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#and Very occasionally 'os States' in portuguese
gingerandwry · 5 years
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Salvador, Brazil
The day I left Brasilia for Salvador marked five weeks in Brazil (and fourteen of the past seventeen spent on the road). I was losing steam. Constantly packing and unpacking, always being a guest in someone else’s apartment, being alone nearly all the time, stifled by high temperatures and humidity and, I think more than anything else, not being able to speak the language were all taking a toll. I wanted to make the most of my time in Salvador, which everyone told me is a special place I would love, but I also started counting the days until I would be home.
In fact I was lucky to make it out of Brasilia at all. Months earlier I booked a flight on the budget airline Avianca. A few weeks before the flight they emailed me about a change, but the email only showed a different flight number. When I checked on the flight a few days ahead of time, I discovered my original flight had been canceled, and I had been rebooked on to an itinerary with a layover. At least it only added an hour of travel time, and I may have been lucky. It turns out Avianca was teetering on bankruptcy and had canceled 2,000 flights in the last two weeks of April since they were unable to pay the leases on their planes and airport slots. That might explain why on the first leg of my flight we were served only water and muffins and on the second leg the flight attendants didn’t even come through the aisle (tho it was only 45 minutes). They seemed pretty unhappy in general.
My Uber ride to the city was a bit surreal. When I planned this trip I forgot about Holy Week, and I arrived on Good Friday, a national holiday. I thought that Easter in a Catholic country might include some unusual parades or festivals, but it turns out most people go home to their families that weekend. So as I drove through the city in the middle of a Friday afternoon it was eerily quiet and deserted. I was already nervous since many people had warned me to be careful since crime was rife (even more so than everywhere else in Brazil). And I knew the area I was staying in, Centro, could be dicey, especially at night, but it sounds like everywhere in Salvador is dicey so there weren’t any great options. In any event, the crumbling buildings, stray dogs, abundant trash, closed shops and streets mostly devoid of people (except some layabouts) all added to my sense of unease.
I was staying on a public square, Largo Dois de Julho, which hosts a number of businesses, so that felt reassuring. Most were closed but I did find a couple open restaurants. I was scared of venturing further, and I didn’t want to take an Uber to a restaurant only to discover it was closed for the holiday, so I stayed close to home my first Friday night. Fortunately just two blocks away was Bar Ancora do Marujo, a truly tragic drag show dive. Bizarrely the show started with “Bye Bye Birdie”, and I must have been the only person to recognize it in the mostly young, entirely Brazilian crowd. I appreciated the obscurity but the show did not improve. I spent most of the night chatting with a friendly guy and his drunken friend who talked a lot of shit (especially about Argentinians).
On Saturday it felt like some life had been restored to the city. I was tired from lack of sleep, humid heat and homesicknesses, but was determined to press on. I headed south on (I think) the city’s main thoroughfare, Sete de Septembre. Centro soon passed into Vittoria, a much nicer (i.e. wealthier) neighborhood with lovely tree-canopied streets. There was not much to look at besides walled-off high-rises and the occasional colonial mansion. The road eventually dipped down into Barra, the city’s most popular beach. The coastline is dotted with numerous outcroppings, and Barra is marked by three forts, one still in use, one in a state of glamorous decay and one that has been restored into the Museu Nautico da Bahia, famed for its lighthouse, the Farol da Barra. The street above the beach has been made pedestrian-only and that afternoon the whole area was full of sunbathers, vendors and on-lookers like me.
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Taking in the views, I meandered my way over to the museum, a history of Bahia’s relationship to the sea, full of historical displays (presented in English too!), curious artifacts and ship models. (It also exhibits some of the remnants of a famous shipwreck that was only salvaged about fifteen years ago.) I’m not a maritime aficionado, but still found all of it interesting. I especially enjoyed the restored fortress that houses the museum and lighthouse (which you can climb to the top of) as well as the fabulous views they offer.
There is not much else to do in Barra, so I bought some beer and acaraje and sat on the beach for a while. I later repositioned myself to the bay side for sunset. Salvador sits at the mouth of the very large Todos Os Santos Bay, whose mouth opens south on to the Atlantic ocean. The city is on the east side of the mouth, which makes it the only place in Brazil where you can watch the sunset on the “ocean” (actually it’s setting over the bay and behind Ilha De Itaparica, a large island, but the effect is the same). After soaking in the beautiful sunset, I left the increasingly revelrous crowds to buy some groceries and go home for an early, restful night.
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Sunday was Easter, and I did not know what to expect, except that most businesses would be closed. After a leisurely start, I walked down to the waterfront and over to the Mercado Modelo, once a Customs House that stored slaves awaiting auction, now a large marketplace full of stalls selling touristy tchotchkes. I breezed through then crossed the street to the famed Elevador Lacerda, a couple Art Deco towers holding four elevators that whisk passengers from the waterfront up the hill to the Pelourinho neighborhood, for just R$0.15 (US$0.04) a ride. I really don’t understand why this is such a big deal, even highly recommended by Lonely Planet. Yes it serves a helpful function, and the views from the lookout at the top are magnificent. But inside it’s just a metal elevator with no windows. The top of the structure juts out of the cliffside but its views are spoiled by tiny window frames and dirty glass. I’m glad the elevator was there so I didn’t have to walk, but it’s hardly an attraction in itself.
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Pelourinho is Salvador’s most famous, tourist-friendly neighborhood. I was planning to spend Monday there (figuring more places would be open and fewer tourists would be about), but I figured I would get a sneak peek the day before. It’s also full of churches, so I thought I might catch some Easter celebrations but alas I did not. After a tasty lunch at Bar Zulu (my first salad in ages), I visited two of the local churches, side-by-side and competing for opulence. The first was Igreja da Ordem Terceira Secular de Sao Francisco. Bucking the national trend, the exterior is extremely ornate while the interior is (relatively) subdued. Visitors can tour the rest of the complex, which includes a creepy crypt and some deeply disturbing portrayals of Jesus suffering. Not to be outdone, next door is the Igreja e Convento de Sao Francisco, a decadent Rococo stunner covered in gilded embellishments and Portuguese tiles (tho its exterior is a fairly modest Neoclassical facade). I decided to save the rest of Pelourinho for the next day, so after snapping a few more pics in the light of the setting sun, I headed back down the hill to my apartment (before it got dark and scary).
