Leia o texto e responda as questões de 16 a 18.

The new Northeastern Sound

From White Beach to the Dark Mangrove

The old expression. "those from the north are coming" never made so much sense as in that 1969 afternoon. Still under house arrest in Bahia, before embarking for his London exile, Caetano Veloso called João Araújo, artistic diretor of RGE record company, who was on his way to the newly created Som Livre company: "Listen, the best thing I heard during my sojourn here was a group called Novos Baianos. Can you put them up over there in Rio?

lf Caetano asked, thought João, of course he would put them up, listen to their music and probably hire the group. And later he would describe what happened: "The next day were at my door Moraes Moreira, Pepeu, Baby, Galvão, Paulinho Boca de Cantor ... Alright, I said, you're wonderful, but do you have a place to stay? They ended up camping in my living room for days.

Future composer Cazuza, João Araújo's son, still a child, insisted for Moraes to play "Preta Pretinha" over and over again.

ln that sarne year, Nara Leão released the record Coisas do mundo, produced by composer Sidney Miller with a pop dressing, in which she sang songs from many parts of the world, including Maranhão ("Pisa na fulô, by her Opinião colleague João do Vale, totally rockish) and from Bahia (the unreleased song by Caetano Veloso "Atrás do trio elétrico"). ln the record's back cover, Nara went so far as to explain what a "trio elétrico" was in almost encyclopedic fashion, informing that it was a sound car bringing eletric instruments and playing frevos and other carnival songs, dragging crowds every year through Salvador.

ln 1972, just back from exile, in a militant article published in magazine Verbo Encantado, and later republished in Jornal da Bahia newspaper, Caetano wrote: "ln their own misery, Brazilian intellectuals saw in me a standard bearer, a savior, a scapegoat. Now, they feel more at rest seeing that they can lay on the back of someone like me the responsibility for things that would belong to the competence of some god." Among the responsibilities of a god, to which Caetano made reference, were simply "the existence of Bahia" and the "existence of carnival".

Leia o texto e responda as questões de 16 a 18.

The new Northeastern Sound

From White Beach to the Dark Mangrove

The old expression. "those from the north are coming" never made so much sense as in that 1969 afternoon. Still under house arrest in Bahia, before embarking for his London exile, Caetano Veloso called João Araújo, artistic diretor of RGE record company, who was on his way to the newly created Som Livre company: "Listen, the best thing I heard during my sojourn here was a group called Novos Baianos. Can you put them up over there in Rio?

lf Caetano asked, thought João, of course he would put them up, listen to their music and probably hire the group. And later he would describe what happened: "The next day were at my door Moraes Moreira, Pepeu, Baby, Galvão, Paulinho Boca de Cantor ... Alright, I said, you're wonderful, but do you have a place to stay? They ended up camping in my living room for days.

Future composer Cazuza, João Araújo's son, still a child, insisted for Moraes to play "Preta Pretinha" over and over again.

ln that sarne year, Nara Leão released the record Coisas do mundo, produced by composer Sidney Miller with a pop dressing, in which she sang songs from many parts of the world, including Maranhão ("Pisa na fulô, by her Opinião colleague João do Vale, totally rockish) and from Bahia (the unreleased song by Caetano Veloso "Atrás do trio elétrico"). ln the record's back cover, Nara went so far as to explain what a "trio elétrico" was in almost encyclopedic fashion, informing that it was a sound car bringing eletric instruments and playing frevos and other carnival songs, dragging crowds every year through Salvador.

ln 1972, just back from exile, in a militant article published in magazine Verbo Encantado, and later republished in Jornal da Bahia newspaper, Caetano wrote: "ln their own misery, Brazilian intellectuals saw in me a standard bearer, a savior, a scapegoat. Now, they feel more at rest seeing that they can lay on the back of someone like me the responsibility for things that would belong to the competence of some god." Among the responsibilities of a god, to which Caetano made reference, were simply "the existence of Bahia" and the "existence of carnival".

Leia o texto e responda as questões de 16 a 18.

The new Northeastern Sound

From White Beach to the Dark Mangrove

The old expression. "those from the north are coming" never made so much sense as in that 1969 afternoon. Still under house arrest in Bahia, before embarking for his London exile, Caetano Veloso called João Araújo, artistic diretor of RGE record company, who was on his way to the newly created Som Livre company: "Listen, the best thing I heard during my sojourn here was a group called Novos Baianos. Can you put them up over there in Rio?

lf Caetano asked, thought João, of course he would put them up, listen to their music and probably hire the group. And later he would describe what happened: "The next day were at my door Moraes Moreira, Pepeu, Baby, Galvão, Paulinho Boca de Cantor ... Alright, I said, you're wonderful, but do you have a place to stay? They ended up camping in my living room for days.

Future composer Cazuza, João Araújo's son, still a child, insisted for Moraes to play "Preta Pretinha" over and over again.

ln that sarne year, Nara Leão released the record Coisas do mundo, produced by composer Sidney Miller with a pop dressing, in which she sang songs from many parts of the world, including Maranhão ("Pisa na fulô, by her Opinião colleague João do Vale, totally rockish) and from Bahia (the unreleased song by Caetano Veloso "Atrás do trio elétrico"). ln the record's back cover, Nara went so far as to explain what a "trio elétrico" was in almost encyclopedic fashion, informing that it was a sound car bringing eletric instruments and playing frevos and other carnival songs, dragging crowds every year through Salvador.

ln 1972, just back from exile, in a militant article published in magazine Verbo Encantado, and later republished in Jornal da Bahia newspaper, Caetano wrote: "ln their own misery, Brazilian intellectuals saw in me a standard bearer, a savior, a scapegoat. Now, they feel more at rest seeing that they can lay on the back of someone like me the responsibility for things that would belong to the competence of some god." Among the responsibilities of a god, to which Caetano made reference, were simply "the existence of Bahia" and the "existence of carnival".