Jorge Ramos made one of the toughest decisions of his career on Monday, September 9, when he chose to step back and leave Univision after 40 years at the network which he considers his "second home." The journalist has already spoken about his departure and his closest circle has shown support with messages of encouragement dedicated an emotional post on social media stating she is "more than proud of her father." Even Gina Montaner joined in with well wishes for the communicator as he embarks on a new professional journey "I am beyond proud of my father @jorgeramosnews after 38 years of co-anchoring the Univision newscast @jorgeramosnews announced that he will be leaving the network at the end of the year," reads the first part of Paola's post who has followed in her father's footsteps as a journalist Univision has not only been consistently the number one Spanish-language newscast in the country but they also built trust with millions and millions of Latinos and immigrant families a friendly voice; they told stories no one else told; they pressured politicians to speak to Latinos when traditional media wouldn't; they were never afraid to hold those in power accountable -- presidents and… even those within their own company," she wrote Jorge Ramos' eldest daughter made a special mention of her father's colleagues who over time have become his friends and colleagues within the industry "Univision and millions of Latinos grew up together slowly transforming into the most powerful voices in the United States @jorgeramosnews @iliacalderon @mariaesalinas @tererodrigueztv @lourdes_delrio @collinsoficial ….and every person in front of and behind the camera was part of the generation that did that What a privilege it has been for me to grow up alongside this giant End of an era and beginning of a new one," concluded the communicator Paola's post included a series of photos and videos: the first was a video of her father discussing his departure from the network the second a screenshot from an English-language outlet announcing the news and the last two featured him with his colleagues Ilia Calderón and María Elena Salinas Paola's mother and Ramos' ex-wife also shared her good wishes for Ramos in his new chapter outside of Univision commending the work of other renowned journalists and dear friends with whom Ramos has worked over the years His partner 'Chiqui' Delgado commented on Paola’s post from Delgado’s relationship with Guillermo Dávila added her own supportive message for Ramos who has become a father figure to her and her younger sister Reproduction of this article and its photographs in whole or in part is prohibited Paola Ramos is a political operative and journalist who has spent the last few years working with Vice, Telemundo, MSNBC, and just wrote a book Finding Latinx: In Search of the Voices Redefining Latino Identity Here’s our chat about the state of America and Latinx issues Can you tell people about your journey and where you are now so I’ve been very heavily focused for two to three years on understanding the Latinx community Truly drilling into this idea that we’re not a monolith and seeing what that means on the ground I’ve spent a lot of time talking to young Latinos about mental health and other taboos I’ve talked to Latinos on the border and what it means to be waiting on the other side of the border when you grow up thinking that the American Dream is achievable and yet the current government has completely closed its doors on you I’ve spent time in the Central Valley not covering immigration but covering this huge meth epidemic that is affecting Latinos there something we don’t really think about I’ve spent much of this election in the battleground states I’m talking to QAnon supporters and Cubans who have been brainwashed by conspiracy theories talking to so many Trump supporters and trying to understand the psychology behind that My life has been in politics and trying to understand it What have you taken from conversations with lunatics I’m not calling a Trump-supporting Hispanic person a lunatic but the QAnon thing—you have a spectrum here of complicated conspiracies to deal with; what have you learned from that and why do people identify with it That is my gut—I don’t see in anything in common with you I don’t agree with anything you’re saying This is an alternative universe that I could never be a part of But then you start to get into it a little bit and at least in the case of the Latino Trump/QAnon supporters they’ve been left out by the system by both parties Neither the Republicans nor the Democrats were there for them at a certain time they find something that they’ve been missing their whole life but it does come from—at least from the Latino perspective—it does come from a deep desire that someone wants you That’s what I’ve been trying to get to here in Florida That’s sort of like the Trump—I’ve met so many Black Cubans and Afro-Latinos who support Trump and they’ll tell you that he is just like them and they want to be part of that because that’s what they’ve been aspiring to for years Let’s dive into the book here a little bit; would you like to plug it and tell the audience what it is about so the book is called Finding Latinx: In Search of the Voices Redefining Latino Identity and the idea originates exactly four years ago I’m working on an extensive campaign I thought I knew who we were as a voting bloc the headline would be that Latino voters would overwhelmingly show up and ensure that Donald Trump wouldn’t make it to the White House and that’s what prompted me to write this book When we were traveling to these battleground states How have we changed in the last thirty years and who is always being left out?” The book became this cross-country trip; I went from California to the East Coast and I tried to look into these subcultures that There’s a lot of conversations with Afro-Latinos people who are never part of the conversation So It’s kind of a portrait of what I think is the new Latino voice.  