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What a difference a (working) day makes. When I looked out my window Monday morning, the city seemed to have returned to normal. My AirBnB was on Largo Dois de Julho, and it was bustling with shops and street vendors, and the streets were densely packed with shoppers and pedestrians. I made my way up the hill back to Pelourinho. It’s a very charming, pretty area of narrow cobblestone streets, scenic plazas, historic churches and small colonial-era homes, mostly restored in the last twenty years. It encompasses several paradoxes that made it hard for me to settle on my feelings toward the place.
The word Pelourinho translates as “pillory” (”a wooden framework with holes for the head and hands, in which an offender was imprisoned and exposed to public abuse” aka the stocks). And indeed slaves were often publicly punished in the area, which is nowadays postcard-perfect and full of tourists and street performers. It was the historical center of town, and its wealth was driven by the slave trade. When slavery was banished and penniless slaves were set free in Salvador, the city went into decline as the money left. It is now a poor, often dangerous city, and Pelourinho was not “rediscovered” and cleaned up for tourists until the 1990s. Yet none of this history is visible anywhere, and slavery is only mentioned in the context of the slave church (more on that below).
My first impression of the neighborhood was that it was now pandering to tourists and had lost its character, like a post-Guiliani Times Square. But it’s more nuanced than that. For one, its character before was poor and decrepit, so it has certainly improved even if that meant losing some elements. Also there are many locals there as well. They come for the cultural spaces, performance venues and bars (tho the restaurants seem distinctly touristy). Many work in the area as was clear at lunchtime. And a few steps away will lead you to streets that look like any other, with markets, consumer goods stores, etc. that cater only to locals.
Some of the locals, however, are there just for the tourists. Pick-pocketing and panhandling are rife, and everybody is looking for a way to get your money, legitimately or otherwise. As a tall, very white guy with red hair, I felt like I had a target on my back. Every time I entered the area, I was ambushed. Some asked for money, some tried to shove some ribbons into my hand (they are a local religious emblem) so that I would buy them, some showed me their displays of trinkets and some offered food. It was nerve-wracking having random strangers lunge at me constantly or make a beeline across the street for me, especially knowing how frequent muggings are in Salvador. It’s exhausting saying “Obrigado nao” all the time. And most of these people will not accept the first “Nao” so they aggressively keep demanding, which then makes me worry how they are going to react. I quickly learned not to stand still, not to let anyone engage me in conversation and not to sit at a street-side table at a restaurant. These measures only lessen the number of encounters, and they hardly make for a pleasurable visit. (And this happens all over the city-- one of the street kids who hangs around the plaza in front of my AirBnB told me that “tourists have money”-- but Pelourinho is the most touristed area so it is most prevalent there.)
So it’s a beautiful, historic neighborhood, well-restored but white-washed, that almost looks like a section of Disneyland but which locals continue to embrace and frequent and where I enjoyed walking around but was relentlessly accosted. I have conflicting feelings about it all, but in the end, it’s still a beautiful, fun, important area that shouldn’t be missed. Pelourinho centers around four plazas, ringed by multiple churches. I began at Praca de Se, whose 400 year-old cathedral was actually torn down in 1933 and which nowadays has little to offer (except a fountain and some fenced-off remnants of the cathedral’s foundation). Next to it is Terreiro de Jesus, the biggest square that is home to the Catedral Basilica, an elegant, only-slightly-overwrought Jesuit church from the 1600s. The plaza itself looks like a wonderful gathering point for all types, but unfortunately it was walled off for construction.
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I explored some of the side streets which are full of restaurants and tourist shops and made my over to Largo do Pelourinho whose slope, triangular shape and colorful old buildings make it the perfect spot for photographs. At the base of the square is the sky blue Igreja Nossa Senhora do Rosairo dos Pretos, a church built by slaves (in their spare time) over the entire 18th century (on land granted by the King of Portugal). The interior does not match the facade’s beauty, but its significance to the black population for 300 years makes it an interesting stop.
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The road then continues uphill into the Carmo neighborhood, which looks similar but slightly less cute. The defining structure there is the Igreja da Ordem Terceira do Carmo, a massive church and former convent atop the hill. It too is less impressive inside tho it does offer some magnificent city views. The street continues into the Santo Antonio neighborhood which is still more run down but in a decidedly hip fashion. It is now being reclaimed by small pousadas (inns), restaurants, music stores, boutiques, etc. So far they seem to be succeeding at restoring the area and adding to its character without sacrificing its authenticity. One advantage, as I found when I stopped for a coffee at Cafelier, is that the buildings on the west side of the street are perched high on the hill so they enjoy sweeping bay views.
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I wandering back to Largo Terreiro de Jesus for my last stop at the Museu Afro-Brasileiro, which is housed in the fantastic pink colonial Faculdade de Medicina building. The museum started with eight artifacts in 1972 and has since acquired an important collection of items linking African and Brazilian cultures. It is much smaller than its counterpart in Sao Paulo, but that makes it easier to focus and understand the exhibits. The undisputed highlights are the 27 stunning carved wood panels by the artist Carybe, one for each of the deities of the local Candomble religion. Feeling much better about Salvador, I walked back home for a quiet Monday night.
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It was raining Tuesday morning so I started late. My first stop was the Museu de Arte Moderna housed in Solar do Unhao, a well-preserved former sugar mill and transfer station. The “museum” was underwhelming. The one exhibit occupied just one room plus a small side room with a video installation (it looked like there was an upstairs that was closed). The featured artist’s works examine colonialism’s enduring impacts. Some of the paintings were quite captivating, and nearly all had large gashes meant to resemble open wounds, which was very unsettling (as I’m sure she intended). With little to see, I did not stay long and, after walking around the marina only to discover the only restaurants were seriously over-priced, I took a car up to the Itapagipe Penninsula.
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The main attraction here is the Igreja Nossa Senhora do Bonfim, the origin of the colorful ribbons that people are always trying to get me to buy. Apparently the Senhora effects miracle cures, and those ribbons grant wishes. I was pleased to see the plaza in front was undergoing a well-executed makeover that makes it a very pleasant place to hang out. Unfortunately the construction inside was still in progress so the entire altar was blocked off while the workers’ loud clangs and bangs diminished the overall effect. It’s not a particularly pretty church anyway. The only part that interested me was the Sala dos Milagres where people leave photos and even wax replicas of body parts to request cures or give thanks for successful ones. Hundreds of detached limbs hang from the ceiling. But other than that the church really is not worth the journey unless you’re very superstitious religious.
