Four string Violin

The Fiddler

Full Transcript - Episode 8

 

Mexican beer virus, a prison break, a Duke incommoded,  and how not to order paçoca!

Announcement: The following is a public service broadcast on behalf of The Samba Buzz. The producers would like to apologize for the unsanitary language in recent episodes. It is quite unbecoming of the high moral and educational character demanded and indeed exemplified by the leaders of this noble country. Please be advised that all future references to bodily functions, sex-for-sale, or deviant behavior will be fully investigated and moderated. Carry on!

J: Gee, I’m actually a little bit shocked. I didn’t realize the f…the…that the pod police were going to come here onto the show.

G: It’s about time they, er, found us, actually but, um…yes.

J: But I’m…I’m worried…now I’m scared about what I’m going to say. I can’t…I can’t talk about any fun words anymore. What am I going to talk about?

G: No, no, no, no, no. Definitely not. No, no. If you’re going to use any palavrões, it’s gotta be in Portuguese.


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J: Welcome everybody!

G: Welcome everybody!

J: Welcome to our second pod in January!

G: Indeed. 2020.

J: 2020. Well, how was your vacation?

G: My vacation was lovely. Thank you very much for asking. I went to Fortaleza. And Fortaleza – they’ve got lots of sand. They’ve got sea, which is very blue and nice and fresh. And the beach was lovely. We did some buggy rides. Er, we saw the dunes, and we had lots of good food.

J: What did you eat?

G: We ate…well, I wanted to order siri but they di-didn’t have any siri. They only had caranguejo. So, then I thought to myself – ‘well, what’s the difference?’ 

J: What’s a siri?

G: Well, I understood the siri to be the red crab. And I understood that caranguejo was a blue crab. But I don’t know the difference. I don’t think that people know the difference up there either.

J: I have no idea. Well, hopefully somebody will know.

G: Um, anyway the ca…caranguejo was lovely. It was very tasty.

J: Oh. And di-did you eat it with butter or, um, moqueca or…

G: I had the casquinha do caranguejo. Normally it’s a casquinha de siri.

J: So…so you just ate it right out the shell?

G: Um, no, no. They actually crunch up a bit of shell and…

J: Ah, ok.

G: …they mix it all together and it’s very tasty…

J: It’s crunchy!

G: …and, er, goes down well with a nice cold beer.

J: Ah, I bet.

G: And you? Where…where were you for your trip?

J: I went to Parati.

G: Parati. Very nice.

J: I love Parati. Tha-that, for me…I think I’ve been there now 5 times…

G: Yeah?

J: …and every time I go, I enjoy it.

G: And what did you do in Parati?

J: I went to the beach. I drank, er, Jorge Amado. Er, it’s a different drink…that’s a different story.

G: Is that a cachaça?

J: No, it’s not. Well, yeah, it is. It is and it isn’t! And…

G: Nothing’s ever straightforward with you, yeah?

J: No, then…then I went to…er…the waterfalls. They have a Poço do Tarzan, which is like the Tarzan little mini lake.

G: Yes.

J: We have a nice restaurant there. And I had a wonderful time in Paraty eating out.

G: Sounds lovely.

J: Y-yeah, the gastronomy there was fantastic.

G: Sounds very civilized.

J: So, any…anyway, what do we have today, Gee? What’s on the program?

G: Well, I believe we have another guest. We have Peter coming in, yes?

J: Yes. Peter. Peter Harris. Musician.

G: I’m looking forward to talking to him. And we’ll have our ‘What Caught My Eye’, which we’ll kick off very shortly. And the guru.

J: Alright, here we go!

G: Let’s go!    


G: What Caught My Eye was the Coronavirus, actually.

J: Yeesh!

G: Have you been following the Coronavirus?

J: Well, it’s kind of hard not to. Everything is about Coronavirus.

G: So, do you feel it’s a big threat?

J: No. Why, for me it’s just another virus. I don’t think it’s got quite the…the…let’s say, the pandemic proportions that everybody says it is (sic).

G: Cos they’re closing…er…, well they’re not closing airports but they’re putting travelers coming from China on (sic) quarantine.

J: They did the same thing with the la…last Ebola outbreak in the United States also.

G: Ah.

J: There were also people that died from the la…the last Ebola outbreak, I remember.

G: So, they’re treating it like Ebola, then, yes?

J: Right.