I work at a publication that puts out a monthly magazine I have a two-week turnaround time between sending that to press and it hitting the streets I lose my mind over what’s going to change in 2020 in two weeks because day-to-day How do you go about writing a book about an election before an election and have any confidence that it’s going to make sense in a week’s time There was always this doubt—I just had nine months to do this research hand write the book What I have found in the book doesn’t change; the narrative and the stories are like this is how young Latinos are voting on the issues that matter to them.” “There’s fifty percent that didn’t show up why is that?” I talked to Latino Trump supporters in the book and now there’s this shocking realization in the media that Latinos are voting for Trump and truly I do feel proud of being able to capture something that now mainstream media seems interested in It’ll be the case in the next two years; the story is there So between what you were covering and the fact that you worked in the Clinton campaign looking at this election and how it was playing out do you think that Democrats learned anything from last time I’m sure you know how things worked internally with Biden—are there still serious missteps in terms of connecting with this group of people It’s the same mistake that every single campaign makes They did invest a lot of money in Spanish-language media If you look at the Latino online outreach during the last month of the Biden campaign You combine that with a lot of the narrative that the President was saying in terms of the promises that he was making for undocumented immigrants and Dreamers and the fact that he was going to reunite the families with now 666 kids That should’ve started happening a few years ago once you stop thinking about the Latino vote and in these border states What are the most important things that a Midwest audience can take from your book not about connecting with the Latinx community as voters but as human beings and understanding that identity perhaps in a way that it is a new idea to a lot of them I called that chapter “Home” because when I was trying to travel to the Midwest I was thinking that this was a part of the country that doesn’t feel very Latino I allowed myself to learn through that chapter Whether that was Latinos in the music industry whether it was artists and painters in Minnesota the idea is that Latinos have been there—not for the last year but for decades It’s a culture that everyone is benefitting from: whether you’re white you are taking in a culture that Latinos have been building for years That would be my biggest takeaway—take a look around you and see the scene that you’re taking in a lot of it has been produced by an immigrant or a Latino “Home,” because of all of my travels the Midwest surprisingly felt very much like home you write about this person called “De’Ara Balenger.” It’s a really touching part of the book and I want to know: did De’Ara Balenger have any issue with the first 230 pages not containing information about De’Ara Balenger [Ed note: Balenger and Wilbur work together on a podcast.] De’Ara and I met in the Clinton campaign and that’s when we started dating One of the things she would always tell me—she’s Black and Mexican so she’s a Blacxican We were on the Clinton campaign and I remember that we’d have these Latino meetings and she’d be like so why aren’t I included?” She pretty much was the first person to push me into breaking my own stereotypes about what this voting bloc means It all started with her and how she emphasized that she didn’t feel part of this community that she grew up with what beauty meant to her versus someone like me she’s popping off to another state that has the highest spike in cases and then she’s coming back to me.” What was it like to be a journalist in this year and doing as much interstate hopping as you were doing the Navajo Nation was having the highest infection rates per capita in the entire country from this little apartment with Giara to fly over there and see the death around you I think the thing with the quarantine is that it allows me to have more time than I’ve ever had I have two weeks to sit and take it all in between the trips I’ve never had that or thought about it like that to have two weeks to process what you see and take in these stories—and all of them are nightmares I’ve been back to the Navajo Nation two times in five months That’s