It is a novel in three voices written by Nuno Camarneiro.

The young writer decided to give body and life to three great figures of universal written using only the first name of each: Fernando, George and Karl, three distinct personalities, living on three different continents, three disparate life experiences and unique, with the peculiarity of never intersecting. Each chapter is an episode of their lives invented by the author, with some biographical passages, but who's only common thread seems to be his literary genius that leads to a solitary existence full of imaginary creatures, ghosts and some "characters" that cross their lives and that in the future will help to shape their writing. After all, it is always necessary to live to write. "In my chest do not fit birds" brings us to a singular writing, which builds its narrative gradually, causing constant curiosity to the reader who is satisfied only by the turning the page to the next chapter. It is an easy read and accessible. Good read.

It is a work of composition and orchestration of Nuno Filipe & the end of 2006.

I find out about this record in the most peculiar way possible, the musician in a spur of the moment decided to offer it to me when we encountered casually at a gas station, and so without further ado, in an impulsive gesture he passed to my hands "seance". As soon as I came home I heard it obsessively in order to capture all the essence and meaning in musical terms. It is a galactic journey, which begins in the departure lounge and ends in space. A sort of lunar capsule where they mix various cultures, different languages and melodic nuances. Nuno Filipe is the creative mind behind this work, in addition of been a remarkable pianist, has a natural talent for composition and arrangements that just do not make it bigger in professional terms, because he lives in Portugal and more specifically in an island lost somewhere in the middle of the Atlantic. Having said that let's talk about the music, one of the favorite tunes on this album is "no one knows I am here" which although written by fellow musician, Paulo Nascimento, almost defines what I just said about the work of Nuno Filipe. "Moon approach" is another melody that fascinated me for its unusual composition, full of electronic sounds, jazz and the classicism of the piano. The second part of this CD is as its title indicates, a seance. A growing nirvana from the "tunnel" through the "Satellite of Love" by Lou Reed to the "Love" which is interpreted by the musician, but it was written by Jackie Taman and finalizes "the small town boy called Jesus" which is the prelude of this tour through the landscapes of the inhospitable being. Have a nice journey!

Amin Brakk it is documentary about the challenge a man, Leopoldo Faria impose upon himself. A climbing in Sagres that took two years to complete and wanted to become a film to be shown at festivals, for this is needed all your help. Come meet the adventurer and his very personal adventure.

A trip through Pakistan where there is an accident is which caused this idea for the film?
Leopoldo Faria: No, the travel to Pakistan was an expedition I made in 2010. In this journey there was an accident where I broke my wrist and took me a long time to recover from this injury, even had no certainty as to my full recovery. The doctor had told me it would not have the same ability, the strange in that hand and later in 2011 when I started climbing again, more calmly, tried to get a challenge that made me surpass myself, it forced me to be better, go further and I discovered Sagres. This escalation could bring me that extra motivation to learn and practice more. It took two years to make it and was only able to achieve it even this year. After that, come the idea of making a video about this adventure and when I spoke with a producer we thought about making a promotional film about the climbing. We have been studying several options, we saw the pictures of Pakistan and found the potential to tell a more complete story, or show people what led me to Sagres and decided to do it to a more general audience, rather than a niche of viewers. There are few adventure stories told in Portugal, at least on this type of modalities. Outside here is a lot, but here there is almost nothing.

The title what does it means?
LF: It's the name of the mountain range where the accident happened. Where begins the history of Pakistan that appears in the film.

During the film you try to focus on the relationship you created with the local population, or not? Since beyond the accident, there was a torrential flood that set you apart from the rest of the group.
LF: The film tries to focus on that part of my personal experience and the adventure. And we want to give expression to all these wraps present in a trip like this. My contact with the local population and culture is one of those aspects.

Have you finished the film? Or intend to turn it into a feature film, which is why you are asking for financial support?
LF: We made a trailer for the film that is being post-produced, to help pay for what remains to be done, that is not little. Besides the time that has been spent on recordings, we still have to make more and produce the film.

The dream was the travel or the film?
LF: When we talked about dreams, as in the trailer, I speak in a vague way, exactly, for anyone to be able to identify, because we all have desires and needs. Dreams do not have to try to be something concrete, are achievements that we want to reach. The film is about a specific climbing, but the crux is not it, is rather the set of emotions that triggers.

What is your next wish, in addition to this movie?
LF: First finish it. In terms of climbing there is still much to do. Many sites I want to visit, travels I wish to do. I have nothing as strong as I had these two years because of the stay in Sagres. It was very painful and now I hope to do something that won't take so long. But of course, I still have dreams.
http://www.aminbrakk.com/#!contact/c16fm
http://www.leopoldofaria.com/

His work speaks for itself, so he thinks there is no needs to show his face. Gonçalo Martins is an abstract expressionist looking for critical dialogue between his pieces of art and the audience that sees it. His works are annoying, strong and above all question the lack of values in our contemporaneous society.

