It is a novel written by José Gomes Ferreira fable.

This is one of the must-read books in Portuguese classes of all the public schools of our country, and in this case I stress the word obligation had little weight for me, since by just barely meting John, who after all was not afraid, though living in the village of Chora -que- logo- bebes surrounded by a very high wall that prevented it from seeing the world, it was love at first turning of the page. The thousand adventures of this intrepid young man who faced five-armed giants , wicked witches , princes with donkey ears and other mythical creatures light up my afternoons and burned my imaginations so much so that I longed for Portuguese classes to be able to speak about this story. Can you believe it? José Gomes Ferreira throughout his career published more poetry than prose itself, but what the one he leaves and in particular this odyssey is another of those "literary treasures "that has accompanied over time several generations of Portuguese. The choice of this book was not a coincidence, there are two reasons, first wanted to honor the writer and second, to mark the 50th anniversary of its publication, which occurred in 1963. Imagine! 37 Issues after this magnificent juvenile fable continues to enrapture the dreams and nightmares of young people and fertile minds of the Portuguese. Have a nice read.

Joana with her velvet voice and Andrew with his rogues fingers on the guitar make up a duo that goes beyond the boundaries of jazz , composing a couple that does music with passion.

Tell me a little of what was behind the concept of "inside out" what was your first work in terms of composition
Joana Espadinha: It's my first work, but not out yet. It is an idea that has been crafted and that unfortunately, and there is a timing for everything, though the record has already been recorded is not yet out here. The "inside out "is an area of vulnerability. A people when is inside out it has its vulnerability outside. And also , is a Buddhist idea , which is the dharma , although I am not a Buddhist , it speaks of the reality of things as they are, after the turmoil there is a moment of clarity for me and this is the inside out . It is what it is.

It is a work in English and Portuguese, but it is a fusion, a bit away from the jazz universe.
JE: Yes, what happens is that I'm increasingly going towards author singing pop rock, so I still have one foot in jazz and one outside, the trend of this happening will be increasing, it has nothing to do with the commercialization the music is not that, the music is what it is and how I write songs and have a background of jazz like to improvise and there are influences, but not so much this musical style. My work with Andre still has a lot of jazz, because it's a duo , is different compared to a band where the arrangements are different and that everything tight and in this case we have moments of free fall .

These themes will be visible on the album, or you'll work them with a band?
JE : Unfortunately I cannot have two guitarists in my band , if I could I certainly included André . But I have another guitarist in the group, maybe in the future; there is another project where we can work together.

What inspired this work in terms of lyrics?
JE: I started writing lyrics in Amsterdam. I think living abroad is a very intense experience and confronts us with very things that we disguised, with life and growth. I think that comes from there.

A certain bias also by how they see foreigners?
JE: Yes, because the person feels misunderstood and alone. When people who are around us do not understand us , because we have a different cultural background , there were times when I felt it , and that influenced the song has a lot of it inside out , of longing , of being away from someone you love .

Have sung the themes of this album in and out of Portugal, the experience for the public is identical, or not really?
JE: I 'vet sung some of this music was not all, because the ones that has a more pop direction began to write them later. When I exit the conservatory of Amsterdam still came much in the direction of jazz and still wanting to do more complicated things and I was in another phase. Gradually I was founding me and there in situations that I presented my music and obvious was a jazz community that was well received. Whenever you sang language that nobody else knows, as much as they thought they liked and it is exotic, do not understand the deeper sense of the lyrics and was very sorry that, I ended up putting subtitles in all I sang, I wanted people to realize what I was saying.

And the world of law got cut off?
JE: It was fully cut, would be a lousy lawyer

Is a comedy that will make laugh even the cobblestones. A simply must see.

