The Anaquim appear in 2010 in the city of Coimbra, with a debut album, "The Lives of Others", which immediately catapulted them to national fame, but whose success has already crossed borders thanks to its peculiar sonority resulting from a fusion of sounds of the world, with a very Portuguese touch. Last year they released their third album, much calmer and bucolic as defined by the founder, songwriter of the band, José Rebola.

In terms of the Anaquim, on the third album "one of these days" do you notice an evolution in terms of the remaining two recordings that have already been released as a band?
José Rebola: I think that in this album there is always a very own evolution and dynamics, we tried that each album conveys a certain feeling and that is what has changed in relation to the other two albums, because "one of these days" has a thread. Our first record was a kind of collection of chronicles, the second was a more social album, focused more on the issues of society and the self. This third work is different because it touches on the affections, the love, the lack of love, the encounter and mismatch of the people. So it's a more contemplative, calmer, more bucolic album, the idea was always the minimalism of the songs, a certain decrease in the amount of lyrics and the speed of some things, that's basically what has changed.

This is still a voyeuristic work, because your themes focus on others and everything that happens around them and you said that this album is more contemplative and bucolic.
JR: I think that when we look at what is around us and at others, we also see what is in us in this circumstance, in the society that surrounds us, and the opposite. I think that looking inside is not only looking inside and looking out is never just looking out, what happens when I write lyrics to the ankle is this conjugation of the meeting points that we found between myself and others, the interior and the exterior in that sense I think it continues and will continue to happen.

By tackling the lyrics of the songs, you just mention that they are more contained, more concise, did you find an evolution of your writing on this album in relation to the rest?
JR: When I was referring being more restrained, I was addressing the total amount of lyrics and what is charged per second. In a more demanding, more interventional song, we want to say a lot and very quickly, when talking about love and solitude I think it is natural to have a certain breathing, a certain pause and that is what I feel in these songs. What does not diminish the intensity of the lyrics and what they carry, is that it does not only matter what is said, nor how you say it and in this album things are said in a softer, more leisurely way that goes to meet nature of messages that we are passing.

Is there any theme that is the summary of all this? That it is emblematic of "one of these days"?
JR: I think the song that spends the most this message and can handle almost every other theme of the album is perhaps "the road" and there it is not a very contained lyrics, it is the greatest of all, but as it is a sort of travel we can manage and be the motto of the remaining themes of the album.

Sometimes the Anaquim debut songs in the concerts that later insert in the albums, it happened the same in "one of these days"?
JR: It happened with one or two themes, but no more than that. Even because in the recording process only the themes undergo a metamorphosis and turn out to be different from what we had in mind. So, presenting the songs before the performance only happened once or twice.

In relation to the melodies, you incorporate many genres, which are not of a so-called Portuguese sound, are very disparate. Where did you seek influences from the Jewish klezmer, the bluegrass and the Greek rembetika that are not well-known musicalities of the Portuguese public?
JR: That's true, but I've always heard a lot of different music. Anaquim comes when I was in another rock band, more turned to punk rock and I started to have ideas that did not fit in that universe, so I was recording and writing it. As it was a composition so spaced the songs were very different, which did not mean that there were not some contact points, through very strong and marked rhythms. What happens is what we see with the sound of many musicians who take in traditional Portuguese music and show it and has a place in the world, we make a contrary process we bring the music of the world and we prove that it fits in Portugal. The themes we write in Portuguese and our way of making music, can also be in bluegrass, as with Balkan rhythms, or Jews, or Greeks, you can have it all. What we want is not only to show that Portugal has a place in the world, but also to show that all the cauldron of the world takes place in our country and with a Portuguese feeling.

Have you not heard criticisms in this sense of the so-called Portuguese musical purists?
JR: It does not happen much, because the way of being of a band is not only the melody or the music we make, it's the lyrics, the attitude, the covered themes, the posture and I think we're very Portuguese in that and we're going seek many Portuguese things. Moreover everything turns out to be a vicious circle in which all the genres of musicals are going to drink each other, the fado has very contact with the Arab music, there are others who think that it has a strong Neapolitan component. Basically we're all going to get things from one to another and adapt them our way. In this sense we have tried to show that everything can be Portuguese music, perhaps not in the more traditional canons, but we do not feel this criticism very much.