G: But I think, possibly, it’s a bit of an over-reaction. How many cases would you say they have had so far?

J: In…globally, or in China, or Brazil?

G: Um, globally up to yesterday, the latest count.

J: Er, 500?

G: Erm, there were 4500 confirmed cases.

J: Ok. How many people died?

G: And the running total was 106.

J: 106?

G: Hm. So how do you think that compares to the last brig…big outbreak, the, er, the SARS. You remember SARS?

J: No. Was that the crazy pig virus?

G: The SARS was another type of…yeah, it might have been the pig flu, something like that. There was a big hoo-har about SARS.

J:  Because I-I think, what I remember we had the crazy cow virus. Then there was the crazy pig virus. Then there was some kind of avian flu virus. Then there was Ebola virus.

G: Exactly! There’ve been…

J: And then, and now Corona, which is kind of a beer, right? The beer virus!

G: The beer virus! Exactly. That’s definitely a conspiracy by AMBEV, I think! But, um…no but SARS – there were 8000 cases.

J: Eight?

G: Out of all that hullaballoo, there were 8000 cases, of whom around 770 people died. So the hit rate was quite high with SARS.

J: Well, it was pretty high, yeah.

G: So this particular virus, the Coronavirus, the, um, the death rate is much less than it has been for…for SARS, yeah?

J: Ok.

G: So how would say… One hundred years ago, we had another outbreak – very similar actually – in 1918 there was an outbreak of something called Spanish Flu. Did you hear about that?

J: Er, the Spanish Flu. I’ve heard abou…yes, the Spanish Flu.

G: Um, how many cases of Spanish Flu do you think there were in the outbreak between 1918 and 1921?

J: Er, oh I think you are talking 20,000 perhaps.

G: There were 500 million.

J: 500 million?

G: Cases.

J: So I was…I was a bit low!

G: Er, how many people do you think died out of that 500 million?

J: Five hundred…let’s say 10 million died?

G: 50 million people died.

J: Yeesh. Again I’m low.

G: So, 10% of people who caught the…the virus died.

J: That’s…now that’s a virus!

G: And that’s more…

J: I tell you, they…they don’t make them like they used to!

G: They don’t make ‘em like they used to. That’s more than twice as many people died in World War 1.

J: Eesh.

G: They don’t really know where it originated, actually. Um…in-in the United States, actually there were 675,000 cases.

J: Wow.

G: So, this was really a global pandemic.

J: So…so, actually the flu killed many more people than the other viruses that everybody’s so worried about.

G: So, when you put it in context, the…the SARS and this current Coronavirus, I mean, they…they don’t even register on the same scale as the Spanish Flu.

J: Well, ok, that’s true in…in terms of total numbers now but perhaps that is a result of precautions which governments have now learned to take because of the Spanish Flu? I don’t…I don’t know.

G: Yeah, but in terms of the sheer mortality rate, then obviously the…the Coronavirus seems a lot less deadly than Spanish Flu.

J: Yeah, that’s…

G: So I guess I’m…what I’m saying is…I guess to… When we’re waiting for the next sort of human, er, death knell to sweep the world.

J: Catastroph…catastrophe.

G: Then probably the Spanish Flu is a good thing to measure the…a benchmark to measure against.

J: Sure.

G: I guess I’m thinking possibly there’s a bit of an over-reaction, especially with modern medicine, but...

J: Ok.

G: There we go.

J: There we go.

G: So, that’s…that’s what I’ve been keeping my eye on this week.

J: I like that. That’s good.

G: And what about you, Jay? Wha…what caught your eye this week?

J: Well, what caught my eye this week, er, was actually a little bit related to what we talked about last pod with our economist.

G: Ah, Mr Rabelo, yes.

J: Yes. If you remember, he mentioned that Brazil was going to auction off some of its oil assets.

G: He did.

J: And I have an update related to that. Erm, last week in Davos, the…Paulo Guedes, er, said that the government – the Brazilian government – is changing the rules to give foreign oil companies an equal shot to win…to earn government contracts.

G: Great!

J: In…in general. And that’s also going to specifically apply to the oil fields.

G: Ok.

J: Of course that’s a big package. There’s much more, er, related to that. So this is going to apply then for toll roads, for airports, or maybe electrical supplies. Basically, anything that the government wants to auction. And so I think the…the…that’s…Brazil seems to be going in the right direction to attract foreign investment.

G: And you’re proposing we make a bid?