As is public knowledge I am a declared fan of Quim Roscas and Ze Estancionâncio and thus, quite naturally I went to my nearest cinema to enjoy another of the adventure of these two goofy guys from Curral de Moinas. And let tell you, contrary to what is been said, I did not come out disappointed. Quite the opposite. "7 rural sins " is a comedy to make us laugh and cry for more, the genius , in my view, lies in two very clear components, the script and the team of actors . Henrique Cardoso Dias and Frederico Pombares deserve, I think, an A plus score, for the witty, unpretentious and fun writing that sent me immediately to the wonderful episodes of Telerural. Some of the scenes are truly hilarious , the scriptwriter duo took the double meaning of the Portuguese language very hard and help to exaggerated  very well the little things of daily life in a village lost somewhere in Northern Portugal . And I do not think it was essential to contextualize the main characters, because both Quim as Zé do it in a masterly manner, on the contrary! Another strong dish of this film are undoubtedly the actors , starting with the two singles sinners, respectively , João Paulo Rodrigues and Pedro Alves, who need no introduction , I am unable to say which one is better, since both are delicious when they play distinct cameos in the film . However, the best performance fell in the lap of brilliant actress Patricia Tavares, in the skin of amusing Bald Celia; my only regret is that we do not see her in this kind of humorous parts more often. Was masterful the way she captured the essence of the character. I do not want to leave out the other two girls who enlivened the village feast of Curral de Moinas , the cousins , Rachel and Patricia, played by Alda Gomes and Melanie Gomes , who also printed a lot of action and joy to this sinful adventure. As a footnote, I just leave one more comment, the appearance of Nicholas Breiner only confirmed what we already knew about him, and he is really God, since he appears in almost all Portuguese films. I beg you, forget the sorrows of the day -to-day and the crisis and go to see this lighthearted and fun "7 rural sins " promise is a sin worth committing ! Good movie.

The Piódão Group is more than a brand of carpets it wants to climb higher, is mainly aimed at creating decorative products that inspire passion and convenience to their customers. A visionary concept for now shared by the manager, Pedro Pacheco and Marketing Director, Luis Nascimento.

How it starts Piódão Group?
Pedro Pacheco: Starts with a carpet factory. After the death of one of the managing partners, the family of one of them took the whole company and for 10 years has been a production factory. At the end of that time, with changes in international market we began to realize that having production was not enough to have competitive prices. Therefore, there was a bet on the design, it was necessary to retain customers in a more visible way. You needed a brand that had a beautiful and appealing product that substantiate, that could be defended in terms of marketing and image and generate loyalty. Since 1995 , we started to think about making a serious investment in design , 3 years ago there was a brand which did not leave the anonymity that was the "pad designers " , a kind of experience to learn how to do or not and catalogs, then from one point on when we started to have the most appropriate instruments , met a group of people provided trainees with some potential who were learning , people from the area of design and marketing that were able to define and build a small collection of design and that's how things started .

But in 1995 you created a partnership with a German company.
PP: It's more complicated than that, the German company is the genesis of the creation of this company, when the factory appeared in 1992, the new owner was faced with the opportunity of these Germans who said if produce carpets for a certain price we bought it. They are the "Brown Collection " , later as a matter of strategic partnership entered the company with 10 % of the capital and were our primary distributor for Germanophiles countries . A contract that able us to be the exclusive producers and sellers of "Rolf Benz ". It is a powerful brand of the highest level; I can say that the carpets that leave the factory at a given price, they arrived to Portugal, via Rolf Benz importer and store eight times the price without taxes. But the reality is that this partnership in practice assured us for some time 70 % of production. In terms of design, the collaboration with these customers has enabled a production capacity foolproof in terms of quality, service and know-how that this was guaranteed for a long time. We now have all this fantastic skill that no one in Europe had and that we should do with it? I think it was this whole confluence of factors that created the conditions for a collection that appeared. It was a natural process of evolution of the market and the company itself, was a little visionary, but if we think about it quite logical. Our customers are responsible for being able to develop the "know-how", but that has nothing to do with our decision to invest in the design, which was decided by the company.

Let's talk about the collections, how it works the whole process of choosing the designers? How you make that selection? Associate certain artistic component with the products?
Luis Nascimento: Sometimes it happens that there is a designer who wants to launch a carpet, which is a lot and then we feel if it has potential or not. Recently we include carpets fleeing a bit of the line team. We do not just went ahead with our projects, but also with some that appear on the practically extemporaneously.