Do you think Portuguese music likes it self and the audience is a reflection of that? Or is there still a way to go?
JR: I think that Portuguese music, and more in particular that done in Portuguese, has benefited from a change in the attitude of the media and the public in general, in relation to itself. We have come to realize in the last 10 years that people approach Portuguese music with other ears and that it is no longer so "tacky" and that fortunately has already disappeared, or is quite minimized. We have the notion that the public has more attention to the lyrics, a greater openness and a minor prejudice in relation to the Portuguese musical projects in the national stages. Now, our country does not allow a giant stream of musicalities as a nation as the US, this does not happen, unfortunately. But, we feel that Portuguese bands have won a lot of public in their domestic market.

And your projection as a band? Do you notice that they are more recognized outside of Coimbra?
JR: We've been lucky enough to play, win fans and friends everywhere we play. And we noticed that these people act as "agents of promotion of the band", because despite everything still lives much of this word-of-mouth and we feel that our base of support is widening and even more than that, we already had the luck to tour Africa, we went to Zimbabwe, Namibia and South Africa and in March we go to the Lion. We feel that we are fulfilling a cross-border where our music is well accepted.

More trends for this autumn-winter'17 that were featured on Portugal Fashion.

Pedro Neto, one of the names to be retained from the Bloom section of the new national talents, has as its theme that is his personal analysis of a female figure, Lady Godiva and the velvets were one of the key elements of his coordinates. As the young fashion designer points out, "this protagonist lived in the XI century and was a reference to a painting by John Collier. However, it is with this picture that the equestrian references come to merge with the concept of this collection, which seeks to illustrate a woman naive but simultaneously determined and very strong in their convictions and their presence. Parallel to this introspection is intended to convey the utopian luxury and the sumptuosity through the chosen fabrics like velvets devoré and the wool with detailed finishes. With the choice of the picture of Lady Godiva, the idea is to submerge in the sumptuous world where this image lives with utopian details of luxury ".

Other Pedros this time Pedro Pedro highlighted a new type of tartan, which is one of the trends of this winter, about their collection question, "an image will continue to be worth a thousand words when we live asphyxiated by the images?" And if the glamor is dead? Brutalism sloth urban protection an anti-glam manifesto clothing as a cocoon the form of freedom of the body tas inwardness Gigantic silhouettes, generous volumetries, asymmetrical cuts, overlapping of parts and bizarre Influence of male / Military overcoats and blouses women's generous necklines wide sport line pants Exaggerated lengths warm and comfortable materials wool, felt, waxed quilts and waxed raincoats combined with cottons and rude linens Thick knitwear and jerseys Vichys and chisels mark the motifs of the collection: Invernous, earthy and sober colors: From gray to beige and camel, to black, khaki, green, neon green and olive.

Alexandra Moura presents a collection that focuses on the masculine / feminine and also launches the debate, "gender, pronoun, individual !? A reflection on the impact of the feminine in the masculine and vice versa because "in the whole individual lives a misogynistic war". The character and spirituality of Anohni (FKA Antony Hegarty), flooded with sensitivity, are the starting point of the collection that was born from his sketches, cutouts, collages, his dramatic and theatrical load, revealing a fragility that demands comfort . The details are brought back from ancient times, from the underwear pieces of both genres that merge into the future. The classic silhouette is deconstructed and becomes contemporary. The weight of the materials reveals the image of the comfort of a blanket that protects from a "false identity". The sophistication of the textures and patterns bring to the pieces the romanticism and the plasticity of another era. The collection liberates itself in a mixture of feminine and masculine characteristics in a single being, spirit and energy ?. "

The concreto of Hélder Baptista, presents coordinates where "jacquards are predominant with figures of animals in black and white, with notes of silver. To symbolize the protection of this forest the silhouettes are presented in tube form, just, very long with one or another large and thick contrasting piece, but short, all of which are worked with 3D reliefs and textures, representing the magnificent irregularity of the forests, as well as the lace and its transparencies, all of which are composed of raw materials Like wool and cotton, in the shades of black, white and gray with notes of bordeaux and silver representing this silver forest.

As in other European countries, our country has experienced an increase in the number and distribution of wild ungulates in recent decades.

