Samba Quotes

Because baby, I'm wild pussy and wild pussy can't be bought. Wild pussy doesn't like having pretty things thrown at it and being expected to do the samba on someone's cock in return. Wild pussy doesn't do deals. Wild pussy lives free and for itself and takes it however it likes it; on a bed, on a couch, on the hood of a car, in a bathroom stall or up against a wall in an alleyway and it laughs the entire time. I've known you for a while now Chase. I know you've never had wild pussy and I know you never will. Wild pussy doesn't fuck uptight cock. And it sure as hell doesn't like silk boxers

Dance as the narration of a magical story; that recites on lips, illuminates imaginations and embraces the most sacred depths of souls.

Sometimes in life confusion tends to arise and only dialogue of dance seems to make sense.

Caution not spirit, let it roam wild; for in that natural state dance embraces divine frequency.

If movements were a spark every dancer would desire to light up in flames.

It is not what you have,” as a certain Brazilian samba instructor once told me, “it is what you do with it.

I'll talk to him before I go," Carlos grumbled. "And what about the girls?" Toni asked. "They need you, Carlos." "They need a mother!" Carlos yelled. "And I need a mate." Caitlyn gasped. Hes was looking for a mate? What kind of mate? His gaze shifted towards her, and his eyes glittered with a hard, angry look. "You--what?" Toni stepped back, apparently stunned. "You heard me," Carlos growled. "Ye want to get married?" the Scotsman asked. "Don't look so shocked, Ian. Didn't want you want to get married?" "Aye, but--" "You can't get married," Toni declared. "You're gay." Caitlyn snorted. Were they crazy? Carlos glared at her in the shadows, then shifted his gaze to Toni. "I never said I was gay." "Of course you're gay," she insisted. "I saw you dance the samba in a hot pink sequined thong." Carlos shrugged. "So? You said I was very sexy. You were practically drooling." Ian stiffened. "When was this?" "Before I met you," Toni muttered.

context and memory play powerful roles in all the truly great meals in one's life. I mean, lets face it:when you're eating simple barbecue under a palm tree, and you feel sand between your toes, samba music is playing softly in the backgroud, waves are lapping at the shore a few yards off, a gentle breeze is cooling the sweat on the back of your neck at the hairline, and looking across the table, past the column of empty Red Stripes at the dreamy expression on your companion's face, you realize that in half an hour you're proably going to be having sex on clean white hotel sheets, that grilled chicken leg suddenly tastes a hell of a lot better

If spirit is the seed, dance is the water of its evolution.

Dance is the timeless interpretation of life.

Show me a person who found love in his life and did not celebrate it with a dance.

If you opened the dictionary and searched for the meaning of a Goddess, you would find the reflection of a dancing lady.

Don't breathe to survive; dance and feel alive.

Life is an affair of mystery; shared with companions of music, dance and poetry.

Dance to inspire, dance to freedom, life is about experiences so dance and let yourself become free.

Through synergy of intellect, artistry and grace came into existence the blessing of a dancer.

DANCE – Defeat All Negativity (via) Creative Expression.

She who is a dancer can only sway the silk of her hair like the summer breeze.

I was thinking about stopping at a restaurant. Would you care to join me?” She shifted in the car seat to face him, causing him to glance at her legs once again. “Are you asking me out?” “No.” “Will you purr if I tickle you behind the ears?” “No.” “Will you dance the samba for me in your hot pink sequined thong?” “No.” “Do you always say no?” His mouth twitched. “No.

Dance is the ritual of immortality.

One step, two steps, three steps; like winds of time experience joy of centuries, when movements become revelations of the dance of destinies.

India is constipated with a lot of humbug. Take modern Indian music of the films. It is all tango & rhumba or samba played on Hawaiian guitars, violins, accordions & clarinets. It is ugly. It must be scrapped like the rest.

You can’t samba in a data stream,

Krishna’s son, Samba, is portrayed in the scriptures as an irresponsible lout, perhaps to inform us that the child of a great man need not be a great man; greatness is not transmitted through the generations. Every man ultimately makes or destroys his own legacy.

Burdened no more is soul for whom life flows through dance and not breath.

Dance is that delicacy of life radiating every particle of our existence with happiness.

