For The Thin White Duke
|
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"Rob Salkowitz"
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2016-01-12T00:00:00
|
David Bowie influenced and was influenced by some of the most imaginative science fiction of his era.
|
en
|
Forbes
|
https://www.forbes.com/sites/robsalkowitz/2016/01/12/david-bowies-dangerous-visions-sf-touchpoints-for-the-thin-white-duke/
|
It’s not exactly a secret that David Bowie was influenced by science fiction. From the very beginning, many of his songs were love letters to visionary authors from Arthur C. Clarke (2001: A Space Oddity… er, Odyssey) to George Orwell (1984’s “Big Brother”) to Robert Heinlein (“The Man Who Sold the World,” or “Moon,” as in Heinlein’s 1951 short story). The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1973) was a standalone work of science fiction masquerading as a collection of irresistible pop songs.
But Bowie was more than a fan. I’d argue he was a major figure in the science fiction movement of the 1960s and 70s known as New Wave, which he drew inspiration from and inspired in turn. New Wave attempted to rescue the genre from the clichés of bug eyed monsters and space wars by injecting social relevance, literary style, and lots and lots of sex and drugs. By the time Bowie burst on the scene with “Space Oddity” in 1969, most of the bedrock of the New Wave canon had already appeared in print, with highlights collected in the best-selling anthology Dangerous Visions (1967), edited by Harlan Ellison.
Much of Bowie’s work throughout his career is a dialogue with New Wave SF, refracting it through his own sensibility and bringing the concepts to a mass audience via the medium of rock and roll. As I’ve been listening to the Bowie catalog for the past day, I’m reminded of a few specific connections and patterns of inspiration.
The Jerry Cornelius Novels (Michael Moorcock). Moorcock, the quintessential New Wave author, is better known for his sword and sorcery character Elric, but in 1968, he unleashed the sexually ambiguous secret agent Jerry Cornelius on an unsuspecting public in a novel called The Final Programme. An acid-drenched mashup of James Bond and Doctor Who, the dapper Cornelius hopscotches around space and time foiling plots against reality, assuming new identities and dazzling people with his avant gard aesthetics as he goes. Three further novels followed, each stranger than the next. Jerry Cornelius is less a specific inspiration for Bowie’s work than a template for his entire persona.
The Ticket That Exploded, The Soft Machine and The Nova Mob (William S. Burroughs). The great godfather of the Beat Generation William S. Burroughs wrote several visionary – and barely intelligible – works of science fiction in the early 1960s, including these three that feature a cosmic cops-and-robbers story of Agent Lee and his attempts to stop the Nova Mob’s schemes to control the minds of humanity. When Bowie said he used the “cut-up technique” for doing the lyrics to some of his more surreal songs, he is speaking of the method invented by Burroughs and Bryon Gysin and used in these novels.
Valis, The Divine Invasion and The Transmigration of Timothy Archer. (Philip K. Dick). Philip K. Dick, best known today as the author of The Man in the High Castle and the stories that inspired Blade Runner and Total Recall, wrote this trilogy involving alien invasions, Gnostic Christianity and Nixon-age political paranoia in the mid-70s, when his years of drug use were taking their toll. They were not published until the early 1980s. In the novels, a character called Eric Lampton is based on Bowie, and another, Brent Mini, on his then-producer/collaborator Brian Eno, operating under the assumption that the events depicted in “The Man Who Fell to Earth” were real. According to Bowie’s son Duncan, the admiration between Dick and Bowie was mutual.
Dhalgren (Samuel R. Delaney, 1975). Delaney’s inscrutable novel takes place in Bellona, a mythic Midwestern city cut off from the rest of the world, where gangs of polysexual anarchists, poets and biker gangs have taken over. I find it impossible to listen to Bowie’s “Panic in Detroit” (released in 1973, around the time that Delaney was working on his novel) without thinking of this book. Something tells me The Kid, Dhalgren’s nameless protagonist, looked a lot like Che Guevara.
Canopus in Argos (Doris Lessing, 1979-83). Though perhaps too late to be considered part of the main New Wave movement, this set of five novels by Nobel Prize winning author Doris Lessing stakes out some of the same turf as Dick’s Valis trilogy. Using science fiction themes as a metaphor to explore gender, war, sex, art and power dynamics, all five books – but especially The Marriages Between Zones Three, Four and Five (1979) and The Sirian Experiments (1980) – echo the lyrical concerns of much of Bowie’s work from the same period, the otherworldly electronica of Low, Lodger and Scary Monsters.
Bowie's influence could be felt on more mainstream science fiction as well. His appearances in films of the 80s like Labyrinth and The Hunger, as well as ones he seems to have directly inspired, like 1982's Liquid Sky (about aliens stalking androgynous fashion models in downtown New York) and 1984's The Adventures of Buckaroo Banzai Across the 8th Dimension (featuring a rock-star superhero and his glam posse), use his established persona(s) as shorthand for "cool hero/villain." The time-displaced 2005 BBC series Life on Mars (and its sequel Ashes to Ashes) bring together overtones of his science fiction-themed work and his cultural impact on the 1970s and 80s. And, my personal favorite, the hilarious animated sci-fi/adventure series The Venture Bros., which is full of Bowie references and even a couple of cameo appearances.
All of those are homages that reflect the influence Bowie enjoyed once his reputation was established. However it's worth noting that when it came to creating his own art during the phases of his career where he was really kicking down cultural boundaries, Bowie was not afraid to engage with some of the most dense and challenging imaginative fiction of his era.
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wrong_mix_random_publicationDate_00046
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FactBench
|
1
| 15
|
https://electricliterature.com/the-rise-of-science-fiction-from-pulp-mags-to-cyberpunk/
|
en
|
The Rise of Science Fiction from Pulp Mags to Cyberpunk
|
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2016-12-22T17:10:45+00:00
|
This wide-ranging exploration of the impulses, movements, and unique voices in twentieth century science fiction originally appeared as the introduction to this year’s The Big Book of Science Fiction from Vintage Books. Ann and Jeff VanderMeer’s next project will be The Big Book of Classic Fantasy, also from Vintage. Since the days of Mary Shelley, Jules […]
|
en
|
Electric Literature
|
https://electricliterature.com/the-rise-of-science-fiction-from-pulp-mags-to-cyberpunk/
|
This wide-ranging exploration of the impulses, movements, and unique voices in twentieth century science fiction originally appeared as the introduction to this year’s The Big Book of Science Fiction from Vintage Books. Ann and Jeff VanderMeer’s next project will be The Big Book of Classic Fantasy, also from Vintage.
Since the days of Mary Shelley, Jules Verne, and H. G. Wells, science fiction has not just helped define and shape the course of literature but reached well beyond fictional realms to influence our perspectives on culture, science, and technology. Ideas like electric cars, space travel, and forms of advanced communication comparable to today’s cell phone all first found their way into the public’s awareness through science fiction. In stories like Alicia Yáñez Cossío’s “The IWM 100” from the 1970s you can even find a clear prediction of Information Age giants like Google — and when Neil Armstrong set foot on the moon, the event was a very real culmination of a yearning already expressed through science fiction for many decades.
Science fiction has allowed us to dream of a better world by creating visions of future societies without prejudice or war. Dystopias, too, like Ray Bradbury’s Fahrenheit 451, have had their place in science fiction, allowing writers to comment on injustice and dangers to democracy. Where would Eastern Bloc writers have been without the creative outlet of science fiction, which by seeming not to speak about the present day often made it past the censors? For many under Soviet domination during those decades, science fiction was a form of subversion and a symbol of freedom. Today, science fiction continues to ask “What if?” about such important topics as global warming, energy dependence, the toxic effects of capitalism, and the uses of our modern technology, while also bringing back to readers strange and wonderful visions.
No other form of literature has been so relevant to our present yet been so filled with visionary and transcendent moments. No other form has been as entertaining, either. Before now, there have been few attempts at a definitive anthology that truly captures the global influence and significance of this dynamic genre — bringing together authors from all over the world and from both the “genre” and “literary” ends of the fiction spectrum. The Big Book of Science Fiction covers the entire twentieth century, presenting, in chronological order, stories from more than thirty countries, from the pulp space opera of Edmond Hamilton to the literary speculations of Jorge Luis Borges, from the pre-Afrofuturism of W. E. B. Du Bois to the second-wave feminism of James Tiptree Jr. — and beyond!
What you find within these pages may surprise you. It definitely surprised us.
What Is the “Golden Age” of Science Fiction?
Even people who do not read science fiction have likely heard the term “the Golden Age of Science Fiction.” The actual Golden Age of Science Fiction lasted from about the mid-1930s to the mid-1940s, and is often conflated for general readers with the preceding Age of the Pulps (1920s to mid-1930s). The Age of the Pulps had been dominated by the editor of Amazing Stories, Hugo Gernsback. Sometimes called the Father of Science Fiction, Gernsback was most famously photographed in an all-encompassing “Isolator” author helmet, attached to an oxygen tank and breathing apparatus.
The Golden Age dispensed with the Isolator, coinciding as it did with the proliferation of American science fiction magazines, the rise of the ultimately divisive editor John W. Campbell at Astounding Science Fiction (such strict definitions and such a dupe for Dianetics!), and a proto-market for science fiction novels (which would only reach fruition in the 1950s). This period also saw the rise to dominance of authors like Isaac Asimov, Arthur C. Clarke, Poul Anderson, C. L. Moore, Robert Heinlein, and Alfred Bester. It fixed science fiction in the public imagination as having a “sense of wonder” and a “can-do” attitude about science and the universe, sometimes based more on the earnest, naïve covers than the actual content, which could be dark and complex.
But “the Golden Age” has come to mean something else as well. In his classic, oft-quoted book on science fiction, Age of Wonders: Exploring the World of Science Fiction (1984), the iconic anthologist and editor David Hartwell asserted that “the Golden Age of Science Fiction is 12.” Hartwell, an influential gatekeeper in the field, was making a point about the arguments that “rage until the small of the morning” at science fiction conventions among “grown men and women” about that time when “every story in every magazine was a master work of daring, original thought.” The reason readers argue about whether the Golden Age occurred in the 1930s, 1950s, or 1970s, according to Hartwell, is because the true age of science fiction is the age at which the reader has no ability to tell good fiction from bad fiction, the excellent from the terrible, but instead absorbs and appreciates just the wonderful visions and exciting plots of the stories.
This is a strange assertion to make, one that seems to want to make excuses. It’s often repeated without much analysis of how such a brilliant anthology editor also credited with bringing literary heavyweights like Gene Wolfe and Philip K. Dick to readers would want to (inadvertently?) apologize for science fiction while at the same time engaging in a sentimentality that seems at odds with the whole enterprise of truly speculative fiction. (Not to mention dissing twelve-year-olds!)
Perhaps one reason for Hartwell’s stance can be found in how science fiction in the United States, and to some extent in the United Kingdom, rose out of pulp magazine delivery systems seen as “low art.” A pronounced “cultural cringe” within science fiction often combines with the brutal truth that misfortunes of origin often plague literature, which can assign value based on how swanky a house looks from the outside rather than what’s inside. The new Kafka who next arises from cosmopolitan Prague is likely to be hailed a savior, but not so much the one who arises from, say, Crawfordville, Florida.
There is also something of a need to apologize for the ma-and-pop tradition exemplified by the pulps, with their amateurish and eccentric editors, who sometimes had little formal training and possessed as many eccentricities as freckles, and who came to dominate the American science fiction world early on. Sometimes an Isolator was the least of it.
Yet even with regard to the pulps, evidence suggests that these magazines at times entertained more sophisticated content than generally given credit for, so that in a sense an idea like “the Golden Age of Science Fiction is 12” undermines the truth about such publications. It also renders invisible all of the complex science fiction being written outside of the pulp tradition.
Therefore, we humbly offer the assertion that contrary to popular belief and based on all of the evidence available to us . . . the actual Golden Age of Science Fiction is twenty-one, not twelve. The proof can be found in the contents of this anthology, where we have, as much as possible, looked at the totality of what we think of “science fiction,” without privileging the dominant mode, but also without discarding it. That which may seem overbearing or all of a type at first glance reveals its individuality and uniqueness when placed in a wider context. At third or fourth glance, you may even find that stories from completely diffrent traditions have commonalities and speak to each other in interesting ways.
Building a Better Definition of “Science Fiction”
We evoked the names of Mary Shelley, Jules Verne, and H. G. Wells at the beginning of this introduction for a very specific reason. All three are useful entry points or origin points for science fiction because they do not exist so far back in time as to make direct influence seem ethereal or attenuated, they are still known in the modern era, and because the issues they dealt with permeate what we call the “genre” of science fiction even today.
We hesitate to invoke the slippery and preternatural word influence, because influence appears and disappears and reappears, sidles in and has many mysterious ways. It can be as simple yet profound as reading a text as a child and forgetting it, only to have it well up from the subconscious years later, or it can be a clear and all-consuming passion. At best we can only say that someone cannot be influenced by something not yet written or, in some cases, not yet translated. Or that influence may occur not when a work is published but when the writer enters the popular imagination — for example, as Wells did through Orson Welles’s infamous radio broadcast of War of the Worlds (1938) or, to be silly for a second, Mary Shelley through the movie Young Frankenstein (1974).
For this reason even wider claims of influence on science fiction, like writer and editor Lester del Rey’s assertion that the Mesopotamian Epic of Gilgamesh is the earliest written science fiction story, seem appropriative, beside the point, and an overreach for legitimacy more useful as a “tell” about the position of science fiction in the 1940s and 1950s in North America.
But we brought up our triumvirate because they represent different strands of science fiction. The earliest of these authors, Mary Shelley, and her Frankenstein (1818), ushered in a modern sensibility of ambivalence about the uses of technology and science while wedding the speculative to the horrific in a way reflected very early on in science fiction. The “mad scientist” trope runs rife through the pages of the science fiction pulps and even today in their modern equivalents. She also is an important figure for feminist SF.
Jules Verne, meanwhile, opened up lines of inquiry along more optimistic and hopeful lines. For all that Verne liked to create schematics and specific detail about his inventions — like the submarine in Twenty Thousand Leagues Under the Sea (1870) — he was a very happy puppy who used his talents in the service of scientific romanticism, not “hard science fiction.”
H. G. Wells’s fiction was also dubbed “scientific romanticism” during his lifetime, but his work existed somewhere between these two foci. His most useful trait as the godfather of modern science fiction is the granularity of his writing. Because his view of the world existed at an intersection of sociology, politics, and technology, Wells was able to create complex geopolitical and social contexts for his fiction — indeed, after he abandoned science fiction, Wells’s later novels were those of a social realist, dealing with societal injustice, among other topics. He was able to quantify and fully realize extrapolations about the future and explore the iniquities of modern industrialization in his fiction.
The impulse to directly react to how industrialization has affected our lives occurs very early on in science fiction — for example, in Karl Hans Strobl’s cautionary factory tale “The Triumph of Mechanics” (1907) and even in the playful utopian visions of Paul Scheerbart, which often pushed back against bad elements of “modernization.” (For his optimism, Scheerbart perished in World War I, while Strobl’s “reward” was to fall for fascism and join the Nazi Party — in part, a kind of repudiation of the views expressed in “The Triumph . . .”)
Social and political issues also peer out from science fiction from the start, and not just in Wells’s work. Rokheya Shekhawat Hossein’s “Sultana’s Dream” (1905) is a potent feminist utopian vision. W. E. B. Du Bois’s “The Comet” (1920) isn’t just a story about an impending science-fictional catastrophe but also the start of a conversation about race relations and a proto-Afrofuturist tale. The previously untranslated Yefim Zozulya’s “The Doom of Principal City” (1918) presages the atrocities perpetrated by the communism of the Soviet Union and highlights the underlying absurdities of certain ideological positions. (It’s perhaps telling that these early examples do not come from the American pulp SF tradition.)
This kind of eclectic stance also suggests a simple yet effective definition for science fiction: it depicts the future, whether in a stylized or realistic manner. There is no other definitional barrier to identifying science fiction unless you are intent on defending some particular territory. Science fiction lives in the future, whether that future exists ten seconds from the Now or whether in a story someone builds a time machine a century from now in order to travel back into the past. It is science fiction whether the future is phantasmagorical and surreal or nailed down using the rivets and technical jargon of “hard science fiction.” A story is also science fiction whether the story in question is, in fact, extrapolation about the future or using the future to comment on the past or present.
Thinking about science fiction in this way delinks the actual content or “experience” delivered by science fiction from the commodification of that genre by the marketplace. It does not privilege the dominant mode that originated with the pulps over other forms. But neither does it privilege those other manifestations over the dominant mode. Further, this definition eliminates or bypasses the idea of a “turf war” between genre and the mainstream, between commercial and literary, and invalidates the (weird ignorant snobbery of) tribalism that occurs on one side of the divide and the faux snobbery (ironically based on ignorance) that sometimes manifests on the other.
Wrote the brilliant editor Judith Merril in the seventh annual edition of The Year’s Best S-F (1963), out of frustration:
“But that’s not science fiction . . . !” Even my best friends (to invert a paraphrase) keep telling me: That’s not science fiction! Sometimes they mean it couldn’t be s-f, because it’s good. Sometimes it couldn’t be because it’s not about spaceships or time machines. (Religion or politics or psychology isn’t science fiction — is it?) Sometimes (because some of my best friends are s-f fans) they mean it’s not really science fiction — just fantasy or satire or something like that.
On the whole, I think I am very patient. I generally manage to explain again, just a little wearily, what the “S-F” in the title of this book means, and what science fiction is, and why the one contains the other, without being constrained by it. But it does strain my patience when the exclamation is compounded to mean, “Surely you don’t mean to use that? That’s not science fiction!” — about a first-rate piece of the honest thing.
Standing on either side of this debate is corrosive — detrimental to the study and celebration of science fiction; all it does is sidetrack discussion or analysis, which devolves into SF/not SF or intrinsically valuable/not valuable. And, for the general reader weary of anthologies prefaced by a series of “inside baseball” remarks, our definition hopefully lessens your future burden of reading these words.
Consider Another Grand Tradition: The Conte Philosophique
Inasmuch as we have put on our Isolator and already paid some tribute to the “dominant” strain of science fiction by briefly conjuring up the American pulp scene of the 1920s through 1940s, it is important before returning to that tradition to examine what the Loyal Opposition was up to in the first half of the twentieth century — and for this reason, it is important to turn our attention to an earlier form, the conte philosophique.
Conte philosophique translates as “philosophical story” or “fable of reason.” The contes philosophiques were used for centuries in the West by the likes of Voltaire, Johannes Kepler, and Francis Bacon as one legitimate way for scientists or philosophers to present their findings. The conte philosophique employs the fictional frame of an imaginary or dream journey to impart scientific or philosophical content. In a sense, the fantastical or science-fictional adventure became a mental laboratory in which to discuss findings or make an argument.
If we position some early science fiction as occurring outside of the American pulp tradition but also outside of traditions exemplified by Mary Shelley and H. G. Wells, what remains as influence is both extremely relevant to science fiction and also relevant to more dominant traditions.
Early twentieth-century science fiction like Hossein’s “Sultana’s Dream,” Scheerbart’s utopian fables, or Alfred Jarry’s “Elements of Pataphysics” from his novel Exploits and Opinions of Dr. Faustroll, Pataphysician (1911; first published in English in the 1960s) makes infinitely more sense in this context. More importantly, these stories take their rightful place within the history of speculative literature. Instead of being considered outliers, they can be seen as the evolution of a grand tradition, one that inverts the usual ratio of the fictional to nonfictional found in a typical conte philosophique. It is a mode that certainly helps us better understand Jules Verne’s fiction. In many cases, Verne was taking his cue from the trappings of the conte philosophique — the fantastical adventure — and using that form as a vehicle for creating his entertainments.
The conte philosophique, with its non/fictional fusion, also creates a fascinating link to Jorge Luis Borges and his essay-stories from the 1940s. These stories often serve as a vehicle for metaphysical exploration. Indeed, Borges’s work can in this context be seen as the perfect expression of and reconciliation of the (pulpish) adventure fiction he loved and the intellectual underpinnings of his narratives, which rely in part on severe compression into tale (coal into diamonds) rather than traditional short story. Other Latin American examples include Silvina Ocampo’s “The Waves” (1959) and Alicia Yáñez Cossío’s “The IWM 1000” (1975). Even Stanisław Lem in his Star Diaries voyages of the 1960s and 1970s is reimagining the contes philosophiques — there is the actual voyage (exciting enough!) but it is once again a pure delivery system for ideas about the world.
Although this tradition is not as common in the pulps, “science fiction tales” like A. Merritt’s “The Last Poet and the Robots” (1935) and Frederik Pohl’s “Day Million” (1966) can be seen as a fusion of the “speculative fairy tale” and the conte philosophique, or simply a mutation of the conte philosophique, which was itself influenced by ancient myths of fantastical journeys. Ironically, some of these stories add in elements of “hard science fiction.” Interpreted charitably and not from a position espousing the superiority of the conte philosophique, this form infiltrates the pulps in the sense that the pulps showcase the physical actuality of the contes philosophiques — they are contes physiques into which can be reinjected or refed an abstract quality — “what/why/how/if?” And they can embody that quality or kind of inquiry as subtext. (Whereas on the mainstream side of the divide that subtext must manifest as metaphysics to be considered literature or be doomed in terms of approval — as would any non-character-based fiction.)
In this context, whether just as a thought experiment to turn the tables and challenge dominant modes of thinking, or as a subversive “real” metaphorical or metaphysical construct, we could then come to see American pulp space-travel fiction as a kind of devolution — a mistake in which the scaffolding (or booster rockets) used to deliver the point of a conte philosophique (the journey) is brought to the foreground and the idea or scientific hypothesis (the “what if”) is deemphasized or subtextual only. A case of throwing out the baby to glorify the bathwater?
Science fiction in the United States has often positioned itself as the “literature of ideas,” yet what is a literature of ideas if they can only be expressed through a select few “delivery systems”? Aren’t there ideas expressed in fiction that we can only see the true value of — good or bad, sophisticated or simple — if we admit that there are more than a few modes of expression with which to convey them? In examining the link between the conte philosophique and science fiction, we begin to grasp the outlines of the wider context: how many of these “alternative” approaches are — rather than being deformed or flat or somehow otherwise suspect as lesser modes — just different from the dominant model, not lesser, and as useful and relevant. (For example, where otherwise to fit Czechoslovakian writer Karel Čapek — both his 1920s robot plays and his gonzo novel War with the Newts from the 1930s?)
Just like our definition of science fiction, this way of thinking about science fiction works both from the “literary mainstream” looking in or from genre looking out. The reason it works is that the position or stance — the perspective or vantage taken — is from outside of either. And this is in a sense pure or uncontaminated by the subjective intent — colonizing or foundationally assumed superior — of either “mainstream” literary or genre.
In taking this position (on a mountaintop, from a plane, in a dirigible, from the moon, within a dream journey) much less is rendered invisible in general, and more “viable” science fiction can be recovered, uncovered, or discovered without being any less faithful about our core definition. Thus, too, in this anthology we have the actuality of exploration and the idea of it, because both thought and action expend energy and are both, in their separate ways, a form of motion.
Perhaps the reason the conte philosophique to date has been undervalued as an influence on science fiction is because of the “cultural cringe” of the dominant American form of science fiction, which has consistently positioned itself in relationship to the literary mainstream by accepting the literary mainstream’s adherence to the short story as needing to have three-dimensional, psychologically convincing characters to be valid. Even reactions against this position (pre-Humanist SF) have in essence been defining science fiction in relationship to the über-domination of the mainstream.
This is particularly ironic given that a fair amount of early science fiction fails at the task of creating three-dimensional characters (while displaying other virtues) and thus as the century progresses the self-punishment the science fiction genre parcels out to itself for not meeting a standard that is just one tradition within the mainstream looks increasingly odd, or even perverse, as are excuses like “the Golden Age of Science Fiction is 12.” The genre would have been far better off taking up the cause of traditions like the conte philosophique to bypass mainstream approbation rather than continually recycling the Mesopotamian Defense or the Hawthorne Maneuver (“Canon fodder Nathaniel Hawthorne was the first science fiction/fantasy writer”) to create legitimacy or “proof of concept” on the mainstream’s terms.
Further Exploration of the Pulp Tradition
Remember the Age of the Pulps and later Golden Age of Science Fiction (the 1920s to mid-1940s)? Collectively, this era successfully exported itself as a system of plots, tropes, story structures, and entanglements to either emulate or push back against. It was typified not so much by movements as by the hegemonies created by particular influential editors like H. L. Gold, the aforementioned Campbell, and Frederik Pohl (at Galaxy).
Many of these editors, trying to create an advantage in the marketplace, created their own fiefdom, defended borders, laid down ground rules for what science fiction was and what it wasn’t. In some cases, it might be argued they had to because no one yet knew exactly what it was, or because enthusiasts kept encountering new mutations. These rules in the cutthroat and still-stuffy world of freelance writing could affect content quite a bit — Theodore Sturgeon reportedly stopped writing for a time because of one editor’s rules. Writers could make a living writing for the science fiction magazines in an era with no competition from television or video games — and they could especially make a living if they obeyed the dictates of their editor-kings. These editorial tastes would come to define, even under new editors, the focus of magazines like Amazing Stories, even if editorial tastes are not sound or rational systems of thought. Still, they shape taste and canon as much or more so than stable systems or concrete movements — in part because the influence of editors often exists out of the public eye and thus is less subject to open debate.
In a few other cases, magazines like Weird Tales successfully forged identities by championing hybrid or new modes of fiction, to the point of becoming synonymous with the type of content they provided to readers. Dashing men in dashing machines having dashing adventures were not as prevalent in such magazines, nor in this Golden Age era. It was more likely that the dashing man might have a dashing accident and be dashed up on some malign alien world or be faced with some dashing Terrible Choice based on being dashed on the rocks of misfortune.
In fact, much written in the mode of purely optimistic fiction has not aged well — in part because it simplified the complexities of a very complex world and the universe beyond. For example, with each decade what we know about what it takes to travel in space makes it more and more unlikely that we will make it out of our own solar system. Even one of the foremost supporters of terraforming, Kim Stanley Robinson, admitted that such travel is highly improbable in a 2014 interview.
The other reason this brand of science fiction has mostly historical value is because the twentieth century included two world wars along with countless significant regional conflicts, the creation of the atom bomb, the spread of various viruses, ecological disaster, and pogroms in Europe, Asia, and Africa.
Against such a growing tally, certain kinds of “gee-whiz” science fiction seem hopelessly out of date; we need escapism in our fiction because fiction is a form of play, but escapism becomes difficult to read when it renders invisible the march of history or becomes too disconnected from readers’ experience of science, technology, or world events. When you also throw in institutional racism in the United States, a subject thoroughly ignored by science fiction for a very long time, and other social issues dealt with skillfully by non-SF through the first five decades of the twentieth century, it perhaps makes sense that there is very little from the Golden Age of Science Fiction in this anthology. Our representative choices are ones where the predictive nature of the story or its sophistication stands up to the granularity of the present day.