At present there are around 3,000 red deer (cervus elaphus) in the center of Portugal, all thanks to the reintroduction program of the species, one of the most emblematic being in Serra da Lousã, according to a study entitled "the success of species reintroductions: a Case study of red deer in Portugal two decades after reintroduction" by Ana Valente, Jorge Valente, Carlos Fonseca and Rita Torres.

The species that had ceased to be sighted for almost a century and a half in the national territory, due mainly to the pressure of hunting, fragmentation and destruction of the habitat, was the target of the global management plan for the population of wild ungulates, which aimed to increase and restore the herbivorous biodiversity of the region, as well as, had the purpose of allowing controlled hunting in the future.
The scientific project, sponsored by the Ministry of Agriculture, Rural Development and Fisheries, in partnership with the University of Aveiro, between 1995 and 1999 placed a total of 96 individuals, 25 males, 56 females and 15 fawns, from other areas in the south of Portugal, namely the hunting areas in Vila Viçosa and Herdade da Contenda, in an area of 92.053ha, between Figueiró dos Vinhos, Penela, Miranda do Corvo, Góis, Castanheira de Pêra and Pampilhosa da Serra.

Between March 2013 and June 2014, the study authors note that "red deer groups were counted in sampling plots placed along a total of 61 randomly distributed transects, each 1000 m long, to estimate abundance of these wild ungulates using the pallet-based distance sampling method (groups with more than six animals) to estimate the current density and distribution of populations of this species in the Serra da Lousã, two decades after its reintroduction. The results show that the project to reintroduce red deer in the mountains of Lousã was a success, as the population increased in number and expanded to new territories".

Another of the conclusions emphasizes that "appropriate management policies should benefit from the information generated from these studies and strike a balance between the different interests involved, with a comprehensive understanding of the population dynamics. Considering the ecological and social potential of red deer, future monitoring programs should continue to be developed to address potential threats as well as to identify and minimize potential conflict situations. "

Http://www.tandfonline.com/doi/full/10.1080/21513732.2016.1277265

It is a work in CD with direction of Teresa Pais, director of the museum of Quinta das Cruzes and coordination of the musicologist Vítor Sardinha and includes a set of 27 musical themes of that musical musical instrument.

The orchestraphone serial number 3151, from the Limonaire Frères factory, demonstrates the close relationship between the history of science, art and entertainment. These were instruments that have always been used for public display in large spaces, such as cinemas, fairs, ballrooms and had a widespread manufacture in Europe from the late nineteenth and early twentieth century.
Its mechanical complexity, as well as its sonorous power, covered by a huge wooden structure with a sumptuously carved and polychrome facade, justified its use as an instrument of commercial exploitation of music, animating dances and parties to the rhythm of polkas, waltzes, Among other songs, constituting in itself the main attraction.
Manufactured, among others, by Limonaire Frères, founded in Paris in 1840, orquestrophones allowed an unalterable musical performance, and it could advantageously replace musicians, a factor widely publicized by the construction companies at the time. The short popularity of Orquestrofones came to an end in the first quarter of the twentieth century, with a change in social habits and the appearance of the phonograph, which profoundly altered the way the public consumed music.

The mechanized instrument that integrates the collections of the Quinta das Cruzes Museum consists of a main body in wood, profusely decorated, and has on the rear face a mechanical system of reading perforated cards, operable by crank with adaptation to electric motor, that emits the Signal to the various instruments, allowing the music to play. This is a piece of great patrimonial interest, not only because it is a rarity in the world of mechanical musical instruments, but also because it documents an exuberant time, present in its neo-baroque decorations, in its mechanical dolls, automatons, and in its music From the halls and theaters.
This complex instrument, bought by the 1st Viscount of Cacongo, João José Rodrigues Leitão, at the Universal Exhibition in Paris in 1900, was in the Quinta de Nossa Senhora Mãe dos Homens, when it was acquired in 1978 by the Regional Government, at the initiative of the management of the museum, to the heir of the family, Mr. Ricardo Nascimento Jardim. With this acquisition were also delivered several music cards that include waltzes, polkas, rhapsodies, military marches, hymns, as well as other classic and popular songs, making a total of 167 copies, some outstanding for their unprecedented nature, such as the version Alfredo Keil's "The Portuguese" of 1904, several Hymnos dedicated to the kings D. Carlos and D. Amelia, as well as the Portuguese Hymnos (1900), National (1904) and Madeira Island (1905).
The orquestrofone, still today, fulfills its original function as instrument of entertainment and musical dissemination, exposed to the public in the gardens of the Quinta das Cruzes Museum.

http://mqc.gov-madeira.pt/

Come and see some of the trends that mark this cold season.