How did your career as an artist arise?
Gonçalo Martins: My journey as an artist came from my childhood. My father did fine arts and unfortunately my grandfather would not let him continue this way. Since childhood I was always injected with art and architecture, my family is also connected to this area, my brother followed this profession. I followed the artistic world.

Then you followed that path because of your father?
GM: No, I had an education that encouraged me to do whatever, not exactly art, but of course, that these teachings were essential to my path as an artist.

Your work reflects the social and political issues in a fracturing society. These works convey an eternal dissatisfaction and intended to shock, this was your vision from the beginning, or was it something that come later?
GM: I think it has to do with people's personalities. I'm not easy, I'm a bit explosive, I see things from another point of view. I love the history at the political level, religion, child exploitation, unbridled capitalism and the social and cultural, that are the essence of my work.

Your work just to put the system in question, or would you like people to look at your work and reflect on that?
GM: Since I learned that I have a new abstract expressionism which I think makes the piece of art not going unnoticed. It is worth by itself. In my work I try to take a very strong tone, sometimes annoying for people to reflect and also see the message, or what I want to convey. The artist turns out to be a person who passes a message, like a book, like a movie and I try to do it in the society we live in today.

St. John the Baptist is the unofficial patron of the unbeaten city. Come walk with me thru the party on his honor.

The St. John in Oporto begins with sweet basil, the lemon herbs and leeks for sale at makeshift stalls swarming the city. The saleswomen join themselves to the noises of the street with its seductive cries that aim to captivate potential customers who rushed thru in their daily hustle and bustle. In the windows of every shops and cafes in the center of the city are raise small colorful altars honoring the saint most cherished by Oporto habitants, while inside people make their final preparations for the big night, as mandated by the tradition again. Almost obligatory stop is the Bolhão market where everyone buy at a frenetic pace peppers, olives, pork fevers and of course, the sardines that cannot be gone of a Portuguese table for sure. Between the narrow corridors fishmongers and customers discuss the price too exhausting of this irreplaceable fish of the Johannine grills, and if the exchange of pennants fails at all, the only choice is to visit the fish market of Matosinhos in search of the best price. No sardines are unthinkable for this day.

The Whale Museum, in Caniçal, has a museum component and maritime heritage, but also has a scientific side with the aim of creating knowledge that has economic and social impact in Madeira, bringing this information through educational services, permanent exhibitions, scientific and general publications as it explains its current director and marine biologist, Luís Freitas

What is the importance to the island's whale museum?
Luís de Freitas: The whale museum emerges within a tradition that was whaling, which took place between the years of 1941 to 1981. It was an activity with great social, economic and even cultural influence throughout the island. Despite being 50 years focused on Caniçal, the fact is that it involved people from every county of Madera. After finishing, there was a longing and need to keep this memory, most particularly, by Eleuterio Reis, the former plant manager he wanted, along with a number of people and friends, make this tribute and thus was born the first whale museum here in Caniçal. Since the beginning of its establishment they tried to associate a biological component that was intended to study the whales and the statutes of the institution initially anticipated a space for investigation. And as the story is important, it is a relevant benchmark for us as a society and must be preserved, then it is crucial to maintain this relationship with the sea of Madeira, because it is an important resource that we have and we should have the ability to recognize it, value and take advantage economically. However, to give a new dimension to the ocean it is necessary to make known something that we have, the cetaceans, the dolphins and their associated marine ecosystem. The museum took over this role and hence arose the idea of this project far more bold, but not only reflects the history but wants to take a leap into the future, projecting the sea and wishes to reach people. Incidentally, we have a phrase that defines this objective, an open door to knowledge, a window to the sea.

One of the programs is the "Cetacean Madeira II" (CMII), what is it and how it appears?
LF: The Whale Museum is a continuous project; the "CMII" is the continuation of previous projects. Begins with "Cetacean Madeira I" (CMI) who made the first survey of the species we have in the seas of the island, their distributions, basic information. It was also a vehicle that led to the creation of research teams, to acquire the boat and other equipment for fundamental research. Later we went to the project "Golfinicho" which had a more ecological component also in partnership with the Azores and that was the continuation of the project CMI, where there has involved fieldwork, up monitoring to obtain data on abundance, distribution again cetaceans in the waters around Madeira and even animals that are wash to the shore. Then the EMACETUS program that aimed to study the genetic comparison with the Azores and the Canary Islands to locate us in terms of the Atlantic. Not all species were studied, only four, the bottlenose dolphin, common dolphin, the spotted dolphin and the cachalot. And then we moved to CMII that will unite these previous data but has three main objectives, the first check if there is an area of interest, if Madeira is an important area, and we know it is, for a species that is protected and is considered within the scope of the Habitat directive, bottlenose dolphins. Those if they exist should be designated for community interest and that is what we are doing. The second objective is to establish areas for "whale watching" for loads of capacities, in order to be able to contribute to sustainable development without it explodes and causes serious problems in terms of activity, both in terms of pressures on animals that may have consequences for everyone and even the ecological point of view of the animals that go away, or change areas, because if so there is no further activity.