It is also worth remembering that in the wider world of literature writers outside of science fiction were trying to grapple with the changing nature of reality and technological innovation. After World War I, James Joyce, T. S. Eliot, Virginia Woolf, and others experimented with the nature of time and identity in ways that at times had a speculative feel to it. These were mainstream attempts to engage with science (physics) that only entered into the science fiction tradition as influence during the New Wave movement of the 1960s.
This modernist experimentation and other, more recent evidence suggests that, despite frequent claims to the contrary, science fiction is not uniquely suited to interrogate industrialization or modern tech — many nonspeculative stories and novels have done so quite well — so much as it doesn’t seem as if science fiction could exist or have arisen without the products and inventions particular to industrialization. The physicality of science fiction depends on it in a way that other kinds of fiction do not (for example, historical fiction). Although a spaceship may be more or less a focal point, for example — potentially as unobtrusive as a cab (a ride to a destination) — this is in truth rarely the case. Because spaceships don’t exist yet, at least not in the way they are rendered in science fiction, as a literalization of the future. Even the most “adventure pulp” stories of early science fiction had to take a position: celebrate the extrapolated future of industrialization and ever-more-advanced technology or bemoan it, speak in terms of splendors and a “sense of wonder” or strike at the ideology behind such thinking through dystopia and examination of excesses. (In such a context, science fiction cannot be seen as escapist or nonpolitical so much as conformist when it does not ask “Why this?” in addition to “What if?”)
Still, the pulp tradition as it matured was never as hackneyed or traditional or gee-whiz as it liked to think it was or as twelve-year-old readers fondly remember. It was not nearly as optimistic or crude as the covers that represented it and that science fiction outgrew. In part, this was due to the influx or infusion of a healthy dose of horror from near the start, via Weird Tales and its ilk. Magazines like Unknown also often published fusions of horror and science fiction, and as some of the author/story notes to early stories in this volume indicate, the “rise of the tentacle” associated with twentieth-century weird fiction (à la Lovecraft) first appeared in weird space operas by writers like Edmond Hamilton. Among stories from this period that have relevance, many have a depth derived from the darkness that drives them — a sense that the underpinnings of the universe are indeed more complex than we know. In short, cosmic horror has been around for longer than Lovecraft and has helped to sustain and lend depth to science fiction as well.
Post–World War II: How Science Fiction Grew All the Way Up the Walls of the World
Largely because it has no “movement” associated with it, the 1950s are sometimes seen as a transitional period, but Robert Silverberg rightly considered the 1950s the true Golden Age of Science Fiction. The full flowering of science fiction in the US and UK dates from this period, in part because opportunities through magazines, book publication, and anthologies proliferated and in part because new and more inclusive gatekeepers entered the field.
The fiction of such highly literate and sophisticated writers like Fritz Leiber (mostly in fantasy and horror), James Blish, and Frederik Pohl came into its own in the 1950s, not just because these writers were encouraged by a much more vital publishing environment but also because of their background with the Futurians, a science fiction club, which had nurtured interests across a wide range of topics, not just genre fiction.
Blish’s “Surface Tension” (1952) demonstrates the fruits of that sophistication in its exploration of fascinating ideas about terraforming humans. Philip K. Dick started to publish fiction in the early 1950s, too; in his very first story, “Beyond Lies the Wub” (1952), he staked a claim to that hallucinatory, absurdist, antiestablishment space in which he would later write classics like Ubik (1969) and Flow My Tears, the Policeman Said (1974).
Arthur C. Clarke had been a fixture of the Golden Age but transitioned into the 1950s with such classic, dark stories as “The Star”(1955), as did Robert Heinlein. Ray Bradbury continued to write brilliant fiction, coming off of his success with The Martian Chronicles, and Robert Silverberg was extremely prolific in the 1950s, although our choice for a reprint from him was published much later.
Several underrated writers published some of their best fiction, too, including James H. Schmitz, William Tenn, and Chad Oliver. Tom Godwin shook things up with his very long “The Cold Equations” (1954), a good story not included herein that would become an item of debate for Humanist SF writers, some of whom would try to replicate it. Tenn’s “The Liberation of Earth” (1953), a harsh satire of alien invasion inspired by the Korean War, was a touchstone for protesters during the Vietnam War and become a classic. Damon Knight began to establish his legacy with the unusual and strange alien contact story “Stranger Station” (1956). C. M. Kornbluth (another Futurian) published some of his best stories during this era, including “The Silly Season” (1950) and “The Marching Morons” (1951), although these tales have not dated well. Other notable writers from the era include Robert Sheckley, Avram Davidson, and Judith Merril (who would achieve lasting fame as an anthology editor).
In hindsight, though, perhaps the most unique and important science fiction writer of the 1950s was Cordwainer Smith, who published most of his science fiction in the mid-1950s. His unique tales set on a far-future Earth and the surrounding universe came out of seemingly nowhere and had no clear antecedent. In “Scanners Live in Vain” (1950) and the story included herein, “The Game of Rat and Dragon” (1955), Smith revitalized space opera just as he remade so much else across an oeuvre as influenced by Jorge Luis Borges and Alfred Jarry as genre science fiction. Even today, Smith’s stories stand alone, as if they came from an alternate reality.
Almost equaling Smith in terms of being sui generis, Theodore Sturgeon brought a willfully literary sensibility to his fiction and an empathy that could at times manifest as sentimentality. But in his best work, like “The Man Who Lost the Sea” (1959), Sturgeon displayed a much-needed pathos to science fiction. Sturgeon was also unafraid to explore horror and to take on controversial topics, and with each new story he published that pushed a boundary, Sturgeon made it easier for others to follow.
Another interesting writer, James White, wrote about a galactic hospital in stories like “Sector General” (1957), which in their reliance on medical mysteries and situations pushed back against the standard conflict plots of the day. In White’s stories there are often no villains and sometimes no heroes, either. This allowed White to create fresh and different plots; one of his best hospital stories involves taking care of an alien child who manifests as a huge living boulder and who has vastly different feeding needs than human children. Neither Smith nor White was as popular as writers like Arthur C. Clarke, but their body of work stands out starkly from the surrounding landscape because it took such a different stance while still being relatable, entertaining, and modern.
The fifties also saw more space made for brilliant woman writers like Katherine MacLean, Margaret St. Clair, and Carol Emshwiller. What MacLean, St. Clair, and Emshwiller all shared in their fiction was a fascination with either speculative sociology or extremes of psychological reality, within a context of writing unique female characters and using story structures that often came from outside the pulp tradition. MacLean in particular championed sociology and so-called soft science, a distinction from “hard” science fiction that would have seemed fairly radical at the time. St. Clair, meanwhile, with her comprehensive knowledge of horror and fantasy fiction as well as science fiction, crafted stories that could be humorous, terrifying, and sharply thought-provoking all at once. In some of her best stories, we can also see an attempt to interrogate our relationship to the animal world. Together, these three writers not only paved the way for the feminist science fiction explosion of the 1970s, they effectively created room for more unusual storytelling.
Elsewhere in the world, Jorge Luis Borges was continuing to write fascinating, unique stories, and the tradition of the science fiction folktale or satire was used by Mexican writer Juan José Arreola to good effect in “Baby H.P.” and other flash fictions. Borges’s friend and fellow Argentine Silvina Ocampo even wrote science fiction, not a form of speculation she was known for, with “The Waves” (1959), translated into English herein for the first time. In France, Gérard Klein was just beginning to publish fiction, with early classic stories like “The Monster” (1958), his emergence presaging a boom in interesting French science fiction. And, even though Arkady and Boris Strugatsky (the Strugatsky brothers) wouldn’t achieve international fame until the 1970s, with the translation of Roadside Picnic (1979) and other books, they were publishing provocative and intelligent work like the alien-contact story “The Visitors” (1958) in the Soviet Union.
That there was no particular unifying mode or theme of science fiction in the 1950s is in some ways a relief and afforded freedom for a number of unique writers. Clearly, the way was clear for science fiction to climb even farther up the walls of the world.
But, in part, they would have to do it by tearing down what had come before.
The New Wave and the Rise of Feminist Science Fiction
The overriding story of science fiction in the 1960s would be the rise of the “New Wave,” largely championed at first by the UK magazine New Worlds, edited by Michael Moorcock, and then finding expression in the US through Harlan Ellison’s Dangerous Visions (1967) and Again, Dangerous Visions (1972) anthologies.
New Wave fiction had many permutations and artistic ideologies associated with it, but at its core it was often formally experimental and sought to bring mainstream literary technique and seriousness to science fiction. In effect, the New Wave wanted to push the boundaries of what was possible while also embodying, in many cases, the counterculture of the 1960s. New Wave fiction tended to be antiestablishment and to look with a cold eye upon the Golden Age and the pulps. Sometimes, too, it turned that cold eye on the 1950s, with New Wave writers finding much of what had gone before too safe.
But this opposition was sometimes forced on the New Wave by its detractors. For the average science fiction writer raised within the tradition of the pulps and existing within an era of plenty in the 1950s, especially with regard to the American book market, it must have been a rude awakening for writers from across the pond to suddenly be calling into question everything about their ecosystem, even if just by implication. The essential opposition also occurred because even though the 1950s had featured breakthroughs for many new voices, it had also solidified the hold upon the collective imagination of many Golden Age icons.
Further, the New Wave writers had been either reading a fundamentally different set of texts or interpreting them far differently — such that the common meeting ground between New Wave and not–New Wave could be like first contact with aliens. Neither group spoke the other’s language or knew all of its customs. Even those who should have made common cause or found common understandings, like Frederik Pohl and James Blish, found themselves in opposition to the New Wave.
In the event, however, the New Wave — whether writers and editors opposed it or lived within it and used it to create interesting work — would prove the single most influential movement within science fiction, with the concurrent and later rise of feminist science fiction a close second (and in some cases closely tied to the New Wave).
Out of the New Wave came countless writers now unjustly forgotten, like Langdon Jones, Barrington Bayley (both reprinted herein), and John Sladek, but also giants of literature, starting with Michael Moorcock and J. G. Ballard, and including M. John Harrison and Brian Aldiss (actually from an earlier generation, but a hothouse party-crasher). Subversive publishers in the UK like Savoy fanned the flames.
These writers were helped in their ascendency by the continued popularity of writers from outside of genre fiction whose work existed in sympathy to the New Wave, like Kurt Vonnegut Jr. and William S. Burroughs, and those within genre who were sympathetic and winning multiple Hugo Awards and Nebula Awards, like Harlan Ellison. Ellison’s own work fit the New Wave aesthetic to a T and his dual devotion to championing edgy work by both new and established writers in his anthologies created an undeniable New Wave beachhead in North America. American writers like Thomas Disch and Philip José Farmer received a clear boost to their careers because of the existence of the New Wave. Others, like Carol Emshwiller and Sonya Dorman, more or less wandered into the verdant (if also sometimes disaster-clogged) meadows of the New Wave by accident — having always done their own thing — and then wandered out again, neither better nor worse off. Unique eccentricists like David R. Bunch, whose Moderan stories only seem more prescient every day, could not have published their work at all if not for the largesse of daring editors and the aegis of the New Wave. (It is worth pointing out that his Moderan stories in this volume are the first reprints allowed in over two decades.)
As or more important was the emergence of Samuel R. Delany as a major voice in the field, and the emergence of that voice linked to New Wave fiction with bold, unusual stories like “Aye, and Gomorrah” (1967). Delany just about matched Ellison Nebula Award for Nebula Award during this period and not only led by example in terms of producing sophisticated speculative fiction that featured diverse characters but also was, quite frankly, one of the only African-American or even nonwhite writers in the field for a very long time. Although the huge success of bestsellers like Dhalgren (1975) helped prolong the New Wave’s moment and furthered the cause of mature (and experimental) fiction within science fiction, it did not seem to help bring representative diversity with it.
Indeed, by 1972, Terry Carr wrote in his introduction to volume 1 of The Best Science Fiction of the Year,
By now the ‘new wave’ as such has come and gone; those stories that could stand on their merits have . . . These writers realize a truth basic to all art[:] Innovations are positive to the extent that they open doors, and an avant garde which seems to destroy rather than build will only destroy itself all the faster . . . Personally, I thought most of the work produced during the height of the ‘new wave’ was just as bad as bad science fiction has always been; if there has been an effective difference to me, it was only that I sometimes had to read a story more carefully to discover I disliked it.
Terry Carr was a good and influential editor (who grew with the times), but wrong in this case, although it seems unlikely anyone could have understood how fundamentally the New Wave had changed the landscape. Despite a certain amount of retrenchment after the mid-1970s — at least in part because of the huge influence of Hollywood SF, like Star Wars, on the genre as a whole — New Wave fiction had enduring effects and created giants of culture and pop culture like J. G. Ballard (the most cited author on a variety of tech and societal topics since the 1970s).
And, in fact, Carr was also wrong because the New Wave overlapped with another significant development, the rise of feminist science fiction, so the revolution was not in fact over. In some ways it was just beginning — and there was much work to do. In addition to conflict in society in general over the issues of women’s rights, the book culture had decided to cynically cater to misogynistic tendencies in readers by publishing whole lines of paperback fiction devoted to novels demonstrating how “women’s lib” would lead to future dystopias.
If it feels like a bit of a misnomer to call this “rise” the “ascendency” of “feminist” SF, it is because to do so creates the danger of simplifying a complex situation. Not only did the fight to create more space for stories with positive and proactive women characters in science fiction need to be refought several times, but the arguments and the energy/impulse involved in “feminist” SF were also about representation: about creating a space for women writers, no matter what they wrote. And they were further complicated by the fact that identification of an author with “feminism” (just as identification with “New Wave”) can create a narrowed focus in how readers encounter and explore that writer’s work. Nor, largely, would this first focus on feminist science fiction address intersectional issues of race or of gender fluidity. (It is worth noting that in the milieu traversed by American surrealists of the 1960s and 1970s, a territory that existed parallel to science fiction, intersectionality appears to have been more central much earlier.)
Kingsley Amis had pointed out in New Maps of Hell (1960), his influential book on science fiction published on the cusp of the New Wave, that “though it may go against the grain to admit it, [male] science-fiction writers are evidently satisfied with the sexual status quo.” This written in a context where few examples of complex or interesting women characters written by men seemed to exist, beyond a few stories by Theodore Sturgeon and John Wyndham (another one-off, marginally associated with the New Wave but, understandably and blissfully, enthralled by plants, fungi, lichen).
By the 1970s, writers like Joanna Russ were giving bold and explicit voice to the cause of science fiction by featuring women. Russ accused science fiction, in her essay “The Image of Women in SF” (1970), of “a failure of imagination and ‘social speculation,’” making the argument that the paucity of complex female characters derived from accepting societal prejudices and stereotypes without thought or analysis. This echoed sentiments about clichés and stereotypes later expressed by Delany with regard to race.
Feminist writers were concerned in part about the peculiar and unuseful way in which writers had for so long literalized archetypes, making women stand-ins and not individualized: Madonna/Whore, Mother Earth, etc. As the forever amazing and incisive Ursula K. Le Guin wrote in her essay “American SF and the Other” (1975), “The women’s movement has made most of us conscious of the fact that SF has either totally ignored women, or presented them as squeaking dolls subject to instant rape by monsters — or old-maid scientists desexed by hypertrophy of the intellectual organs — or, at best, loyal little wives or mistresses of accomplished heroes.”
The irony of having to push back against misogynistic portrayals in science fiction should not be lost on anyone. Within a tradition of “what if,” a tradition not of realism but of supposedly dreaming true and of expressing the purest forms of the imagination, science fiction had still chosen in many cases to relegate women to second- or third-rate status. In such an atmosphere, without a revolution, how could anyone, male or female or gender-fluid, see clearly a future in which such prejudices did not exist?
Therefore the rise of feminist SF was about the rise of unique, influential voices whose work could be overtly feminist but was not of interest solely for that reason. Writers like James Tiptree Jr. (Alice Sheldon), Russ, Josephine Saxton, Le Guin, and others were in some cases core New Wavers or were writing corrections of Golden Era simplifications, much as Delany sometimes did, and in other cases bringing sociology, anthropology, ecological issues, and more to the fore in a way that hadn’t yet been seen. Rather than being narrow in focus, this fiction opened up the world — and did so from within an American and British science fiction community that was at times resistant.
The Important Role of International Fiction
Sometimes it is useful to take a step back and examine the frenzy of enthusiasm about a particular era from a different perspective. While the New Wave and feminist science fiction were playing out largely in the Anglo world, the international scene was creating its own narrative. This narrative was not always so different from the Anglo one, in that in regions like Latin America women writers generally had to work twice as hard to achieve the same status as their male counterparts. For this reason, even today there are still women writers of speculative fiction being translated into English for the first time who first published work in the 1950s through 1970s. These roadblocks should not be underestimated, and future anthologists should make it a mission to discover and promote amazing work that may at this time be invisible to us.
Frederik Pohl, Judith Merril, and Damon Knight, all three excellent writers, were at least as influential in putting on their editor hats and were particularly useful in bringing new, international voices into the English-language science fiction field. These gatekeepers and others, including the ubiquitous David Hartwell, were sympathetic to international science fiction, and as a result from the 1950s through the 1980s in particular stories in translation appeared with more frequency. (It is worth noting, though, that in many cases what was translated had to conform to Anglo ideas about what had value in the marketplace.)
“International” science fiction may be a meaningless term because it both exoticizes and generalizes what should be normalized and then discussed in specifics country by country. But it is important to understand the overlay of non-Anglo fiction occurring at the same time as generally UK/US phenomena such as the New Wave and the rise of feminist SF — even if we can only focus on a few stories given the constraints of our anthology. For example, by the 1960s the Japanese science fiction scene had become strange and vital and energetic, as exemplified by work from Yoshio Aramaki and Yasutaka Tsutsui, but also so many other talented writers.
Although it wouldn’t be clear until the publication of a score of English-language Macmillan Soviet science fiction anthologies and novels in the 1980s — many of them championed by Theodore Sturgeon and the Strugatsky brothers — Russian and Ukrainian science fiction came of age in the 1960s and 1970s. From 1960 to the mid-1970s, a number of writers little known in the West published fascinating and complex science fiction — some of it retranslated for this volume.
For example, Valentina Zhuravlyova published “The Astronaut” (1960), which managed to escape being an advertisement for the Soviet space program by virtue of its intricate structure and commitment to the pathos of its space mission emergency. The fairly prolific Dmitri Bilenkin, who would appear in several English translations, wrote “Where Two Paths Cross,” an ecological contact story still unique and relevant today. With its alien collective, the story could be said to comment on the communist situation. Perhaps the most unlikely Russian writer of the time was Vadim Shefner, whose graceful fiction, with its deceptive lightness of touch, finds its greatest expression in “A Modest Genius” (1963). How this subversive and wise delicacy evaded the Soviet censors is a mystery, but readers everywhere should be glad it did.
The best Soviet short-story writer of the era, however, was Sever Gansovsky, who wrote several powerful stories that could have been included in this anthology. Our choice, “Day of Wrath” (1964), updates the Wellsian “Dr. Moreau” trope while being completely original. Gansovsky was not as visionary as the Strugatsky brothers, whose Roadside Picnic would dominate discussion in the US and UK, but there is in his directness, clarity, grit, and sophistication much that compensates for that lack.
Many examples of Latin American science fiction from the 1960s and 1970s are yet to appear in English, so the complete picture of that time period is unclear. We know that Borges and Ocampo were still publishing fiction that was speculative in nature, as was another major Argentine writer, Angélica Gorodischer. Adolfo Bioy Casares published occasional science fiction, such as “The Squid Chooses Its Own Ink” (1962), retranslated for this volume. The giant of Brazilian SF André Carneiro published his most famous story, “Darkness,” in 1965, a tale that stands comfortably alongside the best science fiction of the era. Alicia Yáñez Cossío’s “The IWM 1000” (1975) is another great example of Latin American SF from the period.
Yet, as noted, our sample as readers in English is still not large enough to draw general conclusions. All we can say is that in this volume you will find both synergy with and divergence from 1960s and 1970s Anglo SF that adds immeasurable value to the conversation about science fiction.
Cyberpunk, Humanism, and What Lay Beyond
The New Wave and the rise of feminist SF would always be a difficult epoch to follow because such giants strode the Earth and expressed themselves willfully and with intelligent intent during that era. But the two movements most associated with the 1980s and 1990s, cyberpunk and Humanism, would in their own ways be both quietly and not-so-quietly influential.
Cyberpunk as a term was popularized by editor Gardner Dozois, although first coined by Bruce Bethke in 1980 in his story “Cyberpunk,” subsequently published in a 1983 issue of Amazing Stories. Bruce Sterling then became the main architect of a blueprint for cyberpunk with his columns in his fanzine Cheap Truth. William Gibson’s stories appearing in Omni in the mid-1980s, including “Burning Chrome” and “New Rose Hotel” (reprinted herein), and his novel Neuromancer (1984) fixed the term in readers’ imaginations. The Sterling-edited Mirrorshades anthology (1986) provided a flagship.
Cyberpunk usually fused noir tropes or interior design with dark tales of near-future technology in a context of weak governments and sinister corporations, achieving a new granularity in conveying elements of the Information Age. Trace elements of the recent punk movement in music were brought to the mix by writers such as John Shirley.
Just as some New Wave and feminist SF authors, like Delany and Tiptree, had tried to portray a “realer” realism relative to traditional Golden Age science fiction elements or tropes, cyberpunk often tried to better show advances in computer technology and could be seen as naturally extending a Philip K. Dickian vision of the future, with themes of paranoia and vast conspiracies. The brilliant John Brunner’s The Shockwave Rider (1975) is sometimes also mentioned as a predecessor. (The Humanist equivalent would be Brunner’s Stand on Zanzibar.)
Writers such as Rudy Rucker, Marc Laidlaw, Lewis Shiner, and Pat Cadigan published significant cyberpunk stories or novels, with Cadigan later editing The Ultimate Cyberpunk (2002), which contextualized cyberpunk within earlier influences (not always successfully) and also showcased post-cyberpunk works.
“Humanist SF” at times seemed to just be a call for three-dimensional characters in science fiction, with feminism added on top, sometimes with an emphasis on the so-called soft sciences, such as sociology. But Carol McGuirk makes an interesting point in an essay in Fiction 2000 (1992) when she notes that the “soft science fiction” that predominated in the 1950s (remember MacLean?) strongly influenced the New Wave, cyberpunk, and Humanist SF, which she claims all arose, in part, out of this impulse. The difference is that whereas New Wave and cyberpunk fiction arose out of a starker, darker impulse (including the contes cruels) replete with dystopian settings, Humanist SF grew out of another strand in which human beings are front and center, with technology subservient, optimistically, to a human element. (Brothers and sisters often fight, and that seems to be the case here.)
Practitioners of Humanist SF (sometimes also identified as Slipstream — ironically enough, a term coined by Sterling) include James Patrick Kelly, Kim Stanley Robinson, John Kessel, Michael Bishop (a stalwart hybrid who at times partook of the New Wave), and Nancy Kress, with Karen Joy Fowler’s work exhibiting some of the same attributes but too various to be pigeonholed or in any sense to be said to have done anything but flown the coop into rarefied and iconic realms. (The gonzo fringe of the impulse was best expressed by Paul Di Filippo, who would go so far as to pose naked for one book cover.)
Humanism was initially seen as in opposition to cyberpunk, but in fact both factions “grew up” rather quickly and produced unique work that defied labels. Perhaps the most interesting aspect of the perceived conflict was that cyberpunk seemed to revel in its science fiction origins without particularly caring what the mainstream thought, perhaps because they had access to a wider audience through pop culture; see: Wired magazine. Humanists on the other hand generally identified with core genre but wanted to reach beyond it to mainstream readers and convince them of science fiction’s literary worth. Interestingly enough, the cause of Humanist SF would be championed either directly or indirectly by the legendary Damon Knight and Kate Wilhelm, whose Clarion and Sycamore Hill (for more advanced writers) writers’ workshops tended to be of most use for those kinds of writers.
Critics of both “movements” argued that cyberpunk and Humanism were retrenchments or conservative acts after the radicalism of the New Wave of the 1960s and the rise of feminist SF in the 1970s — cyberpunk because it fetishized technology and deemphasized the role of governments even while critical of corporations. Readers from within the computer industry pointed to Gibson’s lack of knowledge about hacker culture in writing Neuromancer and suggested flaws in his vision were created by this lack. A fair amount of cyberpunk also promoted a more traditional idea of gender roles (imported from noir fiction) while providing less space for women authors.
Yet around the same time in Argentina Angélica Gorodischer was publishing such incendiary feminist material as “The Unmistakable Smell of Wood Violets” (1985), and in the US one sui generis writer whose work pushed back against some of these ideas was Misha Nogha, whose Arthur C. Clarke Award finalist Red Spider White Web (1990; excerpted herein) portrays a nightmarish future in which artists are commodified but also exist in life-threatening conditions. Technology is definitely not fetishized and the hierarchies of power eventuate from every direction. The novel also features a unique and strong female main character who defies the gender stereotypes of the time. In this sense, Nogha’s groundbreaking novel pointed the way toward a more feminist vision of cyberpunk.
The criticism leveled against Humanism, meanwhile, was that it gentrified both the New Wave and feminist impulses by applying middle-of-the-road and middle-class values. (The more radicalized third-wave feminism science fiction of the current era fits more comfortably with New Wave and 1970s feminism despite not always being quite as experimental.) Yet, whatever the truth, what actually happened is that the best Humanist writers matured and evolved over time or had only happened to be passing through on their way to someplace else.
Arguably the most influential science fiction writers to come out of the 1980s and 1990s were Octavia Butler, Kim Stanley Robinson, William Gibson, Bruce Sterling, and Ted Chiang. In far different ways they would change the landscape of popular culture and how readers thought about technology, race, gender, and the environment. Ted Chiang’s influence exists mainly within the genre, but this may change due to forthcoming movie adaptations of his work. Karen Joy Fowler would begin to exert a similar influence via her nonspeculative novels like We Are All Completely Beside Ourselves (2013), which deals with the issue of animal intelligence and our relationship to that intelligence.
Fowler’s example provides some inkling of how such prominence occurs: by having ideas or fiction that breaks out beyond core genre. Although Gibson and Sterling could be said to have founded cyberpunk, for example, it is their writings, both fiction and nonfiction, beyond the initial cyberpunk era that have the most relevance, as they have broadened and sharpened their interrogations of modern society and the technology age.