PP: You know to me it seems more important to have a design function within the company, have a dynamic, i.e., from the moment we are familiar with its implementation becomes a natural process. That sort of thing becomes more complicated for who is out and I will not say that it is simpler, but it is more diluted. It is hard for me as a manager of a brand of a company to have to do it , because everything is ready , the industry is based on custom drawing and worked with when design does not become more complicated , to say that we are going to make these drawings on the rugs more times. In contrast, from a certain point, this willingness to work with a designer is also something natural, we can make a different carpet every month, means that we know people from our surroundings, when they appear are predisposed to work with us, do a proposal, there is a certain confidence, we reached an agreement, we give all our contributions and make a prototype. If we do not have the designer, we tried one, sometimes, we do it. The initiative is that it is the critical part, but the process for us is so natural, so fluid that once triggered the flame burns everything with passion. It is not complicated you need to know to manage in terms of market, sometimes the drawings we like cannot be manufactured , other times are fantastic and the answer is simple , there is a whole dynamic that involves the designer .

LN: In those cases where we dominated the market's knowledge, we call the designer to introduce another planking, to assess trends. Invite designer also to determine a conductive line that will have an increase brand value, if we invite one Philip Stark have a different visibility. The aim is also to create lines that are commercial , working on orders ensures us a particular job and an interesting billing , but it's not collection that will allow me to say that I'm selling carpets in 20 stores in Spain , 40 shops in Paris . You must be a commercial for this and sought to engage a designer in fashion trends as a stylist launches a collection every season; carpets also follow this philosophy as it is decorative and adds comfort. We have the most classic to those who will be inspire more in design , with hotlines and a designer helps us to frame each of the products that they are doing and find markets , is a creative process , but also democratic.

PP: There are also other synergies here. The brand helps sell the service from the customer , because if they ask to change the color , we can personalize this product and suddenly the person bets on a " flower" , it is a very strong piece for a room , i.e. , they will buy entirely different products . At ride of the brand, we sell the service and the carpets made on that basis. We work with a range of elements of which one is the design and when it is good, the epitome; it is to provide an involvement, an authenticity to the brand that is much bigger than just selling carpets.

Our country is among the top three most industrialized countries that have contributed to the reduction of climate change.

Not only bad news are coming from Portugal , our country stands out , according to a global study by the International Energy Agency , as one of the nations that have contributed most effective environmental measures to combat climate change . It is a rating that compares the 58 industrialized countries that are responsible for producing 90 % of carbon dioxide that is released into the atmosphere.

In practice implies that Portugal is the third best country to the extent that, like last year, the first three places are empty, as it was felt that there for now no country worthy of the podium with regard to climate protection. The objective index is increasing political and social pressure, particularly in countries that have forgotten the national labor with regard to climate change.
The best places were for three European countries: Denmark, the United Kingdom and Portugal (considered a surprise), the further ahead of Sweden (7th). Germany came out of the " top ten " , now occupying 19th place , greatly affected by the attitude it have taken on decisions about climate policy at European level in the trade of emissions and improving efficiency of the motor area . The worst countries are Canada, Iran, Kazakhstan and Saudi Arabia.

Denmark had the best performance for their recent trend of reducing emissions and climate policy considered exceptionally positive. In the European Union , the Netherlands climbs 18 positions thanks to the policies of the new government , Poland is the penultimate ( 45th ) , and the bottom of the table is Greece , with the worst performance ( 47th place ) .
China's performance has improved eight places (from 54th to 46th place) and shows positive signs since, despite an increase in emissions, is able to separate him from GDP growth, with major investments in renewable energy and being to limit the use coal, mainly because of the huge problems with air quality. India back to back six seats, given the strong trend of increasing emissions. The United States maintains the 43rd, at the expense of the economic crisis and also reduces the use of coal.

The revised methodology is mainly focused on objective indicators: 80 % of the assessment is based on indicators of emissions (30 % on the amounts of emissions and 30 % due to the recent evolution of emissions), efficiency (5 % associated with level of energy efficiency and 5 % with recent developments), and even the use of renewable energy (8 % due to the recent developments and 2 % depending on the weight of total primary energy from renewable sources).