For this fall-winter 2016-17 nothing better to warm the body in a very fashion way that wirh capes, presented in the collection of Storytaylors, in Portugal Fashion under, the motto ex-fairy tales, as they themselves refer, "who said that tales must always be fairies, and have all witches, princes and princesses? Who said that tales have to start with "once upon a time" and move on in a remote time and in a distant place? Who said life is dictated to a dimension? Who said the seasons only last for three months. For the white widow's walk.I like this ritual ... JD is a smuggler of creativity, and is the motto of" The white widow's walk, "the first chapter of the Alextimia story.
We started in New Bedford USA through JD's eyes, on the porch that skirts the entire first floor of the house that belonged to a Portuguese whaler captain. To these balconies it is called "widow's walk," because they were the watch-post of the women of the sailors waiting for the return of their husbands, which sometimes the sea did not return.Housed in a large hooded sweater, JD looks at the sky and the sea, and thinks about the next trip to Portugal, his mind weaves a spiral of images that he will change at his place of destination. Notes, to the book you are reading - Dante's "The Divine Comedy." In this dawn of spring, we speak of countries where the imagination happened to be taxed as opposed to others where creating is still free. We speak of a time in which the human being oscillates throughout his life between being a man and being a woman. We are talking about JD, a hyper imaginative who learns to feel through the sharing of his creativity and the emotions he arouses in others. This addiction leads him to exchange his symphonies of mental images for emotions, with whom he can not create his own images without paying a fee. "And that's how I become a creative smuggler." And we're talking about fashion and clothing, unconventional ways of creating them and building visions, transformability, creative and interpretive freedom, emotions, expression Wool, burel of the Burel Factory, hairs, velvets, satin, georgette, cotton, fiber.Textures, cuts, and colors.We offer a variety of patterns and materials that can awaken a multitude of ideas and sensations.We propose overlays of layers that transform the silhouette. Applied motifs that suggest shells, spirals and scales. Traditional Portuguese raw materials and materials and technological finishes.

The visuals are adorned with three models of Dkode shoes specially made for the collection and spectacles from Paulino Spectacles . As for colors, the whites of light, of dream and of ice, and the blacks of the unknown, of mystery, of protection, in the paradox of being all colors and simultaneously none, ashes, blues, wet reflections, delicate motifs and symbols. Keywords and express? Ocean / sky / land; Imagination / emotions; Travel / fantasy; Overlaps; Dreaming / feeling; Art and science hand in hand; Reasoning / intuition; Challenge the convention; Smuggler / mystery; Delicacy / strength; To find out. We propose these pieces today for tomorrow and then, and then and thereafter. No Boundaries! I challenge you to accompany us on this journey and to let ourselves be enthused!

The "pé de chumbo" presents a series of beautiful coordinates in wool in a "mixture between thick sets of wool yarns and the delicacy of fine and transparent lace, with contrasts of color between roses and soft beige to gray and black with details The collection Pé de Chumbo for winter 2016/17 has a slight ethnic inspiration.The fringes and colors in patchwork take us to other cultures.It is a mixture between the rude and the delicate, a mixture of two feelings, Two states.These proposals are differentiated in that the fabric itself is developed by the brand through a process created and perfected according to the collections, almost manual in the manufacture of the fabrics.Thanks to artisan techniques, the pieces are designed and constructed one by one And almost unblemished yarn to thread, in a blend of weaving and knitting that gives it a unique and exclusive look.This collection is the reflection of the main concept and distinctive motif of the Pé de Chumbo brand: textures.