Butler has undergone a resurgence in popularity and influence because her themes resonate with a new generation of writers and readers who value diversity and who are interested in postcolonial explorations of race, gender, and social issues. (And because she wrote wonderful, unique, complex science fiction unlike anyone in the field.) It is only Robinson who has achieved breakout influence and status while writing from within genre, forcing readers to come to him with a series of groundbreaking science fiction novels that are often referenced in the context of climate change. (Only Paolo Bacigalupi has come to close to being as influential since.)
However, cyberpunk and Humanism were not the only significant impulses in science fiction during this period. Other types of inquiry existed outside of the Anglo world during this period and extending into the twenty-first century. For example, a significant window for Chinese science fiction in the early 1980s (closed shut by regime change) gave readers such interesting stories as “The Mirror Image of the Earth” by Zheng Wenguang and others collected in Science Fiction from China, edited by Dingbo Wu and Patrick D. Murphy (1989; with an introduction by the indefatigable Frederik Pohl). Other remarkable Chinese writers, like Han Song, created enduring fiction that either had no real Western antecedent or “cooked” it into something unique — and eventually Liu Cixin would break through with the Hugo Award–winning novel The Three-Body Problem (2014), both a critical and a commercial success. His novella “The Poetry Cloud” (1997), included in this volume, is a stunning tour de force that assimilates many different strands of science fiction and, in a joyful and energetic way, rejuvenates them.. It in effect renders much of contemporary science fiction obsolete.
In Finland, Leena Krohn, one of her country’s most respected and decorated fiction writers, spent the 1980s and 1990s (and up to the present day) creating a series of fascinating speculative works, including Tainaron (1985), Pereat Mundus (1998), and Mathematical Creatures, or Shared Dreams (1992), from which we have reprinted “Gorgonoids.” Johanna Sinisalo has also been a creative powerhouse, and her Nebula Award finalist “Baby Doll” is included herein. Other fascinating Finnish writers include Anne Leinonen, Tiina Raevaara, Hannu Rajaniemi, Viivi Hyvönen, and Pasi Ilmari Jääskeläinen.
Other science fiction in the wider world includes Kojo Laing’s “Vacancy for the Post of Jesus Christ” (1992), which is not an outlier for this speculative fiction writer from Ghana, and Tatyana Tolstaya’s “The Slynx.” Both are highly original and not atypical examples of a growing number of fascinating voices from places outside of the Anglo hegemony.
Although not always thought of in a science fiction context so much as a dystopia one (The Handmaid’s Tale), Canadian Margaret Atwood contributed to the conversation with her MaddAddam Trilogy (2003–2013), which still holds up today as perhaps the single most significant and useful exploration of near-future ecological catastrophe and renewal. The significance of these novels in terms of mainstream acceptance of science fiction cannot be understated. Although science fiction had already conquered popular culture, without Atwood’s example the current trend of science fiction being published by mainstream literary imprints would be unlikely. This type of positioning also helps gain a wider, more varied readership for science fiction generally and accelerates the cultural influence of this kind of fiction.
The growing diversity in the twenty-first century of the science fiction community, combined with the influx of international science fiction and the growing acceptance of science fiction within the mainstream literary world, promises to create a dynamic, vibrant, and cosmopolitan space for science fiction literature in the decades to come.
Organizing Principles for This Anthology
In compiling The Big Book of Science Fiction, we have thought carefully about what it means to present to the reader a century’s worth of short stories, from roughly 1900 to 2000, with some outliers. Our approach has been to think of this anthology as providing a space to be representative and accurate but also revelatory — to balance showcasing core genre fiction with a desire to show not just outliers, but “outliers” that we actually feel are more central to science fiction than previously thought. It has also seemed imperative to bring international fiction into the fold; without that element, any survey of an impulse or genre of fiction will seem narrow, more provincial and less cosmopolitan.
Particular guidelines or thought processes include:
• Avoiding the Great Certainty (interrogate the classics/canon)
• Meticulous testing of previous anthologies of this type
• Identifying and rejecting pastiche previously presented as canon
• Overthrowing the tyranny of typecasting (include writers not known for their science fiction but who wrote superb science fiction stories)
• Repairing the pointless rift (pay no attention to the genre versus literary origins of a story)
• Repatriating the fringe with the core (acknowledge the role of cult authors and more experimental texts)
• Crafting more complete genealogies (acknowledge the debt from surrealism and other sources outside of core genre)
• Articulating the full expanse (as noted, explore permutations of science fiction from outside of the Anglo world, making works visible through translation)
We also have wanted to represent as many different types of science fiction as possible, including hard science fiction, soft (social) science fiction, space opera, alternative history, apocalyptic stories, tales of alien encounters, near-future dystopia, satirical stories, and a host of other modes.
Within this general context, we have been less concerned about making sure to include certain authors than we have about trying to give accurate overviews of certain eras, impulses, and movements. For this reason, most readers will no doubt discover a favorite story or author has been omitted . . . but also come across new discoveries and new favorites previously unknown to them.
We have also weighed historical significance against readability in the modern era, with the guiding principle that most people picking up this anthology will be general readers, not academics. For this reason, too, we have endeavored to include humorous stories, which are a rich and deep part of the science fiction tradition and help to balance out the preponderance of dystopias depicted in many of the serious stories. Joke stories, on the other hand, and most twist stories have been omitted as too self-referential, especially stories that rely too heavily on referring to science fiction fandom or core genre.
Because ecological and environmental issues have become increasingly urgent, if given the choice of two equally good stories by the same author, we have also chosen to favor stories featuring those themes. (For example, our selection from Ursula K. Le Guin.) One regret is not being able to include fiction by John Brunner, Frank Herbert, and other giants in the field whose novels are arguably much more robust and vital on this topic than their short fiction.
In considering the broadness of our definition of science fiction, we have had to set limits. Most steampunk seems to us to have more in common with fantasy than science fiction, and stories of the very far future in which science is indistinguishable from magic also seem to us to belong to the fantastical. For this latter reason, Jack Vance’s Dying Earth stories and M. John Harrison’s Viriconium stories, and their ilk, will fall within the remit of a future anthology.
In considering international fiction we have chosen (after hard-won prior experience) to take the path of least resistance. For example, we had more access to and better intel about Soviet-era and certain strands of Latin American science fiction than some other traditions. It therefore seemed more valuable to present relatively complete “through-lines” of those traditions than to try to provide one representative story for as many countries as possible. In addition, given our access to international fiction and a choice between equally good stories (often with similar themes) set in a particular country, one by an author from that country and one by an author from the US or UK, we have chosen to use the story by the author from the country in question.
With regard to translations, we followed two rules: to be fearless about including stories not previously published in English (if deemed of high quality) and to retranslate stories already translated into English if the existing translation was more than twenty-five years old or if we believed the existing translation contained errors.
The new translations (works never before published in English) included in this anthology are Paul Scheerbart’s “The New Overworld” (1907), Hanz Strobel’s “The Triumph of Mechanics” (1907), Yefim Zozulya’s “Doom of Principal City” (1918), Silvina Ocampo’s “The Waves” (1959), Angélica Gorodischer’s “The Unmistakable Smell of Wood Violets” (1985), Jacques Barbéri’s “Mondocane” (1983), and Han Song’s “Two Small Birds” (1988).
The retranslated stories are Miguel de Unamuno’s “Mechanopolis” (1913), Juan José Arreola’s “Baby H.P.” (1952), Arkady and Boris Strugatsky’s “The Visitors” (1958), Valentina Zhuravlyova’s “The Astronaut” (1960), Adolfo Bioy Casares’s “The Squid Chooses Its Own Ink” (1962), Sever Gansovsky’s “Day of Wrath” (1965), and Dmitri Bilenkin’s “Where Two Paths Cross” (1973).
In contextualizing all of this material we realized that no introduction could truly convey the depth and breadth of a century of science fiction. For this reason, we made the strategic decision to include expanded author notes, which also include information on each story. These notes sometimes convey biographical data and in other cases form miniature essays to provide general context. Sometimes these notes quote other writers or critics to provide firsthand recollections. In researching these author notes, we are very fortunate to have had access, in a synergistic way, to the best existing source about certain writers, The Encyclopedia of Science Fiction — with the blessing of its founders, John Clute, Peter Nicholls, and David Langford. Entries containing information from the encyclopedia as their nucleus are noted in the permissions acknowledgments (pages 000–000).
Finally, as ever, certain stories could not be acquired for this anthology — or for anyone’s anthology due to the stance of the estates in question. The following stories should be considered an extension of this anthology: A. E. van Vogt’s “The Weapon Shop” (1942), Robert Heinlein’s “All You Zombies — ” (1959), and Bob Shaw’s “Light of Other Days” (1966). In addition, for reasons of space we have been unable to include E. M. Forster’s “The Machine Stops” (1909), an excerpt from Gustave Le Rouge’s strange novel about a mission to a Mars inhabited by vampires (1909), and an excerpt from Doris Lessing’s 1970s science fiction novels.
If we have brought any particular value to the task of editing this anthology — and we will let others debate that question — it lies in three areas: 1) we love all kinds of fiction, in all of its many forms, and all kinds of science fiction; 2) we have built up an extensive (and still-growing) network of international literary contacts that allowed us to acquire unique content; and 3) we did not approach the task from the center of genre, which is where most editors of these kinds of anthologies have come from. We belong to no clique or group within the science fiction community and have no particular affiliation with nor disinclination to consider any writer in the field, living or dead.
That said, we are also not coming to the task from the sometimes too elevated height of mainstream literary editors with no connection to their speculative subject matter. We do not care about making a case for the legitimacy of science fiction; the ignorance of those who don’t value science fiction is their own affliction and problem (as is the ignorance of those who claim science fiction is the be-all and end-all).
Throughout our three-year journey of discovery for this project, we have also had to reconcile ourselves to what we call Regret Over Taxonomy (exclusion is inevitable but not a cause for relief or happiness) and Acknowledgment of the Inherent Imperfection of the Results. However, the corollary to this latter recognition is to never accept or resign oneself to the inherent imperfection of the results.
Now we hope you will put aside this overlong introduction and simply immerse yourself in the science-fictional wonders here assembled. For they are many, and they are indeed wondrous and startling and, at times, darkly beautiful.
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https://lareviewofbooks.org/article/an-ode-to-new-metal-man-david-bunchs-moderan
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An Ode to New-Metal Man: David R. Bunch’s “Moderan”
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2018-09-11T17:00:05+00:00
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Rob Latham sings the praises of “Moderan,” a neglected classic about a false utopia by David R. Bunch.
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Los Angeles Review of Books
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https://lareviewofbooks.org/article/an-ode-to-new-metal-man-david-bunchs-moderan
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PRIOR TO THIS BOOK’S release, the only works by David R. Bunch widely available were two short stories in Harlan Ellison’s Dangerous Visions, a landmark 1967 anthology that has never gone out of print. By contrast, Bunch’s novel Moderan, one of only two standalone works of fiction the author published during his lifetime, appeared as a midlist paperback in 1971 and promptly sank without a trace. A 1993 collection of stories — cleverly titled Bunch! — was released by a specialty press and reached at best a coterie audience. Used copies of these books are rare, and Bunch’s lone volume of poetry, We Have a Nervous Job (1983), is impossible to find anywhere. A small San Francisco press put out two posthumous gatherings of the author’s verse in the late 1990s, but these too are now scarce and quite pricy.
On the basis of Moderan, Bunch has acquired the reputation of being a writer’s writer, highly respected by his peers but more or less unknown to the larger genre readership. He is sometimes compared to Cordwainer Smith and R. A. Lafferty, due to the pixilated exuberance of their styles, their mock-heroic invocation of legends and tall tales, and their airy disdain for the niceties of SF exposition. Like Smith and Lafferty, Bunch is fond of teasingly extravagant story titles: “The Walking Talking I-Don’t-Care Man,” “A Small Miracle of Fishhooks and Straight Pins,” “That High-Up Blue Day That Saw the Black Sky-Train Come Spinning.” Like them, he is a master of baroque paradox, effortlessly mixing the rhapsodic with the grotesque, the ferocious with the whimsical, in the same story, often in the same sentence. Like them, he deploys poetic tricks — high-flown apostrophe, rampant alliteration — to evoke the strangeness of future worlds: “The vapor shield was scarlet August that burning month, the tin flowers were up in all the plastic plant holes, the rolling ersatz pastures were all aflutter with flash and flaunt of blooms.” Such a maverick talent is perhaps inevitably fated to be a minority taste.
But the elusive Bunch has always had his champions. In his introduction to the two stories included in Dangerous Visions, Ellison praised the author as “possibly the most dangerous visionary” in the volume, his “Dada-like” evocation of the fictive mindscape Moderan amounting to a striking “fable of futurity.” John Clute’s entry on Bunch for the Encyclopedia of Science Fiction claims that the author “resembles a diced, gonzo Walt Whitman, sampling (in a frenzy) the body electric.” This comparison was echoed by Brian W. Aldiss, who remarked that Moderan reads “as if Whitman and Nietzsche had collaborated” — a comment featured as a blurb on the cover of this new edition.
After ushering back into print a host of superb crime and suspense novels, NYRB Classics has recently branched out into SF, displaying a shrewd eye for neglected gems, such as D. G. Compton’s haunting satire of media obsession, The Continuous Katherine Mortenhoe (a.k.a. The Unsleeping Eye, 1973), and Christopher Priest’s surreal tale of a perambulating city, Inverted World (1974). Bunch’s Moderan slots neatly into this eccentric list: it too is a near-forgotten “minor” work of the New Wave era that richly deserves rediscovery.
Bunch began publishing his Moderan stories in the late 1950s, in diverse venues, ranging from SF fanzines to literary journals like Shenandoah. The vast majority appeared, between 1958 and 1965, in the sister magazines Fantastic and Amazing, edited at the time by Cele Goldsmith. One of the most astute discoverers of talent in SF history, Goldsmith published the first stories of Thomas M. Disch, Ursula K. Le Guin, and Roger Zelazny, among other future luminaries, and Bunch’s fiction was right up her alley: daring, offbeat, unapologetically “literary.” Publisher Ziff-Davis sold the two magazines in 1965, whereupon they were converted into reprint-only publications, depriving Bunch of his favorite platform. Yet more tales of Moderan, like the one enshrined in Ellison’s anthology, continued to dribble from his pen, and by the early 1970s he had enough material on hand to produce a book-length version.
Moderan is thus, like many classics of modern SF, a “fix-up” text — a gathering of scattered stories stitched together with newly written sections that provide structural links and expository background. Of the 46 chapters in the 1971 edition, 19 were original to the volume, including 13 of the first 16, which established a dubious linearity for the episodes that followed. This stab at structure, however, failed to fully corral Bunch’s wayward imagination, and the narrative proceeds by lyrical leaps and picaresque digressions. Future Moderan is not really a spatiotemporal setting, not a feat of world-building at all, so much as it is a conceptual environment, impressionistically evoked, an inner-spatial metaphor for modernity along the lines of J. G. Ballard’s Vermilion Sands (1971). And Bunch continued to burnish this arresting mise-en-scène even after the novel was published, as shown by this new edition, which adds a final section gathering 11 stories published between 1971 and 1989. Other tales of Moderan lurking in the periodical literature have never been reprinted; were it not for the fact of the author’s death in 2000, one could easily believe they are still being reeled out, endlessly, like old-style computer punch tape.
This retro reference is appropriate, since Moderan is very much a novel of the American midcentury. The title itself suggests the language of advertising and design, if not promotional hype: everything in Moderan is new and improved, including the people. The proud citizens refer to their domain as “New Processes Land” and the “Dream Realized,” grandiose monikers that bespeak a state of technical and psychological perfection. Moderan is a “land for forever, ordered and sterilized. That’s the Dream!”
It is 2064, or thereabouts. Following a sketchy series of “world wars” (“the bomb smear, the havoc far and everywhere”) and some obscure reverses in space (“the Million Saucer Battles on Mars, and that awful purple thing on Venus”), the Earth is being systematically remade into a synthetic demi-paradise. The poisoned seas have been frozen over and the polluted land smothered under a pristine shroud of “cool white plastic,” out of which tin flowers bloom. Weather cycles are administered by “Central Seasons,” and a “vapor shield” controls the atmosphere, changing the sky color on a monthly basis. The men staff military “Strongholds” bristling with high-tech weaponry while their estranged wives live in “bubble dome homes” in “White Witch Valley.” Ultimate power is wielded by the “Council of the Palest Greens,” shadowy bureaucrats who infest the “Needle Building in the Pale White Capital.” The social landscape of Moderan, though highly regimented, is often beset by aimless wanderers, from feral mutants scrounging for scraps to quixotic loners disenchanted with this glitzy, ersatz utopia (“ersatz” is one of Bunch’s favorite words).
The narrative set-up summarized here must be reconstructed from sly hints scattered through the chapters since, as noted above, the author is not particularly interested in conventional SF exposition. For Bunch, the trappings of genre are not ends in themselves but rather serviceable means to spin out his idiosyncratic worldview. Indeed, his fictive building blocks, rather than providing the solid contours of a rigorously extrapolated world, are themselves fluid, figurative elements in a complex allegory of gender, violence, and power.
Take the hulking Strongholds that dot the novel’s landscape. These are not simply combat machines — “the White Witch rockets firing, the wow bombs grandly falling, the wreck-wrecks trajectoring, the missiles far and wide homing and all the other hardware of our Joy-at-War beautifully functioning” — they are also, as this sexually charged rhetoric suggests, powerful metaphors for the male ego at its most pugnacious and destructive. Indeed, the men are virtually indistinguishable from the bunkers they inhabit: the narrator, for example, is known as “Stronghold 10.” Like his cherished citadel, this protagonist is literally armored, a “new-metal man” who has undergone a harrowing cyborgization; all that survives of his original body are scattered “flesh-strips” sutured into a metallic carapace: “I must look […] like a suit of old armor once would have looked if it had in the ancient days rolled in some thick-sliced bacon.” Terrified of his own vulnerability, Stronghold 10 rages against his “soft percentages,” those last remaining vestiges of his corporeal being: “I wish for more steel!” he roars.
An abiding tension between the sorry fallibility of flesh and the solid certainty of metal provides the main thematic thrust of the novel’s many episodes: “[M]y flesh-strips writhed and remembered, my steel parts seethed, rasped, wrinkled and shouted, so disturbed they were by the flesh parts quivering.” Stronghold 10 alternates between blasting away at other fastnesses — in a mindless cycle of paranoid violence, perpetually renewed — and worrying at moral conundrums and emotional predicaments incited by unexpected visitors to his redoubt — a little girl, reminding him of the animal pull of family; a metallic knight on horseback, evoking the allure of romance and the promptings of conscience. These encounters are saved from sentimentality by the sheer weirdness and audacity of Bunch’s storytelling, as well as by the scathing bouts of self-analysis they provoke in the narrator. Though he roundly scorns “the ancient garbage of love, togetherness, and the family stew,” trammels he imagines his cyborg self to have transcended, he cannot shake the suspicion that his grand existence is a hollow, loveless sham: “I cowered in my innermost Stronghold den, […] in the cowardly-careful peep-box of steel. Even in the days of my highest triumphs, when many a fortress rocked from my Big War guns […] I had this whiplash of dread.”
Above all, Stronghold 10 is petrified of women, especially his wife, “that tough strong little woman with the ice-blue terror eyes,” exiled to White Witch Valley along with the other spouses so the men can pursue their puerile war games. For all his high-tech replacements, however, Stronghold 10 still finds himself plagued by the itch of desire — an appetite he satisfies with his “new-metal mistress,” a lifelike love doll he can switch on and off at whim. Yet even this mechanical proxy inspires a surge of passion that startles and terrifies him, because it points up his own essential emptiness:
The blonde doll all turned on, the real and true-copied image of an old Dream in the mind […] there waiting in the body that science had made, the little bow of a mouth all moist and rosy red, the blue eyes blue-bulb blue and like small glass globes sliced carefully out of that heaven when June was all clear-and-bright. […] All the people who had written and overwritten about this thing — in the Old Days old Mailer and Hemingway, say — had they been right all along?
Since Bunch is here diagnosing the pathologies of toxic masculinity, his citation of two notoriously macho novelists makes some sense — though, as the gonzo tenor of this passage suggests, a more proximate influence on Moderan may well have been the Beat writers of the late 1950s and early 1960s, especially Kerouac and Ginsberg. While SF critics have acknowledged the sway William Burroughs exercised over New Wave authors like Ballard, not enough attention has been paid to the subterreanean influence of those other subterraneans. Moderan not only evokes Ginsberg’s incantatory indictment of Moloch, “whose mind is pure machinery,” it is also reminiscent of Kerouac’s lone work of science fiction. A Kafkaesque parable of a dystopian society, Kerouac’s 1963 story “cityCityCITY” is, like Moderan, peopled by faceless creatures who are wedded to strange machines — like the “Brain Halo, which divined equations, […] balancing them together, so skillfully, so complicated, a thousand wires running into a million larger ones that grew and snaked and vined their way in the tangled Wire Room of the Brain.” In its rambling prosody, its spastic goofing, its wise-ass parody of technocratic jargon, this story — and Kerouac’s work more generally — offers something of a stylistic model for Bunch’s febrile speculations.
Moderan, like many central texts of the Beat generation, can be read as a bohemian spoof of “square” society, satirizing a regimented world of robotic drones who secretly seethe with rage and self-hatred. A few of the stronghold’s visitors suggest a countercultural critique of this future’s priggish nihilism — for example, a footloose artist, whom the protagonist denounces as a “smelly vagrant […] stagger[ing] addle-waddle over the countryside […] talking about Meaning,” but whose intense gaze makes him quiver and doubt himself, or a hippie-esque drifter with a bouquet of metal flowers for a hand, who preaches that “love was better than hate and that human understanding was more to be strived for than a Stronghold full of bully-bombs,” and who rouses our steely hero to awe-struck euphoria.
For all his showy chest-thumping, Bunch’s “new-metal man” cannot shake a haunting sense of his basic spiritual vacancy, can’t help “wondering maybe if he had not paid some uncalculated and enormous price for his iron durability.” Stronghold 10’s pose of arrogant mastery turns out to be a facade of bluff and bluster screening a yawning gulf of alienation and despair. In the last analysis, Moderan is a compelling allegory of the psychic and ethical costs of reification, of the transformation of human subjects into objects, the rampant “thingification” of the modern self. The phony nature that the novel’s citizens have crafted for themselves rebounds on its creators, irresistibly remaking them into feckless automatons well suited to occupying this tin-and-plastic world. In its savagely funny depiction of the growing imbrication of human beings with their technological environments, Moderan rivals the best work of fellow New Waver John T. Sladek, especially his novels Mechasm (1968) and The Müller-Fokker Effect (1970). Come to think of it, those titles would make strong additions to NYRB’s already impressive SF line.
Though in some ways quaintly dated, Bunch’s novel still speaks powerfully to contemporary readers — and occasionally even seems to address them directly, as in this ironically upbeat passage:
Let us begin to be ourselves again, ourselves with good souls. With hard trying and hard praying let us make for our souls good homes, even here hard embattled as we are in these steel times. And perhaps with ten million years of good effort we and the world can begin to hope to be allowed to start in to come back toward that place all of us left on the way to our wrong “discoveries.” At least we are not without hope.
Yet the author immediately subverts the tentative optimism of this evangel by unleashing the heedless Strongholds for one final spasm of ecstatic violence. This was how the 1971 version of the novel ended, in a death-wish inferno à la Dr. Strangelove — with Stronghold 10 the last cyborg left (briefly) standing after a global exchange of “GRANDY WUMPS” has turned “the air over all the world […] [into] one solid sheet of explosives.”
This new edition, as noted above, adds a post-apocalyptic postscript — a concluding section called “Apocrypha from After the End.” Abandoning all semblance of narrative chronology, the 11 pieces gathered here are a bit anti-climactic, though we do learn more about the strange land of Olderrun, a “little land-locked and sea-starved country far across the tall mountains, where the old-fashioned flesh people still hold sway.” A bureau called the “Society for the Better Understanding of Ancient Customs” assists the denizens of Moderan in grasping the peculiar mores of this Luddite enclave, which inexplicably prefers the sweaty, mortal meat to the chilly blandishments of steel. Bunch, ever innovative, also conjures an alternative world-ending cataclysm, a not-with-a-bang debacle involving mutant metal-eating fleas that steadily gnaw away at our cyborg heroes. “Perhaps tomorrow,” the narrator muses, “some shiny new tomorrow, we shall ‘replace’ ourselves with the pure dream — a thing like rubber, maybe. Yes! A new-cell rubber alloy, that could be the answer.” Plus ça change …
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Classics of Science Fiction
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2024-06-08T23:46:46+00:00
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Remembering the Best Short Science Fiction
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Classics of Science Fiction
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https://classicsofsciencefiction.com/
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I read a 1901 short story the other day, “The Lady Automaton” by E.E. Kellett, that felt up to date regarding AI but Victorian in its setting. I discovered it at the web site Forgotten Futures, where you can read old science fiction online, or download a CD of over four hundred megabytes of public domain fiction.
Since the story is in the public domain, I thought I’d copy it here for y’all to read. It doesn’t use terms like artificial intelligence or robots because they hadn’t been coined yet, but the story does cover those subjects. It even suggests a kind of Turing Test, and like most early AI studies, proposed creating a chess playing program first. Absurdly, the technology proposed to back the idea of artificial intelligence is the phonograph.
This story made me ask a lot of questions, the main one being: “What’s the deal with wanting android women?” In some ways this story reminds me of Shaw’s Pygmalion or My Fair Lady. But that story is about shaping a woman’s behavior. AI girlfriend stories about building women to exact specifications. That should say a lot about the authors of these stories.
There is even an earlier story of this type, “A Wife Manufactured to Order” by Alice W. Fuller, from 1895. I read that in Frankenstein Dreams: A Connoisseur’s Collection of Victorian Science Fiction edited by Michael Sims. Sims says Fuller’s story might be the first to describe robot that looks perfectly human. Of course, creating an artificial woman comes up again in 1927 with Fritz Lang’s Metropolis. And we shouldn’t forget “Helen O’Loy,” a 1938 short story by Lester del Rey about creating the perfect wife.
So, what’s the deal here? I have a theory that all science fictional ideas go way to the dawn of humanity. We know Shaw’s play is based on the Greek myth about Pygmalion who sculpted a statue of a woman who came to life — but I bet the idea wasn’t even new then.
What’s different today is AI girlfriends are becoming closer to reality. What happens when something is no longer myth or fiction?
The Lady Automaton
By E.E. Kellett
From Pearson’s Magazine, June 1901
“YES,” said Arthur, “I feel very much inclined to try it.”
The speaker, Arthur Moore was a man whom I was proud to call my friend. Early in life he had distinguished himself by many wonderful inventions. When a boy he had adorned his bedroom with all sorts of curious mechanical contrivances; pulleys for lifting unheard-of weights; rattraps which, by cunning devices, provided the captured animal with a silent and painless end; locomotives which, when once wound up, would run for a day; and numberless other treasures, which, if hardly useful or even ornamental, had yet the effect of inspiring the housemaid who made the bed with a mortal terror of everything in the room.