The remaining 20 % based on the evaluation of more than 250 experts from the countries analyzed, with the Portuguese NGO Quercus intervened this criterion. The CCPI2014 focuses particularly on the issue of policy in the areas of renewable energies and energy efficiency, as it was felt that these are the main ways to mitigate emissions of greenhouse gases (GHG), and also considers the emissions associated with deforestation.
Like last year, there are, in the opinion of experts, a widespread dissatisfaction with the measures taken by each country to ensure, on a global scale, an increase of temperature below 2 ° C relative to pre - industrial era.

The report is available from Quercus http://varsovia.blogs.sapo.pt through
The blog and website www.quercus.pt.

Roberto Garden Huber is the current owner of the Orchard Farm, in Funchal. A property with history that he wants to opens to the world next year. Come meet it.

The origins of my family goes back to Brazil, from my mother's side there was a banker named José João Rodrigues Leitão who came to Madeira , was very rich and bought 3 % of the island , from the sea to the mountains , in the year of the Lord 1840s. Prospered in this land with its banking house, Castro & Leitão Company, until it came to war between France and England and how many who had goods on French soil, lost everything. What an irony! Reached the age of 30 wealthy and beautiful and at the end of his life with more than 80 years of age was bankrupt, had lost a lot of money. But he was a lucky man , because was saved by the eldest son of his brother Manuel , João José Rodrigues Leitão , his namesake and nephew, who had come from mysterious and dangerous Africa boasting the title of Viscount Cacongo , granted by Don Luis I, thanks to its unrivaled merit and touch as a peace negotiator , on behalf of the King of Portugal , between the realms of Cabinda , Massabe , Loango , Chinchocô and Mambuco Manipolo . In this unusual way, José João Rodrigues Leitão becomes lord and master of the entire assets uncle who ended up in the family.

The Orchard farm by order of the first Lord Viscount, in the early twentieth century, was the seat of a eucalyptus wood business, it was he who introduced this tree on the island and planted several acres of this lucrative tree species, since there was no iron for constructions. The mother-house was smaller, because the family did not live there in the property. Was used as housing for summer vacation , because they lived on the farm mother of men , João José still had another farm on top the mountain, the peak of the infant, which made him one of the richest and most prosperous men of Madeira .

Paula Luiz is more than an actress is a vehicle of creation, that through her experience of life , the people she meet on her journey and the travel's, she turns everything into learning experience that she seeks to relay to her students and society in her current writing .

What led you to pursue a career as an actress, in a hard country for artists of all genres?
Paula Luiz: It's hard to explain, because I say it was not me who chose it, was the profession that chose me. When I was younger I did not know very well what they wanted to be at age 15 so went to high school and ended up choosing sciences, because I wanted to follow medicine, psychiatry, but coincided with the fact that I started my theater course and then I realized that there was a whole world to discover from the creative point of view. It was funny to realize that had immense energy that was retained, it had to be crafted differently and be expanded. I fell in love just by the representation and began to pursue theater studies in conjunction with school. At 17 I had already done a few plays of the end of the course, I continued to do my training in workshops in New York, I always enjoyed the kind of American exercise, their language and always reacted very intuitively their school, really like this type of education, the Stella Adler style and was already working professionally when I did a casting for television. Was 20 years old, was precocious, but they called me and I did my first soap opera and was very strong, it was the first and the character was very rich. I showed my work in a more versatile manner, Eduarda was a girl who had mental retardation and I had to make a deeper and more courageous work. Loved it, people were fantastic , then progressed, did the " Wild Angel " , "your look" , did another television shows in a different TV station that was " revenge " which also enjoyed participating and " chiquititas " and a bunch of series and advertising. After the theater was still standing there forever , because the reality is that when we make television is hard to balance everything, because we worked 12 hours a day and to do nights stills, get to do a show at the theater is almost impossible when we you have to learn a text for next day. Now more recently I have been doing theater, written and staged by me, teaching, because I love it is a passion that I discovered in 2009, i.e. helping people to discover their best potential, such creativity, and such energy that is there and explore it.