The gleams and pleats marked the collection of Alves/Gonçalves that "represents several confrontations: oversize vs longilíneo, feminine vs male dialect, simplicity vs. urban vs. austerity, order vs disorder and spleen vs. glare. This is a work where it is possible to observe the lightness of more ethereal materials, conjugated with other thicker and warm and soft touch. Technical details on finishes, natural fibers vs fibers with artificial surfaces, foil films, all over, varnish, iridescent. On velvets, lace, crepes, and wool. Pleated pleats and prints on Persian rugs. The highlights are black, gray, red and deep blue. A feminine, intimate and irreverent look, but interpreting the new codes of the times of now. In this process the classic served as inspiration for the proposal, making it more emotive and modern. "

The most sold and oldest almanac in Portugal.

On the second day of each year my grandfather, from my mother's side, had a ritual that was scrupulously repeated, and not just him thousands of faithful people join on anonymous mass, as he left the house with just one purpose to buy a copy of the Waterfront. It is a small publication with the kind of repertoire useful for everyone as advertised and well on its cover and yet containing all the astronomical and religious data and many useful indications of general interest. But what is so special about this almanac that looks more like a pamphlet? Exactly what they say, precious information for someone like my grandfather, a farmer by profession, who needed to know the phases of the moon to determine the best month for sowing certain plants and the best season for pruning the fruit trees and believe me it always worked and still does, because the "Borda d'água” continues to be published in the same simple and unpretentious format for 88 years, so something must be doing well.
I personally called it the farmer's bible for that reason, it was the only publication I saw my grandfather consult religiously all the years of the life I knew him ... Imagine a modern version of a Van Gogh, something so unusual that it seemed too unbelievable to be true, a man in a hat and work clothes dotted with brown spots deeply absorbed in the reading of this little leaflet, in the middle of a ready-to-cultivate ground, while leaning on his hoe. It was something to behold, the country scenery changing tones and shapes as sowings were sprouting and beans, corn, wheat, potatoes, onions, tomatoes and believe me when I say nothing, but nothing was missing at home.
But do not think that this small compendium of useful advice is only for the so-called "gardeners of the environment", anyone who wants to start their small garden should get their annual copy because it not only indicates the moons, but also what you should plant in every month of the year, from vegetables to flowers and is very complete and easy to read.
Another very funny feature of this almanac is its astrological predictions for those who appreciate this type of information, as well as the year-round holidays, religious or not, and the days in which certain ephemerides are celebrated, such as the day of the environment, or the children. And as if that were not enough, it has practical advice for life and anecdotes. As you can see there is a wealth of information for all types of audiences, hence their uninterrupted popularity. I keep the tradition and buy my copy, not because I dedicate myself to agriculture, but only for the simple pleasure of reading this little black and white secular treasure that stays basically the same, but why improve something that always turns out fine? Have a nice reading.

This year, the 12th edition of Animar proposes a new approach to animation cinema, starting from a central theme, music, in particular video clips. The exhibition consists of the transformation of the constituent elements of animation films into interactive installations, aiming at the playful learning of the processes used in production.

The animations go from the screen to the different rooms of the gallery, where visitors can interact in various ways with various devices related to the music videos: "Erva-cheiro", "Frio e quente" and "A cor da rosa" of Alice Guimarães for the music of Capicua and Pedro Geraldes; "É preciso que eu diminua" from Pedro Serrazina to a song by Samuel Úria; "Cinegirasol" by Bruno Caetano and Rui Telmo Romão for a theme of the Azeitonas; And "Faz Bem Falar de Amor" by Jorge Ribeiro for the song of the band Quinta do Bill.

Apart from the music videos, the short film "Estilhaços" by José Miguel Ribeiro will also be exhibited. In the room dedicated to the film, visitors can have an interactive experience based on the sounds of the animation.

In the course of Solar,Cinematic Art Gallery, visitors are invited to enter the universe of these stories through activities and experiences that will allow, for example, to enter the scenario of the Alentejo village of "Cinegirasol"; To put into practice the ecological message of "Green Hand" in a greenhouse of plants installed in the gallery; Create new versions of the Quinta do Bill music video; Experiment with optical toys or create your own animated film.

Hot and cold

Need that I skrink

Girasol cinema

Feel's so good talk about love

The crowdfunding campaign intends to extend the area of the international Tagus on about 680 hectares of native forest and fauna in danger of extinction.