As he grew older he lost none of his skill. At the age of fifteen he had successfully emulated most of the feats of Vaucanson; his mechanical ducks gobbled and digested their food so naturally that even the famous scientist, the Rev. Henry Forest, was for a moment taken in. He had been to College, but, after a year of University life, he had wearied of the dull routine, and had begged his father to let him start life on his own account.
His father need have had no fear for the result. Within a year young Moore’s automatic chess player, that had played a draw with Steinitz himself, had attracted the awe-struck attention of the civilised world by the simplicity and daring of its mechanism. The chess player was followed in two years by a whist player, still more simply and boldly conceived; and after that time scarcely a year passed without being signalised by the appearance of new wonders from Moore’s fertile brain and dexterous hand.
His last achievement had been a phonograph so perfectly constructed that people began to think that even Edison must soon begin to look to his laurels, or he would be eclipsed by the rising fame of this young man of thirty.
I had known him since he was a boy; and had kept my acquaintance with him in spite of the ever-widening difference between our paths and our beliefs. I had chosen the medical profession, and was already a fashionable doctor, pretty well known by the public.
It was just after the new phonograph had appeared that I had with Arthur the memorable and unfortunate conversation which I shall regret to the very end of my life.
“Well,” I said, “a new and great success again. You will be one of the greatest benefactors of the century in a few years.”
“Yes,” he answered, for he had no false modesty. “I believe the phonograph is about as perfect as I can make it. Suppose we listen to it now.” He produced the instrument, and I had the pleasure of listening to a speech of Lord Rosebery with the familiar tones and inflections of the great orator reproduced to the life. I could have believed I saw the President before me.
“Wonderful,” I said. ” It is indeed perfect. What a strange and almost uncanny thing it is! We shall soon have to be very careful what we say; for a bird of the air shall carry the voice, and that which hath wings shall tell the matter. Fancy what a preventive of crime a phonograph fastened on every lamp-post would be! It would be a kind of Magic Flute, forcing people to tell the truth whether they would or no. Jones might say, ‘I said this,’ but the phonograph would say ‘You said that.’ Mere human fallible creatures will soon be banished from the witness box; judges and juries will content themselves with taking the evidence of unerring, unlying phonographs.”
“Heaven save us,” Moore replied; ” all of us say many things that will hardly bear repeating; and if they are all to be recorded how dreadful it would be.”
“Yes, you see you are after all but a doubtful benefactor of the human race; it is not everybody, who, like Job, can wish that his words were now written.”
“Nor Job himself at all times,” he answered; “perhaps he would hardly have wished to have recorded the words he used when he cursed his day.”
“In fact,” I said, ” what is a phonograph after all but a tattling old woman, repeating whatever it hears without discrimination or tact?”
“Exactly, he said; “but with this difference; that the phonograph repeats what it hears without alteration or addition, whereas the old woman repeats it just as it suits her.”
At this moment the fatal idea struck me, which now I would give worlds to have forgotten or suppressed before it came to the birth. Alas, we know not the result of our least words.
“Why,” I said, “don’t you try to make a kind of complement of a phonograph?”
“What do you mean?”
“Why, this. Your phonograph only repeats what it hears. Why not make an instrument which should not repeat words, but speak out the suitable answer to them? If, for instance, I were to say to it ‘ Good morning; have you used So-and-so’s Soap? ‘ then why should it not answer ‘ No, I use somebody else’s,’ instead of merely reiterating my words? At present your machine is nothing but an echo; glorious, I grant; a triumph of civilisation; but what an achievement it would be to contrive a sort of anti-phonograph, that should give the appropriate answer to each question I like to put!”
“Why, a thing that could do that would be nothing less than man.”
“Well,” I said, ” what is man but a bundle of sensations — a machine that answers pretty accurately to the questions daily put to it?” For I was, or pretended to be, a full-blown materialist.
“It may be so,” he answered, ” yet it seems to me that he is a very complex machine for all that. He has taken thousands of years to evolve, if what Darwin in says is true; you ask me to make him in at most a year or two.”
“Listen to me,” I said, half in irony, half in earnest. “When you made your whist player, what did you do but calculate on a certain number of actions, all theoretically possible, and arrange that the machine should give the proper answer to them? “
“True.”
“And with your chess player, was it not the same ? “
“Exactly.”
“Well, then, the general principle is granted. Are there not practically infinite varieties of hands at whist? Yet your automaton never made a mistake. Are there not infinite varieties of number? Yet did that puzzle Babbage’s calculating machine?
“You may be right, Phillips,” he said, smiling at my earnestness. ” I will think of it.”
I took my leave, little dreaming that I had set in motion a mighty force which would bring misery to more than a few. Indeed, I completely forgot the whole conversation. It was not till several months later that, happening to meet Moore in the street, I was suddenly startled by hearing the words I have already mentioned.
“Yes, I feel very much inclined to try it.”
“To try what?” I said, completely bewildered.
“Why, the thing we were talkingg of some months ago. Listen. Words are nothing but air-vibrations, are they? “
“Nothing,” I answered.
“Well, then, it follows that words, if put in the proper positions, can generate motion.”
“I follow you; a molecular windmill.”
“Well,” he said, “this is the idea of my machine. Words are spoken into the ear of my automaton. Passing through the ear they enter a machine you would call an antiphonograph, and set in motion various processes which in a very short time produce the words constituting the proper answer.”
“Wonderful,” I said, “if true.”
“Come and see then,” he rejoined, “if you will be so sceptical.”
I followed him to his workshop, and saw a small instrument, in its main external details exactly like a phonograph.”
This,” said Moore, ” is the centre of my automaton. Try it yourself. Ask it a question–anything you like.”
Wondering, I did as he suggested. There was a tube on each side of the instrument, communicating with its centre, which I supposed would form the ” ear ” of the automaton when finished. I was at a loss how to begin the conversation, so called the weather to my aid.
“A very cold day,” I remarked.
A sweet and beautifully modulated feminine voice answered.
“Yes; but hardly so cold as yesterday.” I started, as though I had seen a ghost. Had I not been a doctor, old as I was, I should have precipitately fled. But it takes a good deal to shake the nerves of a physician. In an instant I recovered myself.
“Moore,” I said, ” you can’t play with me. You are ventriloquising.”
He was very indignant. “What do you think of me? ” he said. ” I to go playing the tricks of a strolling mountebank!
“Try it again. I will not open my mouth.”
I tried again, a certain uncanny feeling still possessing me. Oh, for the inventive powers of a Frenchman, in order to begin the conversation naturally!
“That was a fine speech by Mr. Chamberlain yesterday evening.”
“Yes,” the delicate feminine voice again replied; “I didn’t read it all, but the beginning and the end were very good, weren’t they?”
Again the same eerie feeling came over me, followed as before by the conviction that some trickery must be at the bottom of this most unparalleled experience.
I tried yet a third time, determined to watch Moore’s face during the whole operation.
“It looks as if there’ll be war between China and Japan,” I said rather inanely.
“Yes, and I fancy Japan will win,” replied the voice, precisely at the same moment as Moore was saying:
“Two to one on the little ‘un.”
I was convinced by that. No human being ever spoke two sentences precisely at the same instant. Either there was somebody else in the room, or Moore had succeeded, marvellously succeeded. He had made an instrument that could not only imitate the tones of the human voice, but could keep up a conversation as constantly, if not as wittily, as Miss Notable and Mr. Neverout in Swift’s “Polite Conversation.”
“Satisfied, old fellow? ” said Moore, rising from his chair and coming toward me.
“My dear fellow,” I said, “I know you are incapable of deception. But this is extraordinary. I never heard anything like it.”
“No more did I,” he replied with pardonable vanity, “until a week or so ago. I had tried all kinds of devices to make the thing answer sensibly; she would answer, of course, long ago, but I wanted her to behave like a lady, not like a lunatic.”
“So you mean your automaton to be a lady, do you?”
“Yes,” he replied, drawing closer. “And I want her to be a lady that would deceive anyone. Not a thing that can only act when lifted into a chair, or stuck up on a platform; but a creature that will guide herself, answer questions, talk and eat like a rational being — in fact, perform the part of a society lady as well as the best bred of them all.”
“Moore,” I said, “you must be mad.”
“Mad or not, I mean to try it. See here. Here is another automaton that can walk, eat, turn its head, shut its eyes. That is common enough. Here is the brain power, the ‘antiphonograph’ that can speak and hear–indeed, do anything but think. What is wanted but that the two should be combined ?”
“My dear fellow,” I answered, “it is easy to talk like that. I am a materialist, and would grant you more than most; but even in my view the brain is more than a mere machine. A man guides himself; you have to guide this automaton. How are you to get inside her and make her do all these things together at the proper time?
“Take a very simple example; your thing has to be sure to open its mouth when it speaks. How are you to insure that the process which causes it to open its mouth, and the process which causes certain words to be uttered, shall take place simultaneously? Suppose the thing to say, ‘I will sit down,’ how are you to insure that, at the proper moment, she shall go through the proper motions involved in sitting down? Remember, an error of half a second in y our mysterious clockwork may make all the difference between your lady occupying a dignified position in a chair and sprawling ingloriously on the floor.
“Why, think of the actions of but five minutes. She rises from a chair, she avoids the toes of the ladies and gentlemen in the room, she bows to a gentleman, she smiles — more or less hypocritically — at a lady, she makes a bon-mot, she laughs at somebody else’s bon-mots; she even blows her nose. What countless simultaneous processes, not one of which must go wrong!”
Moore heard me through.
“Plausible enough,” he said, when I had finished; ” we shall soon see who is right.”
“Who was it,” he went on, “who lectured so vigorously on the folly of certain women of our time, and talked so largely about their utter inanity? ‘The Society woman of our time,’ you proclaimed, ‘what is she but a doll? Her second-hand opinions, so daintily expressed, would not a parrot speak them as well?’ You meant that for metaphor and eloquence, old fellow, and yet you object to my proving that it is all literal truth.”
“Prove it first,” I said.
“Only give me time,” he answered. “But before you go,” he said, with a sudden impulse, as he saw me nearing the door, “for Heaven’s sake not a word of this until I give you leave.”
“Make your mind easy,” I replied, “a doctor knows how to keep a secret. When your lady goes out of order, send for a bottle of my emulsion, and I’ll engage she’ll trouble you no more.”
During the next few months, I often thought of Moore and his hallucination; the picture of the poor fellow engaged on a hopelessly mad task often rose before my mind. I pitied him greatly. “Another fine brain wasted,” I used to say. “A man that more than rivalled Edison spending the best years of his life over a mad chimera!”
I urged rest, a sea voyage, anything to cure him of his brain-sick folly. But he met me always with one reply: ” Rest then; not before.” Rest in the grave, poor fellow, I thought, as I noted his hectic cheek and staring bones. His fiery soul was fretting his body to decay.
At last, more than a year after our last conversation, amid the heap of letters Iying on my table at breakfast, I came upon one that startled me. It was from Arthur Moore, short, but to the point.
” Success at last; come when you can.”
As soon as my round of visits was finished, I drove to his rooms. Mounting the stairs, I was ushered into the room by the most beautiful girl I had ever seen; a creature with fair hair, bright eyes, and a doll-like childishness of expression.
“Can he have married?” I thought, as I looked at her. ” How is Mr. Moore? ” I said aloud.
“Poorly to-day,” she replied. “He will be here in a minute.”
Where and when had I heard that voice before? I seemed to know it, and yet I could not associate it with anybody. But I had no time to be perplexed, for in two or three seconds Moore appeared, looking ghastly and deathlike in his pallor.
“You are ill,” I said, when the first greeting was over. ” You have been overstraining yourself. You must really rest, or you will kill yourself.”
“Yes, I must,” he replied; ” and I think I shall. It has been toilsome work. But I think it was worth it, don’t you?”
“How should I know? ” I answered. ” I haven’t seen it yet.” ” Yes, you have,” he said, smiling in spite of the pain that he must have been feeling.
I looked around, bewildered. I could see nothing but the same old room, and the strange girl sitting in an easy chair in the corner.
“You are mysterious,” I said.
“Wait a moment,” said Moore. Then, turning to the girl, he spoke a little louder.
“It looks as if there has been war between China and Japan,” he said.
Again those clear, distinct, delicate tones, as the answer came.
“Yes, and I fancy Japan has won.”
I saw it all now. That beautiful, lady-like girl that had ushered me into the room, whom I had taken for his wife, was an automaton! That doll-like expression was due to the fact that she was a doll. I was utterly astounded. Moore sat by, enjoying my bewilderment; for a moment his weakness left him.
“Come here,” he said to the automaton.
The lady arose, after one second of apparent indecision, and approached him.
“Let me introduce to you Dr. Phillips,” he said.
The lady smiled approval. (To this day I have never understood how Moore had managed to produce that smile — that fatal monotonous, fascinating smile.)
“Dr. Phillips, Miss Amelia Brooke.”
The lady bowed, and extended her hand.
“I am most happy to meet one of whom I have so often heard,” she said.
Could it be a reality? I felt more and more staggered. The lady stood perfectly still, her hands clasped before her. This fair creature not of flesh and blood? Impossible!
“You may go,” said Moore.
The thing moved back to her place, and sat down.
” What do you think of her? ” he said aloud.
Before answering, I looked round to see where she was.
“Don’t mind,” he said laughing; ” she can’t hear. I often have that feeling myself. You may discuss her as you please, and she won’t be offended. She has one merit other women haven’t; she is not touchy; but she has a failing the best of them have not ; she can’t blush. On the whole, however, I prefer her.”
” I am still almost incredulous,” I replied; ” indeed, until I have dissected her, and found pulleys instead of a liver, and eccentrics instead of a spleen, I shall hardly believe she isn’t a woman in reality.”
” You can easily do so,” he said. ” Come here, Amelia.’ The creature rose, and came forward. ” Let Dr. Phillips see your arm,” he said. The lady showed me her arm, and turned up her sleeve. It did not need a moments inspection to show me that this was not an arm of flesh and blood. What it actually was made of Moore would not tell me.
“Better than a waxwork figure, isn’t it? ” he said.
“Much better,” I replied. ” Might deceive anyone but a doctor.”
Passing my hand down to her wrist, I noted an exactly-moving pulse. So wonderfully was the human pulse imitated, that I believe anybody but one, like myself, trained to accurate discrimination would have been deluded. I could not refrain from expressing my admiration.
“Yes,” said Moore, ” she will often have her arms bare, and there may be a good deal of hand-pressing and that sort of thing; so that I thought I ought to have everything right.”
“Does her heart beat, too? ” I asked.
“No,” he said; “I wanted the space for other mechanism, so she has to do without a heart altogether. Besides,” he added, smilingly, “I wanted her to be a Society lady.”
“The thing will be worth thousands to you,” I said, when I had finished the examination of the creature’s cutaneous covering. It is uncanny enough, and I can’t say I like it, but it will draw. What a pity Barnum has gone! He would have given you a million pounds for it.”
Moore rose angrily.
“Do you think I will sell my own lifepower for money? ” he cried. ” That thing has cost me at least ten years of my life, and she shall never be exhibited like a twoheaded nightingale, or a creature with its legs growing out of its pockets! She shall walk drawing-rooms like a lady, or I will break her to pieces myself! “
” My dear fellow,” I said, ” you are overexcited and ill. Surely you cannot know what you are saying? “
” I know well enough,” he answered doggedly. ” I have made a lady, you can’t deny it; and a lady she shall be.
“Phillips,” he went on, all the force of his character coming out in his face, “I am determined that she shall be the beauty of the season. She shall eclipse them all! I tell you. What are they but dolls? and she is more than a doll; she is ME. I have breathed into her myself, and she all but lives; she understands and knows! Come, promise me you will not betray me.”
” Of course I will not,” I said; ” but you must give up this mad scheme. Consider, as an automaton she will make you for life; as a lady she will be found out in five minutes, and you will be laughed at. For your own sake pause.”
” Listen,” he said fiercely. ” You call her an automaton. I tell you she is alive. See!”
He called the thing to him.
“Amelia,” he said, ” I have made you, and you are mine. Are you grateful?”
The creature smiled — the one smile she possessed, which she had, as I knew afterwards, for prince or peasant, man or maid.
” I can never forget what I owe you,” she replied.
“Kiss me, then,” he said. The thing bent down and kissed him obediently.
“You see,” he cried, “is that an automaton? Now, will you introduce her to Society as a lady?
“For the present she is perfect. I have taught her French — drawing- room French, I mean — and three songs. She can enter a room, bow, smile, and dance. If, with these accomplishments, she can’t oust the other dolls and turn them green with jealousy for one season, 1 am much surprised. Now, will you help me?”
I tried to enter a feeble protest, but he overbore me. You ask how; I cannot tell. Call it magic — anything you like; but it overbore me. I yielded; I promised my assistance.
We sat like two mischief-making children far into the small hours of the night, plotting how we could carry out the plan best. Moore had enslaved me, body and mind; I was carried away in a kind of drunken enthusiasm and almost as feverishly excited as Moore himself. Nothing would now have stopped me. Would Frankenstein have paused the very hour before his creature took life? As for Moore, I believe he would have gone on with his designs in the very midst of the thunders of the Judgment Day itself.
Why should I linger over the early triumphs of our Phantasm? I was a fashionable doctor; I brought Miss Amelia Brooke out as a niece of mine. The Countess of Lorimer, one of my patients, undertook to pilot her through the first shoals of real life.
Never shall I forget that first evening. Scarcely had she entered the room — it was at Mrs. Vandeleur’s when the eyes of all seemed, as if by magic, to be turned towards her. Exquisitely dressed, with a proud demeanour, with the step of a queen, she swept into the ball-room. She was my niece; I ought to have been proud of her, but I hated her with an intense loathing. Moore could do much with me, but he could not make me like this creature. Yet I was bound in nature to do all I could for her.
“Who is she? ” said young Harry Burton to me. “By Jove, she looks like a born queen.”
“You flatter me,” I replied. “She is my niece. Good Heavens,” I went on to myself, “would that she were a born anything, instead of a made doll!”
“Oh,” rejoined Burton, ” lucky man that you are! Introduce me, will you?”
“With pleasure,” I answered. I took him up and introduced him. During the ceremony I watched the creature carefully. No, there was no doubt about it. Such acting would deceive the Master of the Ceremonies in the Court of Louis XIV. himself. Every motion, every word, was exactly as it should be. How on earth had Moore managed it? I was almost deceived myself. Could this be after all a real creature of flesh and blood, substituted for the Phantasm? No; that detestable, beautiful smile was there — a smile which no woman ever wore, yet which none the less would be the bane of more than one man’s existence.
Harry Burton danced many dances with her that night. When it closed, he was head over ears in love.
“Phillips,” he said in a brief interval, “she is divine.”
“Fiendish, rather,” I thought. “Yes,” I said aloud, ” I think she is good looking.
“Good looking!” he cried. “What are all these painted dolls to her? They have nothing to say for themselves, they are mere bundles of conventionality; but she — she is all soul.”
“My boy,” I said warningly, ” you are evidently all heart. Be careful. Don’t do anything rash. Dance with her, talk to her –do anything but fall in love with her.”
“Who talked of falling in love? ” he said, astonished at my earnestness. ” I said nothing but that she was the finest girl in the room, and so she is, by Jove!”
At this moment a new dance began, and Burton ran off to claim his partner. I remained, absorbed in not very pleasant reflections. Things were getting involved already. Moore had only told me he was making a woman; I had never calculated that he would make a coquette. What would come of it? I sat and watched her as she danced, dancing beautifully but a little mechanically, I thought, saying always the right things, answering questions always in the same way, and wearing at pretty regular intervals the same detestable smile.
If I hated her before, I hated her tenfold now. I would speak to Moore, and put an end to it. A sudden cold — ordered to the South of France — and never let her come back. Good Heavens, this creature never had a cold, never had a headache, never felt out of sorts; yet Moore said he had made a woman.
Slowly the evening dragged to its close-the most wearisome evening I had ever spent. The creature did not seem to tire; one dance or twenty was the same to her. The monotony of it all became at length intolerable to me. At the earliest decent opportunity I took my leave.
Moore had never been a Society man. Even to witness his own triumph he had refused to be drawn out of his retirement. and it was with a feverish eagerness that he waited for the story of her successes from my lips.
“How did it go off? ” he said anxiously, as I made my promised call to tell him.
“As an experiment, very well,” I answered. ” There was no hitch, no failure. The success was only too monotonous. Human beings sometimes put their foot in it; she never. Would to Heaven she might show now and then a little proneness to error!”
“You are queer,” Moore answered. ” Why should you grudge her her victories? “
“Arthur,” I said, ” the joke has gone quite far enough. Put a stop to it. Why go further? Think of the chances of detection — no, think of the far worse chances of success! Can’t you see that the more skilful the deception the more dangerous will its consequences be? Already, more than one young fellow has fallen head over ears in love with her. It is horrible to think of!”
“The fools !” he said, with a rather cynical smile. “That is just the way with young fellows — never looking below the surface, looking only at the face. Why, Phillips, if they are taken in in that way they deserve to be taken in. I shall do nothing.”
So the thing went on, new developments constantly arising. I hasten to the fatal ending.
Among the many deserters from the shrines of other goddesses who thronged to pay their court to this new and strange divinity, two seemed to hold the divided first place in her favour. One was my young friend Harry Burton; the other was handsome, impulsive, universally-liked Dick Calder. These two had been firm friends before, in spite of the fact that they had often flirted with the same girl. But it was impossible for two young fellows to love Amelia and continue to love each other.
To do Amelia justice, she was rigidly impartial between Burton and Calder. For both she had the same silvery tones, for both the same fascinating smile. To both, if they asked the same questions, she returned identically the same answers. To both she sang the same songs, with the crescendo on the same passages, and both, at the conclusion of the songs, received the same languishing, irresistible smile over the right shoulder, which made them her slaves on the spot.
One evening, a curious incident happened. Burton and Calder were as usual basking in the rays of their divinity, when by some mischance Amelia’s brooch fell to the ground. Both the swains stooped to pick it up, but Burton was successful. Delighted at his triumph over his rival he solicited the honour of refastening it. Calder watched him with jealous eyes. Suddenly a clumsy pair of waltzers, not looking where they were going, came hard into Burton. The brooch pin was driven deep into the fair throat of Amelia. Burton started in horror; he began a savage oath, but stopping in time he pulled out the pin. Amelia had not uttered a sound.
Burton, speechless with dismay, was taking out his handkerchief to staunch the blood; a little crowd was gathering round them; when I, suddenly recollecting myself, rushed in. With the speed of lightning I slipped out my handlierchief and tied it round Amelia’s neck.
“Stand back, all of you!” I said in a tone of command. Even Burton and Calder fell back a little. ” My niece is very sensitive,” I said. “The hurt is not great, but it would be as well that she should go home at once.” A terror had possessed me; an overmastering fear of detection held me as in a vice.
“I assure you, uncle, that I am not hurt at all,” said Amelia.
“Come along,” I said sternly.
I hurried her off, finding just time to bid my adieus to my hostess, and to console the dumfounded Burton by saying there was no danger.
We drove, not home, but direct to Moore’s lodgings. Hurriedly we went upstairs. Moore was still up. He seemed surprised to see us.
“What do you want,” he said.
“Fools that we are,” I answered. “Why, we were within a hair’s breadth of detection. The creature can’t bleed.”
“Why, what need has she to bleed?” he said.
“Every need,” I answered. “Doesn’t a girl bleed when a pin is driven a good inch into her throat?”
“What do you mean?”
I explained the circumstances, and how I hoped I had for this once staved off discovery. I had been just in time.
“No,” he said, when I had finished. “I never thought she would need to bleed. Strange that I should have forgotten that. They say that murderers always forget just one thing, just one little thing. But they take pains to get rid of the blood, and I ought to take pains to have it there.”
“Give it up, Moore,” I said.
“Give it up! Never! ” he shouted. “Give it up for a few drops of blood! Rather would I drain my own veins into hers. Rather go out and kill somebody. What did Mephistopheles say? ‘Blood is a peculiar sort of juice.’ But I will make it.”
Miss Brooke was “ill” for a few weeks from “shock to the system.” At the end of that time I saw Moore again. He and the Phantasm were in the room together. He gave me a pin.
“Prick her,” he said. I obeyed, not unwillingly; and to my horror something very like bleeding began. ” Yes,” said Moore! ” I have done it. I have looked up Shakespeare. Do you remember what Shylock says, to prove that a Jew is, after all, a man? ‘ Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food! hurt with the same weapons! subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? ‘ Now every one of these marks my Amelia has; so I say she is a genuine woman. Why, if you tickle her, she will laugh!”
“No one is likely to tickle her,” I said.
“No; but after our last experience it is well to be prepared for all emergencies.”
In this case, however, I did not make an experiment. Moore’s word was enough. If the creature’s smile was so detestable! what must her laugh be like?
After her time of seclusion, Amelia again appeared in Society, and was again the cynosure of all eyes, chiefly, however, of the four owned by Burton and Calder. These latter had never ceased to make inquiries after her health.
I had often wondered whether Burton had noticed that the scratch of the pin had drawn no blood; but his conduct afterwards set me at ease. If he had seen it he had probably thought that his Venus was too ethereal to bleed even the thinnest celestial ichor.
Though Amelia certainly could not feel, yet there was no doubt that in the future she would bleed if pricked, and I was free from anxiety on that score. But there was one thing which caused me considerable uneasiness. She was a girl of originality — indeed, I venture to think that there has never been a girl quite like her — yet there was a sameness, an artificiality. about her which puzzled and alarmed me. To the same question she always and inevitably returned the same answer. On topics of the day she always had the same opinion, expressed in the same words. My rival, Sir John Bolas, who didn’t like her for some reason or other, used to say that in her company he always felt as if talking to a very well-trained parrot. She uttered her opinions as if they had been learnt verbatim from someone else.
The time drew near for Calder and Burton to declare themselves. I need not say that, closely as I watched the doings of Amelia! I was not present on these auspicious occasions. But I can distinctly assert, nevertheless, from my knowledge of human nature! that the language of Calder, who came second, was almost precisely the same as that of Burton, who had the first chance. Hence it followed, with mathematical certainty, that Amelia’s reply would be the same to both.
Here was a pretty predicament! What I had blamed in her was her unwomanly constancy; but this very constancy had led — as I was sure both a priori and from the happy faces of the two young men — to a display of fickleness unparalleled in the whole history of womankind. Within an hour after accepting Burton the faithless creature accepted Calder in almost identically the same terms. Even the most heartless of coquettes had surely never been guilty of such conduct as this.
All this, however, was for the present merely a plausible conjecture, based upon a more or less certain knowledge of character. To make sure of it, I determined to ask. The result but too sadly confirmed my fears. Burton was almost delirious with joy.