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From the church I started walking west toward the bay. None of my guidebooks mentioned it, but I happened to read somewhere that a nearby lookout point offered some great views. After 20 minutes of walking I reached the coast and yet another old fort, Forte de Monte Serrat. The attempted military museum inside was falling apart, but the views around the fort were indeed fantastic. Looking to the south I saw a very serene, almost empty beach and to the north a number of small fishing boats and kids playing in the water. It struck me that this must be Salvador at its best. I walked along the beach a little then back up to the fishing area which is an outcropping called Ponta do Humaita. There is not much there: an old church (of course), a long pier, a little lighthouse and what appear to be some old military buildings. But there were kids diving in the water, locals chatting and drinking beer at the small restaurant and a few other tourists checking out the views. It’s a really nice spot, far removed from grit and/or tourist centers of the rest of the city.
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That evening I headed back to Pelourinho since Lonely Planet said it comes alive on Tuesday nights after mass. There were a good number of people about, one especially crowded bar, a live band and some drumming groups, tho it did not seem like this was unusual. Still it was fun to see the area at night and sit outside eating dinner watching the band in the Cruzeiro de Sao Francisco square. I walked around a bit and ordered a large beer from the bar. But of course standing outside drinking invited the usual assault from people wanting things from me (some even asking for a sip of beer). I relented with one guy and let him tie one of those stupid ribbons on my wrist (which I realized made me look even more a target). I only had a 20 so I asked for 15 back (which I think is still pretty generous). He went to get change then came back and put a crumpled bill and more ribbons in my hand-- of course it was only 10. Another guy witnessed this and tried to do the same thing, and when I refused him, he insisted he had AIDS. Federal police from the military stand guard everywhere, but like the restaurant staffers, they do nothing to try to curb the begging. This was all too much so I went home, frustrated that I couldn’t enjoy a nice evening in the city’s prettiest area.
On Wednesday I surprised myself by waking up early to join a boat tour of the Todos Os Santos bay. It’s a large, beautiful bay with 56 islands which are mostly cloistered close to land. As a solo traveler my only option was to join a large boat with dozens of other travelers. That is not my style at all but I hoped it would be worth it. The vessel, the “Maria Mulata” (!), was full with about sixty people, but it was comfortable enough. It took 1.5 hours to reach our first stop, so in the meantime, the crew passed around fresh fruit and caipirinhas, and a jovial three-man band played music. One of my fears was that I would be pressed into small-talk with strangers all day, but it turns out that I was the only English speaker aboard so I barely talked to anyone (which grew tedious). Most passengers were Brazilians along with a few Argentinians (a standard tourist mix here). The band were working hard to create a festive atmosphere, so there was a lot of encouragement to clap and sing along. I’ve never cared for this kind of enforced enjoyment so I just smiled and tapped my feet. But sticking out as I do, the band leader quickly signaled me out and had me get up and do a silly synchronized arm waving dance. I at least showed them I have some swagger in my hips, and everyone seemed really nice so I didn’t mind. The journey was tough tho because it was all in Portuguese, and I would repeatedly get drawn into interactions where all I could do was smile and say, “Sim!”
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We finally reached Ilha dos Frades, a beautiful tropical nature preserve. I walked around the small accessible section, through the tiny village which was oddly buzzing with lots of construction, up to the cute little church on the hill and then down to the beach for some beer, swimming and relaxing. It was all quite nice.
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After a couple hours we got back on the boat. Halfway across the bay, we encountered some engine trouble (ah... Brazil) and just sat and swayed in the waves while the band tried to keep everyone’s spirits up. After 20-30 minutes another tour boat came along and tugged us to the next stop, Ilha de Itaparica, the bay’s biggest island. There was no dock here so we had to transfer to small speed boats that carried us to shore. This stop was for lunch at a lovely restaurant/resort, but the beach in front of it was not nice at all. We did not stay long tho and soon were being ferried back to a new, bigger boat. This operation took a long time since I think we had merged with another group or two. By the time we started moving, it was getting close to sunset so we headed right back to Salvador. I think there was supposed to be another stop at a nicer beach but clearly we had run out of time. This was very frustrating, but none of the staff seemed to acknowledge it or apologize or offer some compensation, like free drinks on board. At least the ride back during sunset was wonderfully beautiful, but the tour was disappointing overall. I figured we spent just three of the eight hours on the islands. As lovely as that lunch was, they need to find a new spot that is more accessible and has a nicer beach so we could have spent the whole afternoon there.
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That night I did something I almost never do: I followed The New York Times’ travel advice. I find their “36 Hours” pieces pretentious and aimed at their readers’ narcissistic desires to have a more “authentic” vacation than everyone else. They tend to ignore the things most tourists enjoy and to recommend expensive restaurants and out-of-the way spots so that their readers can feel like they’re doing something special and unique. But there is not a lot for tourists to do in Salvador and (as the NYT acknowledges) much of the city is too dangerous for tourists to explore. So I thought I would try out some of the recommendations from their article in January. Yes, they have some expensive suggestions and steer you to some far-off places, but to their credit, they start in Pelourinho, admitting that despite the tourism and aggressive tourist hunters there, it’s still the nicest part of town. And they were right about the restaurant where I ate Wednesday night, Mistura Perfeita. It’s near the center and looks like every other hole in the wall here with plastic tables and chairs setup out front, but they serve incredible lambretas (clams cooked in an oniony broth) and delicious caipirinhas in a a wide variety of exotic fruit flavors. And they get extra points for being the only restaurant I visited where the staff actively shoed away beggars from the outside diners. (Still, the NYT couldn’t help itself: it praises the Mouraria neighborhood as “gloriously not prettied up for visitors”, as if the writer were foolish enough to walk around the area at 8:30p when they claimed to be there.)