For 30 years, Quercus has launched a pioneering campaigns in the environmental association movement in Portugal to acquire land for nature conservation in the Tejo international zone. The initiative aimed to protect endangered fauna and flora in this area in order to prevent the native forest and endangered fauna from being destroyed by eucalyptus plantations and illegal logging. At the time they were able to raise funds to acquire 600 hectares, which over the last 30 years have given rise to several reserves that have been intervened to promote the recovery of biodiversity. Thanks to these efforts, species such as the black vulture and the Iberian imperial eagle have been re-nesting in Portugal, priority habitats such as the "tamujais" and several species of threatened flora such as the Portuguese lily have recovered in these areas.
The new crowdfunding campaign aims to extend one of these reserves by an additional 80 hectares, in an area that limits another property where Quercus already has 430ha. The new land will allow the restoration of another 800 meters of margins of the Ribeira do Marmelal, a water course with priority habitats of conservation like the "tamujais" and "freixiais" and with presence of species like the cracked carapace turtle and the Portuguese bogue. This acquisition will also allow the conservation of an additional 40ha of cork forest and 20ha of Azinhal forest where several hundred other species live, some of which are in danger of extinction.
With the acquisition of this area of more than 680ha, Quercurs will be able to continue to protect natural values, promote knowledge and protect biodiversity. It also promotes environmental education and awareness raising, nature tourism, reforestation and recovery of water lines, a vulture feeder, removal of invasive alien species, discarded nature of recovered specimens, and many other initiatives. A work that has been done in partnership and synergistically with other local actors, local residents associations, municipalities, companies and public authorities. Therefore, help in what you can for the conservation of an ecosystem essential for the life and fauna of the national territory.

http://ppl.com.pt/pt/causas/mais-espaco-natureza

It is one of those texts that addresses a delicate subject and at the same time, not even that.

Recently I had the need to acquire new supports for my breasts and contrary to what you may think was not the best experiences I've ever had, it was a drama of epic proportions. It seems exaggerated, but no, I have noticed that although I really want to buy lingerie pieces, these intimate pieces for sale in many of the reputed brands stores do not have the cup and size that I own for my age, because as young sales girl of size 34 cup B did me the favor to suggest, when you have a bust that is beyond the D, there is no possible salvation, the solution apparently goes through those pieces that are on sale at the fairs? Do you know those bras for grandmothers that look like authentic 50's torpedoes ready to fire? They made me feel almost guilty for not conforming to the so-called "normal" patterns of bras that the Portuguese appreciate, because I do not seem to fit into the vast national female universe with small boobs (and yes, I'm being ironic!) and who likes basic pieces, in white, black or beige colors. I leave, however, a caveat, I have nothing against the likes of the Portuguese womens in terms of lingerie and corseterie, I also have these types of pieces, but I desire more than simple comfort, I want to feel sexy in my own skin.

And this story could have stayed here, but I did not let myself go down and decided that I would find the bras with which I dreamed on, so I went searching the internet accordingly and you know what I found? A very informative article by a young american blogger who approached several websites where the most busted women can find what they are looking for at attractive prices on the so-called new frontier of brass development, paraphrasing one of her phrases, Poland, the country where fearless women manufacture intimate and sexy pieces in materials such as silk, lace and in all shades, patterns and sizes possible and imaginary and yes, for all ages, be amazed! And the models? They are women like me, as you probably who are reading this text and I can say that I felt avenged not only for having found what I was looking for but for viewing images with beautiful models with bodies like mine. Below I leave several links and a friend's advice do not be discouraged by the zloty, the Polish currency, or by the sizes that are completely different, carefully read the conversion table showing how to measure accurately and see what happens. If you do not find what suits more your body Ewa Michalak at least can do it by order. Many of the pages are in english, but can be translated, they send to Portugal and on average the order takes about two weeks to arrive. I also leave a suggestion for pregnant moms who also want to feel comfortable and sexy.

Http://www.ewa-michalak.pl/main-eng.html
Https://samanta.eu/
Http://www.brastop.com/all-bras-lingerie
Http://www.suzandra.pt/

António José Telo is a professor at the military academy and has been a professor at the Faculty of Arts of the University of Lisbon until 1999. He is the author of more than 20 books and 200 articles on history, defense and international relations published in 6 countries. The historian was present in the cycle of conferences insula, under the theme "The war and the great change in the Portuguese reality continental and insular".