“She is mine,” he said; “and that beast Calder was never in it with her. To think that I should ever have been afraid of a cad like that!”
I congratulated him, as in duty bound, and spent an hour with him, which may have been pleasant to him, but became very tedious to me, so difficult was it to get him off his one eternal topic and induce him to talk like a rational being. At last, however, I managed to effect my escape, and made y way to Calder. He also received me very graciously.
“Old man,” he said, ” I have good news to tell you. Amelia has just consented to be engaged to me!”
“Indeed! ” I replied; ” I am very pleased to hear it. You are a happy man, Dick.”
“Yes!” he said! ” happier than I deserve. But what delights me almost as much as having won her is that she never gave a thought to that fellow Burton. If I had had any sense I must have seen that a girl like her could never be taken in by a wretched fellow like him; but somehow I managed to be jealous of him. Well, that’s all over! thank goodness. I really believe I shall get to like him now I’m sure he can do me no harm.”
And so the young fellow chatted on, cutting me to the heart with almost every sentence that he uttered. What a dreadful awakening I was preparing for him! For of course! the awful truth must be told him, that he and his rival had fallen in love with a sham. It would be an awkward moment for both of us. Should I tell him now, and get it over? On lhe whole I preferred to put it off, and consult Moore first. His fertile brain would suggest a way out of the difficulty. Perhaps he would make a second automaton that would do for one of the rival suitors, while the other kept to Amelia. At any rate! I preferred to get his advice before acting. He had made the Phantasm bleed; might he not get us out of this still more unpleasant position?
I told him of the new complication. To my surprise he made light of it.
“Well?” he said, when I had finished my recital.
“Well?” I replied, “I should think that was enough.”
“Why,” he said, ” I can see nothing wonderful in that. The wonder would be if they hadn’t proposed to her. Women have had offers before now.”
“But you can’t intend to let things go on as they are?” I cried.
“That’s exactly what I do intend,” he answered. “Why should I interfere?”
“But think of it for one moment,” I said. ” Two men in love with the same automaton; two men in the position of accepted lovers at the same moment! Think of even one man in that position! How awful it is–why, it is too dreadful to think of!”
“Then I shan’t think of it,” he answered coolly. “My dear fellow, what is there so strange in it all? Men have been in love with stone-like women before this. Men have given themselves up to heartless and soulless abstractions before this. Anyone who gets my Amelia will get something, at any rate, not a mere doll.”
The plain fact dawned on me that Moore’s extraordinary success had turned his brain. He had put so much of himself into his automaton that he had positively begun to regard her as a real living being, in whose veins flowed his own blood, in whose nostrils was his own breath. Eve was not more truly bone of Adam’s bone than this Amelia was part and parcel of Moore’s life.
There was a mysterious union between them which gave me an uncanny feeling of sorcery. Could it be that by some unholy mealls Moore had succeeded in conveying some portion of his own life to this creature of his brain? I tried to dismiss the thought, for I am a man of science; yet it recurred again and again.
Burton and Calder were engaged to Amelia. It may be easily understood that now and then they came into collision. Sometimes things looked strange to them. Calder once demanded an explanation of his fiancée as to the frequency of Burton’s visits. She gave him an account that satisfied him, and sealed it with a smile and a kiss that made him feel like a villain forever doubting her. People wondered at the confidence with which both the young men asserted that they were the favoured suitors, and admired the daring skill with which Amelia played off one against the other. No one warned the young men; it was none of our business to interfere with them.
In such matters one young man is remarkably similar to another. Their very modes of speech tend to become the same. In asking Amelia to fix the day, need it be wondered at that they used precisely the same terms as have been used by all young rnen from the dav when that nameless suitor of “pretty Jane” promised to buy the ring for his beloved? The result may be easily foreseen. Amelia, by some hidden law of her being, for which not she but perhaps Moore was to blame, could not help fixing the same day for both. Had a third candidate appeared on the scene, she would have fixed the same day for him also.
When I had heard this fatal dénouement, I confess that even Moore’s influence could not keep me from taking a step on my own account. I would not destroy Amelia, much as I hated her for the trouble she had caused me. Something seemed to tell me that her death would be the certain death of Moore, whose life was bound up in hers as closely as the life of Jacob was bound up in that of Benjamin.
By some subtle process, every time danger threatened Amelia, Moore’s spirits seemed to sink; every time she surmounted the danger his spirits rose again. He had put himself into her. I would not destroy her; but I went to Calder and I gave him a pretty plain hint as to the position of affairs between her and Burton. He would not believe me.
“If I thought she was false,” he said, ” I would stab her where she stood, were it at the very altar. But it cannot be. She has pledged herself to me, and mine she is!”
“I know it for a fact,” I answered, ” that she has promised to marry Burton on the 29th of February.”
“The twenty-ninth,” he cried. ” Why, that is my day, the day on which she promised to marry me.”
“Precisely so,” I said. ” What she means to do I don’t know.”
“But I know what I mean to do,” he answered gloomily. ” I will have it out with her.”
“No violence.”
” None at all. Don’t fear me. By Heaven, what a heartless creature. But it can’t be true. You are deceiving me.”
“Too true. But find out for yourself.” I took my leave, and went home. I afterwards ascertained what Calder’s plan was. He made no inquiry from Amelia; he simply went and begged her to put off the day of his marriage a month, from the twenty-ninth of February to the last day of March. She readily agreed. He then went off and bought a sharp Spanish dagger.
The day of the marriage drew near, and nearer. Every preparation was completed. It was to be fashionable. The church was got ready in expectation of a large assemblage of people. At length the eventful morning dawned. I was to give the bride away to Burton, as after the postponement of Calder’s wedding he was the only bridegroom left in the race. We came out and stood before the altar.
As I passed along I noticed two figures in different parts of the building, both familiar to me. They were Moore and Calder. The former was untidy, evidently excited and restless. The latter was scrupulously neat; but he had a strangely determined look on his face. One hand was hidden under the breast of his frock coat.
The service proceeded. Fancy a girl like this being told she was a daughter of Abraham, so long as she was not afraid with any amazement! Certainly a cooler, less perturbed daughter of the patriarch I never saw. She gave the response in a clear, musical voice. They came to the fatal question–” Wilt thou have this man to be thy husband?”
Before she could answer “I will,” there was a sudden confusion; a man rushed forward, drew forth a dagger from his breast and shouting, “You shall not!” stabbed Amelia to the heart — or rather through the left side of her bodice. She fell to the ground, striking her head heavily as she fell against the rail. There was a whirr, a rush. The anti-phonograph was broken. I bent over her, and opened her dress to staunch the wound. Moore had made no provision for her bleeding there. As I drew out the dagger, it was followed by a rush of sawdust.
In the confusion of the strange discovery, no one noticed that a real death was taking place not twenty feet away. As the sexton was clearing out the church, he noticed a man asleep in one of the pews, leaning against a pillar. He went up and touched him; but there was no answer. He shook him; but the man was as heedless as Baal. It was Arthur Moore, and he was dead. He had put his life into his masterpiece; his wonderful toy was broken, and the cord of Moore’s life was broken with it.
And as for me, why, I am no longer a fashionable physician. As I write, there are men about me, who talk of me as a patient.
The End
James Wallace Harris, 6/23/24
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[
"Dangerous Minds",
"Dangerous",
"Minds",
"Richard Metzger",
"Richard",
"Metzger"
] | null |
[] | null |
Dangerous Minds is a compendium of the new and strange-new ideas, new art forms, new approaches to social issues and new finds from the outer reaches of pop culture. Our editorial policy, such that it is, reflects the interests, whimsies and peculiarities of the individual writers. We are your favorite distraction.
|
/favicon.ico
| null |
1 “Don’t look so frightened, young man. Just a professional joke. To say treatment is symptomatic means there is none, except to make the patient feel as comfortable as possible. And that is precisely what we attempt to do in these cases.” Once again Carl felt the impact of that cold interest on his face. “That is to say reassurance when reassurance is necessary… and, of course, suitable outlets with other individuals of similar tendencies. No isolation is indicated… the condition is no more directly contagious than cancer. Cancer, my first love,” the doctor’s voice receded. He seemed actually to have gone away through an invisible door leaving his empty body sitting there at the desk.
2 “They say somebody pushed him.”
3 The boy shied. His street-boy face, torn with black scars of junk, retained a wild, broken innocence; shy animals peering out through grey arabesques of terror.
4 “‘Doc, she sure is a dry hole…. Well, thanks for the paregoric.
5 “Brilliant chap Schafer… but…”
6 “Jesus! These ID’s got no class to them.”
7 “And I say unto you, brothers and sisters of the Anti-Fluoride movement, we have this day struck such a blow for purity as will never call a retreat…. Out, I say, with the filthy foreign fluorides! We will sweep this fair land sweet and clean as a young boy’s tensed Hank. …I will now lead you in our theme song The Old Oaken Bucket.”
8 “We sure did. And you know those citizens were so loaded on that marijuana they all wig inna middle of the banquet…. Me, I just had bread and milk… ulcers you know.”
9 The Embassy would give no details other than place of burial in the American Cemetery….
10 CAMPUS OF INTERZONE UNIVERSITY
11 “Oh say do that Star Spangled Banner yet wave…”
12 The old junky has found a vein… blood blossoms in the dropper like a Chinese flower… he push home the heroin and the boy who jacked off fifty years ago shine immaculate through the ravaged flesh, fill the outhouse with the sweet nutty smell of young male lust….
13 “Know Marty Steel?” Diddle.
14 Marvie does buy himself a shot glass of beer, squeezing a blackened coin out of his fly onto the table. “Keep the change.” The waiter sweeps the coin into a dust pan, he spits on the table and walks away.
15 All streets of the City slope down between deepen-ing canyons to a vast, kidney-shaped plaza full of darkness. Walls of street and plaza are perforated by dwelling cubicles and cafes, some a few feet deep, others extending out of sight in a network of rooms and corridors.
16 He paces around the boy like an aroused tom cat.
17 “With that milk sugar shit? Junk is a one-way street. No U-turn. You can’t go back no more.”
18 “Just two seconds,” I said.
19 “So long flatfoot!” I yell, giving the fruit his B production. I look into the fruit’s eyes, take in the white teeth, the Florida tan, the two hundred dollar sharkskin suit, the button-down Brooks Brothers shirt and carrying The News as a prop. “Only thing I read is Little Abner.”
20 Pigs rush up and the Prof. pours buckets of pearls into a trough….
21 Hauser had been eating breakfast when the Lieutenant called: “I want you and your partner to pick up a man named Lee, William Lee, on your way downtown. He’s in the Hotel Lamprey. 103 just off B way.”
22 “And all them junkies sitting around in the lotus posture spitting on the ground and waiting on The Man.
23 More and more static at the Drug Store, mutterings of control like a telephone off the hook… Spent all day until 8 P.M. to score for two boxes of Eukodol….
Joy Division was given its first opportunity to play outside the United Kingdom on 16 October 1979. That alone would have distinguished the gig for the band, but of special interest to Curtis and his mates was the fact that they would be opening for Burroughs. The avant-garde theater troupe Plan K, which had made a specialty of interpreting Burroughs’ work, were founding a performance space in a former sugar refinery in Brussels, Belgium. The opening was conceived as a multimedia spectacle. Films were to be screened — among others, Nicholas Roeg’s Performance (starring Mick Jagger) and Burroughs’ own experiments with Antony Balch. The Plan K theater troupe were to perform “23 Skidoo.” Joy Division and Cabaret Voltaire were to give “rock” concerts. And Burroughs and Brion Gysin were to read from their recently published book, The Third Mind.
Before the evening’s events, Burroughs and Joy Division gave separate interviews to the culture magazine En Attendant. Graciously provided to RealityStudio by the interviewer and the organizer of the Plan K opening, Michel Duval, these have been translated from the French and are reproduced here for the first time since their publication in November 1979. You can read the French original or the English translation of Duval’s interview with Joy Division, as well as the French original or the English translation of Duval’s interview with William Burroughs.
After Burroughs’ reading brought the opening of Plan K to its climax, Curtis attempted to introduce himself to his literary idol. This meeting, like so many things about both Curtis and Burroughs, has already become legend — which is another way of saying that its factual basis may have receded into darkness. If you search around the internet, you’ll see sites describing the encounter in terms like this: “Unfortunately when Ian went up to talk to him the author told Ian to get lost.” And this: “Burroughs probably was tired and bored with the concerts and when Ian went up to talk with him the author told Ian to get lost. Ian got lost immediately, not a little hurt by the rebuff.” Chris Ott’s book Joy Division’s Unknown Pleasures repeats the story, and Mark Johnson’s book An Ideal for Living asserts that Burroughs refused to speak to Curtis.
|
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wrong_mix_random_publicationDate_00046
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FactBench
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0
| 22
|
https://www.theguardian.com/books/2014/feb/01/william-burroughs-junky-will-self
|
en
|
William Burroughs - the original Junkie
|
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[
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[
"Will Self",
"www.theguardian.com",
"will-self"
] |
2014-02-01T00:00:00
|
On the centenary of William Burroughs' birth, <strong>Will Self</strong> on why he was the perfect incarnation of late 20th‑century western angst – self-deluded, narcissistic yet perceptive about the sickness of the world
|
en
|
the Guardian
|
https://www.theguardian.com/books/2014/feb/01/william-burroughs-junky-will-self
|
Entitled Junkie: Confessions of an Unredeemed Drug Addict and authored pseudonymously by "William Lee" (Burroughs' mother's maiden name – he didn't look too far for a nom de plume), the Ace original retailed for 35 cents, and as a "Double Book" was bound back-to-back with Narcotic Agent by Maurice Helbrant. The two-books-in-one format was not uncommon in 1950s America, but besides the obvious similarity in subject matter, AA Wyn, Burroughs' publisher, felt that he had to balance such an unapologetic account of drug addiction with an abridgement of the memoirs of a Federal Bureau of Narcotics agent, which originally appeared in 1941.
Since, in the hysterical, anti-drug culture of postwar America, potential censure could easily induce self-censorship, it's remarkable that Junky (as it was published under his own name) found a publisher at all. Despite its subhead, Wyn did think the book had a redemptive capability, as the protagonist made efforts to free himself of his addiction, but he also insisted that Burroughs preface the work with an autobiographical sketch that would explain to the reader how it was that someone such as himself – a Harvard graduate from a Social Register family – came to be a drug addict. Both Junkie and Narcotic Agent have covers of beautiful garishness, featuring 1950s damsels in distress. On the cover of Junkie a craggy-browed man is grabbing a blond lovely from behind; one of his arms is around her neck, while the other grasps her hand, within which is a paper package. The table beside them has been knocked in the fray, propelling a spoon, a hypodermic, and even a gas ring, into inner space.
This cover illustration is, in fact, just that: an illustration of a scene described by Burroughs in the book. "When my wife saw I was getting the habit again, she did something she had never done before. I was cooking up a shot two days after I'd connected with Old Ike. My wife grabbed the spoon and threw the junk on the floor. I slapped her twice across the face and she threw herself on the bed, sobbing … " That this uncredited and now forgotten hack artist should have chosen one of the few episodes featuring the protagonist's wife to use for the cover illustration represents one of those nastily serendipitous ironies that Burroughs himself almost always chose to view as evidence of the magical universe.
From double book to stand alone; from Ace Original to Penguin Modern Classic; from unredeemed confession to cult novel; from a cheap shocker to a refined taste – the history of this text in a strange way acts as an allegory of the way the heroin subculture Burroughs depicted has mutated, spread and engrafted itself with the corpus of the wider society, in the process irretrievably altering that on which it parasitises. Just as – if you turn to his glossary of junk lingo and jive talk – you will see how many arcane drug terms have metastasised into the vigorous language.
Burroughs wrote Junky on the very brink of a transformation in western culture. His junkies were creatures of the depression, many of whose addictions predated even the Harrison Act of 1922, which outlawed the sale of heroin and cocaine in the US. Burroughs viewed the postwar era as a Götterdämmerung and a convulsive re-evaluation of values. With his anomic inclinations and his Mandarin intellect, he was in a paradoxical position vis a vis the coming cultural revolution of the 1960s. An open homosexual and a drug addict, his quintessentially Midwestern libertarianism led him to eschew any command economy of ethics, while his personal inclinations meant he had to travel with distastefully socialist and liberal fellows. For Burroughs, the re-evaluation was both discount and markup, and perhaps it was this that made him such a great avatar of the emergent counterculture.
Janus-faced, and like some terminally cadaverous butler, Burroughs ushers in the new society of kicks for insight as well as kicks' sake. In the final paragraph of Junky he writes: "Kick is seeing things from a special angle. Kick is momentary freedom from the claims of the ageing, cautious, nagging, frightened flesh."
Let's return to that cover illustration with its portrayal of "William Lee" as Rock Hudson and his common-law wife, Joan Vollmer, as Kim Novak. When I say Burroughs himself must have regarded the illustration – if he thought of it at all – as evidence of the magical universe he conceived of as underpinning and interpenetrating our own, it is because the first draft of the book was completed in the months immediately preceding his killing of Vollmer on 6 September 1951 in Mexico City. Burroughs wrote in his 1985 foreword to Queer (which was completed in the year after Vollmer's death, but remained unpublished until 34 years later), "I am forced to the appalling conclusion that I would never have become a writer but for Joan's death, and to a realisation of the extent to which this event has motivated and formulated my writing."
Much has been written and even more conjectured about the killing. Burroughs himself described it as "the accidental shooting death"; and although he jumped bail, he was only convicted – in absentia by the Mexican court – of homicide. However, to my mind this rings false with the way he characterised his life, and his writing, thereafter: "I live with the constant threat of possession and the constant need to escape from possession, from Control." Burroughs saw the agent of possession implicated in the killing as external to him, "a definite entity". He went further, hypothesising that such an entity might devise the modern, psychological conception of possession as a function of the subject's own psyche: "since nothing is more dangerous to a possessor than being seen as a separate invading creature by the host it has invaded".
Personally, I think Burroughs' definition of "possession" was tantamount to an admission of intent. Certainly, the hypothesis of murderous impulsiveness squares better with the impromptu "William Tell act" (whereby he called upon Vollmer to place a glass upon her head, which he would then shoot off) than his own bewilderment in the face of an act of such cruel stupidity and fatal rashness. (He knew the gun to shoot low, and what would have happened to the glass shards even if he had succeeded? There were others in the room.)
I belabour these events for two reasons. First, because I think an understanding of the milieu within which Burroughs and Vollmer operated, and the nature of their life together, is essential in disentangling the post hoc mythologising of the writer and his life from the very grim reality of active drug addiction that constitutes the action of Junky. When Burroughs was off heroin he was a bad, blackout drunk (for evidence you need look no further than his own confirmation in Junky). However much he cared for Vollmer, their life together was clearly at an impasse (their sexuality was incompatible and she was even beginning to object to his drug use); and what could be more natural – if only momentarily – than to conceive of ridding himself of an obvious blockage?
Second, although the bulk of Junky was in place before the killing, Burroughs continued to revise the text at least as late as July 1952, including current events such as the arrival from New York of his old heroin-dealing partner Bill Garver (whose name is changed to "Bill Gains" in the text). The meat of the text of Junky is as close as Burroughs could get to a factual account of his own experience of heroin. In a letter to Allen Ginsberg (who had worried that the book constituted a justification of Burroughs' addiction), he inveighed: "As a matter of fact the book is the only accurate account I ever read of the real horror of junk. But I don't mean it as justification or deterrent or anything but an accurate account of what I experienced while I was on the junk. You might say it was a travel book more than anything else. It starts where I first make contact with junk, and it ends where no more contact is possible." All of which is by way of saying: Junky is not a novel at all, it is a memoir; "William Lee" and William Burroughs are one and the same person. Burroughs' own conception of himself was essentially fictional, and it's not superfluous to observe that before he began to write with any fixity he had already become a character in other writers' works, most notably in Jack Kerouac's On the Road. He also signed his letters to Ginsberg, Kerouac et al with his nom de plume, as well as using his correspondence as a form of work in progress, peppering his epistles to the Beats with his trademark riffs and routines. By the time Burroughs was living in Tangier in the late 1950s, his sense of being little more than a cipher, or a fictional construct, had become so plangent that he practised the art of insubstantiality with true zeal, revelling in the moniker "El Hombre Invisible".
Burroughs was the perfect incarnation of late 20th-century western angst precisely because he was an addict. Self-deluding, vain, narcissistic, self-obsessed, and yet curiously perceptive about the sickness of the world if not his own malaise, Burroughs both offered up and was compelled to provide his psyche as a form of Petri dish, within which were cultured the obsessive and compulsive viruses of modernity.
Burroughs never managed to recover from his addiction at all, and died in 1997 physically dependent on the synthetic opiate methadone. I find this a delicious irony: the great hero of freedom from social restraint, himself in bondage to a drug originally synthesised by Nazi chemists, and dubbed "Dolophine" in honour of the Fuhrer; the fearless libertarian expiring in the arms of an ersatz Morpheus, actively promoted by the federal government as a "cure" for heroin addiction. In the prologue to Junky and the introduction to The Naked Lunch, Burroughs writes of his own addiction as if it were a thing of the past, but this was never the case. In a thin-as-a-rake's progress that saw him move from America to Mexico, to Morocco, to France, to Britain, back to New York, and eventually to small-town Kansas, Burroughs was in flight either from the consequences of his chemical dependency, or seeking to avoid the drugs he craved.
As for the text itself, it reads today as fresh and unvarnished as it ever has. Burroughs' deadpan reportage owes as much to the hard-boiled style of the detective thriller writer Dashiell Hammett as it does to his more elevated philosophical inclinations. In eschewing rhetorical flourish or adjectival excess, Burroughs sought to remain silent about what could not be said, just like the drug subculture he was so enchanted by: "She shoved the package of weed at me. 'Take this and get out,' she said. 'You're both mother fuckers.' She was half asleep. Her voice was matter-of-fact as if referring to actual incest."
What it isn't is any kind of true analysis of the nature of addiction itself. Burroughs' own view – that "you become a narcotics addict because you do not have strong motivations in any other direction. Junk wins by default" – is a deceptively thin, Pandora's portfolio of an idea that raises the question: for what kind of person could drug addiction represent a "strong motivation"? Surely only one for whom alienation, and a lack of either moral or spiritual direction, was inbuilt.
Indeed, this is the great sadness of Junky (and Burroughs himself) as I conceive it. You can reread this entire text, assuming the hypothesis of addiction as a latent pathology, present in the individual prior to his having any direct experience of chemical dependency, and everything that Burroughs says about habitual heroin use begins to make perfect sense. But taking him at his own, self-justifying estimation (predicated on a renunciation of drugs that never came), Burroughs' Junky becomes the very archetype of the romanticisation of excess that has so typified our era: "I loosened the tie, and the dropper emptied into my vein. Coke hit my head, a pleasant dizziness and tension, while the morphine spread through my body in relaxing waves. 'Was that alright?' asked Ike, smiling. 'If God made anything better, he kept it for himself,' I said."
It is Burroughs' own denial of the nature of his addiction that makes this book capable of being read as a fiendish parable of modern alienation. For, in describing addiction as "a way of life", Burroughs makes of the hypodermic a microscope, through which he can examine the soul of man under late 20th-century capitalism. His descriptions of the "junk territories" his alter ego inhabits are, in fact, depictions of urban alienation itself. And just as in these areas junk is "a ghost in daylight on a crowded street", so his junkie characters - who are invariably described as "invisible", "dematerialized" and "boneless" - are, like the pseudonymous "William Lee" himself, the sentient residue left behind when the soul has been cooked up and injected into space.
|
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wrong_mix_random_publicationDate_00046
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FactBench
|
3
| 77
|
https://dactylreview.com/2011/03/15/cities-of-the-red-night-the-place-of-dead-roads-and-the-western-lands-by-william-s-burroughs/
|
en
|
Cities of the Red Night, The Place of Dead Roads, and The Western Lands by William S. Burroughs
|
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2011-03-15T00:00:00
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NOTHING IS TRUE. EVERYTHING IS PERMITTED Undeniably the magnum opus of his later (some might say entire) career, the trilogy of novels produced by William S. Burroughs between 1981 and 1987 continues to cast its shadow as one of the most enduring pieces of experimental American literature ever written. Whether readers find this “great work”…
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https://secure.gravatar.com/blavatar/072dca2b1ef1fe66bb461d265a8d754ce85460c6a45a9479fe1c1a6d0d7b85d0?s=32
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Dactyl Review
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https://dactylreview.com/2011/03/15/cities-of-the-red-night-the-place-of-dead-roads-and-the-western-lands-by-william-s-burroughs/
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NOTHING IS TRUE. EVERYTHING IS PERMITTED
Undeniably the magnum opus of his later (some might say entire) career, the trilogy of novels produced by William S. Burroughs between 1981 and 1987 continues to cast its shadow as one of the most enduring pieces of experimental American literature ever written.
Whether readers find this “great work” to be great indeed or just greatly disappointing will largely depend on their opinion of Naked Lunch (1959) and his other novels from the 60s and 70s, because although the form and substance have matured quite a bit in the intervening decades, there is still much from these early cut-ups prefiguring the wild rides that are Cities of the Red Night (1981), The Place of Dead Roads (1983), and The Western Lands (1987). The lurid descriptions of sex, drugs, and violence are still very much present in Burroughs’ later work — packaged as ever with the surrealism and satire devotees have come to expect — but in addition to the standard W.S.B. tropes on desire and disgust, we now have giant diseased centipedes, fearsome gods and goddesses, and (just for good measure) time-traveling, shape-shifting, homosexual cowboy assassins from outer space to contend with. If it all sounds a bit strange, you had better believe that it is.
It is important to note that Burroughs himself never intended these books as a trilogy per se, at least not in the same sense that readers and critics typically think of trilogies. Perhaps the term “trilogy” implies a bit more cohesion between the titles encompassing one than Burroughs was comfortable using to describe these three essentially scattershot novels. Anyone brave enough to read through all 896 convoluted pages will certainly understand why — such are the narrative acrobatics employed throughout, the second and third books could just as easily have been episodes from the first and second as continuations therefrom!
And yet, we can neither deny their commonalities in theme and subject matter nor the clear progression taking place from one book to the next — starting with the danger of physical death in the fabled cities, followed by the much graver concern of spiritual death on the dead roads, and finally the hope of transcending death altogether through pilgrimage to the lands west of the Nile. Still, each of the three books are perfectly capable of standing alone as self-contained (if internally explosive) narratives as well. Whatever Burroughs intended with them separately, however, when taken together they clearly constitute an arc of sorts, which is why we must consent to call them a trilogy after all, unofficial though it may be.