By Thursday I had run out of things to do so I stayed in all day and caught up on this blog. That evening I headed to Rio Vermhelo, a seaside area up the coast from Barra that’s know for its nightlife (and was also recommended by the NYT). It’s a 20-30 minute drive from the center, and it feels very apart. It’s much newer, cleaner and safer than the rest of Salvador with far fewer street people but it lacks the Afro-ness the city is known for. It’s a nice, pretty area and the only place I’ve felt entirely safe and comfortable walking around. But it feels like it could be any coastal neighborhood in Brazil or anywhere else for that matter. For locals I imagine it’s a nice escape. The focal points (besides the beach) are several plazas lined with interchangeable restaurants and countless vendors (mostly selling acaraje or tapioca). Several hosted live music. I was disappointed at how generic the restaurants are-- they’re essentially the same as all the others around the city but newer-- until I realized that Salvadoreans like generic restaurants. They just want to sit outside with their friends sharing beer and snacks, so it doesn’t matter where those come from. They like the familiar and comfortable, and I get that. As I explored the area a little more I discovered it also has some hipper, more discreet bars with DJs, live music and younger crowds (more like American bars). All in all it seems like a cool area and probably the best place for tourists to stay, despite-- or because of-- its distance from the center. Also, for the (newspaper of) record, NYT got Rio Vermelho all wrong. They recommended a bar that serves weird, sugary shot concoctions and the least interesting, most touristy plaza. Take that “36 Hours”.
Friday was another day with nothing to do (except counting the hours until my flight home). I took the Elevador down to Comerico, the waterfront neighborhood below Pelourinho. It’s one of the city’s original neighborhoods and I guess it is still the commercial center, tho it was hardly bustling. It’s full of beautiful old buildings which have mostly been left to rot. Some have masked their decay with fresh paint; others are fabulously deteriorated like ancient ruins. It’s quite a sight, especially juxtaposed with the more modern office buildings that have sprung up among them.
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That evening I packed excitedly, well ready to be home. And then, somewhat unexpectedly, my last night turned out to be pretty special. I had planned to go back to Santo Antonio to Forte da Capoeira since I thought there would be a capoeira show there. But when I looked out my window, I saw the building across the street was hosting an event with drummers and dancers, so I went to check it out. It appeared to be the closing night party for a symposium on African culture in Bahia. And right in front was a group of 8-16 year-olds putting on a capoeira show. Obviously they were novices (although some had good moves) but I caught the gist, and the kids looked like they were having a really good time. I also enjoyed the variety of people that passed by to watch for a few minutes, particularly the grandmother with her baby granddaughter who loved playing with some trans women’s dogs. Dois de Julho is a gritty area but a colorful, diverse, tolerant one (like San Francisco’s Tenderloin).
Later, for the first time in Brazil, I went out to a gay club. I resisted before since I knew it would mostly be me standing around, watching, unable to talk with anyone. And that’s pretty much how it happened, but I’m still glad I went. Everyone was enjoying themselves (and others...), and it was fun and interesting to note the similarities and differences to bars back home. Then it was back to my AirBnB to sleep one last night in Brazil.
It took me a while to warm up to Salvador. Everyone said the same three things about it: one, you’re going to love it; two, it’s different from the rest of Brazil and more African; and three, be careful it’s really dangerous. When I heard this from Brazilians, I sometimes suspected two and three were code for “poor and black.” From what people had told me, I half-expected to see women carrying jugs on their heads, donkey-drawn carts jostling with cars while chickens scurried out of the way, muggers lurking in every doorway and nonstop singing, dancing and drumming. These are quarter-truths at best. Salvador is unmistakably Brazilian in its look and feel, tho many people sport more African-looking styles and behave more forwardly and loudly. While the city’s general state of disrepair shows its age, it is actively building and modernizing. Crime rates are high here, but I exercised common sense and did not encounter any problems. (There are a LOT of homeless and beggars, and they can be quite aggressive and demanding, but this is a far cry from mugging.) And while I did hear a lot of music (and firecrackers) around the city, most of it was coming out of speakers not street corner performers.
My timing was unfortunate, visiting at the fatigued end of my trip and starting on a quiet holiday weekend. Not only was the city duller than usual, the emptiness exaggerated my fears for my safety. But as the city normalized during the week and really picked up on Friday night, I started to see all its wonderful qualities and appreciate its color and vitality. Still it was hard to ignore the city’s drawbacks. Every time I went outside, I was targeted by beggars, scammers, vendors and anyone else who wants a dollar, and many of them were extremely difficult and unpleasant. When I can’t just sit outside and enjoy a beer without being harassed, it severely curtails my enjoyment of a place. Safety concerns also kept me from exploring most of the city or walking around at night, which are my favorite things to do when traveling. In Brasilia I couldn’t walk by design, in Salvador by decline.
And finally, beyond safety concerns, it’s not an easy city to be a tourist. There is not much to do (especially if you don’t care for the beach). It’s difficult-to-impossible to find information online, and when you do it’s often incorrect-- even the tourism agencies don’t have websites. (In fact I’m writing this in an otherwise very nice, contemporary, “American-style” cafe that requires a Facebook account to get on their WiFi which I do not have.) And Bahians, like much of the rest of Brazilians, do not seem to care much for outsiders. To Salvador’s credit, I saw improvement works projects all over the city-- several of them impeding my tourism-- so they are working on making it a nicer, easier place (at least the tourist areas). However I suspect it will take them decades to undo the decline of the past hundred years, and it would take a significant shift in culture and crime rates before tourists really feel welcome.
Salvador reminded me in some ways of Philadelphia, where I went to college 20 years go. Proud, defensive Philadelphians were well aware of the generally negative view of their city, and they were quick to remind me that it was the nation’s first capital. (To which I responded that New York was the second, but they seem to have moved on.) Salvador’s motto is “First Capital of Brazil” (the second capital, Rio, also seems to have moved on). Like Philadelphia, its glory days are behind it, and the city seems to be slowly decaying with pockets of revitalization. But I think that’s how the people there like it; it’s part of the city’s unique character and culture. Ultimately I am undecided on Salvador. I did not love it as much as everyone told me I would; its qualities are largely counterbalanced by its drawbacks. And I think that’s just how the locals want it.
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thejazzspot · 7 years
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Phil Woods and his European Rhythm Machine ‎- Phil Woods and his European Rhythm Machine (1970, Les Disques Pierre Cardin - CAR 333 U, Fra)
Phil Woods is surely among the most respected names in the history of Jazz. He played and recorded with seminal figures of bebop but also with a vast batch of contemporary Jazz artists and of more alternative forms of this genre. From his immense legacy of collaborations one can highlight Benny Goodman, Thelonious Monk, Dizzie Gillespie, Buddy Rich, Quincy Jones, Zoot Sims, Lee Konitz, Jean-Luc Ponty, Tom Harrell, John Riley and Hal Galper, among many others. In addition to his numerous contributions as sideman, it is equally relevant that Woods has led his own bands since the mid-1950s, through which he refreshed the bop tradition with his compositions and captivating solos.