We all take for granted things that come too easily. That's why I can't let you go--you're always a challenge to me. Here's my wow to you, here's all I believe: For you, I'll stay invisble. I"ll be the air you breathe.

Transcend the terrestrial; surpass the celestial, from nature’s hands when you receive the sublime pleasures of dance.

Só se faz um bom samba com tristeza. A boa piada precisa de inteligência e de desgraça. Piada sem desgraça é uma tristeza. Piada sem inteligência é uma desgraça.

Because, baby, I’m wild pussy, and wild pussy can’t be bought. Wild pussy doesn’t like having pretty things thrown at it and being expected to do the samba on someone’s cock in return. Wild pussy doesn’t do deals. Wild pussy lives free and for itself and takes it however it likes it—on a bed, on a couch, on the hood of a car, in a bathroom stall, or up against a wall in an alleyway—and it laughs the entire time. I’ve known you for awhile now, Chase. I know you’ve never had wild pussy, and I know you never will. Wild pussy doesn’t fuck uptight cock. And it sure as hell doesn’t like silk boxers.

I watched Buford set things up and I decided that tending bar might be a pretty good way to spend one's life. Spanking down big foaming steins of beer to be encircled by the huge skeet-shooting hands of virile novelists. Rattling the cocktail shaker and doing a little samba step for the amusement of the ladies. To be an expert at something.

When a dancer performs, melody transforms into a carriage, expressions turn into fuel and spirit experiences a journey to a world where passion attains fulfillment.

Let me paint your lips with the stars... so that I don't need to go light-years each night to kiss them...

There are two different kinds of glee club in this world. The first sing barbershop favourites and Gershwin tunes, they swing gently, moving from side to side and sometimes clicking their fingers and winking. Howard could basically deal with that type. He had got through those occasions graced by glee clubs of that type. But these boys were not of that type. Swaying and clicking and winking were just how they got warmed up. Tonight this glee club had chosen as their opener ‘Pride (In the Name of Love)’ by U2, which they had taken the trouble to transform into a samba. They swayed, they clicked, they winked. They did coordinated spins. They switched places with each other. They moved forward, they moved back – always retaining their formation. They smiled the kind of smile you might employ when trying to convince a lunatic to quit holding a gun to your mother’s head.

Time doesn't matter if the dead still live in your heart

Burdened no more is soul for whom life flows through dance like breath.

Make dance the mission every moment seeks to accomplish.

Spirit is a child, the tune of dancing feet its lullaby.

Vale, le afecta, y la pequeña diosa que llevo dentro menea las caderas y baila una samba para celebrar la victoria.

my very small inner goddess sways in a gentle victorious samba.

Obojeni ne vole Malog crnog Samba. Spali ga. Bijeli nisu oduševljeni Čiča Tominom kolibom. Spali je. Netko je napisao knjigu o duhanu i raku pluća? Proizvođači cigareta tule? Spali knjigu. Vedrina, Montag. Mir, Montag. Iznesi svoju borbu van. Još bolje, u spalionicu. " str. 65.

Limit not to only five, when the divine gifts the supreme sixth; the sense of dance

When the corals underneath are so beautiful... who wants to go back to the shore...

Like Mardi Gras and Halloween rolled into a public party at the Playboy mansion, Rio during Carnaval is like no other place on earth. And the freak-flags fly like the color guard of an invading army.

Audience of angels descend in the ambiance reciting praises in your glory, when you wear your dance shoes, when you arrive at the stage and with every step you take beneath your feet heaven moves. That is the power of dance.

It is often said in soccer that a country's particular style of play bears the fingerprints of its social and political nature. Thus the Germans are unfailingly characterized as resourceful and organized, while Brazilians are said to dance with the ball to the free-form, samba rhythms of Carnival. In the husk of cliche lies a kernel of truth. The Communist system of China had produced a collectivist style of women's soccer from the early 1980s to the mid-1990s.