J: Well, I’d…I’d like to, sure. I mean. I don’t have a lot. It’s going to be a very small road that I’d like to bid on.

G: I think we should buy a road.

J: But, I mean, it could be a small road and I could charge a…a normal tariff and we’d still be happy.

G: I think that sounds a great idea. You got any money, by the way?

J: Er, hm, I’ll try to find some.

G: Oh, ok.

J: Ok.

G: Anyhow…

J: So, Gee, what else do you have for us?

G: Have…have you ever heard of Cambé? Do you know where Cambé is? Anyhow, there is a small jail in Cambé…erm…it holds…it’s built to hold 36 prisoners.

J: Ok.

G: So it’s quite a modest jail, and currently it’s holding…how many…how many would you guess?

J: Where’s it at? What country?

G: Paraná. North of Brazil.

J: Oh, I’d say, probably ten times that.

G: It’s holding nearly ten times – 208 prisoners, currently.

J: I was close.

G: And these prisoners are not happy about this.

J: I can imagine. Er…there…the…yeah…you’re basically sleeping on somebody else’s lap.

G: So, what they did – they managed to get hold of a cell phone and they decided to do a You Tube video recording their complaints about the jail, which include: rats…er…scabies.. – you know scabies?

J: No, I don’t know what scabies…

G: Scabies is that nasty little mite that digs under your skin.

J: Eesh. It’s…it’s…it’s a skin related condition.

G: It’s a skin bug. It’s not very pleasant.

J: Nasty.

G: Tuberculosis – another word I’m not going to say again today…

J: Ok.

G: …and, um, various other diseases. So they’re saying – ‘It’s horrible in here. We want to be moved somewhere else where the conditions are better.’

J: It’s not humane.

G: ‘In fact, it’s so bad in here, we’re going to get out and we’re digging our way out right now!’ And they show their hole…their tunnel that they are digging…on the video!

J: Ok.

G: But the only problem is the police got to see this video.

J: Of course! Why…why on earth would you sh…?

G: So now…

J: They are obviously not very bright prisoners.

G: …they have, um, basically reinforced the jail, and they’ve decided that they are…they’ve closed the tunnel that they were bigging…digging as well.

J: Ok, but they are still stuck on the same amount of space?

G: And they are still stuck there. So unfortunately it hasn’t really helped them much, the video, and…um…except to deny them their great escape plans.


J: My story, it’s a little bit more international. Maurizio Cattelan. He is the artist…er…we talked about it…er…a couple of pods ago and he made a particular toilet.

G: Ah, that guy, yes. Yes, yes, yes.

J: Yes, yes, yes.

G: The man who likes to sell bananas instead of golden toilets, cos…

J: Yes, he made a golden toilet. And I have more details about that particular golden toilet.

G: Excellent.

J: Anyway, Maurizio Catellan has the habit of naming his artworks, as most famous artists do. What was the name of his last artw…let’s say the banana? Do you remember?

G:  Right, yes.

J: Comedian. Comedian.

G: Comedian, yes, yes, there it was. Yes.

J: Would you like to take a guess at what…what he had named the golden toilet?

G: Er, John?

J: No.

G: No?

J: America!

G: America.

J: Actually, previously that toilet was on display on the…at the Guggenheim Museum in New York.

G: Wow.

J: Ok? And people were actually using it as a toilet in New York. It’s made out of gold!

G: Alright. If it’s ma…

J: I would like to go back to what the…the curator for the Guggenheim Museum had said about that toilet.

G: Ok.

J: Ok? So she said a-about the artwork. Now she’s viewing it as a piece of art. She’s viewing it not as a toilet. Of course it’s…you talk about ‘functional art’…

G: Yes.

J: …well this would be in the definition of functional art. Er, she said the idea that it is very welcoming and inviting for anyone to use it, and that’s the heart of the message that the artist wanted to…that the artist wanted to show.

G: Just like America, right.

J: I dunno. Yeah, I guess that’s it.

G: Especially now Trump’s there.

J: Yes, and she says that you can have a very intimate, private experience with a work of art, and that’s very fascinating on many levels. Now…now if you listen carefully, you will know there’s a tone of sarcasm in my voice.

G: Yes, I-I can understand actually.

J: But anyway...

G: Well I guess somebody’s having that private experience all to themselves somewhere in the world, no?

J: With…with a work of art.