Cities of the Red Night (Holt, Rinehart & Winston, 332 pages) follows a dual narrative, slipping fluidly between the early 18th century exploits of a libertarian pirate crew, led by gunsmith Noah Blake, and the late 20th century “private asshole” (Clem Snide) hired to find the decapitated remains of one Jerry Green — victim apparent of a bizarre hanging/sex cult. It is worth noting that hanging and the spontaneous erections/ejaculations induced by this mode of execution factor heavily into both tales, at times serving as the literal and symbolic connection between the two. Looking to the invocation, we find that the book itself is dedicated (amongst many others) to:
Ix Tab, Goddess of Ropes and Snares, patroness of those who hang themselves, to Schmuun, the Silent One, twin brother of Ix Tab, to Xolotl the Unformed, Lord of Rebirth, to Aguchi, Master of Ejaculations, to Osiris and Amen in phallic form, to Hex Chun Chan, the Dangerous One, to Ah Pook, the Destroyer, to the Great Old One and the Star Beast, to Pan, God of Panic, to the nameless gods of dispersal and emptiness, to Hassan i Sabbah, Master of Assassins, [and to] all the scribes and artists and practitioners of magic through whom these spirits have been manifested….
This intercultural pantheon of creative and destructive deities embodies the underlying mythos of the novel, which centers on transmutation of the soul through the simultaneous experience of orgasm and bodily death. Suggested is the notion of the spirit itself erupting from the inflamed, blistering body, its distinctive musky aroma being that of the “Red Fever” (a.k.a. Virus B-23), a disease originally endemic to the ancient mythical cities for which the book is named: Tamaghis, Ba’dan, Yass-Waddah, Waghdas, Naufana, and Ghadis. In one early episode, the enigmatic Dr. Peterson explains his theory on the virus:
Now let us consider the symptoms of Virus B-23: fever, rash, a characteristic odor, sexual frenzies, obsession with sex and death…. Is this so totally strange and alien? […] We know that a consuming passion can produce physical symptoms … fever … loss of appetite … even allergic reactions … and few conditions are more obsessional and potentially self-destructive than love. Are not the symptoms of Virus B-23 simply the symptoms of what we are pleased to call ‘love’? Eve, we are told, was made from Adam’s rib … so a hepatitis virus was once a healthy liver cell. If you will excuse me, ladies, nothing personal … we are all tainted by viral origins.
This equating of human biology and behavior with that of a viral organism is perhaps nothing new, but in Cities of the Red Night it is employed as a vital first premise to the view of reality postulated by the trilogy as a whole. In the world put forth by Burroughs, it is the soul itself which is the virus, bound to spread from one corporeal form to the next, at least until it it finds a host hardy enough to transcend life as we know it.
In The Place of Dead Roads (Holt, Rinehart & Winston, 306 pages) Burroughs takes a detour into the old American West, beginning with the 1899 death of writer/gunslinger Kim Carsons in a Colorado shootout. From there the story unfolds in a nonlinear telling of Kim’s past experience — across vast swaths of time and space, under various forms and guises — as professional assassin and prominent member of “The Johnson Family” (incidentally, the novel’s original title). The Johnsons are a brotherhood of honorable thieves and other itinerants who play Robin Hood to the rapacious Sherif of Nottingham represented by the Immortality Control Board of Venus and their unwitting minions in government, religion, and other organizations of Earthly control. As might be expected, the goal of the Venusian conspiracy is to prevent our souls from ever reaching the Western Lands and the genuine immortality that awaits therein, keeping us forever trapped in a scheme of systematic vampirism that, like the serfdoms of medieval England and the wage slavery common to most modern states, is far from symbiotic in nature. In Kim’s words,
We’re not fighting for a scrap of sharecropper immortality with the strings hanging off it like Mafioso spaghetti. We want the whole tamale. The Johnsons are taking over the Western Lands. We built it with our brains and our hands. We paid for it with our blood and our lives. It’s ours and we’re going to take it. And we are not applying in triplicate to the Immortality Control Board. Anybody gets in our way we will get our communal back against a rock or a tree and fight the way a raccoon will fight a fucking dog.
The ancient Egyptians pioneered the preservation of the physical body and protection of the immortal soul through a marriage of science and the arcane, but compared to what Kim has in mind, their methods were crude and uncivilized at best. To begin with, mummification was something that only the obscenely rich could ever hope to afford, thus putting this route to immortality in direct conflict with Kim’s own socialist aims. But even if this privilege were equally available to all members of society, the logistics involved in shielding each and every mummy from the elements, vandals, and inevitable nuclear war were far too staggering to even consider. Besides, where would they even find the space to store them all?
Unlike the pharaohs and their obsession with securing impregnable tombs underground, or the astronauts and their insistence on having their entire “awkward life process encapsulated and transported [with them] into Space”, Kim searches for a way that we might ditch our flawed form altogether on our way through the cosmos and the six cities between us and the Western Lands. He considers the human body to be the prison that keeps us stuck in our inescapable cycle of sex and death, one which only furthers the aims of those feeding off our vital life energies. Therefore, just
[a]s a prisoner serving a life sentence can think only of escape, so Kim takes for granted that the only purpose of his life is space travel. […] The alien medium we glimpse beyond Time is Space. And that is where we are going. Kim sees dreams as a vital link to our biologic and spiritual destiny in space. […] Kim considers that immortality is the only goal worth striving for. He knows that it isn’t something you just automatically get for believing some nonsense or other like Christianity or Islam. It is something you have to work and fight for, like everything else in this life or another.
Though vanished from this Earth now for over one hundred thousand years already, the cities may yet exist on other planes and planets, after all. And if a soul is able to project itself through space as well as time, no longer encumbered by its former body, then its odds of locating the first station on the pilgrimage (Tamaghis) go from infinitesimal to infinite. For now anyway, the rest of us remain permanently earthbound and stranded, wandering through countless lives forever, somewhere along the dead roads:
‘And what is a dead road? Well, senor, somebody you used to meet, uno amigo, tal vez….” Remember a red brick house on Jane Street? Your breath quickens as you mount the worn red-carpeted stairs…. The road to 4 calle Larachi, Tangier, or 24 Arundle Terrace in London? So many dead roads you will never use again … a flickering gray haze of old photos … pools of darkness in the street like spilled ink … a dim movie marquee with smoky yellow bulbs … red-haired boy with a dead-white face. The guide points to a map of South America. “Here, senor … is the Place of Dead Roads.
The Western Lands (Viking Penguin 258 pages) wraps up the trilogy with a more involved look at the pilgrimage thereto, intercut with crosscurrents from the Egyptian Book of the Dead and remembrances from the author’s own life, the mass of which merges into a hallucinogenic exploration of the potentialities inherent in our concept of the great beyond. Part memoir, part attempt to provide closure to the impossibly sprawling mythology he’s created, this book feels doubly relevant as we watch the story and W.S.B. himself galloping rapidly to their end:
Forty years ago the writer had published a novel which had made a stir. […] He still had the clippings, but they were yellow and brittle now and he never looked at them. If he had removed them from the cellophane covering in his scrapbook they would have shredded to dust. […] Often in the morning he would lie in bed and watch grids of typewritten words in front of his eyes that moved and shifted as he tried to read [them], but he never could. He thought if he could just copy these words down, which were not his own words, he might be able to put together another book and then… yes, and then what?
It is perhaps impossible to miss the autobiographical quality of this passage, though to dwell on this aspect is to miss the deeper connection implied between the dying writer and the countless other deaths realized in the often vain quest for immortality. Whether one seeks eternal life through their artistic legacy or by literally questing for the holy grail that is the Western Lands, only one thing is sure — “Life is very dangerous and few survive it.”
The word is out now that life after death is a real possibility, no longer a matter of unsubstantiated faith. As governments collapse and global catastrophe inches closer and closer, a “Great Awakening” washes over the land, and a mass of pilgrims as determined as they are desperate flock to heed the call:
Just as the Old World mariners suddenly glimpsed a round Earth to be circumnavigated and mapped, so awakened pilgrims catch hungry flashes of vast areas beyond Death to be created and discovered and charted, open to anyone ready to take a step into the unknown, a step as drastic and irretrievable as the transition from water to land. […] The pilgrimage to the Western Lands has started, the voyage through the Land of the Dead. Waves of exhilaration sweep the planet, awash in seas of silence. There is hope and purpose in these faces, and total alertness, for this is the most dangerous of all roads, for every pilgrim must meet and overcome his own death.
Kim is now en route to The Western Lands, along with Neferti, Hassan i Sabbah, and a host of others as they each attempt their own treacherous journey, fraught with every kind of danger imaginable. And while there is no shortage of deadly foes and lethal traps to be evaded or otherwise dealt with along the way, including (but certainly not limited to) the noxious “Breathers”, flying venomous scorpions, and Open Season duelists around every corner, perhaps the biggest impediment to progress on the pilgrim’s path is the sheer uncertainty of how best to proceed. As we are told at the outset of chapter seven:
Today’s easy passage may be tomorrow’s death trap. The obvious road is almost always a fool’s road, and beware the Middle Roads, the roads of moderation, common sense and careful planning. However, there is a time for planning, moderation and common sense.
Sound advice to be sure (wherever one’s destination), but when the eternal soul is on the line, seekers generally seek out more direct guidance than that! Perhaps this explains why we remain so inclined to find our way within the context of this or that philosophy, science, or religion — as ultimately flawed beings, flawed as we are in terms of even basic perception, it is not surprising that we so often look to others for the way. Then again, this would also explain why so few (if any) of us ever succeed in reaching the Western Lands….
One line we often hear about artists is that their work is not to be intellectualized, but rather experienced instead. This of course is meant to imply that their artistic efforts reflect too much depth and complexity to be summed up through conventional analysis. And while this is all too often just an excuse for incoherence and base absurdity, in the case of William S. Burroughs and his Dead Roads trilogy, it may have some actual applicability. For while each of the three books can and have been rigorously analyzed, their haunting imagery and oscillating plot lines teased out and laid bare for all to grasp and piece together, it is not the object of this review to accomplish such an impressive feat as that.
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A Guide to Speculative Fiction at Gustavus Library
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A guide to speculative fiction created by Visiting Librarian Abe Nemon in 2021/2022.
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Transformations : the story of the science-fiction magazines from 1950 to 1970 by Mike Ashley
Call Number: PS374.S35 A78 2005
ISBN: 9780853237693
"This is the second of three volumes [Librarian's note: now five] that chart the history of the science fiction magazine from the earliest days to the present. The first volume, Time Machines, traced the development of the science fiction magazine from its earliest days and the creation of the first specialist magazine, Amazing Stories. This book takes up the story to reveal a turbulent period that was to witness the extraordinary rise and fall and rise again of science. It charts the science fiction boom years in the wake of the nuclear age that was to see the ‘The Golden Age’ of Science Fiction, with the emergence of magazines such as Galaxy, Startling Stories, and Fantastic, as well as authors like Isaac Asimov, Philip K. Dick, and Frank Herbert. The book then goes on to explore the bust years of 1954–1960, followed by the renaissance in the 1960s led by the new wave of British authors such as Michael Moorcock and J. G. Ballard, and the rise in interest of fantasy fiction, encouraged by The Lord of the Rings and the Conan books of Robert E. Howard. It concludes with an examination of the newfound interest in science fiction magazines during the late 1960s and the incredibly influential roles Star Trek, the film 2001: A Space Odyssey and, above all, the first manned Moon landing played in transforming the science fiction magazine." - from the publisher
Dangerous Visions and New Worlds : radical science fiction, 1950 to 1985 by Andrew Nette (Editor); Iain McIntyre (Editor)
Call Number: PN3433.5 .D36 2021
ISBN: 9781629639321
"In the period of major social change that spanned the 1950s through the 1970s, science fiction became an ideal vessel to illustrate a multifaceted upsurge of radical protest, with its focus on speculation, alternate worlds, and the future. Dangerous Visions and New Worlds details, celebrates, and evaluates how science fiction novels and authors depicted, interacted with, and were inspired by these cultural and political movements in America and Great Britain. It starts with progressive authors who rose to prominence in the conservative 1950s, challenging the era's narratives of technological breakthroughs and space-conquering male heroes, then moves through the 1960s, when authors shattered existing writing conventions and incorporated contemporary themes such as modern mass media culture, corporate control, state surveillance, the Vietnam War, and rising currents of counterculture, ecological awareness, feminism, sexual liberation, and Black Power. The 1970s, when the genre reflected the end of various dreams of the 'long Sixties,' is also explored along with the first half of the 1980s, which gave rise to new subgenres." -- Provided by publisher.
Gateways to Forever : the story of the science-fiction magazines from 1970 to 1980 by Mike Ashley
Call Number: PS374.S35 A78 2007
ISBN: 9781846310034
"This third volume in a four-volume study of science fiction magazines focuses on the turbulent years of the 1970s, when the United States emerged from the Vietnam War into an economic crisis. It saw the end of the Apollo moon programme and the start of the ecology movement. This proved to be one of the most complicated periods for the science fiction magazines. Not only were they struggling to survive within the economic climate, they also had to cope with the death of the father of modern science fiction, John W. Campbell, Jr., while facing new and potentially threatening opposition. The market for science fiction diversified as never before, with the growth in new anthologies, the emergence of semi-professional magazines, the explosion of science fiction in college, the start of role-playing gaming magazines, underground and adult comics, and, with the success of Star Wars, media magazines. The book explores how the traditional science fiction magazines coped with this, from the death of Campbell to the start of the major popular science magazine Omni and the first dreams of the Internet." - from the publisher
Solar Flares : science fiction in the 1970s by Andrew M. Butler
Call Number: PN3433.8 .B885 2012
ISBN: 9781846318344
"Science fiction produced in the 1970s has long been undervalued. The New Wave was all but over and cyberpunk had yet to arrive. The decade polarised sci-fi; on the one hand it aspired to be a serious form, addressing issues such as race, Vietnam, feminism, ecology and sexuality; on the other hand it broke box office records with ‘Star Wars’, ‘Close Encounters of the Third Kind’, ‘Alien’, and ‘Superman: The Movie’. Across the political spectrum, writers perceived a series of invisible enemies: radicals addressed the ideological structures of racism, sexism, homophobia, colonialism, pollution, and capitalism and the possibility of new social structures, whereas conservatives feared the gains made by the civil rights movement, feminism, gay liberation, independence movements, ecology and Marxism and the perceived threats to the nuclear family. Sci-fi would never be the same again. This book examines the ways in which the genre confronted a new epoch and its own history, including the rise of fantasy, the sci-fi blockbuster, children's sci-fi, pseudoscience and postmodernism." - from the publisher
Dangerous Visions (3 volumes) by Harlan Ellison (Editor)
Call Number: PS3555.L62 D35 1969
"Dangerous Visions is a science fiction short story anthology edited by American writer Harlan Ellison and illustrated by Leo and Diane Dillon. It was published in 1967. A path-breaking collection, Dangerous Visions helped define the New Wave science fiction movement, particularly in its depiction of sex in science fiction. Writer/editor Al Sarrantonio writes how Dangerous Visions 'almost single-handedly [...] changed the way readers thought about science fiction.' Contributors to the volume included 20 authors who had won, or would win, a Hugo, Nebula, World Fantasy, or BSFA award, and 16 with multiple such awards. Ellison introduced the anthology both collectively and individually while authors provided afterwords to their own stories." - from Wikipedia
Again, Dangerous Visions (2 volumes) by Harlan Ellison
Call Number: PS648.S3 A43 1972
"Again, Dangerous Visions (1972) is a science fiction short story anthology, edited by American author Harlan Ellison. It is the follow-up to Dangerous Visions (1967), also edited by Ellison. Cover art and interior illustrations are by Ed Emshwiller. Like its predecessor, Again, Dangerous Visions, and many of the collected stories, have received awards recognition. 'The Word for World is Forest', by Ursula K. Le Guin, won the 1973 Hugo for Best Novella. 'When It Changed', by Joanna Russ, won a 1972 Nebula Award for Best Short Story. Harlan Ellison was recognized with a special Hugo Award for anthologizing, his second special award, in 1972. Again, Dangerous Visions was released as a two-volume paperback edition by Signet in the United States, and by Pan in the United Kingdom. A sequel was planned, The Last Dangerous Visions, but was never published." - from Wikipedia
England Swings SF : stories of speculative fiction by Judith Merril 1923-1997, (Compiler)
Call Number: PN6071.S33 E55 1968
"One anthology project Merril began in the early 1960s under contract to Lion Books in Chicago was aborted, but inspired her publisher's editor Harlan Ellison to go forward with his own version of the project, which yielded Dangerous Visions (Doubleday, 1967). As an initiator of the New Wave movement, she edited the 1968 anthology England Swings SF, whose stories she collected while living in England for a year." - from Wikipedia
Librarian's note: In this anthology, esteemed SF anthologist and editor Judith Merril collected stories from British New Wave authors -- who (according to scholar Andrew Nette and Iain McIntyre) were instrumental in starting the New Wave movement with Michael Moorcock becoming editor of New Worlds in 1964.
Memoirs of a Spacewoman by Naomi Mitchison; Isobel Murray (Introduction by)
Call Number: PR6025.I86 M46 1977
ISBN: 9781849210355
"Naomi Mitchison, daughter of a distinguished scientist, sister of geneticist J B S Haldane, was always interested in the sciences, especially genetics. Her novels did not tend to demonstrate this, and she did not publish a Science Fiction novel until almost forty years into her fiction-writing career. Isobel Murray's Introduction here argues that it is by no means 'pure' Science Fiction: the success of the novel depends not only on the extraordinarily variety of life forms its heroine encounters and attempts to communicate with on different worlds: she is also a very credible human, or Terran, with recognisibly human emotions and a dramatic emotional life. This novel works effectively for readers who usually eschew the genre and prefer more traditional narratives. Explorers like Mary are an elite class who consider curiosity to be Terrans' supreme gift, and in the novel she more than once takes risks that may destroy her life. Her voice, as she records her adventures and experiments, is individual, attractive and memorable. Isobel Murray is Emeritus Professor of Modern Scottish Literature at the University of Aberdeen." - from the publisher
The Genocides by Thomas M. Disch
Call Number: PS3554.I8 G4 1978
ISBN: 9780375705465
"This spectacular novel established Thomas M. Disch as a major new force in science fiction. First published in 1965, it was immediately labeled a masterpiece reminiscent of the works of J.G. Ballard and H.G. Wells. In this harrowing novel, the world's cities have been reduced to cinder and ash and alien plants have overtaken the earth. The plants, able to grow the size of maples in only a month and eventually reach six hundred feet, have commandeered the world's soil and are sucking even the Great Lakes dry. In northern Minnesota, Anderson, an aging farmer armed with a Bible in one hand and a gun in the other, desperately leads the reduced citizenry of a small town in a daily struggle for meager existence. Throw into this fray Jeremiah Orville, a marauding outsider bent on a bizarre and private revenge, and the fight to live becomes a daunting task." - from the publisher
Ice by Anna Kavan; Jonathan Lethem (Foreword by); Kate Zambreno (Afterword by)
Call Number: PR6009.D63 I24 2017
ISBN: 9780143131991
"In a frozen, apocalyptic landscape, destruction abounds: great walls of ice overrun the world and secretive governments vie for control. Against this surreal, yet eerily familiar broken world, an unnamed narrator embarks on a hallucinatory quest for a strange and elusive "glass-girl" with silver hair. He crosses icy seas and frozen plains, searching ruined towns and ransacked rooms, all to free her from the grips of a tyrant known only as the warden and save her before the ice closes all around. A novel unlike any other, Ice is at once a dystopian adventure shattering the conventions of science fiction, a prescient warning of climate change and totalitarianism, a feminist exploration of violence and trauma, a Kafkaesque literary dreamscape, and a brilliant allegory for its author's struggles with addiction--all crystallized in prose as glittering as the piling snow. Acclaimed upon its publication as one of the best science fiction books of the year, Kavan's 1967 novel has built a reputation as an extraordinary and innovative work of literature, garnering acclaim from China Mieville, Patti Smith, J.G. Ballard, Anaïs Nin, and Doris Lessing, among others. With echoes of dystopian classics like Ursula Le Guin's The Lathe of Heaven, Kurt Vonnegut's Cat's Cradle, and J.G. Ballard's High Rise, Ice is a necessary and unforgettable addition to the canon of science fiction classics." - from the publisher
Do Androids Dream of Electric Sheep? by Philip K. Dick
Call Number: PS3554.I3 A33 2017
ISBN: 9780345404473
"By 2021, the World War had killed millions, driving entire species into extinction and sending mankind off-planet. Those who remained coveted any living creature, and for people who couldn't afford one, companies built incredibly realistic simulacra: horses, birds, cats, sheep... They even built humans. Immigrants to Mars received androids so sophisticated it was impossible to tell them from true men or women. Fearful of the havoc these artificial humans could wreak, the government banned them from Earth. But when androids didn't want to be identified, they just blended in. Rick Deckard was an officially sanctioned bounty hunter whose job was to find rogue androids and retire them. But cornered, androids tended to fight back, with deadly results." - from the publisher
Stand on Zanzibar by John Brunner 1934-1995
Call Number: PR6052.R8 S73
"The brilliant 1969 Hugo Award-winning novel from John Brunner, Stand on Zanzibar, now included with a foreword by Bruce Sterling. Norman Niblock House is a rising executive at General Technics, one of a few all-powerful corporations. His work is leading General Technics to the forefront of global domination, both in the marketplace and politically---it's about to take over a country in Africa. Donald Hogan is his roommate, a seemingly sheepish bookworm. But Hogan is a spy, and he's about to discover a breakthrough in genetic engineering that will change the world...and kill him. These two men's lives weave through one of science fiction's most praised novels. Written in a way that echoes John Dos Passos' U.S.A. Trilogy, Stand on Zanzibar is a cross-section of a world overpopulated by the billions. Where society is squeezed into hive-living madness by god-like mega computers, mass-marketed psychedelic drugs, and mundane uses of genetic engineering. Though written in 1968, it speaks of now, and is frighteningly prescient and intensely powerful." - from the publisher
The Dragonriders of Pern by Anne McCaffrey
Call Number: PS3563.A255 D73 1978
"Finally together in one volume, the first three books in the world's most beloved science fiction series, THE DRAGONRIDERS OF PERN, by Anne McCaffrey, one of the great science fiction writers of all time: DRAGONFLIGHT, DRAGONQUEST, THE WHITE DRAGON. Those who know these extraordinary tales will be able to re-visit with Lessa, F'lar, Ruth, Lord Jaxon, and all the others. And for those just discovering this magical place, there are incomparable tales of danger, deceit, and daring, just waiting to be explored." - from the publisher
Librarian's note: With the first book in this omnibus, Dragonflight, Anne McCaffrey became the first woman to win the Nebula Award for Best Novel in 1968.
The Left Hand of Darkness by Ursula. K Le Guin; David Mitchell (Foreword by); Charlie Jane Anders (Afterword by)
Call Number: PS3562.E42 L44 1969
ISBN: 9780441478125
"Ursula K. Le Guin’s groundbreaking work of science fiction—winner of the Hugo and Nebula Awards. A lone human ambassador is sent to the icebound planet of Winter, a world without sexual prejudice, where the inhabitants’ gender is fluid. His goal is to facilitate Winter’s inclusion in a growing intergalactic civilization. But to do so he must bridge the gulf between his own views and those of the strange, intriguing culture he encounters... Embracing the aspects of psychology, society, and human emotion on an alien world, The Left Hand of Darkness stands as a landmark achievement in the annals of intellectual science fiction."
The Silver Eggheads by Fritz Leiber 1910-1992
Call Number: PS3523.E4583 S55 1969
"A HEADLONG RIOT OF HILARIOUS SCIENCE FICTION SATIRE -- MEET SOME INSUFFERABLY WONDERFUL CHARACTERS, from the mad, gay, heady world of the "arts" -- GASPARD DE LA NUIT—human journeyman writer. He has problems with his rampant lover, Heloise Ibsen (assigned to him by his publisher). What he really loves is the giant computer-word-machine that produces his novels—read by other humans—which he oils with devoted care. His closest friend is ZANE GORT—a fine, upstanding, self-employed robot writer. Zane writes books for other robots and is madly in love with MISS BLUSHES—a censor-robix (female robot) of delicate pink. Miss Blushes is something of a prude and rather hysterical: very logical when you consider that her circuits are wired for censorship, but it makes life difficult for Zane. He turns for help to NURSE BISHOP—a small, but formidably beautiful human, who (in addition to the remarkable advice she offers Zane) plays nursemaid to a mysterious group of near-human entities owned by FLAXMAN AND CULLINGHAM—human publishers, whose language is frequently deplorable. To say nothing of the peculiar interest at least one of them has in a luscious platinum robut no, the daring reader must discover this for himself... AND THERE ARE MANY, MANY MORE..." - from the publisher
Ringworld by Larry Niven
Call Number: PS3564.I9 R56 1970
ISBN: 9780345333926
"Ringworld is a 1970 science fiction novel by Larry Niven, set in his Known Space universe and considered a classic of science fiction literature. Ringworld tells the story of Louis Wu and his companions on a mission to the Ringworld, a rotating wheel artificial world, an alien construct in space 186 million miles (299 million kilometres) in diameter. Niven later added three sequel novels and then cowrote, with Edward M. Lerner, four prequels and a final sequel; the five latter novels constitute the Fleet of Worlds series. All the novels in the Ringworld series tie into numerous other books set in Known Space. Ringworld won the Nebula Award in 1970, as well as both the Hugo Award and Locus Award in 1971." - from Wikipedia
Time and Again by Jack Finney
Call Number: PS3556.I52 T56 1970
ISBN: 9780671204976
"Discover the beloved classic that Stephen King called “THE great time-travel story,” now with masterfully restored original artwork and an all-new foreword by Audrey Niffenegger, the New York Times bestselling author of The Time Traveler’s Wife. When advertising artist Si Morley is recruited to join a covert government operation exploring the possibility of time travel, he jumps at the chance to leave his 20th-century existence and step into New York City in January 1882. Aside from his thirst for adventure, he has good reason to return to the past—his friend Kate has discovered a mysterious, half-burned letter dated from that year, and Si has good reasons to want to trace its origins. But when Si begins to fall in love with a woman he meets in the past, he will be forced to choose between two worlds—forever. “Pure New York fun” (Alice Hoffman, New York Times bestselling author), Time and Again is a deeply researched rich portrait of life in New York City more than a century ago, and a swift-moving adventure novel with timeless themes at its core. With digitally remastered art, fall in love with this refreshed classic all over again." - publisher description of later edition
Driftglass : ten tales of speculative fiction by Samuel R Delany
Call Number: PS3554.E437 D75 1971
"Driftglass is a 1971 collection of science fiction short stories by American writer Samuel R. Delany. The stories originally appeared in the magazines Worlds of Tomorrow, The Magazine of Fantasy & Science Fiction, If and New Worlds or the anthologies Quark/3, Dangerous Visions and Alchemy & Academe. In 2019, Driftglass was selected as one of the '50 Unapologetically Queer Authors Share the Best LGBTQ Books of All Time' in O, The Oprah Magazine." - from Wikipedia
Librarian's note: Contains some of SFWA Grandmaster Delany's most acclaimed stories, including "Aye, and Gommorah" and "Time Considered as a Helix of Semi-Precious Stones."