The geneticist Antoine Danchin once used the parable of the Delphic boat to describe the process by which individual genes could produce the observed complexity of the natural world. In the proverbial story, the oracle at Delphi is asked to consider a boat on a river whose planks have begun to rot. As the wood decays, each plank is replaced, one by one—and after a decade, no plank is left from the original boat. Yet, the owner is convinced that it is the same boat. How can the boat be the same boat—the riddle runs—if every physical element of the original has been replaced? The answer is that the “boat” is not made of planks but of the relationship between planks. If you hammer a hundred strips of wood atop each other, you get a wall; if you nail them side to side, you get a deck; only a particular configuration of planks, held together in particular relationship, in a particular order, makes a boat. Genes operate in the same manner. Individual genes specify individual functions, but the relationship among genes allows physiology. The genome is inert without these relationships. That humans and worms have about the same number of genes—around twenty thousand—and yet the fact that only one of these two organisms is capable of painting the ceiling of the Sistine Chapel suggests that the number of genes is largely unimportant to the physiological complexity of the organism. “It is not what you have,” as a certain Brazilian samba instructor once told me, “it is what you do with it.

De que lado você está, eu não me importo! De que garfo você come, de que copo você bebe, que posto certo você escolhe, qual é seu orixá, seu partido, sua altura, de qual de suas cicatrizes cuida, que pássaro você prefere, quem é seu pai, qual é seu samba, Pinot noir ou Chardonay, que protetor você usa, qual é sua pele, seu perfume, qual político, quantos amores você sonha, em que Fernando, em que Ofélia, em que cinema, em que bandeira, em que cabelo você mora, qual dos túneis de Copacabana. Rezo para seus santos quando atravessar.

EFFERVESCE AND OBSESSION   Under the influence of this sensational climax I am reminded of the inundated calm before the storm as I find my mind to see through those same eyes that I have before. The curving slippage of her dynamic vehemence hums over me in a refreshing fixation that imbues this inseparable bond of the eternities. Her single touch sends shock waves down my entire vessel sending our bodies into a confluence of luscious allure. Her hips begin weaving in and out gently oscillating against me in a balmy nubile urge of effervesce and obsession. Again I occlude her recumbent orifice with the soft clasp of my wet lips, satiating my guest with an all-stimulating and interplanetary escape. In a largo samba-like motion I simultaneously absorb and alleviate the tension lingering beneath her plum fuselage as an overflowing ovulation of seismic and fulminating convulsage travels through the apex of her feminous core, following the crevice between her legs like the gentle waters that flow through the shaded gorge. As she levitates into a liberating reflex of celestial zest her panting grip begins to measure the odometer of our obsession.

Not so much for Carnival?" I asked Ben playfully, hooking my arm through his. "Not so much for driving through Carnival," Ben amended. "Too tough for you?" "I travel with you. Nothing's too tough for me." "Not even that guy?" He turned to look, and the minute his attention was diverted, I raced to the elevators. "Hey!" Ben cried, and ran after me, but I dove and pressed the button first. "Yes!" I cheered. "Loser," Ben said. "Actually, I just won. Let's go up and change, then we can hit the Samba Parade." "Change? But I like you just the way you are." "You are such a dork." Ben nodded, accepting the title with grace as the elevator arrived.

NO GRAPH IN THE world can do full justice to these unexpected moments. They’re sweet little bursts of grace, and they leave sense-memories on the skin (the smell of the child’s shampoo, the smoothness of his arms). That’s why we’re here, leading this life, isn’t it? To know this kind of enchantment? The question is why such moments, at least with small children, often feel so hard-won, so shatterable, and so fleeting, as if located between parentheses. After just a few minutes of this dreamy slow-dance with Abe, William does a face-plant and starts howling. Jessie sambas over and handles it with humor. This is the drill. I’d like to propose a possible explanation for why these moments of grace are so rare: the early years of family life don’t offer up many activities that lend themselves to what psychologists call “flow.” Simply put, flow is a state of being in which we are so engrossed in the task at hand—so fortified by our own sense of agency, of mastery—that we lose all sense of our surroundings, as though time has stopped.

É preciso estar sempre embriagado. Aí está: eis a única questão. Para não sentirem o fardo horrível do Tempo que verga e inclina para a terra, é preciso que se embriaguem sem descanso. Com quê? Com vinho, poesia ou virtude, a escolher. Mas embriaguem-se.   Charles Baudelaire

I took a moment before saying, “You think the murderer is a Brazilian samba trio.” Dailey held up his right hand and ticked off fingers. “They’re organized. Focused. Motivated. And are in excellent physical condition, by the looks of the pictures on their CD.