President Wilson wrote a document in 14 points explaining what could bring peace to the world, one of which is the need to have a trade commerce at European and global level. In fact, over the years, it has come to live, but nowadays the new governments that are emerging are precisely against these measures, what is your position?
António José Melo: Notice at the time, commerce was vertical, let me translate it in simpler terms, it meant that each empire had free trade, as was the case of the British, French, etc., but there was a strong agenda of one for the other. It was not free, these areas of trade were market areas assured for the great European powers, they were the rule and all were protected by a strong customs tariff, namely Portugal, which allowed the development of their industry. What the US president seems to say is that the solution is to stop these barriers to free trade, which means that goods can enter without paying taxes and for 100 years the West has been guided by this, and was even thought that Commercial freedom is the same as political freedom, is not it. They are totally different aspects, so what happened? In the last decades, 20, 30 and 40 years there has been a massive process of deindustrialization, both in the USA and especially in Europe, today we have less than a third of what we had 30 years ago and it is a process that is deeply felt in the form of employment, there is widespread unemployment, the most affected areas are those in Southern Europe and Germany has even benefited from this, with conditions of competition that other countries do not have and this process is being challenged, how can there is a freedom of trade with unfair competition? When in Europe we have wages that are 100 and the European industries move to countries with salaries of 10 and their products are sold with minimum barriers, that is, we are suffering from unfair competition, because the European standard of living is different from other continents and products coming from abroad end up destroying our industry. And this begins to be disputed in terms of its logic, because it is a central policy, in terms of the European Union and it is increasingly being challenged, why? Because it becomes difficult to keep jobs in Europe.

But this is also happening in the US and one of Donald Trump's standards is precisely to give back to the American middle class that has also been impoverished when its companies have also begun to close and now has been saying that it will tax the products coming from China.
AJM: This is a logic that came from World War I, that is, the US took this flag to institute this principle of the new international order of freedom of trade and today the Americans are saying, hey, we have to stop because in fact it is unfair competition with us, therefore, we have to re-establish customs rules in relation to the companies that go abroad to produce their products and which are then sold in the national territory. And this is also happening in Europe, there are European core policies that are wrong, but this does not jeopardize the free movement of goods within the European area.

But it is precisely these arguments that the extreme right parties use and that are gaining weight in the societies of their countries.
AJM: Something that is normal is that all systems are dated, do not exist forever and there are two hypotheses, or the system has the ability to adapt to new times and change in a coordinated way, which is a European tradition when there no are conflicting factors, dissatisfaction begins to accumulate and forces appear outside the system, which challenge it, taking advantage of this with other objectives, because it is very meaningful. Nowadays, every European feels that the industry has disappeared, that certain jobs no longer exist and that we are reduced to some kind of tourist park of the world. The big industry nowadays is tourism, and this is seen as a bad thing, rare European countries feel this to be a good thing, especially in Southern Europe where this phenomenon is strongly felt, as evidently there are forces that notice this discontent and use these elements in their favor, try to use it to challenge other things. This in itself is not an anti-democratic attitude.

But is not that a way to disturb peace?
AJM: The big problem here is that as it happend the Germany of the 1920s, who did not adapt to change, created chaos within German society itself and in these circumstances anything can happen, from that moment on it is that these forces like Nazism or others appear. In my perspective within the EU, there are two paths that divide, or the united Europe corrects its substantive policies and adapts to the world today and rides a change that is controlled, calm, serene and democratic or change happens any way because it is impossible to stop it, it may even be delayed, but it is inevitable. For example, we saw in the case of Libya and Syria how easy it is to destroy a state, the speed with which it happens and it had external aid, in this case the European one. We have seen how seemingly stable countries turn into chaos and anything can happen from now on, we see a terrible civil war that causes thousands of casualties and allows the advance of Islamic fundamentalism, which is a major threat to European democracy.
We are witnessing in Europe the growth of these movements of extremist parties that gain more and more power at the polls, but in Portugal this does not even have an expression.
AJM: True, Portugal is an exception, it is not a matter of extreme right or left, either one or the other, in traditional terms are very conservative forces and are not innovative. There is no doubt that throughout Europe this means a departure from the vote in relation to what are the traditional parties of power, that is, the discontent is very great, the Europeans are not satisfied as you know, I do not like what is happening, I think I do understand why. Europe is falling at an impressive rate and as a European I do not like it, I saw a report on Italy that will vote for its financial system and that it is as bad or worse than Portuguese and what was seen when interviewing Italians in the street that people said they were going to vote against, but why? Because they are against this government, against this system, whatever the issue they vote against, people are not happy, they feel that something fundamental of their central policies is wrong and they do not like what is happening, they do not know who to trust, because the whole political system is corrupt, it is a self-reproduction, it is a clientalist system because it feeds the clientele.