Woods' style on the alto saxophone helped define a school of post-Charlie Parker stylists in the line of musicians like Cannonball Adderley. Parker's basic vocabulary has been extended to a broader phrasing, and Woods’ full-bodied tone, occasionally decorated by growls and other blues inflections, makes him an exciting and easily recognizable performer.
Leaving behind a promising career in the United States as leader and sideman, Woods headed to Europe, believing that this would be a healthier place for a jazz musician (both politically and culturally). And it was in Paris, in a short time, that Woods formed his European Rhythm Machine with Daniel Humair on drums, Henri Texier on bass and George Gruntz on piano (later replaced by Gordon Beck).
Released by the almost unknown label founded by fashion designer Pierre Cardin, and later by the American Inner City, "Phil Woods and his European Rhythm Machine" reveals a new phase of Woods' career as musician and composer. While not a very representative record for his more traditional followers, this studio debut with his European lineup is surely a work relevant to Phil Woods' more exploratory career and to Jazz made in the old continent.
Under the artistic direction of Emmanuel "Pinpin" Sciot, the peculiar illustration of the cover (and back cover) was left to an English artist mainly known for the creation of strange mechanical inventions. In a kind of satire to technological evolution, Rowland Emett created the funny information system "Fleur Bleue", imagined for Honeywell Inc.
With regard to music, the introduction is made to the sound of "Chromatic Banana", certainly the most representative of the themes of this album. Over the course of 12 minutes, Wood and his peers give birth to a varied palette of sounds ranging from an intense and rhythmic jazz fusion to more atmospheric moments. Under the excellent marking of Texier and Humair, and a keyboard that transports us to the psychadelic frames of "Bitches Brew", Woods' saxophone brings this piece closer to the avant-garde territories. In the second half, the theme incurs to moments of a pleasant improvisation, with an immense solo by Texier accompanied by his voice in a sort of scat-singing. "C'est pas mal", one can hear at the end, before a new attack by the quartet takes place.
By Gordon Beck, "Ultimate Choice" is based on a piano-saxophone dialogue, where Woods' straight-ahead bop register is elaborated under a fast and complex structure. Resembling the flight of a fly, the saxophonist's thrilling attacks are balanced with a rhythmic section marked by a captivating enthusiasm that culminates in a great drum solo.
On a warmer tone, the B-side begins with Phil Woods's well-known composition "The Last Page", recreated here with a sonority marked by Gordon Beck's keyboards, but also by Woods' approach with instruments such as the clarinet and the Varitono sax (in addition to the alto saxophone). In a compositional combo, "The Last Page" merges Gordon Beck's "Sans Melodie," on a bridge between a classic ballad and a more bop/rock beat.
Through ways with a progressive rock hint, the short "A Look Back" (that connects to the final theme) is marked by Phil Woods' spontaneity and exploratory sense in an adventure with the use of a tape recorder and a varied percussion. Finally, in another theme by Beck, "The Day When the World ..." is introduced to the folk flavor of the Hohner electric piano progressing to a rhythmic rock-fusion. Concluding in an original way, the musicians are introduced (in English and French) by one of Phil Woods' sons that ends like this: - "From America, my dad Phil Woods on alto saxophone". - "Non, c'est mon Pápá, Philippe du Bois, from France!"
For all this, one can say we stand before a pleasant mix of a straight bebop with moments of a more avant-garde experimentation. The music of this record is unpredictable, spiritual, exciting and full of surprises, with Gordon Beck in great shape and Phil Woods thinking "out of the box" but without losing his identity. In fact, Gordon Beck's keyboards (piano and organ) and the more liberating forms adopted by Phil Woods seem to be the main points of distinction of this session. However, the remaining members can not be disassociated from the overall sound of this date. Henri Texier's fluent and inventive forms (bass, flutes, percussion and voice) as well as Daniel Humair's creativity and polyrhythmic approach (drums and percussion) are equally crucial elements for the more exploratory vein emerging from this session.
Among various curiosities there is a transcription (in the inner cover) of a correspondence received from an admirer disappointed with the new direction Phil Woods was taking on this album. "What happened? Where's the melody? What the hell is a Chromatic Banana" are some of the questions to wich Woods answers in a somewhat jocular tone. Moreover, along the liner notes it can also be found several hilarious comments that show the joviality and the good mood reigning during the making of this recording.
One of the greatest bop saxophonists of all time, Phil Woods had a long and productive career but his passage through Europe would definitely mark his artistic progression. Although he has again changed direction after returning to the United States, the creative and colorful music he played during his stay in Europe (even though not being consensual to his followers) represents an undeniable reference in his career.
Mister W
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*** Portuguese Version ***
Phil Woods é seguramente um dos nomes mais respeitados da história do Jazz. Tocou e gravou com figuras seminais do bebop mas também com um vasto lote de artistas do jazz contemporâneo e de outras formas mais alternativas deste género. Do seu imenso legado de colaborações podemos destacar Benny Goodman, Thelonious Monk, Dizzie Gillespie, Buddy Rich, Quincy Jones, Zoot Sims, Lee Konitz, Jean-Luc Ponty, Tom Harrell, John Riley e Hal Galper, entre muitos outros. Para além das suas inúmeras contribuições como sideman, é igualmente relevante o facto de Woods ter liderado as suas próprias bandas desde meados da década de 1950, através das quais refrescou a tradição bop com as suas composições e solos contagiantes.
O estilo de Woods no saxofone alto ajudou a definir uma escola de estilistas pós Charlie Parker na linha de músicos como Cannonball Adderley. O vocabulário básico de Parker foi extendido a um fraseado mais amplo e o tom encorpado de Woods, ocasionalmente decorado por rosnados e outras inflexões pelo blues, faz dele um executante excitante e facilmente reconhecível.
Abandonando uma carreira promissora nos Estados Unidos como leader e sideman, Woods rumou á Europa, acreditando que esta seria um lugar mais saudável para um músico de jazz (tanto política como culturalmente). E foi em Paris, num curto espaço de tempo, que Woods formou a sua European Rhythm Machine com Daniel Humair na bateria, Henri Texier no baixo e George Gruntz no piano (mais tarde substituido por Gordon Beck).