Let's go back in time, because at some point in your career you decided to go back to the theater and left the other means?
PL: It came naturally, i.e. when you are in television sometimes you worked two or three projects and then suddenly there's a break, because there is a change in life, in my case what happened was this stop from TVI to SIC and are natural steps in our journey of life, which at the time have not questioned much, but they do happen. Then I return to the theater , was a return to the origins , because when we have many works in a row suddenly we no longer have the ability to self-analysis to stop and think , calm down, are you going as far as you expected in your artwork as you wanted? And I think when you work in theater it returns this healthy side of I will forget what I have done and go back to the empty space , Peter Brook spoke this very question: how is working in an empty space without props ? To create everything with you own body. And that return is almost going back to my 15 years of age when I discovered the theater.

One such project that speak is of was the monologue "Water women"? What attracted you in this project? It is very intimidating to be alone on stage and face the audience.
PL: This proposal was very interesting, because it came in contact with one director and another writer friend, suddenly we talk about it, we create something, we'll do a monologue, Paula do you want it? And I think in that aspect is better not to ponder too much, thinking is good, but there are occasions when we need to react immediately and go for adventure. Was a slight unconsciousness, that monologues have to have a certain thoughtlessness, because if not a person just paralyzes. It was also a project that applied for several grants and won everything so we could do it here in the commune theater and take it to the international festival "today is today " in Mozambique and the festival of Venezuela , in the city of Barcelona. All entities that might have supported made it possible. I've been with the Portuguese ambassador in Venezuela who liked the play and it is great to know that our work deserves to be shown and well represented and that people adhere. We are a nation without borders, we have the sea.

But beyond the fact that you're alone on stage, what brought you this character to you as an actress?
PL : The character was very different from me , energetically , of course , she had a more sensitive and fragile force that I also have and these nuances generated proximity , but she had stages of anger , resentment, indignation , and was a little more scathing than I, Paula , I do not have that facet . I live more in peace than the character; she had a tragic life story and could not overcome it. That show was her attempt to try to sublimate, sublimate. It was a beautiful text of Luis Carlos Patraquim, which is a Luso- Mozambican writer. It was very poetic, which brought some difficulty, because it is easier to express ourselves in more common parlance, than with such a beautiful poetryzation. The challenge was greater in terms of work, of perceiving and thinking: This is beautiful! What images this carries! There is all this work. On the other hand , had a very positive thing I was trying to have the domain of everything that is on stage , and when we are alone that we realize how much we dominated something , until then, I think I 'd never had that feeling at 100% everything I was doing . I even have a blank and go around and no one notice anything, I continued, gave a laugh and played with it. It is a domain that is added because it is ours, only we're there alone, the only chance is to master what we are doing, otherwise is not worth the penalty.

It is one of the trends this season inspired by men.

Masculinity is not unique, say the women who hijack the closets of men and use some of your garments that attach to their personal styles. This winter the male invades fashion trends, but let's face it is something that is always at hand when talking to women. How many of us have "plundered" the garments of our fathers, boyfriends and husbands looking for a piece to use? In those days when we have absolutely nothing to wear? I confess , between coats of the highest tailoring , classic white shirts, sweatshirts with plaid patterns , a bit of everything I could ever adapt to my custom closet , not to mention the pajamas that gets my preference over those outfits I abhor with teddies, animated figures and idiotic phrases . The simplicity, the sobriety and purity of lines of many men's clothes are so androgynous and yet feminine and at the same time versatile to a woman's eye that it is almost impossible not to take advantage of them. It would even be a waste. But , always attentive to these phenomena the industry adapted this trend to the female body, some of these suits, jackets and shirts giving them greater attitude and femininity , meeting the needs of the professional, urban woman fond of a more clean look , I would say unassuming . Now, you can't just say that you have nothing to wear when you do!

The Virgin Suta appeared way back in 2009 in the Alentejo , specifically in Beja , birthplace of two boys , Nuno and Jorge , cute and inspired that they decided from an early age to be musicians. And by god they were, and it is with this contagious and relaxation joy they sing and enchant in the lost lands of all Portugal .