Los efectos de la negatividad ocasionados por el entorno que se evidenciaron en la mencionada encuesta tienen su mejor opuesto en la famosa alegría de la samba brasileña. Ambos pueden ser estudiados y analizados hoy a la luz de las neurociencias, ya que día a día se publican investigaciones que confirman que el pensamiento crea realidades, y que éstas pueden ser positivas y negativas.

I love roundabouts. I absolutely think they're the best invention, and I don't care who invented the pen, the biro; whoever invented the roundabout, they should be up there on that plinth that they've got going on in Trafalgar Square. You can have a little bit of fun with it, you know. Will I go? Will I not go? The other car might go in my lane. There's a bit of a dance going. It's like a samba. Because in this city, sometimes you just come to a sudden gridlock and you think, well I'm waiting for him, he's waiting for me, he's waiting for him, and you've got everyone looking at everyone—who will make the first move? And you begin to move and he begins to move and then you stop, and everyone's being really polite. But every day you get somebody who just doesn't care, a young lad and he doesn't give a monkey's.

E a mísera, sem chorar, foi refugiar-se, junto com a filha, no “Cabeça-de-Gato” que, à proporção que o São Romão se engrandecia, mais e mais ia-se rebaixando acanalhado, fazendo-se cada vez mais torpe, mais abjeto, mais cortiço, vivendo satisfeito do lixo e da salsugem que o outro rejeitava, como se todo o seu ideal fosse conservar inalterável, para sempre, o verdadeiro tipo da estalagem fluminense, a legitima, a legendária; aquela em que há um samba e um rolo por noite; aquela em que se matam homens sem a polícia descobrir os assassinos; viveiro de larvas sensuais em que irmãos dormem misturados com as irmãs na mesma lama; paraíso de vermes, brejo de lodo quente e fumegante, donde brota a vida brutalmente, como de uma podridão.

O cigano Mascarenhas, também ele gastando vidrilhos e miçangas, festivas argolas penduradas nas orelhas, apurou no cavaquinho, as flautas e os violões gemeram, Vadinho caiu no samba com aquele exemplar entusiasmo, característico de tudo quanto fazia, exceto trabalhar. Rodopiava em meio ao bloco, sapateava em frente à mulata, avançava para ela em floreios e umbigadas, quando, de súbito, soltou uma espécie de ronco surdo, vacilou nas pernas, adernou de um lado, rolou no chão, botando uma baba amarela pela boca onde o esgar da morte não conseguia apagar de todo o satisfeito sorriso do folião definitivo que ele fora.

O wayfarer! Yearn finds quench, not in meadows, seashores or altitude of mountain peaks; but when being becomes dance.

O wayfarer! Yearn finds quench, not in meadows, seashores or altitude of mountain peaks; but when being and dance are one.

From this point, they were dancing a delicious samba of seduction.

When dawn breaks again, we'll say our farewells Our dreams become distant phantoms The times we were embraced In the light that chased you Relying on the warm winds Heralding spring, The wild plants start to dance Summer in Uji, Such dry, arabesque fields The round autumn moon, Risen in celebration Winter passes, And I again count the days Under my eyelids still resides Vestiges of summer And those too-distant skies (it was warm) Holding hands, as we picked the flowers -- we sang Memories of that evening (I wasn't there) For three months from August The clouds fall under the sway of the moon And I awaken to the fact That you'll never come back I realize I'm alone I'll go on a journey to find you Now my memories within awaken And now I start to walk To wherever you are When dawn breaks again, we'll say our farewells Our dreams become distant phantoms The times we were embraced In the light that chased you Relying on the warm winds Heralding spring, The wild plants start to dance Summer in Uji, Such dry, arabesque fields The round autumn moon, Risen in celebration Winter passes, And I again count the days It's seven o'clock Near you, beneath the cypress trees Your arm on my shoulders With you, a souvenir of the fragrant flowers we saw If the road leading to our reunion were there -- But that doesn't matter, you won't come back again Do you suppose -- Will these tears stop flowing ? The tailwinds scream The silence is broken Fearing nothing, I move on Carrying the golden flowers I'll see you, and I'll again know kindness (Now) The silence is broken Fearing nothing, I move on Carrying the golden flowers I'll see you, and I'll again know kindness Heralding spring, The wild plants start to dance Summer in Uji, Such dry, arabesque fields The round autumn moon, Risen in celebration Winter passes, And I again count the days Heralding spring, We dance and samba Summer in Uji, Such dry, arabesque fields The round autumn moon, Risen in celebration Winter passes, And I again count the days When dawn breaks again, we'll say our farewells Our dreams become distant phantoms The times we were embraced In the light that chased you Relying on the warm winds