Editado pela quase desconhecida editora discográfica fundada pelo desenhador de alta-costura Pierre Cardin, e mais tarde pela norte americana Inner City, “Phil Woods And His European Rhythm Machine” revela-nos uma nova fase da carreira de Woods como músico e compositor. Mesmo não sendo um disco muito representativo para os seus seguidores mais tradicionais, esta estreia de estúdio com a sua formação Europeia é seguramente uma obra relevante para a carreira mais exploratória de Phil Woods e para o Jazz feito no velho continente.
Sob a direcção artística de Emmanuel “Pinpin” Sciot, a peculiar ilustração da capa (e contra-capa) foi deixada a cargo de um artista inglês conhecido sobretudo pela criação de estranhas invenções mecânicas. Numa espécie de sátira á evolução tecnológica, Rowland Emett dá aso à sua imaginação com um divertido desenho do computador “Fleur Bleue”, imaginado para a Honeywell Inc.
Quanto á música, a introdução faz-se ao som de “Chromatic Banana”, por certo o mais representativo dos temas deste àlbum. Ao longo de 12 minutos, Wood e os seus pares dão corpo a uma variada palete de sons que variam entre um Jazz de fusão, intenso e ritmado, e momentos de maiores contornos atmosféricos. Sob a excelente marcação de Texier e Humair, e um teclado que nos transporta para o psicadelismo de discos como “Bitches Brew”, o saxofone de Woods eleva esta peça para territórios mais próximos do jazz avant-garde. Na segunda metade, o tema incorre por momentos de uma agradável libertação improvisacional, com um imenso solo de Texier acompanhado pela sua voz (ao que se julga) em jeito de scat-singing. “C'est pas mal”, ouve-se no final, antes de uma nova investida do quarteto.
Da autoria de Gordon Beck, “Ultimate Choice” tem por base um diálogo piano/saxofone alto, onde o registo mais bopiano de Woods é fundido sob uma estrutura rápida e complexa. Assemelhando-se ao vôo de um moscardo, as investidas alucinantes do saxofonista são equilibradas por uma secção rítmica marcada por um entusiasmo captivante que culmina num belo solo de bateria.
Numa toada morna, o lado B tem início com a conhecida composição de Phil Woods “The Last Page”, aqui recriada com uma sonoridade marcada pelos teclados de Gordon Beck mas também pela abordagem de Woods que aqui recorre a instrumentos como o clarinete e o saxofone varitono (para além do habitual alto). Numa combo composicional, "The Last Page” funde-se com “Sans Melodie" de Gordon Beck, numa ponte entre a balada e um ritmo mais bop/rock.
Por caminhos com laivos de rock progressivo, o curto "A Look Back" (que estabelece a ligação ao tema final) é marcado pela espontaneidade e sentido exploratório de Phil Woods numa aventura com o recurso a um gravador e a uma percussão variada. Por fim, em mais um tema da autoria de Beck, "The Day When the World..." é introduzido ao sabor folk do piano eléctrico Hohner para se deslocar para um ritmado rock de fusão. Concluindo de uma forma original, os músicos são apresentados (em inglês e francês) por um dos filhos de Phil Woods que termina desta forma: -“From America, my dad Phil Woods on alto saxophone”. -”Non, c'est mon Pápá, Philippe du Bois, from France!”
Por tudo isto, podemos dizer que estamos perante uma agradável mistura de um bop mais direto com momentos de uma experimentação mais vanguardista. A música deste registo é imprevisível, espirituosa, estimulante e cheia de surpresas, com um Gordon Beck em grande nível e um Phil Woods a pensar “fora da caixa”, sem no entanto perder a sua identidade. Efectivamente, os teclados (piano e orgão) de Gordon Beck e as formas mais libertadoras adoptadas por Phil Woods, parecem constituir as principais marcas diferenciadoras desta sessão. Contudo, os restantes membros não podem de forma alguma ser desassociados da sonoridade global deste trabalho. As formas fluentes e inventivas de Henri Texier (contra-baixo, flautas, percussão e voz) bem como a criatividade e a abordagem poli-rítmica de Daniel Humair (bateria e percussão) são elementos igualmente cruciais para a veia mais exploratória que ressalta desta sessão.
De entre os vários detalhes curiosos, destaca-se uma transcrição (na capa interior) de uma correspondêcia recebida de um admirador descontente com a nova direcção que Phil Woods decidira tomar neste álbum. “What happened? Where's the melody? What the hell is a Chromatic Banana” são algumas das perguntas que Woods faz questão de responder com uma divertida abordagem num tom algo jocoso. De resto, ao longo das notas do disco, são vários os comentários hilariantes que deixam transparecer a jovialidade e o clima da boa disposição reinante durante a feitura desta gravação.
Um dos maiores saxofonistas “bop” de todos os tempos, Phil Woods teve uma carreira longa e produtiva mas a sua passagem pela Europa viria a marcar em definitivo o seu percurso no jazz. Embora tenha novamente mudado de direcção depois de regressar aos Estados Unidos, a música criativa e colorida que tocou durante a sua estadia na Europa (mesmo não sendo consensual junto dos seus seguidores) constitui uma inegável marca de referência no seu percurso artístico.
Mister W
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Why are the elided forms of "de" and "el/la" (d' and l') present in French, Catalan and Italian, but absent from Spanish and Portuguese?
Spanish had them, in old Spanish, but Spanish then simplified spelling and eliminated elided pronouns.
For example…
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It says “Obras de Don Luis de Góngora, reconocidas i comunicadas por Don Antonio Chacón Ponce de León, señor de Polvoranca”
Notice above as a start how y (and) was written i, the ortogarphy has changed as you can see.
But now, look at the abbreviations that follow, this the classical Baroque poet Luis de Góngora dedicating one of his works to his friend the Count Duke of Olivares, this is how Golden Age Spanish looked like:
“Al excelentísimo señor Don Gaspar de Guzmán, Conde de Olivares i Duque de Sanlúcar la Maior, Marqués de Heliche, delos Consejos d'Estado i Guerra de su Majestad i su Cavallerizo maior; Comendador maior de Alcántara; Canciller maior delas Indias; Capitán General dela Cavallería d'España i Perpetuo de Sevilla i su tierra; Perpetuo de los Reales Alcázares de aquella ciudad i de sus Atarazanas; Alguacil maior dela Casa de Contratación delas Indias i Correo maior dellas.”