You appear in 2009 and released a new album in 2013 how it has been this route ?
Jorge Benvinda : It's been a tough journey , with a lot of struggle , but very enjoyable . These two albums and five years that have passed forced us to be more musicians in the end. We had to learn to rebound, with a whole lot of mixed things and experience . During this journey we had digs in small concerts halls and also very large ones. This year we were in "living seas" to open the festival on the main stage , i.e. , this whole journey has been exciting and good.

Nuno Figueiredo : It started with a lot of desire and without much knowing. Now we are acquiring knowledge and learn over time, increasingly we know more , we also have a lot to learn , but we are more confident and that allows us to experience other things even before we ventured to do it.

You think that your huge success with the public is because of some of your songs were part of soundtrack of soaps and recently you won the Golden Globe .
NF : I do not think soap operas have influenced so much , I believe that helped to promote the music , but I have the idea that our success is due to our contact with the public, we were giving concerts . We've done over 200 since we started with the first record, and it allowed us to be in front of many people and every time we have more public. I believe that is a growing snow ball and I also that people like , they tell others and spread the news . We have grown more out there than properly by disclosure , although that helps , but I do not believe that was what catapulted us.

JB : Everything counts . The show in up here and there, the truth is that we have to convince developers like it or not , if they're not convinced that we attract people , or a concert that creates satisfaction , they do not bet on us. Who does founds in virgin suta a bit of party fun and a good laugh , but there is also always a keen eye to what is happening in society , we are citizens of our Portugal , and we are attentive and do a lot of strength in this side. The music pleases us who do it as the people who like us and go to concerts and promoting us, we can spread our music, our songs and see how people react . This is very important .

In your songs, the virgin suta , address the everyday life, but also there is a degree of social concern , it has always happened from the beginning ?
NF : We are like all other people , are aware of all the realities and have the advantage of what we do to overcome our point of view . And could not stop doing so. The songs are about what is beautiful , but we could not pass beside things that touch us even unintentionally , whether in our lives or in those around us and is part of what we're doing as composers . Therefore , all the influence must disclose in the lyrics.

JB : One important thing is that we have to be able to laugh at our sorrows , our misfortunes and problems and this is what happens easily . Our concerns are ultimately those of others and the world . Maybe we talk about us, but in general we have instilled things we feel and there is some affinity undoubtedly there . We , nor anyone else , cannot lose our spirit of that ability to mock , to be more sharpen and worthy to turn back the woes .

As young musicians you began career through new social networks that catapulted you to a greater audience.
JB : Interestingly no . Our route starts 15 years ago working with a producer and try to launch a record when no one else cared . We meet Helder Gonçalves and Manuela Azevedo in a festival in Gaia and they were very interested in our work . From there we started to build a relationship with Helder, from Beja we send songs to the North , making trips to Povoa and developed a close relationship in musical terms , to trust , to direct, to advise on the music. At a stage when we were tired and put to the question of giving up everything , he insisted to calm down and said: come on I will work your first album without much pretension and he did the pre-production . Then we could direct us to two music record labels, choose the " universal music " and that was it and it was from here on. Only after releasing the album we began to appear, was a lot of work of production and contact with people at concerts .

It is a collection of short stories by Mário de Carvalho .

Mário de Carvalho is a multifaceted writer who embrace various literary categories without been insert nowhere , his versatile writing lets you walk, be kind of a free entity in terms of style that can cover various types of audiences, readers . I will talk about "freedom in the patio" which at the least is a book that can be described as unusual, not because of the final outcome of the stories themselves, but by the content which in many cases is so implausible that causes the reader some discomfort, a certain perplexity , I would say. The tales sometimes do not really have a beginning , but it can have an end , or not, let's just say the story is there, but there is no pre -established order. The limit is the unlimited imagination , if I may say so. His writing is clear and easy to read , but it leaves a kind of dryness at the end. I know it sounds strange, but there it is, some of the stories are so intense and end so quickly that we were disappointed in some way and we want more and more and more... Do not get me wrong , I enjoyed this little collection , but you must read it and draw your own elations. Good reading.