Son of Man by Robert Silverberg
Call Number: PS3569.I472 S66 1971
ISBN: 9780345022776
"The classic science fiction novel, now back in print. Clay is a man from the 20th Century who is somehow caught up in a time-flux and transported into a distant future. The earth and the life on it have changed beyond recognition. Even the human race has evolved into many different forms, now coexisting on the planet. The seemingly omnipotent Skimmers, the tyrannosaur-like Eaters, the sedentary Awaiters, the squid-like Breathers, the Interceders, the Destroyers—all of these are "Sons of Man". Befriended and besexed by the Skimmers, Clay goes on a journey which takes him around the future earth and into the depths of his own soul. He is human, but what does that mean?" - from the publisher
Alone against tomorrow: stories of alienation in speculative fiction. by Harlan Ellison
Call Number: PS3555.L62 A46 1971
"Alone Against Tomorrow: Stories of Alienation in Speculative Fiction is a collection of short stories by American writer Harlan Ellison. Published in the United States in 1971, it as a ten-year retrospective of Ellison's short stories. It was later published in the United Kingdom in two volumes as All the Sounds of Fear in 1973 and The Time of the Eye in 1974 (the 1974 volume only containing a new introduction). All of the stories in this collection center around isolation and alienation, and were selected from previous short story collections to fit this theme. The book was dedicated to, among others, four student protesters who were killed in the Kent State shootings of 1970. This dedication prompted a response from a reader calling the students 'hooligans' who were 'Communist-led radical revolutionaries and anarchists, and deserved to be shot'. This letter was reprinted in the introduction to Ellison's subsequent 1974 short story collection Approaching Oblivion. Ellison states that this letter frightened him and was one of the things that led him to change that collection from a call to action to a cry of frustration and disillusionment." - from Wikipedia
Librarian's note: Collects some of Ellison's most famous stories, including "I Have No Mouth, and I Must Scream" and "'Repent, Harlequin!' Said the Ticktockman."
The Stepford Wives by Ira Levin
Call Number: PS3523.E7993 S74 1998
ISBN: 9780747538028
"For Joanna, her husband, Walter, and their children, the move to beautiful Stepford seems almost too good to be true. It is. For behind the town's idyllic facade lies a terrible secret -- a secret so shattering that no one who encounters it will ever be the same. At once a masterpiece of psychological suspense and a savage commentary on a media-driven society that values the pursuit of youth and beauty at all costs, The Stepford Wives is a novel so frightening in its final implications that the title itself has earned a place in the American lexicon."
Rendezvous with Rama by Arthur C Clarke (Arthur Charles), 1917-2008
Call Number: PR6005.L36 R4 1973
Winner of the Hugo and Nebula Awards • “[Arthur] Clarke is quite splendid. . . . We experience that chilling touch of the alien, the not-quite-knowable, that distinguishes SF at its most technically imaginative.”—The New York Times
"At first, only a few things are known about the celestial object that astronomers dub Rama. It is huge, weighing more than ten trillion tons. And it is hurtling through the solar system at inconceivable speed. Then a space probe confirms the unthinkable: Rama is no natural object. It is, incredible, an interstellar spacecraft. Space explorers and planet-bound scientists alike prepare for mankind's first encounter with alien intelligence. It will kindle their wildest dreams . . . and fan their darkest fears. For no one knows who the Ramans are or why they have come. And now the moment of rendezvous awaits—just behind a Raman airlock door." - from the publisher
The Forever War by Joe W Haldeman
Call Number: PS3558.A353 F67 2003
ISBN: 9780060510862
"The monumental Hugo and Nebula award winning SF classic [...] The Earth's leaders have drawn a line in the interstellar sand--despite the fact that the fierce alien enemy they would oppose is inscrutable, unconquerable, and very far away. A reluctant conscript drafted into an elite Military unit, Private William Mandella has been propelled through space and time to fight in the distant thousand-year conflict; to perform his duties and do whatever it takes to survive the ordeal and return home. But "home" may be even more terrifying than battle, because, thanks to the time dilation caused by space travel, Mandella is aging months while the Earth he left behind is aging centuries..." - from the publisher
Beyond Apollo by Barry N Malzberg
Call Number: PS3563.A434 B4 1974
ISBN: 9780571105106
"Two astronauts travel on the first manned expedition to the planet Venus. When the mission is mysteriously aborted and the ship returns to Earth, the Captain is missing and the First Officer, Harry M. Evans, can't explain what happened. Under psychiatric evaluation and interrogation, Evans provides conflicting accounts of the Captain's disappearance, incriminating both himself and lethal Venusian forces in the Captain's murder. As the explanations pyramid and the supervising psychiatrist's increasingly desperate efforts to get a straight story falter, Evans' condition and his inability to tell the "truth" present terrifying expressions of humanity's incompetence, the politics of space exploration, and the intricate dynamics of psycho-sexual relations . . . Originally published in 1972, BEYOND APOLLO incited controversy, polarizing critics and fans despite winning the first John W. Campbell Memorial Award for Best Science Fiction Novel. Always disinclined to sell out or compromise his vision, Malzberg became disillusioned with the SF genre, which purported to be THE genre of innovation. Paradoxically, many SF editors and publishers worried about unsettling readers' comfort zones and insisted that authors write in accordance with a set of rules, formulas and codes. Malzberg would neither heel nor kneel; disillusioned, he unofficially retired from the genre in the late seventies and hasn't looked back. What he produced as a science fiction writer, however, remains among the best published during the twentieth century-important in its historical context, but also entertaining and thought-provoking in its own right. Dark, acerbic, funny and smart, BEYOND APOLLO may be Malzberg's greatest accomplishment." - from the publisher
The Dispossessed by Ursula. K Le Guin
Call Number: PS3562.E42 D57 1994
ISBN: 9780061054884
"From the brilliant and award-winning author Ursula K. Le Guin comes a classic tale of two planets torn apart by conflict and mistrust — and the man who risks everything to reunite them. A bleak moon settled by utopian anarchists, Anarres has long been isolated from other worlds, including its mother planet, Urras—a civilization of warring nations, great poverty, and immense wealth. Now Shevek, a brilliant physicist, is determined to reunite the two planets, which have been divided by centuries of distrust. He will seek answers, question the unquestionable, and attempt to tear down the walls of hatred that have kept them apart. To visit Urras—to learn, to teach, to share—will require great sacrifice and risks, which Shevek willingly accepts. But the ambitious scientist's gift is soon seen as a threat, and in the profound conflict that ensues, he must reexamine his beliefs even as he ignites the fires of change."
The continuous Katherine Mortenhoe = The Unsleeping Eye by D G Compton (David Guy), 1930-
Call Number: PR6053.O45 C6 1974
ISBN: 9780575018280
"Katherine Mortenhoe lives in a near future very similar to the present day. Only in her time, dying from anything but old age is unheard of; death has been cured. So when Katherine is diagnosed with a terminal brain disease brought on by an inability to process an ever increasing volume of sensory input, she immediately becomes a celebrity to the “pain-starved public.” But Katherine rejects her tragic role: She will not agree to be the star of a Human Destiny TV show, her last days will not be documented or broadcast. What she doesn’t realize is that from the moment of diagnosis she’s been watched, not only by television producers but by a new kind of program host, a man with a camera behind his unsleeping eyes. Like Margaret Atwood’s MaddAddam trilogy, Kazuo Ishiguro’s Never Let Me Go, and the television series Black Mirror, The Continuous Katherine Mortenhoe is a thrilling psychological drama that is as wise about human nature as it is about the nature of technology." - from the publisher
The Centauri Device by M. John Harrison; Copyright Paperback Collection (Library of Congress) Staff (Contribution by)
Call Number: PR6058.A6942 C46 1974
"John Truck was to outward appearances just another lowlife spaceship captain. But he was also the last of the Centaurans, or at least half of him was, which meant that he was the only person who could operate the Centauri Device, a sentient bomb which might hold the key to settling a vicious space war. M. John Harrison's classic novel turns the conventions of space opera on their head, and is written with the precision and brilliance for which is famed."
Dhalgren by Samuel R. Delany
Call Number: PS3554.E437 D34 1975
ISBN: 9780553148619
"In one of the most profound and bestselling science fiction novels of all time, Samuel R. Delany has produced a novel 'to stand with the best American fiction of the 1970s' (Jonathan Lethem, bestselling author of Fortress of Solitude). Bellona is a city at the dead center of the United States. Something has happened there.... The population has fled. Madmen and criminals wander the streets. Strange portents appear in the cloud-covered sky. Into this disaster zone comes a young man—poet, lover, and adventurer—known only as the Kid. Tackling questions of race, gender, and sexuality, Dhalgren is a literary marvel and groundbreaking work of American magical realism." - from the publisher
The Female Man by Joanna Russ
Call Number: PS3568.U763 F46 1975
ISBN: 9780807062999
"Living in an altered past that never saw the end of the Great Depression, Jeannine, a librarian, is waiting to be married. Joanna lives in a different version of reality: she's a 1970s feminist trying to succeed in a man's world. Janet is from Whileaway, a utopian earth where only women exist. And Jael is a warrior with steel teeth and catlike retractable claws, from an earth with separate-and warring-female and male societies. When these four women meet, the results are startling, outrageous, and subversive."
The Shockwave Rider by John Brunner
Call Number: PR6052.R8 S52 1975
ISBN: 9780060105594
"He was the most dangerous fugitive alive, but he didn’t exist! Nickie Haflinger had lived a score of lifetimes . . . but technically he didn’t exist. He was a fugitive from Tarnover, the high-powered government think tank that had educated him. First he had broken his identity code—then he escaped. Now he had to find a way to restore sanity and personal freedom to the computerized masses and to save a world tottering on the brink of disaster. He didn’t care how he did it—but the government did. That’s when his Tarnover teachers got him back in their labs . . . and Nickie Haflinger was set up for a whole new education." - from the publisher
Woman on the Edge of Time by Marge Piercy
Call Number: PS3566.I4 W66 2016
ISBN: 9780449000946
"Hailed as a classic of speculative fiction, Marge Piercy’s landmark novel is a transformative vision of two futures—and what it takes to will one or the other into reality. Harrowing and prescient, Woman on the Edge of Time speaks to a new generation on whom these choices weigh more heavily than ever before. Connie Ramos is a Mexican American woman living on the streets of New York. Once ambitious and proud, she has lost her child, her husband, her dignity—and now they want to take her sanity. After being unjustly committed to a mental institution, Connie is contacted by an envoy from the year 2137, who shows her a time of sexual and racial equality, environmental purity, and unprecedented self-actualization. But Connie also bears witness to another potential outcome: a society of grotesque exploitation in which the barrier between person and commodity has finally been eroded. One will become our world. And Connie herself may strike the decisive blow." - from the publisher
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https://legsville.com/target-shooting-with-william-s-burroughs/
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TARGET SHOOTING WITH WILLIAM S. BURROUGHS
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Legsville
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https://legsville.com/target-shooting-with-william-s-burroughs/
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©2021 By Legs McNeil
“You like sports?” William S. Burroughs asked, staring down at me like Peter Graves in Airplane when he asks the little boy, on his knee, if he likes to go see gladiator movies.
“Nah, you?” I muttered.
“Not particularly,” Burroughs snorted, “though I must say, I do like guns. But of course, I don’t have any here. Against the law, you know…”
And then he snickered, showing some teeth through those pale, thin lips, and I felt like I was sharing a laugh with the Grim Reaper himself. We were sitting across from one another at the dinner table inside the Bunker, an old YMCA locker room on the Bowery that poet John Giorno had converted into a loft and that Burroughs called home. It was a hulking, white, windowless, concrete slab of a space that reeked of naked men being functional. Perfect.
Victor Bockris, who I’d managed to become friends with after he broke up with Billie Bartlet, and Burroughs’ personal adjutant, James Grauerholz, were in the other room going over manuscripts. So it was just me and William, both of us so drunk and stoned that we were trying to keep from nodding out as we exchanged pleasantries. Two guys with no use for small talk, small-talking.
“I do have some things of interest, though,’ Burroughs said, rising from his chair, looking quite brittle and teetering from the effects of potent chemicals. I felt like I should’ve grabbed him before he fell, but once on his feet, Burroughs righted himself, strode across the room, and returned with a Bowie knife and a blowgun.
“Cool, a blowgun,” I managed, as he handed it to me along with a steel dart. Burroughs unsheathed the knife for himself, which turned out to be not a knife but a small sword.
“Chris Stein gave this to me,” he said, referring to the Blondie lead guitarist. “An excellent piece of workmanship!” And then he started to slash the imaginary bears coming at him.
I put the dart in the blowgun and stood up beside him. Staggering a bit. And just as I raised it to my lips, a little gray mouse– a real mouse– scurried out from underneath a cupboard and ran across our killing field.
“GET HIM, LEGS! GET HIM!!!” Burroughs yelled as he clutched the sword overhead, “GET HIM!”
“WHHAPPP!!!”
I missed by ten years; the dart bounced off the wall, nowhere near the crevice the mouse disappeared into. Burroughs looked at me with disgust.
“The object was to hit the mouse, not the goddamn wall,” he hissed.
“Uh, sorry…”
“Well, I guess it takes some practice to hit a moving target,” Burroughs mumbled, excusing my aim, though his entire six-foot frame sulked.
“What are you two doing in here?” James Grauerholz asked, re-entering the room to see what the ruckus was.
“Mouse hunting,” I told him.
“Having any luck?” James grinned.
“Noooo, we haven’t bagged anything yet,” Burroughs huffed, still upset that I’d blown such a great opportunity. His sulking seemed to say, if only he had the blowgun, instead of the knife, we’d have a trophy-mouse to show for our efforts.
James went back in the other room to finish up with Victor, and Burroughs sat back down at the dinner table. I quietly took my seat across from him, and we both stared at the table.
“Plenty of vodka left,” Burroughs sighed, being polite, though it was obvious he was bored with me.
“Great, can I get you a refill?” I asked, trying to make it up to him.
“No,” he huffed, “I’m doing just fine, thank you.”
But I knew that William S. Burroughs hadn’t been fine in years, which is why I was there, to learn from the ultimate outsider the murky secret of how to survive until fortune finally smiled on me. There were things I had to know from him….
I did know William had been born into an upper-middle class St. Louis family in 1914 and when he came of age, took one look around and said, “Fuck this shit!” Already painfully aware of his homosexuality and heavily influenced by, You Can’t Win: The Autobiography of Jack Black, about the thieving world of a turn-of-the-century corrupt family of weasels, Burroughs rejected his mid-western civility in favor of a life of crime.
“I was fascinated by this glimpse of an underworld of seedy rooming houses, pool parlors, cat houses, and opium dens; of bull pens and cat burglars and hobo jungles,” Burroughs wrote in the introduction to the reissue of You Can’t Win, “I learned about the Johnson family of good bums and thieves, with a code of conduct that made more sense to me than the arbitrary, hypocritical rules that were being taken for granted as being right by my peers…”
After a short stint at a boy’s school in Los Alamos, New Mexico, that was torn down to make way for the Manhattan Project, Burroughs bummed around the country trying to make his mark in the underworld, before becoming a fence in Times Square. It was there he discovered morphine Syrettes and his heroin addiction was off and running. It was also there that Burroughs met two former Columbia University students who were also looking to break out of confines of America’s numbing sterility—Jack Kerouac and Allen Ginsberg.
“We couldn’t figure out what his secret mystery was,” Ginsberg said of his and Kerouac’s first meeting with William, “From Burroughs we got our whole conception of some spiritual crises in the West and the possibility of decline instead of infinite American Progress– and the idea of an apocalyptical historical charge….”
After that first meeting in 1943, Jack Kerouac, Allen Ginsberg and William Burroughs were poised to change American Literature forever and that “apocalyptical historical charge” Ginsberg had mentioned, introduced a dangerous new concept into American life—the hipster. When the writing of the Beats morphed with rock & roll, the world suddenly became very big indeed. The hipster was a free spirit who rebelled against traditional American middle-class values in favor of thrills and adventures– conscious and unconscious— trying to discover who and what we were in relationship to the Universe. It was a life that was completely aware of The Big Picture, but as time rolled along, it was shortened to, “Sex, drugs and rock & roll,” a much smaller, compact vision, that primarily involved indulging addictions, as valid a pursuit as any.
Ginsberg said it best when he wrote in Howl, “I’ve seen the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix….”
We’d all been driven furiously mad searching for that angry fix–that new way to get off—and I still was on the path, desperately trying to find that thing that would make me work.
Unlike Ginsberg and Kerouac, that night at the Bunker, I wasn’t looking for anything so grandiose as a “apocalyptic historical charge;” I just wanted some advice on how to survive my role as Resident Punk– some insight on how to carry on until I manifested enough self-discipline to really start writing. I knew it wasn’t a question I could come right out and ask, I had to be patient and wait for William to reveal the secrets to me….
In the meantime, I drank and watched as Burroughs tried to survive his oceans of guilt…
It all started when Jack Kerouac was seeing a rich girl from Grosse Point, Michigan, named Edie Parker, who was attending Columbia University when she wasn’t out chasing boys. Edie was roommates with Joan Vollmer, a lithe beauty who was a Barnard student and even more boy-crazy than Edie– she even had her own diaphragm, an unheard of personal possession for 1943. While Joan was already married to a serviceman and had a daughter, Julie– they didn’t interfere with her ever increasing sexual exploits. Like Burroughs, Joan had also rejected her middle-class upbringing in favor of the bohemian lifestyle, reading Plato and Kant while listening to classical music in the bubble bath, when she wasn’t out screwing some “cocksman.” Unlike Burroughs though, Joan preferred the whirlwind highs of Benzedrine, to the negated bliss of heroin.
When Kerouac and Ginsberg moved into Joan’s new apartment on 115th Street, Burroughs became a regular visitor. The older criminal and the college girl formed a fast friendship, sharing in books like Conrad Aiken’s Silent Snow, Secret Snow, and enjoying dinners at Chinese restaurants, where William taught her how to eat with chopsticks. Both Kerouac and Ginsberg urged Burroughs to take up with the attractive speed freak, and in early 1946, Burroughs finally gave into his need for companionship and moved in with Joan.
“Burroughs didn’t mind having sex with women,” Ted Morgan wrote in his biography, Literary Outlaw: The Life and Times of William Burroughs, “and he must have been proficient at it, because Joan, a woman of wide experience at 22, gave him high marks, saying, ‘You make love like a pimp.’ Primarily, however, their relationship was one between two remarkable intellects. Burroughs saw Joan as a woman of remarkable insight. She was the smartest member of the group, he thought, certainly as smart as Allen Ginsberg, in many ways smarter, because there were limits to Allen’s thinking, but none to Joan’s.”
As Burroughs descended deeper and deeper into his addiction, he was eventually busted for forging prescriptions and thrown into the Tombs– Manhattan’s infamous city lockup. While in jail, Burroughs suffered a nasty heroin withdrawal, before Joan came to his rescue, bailed him out, and gave him a handful of “goofballs” to counter his “kick.” When William came to trial in June of 1946, he was given a four month suspended sentence, since it was his first offense and a misdemeanor– but the judge told the junkie he was going to send him home to St. Louis for the summer– a fate far worse than jail.
Burroughs tried his hand at a variety of get-rich-quick schemes in St. Louis before convincing his parents to front him the money to buy fifty acres of farmland in East Texas, right on the Mexican border. He planted cotton and waited for the money to come rolling in, since cotton was a subsidy crop at $150 an acre. It didn’t work out. Farming proved to be much more of a gamble than Burroughs realized and he took to traveling to over the border to ease his boredom.
Meanwhile, back in New York, Joan, who missed William terribly, began using Benzedrine around the clock. Kerouac found her “out of her fucking mind” on speed and told Ginsberg, who informed Burroughs. When Joan was committed to Bellevue after the cops found her wandering the streets, Burroughs came to the rescue—he traveled to New York City got her released from the nuthouse, and then took Joan back to Texas with him.
Joan was pregnant with William’s child by the time she arrived in the Rio Grand Valley, where Burroughs rented another ninety-acre spread for growing marijuana while he waited for his next cotton crop to be harvested. Joan gave birth to a boy, who they named William Burroughs III, just in time to haul their pot to Manhattan where they hoped to reap a huge profit. But Burroughs hadn’t cured the male and female plants, and the grass was lacking THC, the ingredient that gets you high. Needless to say, nobody wanted their pot, and they dumped the entire load on some hoods, who agreed to take it off their hands for 100 bucks.
Back in Texas, Burroughs was arrested for drunk driving and public indecency when he and Joan stopped to fuck by the side of the road, and spent a night in jail. Fed up with marijuana farming and Texas, Burroughs sold the farm and he and Joan moved to New Orleans with their two kids, Billie the III and Julie, but the new city proved no better than Texas. Burroughs was picked up in a sweep by the local cops, and when they searched his house they found pot, heroin and a bunch of unregistered guns. Burroughs was facing a long prison stretch when his attorney bailed him out and hinted that Mexico might be the safest place to hide out until the five year statue of limitations expired. And so Joan and William, along with their kids, moved to Mexico City in the summer of 1949.
Mexico City didn’t prove any more hospitable to Burroughs than New York City, Texas or New Orleans. Like those other locales, Burroughs spent his days cruising the bars, betting on horses, shooting guns and getting high. As usual, his routines quickly turned into habits.
Then, one day, the routine was interrupted.
William had an overwhelming feeling of dread in early September 1951 as he walked down the streets of Mexico City, looking to get his knife sharpened. The knife-sharpeners had carts every ten blocks or so, and as William walked, the fear in his heart turned into a malignant horror that possessed his body— one he could not explain. He could hardly breathe as he approached the knife-sharpener– and burst into tears.
What was happening? Could this be some kind of weird withdrawal symptom? A physical manifestation of his losing streak? Some kind of possession? After the knife was sharpened, Burroughs returned home and started drinking to pass the hours until it was time go to a friend’s to sell one of his pistols, a .380 automatic.
Joan and William arrived at John Healy’s apartment above the Bounty Bar in the late afternoon, but the buyer wasn’t there, just Healy, as well as Eddie Woods and Gene Allerton. The couple continued drinking– and the drunker they got, the more playful they became, until Joan said to William, “I guess it’s about time for our William Tell act…”
As one eyewitness, Eddie Woods, said of the incident, “We were sitting around in this living room littered with bottles, and Joan was drinking limonada and Gene Allerton and I were sitting on the sofa, and Burroughs was sitting in a chair about an arm’s reach from me., so close that I could have reached over and grabbed his gun, and Joan was in a stuffed chair across from Gene and myself. I don’t know how the conversation got around to it, but Burroughs said, ‘Joanie, let me show the boys what a great shot old Bill is.’
“So she balanced her glass on her head and turned her head and said with a giggle, ‘I can’t watch this—you know I can’t stand the sight of blood.’ And then it dawned on me that he was going to pull the trigger, and I thought, ‘My God, if he hits that glass there’ll be shards flying all over of the place, there’ll be a hole in the wall…’ it just seemed ridiculous to me. So I started to reach for the gun, but then I thought, ‘You better not, cause if it goes off and hits her…’ She was nine, ten feet away….
“And then bang, that was the first impression, the noise,” Woods continued, “We were temporarily deafened by the sound. The next thing I knew the glass was on the floor, the glass was intact, it was rolling around in concentric circles…. And then I looked at Joan and her head had fallen to one side. Well, I thought, she’s kidding. Then I heard Gene say, ‘Bill, I think you hit her.’ Then Burroughs cried, ‘No!’ and started toward her, and then I saw the hole in her temple. Burroughs kept crying, ‘Joan, Joan, Joan!’ He was out of it, in complete shock…”
William Burroughs had shot and killed his common-law wife, Joan Vollmer, age 27, in a drunken game of William Tell on the afternoon of September 6th, 1951. (The same day that I met Shannon, only 49 years late)
“You could say it was an accident,” Ted Morgan wrote in Literary Outlaw, “but to Burroughs, there was no such thing as an accident. He believed in that inimical forces caused accidents. In this case, he had been given foreknowledge that something awful was about to happen, that a smog of menace and evil was about to descend. He had broken out in tears, but he had not paid proper attention to the signals. If he had, he would have retrenched, cut his drinking, gone to bed.
“The inimical force that caused him to kill Joan,” Morgan maintained, “Burroughs believed quite literally, was an evil spirit that had possessed him. This was a concept more medieval than modern, although whether the evil spirit is seen as coming from within or without, the result was the same. A divided personality with a capacity for wickedness can look for a psychological explanation, or can believe that he is possessed by malignant forces. Both explanations are metaphors for evil, which religion and the ‘ologies’ do not satisfactorily define.
“This was not on the level of a ‘save-me-from-myself’ apology.” Morgan added, “Being occupied by an evil spirit was not an excuse for throwing oneself on the mercy of the court. Quite the contrary: Each time a battle was lost in his struggle with the invading entity, the price was high, the sentence heavy…”
Evil spirits? Invading entities? Inimical forces? A divided personality with a capacity for wickedness?
I don’t know if I believed in that shit, but hanging out in the Bunker, I knew William did…
“The Moloch’s are out tonight, Legs,” William told me one night, when we stopped by the Bunker to pick up James Grauerholz to go to a show at CBGB’s, “Be very careful, you don’t want to let those buggers get a hold of you…”
“I will William, I will,” I smirked, not really believing there were forces of darkness out there waiting to get me– probably more forces of darkness inside the Bunker.
“Here, take my hat, for protection,” William said, handing me his green felt, Tyrolean-styled hat, with a feather in the side, to ward off the evil spirits. I hated hats, but put it on anyway. I mean, what was I gonna do, insult the man? He was only trying to help me, even if he was a bit loopy.
I lost the hat, even though it was snowing, in the few blocks it took to walk up Bowery from the Bunker to CBGB’s, and thought nothing more of Burroughs’ warning. That was the night I went for drinks with Debbie Harry and Chris Stein at Club 82 and ended up at Phebe’s, the off, off, off Broadway theater bar a few blocks from CBGB’s. Since I was just drunk enough when we left, I attempted to leap-frog over a row of parking meters out front. I succeeded clearing them all– except the last one, when my hands slipped on the icy meter– and instead of going up and over, I just went up and down– and my head splattered on the pavement like a ripe pumpkin.
“Uh, Legs, you still with us?” Debbie fussed.
I had a nasty road-burn on the side of my face, and blood trickling down my chin when I looked up and groaned, “Almost… I almost made them all…”
“You wanna go to the hospital?” Debbie fussed some more.
“You want us to call an ambulance?” Chris deadpanned.
I slowly picked myself up and shook myself off.