As you can see there WERE elided pronouns in Spanish and they were pretty similar to the Italian ones. But then later ortography reforms changed this.
As for Portuguese I think some elided pronouns also existed in older Portuguese. But articles can't be made into those like in Spanish, French, Italian etc because in Portuguese articles are vowel sounds while in other romances they keep the consonant L sound from Latin… so in Spanish you could shorten them to the L like in French but in Portuguese there is no consonant to do that.
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PORTUGUESE
Elided forms with an apostrophe are not completely absent in Portuguese. They’re just rare because they’re mostly perceived as unnecessary devices, since if there is a spoken liaison between the consonant of one word and the initial vowel of another, causing some vowel or semivowel to drop, there is no reason why it should be represented graphically, especially because not all Portuguese speakers, in all the different accents/dialects, will speak like that in that same position, too.
Sometimes those elision rules are also much more productive in fast speech, but not in slow, careful enunciation of texts, in which the syllables are more clearly pronounced.
For instance in casual conversations spoken at a reasonably fast pace, people in my home state (Ceará, Brazil) will pronounce Como é que a consulta é feita agora? (literally “How is it that the appointment is done now?”) roughly as if it were written ‘M’ é que a consult’ é feit’ agora [mɛ.kja.kõ.su.tɛ.fej.ta.gɔ.ɾɐ] . But if one is speaking very slowly, in a more formal way, every syllable will sound much more clear, similar to Como é que a consulta é feita agora? as it is written.
Since written language should be easily recognized by everyone who speaks the language, avoiding elided forms is recommendable and useful. So, Portuguese ortography just decided to get rid of them in most situations, because what they represent is mainly a phonetic phenomenon, it’s not relevant to conveying an efficient communication in the written language.
For starters, Portuguese has no use for l’ because the Portuguese are the vowels o (pronounced /u/ and often turned into a semivowel /w/ just before another vowel) and a, not articles beginning with l as in French, Catalan and Italian. So, a whole lot of elided forms are already made nonexistant in Portuguese. The only remnant of l in Portuguese is to be found in the contracted forms pelo/pela (“by the, through the”), which come from archaic Galician-Portuguese per + lo/la.
Aside from that, Portuguese just chose to attach some elided prepositions with the following articles or pronouns. It could’ve chosen to use an apostrophe for that, and in some old texts you can see that, indeed, but the forms that prevailed in the written language and became standardised are simply fully juxtaposed, therefore:
de + o = do; de + a = da (not “d’a”)
em + o = no; em + a + na
de + este/esse/ = deste/desse; de + esta/essa = desta/dessa
de + isto/isso = disto/disso
de/em + aquele = daquele, naquele; de/em + aquela = daquela, naquela
de/em + ele = dele, nele; de/em + ela = dela, nela
A few elided forms with apostrophes are still very much used in writing, though. Those are:
For some uncanny reason, expressions using the word água are still very often written in elided form together with the prepositions de em em: n’água, d’água. E.g.: queda d’água (waterfall); deu com os burros n’água (popular saying that means basically “to fail after putting much effort and hope in it” or “to make something without any positive result”).
When one uses pronouns to refer to God after a preposition. Since those pronouns as a rule must be written in capital letters, there are two alternative ways to represent that in written form: d’Ele, n’Ele or Dele, Nele, putting the implied preposition in capital letters.
Occasionally you will also see elided forms with an apostrophe being used to express colloquial usages when the author aims to make it clear that the sociolect used by the characters in the text is very popular, even folksy. An example is d’eu/n’eu, literally “of I, in I”, instead of the standard de mim/em mim(“of me, in me”), or c’os or c’as instead of the standard com os/com as.
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As Lucas Villar says, these existed in Old Spanish (and at least “del” still does exist).
What you will find is that the Western Romance languages were all essentially one language for a long time and went down a common path in terms of drifting pronunciations, eliding sounds in the language, etc. But by the High Middle Ages they were each going their own way. During the late Middle Ages and Early Modern period, the Spanish embarked on a number of language reforms driven both by the influence of Arabic and by the Renaissance notion of connecting with Latin heritage. Many elisions of various kinds were eliminated in the language to make it more similar to Latin and to make it more consistent.
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Because! What happens in Catalan, Italian, Portuguese, French, Spanish (one can include Aragonese, Asturian, Gascon, Occitan… as well) is not something the neighbouring languages have to do necessarily.
For example, Modern Standard Spanish does not use apostrophes (in comic books, one may read P’a mí [< Para mí, For me], M’han dicho [< Me han dicho, (They) Have told me]… since many speakers pronounce that way in rapid speech, in (very) informal contexts), but apostrophes are always required when writing in French, Catalan, and Italian (Je t’aime, l’apòstrof, l’Italia…).
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Spanish grammar was simplified in 1492 (what a date, isn’t it?) and these forms were removed…making Spanish grammar perhaps the easiest and most logical among ALL Romance languages. Alfonso el Sabio started the process of codifying Spanish many years beforehand, but it was Nebrija who set it in stone. Here he is: Antonio de Nebrija - Wikipedia
1492 was a very busy year for Spain: discovered the Americas, thew out the Jews, and codified their language once and for all…something else important happened that year as well, but I can’t remember what it was.
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From those forms, at least two remain: “de+el” becomes “del” as long as the article “el” is not part of the name of the noun. A similar case is in “a+el” that becomes “al”.
I speak Italian and in my opinion the elided forms make much more sense in Italian, because they make the spoken language more dynamic and create a better phonology. Compare the sound of Questa é la casa del direttore with the hypothetical sound (because elision is mandatory) of Questa é la casa di il direttore.
In Portuguese I think there are many more cases than in Spanish do, na, no , pra (please correct me because I do not speak Portuguese).
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the elided form of “de” exists in Portuguese, we can write “de água” or “d’água”, although I think most of times the elided form is used in literary language
as for the definite articles o/a/os/as there are no elided forms, I think it doesn’t make sense in Portuguese
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They're not entirely. In Spanish, “de” and “el” combine to make “del”. And in Portuguese, there is “do/da”.