First things first. Upon completion of the program Cetaceans Madeira I, how many species were counted passing, or inhabit the waters of the islands?
LF: There are twenty-eight species that occur in the waters of Madeira. And the important thing here is a relative term, may be important in view of the amount of animals that come here and say that the most frequent to find and easier to observe in greater numbers are bottlenose, the common, the Atlantic spotted dolphins after we have sperm whales, the Braille whale, mouths pot or pilot whale, but there are two that stand out because their presence is associated with the archipelago throughout the year, which are the bottlenose dolphins and pilot whales. Although there are groups that pass thru temporarily, there are species, moreover, that reside here.

You reached this conclusion after genetic study?
LF: No, after the analysis of 10 years of data collected and that we are doing well now, either through photo identification of these two species and we have started to realize how they are distributed, leading density maps.

It is a reflection on power exercised by some footwear designers on women.

I discussed in the preceding text a trend that has been noted in young Portuguese women and not only, but after I wrote it I noticed that the issue led me to another thought, the dictatorship of the image that is constantly imposed on women. In the case of a simple pair of shoes the limit seems to be literally the sky, we reached a point where the height of the heels is simply unsustainable, we are barely able to walk with them, and may even argue that there are models which do not serve this purpose, then they serve for? The most curious thing is that women continue subject themselves to this kind of "torture" because of fashion, or because they are beautiful, or because they saw a friend with a matched pair. And do not get me wrong, I like a lot shoes, but when it becomes fashionable acceptable to say enough? You can easily see in any fashion magazine worth its name, that shoes are rather extremely high, or too low, there not a middle ground. Probably, this "event" is due to the fact that most of the shoe designers are men, who of course, do not use jumps and therefore cannot realize the danger of a "plain" stiletto of 14 cm for woman healths. It is a true a dictatorship style, although the interviews are filled of quotes of them saying how they love women, the truth is that they do not. And look up the famous example of Sarah Jessica Parker and her famous Manolos banned for the rest of her life by the personnel doctor of the actress. Incidentally, all this megalomania of sizes reminds me of the old Venetian dizzying clogs, a very peculiar type of shoe used by young wives of Venice from the fourteenth century, which literally kept them from walking, hence whenever they needed to go out to the street they need someone to hold them, in this case their husbands. Now you understand why they were so popular? And all this insanity around the heels reinforces my new conspiracy theory, maybe the malevolent purpose of these footwear designers of footwear is to prevent women from walking the streets, but at the same time convinces them they need to buy their shoe models, which supposedly makes them feel more feminine, at an almost prohibitive price. Doesn't seem to you that are pure masochism to pay obscenities amounts of money for shoes to suffer after? Even if only for a few hours? Makes you think!

It is a collection of short stories written by Clara Ferreira Alves.

There are 12 stories in the form of tales. It is a collection of texts published by journalist Clara Ferreira Alves and some unreleased that approach the pages of life of a number of characters, fictional or not, that entice the reader. At least it seduced me. Are small stories, with sometimes unexpected end, whose guiding thread are the relationships, or not, that are established between the characters. I liked the uniqueness of this small compilation of short stories, a genre often considered lower in Portugal, but in the background are signs of literature, as the Clara Ferreira Alves preface emphasizes and of which I entirely agree, since I am too a big fan of the genre. I think there are stories that do not need to be 300 pages long to be told well, short stories imply rather a great talent a very concise narrative that also looses the imagination, and may even seen an somewhat poor argument, but let's face it not everything you think, or hear, or witness, should translate into great literary accounts contoured with romance, maybe we can do without in most cases without this weight, whose dignified and eloquent example is this "lady's handbag and other stories". As always I have some favorite stories, but I won't denounce myself I prefer your read this little compendium of human nature beautifully written by this journalist. Good reading.

The sensible soccers are a band formed by Emanuel Botelho, Filipe Azevedo, Hugo Alfredo and Né Santos , which focuses on electronic psychedelic sounds. A musical adventure without gender on sight, which has already become a cult sound of the new generations of Portuguese and beyond. We talk to them, except Philip who apparently just likes to sigh.