been the case with every story; we go back taking in the loss of these families has been—I don’t know if I’ve been able to truly process that.  we seem to be in a time of a wildly escalating lexicon of what identities can be a friend of mine from Portland changed their pronouns three times in three months and settled on a pronoun that I’d never heard of before so things are going faster than I expected.” Do you think that the things you consider identity now and you write about in this book do you see them spreading or hyper-specializing You even talked about your partner who had an identity that wasn’t identified by the Clinton campaign four years ago Where do you see the Latinx identity going People are finally talking about identity among our community That’s something we haven’t done at all I can’t tell you the number of times I’ve talked to older folks and people my age and when you say the word Black in Spanish Eva Longoria was on MSNBC and she was trying to talk about Black votes and Latino votes She didn’t have the language in that moment to underscore how you have to make sure to talk about Black people and we don’t know how to do that yet I’m learning.” That back and forth amongst us I believe that’s going to be the next step where people will be talking to us Latinos and telling us how they want to be identified how they want to be seen in this community and the role that they played in this election I do think we’re going through this sort of identity crisis in the Latino community People don’t know how to identify right now: are you Latino there’s not one term right now so it’ll be an interesting thing to see what emerges from this conversation.  what is one thing that you’ve done to keep your sanity in 2020 It’s going to be so boring—I’ll go through my list and those thirty minutes of running to myself have been so crucial awful at cooking but I’ve been helping her We went through all sorts of phases: “We’re just doing Mexican,” “Vegan-Mexican,” this and that I feel very isolated in this whole thing from my friends and family so every day I carve out thirty minutes to talk to my family and that makes the distance a little more bearable Get the latest from The Pitch delivered directly to your inbox Subscribe In advance of the 2020 presidential election reporter Paola Ramos ’09 set out to show that the U.S.’s Latinx community is anything but monolithic journalist Paola Ramos ’09 set out on a cross-country quest to try to understand what binds and defines the Latin American community — and her own place in it who grew up between Madrid and Miami and is now a correspondent for VICE News traveled to all corners of the nation to hear from overlooked Latino voices from California’s lush Central Valley to the Walmart in El Paso Ramos distilled her observations in her illuminating new book Finding Latinx: In Search of the Voices Redefining Latino Identity which was released just two weeks before Election Day 2020 the word “Latinx,” a gender-neutral term for people of Latin American heritage got to the heart of her pursuit — “It captured the stories of all these people under one umbrella spanning so many separate identities,” she writes who had just returned to Brooklyn after many months on the road My parents are both journalists and immigrants [Paola’s father is Jorge Ramos a Mexican American news anchor and journalist; her mother is Gina Montaner ’87 a Miami TV station managing editor and syndicated columnist and the daughter of exiled Cuban author Carlos Alberto Montaner] The narrative growing up involved discussions about the Castro regime or Mexico The core of my upbringing was watching them write [Through my work] I’ve been able to observe and understand where the balance of power is — sometimes that’s been through politics and sometimes that’s been through journalism I’ve had the privilege to go back and forth between both when I was working in Hilary Clinton’s 2016 presidential campaign My fancy title was Deputy Director of Hispanic Media Latin Americans would show up in overwhelming numbers Turns out that less than 50% of eligible Latino voters showed up I was also trying to understand who we were And then when the word “Latinx” popped up — and it was increasingly among us in 2016 — it was very telling of a community that was more diverse and changing than I realized Going into places that I thought I knew and discovering things I didn’t know there’s a big and powerful community of Latino Muslims Never once had I read about it or come face-to-face with it going into places like the Midwest that I thought were going to feel cold and foreign and abstract [and instead] were more beautiful than I expected which is at the center of politics — everyone is trying to figure out what happened in Florida [in the November 2020 election] — was the culmination of everything for me I felt that a lot throughout the process.  to go back to these battleground states and put away biases and dig into this community It takes listening and wide eyes to see things we haven’t seen before there are women who are fighting for abortion rights — it’s an extremely complex and nuanced community.  