13 Keer de Salsa met Samba, uit Utrecht, Wageningen.

the addiction of the Spaniards of America to the dances of the jungle indicates a common ancestor to all the Latin-American dances that evolved in the ensuing centuries. Surely the earliest begetter of the rhumba, the samba, the son, and even the tango, can be none other than this calenda from the coast of Guinea? Even if its authentic African origin were not known, the description of the dance of the Congolese at once suggests to anybody who has seen it the Conga of the Negroes of Cuba.

Você levou meu samba e meu mensageiro Você deixou os sapatos a sombra desalojada e um dialeto muito novo que devo utilizar agora para não dizer teu nome entre rajadas de revolução e goles de cerveja junina.

People with passionate convictions tend to see the world through the lens of their passion - whether psychological, spiritual, or economic - and interpret everything they hear according to whether or not it harmonises with their own one-note samba

With the support of leftist intellectuals and the Catholic Church, the MST has become much more than a movement of the poor. It boasts 1.5 million members, including television stars, samba singers, and other celebrities at home and abroad.

Passar quatro dias e quatro noites em casa, vendo o carnaval passar; ou não vendo nem isso, mas entregue a uma outra e cifrada folia, que nesta quarta-feira de cinzas abre suas pétalas de cansaço, como se também tivéssemos pulado e berrado no clube. Não ligar a televisão, esquecer-se do rádio; deixar os locutores falando sozinhos, na ânsia de encher de discurso uma festa à base de movimento e de canto. Perceber apenas o grito trêmulo, trazido e levado pelo vento, de um samba que marca realidade lúdica sem nos convidar à integração. Beneficiar-se com a ausência de jornais, que prova a inexistência provisória do mundo como arquitetura de notícias. Ter como companheiro o irmão gato Crispim, exemplo de abstenção sem sacrifício, manual de silêncio e sabedoria, aventureiro que experimentou a vertigem da luta-livre nos telhados e homologa a invenção da poltrona. Penetrar no vazio do tempo sem obrigações, como num parque fechado, aproveitando a ausência de guardas, e descobrindo nele tudo que as tabuletas omitem. Aceitar a solidão; escolhê-la; desfrutá-la. Sorrir dos psiquiatras que falam em alienação do mundo e recomendam a terapêutica de grupo. Estimar a pausa como valor musical, o intervalo, o hiato. O instante em que a agulha fere o disco sem despertar ainda qualquer som. Andar de um quarto para outro sem ser à procura de objetos: achando-os. Descobrir, sem mescalina, as cores que a cor esconde; os timbres entrelaçados no ruído. Olhar para as paredes, ou melhor, olhar as paredes em torno dos quadros. Sentir a casa como um todo e como partículas densas, tensas, expectantes, acostumadas a viver sem nós, à nossa revelia, contra o nosso desdém. Habitar realmente a casa, quatro dias: como ilha, fortaleza, continente; infinito no finito; reconsiderar os livros, arrumá-los primeiro com método, depois com voluptuosidade, fazendo com que cada prateleira exija o maior tempo possível; verificar que antes é preciso tirar a poeira de um, remover a boba capa de celofane que envolve a encadernação de outro. Reler dedicatórias, abrir ao acaso livros de poetas que preferimos e que infelizmente não são os mais modernos, nem os mais célebres; copiar meia estrofe por onde corre arrepio verbal; separar volumes que não nos falam mais nada e que devem tentar seu destino em outras casas. Sentir chegada a hora dos álbuns de pintura com pouco ou nenhum texto, e dos volumes iconográficos que nos contam Paris ou a vida de Mallarmé. Viajar em fotografias; sentir-se imagem flutuando entre imagens; a terra domesticada em figura, tornada familiar sem perda de sua essência enigmática. Reconhecer que muitos livros comprados a duras penas, pedidos ao estrangeiro ou longamente minerados nos sebos, não têm mais do que essa oportunidade de comunicação durante o ano; deixar que fiquem a sós conosco e nos confiem seu segredo. Admitir a fome, sem exigência de horário, e matá-la com o que houver à mão; renunciar à idéia de almoço e jantar, com reverência ao sagrado direito que assiste a todos, inclusive e principalmente às cozinheiras, de brincarem o seu carnaval; achar mais gosto nessa comida, porque não é regulamentar nem é seguida de nada: todas as obrigações estão suspensas, e só valem as que soubermos traçar a nós mesmos. Descortinar na preguiça um espaço incomensurável, onde cabe tudo; não enchê-lo demais; devassá-lo à maneira de um explorador que não quer ser muito rico e tanto sente prazer em descobrir como em procurar. Assim vosso cronista passou o carnaval: sem fugir, sem brincar, divertido em seu canto umbroso.