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kelsusit · 6 years
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Whilst accessing the difficult disk, a disk operation failed even soon after retries. Even if a network is comprised of only two computer systems, a server is outstanding for storing and sharing files for those two computers. Windows ten is Microsoft’s most current and, ostensibly, last version of its desktop and mobile operating system. Zero client solutions save funds and time for any college, organization or consumer that desires to offer you person computing experiences to numerous people without having buying multiple PCs. This develop sports an unlocked i7 processor, with the highest single-threaded functionality of any CPU. Personal computer assistance solutions specialists take up the consumers queries from their workstations by means of the process named as remote desktop connection.
Whether you perform from property or you function in an workplace, take your space to a whole new level by browsing the large choice of house and workplace desks at HSN. Space-conscious desk designs are a huge deal these days. In addition, the ActivWorkstation Service Manage Daemon can distribute data to the AWS as nicely as ISV applications with no the need to pay double exchange fees. This float wall desk is easy to mount to any wall type and can be utilized as a full desktop station or writing desk. There’s HP Help Assistant, HP Software program Setup, and HP SoftPaq Download Manager. In the following days, he created his personal sensible card and programmed it to behave exactly like a reputable San Francisco card – the difference was only that Grand was capable to set the worth to whatever he wanted.
Space saving wall mounted personal computer workstation combo with VESA compliant monitor holder, CPU holder and function surface desk with T-molding. The issue here is that unless your are familiar with CAD workstations and the requirements of the software that runs on them, it is quite simple to make a costly mistake and get entirely the incorrect method. Both are quite potent GPUs and need to be a lot more than capable of accelerating demanding 3D CAD applications – even even though they are not made to do so, as they are in fact meant for gaming laptops. Our CAD Workstations are assembled with the newest Intel processors for extreme rendering. AutoCAD can co-exist with such merchandise as a 2D drafting tool. At we affectionately refer to these types of office workstations as the “uncubicle”.
This is in addition to the current functions that currently permit Windows 10 users to sync reminders, notifications and SMS across their devices. I wouldn’t suggest NVidia graphics card, and I would advocate you to use Windows eight.1 or Windows ten. Just look through our variety or get in touch with us these days to discuss your wants and see how we can assist you generate your best workplace space. The University’s SOE is the supported computer software applications which users use to access Technology Solutions services. Students are taught how to use the laptop as a tool for tasks such as two-D drafting, three-D modeling and straightforward CAD associated programming. To make the most of the unbelievably low-cost Xeon E5-2670 processor you are really going to want two on a Dual Socket R (LGA2011) resolution.
We Design Custom Desktop Computer systems and Workstations for Auto CAD, Solidworks and Revit. One of the overlooked benefits of these mobile workstations is that the usually little surface location forces you to clean up all the clutter that normally compromises a larger, classic desk surface. Well…I enjoy workstations so a lot that I have had to expand my storage space and uncover a way to organize that makes it possible for me to quickly locate and set-up 5-6 centers in about five minutes. I adore my Ergotron WorkFit-TL Desktop sit-stand workstation. The energy consumption throughout low load is high and therefore the battery runtimes clearly remain behind the possibilities in spite of the higher-capacity battery and Intel’s QuickSync Video cannot be utilised.
We have workstations and desks that fit appropriate in, wherever they are needed – whether that is in a child’s bedroom as component of a brightly-coloured homework haven, or inside the clean, minimalist lines of a higher-tech workplace. Produced for mobile inventive and design and style pros with the most demanding projects, exactly where compromise is simply not an selection. You can even see some offices going for Mac Pc as an alternative of Mac Laptops simply because it is very impressive and offers an workplace look. It empowered any policeman, at any location inside a mile of the South African Border, to search anybody, automobile or premises with out warrant. Most workplace desks have one particular or more drawers—handy for keeping workplace supplies.
The Computer software Licensing Service reported that the name specified for the Active Directory Activation Object is as well extended. AutoCAD’s native file format, AutoCAD DWG , and to a lesser extent, its interchange file format, DXF , have turn out to be de facto requirements for interchange of 2D CAD information. The positions of power which they occupy in the African planet enable them to act autocratically towards other Africans, specially when they have the help of the White community. As soon as you’ve established that your router is supported, and you’ve located and solved any discrepancies between what is listed as ‘officially’ supported and what is actually supported, it really is time to get your software program and hardware together to flash and configure your router into a Wi-Fi range extender.
The graphic card is capable of giving far more depth and sharpness to photos in Pc. A more quickly and a powerful graphics memory would ensure that the performance is enhanced commendably. I have graphic dilemma in this motherbord when i set up graphic driver some computer software are not functioning appropriately like – adobe photoshop, windows photo viewer and other graphic software. When it comes to a specialist graphics workstation nothing is more critical than understanding that what appears on-screen is precise and colour right. The new Xeon platform combines the raw functionality of ‘Sandy Bridge’ with up to 16 cores and 32 threads, which is 33% a lot more cores than had been available on Westmere. Of course, there a a lot of other parts of the workplace in which our products could create improvements for company owners.
Nowadays there is a wealth of office furniture accessible that is able to combine practicality with appearance, and functionality with comfort. Some of the solutions that we offer you include network and server support, installation repair and upgrades for your servers, network and system administration, documentation and education and repair, upgrades and installation of workstations and desktops. The default configuration in this PAW guidance installs administrative tools on the PAW, but a jump server architecture can also be added if essential. We are particular that we have the ideal remedy for any of your boardroom desks or home workplace desks specifications. Today’s GPUs are powerhouses and contain hundreds of person stream processors for massive parallel computing and almost everything from video transcoding, encoding, and editing get a speed enhance from stream processing.
Delivering help for up to 8 cores of processing energy, the HP Z420 in no way slows you down. In a lot of companies, existing “legacy systems” such as mainframes, Novell networks, minicomputers, and a variety of databases, are becoming integrated into an intranet. Small, side-by-side workstations are ideal for those who function on computer systems and never require significantly space for dealing with consumers. When it comes to selecting a workstation that delivers uncompromising overall performance, there is just no contest. Efficiency is critical to company good results so make positive you take a appear at the wonderful Fujitsu Celsius and Lenovo Thinkstation ranges. Shield corporate content by restricting access to Workstation VM settings like drag-and-drop, copy-and-paste and connections to USB devices.
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