G: Unless they melted it down and made some cash, of course…

J: Yes.

G: …which is probably what I would do in that situation.

J: While it was being on display there, the Trump administration took office and they requested the Guggenheim Museum to lend them a Vincent Van Gogh, er, painting.

G: So what…is this in exchange for the toilet or what…what’s the deal?

J: No, no, no. Let me get back to there. So, the Guggenheim Museum said – ‘We cannot lend you the Vincent Van Gogh mus…er…painting. It’s not available.’ But they offered an…er…alternative, and they said – ‘We have this golden toilet here. This is also from a famous artist and you can have that instead. And we in fact, we will give you instructions how to install it in The White House, in case you don’t know.’

G: Ok. Right. They are very similar things, really, aren’t they? Vincent Van Gogh and a…and a loo. But, yes.

J: Anyway, it was offered to The White House, White House refused. Er, and the next place it was supposed to go to was called the Benheim…Blenheim Palace in England.

G: Blenheim, please. That’s the pronunciation.

J: Ok, Blenheim, ok.

G: Blenheim – it’s a famous palace near Oxford. It’s very nice.

J: Erm, if you remember, the golden toilet was stolen from a place in Britain.

G: Yes. Security is a bit lapse there, I’m afraid.

J: No, they had no security! They…basically. So, I would like to describe what happened during…during that theft.

G: The toilet was in a public convenience, was it? Nobody thought anything about it.

J: No, the people were using the toilet.

G: Do you think they knew the toilet was there or they just needed the bathroom?

J: No, it was on display and it…it was actually being used by the people.

G: So they just went into the bathroom and they discovered the toilet was made of gold and they decided to walk off with it?

J: No, you can imagine there’s a long line to go use a gold toilet.

G: Ah, well yes.

J: Visitors were given three minutes to be kind of alone and have their moment with the toilet.

G: Good grief.

J: 3 minutes. And there was a standing line of people for this. Yes.

G: My goodness. And this is England, too. How embarrassing!

J: This… this is England. So what happened was…let’s say, the early morning of September 14th, 2019, robbers kind of waltzed through the front door there. They went to the bathroom. They cut the…the toilet because it was attached – it was in use at that museum…at…at not……at the palace. And they walked out the front door, basically with the toilet, and they drove away and nobody could find it. Do you know…do you know who the dukes are of Blenheim?

G: I think it’s the duk…er…no I don’t!

J: It’s a famous cigarette.

G: Erm…Marlborough, yes.

J: Yes. The Duke of Marlborough.

G: Yes. Duke of Marlborough. Oh, the good old Duke of Marlborough.

J: He might know quite a bit about cigarettes but he knows absolutely nothing about security!

G: Ah. Clearly no.

J: Anyway, a spokesperson for the…for the duke said…was questioned afterwards, and they said – ‘Well look, you have this gold toilet here – why was there no security, er, to take care of this gold toilet?’ And..and I will give you what…what…what his brother said. His brother’s name is Lord Edward Spencer Churchill.

G: Wow. So, actually, he’s quite famous, I believe.

J: Well, that’s a proper name, isn’t it?

G: Well yes. I…I…I…I yes, I might have heard of him before, but…

J: Ah…I think you probably have. He said, erm…he was asked why a golden toilet was left unguarded. And he said – ‘It’s not going to be the easiest thing to steal. It was hooked up to the water and working. Er, in addition to that, a potential thief would have no idea who last used the toilet or what they ate. So no, I…I hadn’t planned on guarding the toilet.’ This is l…it’s not my words. This is the words of a…of Lord Edward Spencer Churchill.

G: O-obviously he doesn’t know how valuable dung is, as well, these days.

J: No, he has no idea.

G: Otherwise he would have factored that into his calculation. Did they recover the toilet?

J: No, they…er…as far as I know, they have not…er…recovered the toilet. There’s speculation perhaps it was melted down and sold off as gold. Nobody knows. That’s my…er…that’s what caught my eye this week.

G: Now I feel much more informed on who Mr Cattelan is, and his personal history. And that’s very interesting.

J: And the significance of that toilet.

G: And the significance of the toilet, as well as the banana.

J: There we go. So anyway…

G: And the importance of relating to art in a very intimate way.

J: Yes.

G: Thank you very much.

J: It’s not necessarily…so you see, it’s not necessarily what you do but the argument behind it.

G: Exactly. It’s all in the eye…it’s all in the beholder.