When you founded "the sensible soccers" already have the experience of other bands, besides football what joined you all in this project?
Né Santos: Basically, me and Hugo Alfredo are of Vila do Conde and Emanuel and Filipe Azevedo are from São João da Madeira. We met in Coimbra where we were studying, Hugo began writing and doing some demos alone, then sent it to Emanuel who listened and added a few more things. Filipe Azevedo and I we entered the following year and immediately enter in the process of recording the EP in October 2011.
Emanuel Botelho: I and Ne had at one point a project was the "The Portugals" that started in Coimbra and was quite different from what we do now. It was a much more a pop band, founded in the scene low profile, we come here to explore something else, we took the electronic.
Hugo Alfredo: When you had the "The Portugals" was a particular time in Coimbra, the "sensible soccers" emerged a few years later, when we had already gone through the phase of been students and we were all four very depressed and I think that's what we joined more than football itself.

Then, let's talk about your music, for what I could listen there is a great number of influences on your sound, not just pop electronic rock and even ambience music. It is a huge mixture.
HA: Our idea is around all that, using sounds that were used throughout the twentieth century, since the electronic eighties, the psychedelic '70s, more pop elements and even dance music. With this sound sets we tried to create something more our own, especially without an unapologetically form of pop, or, we just don't sing, our voice will appear as a tool and are singable songs and choruses. Was trying to take these elements and explores the most of them to see how far we can go with them.
EB: We have not tried to be a band of a kind. We have a lot different things. I think it's not just the music that influences us even, life also goes on influencing and there's this whole issue that we are passionate about music, listeners almost religious, and that makes us unable to be restricted to one gender, either as listeners either as creators.

So what changed from the first EP to Fornelo tapes.
NS: It's a question of the nature of the songs. We released the first EP and then have some sketches that we felt that by their nature do not deserve big production. So we recorded in a homemade two themes that appear in Fornelo tapes volume I and basically that was it; so lived from those songs were is not a big post production.

HA: To record an EP, in this case the second, we are going for one that maybe is that is our second work. Like Ne said the Fornelo tapes is middle work that came throughout our career. To focus on a new project we have to devote to this work for months. The first took roughly 3 months to record and mix and was a long process. Not to mention the part of the composition that had been made months before and had lasted a long time. The issue is we were concentrating so that we had to have money to sustain us during these three months that we were not doing anything. This is very complicated, which is why we have maintained a momentum of editions paused in favor of a career with several albums and not building a short career with albums released in a short time. Also, the nature of it which we dedicated to music requires a long time.

EB: Something that greatly delayed the creation of this second record extended, was the fact that we since we launched the first EP we have been unable to stop playing. The launch was on 1st of October 2011 and from then until now done over 50 concerts.

"There's something I need to tell you," tells the story of someone who is abandoned in a loving relationship. He or she will go through difficult moments and incredible suffering, but it is up to them to find that strength that will allow them to move on without looking back. Three different shades of love that tell us the best message of all, love. A short film written by Rui Sousa, in 15 minutes, which took a year to be produced, knows why.

The question I put is the most obvious of all, how you got the idea for this short film?
Rui Sousa: I was at a dinner with friends that it was being very entertaining and at one point I had an idea about relationships, about love, about the broken heart and what people should do to overcome this dark period of their lives. From that moment on, I began writing the story that I shared with my colleagues and it would be quite interesting, not so much for the market festivals, more like a viral short. However, in post production and even during the commercial promotion of the film we decided to start the film festivals.

The short film deals with three different love stories, when you had the idea for this short film that was the premise since the beginning?
RS: Yes, now, the film has some messages, not just one. It seeks to show that love is transversal in any type of relationship whether heterosexual, or homosexual. Initially I thought about what you I should do when ending a relationship that was important to you and the path you should follow. The learning is of characters at the same time shows that love is universal for any human being.

One of the issues that arose related to this short film is that in the beginning you obtained some promises of financial support, however, when people find out that the film also focuses on a homosexual relationship, people retreated. It's still a taboo subject in our society?
RS: Clearly, unfortunately still is. There were many people interested in helping out, but as soon as receiving the script the speech was different, they said it was not so easy to help, it was difficult. The story was always the same. We get a sense of injustice, because we notice that only after they receipt the story we were without any kind of support, to the point that we had nothing. Then all the team and actors, we decided to continue the project with money from our own pockets, each gave what they could to get the film show off Portugal.

All involved are people with little or limited experience, whether actors or the technical staff, even you the director?
RS: We're all professionals, much of the technical team works on a production company of Porto, who were not involved in this movie. To everyone as a whole is our first work. Regarding the actors, Joana Antunes, is a know theater actress, the rest cast finished their courses in the art school of Porto.