Take art and music. Why has contemporary Indian painting, music, architecture and sculpture been such a flop? Because it keeps harking back to BC. Harking back would be all right if it did not become a pattern—a deadweight. If it does, then we are in a cul-de-sac of art forms. We explain the unattractive by pretending it is esoteric. Or we break out altogether—like modern Indian music of the films. It is all tango and rhumba or samba played on Hawaiian guitars, violins, accordions and clarinets. It is ugly. It must be scrapped like the rest.

Judging by the samba my womb is dancing at the moment, my body is one hundred percent on board.

Few historians have really delved into the spirit of the Brazilian people and their condition. To understand the condition of the real Brazil, it is necessary to understand that colonial isolationism remained. During the colonial period, Brazil was kept away from everything, so as not to attract the greed of other nations and conquerors. Preserved in this state of isolation, which was anything but splendid, the liberal and socialist ideas that brought about great changes in Europe and the rest of the world were always received here with due caution – which was not harmful. The rulers themselves, fearing losing power, made a point of granting small advantages to the people, and, by giving them crumbs with a great samba plot, they avoided greater losses. Brazilians are sentimental and, in the same way, they are irascible; therefore, they are easily manipulated. Isolation did not remain without costs, as it generated misery, delay and ignorance among the people. On the other hand, it produced a lazy, indolent and belligerent elite, averse to work, knowledge and the defense of the greatest national interests. In other words, keeping the Brazilian people in a state of minority was the price to pay for maintaining this tropical nobility.

Kualitas Terjamin!! WA 0812 1775 9209, SLM Konveksi Vendor Kaos Polo Bordir Berkualitas Sambas Pontianak

I met Brazilian immigrants who tried to forget they were Brazilian. They got themselves American partners, American children, American jobs, and stored the Portuguese language in some hard-to-access place in their throats and only took pride in their origins when someone spoke praisingly of samba or capoeira (the latter too, in its origin, the martial art of the displaced, of the expatriated, of those torn from their homes). Or the Gracie brothers’ Brazilian jujitsu. Apart from these things, Brazil was crap. And getting worse and worse. Worse and worse. (Don’t you read the news? Did you see what the drug lords did in São Paulo?)

Escondida atrás dos dançantes ritmos africanos do samba, jaz uma melancolia que não é tão evidente como no tango argentino ou na rancheira mexicana. Para alguém que não entende as letras, esse pesar quase certamente passará despercebido - do contrário fica claro de imediato quão diferente a tristeza brasileira é da saudade que impregna o fado português. Portugal, Argentina e México nunca parecem felizes. O Brasil, sim. E o Brasil é um dos lugares mais tristes que há. (...) Seus pais fundadores - os portugueses exilados, os africanos escravizados, os índios expropriados - tinham razão para estar tristes.