J: Thank you.

G: Or the holder in this case. The vase.

J: Eesh.

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J: Today we have a special guest…er…Peter Harris! He’s a musician from Pennsylvania.

G: Welcome Peter!

P: Thank you, thank you. It’s nice to be here. Thanks for having me.

J: Thanks Peter. Now you’ve lived in São Paulo for a couple of years, right?

P: Uh-huh.

J: Er, how long have you lived here in Brazil?

P: Er, about six and a half years I’ve been here.

J: Six and a half years?

P: Hm-hm.

J: And you came from The United States…

P: The United States.

J: …directly to São Paulo, or…

P: Yes.

J: Now, did you have a job when you came?

P: No, big…er…as we say, a leap of faith! Er, so I had an invitation of a very good friend that’s, er, from São Paulo, and, ah, I decided to, er, test my luck.

J: So you came to Brazil as a…as an American musician?

P: As an American musician.

J: And did you speak Portuguese at that time?

P: Básico um. Yeah, just enough to…er…to get slapped in the face and get a cup of coffee when I needed it!

J: You have to have a lot of strange things that have happened to you?

P: Hm-hm. Absolutely.

J: Er…what…in…in especially learning Portuguese, I can speak from my own experiences, but I imagine you’ve had something similar, where you’re just said bizarre things that you think was completely correct…and the other person has started totally, like dying…

G: Something totally embarrassing. It’s happened to us all.

J: Yes.

P: Well you have to have an open mind when you are new to Brazil, and I suppose new to any place. And you have to just ‘roll with the punches’…have an attitude of being willing to improvise and just go along with things. Yeah, these language mistakes when you think you’re saying one thing  and then you just have like a small inflection or…er…um…pronunciation that’s just a little bit off and going to mean something totally different.

G: Yes. It’s pretty dangerous.

J: Has to be difficult. So…so, did you ever say anything… for example, you…you mentioned I think earlier, talked about getting slapped or something like that. Did you ever say anything incorrect to a woman?

P: Yeah, well, fortunately, um, i-it was a situation where the girl was, just like, embarrassed for me and she wasn’t offended. Um. It’s a funny story. It was at a padaria and in the United States we don’t have, um, paçoca and I love paçoca. I love it. Er, and…and…I saw this huge, er, paçoca for sale, and it was in a, um, in a cylinder shape, and…um…and I pronounced the shape wrong. Um, which I didn’t think was a big deal but turns out that wrong word is a very dirty word. Er…and…and I wanted to say…er…paçoca em rolha. And you can imagine what I said, er, when I didn’t pronounce rolha correctly. And so I said, um, ‘I would like a blah-blah-blah of paçoca.’ And the girl just, like, stared at me. She was like…she was just like…had this funny smile… didn’t (sic)…turned red…and I was, like – ‘Did I say something wrong? I think I did but whatever.’ And so I bought it and I went outside and I saw my friends on the sidewalk. ‘Oh, er, I think I said something wrong inside.’ ‘Oh gringo – what did you say?’ ‘Oh, I said I wanted a blah blah blah of paçoca.’  And they said – ‘Oh gringo! You can’t say that! You can’t say that!’ And I said – ‘Ok. One moment.’ And I went back inside and I said to her, in my broken Portuguese at that moment… er – ‘I think I said something wrong when I was in here earlier.’ And she said – ‘Yes, you did.’ I said – ‘I’m sorry.’ She said – ‘It’s ok.’  So I embarrassed myself two times!

J: Ah, nice. So that…that’s a big jump then? So you came here, no job…you don’t even speak the language and but you know, let’s say, musically you can…you can get around. Right?

P: Yeah. Yeah. That’s true.

J: So…so how did you get started then? How…how did that work in the beginning?

P: Um, well, the way I first made musical contacts here is the way anybody should, honestly. Er…I participated in a…in a jam.

J: A jam?

P: Uh-huh. It was, um…in the jazz world we call it a jam session and then here in São Paulo and kind of like in the rock view of whatever ‘open mic.’ So that was…um…

G: So where was that? Was that here in São Paulo?

P: Uh-huh. Vila Madalena there used to be a bar. Now it’s closed…a few years ago...called Garrafas. Garrafas.

G: What instrument do you play?

P: I’m a violinist.

G: Violinist? Wow. That’s unusual, no?

J: Violinist in…in São Paulo? That is different.