“No,” I moaned, “but I almost nailed them all…”
“Yeah,” Debbie laughed, “Except for that last one, it was expired, just like you– if only you’d dropped a quarter in first…”
“But I don’t have a quarter,” I laughed, smearing the blood across my face so it looked even more gruesome, “Let’s go to CB’s and scare people into buying us more drinks…”
No, this wasn’t inimical forces, but alcoholism. Or so I thought, but what if I hadn’t lost William’s hat? I was too practical to believe in signs and wonders, too rigid in my quest for facts to believe in anything mysterious, and like Carl Jung, I thought that, “When an inner situation is not made conscious, it appears outside as fate.”
Still, I knew Burroughs was suffering some heavy karma– everyone knew he had committed the ultimate act of transgression; it was the first thing they mentioned whenever his name came up, “Didn’t Burroughs shoot his wife?”
So I understood that William had permanently crossed over into the murky world of eternal sorrow and remorse, and curious as I was, I was fascinated by what it was like to live there…
“I am forced to the appalling conclusion that I would never have become a writer but for Joan’s death,” Burroughs wrote, “and to a realization of the extent to which this event has motivated and formulated my writing. I live with the constant threat of possession, and a constant need to escape from possession, from control. So the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a lifelong struggle, in which I have no choice except to write me way out.”
I was fascinated by William Burroughs’ personal story; I was intrigued by his role as inspiration and mentor to the Beats, and by the fact, that to become free from his demons, he had to write his way out. I was so enthralled by his story that I ignored his warnings– those huge ugly turkey buzzards on the billboards up ahead, screaming, “Beware!”
Good words to head, but did I listen?
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https://lareviewofbooks.org/article/welcome-interzone-william-s-burroughss-centennial
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Welcome to Interzone: On William S. Burroughs' Centennial
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2014-01-31T19:00:55+00:00
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Los Angeles Review of Books
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https://lareviewofbooks.org/article/welcome-interzone-william-s-burroughss-centennial
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Gilt and red plush. Rococo bar backed by pink shell. The air is cloyed with a sweet evil substance like decayed honey. Men and women in evening dress sip pousse-cafés through alabaster tubes. A Near East Mugwump sit naked on a bar stool covered in pink silk. He licks warm honey from a crystal goblet with a long black tongue. His genitals are perfectly formed — circumcised cock, black shiny pubic hairs. His lips are thin and purple-blue like the lips of a penis, his eyes blank with insect calm.
— William S. Burroughs, Naked Lunch
THE RECENT PASSING of Lou Reed resurrected the old quip by Brian Eno about the Velvet Underground — that hardly anyone bought their records, but everyone who did became a musician. William S. Burroughs, born 100 years ago today, may well be the Velvet Underground of American literature. A writer of vivid, hallucinatory prose works swimming with drug use, queer sex, and sci-fi viscera, Burroughs has always been an author whose name is dropped more often than his books are picked up. Still, in the second half of the 20th century, few figures had such a pervasive effect in virtually every field of culture from the most rarified avant-garde to the massively popular.
Writers stamped with his influence include J.G. Ballard, Angela Carter, Kathy Acker, Alan Moore, Lester Bangs, Dennis Cooper, and William Gibson, but his impact extends far beyond the literary. Burroughs collaborated with the painter Brion Gysin in Paris and London in the 1950s and 1960s, and in the 1980s embarked on his own painting career (the sneers of the art establishment deterred his painting roughly as much as the sneers of the literary establishment had deterred his writing; like the innumerable cultural icons devoted to his work, Burroughs was not the type to be impressed by the fussy incomprehension of the New Yorker set). With Robert Wilson and Tom Waits, he created the musical The Black Rider. His writing is a regular touchstone for the French philosopher Gilles Deleuze, especially in his collaborations with Felix Guattari. His works include two experimental films co-directed with Antony Blach in the early ‘60s, and it’s hard to imagine the visceral visual language of filmmakers like David Cronenberg without Burroughs’ splattery corporeal imaginary; in 1991 Cronenberg attempted a bold cinematic adaptation of Naked Lunch, with the author’s blessing. Almost as remarkable as his literary influence is his lasting impact on popular and experimental music. During his life, he collaborated with or was referenced by Sonic Youth, Throbbing Gristle, Cabaret Voltaire, Coil, Joy Division, Laurie Anderson, R.E.M., Blondie’s Chris Stein, and Ministry, as well as, suitably, Lou Reed and John Cale of the Velvet Underground. Steely Dan are named after a remarkable dildo from Yokohama that features in one of the most explicit sections of Naked Lunch. The term “heavy metal music” is taken from that book, too. The Soft Machine was a Burroughs novel before it was a British band. The “Johnny” in Patti Smith’s “Land”? That’s a reference to Burroughs’ Wild Boys. And Burroughs’ last filmed appearance was in the video for U2’s “Last Night on Earth.”
In the range of his influence no less than in the idiosyncratic uniqueness of his creative production, Burroughs stands less with the Beats or the postmodernists than with the restless, endless production of Andy Warhol. The bitter irony with which Burroughs’ satiric eye surveyed the emergence of post-WWII consumer and media culture is the inverted complement to Warhol’s gushingly enthusiastic embrace of the same raw materials. In Burroughs as in Warhol, a distance in time allows us to see the relentless exploratory drift between modes and media as a prototype for contemporary creativity, the artist not as auteur but as signature, as a distinctive style that is its own substance, gaining coherence not in the unity of its form but in the consistency of its attitude. Biographies of Burroughs often speak of his explorations in mixed media during the late 1960s and early 1970s, noting that he “only produced one major novel” in this third phase of his career (The Wild Boys, 1971). Likewise, biographers of Warhol tend to note that during the later 1960s the artist produced hardly any paintings, turning his attention to film “instead.” Though referred to as a novelist, Burroughs left behind a noteworthy archive of audio, video, and visual artistic collaborations, and his influence extends across all of these fields and beyond. “Most serious writers,” he told the Paris Review’s Conrad Knickerbocker in 1965, “refuse to make themselves available to the things that technology is doing. I’ve never been able to understand that sort of fear.”
I often wonder what a Complete Works of William Burroughs would look like; it’s hard to think of a “novelist” prior to Burroughs whose complete works would feel incomplete without both audio and video appendices (consider for example The Revised Boy Scout Manual, a novel in the form of three 60-minute audio cassettes dating to the 1970s). As we edge into the 21st century, Burroughs’ multimedia explorations seem less a digression and more a prescient openness to the aesthetic possibilities of emerging modes of communication and documentation. “I think,” Burroughs told Daniel Odier in the 1960s, “that the novelistic form is probably outmoded and that we may look forward perhaps to a future in which people do not read at all or read only illustrated book and magazines or some abbreviated form of reading matter.”
Canonized alternately between the incantatory honesty of the Beat Generation and the weighty formal innovations of mid-20th-century American postmodernism, Burroughs belongs properly to neither literary moment. Neither association does justice to the formal distinctiveness of his oevure. Burroughs is, rather, an untimely prophet of cultural production as we have come to know it: constant, but inconsistent; intimate but de-personalized; sprawling across media and emerging clearly from a single distinct person without any commitment to the inherent integrity of an authentic personality.
A consummate icon of writerly solitude, Burroughs retained a persistently Groucho-Marxist resistance to being part of any movement that would embrace him (“I am not punk and I don’t know why anybody would consider me the Godfather of Punk. How do you define punk?”) But his aloofness is not the self-conscious aestheticism of a Pynchon or a Barth, whose postmodernism attempts to stake a place for the author’s voice outside his own writing. Burroughs stands apart from the world, not because he is above it, but because he is Over It. Burroughs may have invented Being Over It: even Sade’s most deliberately vile narrators masturbate while they speak, but Burroughs’ narrative voice sits in the corner and watches skeptically as younger men ejaculate. The real thrill of reading Burroughs comes not from the parade of grotesqueries that he relates but from the wry aloofness with which he relates them; everything is a routine, a cliché avant la lettre. “Did I ever tell you about the man who taught his asshole to talk?” Look at virtually any picture of the man — decades before McKayla, William S. Burroughs was resolutely Not Impressed.
The radical weirdness of Burroughs’ works is neither a deliberate provocation nor an artistic statement. It emerges directly from his irreducibly distinct vision of the world. “There is only one thing a writer can write about,” he states at the end of Naked Lunch, “what is in front of his senses at the moment of writing … I am a recording instrument … I do not presume to impose ‘story’ ‘plot’ ‘continuity’ … Insofaras I succeed in Direct recording of certain areas of psychic processes I may have a limited function … I am not an entertainer.” His goal was never stylistic. Burroughs understood his own labor as documentary, not aesthetic, and as with other writers whose writings express an irreducibly unique vision of the world — Sade, Nietzsche, Kafka — part of the mindfuck is a slowly creeping realization, as you keep reading, that you’re no longer sure which one of you is crazy.
Born in St. Louis in 1914, Burroughs was the grandson and namesake of William S. Burroughs, inventor of the Burroughs Adding Machine and founder of the Burroughs Corporation. By the time the author reached adulthood, the family had sold its interest in the company and the money was mostly gone, but a modest trust fund was Burroughs’ primary source of income for much of his life. His genteel Southern upbringing was evident to the end of his life, in a refined politeness that leavened even his most profane observations no less than in a persistent love of firearms. (Ted Morgan’s Literary Outlaw has been the definitive biography of Burroughs for years; I have not yet had the opportunity to read Barry Miles’ recent Call Me Burroughs).
In New York City, in the 1940s, he first encountered the group that would later be known as the Beats Ginsberg, in a 1976 interview with Victor Bockris, credits Burroughs with planting the first seeds of ideological restlessness in the poet’s young mind: “The thing I remember most that changed my 1940s mind and determined my own attitude was sitting around with Burroughs and his wife, Joan […] It was the first time I’d ever heard anyone presume to criticize the president of the United States on account of his mind; in those days it wasn’t done.” He soon moved on, first to New Orleans, then to Texas, and from there to Mexico City. But by the time he left New York he had acquired his addiction to opiates, which would trail him the rest of his life and take such a central place in his writing.
His first published work was the semi-autobiographical Junkie, written under the pseudonym William Lee and published as a two-book pulp in 1953; he followed it with a manuscript called Queer that remained unpublished until 1985. These two early texts established the graphic frankness about drug use and homosexuality for which Burroughs would quickly become notorious. Folded into what became Burroughs’ Word Hoard, entire passages from these texts were recycled for later works. “William Lee,” meanwhile, would serve as the author’s adult stand-in for the rest of his career, appearing in some form in almost all his works, along with a character usually named Kim, who stood for Burroughs’ sex-driven adolescence.
It was in Mexico City that a drunken accident with one of his numerous guns resulted in Joan’s death; most versions of the story report that the Burroughses were “playing William Tell” when he missed the glass on her head and shot Joan to death, instead. Family connections and judicious bribery kept him out of jail, but Joan’s death initiated two habits that effectively created William S. Burroughs, the author: a restless international exile, from Central and South America, to Tangiers and then to Paris and London, and the relentless, non-linear written production that would eventually encompass thousands of pages of material, sketches and collages and cut-ups and unfinished manuscripts, a suitcase full of raw words that Burroughs called the Word Hoard, which would become the source material for much of Burroughs’ published work. His books were assembled more than they were composed. Out of the Word Hoard, Allen Ginsberg constructed the non-linear prose machine that would be published as Naked Lunch.
Burroughs’ best-known novel is a wild ride, a disjointed trip that begins in Washington Square but soon shifts to the city of Interzone, a surreal pastiche of mid-century Tangiers in which obscure commercial interests and radical political entities with unclear agendas via for power for no discernable purpose other than to possess it. The ethos is simple – “Nothing is true, everything is permitted.” The text is composed of episodes that can be read in any order. In a letter to Ginsberg of September 20th, 1957, he writes that “The MS. In present form does not hold together as a novel for the simple reason that it is not a novel. It is a number of connected — by theme — but separate short pieces.” As Burroughs wrote at the end of the book in an “Atrophied Preface”:
The Word is divided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises, farts and riot yipes and slamming steel shutters of commerce, screams of pain and pathos and screams plain pathic […] Now I, William Seward, will unlock my word horde.
The publication of Naked Lunch, and the attempts to censor it, first brought Burroughs national attention. In the winter of 1958–59, five of the Chicago Review’s editors left the magazine when their attempts to publish excerpts from novel met serious resistance. The complete novel was first published in Paris by the Olympia Press, in 1959, but it was the American publication by Grove Press in 1962 that led to a second, more significant wave of attention. The novel found vocal defenders in luminaries like Henry Miller and Mary McCarthy, the latter of whom published a staunch defense of the book in The New York Review while admitting that it wasn’t always entirely clear what Burroughs was up to.
An injunction against the novel issued by the Commonwealth of Massachusetts on grounds of obscenity, though, drew more attention than the book’s reviews. Several times deferred, the trial of “A book by the name of Naked Lunch” was finally held in 1965; among those testifying in court as to the work’s literary merit were Ginsberg and Norman Mailer. Mailer’s testimony especially maps both the aesthetic and the emotional force of Burroughs’ prose, and, like McCarthy, he locates the text’s power in the dry affective power of its satire:
What gives this vision a machine-gun-edged clarity is an utter lack of sentimentality […] it is the sort of humor which flourishes in prisons, in the Army, among junkies, race tracks and pool halls, a graffiti of cool, even livid wit, based on bodily functions and the frailties of the body, the slights, humiliations and tortures a body can undergo. It is a wild and deadly humor, as even and implacable as a sales tax […] Bitter as alkali, it pickles every serious subject in the caustic of the harshest experience; what is left untouched is as dry and silver as a bone. It is this sort of fine dry residue which is the emotional substance of Burroughs’ work for me.
This jaded constancy is the most remarkable aspect of Burroughs’ prose. His authorial voice emerges astoundingly complete in Naked Lunch, as do the central concerns that would dominate his work until his death. In an enthusiastic review in 1962, E.S. Seldon stated that Burroughs “is one contemporary writer who can drop dead tomorrow, confident not in promise, but in fulfillment.” The tone is not flat, but its crescendos correspond to the texture of the words, not to any element of plot or content. There is no passion, but there is genuine relish; once you’ve listened to Burroughs speak, it’s impossible to read his work without hearing an echo of his droll, drawling satisfaction. The paragraphs have a staccato rhythm that piles on clause after clause with relentless insistence, at once taut with energy and droningly detached:
In the City Market is the Meet Café. Followers of obsolete, unthinkable trades doodling in Etruscan, addicts of drugs not yet synthesized, pushers of souped-up Hermaline, junk reduced to pure habit offering precarious vegetable serenity, liquids to induce Latah, Tithonian longevity serums, black marketers of World War III, excisors of telepathic sensitivity, osteopaths of the spirit, investigators of infractions denounced by bland paranoid chess players, servers of fragmentary warrants taken down in hebephrenic shorthand charging unspeakable mutilations of the spirit.
The diction is an unlikely pastiche, the low-life lexicon of the addict and the criminal (“’Grassed on me he did,’ I say morosely”) filtered through the Harvard-educated sensibility of a reader of Eliot, rinsed through with a gleeful profanity. There is a wry, spare rhythm to Burroughs’ prose, consistent from his earliest letters to his very last diaries. Its closest reference point is Raymond Chandler, if Philip Marlowe were hired to investigate a cartel of protoplasmic, shapeshifting facists and was diverted by the orgiastic ministrations of perpetually ejaculating boys. Everything is draped in thick folds of drugs and sex. Heroin, cocaine, LSD, yage, mescaline — everything swims in a disjointed narcotic plasma. It’s hard to go more than a couple of pages without an erect cock impaling, spurting, glistening, or thrusting; like their creator, these wild boys love their guns. What makes the text so disturbing, though, is less the persistence of sexuality than the instability of the bodies that engage in it: “Some would be made of penis-like erectile tissue, others viscera barely covered over with skin, clusters of three and four eyes together, crisscross of mouth and assholes, human parts shaken around and poured out any way they fell.” A phallus becomes a tentacle mid-ejaculation; leafy vines spring from unpredictable orifices; the symbolic line between orgasm and death is impossibly thin. The fluid, visceral corporeality of Burroughs’ graphic imagery is a preemptive formulation of the anxious biological obsessions that would come to fruition in the work of David Cronenberg and Clive Barker: infection, virality, interpenetration, admixture.
This fervently graphic obscenity, the obsessive reiteration of the same gristly themes, has been the source of much criticism. In a harsh review of Cities of the Red Night (1981), Anthony Burgess, formerly a Burroughs drinking buddy, wrote:
I have read all of William Burroughs’s work with interest and, not infrequently, profound admiration. He is original […] Unfortunately, Burroughs’s cupboard of symbols is not well-stocked, and he becomes rather monotonous.
But the brilliance of this symbolic universe is precisely its endlessly permutating polyvalence. To say that he’s monotonous is, quite literally, to suggest that once you’ve experience your first orgasm you’ve experienced them all.
Repetition is not an accident here; recombination, not originality, is the motor of change. How many different chemicals can be synthesized, how many different orifices penetrated, many different bodies and materials combined in an endlessly proliferating Rube-Goldberg machine of techno-bio-matter? The essence of Burroughs’ works is iteration, the recognition that like consumer culture itself, sex and drugs are less about individual events than about organization of bodies and the flow of time between them, the emotional and psychic rhythm of buildup and discharge. The addict measures time in fixes and buys; hours are replaced by the space between shots and days are replaced by the gaps between twitching, itchy meetings with dealers: “A junky […] runs on junk Time and when he makes his importunate irruption into the Time of others, like all petitioners, he must wait. (How many coffees in an hour?).” A decade before the Velvet Underground’s “I’m Waiting For My Man” Burroughs noted that “Delay is a rule in the junk business. The Man is never on time. This is no accident.” In Burroughs, addiction is less a metaphor than an algorithm, relentlessly spinning out variations on the same operation with slightly varying inputs and outputs: “The pyramid of junk, one level eating the level below […] right up to the top or tops since there are many junk pyramids feeding on peoples of the world and all built on basic principles of monopoly.”
Burroughs’ output predicted the affective temporalities that social networks would make ubiquitous half a century after Naked Lunch appeared: a continuous stream of emissions less concerned with the definitiveness of any individual utterance than with the continued elaboration of a familiar presence. Either you want his ideas in your stream of consciousness, or you unfollow and hide his observations from your newsfeed. “Nothing here is more important than anything else,” stated Alfred Kazin about The Wild Boys (1971), but that is precisely the point.
This is not to say that Burroughs’ corpus lacks internal development or variety. In the early ‘60s, after he left Tangiers for Paris, Burroughs began his most resolutely experimental period, dominated by his concern with mechanisms of control, his interest in media and communication, and his increasingly developed theories of language. His most deliberate formal experiments, the Nova Trilogy (The Soft Machine, 1961; The Ticket That Exploded, 1962; and Nova Express, 1964), were created using two randomizing techniques, the Cut-Up and the Fold-In, developed with his frequent collaborator the painter Brion Gysin.
Naked Lunch is non-linear in form, but largely as an accident of the source material from which it was constructed: the sections of the book can be read in an arbitrary order, but retain, each within itself, a basic coherence that makes them more like vignettes or vaudeville sketches (“routines” was the word Burroughs himself most frequently used). In the experimental novels of his second phase, Burroughs strains not only against the integrity of the novelistic form but against the very coherence of words, against the enforced linearity not just of plot but of meaning itself. Signification and representation give way to intensity and texture: “Streets of idiot pleasure — obsidian palaces of the fish city, bubbles twisting slow linen to the floor, traced fossils of orgasm […] Smile of idiot death spasms — slow vegetable decay filmed his amber flesh — always there when the egg cracks and the white juice spurts from ruptured spines — From his mouth floated coal gas and violets.”
The restless experimentation of Burroughs’ prose, in this second period especially, is not a willful opaqueness but a relentless effort to explode the docile contempt bred by familiarity, the endlessly looping film that clouds our awareness of just how terrible things already are, the mechanisms of control that makes us feverish consumers seeking satiation rather than satisfaction. The “chief value” of Burroughs’ work, wrote the critic Ihab Hassan, “lies not in atomizing language but rather in disclosing the connections between the separate facts of outrage in our time.” The multiple functions performed by every key symbol in his arsenal reveals the density of connections: “shots” as fixes, as ejaculations, and as bullets; “works” as spoons and ties but also as publications; “junk” as heroin but also as the indiscriminate merchandise of Madison Avenue pushers.
Mary McCarthy called Naked Lunch the “first serious piece of science fiction,” and there’s a heavy shot of space opera in the cocktail of Burroughs’ mythology, but to Burroughs himself there was nothing fictional about the techno-logical apparatus he described. There’s an uncanny accuracy to the dystopian surreality that his works predict, from the dominance of the visual to the ubiquitous intermingingling of the corporeal and the electronic; from the overwhelming immediacy of information superhighway to the mass hysteria and mob thinking that it tends to produce. A quasi-manifesto titled “the invisible generation” appended to The Ticket That Exploded (1962) describes with eerie prescience the relentless echo chamber of a 24-hour news cycle:
look around you look at a control machine programmed to select the ugliest stupidest most vulgar and degraded sounds for recording and playback which provokes uglier stupider more vulgar and degraded sounds to be recorded and play back inexorable degradation […] what are newspapers doing but selecting the ugliest sounds for playback by and large if its ugly its news […] let’s bomb china now and let’s stay armed to the teeth for centuries this ugly vulgar bray put out for mass playback you want to spread hysteria record and play back the most stupid and hysterical reactions.
Burroughs’ work in the 1960s reveals a deep investment in the radical potential of the spoken word and the projected image, both to subvert and dominate. His theories of language and communication were developed in a series of interviews and non-fiction works from the same period, most strikingly in a long essay titled The Electronic Revolution (1970). Though much more directly stated and intuitive, these theories are astoundingly similar to those being developed at the same time by the poststructuralist strand of French philosophy. During his years in London, Burroughs’ output was largely focused on various forms of newer media, and many of his experiments in film and audio date to this period. Having exhausted the range of the narcotic spectrum several times over, Burroughs increasingly sought altered states of mind in technology, instead, and in what he saw as technology’s ability to break the cognitive stasis produced by the condition of language.
From London he returned to New York, where he lived in a converted YMCA gymnasium on the Bowery he called The Bunker. His years there are detailed by Victor Bockris in With William S. Burroughs: A Report From the Bunker. Living down the street from CBGBs, Burroughs is bemused to discover that he has become the hero of a new cultural movement. Bockris transcribes encounters with Warhol, Mick Jagger, Patti Smith, Lou Reed, Susan Sontag, Tennessee Williams, and others. In 1978, the counter-cultural canonization was set in high gear by the Nova Convention, a multi-day celebration of Burroughs in various parts of New York City. Towards the end of his time in New York, and with extensive help from his friend and editor James Grauerholz, Burroughs finally completed a text he had begun years earlier in London, which became Cities of the Red Night. But the same period also saw the return of Burroughs’ opiate addiction, for which he would spend the rest of his life on a methadone maintenance program. In 1981 William Burroughs relocated one last time, from New York to Lawrence, Kansas, where he would spend his remaining years.
With the move to Kansas began the final phase of his life, a less tumultuous period during which Burroughs embarked on a new career as a painter. The house in Lawrence became a minor pilgrimage site as Burroughs settled into his role as cult hero for the resurgent American counterculture of the late ‘80s and ‘90s. His indie cred continued to grow even as critical attention to his work faltered with the decline of literary postmodernism. He recorded with Sonic Youth and Kurt Cobain, and appeared in Gus Van Sant’s Drugstore Cowboy. This last period produced the Red Night trilogy (Cities of the Red Night, 1981; The Place of Dead Roads, 1983; The Western Lands, 1987) as well as a number of shorter, gentler works like My Education: A Book of Dreams (essentially a published version of Burroughs’ dream journal) and The Cat Inside, a book about the colony of felines that Burroughs adopted in his final years and which was, as Grauerholz later wrote, “the catalyst for the late-life opening of William’s tender emotions.”
These later texts are only marginally more linear or plot-driven than the cut-ups of the Nova Trilogy; it would be hard to call them a return to convention. But something has shifted, nonetheless. The words are less weaponized. Language reclaims its communicating function; the omnipresent urge to escape is joined by a more subtle one — to express. What makes Burroughs final novels different from his earlier works is the surprising and surprisingly powerful appearance of a previously unknown elegiac mode, still wry and perhaps no less cynical, but for the first time inclined to come to terms with the fragile, transient nature of the human experience rather than to mock and dismiss it. “The road to the Western Lands is the most dangerous of all roads and, in consequence, the most rewarding. To know the road exists violates the human covenant: you are not allowed to confront fear, pain and death, or to find out that the sacred human covenant was signed under pressure of fear, pain and death.” The stylistic reference points have shifted: the pulps of the 1930s and 1940s which provide the earlier novels their hardboiled stock are replaced by the dime novels of the late 19th and early 20th century; street hustlers and private investigators are replaced by cowboys, pirates, and highway robbers. The urban density of Interzone gives way to a vast and lawless wilderness: “It was as though a heavy weight were pressing down on us with a persistent malevolence. Several times the guide lost his way, and we had to retrace our steps.”
Control, the fundamental trope of Burroughs’ earlier work, is replaced by a different master symbol — Death. The fragmentary characters of Naked Lunch yearn to be free; the itinerant assemblages that populate the later novels yearn to make sense of their attempts at freedom. The Western Lands, a profoundly beautiful meditation on immortality and death, begins and ends with a solitary old writer. “Forty years ago the writer had published a novel which had made a stir, and a few short stories and some poems.” And on the last page: “The old writer couldn’t write anymore because he had reached the end of words, the end of what can be done with words.” Burroughs’ earliest works describe a surreal present; those of his second phase a disjointed technocratic future. The raw material of the final novels is the past. Naked Lunch is populated by hallucinations, the Nova Trilogy by anxieties; the final novels are populated by ghosts.
Burroughs’ last diary entry is dated 3 days prior to his passing on August 2, 1997, of a heart attack sustained the day before. Ultimately, Burroughs couldn’t escape words any more than he could escape narcotics, any more than the protagonists of his later novels could escape or master Death. “There is no final enough,” he wrote in that last entry, “of wisdom, experience – any fucking thing. No Holy Grail, No Final Satori, no final solution. Just conflict.” One hundred years after Burroughs was born and 17 years after his death, the idea of a Master Narrative or Ultimate Truth remains just as ludicrous, but the control society he warned of is more real than ever. The techniques he embraced and promoted — non-linearity, machine composition, fragmentary production, creative recycling — have become not only accepted but standardized, themselves folded into the ugly, looping bray he warned against. Burroughs’ undeniably crucial place in our literary and cultural history is not yet adequately attended to. What remains is a literary legend: a dry, sardonic grin and the Word Hoard in its infinite variations.
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