The Portuguese also have this same opinion about the state, that we live in a corrupted system.
AJM: However, Portugal is the exception, because if we look at France, Italy, Spain, or even Poland, Hungary and England, in all these countries, this happens. It is a Portuguese tradition, we have always had difficulty managing the change of background, usually we delayed. I remember a story that is attributed to Marcelo Caetano, a few days before the 25th of April, in a conversation he had with Freitas do Amaral and that he tells in his memoirs in which he says the following, I am the commander of the boat, I see we are going to the rocks, is going to be shipwrecked, but I cannot go around the rudder, I have to continue on this course even knowing that it will sink, I cannot find an alternative "and in fact the Caetano system wrecked that he saw very well, but this is the Portuguese tradition, does not change anything and suddenly changes everything with a very high price to pay, because the sudden change is chaotic and tends to destroy things that should not destroy.

Is it not also a cultural issue, because we are not a people given to extremes?
AJM: I do not know if we are not given to extremes, in the post-25th of April there were extremes, I do not know if we will not do it, but since its foundation Portugal has a great degree of tolerance, of greater openness and the Portuguese, for this is a good rule of thumb, as it seems to me, has a great sense of humility and perhaps stronger than most Europeans. Then there is this trend of the bad part of the coin, which is how to manage deep changes? Usually implies destabilizing the interests installed, changing things not in a purely cosmetic way, in that we are even a specialist, but notice things change any way, otherwise, the 25th of April was an example of that, if we could have brought democracy as transited by the Spanish without revolution would have been better.

Yes, but they had a civil war.
AJM: That was a few decades before, but the Spanish transition was managed without revolutions and without tanks in the street, the Portuguese was what we saw.

Focusing on another aspect of your speech, you approached the Atlantic, the fact that the Portuguese sea has been a subject of great greed for centuries. At the moment, the opposite is true, it is not seen as a favorable strategic point and almost americans leave the Azores.
AJM: I do not have that interpretation, things and their importance change and take on new aspects. I always say that one of the great potential wealth of Portugal for the future, above all, is its continental shelf. It is the great field of raw materials, the products of the future world and at this moment are emerging technologies that allow this in all fields, the continental shelf whose sovereignty passes through Madeira and the Azores is absolutely essential. It also does not seem that there is an effective exit from the Americans in the Azores, we have seen that there is a group of agents that suddenly becomes interested in the islands and that were not interested before, for example, China has already made trips of the highest level to the Azores, to Madeira not yet, there was a very recent contact with a number one representative of Chinese politics and they have said very clearly that they want to invest in the Azores, but not through the creation of bases. Although, we found that the Chinese created two military bases in the Indian Ocean, it was with the US understanding, not in shock and in Pasquistan a military base was also shared, so there is a sea-going advance here. The Chinese are interested in our Atlantic platform for a very simple reason, because it was closed to them the Northern route for centuries, by the Arctic, at the moment it is open part of the year and possibly short term all year round, and this has shortened the path from China to Europe and this changes everything. The vessels, through the North, have access to the Atlantic and the Azores and Madeira.

But do you think that at the political level it is important to have this alliance with China, as we are inserted in the European space?
AJM: You cannot put the question like this, it's very complex, it has to be put into the set, I was using the example of China that is one of the other interested powers and the americans did not just disappear, just manage the space according to their financial capacities. The US currently has a lot of British policy, we do not use it ourselves, we have to be present for others not to use, or just use with your permission, and the americans will try to make that, China will not be in the Portuguese Atlantic space and I hope the Americans will not succeed.

And do you think that Portuguese politicians, unlike the past, are more visionary and prepared?
AJM: Obviously not, as General Humberto Delgado would say.