P: Yeah, I’m one of the few…er…violinists that prefers to play not with the orchestra…not classical music but more improvised music.

J: Right.

G: So you got, like, the electric violin, have you, like you see sometimes?

P: I’ve tried those electric violins sometimes but I prefer my acoustic with a pick-up.

G: Right.

P: So I plug it in, as if it were electric, but I don’t like to switch between different violins. I like just one violin.

G: So, how…how do you play rock on a violin?

P: Erm, I take off my shirt and I go crazy! No. Erm, you have to know your scales and you have to have a feeling for the style. Er…and you can kind of…um…get the….the…er…classic rhythms and the riffs and…and make your own language, as you improvise.

J: And d-did you…when you came here…did you encounter a lot of other violinists to play with?

P: No. No, I honestly don’t like to play with violinists. Um, nothing against the violin, of course. But, er, I just feel like the violin is always copying a different instrument when it…when it goes into a different genre.

J: Ok.

P: So, like, I’m a…I love jazz, and I listen to saxophones and trumpets. I would never listen to a violinist to learn how to play jazz.

J: Right. What kind of music do you guys do here in Brazil, then?

P: Um, well the…the band that I most work with…um… You just asked about the style of the music?

J: Right, the style of music.

P: It’s, er…it’s a bluegrass band. So believe it or not, I came all the way from the United States, er, here to Brazil thinking – ‘I’m gonna learn choro. I’m gonna learn bossa nova, samba…and I…it turns out I’m going to be playing North American, like, er, country music. I was like – ‘Are you kidding me? Last thing I expected!’ But it’s interesting because we combine that style with some Brazilian, um, rock styles – um, some things from Titãs, and um, and then some just classic rock songs and a lot of originals.

J: Right.

P: And that band has…has a name to it. Maybe…anybody here listening has heard of O Bardo e O Banjo. So I’ve been the violin player for them for the last 4½…5 years.

G: So explain ‘Bluegrass’ to us…er…non-Americans here.

P: Sure. Sure. Absolutely. Bluegrass is…um, er…I call it…um…caipira norte Americana! So it’s kind of, like, a mix between…um, er…American country music and then, like, the influence of…er…er…Irish fiddle tunes that came…er…when the…when the country was founded. So it’s like a…a mix between those two styles.

G: Oh right, so it’s…

J: So…so it’s not really a pure American style, then? It’s a mix of Irish with…with…er…

P: Yeah. Yeah.

G: That’s fairly up-tempo too, isn’t it?

P: Typically. Yeah. Typically it is.

G: Nice.

J: At a certain point you just decided – ‘Ah. I wanna leave. I wanna experience the world’? Or…

P: Yeah.

J: …what…what I’m trying to find is wh-what was the motivation that brought you from United States here?

P: Ok, so that story…er…for me was…I have…um…a friend that is my age that I really looked up to musically. And one day, er, he told me – ‘Pete, I’m moving away’ – from Columbus Ohio, where I was living, and I was kind of sad to miss him and he said – ‘and I’m gonna go to New York.’ And he’s like – ‘This city, I love it but it’s too comfortable. I don’t wanna wake up one day and be 50-years-old and doing the same damn thing in my life. I gotta challenge myself.’

J: Ok.

P: And I thought that’s really admirable. So I decided – ‘Oh, I’m gonna do the same thing.’ So I prepared myself for about two years. I saved some money. I recorded a…a CD under my own name and I got certified to teach Suzuki violin, all that stuff…and I moved to New York. And, um, after I was in New York for like one month…er…I had came (sic) to here…er…to São Paulo to play violin in one of my best friend’s wedding – a Brazilian friend of mine. And during that wedding ceremony I got talking with the, the…er…singer and she asked, er…’What are you doing in New York? What are you doing in The United States?’ ‘Oh, I’m in a transition phase. I’m moving from one city to another, starting over…’ And she goes – ‘Don’t do that! Move to São Paulo! I’ll hire you to be my first violinist at all the weddings.’ And right at that moment, I was, like – ‘done!’ I’m just gonna do that. So I changed my…I…I just…I followed the same plan, I just changed the destination!

J: What would you say was the strangest situation for you, coming to Brazil?

P: Hm. Wow. That’s a good question. The strangest situation?

J: Yeah, ju-ju-just for like a gringo coming to Brazil – what was the strangest situation that happened to you that you said – “Oh, this…this is…now I know I’m in a different country!”