Šovinista ne mogu biti jer sam zgodan frajer. Šovinista je nezgodan i pati i kad drka. Ja jebem sprijeda i ljubim to što jebem. Šovinista jebe s leđa jer se stidi sebe dok jebe to što misli da mu se jebe a u stvari mu se drka al ogledalo mu malo. Mislim ja jebem i s leđa al to je drugo. To je samba.

Da até pra impressionar, mas chega de pressionar! Deixe os seus problemas pra depois ja que a gente sempre tem nós dois. Nao vale a pena se enfrentar, Nos de uma chance de tentar. Não vale se enfeitar do velho e achar que tudo é um espelho... De que vale se enfeiar com o que veio e reclamar no anseio do que ja foi feio? Sopra um sambinha... Ou um enredo! É só pra nos dois mesmo...que medo!

Images of white, semi clad women in colour would be very conspicuous in an otherwise unintelligible newspaper to Nanaki. It was somewhat incongruous to see little pictures, sourced from foreign news agencies, of white women in bikinis, sun tanning on a beach in Zakynthos or a procession of revellers in Sao Paulo complete with exotic costume regalia: trailing pheasant feathers for tails, operatic masks tantalisingly revealing pouty red lips, breasts protruding out of sequinned two pieces, women’s toned derrieres jutting out of glitzy g-strings vibrating animalistically to the samba, shapely legs fitting snugly into gold stilettos. Others showed women walking down the ramp in skimpy lingerie at a Missoni fashion show in Milan. At times these sights would intrigue Nanaki. For her, Urdu was unintelligible, just black marks on paper. Who reads this newspaper? And who are these pictures for? Whose reality is this?

If I hear notes in music I see each note visually. This is called synesthesia. Each one is as visually distinct as it is auditorally. Bach is geometric. Beethoven is like very long leaps of fire and light. Prokofiev is intricate scenes of lights and movement. Mozart is curly bands of lights and rosy colors. Jazz is sharp angles of light. Opera is lots of really huge deep lightning bolts. Pop is short simple bands of light. Rap is not a pretty sight. It is like an angry visual mess. I don’t enjoy it, but I do like samba and Latin rhythms. Those have cool bouncy lights and colors.

You can’t samba in a data stream,

Turbo Sasquatch, or T-Squatch, was a Redwood original, a hardrock pop-punk bhangra electro surf hybrid that did highly danceable sambas. It was a supergroup, a mighty Voltron formed from three other successful local bands. Sometimes they had a dhol drum and horn section depending on the lineup, becoming Ultra Mega Turbo Sasquatch, a musical macrophage mashup absorbing other bands at will. They played only by the light of the full moon and were not to be missed under any circumstances. “The only band that matters,” it was said.

There were occasional dances at the main prison compound with live bands as well as holiday dinners, activities that Blanche greatly enjoyed. In her scrapbooks, she placed an autographed promotional photograph of one visiting band, The Rural Ramblers. ... Blanche loved to dance and by all accounts she was very good at it. She applied to a correspondence course in dancing that came complete with diagrams of select dance steps to place on the floor and practice. She also cut similar dance instructions and diagrams from newspapers and magazines and put them in her scrapbooks. By 1937, she had mastered popular dances like jitterbug, rumba, samba, and tango. The men’s prison, or “the big prison” as the women called it, hosted movies on Friday nights. Features like Roll Along Cowboy ... were standard, usually accompanied by some short musical feature such as Who’s Who and a newsreel. The admission was five cents. Blanche attended many of these movies. She loved movies all of her life. Blanche Barrow’s periodic visits to the main prison allowed her to fraternize with males. She apparently had a brief encounter with “the boy in the warden’s office” in the fall of 1934. There are few details, but their relationship was evidently ended abruptly by prison officials in December. There were other suitors, some from Blanche Barrow’s past, and some late arrivals...

Amor em Rios Ah Rio de janeiro Devolvas meu amor! Tu tens samba? Sei que tens E o mar é o mais bonito Tuas praias? Sem iguais Mas meu amor, que tem com isso? Se a tentas com paisagens Como o Cristo redentor Saiba que à minha terra pertence O Lacerda e o Pelô Saiba bem que nada disso Tentará ela a ficar Pois tudo que por mim sente Bem maior é que o Cristo Bem mais belo é que as praias E bem mais profundo é que o mar...