P: Well, without thinking of the perfect situation, I can just s-say a lot of little things. I don’t have a…a big situation prepared to sa…to answer that but like, a lot of little things like when you go to a house party here in Brazil, the customs are very different. You know, and I…I’m sure that after I leave a house party they say – “Oh that guy is not nice!” And I think of myself as a nice person but I don’t usually…it’s not in my culture to, like, kiss all the girls on the cheek and shake every guy’s hands, that (sic) when I don’t know them, and when I leave to have to do it all over again.

G: Yes, right.

P: Like, for me that’s very strange.

G: Especially when there’s 50 people in the house.

P: Hey, right?

J: And here…and here they’d say – “Oh this guy…this guy didn’t…didn’t greet me, and that’s…that’s rude.”

P: Yeah.

J: That’s incorrect.

P: I’m sure there’s a lot of people that feel that way, and we’re just different cultures, so when I saw my friends doing that, I am like – “Are you crazy? You don’t know those people!”

G: You don’t know what…what you might catch, no?

P: Exactly, right? Another small thing. This is normal here…er…people use silverware for more foods than we do in the United States. So, like, I think it’s very bizarre Brazilians eating pizza with fork and knife.

G: Yes.

P: And I pick it up with my hands and they probably think I’m a dirty pig!

G: And so, did you ever do any busking?

P: Yeah.

G: Yeah?

P: Yeah. Um…

G: Wow.

P: It’s…In the United States it’s a little more difficult than it is here in Brazil. Er, you have to have like a permit and stuff. I believe here… yeah, the busking scene in…in Avenida Paulista really blew up.

J: What…what…what’s busking?

G: Well, busking is obviously playing on the street, um, where you put your hat on the ground and wait for people to chip in some change, there.

P: That’s right.

G: Yes. But that takes a lot of…um….a lot of…I was going to say a rude word there – but it…it takes a lot of courage to go busking, I would have thought?

J: A lot of balls, I would say.

G: Yes. Yes.

P: Especially if you are by yourself. It’s easier if you have a team with you. But…er…then…then it’s harder to make money if you have a team with you. Have to divide everything.

G: For sure. Well, thanks very much indeed for coming in, Peter. It’s been…

J: Yes, yes, thank you very much.

G: …great entertainment having you with us today.

P: I appreciate the invitation. It was an honor to…er…to meet you guys, and…er…to be on the air with you.

G: So are people going to have a chance to see you play before you head back to the US?

P: I don’t know about that…er…we had our recent last show of the year, and the next few shows that we have are going to be private weddings or something outside of São Paulo, so unfortunately I…I can’t…

G: So we need to be wedding crashers to see you?

P: Yeah, right! That’s a good one. But I do…er…have an active Instagram…er…account that I keep my musical adventures…er…posted and…um…I’d be happy to leave a link for you guys.

J: Yeah, we’ll…we’ll put the link on…on the website and then anybody that’s interested can…er…can go look at that.

P: Cool. Yeah.

G: We can follow your progress as you head back to the US.

P: Cool. Yeah…er…I look forward to…er…chatting with whoever is interested and knowing more about…er…the adventures of a violinist gringo in São Paulo.

G: Maybe we could send some…er…Brazilian musicians your way in the US too.

P: I would love that. I would love that. Honestly.

G: That would be great.

J: Ok. Great. Thanks.

G: Thanks again.

P: Thanks so much guys.

J: Bye-bye.

 

G: So that brings us to our final segment for this pod, which is The Guru!

J: Guru!

G: So Jay, you’re first up. What have you got to share with us as the guru this week?

J: Well, I’m not going to give you any tips right off. I’d like to give you…hear your answers and then later I’ll give the tips.

G: Ok.

J: I’ll…I’ll invert this.

G: So you want me to make the mistake and then you’re gonna go back and correct me afterwards? Ok. That’s fine.

J: I don’t know. We’ll try. Let’s see if I can pull one on…over your eyes. Either use ‘so’ or ‘such’.

G: Alright.

J: Ok?

G: Ok. So and such.

J: So – here we go. ‘The weather was duh-duh-duh-duh cold that all the football matches were canceled.’

G: Hm. So cold.

J: So cold. Ok. Number two. ‘It was tuh-tuh-tuh-tuh hot weather that nobody could do any work.’

G: Such hot weather.

J: Such hot weather. Correct. Two for two. You’re on a roll. Once again – ‘so’ or ‘such’? ‘It was duh-duh-duh-duh-duh good film that I went to see it three times.’

G: Well, I believe the correct answer is ‘such’ once again.

J: Such a good film that I went to see it three times. Correct. Er, and the last one is – ‘…and their garden is duh-duh-duh-duh beautiful.’

G: And this time it will be ‘so’.

J: So. Ok. People ask this – “When do I use ‘so’, when do I use ‘such’.” It relates to the noun. Ok? Is it…are you going to have an adjective with a noun, or just a straight noun, or just a straight adjective or adverb? You will use ‘so’ with an adjective with no noun. Or with an adverb.

G: Ok.

J: In the last example – ‘and their garden is so beautiful’ – that’s when you’re going to use it, because there’s...there’s no noun that follows beautiful.

G: Exactly.

J: Er, in the second example, er, you use ‘such’. So you’re going to use ‘such’ with a…with a noun or with a combination adjective-noun. So, in the second example – ‘It was such hot weather that nobody could do any work.’ So it was ‘such’ followed by hot. Hot’s an adjective that’s describing the weather, which is the noun.

G: Exactly.

J: So that’s the difference. If you are using it in a sentence, you need to know – ‘am I using a noun or not?’ – basically.

G: And that was such a good explanation nobody will ever be able to forget the difference.

J: Thank you. So, what do you have for us, Gee?

G: Um, today, I am going to talk about prepositions of time – the basic ones – in, on and at.

J: Ok.

G: So, which do we use for each of the following? Summer?

J: In summer.

G: Christmas?

J: At Christmas.

G: My birthday?

J: On my birthday.

G: June 22nd?

J: On.

G: 2015?

J: In 2015.

G: And 10am?

J: At 10am.

G: Very good. If it’s a ‘day’ we use ‘on’. So, on my birthday, on Christmas Day, on June 22nd. If it’s a specific time, like 10am, we use ‘at’. So at 10 o’clock. And pretty much if it’s anything else, we use ‘in’.

J: Ok.

G: Um, so that’s kind of easy to remember. There are one or two exceptions, of course, and there’s one difference, actually, between the British and the Americans…

J: That’s true.

G: …and that difference is ‘the week-end’. What do you say…in America, what do you say for week-end?

J: On the week-end.

G: On the week-end. And the British we say ‘at the week-end’.

J: At the week-end, yes.

G: But it’s no big deal.

J: No.

G: I mean, we understand each other on that one.

J: Right.

G: It’s just a preposition, at the end of the day.

J: I agree with all that. What I’ll typically tell my students is – ‘in a year…in a particular month….in a week…on a particular day…at a particular time.’

G: So that was short and sweet. That was The Guru for this pod.

J: I think that brings us pretty much to the end of another pod. And then, of course, the question is – ‘what do we have…er...looking forward’? Erm…

G: Good question. Have you got an answer to go with the question?

J: I don’t! We have a couple of different things that are potential interviews.

G: Ah, yes.

J: But because of time restrictions it…it might not necessarily work out, and in that case we will….we will have Pod 9 without the interview.

G: And from time to time it’s nice to talk about some other topics as well, actually.

J: Exactly.

G: So, there’s lots of things we can explore, actually. I’ve got a few things up my sleeve. So, be warned.

J: Ok, and I’d…I would like to….to ask the listeners – if you have any ideas about wha…thing…something that you need or something that you would like to hear. Please write – by all means – write to us, write to us, write to us.

G: Yes. If you are out there listening and you would like us to talk about…um…a topic for The Guru or any specific ideas or things you would like us to discuss in general, because of the vocabulary, do let us know. You can contact us on our website, which is www.thesambabuzz.com – there’s a form. Or we also have a mailbox, which is…

J: ….which is mailbox@thesambabuzz – everything together – .com

G: Then, if that doesn’t work, you can come and knock on our door, and find us cos we’re not far from you, probably, because we’re here in São Paulo.

J: That kind of brings us to the end of this particular pod.

G: It does.

J: And thanks everybody for listening. Thank you for your time. We appreciate it.

G: We do.

J: We appreciate your comments and…er…hopefully we’re helping you in some form.

G: We hope so. And we will be back soon with more of our nonsense.

J: Yes. Ok.

G: Until then.

J: Until then, bye-bye!

G: Bye-bye.        

        

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