there is this ache to feel like you belong in this country I hope that [this feeling] also translates into real power that [Latinx people] end up running for office or getting the job they want or being in leadership positions We can talk about this in a thousand ways — so long as these are just stories Barnard gave me a lot of confidence that I didn’t have from Spain when I was going into my junior year of high school Barnard had a lot to do with my ability to write this book I became comfortable in my skin and who I was Being gay and being Latina and having diverse friends became normal and getting the basics of politics is where it started for me Ann Barker ’50 teaches at-risk children in a dangerous region The Barnard community celebrates alumna Zora Neale Hurston’s centennial — and her impactful legacy — with personal and professional reflections Paying tribute to Zora Neale Hurston on her centennial (2025-2028) Copyright © 2025 Barnard College | Columbia University | 3009 Broadway Please enable JS and disable any ad blocker Nuno Ramos is a Brazilian artist based in São Paulo Ramos gained early recognition in the 1980s through his association with Casa 7 a group of young paulista painters who sought to move beyond the modernist aesthetics that had dominated Brazilian art in the mid-century painters of the Casa 7 group were known for the kinetics which rebelled against the staid geometries of their parents’ generation and which critics associated with the violence of a newly urbanized Brazil notorious for the chaos of its cities Casa 7 paintings were also recognizable for their low-grade materials: industrial paints applied to inexpensive craft paper.  Often caked in layers of paint that rose in topographical relief Ramos’s compositions began to incorporate other materials including debris taken from São Paulo’s industrial urban landscape these compositions evolved into large-scale sculptural and multimedia installations that filled entire rooms his installations luxuriate in the layered significance and materiality of the items that compose them The visual poetics of Ramos’s installations have a prominent antecedent in Brazilian art: the concrete poetry printed by Brazilian avant gardists of the late 1950s and early 1960s Honoring this inheritance by endeavoring both to extend and to surpass it Ramos began publishing his own poetic texts some of which form a part of his installation ensembles Ramos has earned some of Brazil’s highest literary honors including the Portugal Telecom Prize and multiple nominations for the Jabuti Prize his artistic practice has further enlarged to encompass film and video The prose works translated here are excerpted from Ramos’s most recent collection The energy central to my work comes from never being ready: from that feeling of wanting very badly to be ready and fighting like crazy to be ready—but never achieving it Kierkegaard has an aphorism that I like to apply to this situation: “If I were to wish for something I would wish not for wealth or power but for the passion of possibility.” The truth is that all art a material that defines itself somehow—a mode of presentation that restricts the horizon of the possible the artwork is always at odds with its formatting Artists like me exacerbate this—the works literally never dry I experience the process of installation (the first time a piece is displayed) as a vertiginous and terrifying version of that feeling of potential: it’s there in its entirety cruel in its power but never extending guarantees It’s capable of turning against me—or rather After the installation it somehow seems calm without liking it too much or too little: I feel an authentic indifference for the thing I’ve created But while the work is still being installed it resembles a treacherous and loving animal that shakes me awake seductively drawing me in as it stabs me in the back But I also want it to remain as it is: incomplete An installation requires an exaggerated number of specifications—a minute and tireless babel of prior activity It’s the technical aspect of the profession The tip of a key and the slot in the head of a screw are so similar Every detail seems enamored of itself and charges a steep price for its tiny part in the work’s potential—as though the chaotic power of the technical so I waste time asking myself: Screw or nail The installation wants to last—and every screw We can’t go any higher than two meters on the scaffolding or the ladder The old disciplinary beadle of our adolescence who lurked in the doorway to the schoolyard But he doesn’t speak in the name of institutional values It’s a smart move because in the end he was never on our side—he was even a little afraid of us There’s a judicialization of private life: meticulous The lives of others have become an economic opportunity We can (at least in the developed countries) sue an institution that forgets to put out a little sandwich board warning of wet floors in the bathroom or that lets us climb a ladder to a height of 2.01 meters The firemen are there to prevent this from happening—it’s not because they care about us as part of which money cuts through the private lives of people in other countries at unimaginable levels the expression “shit happens” comes from America too the inevitable accident—it hasn’t happened and never will at least not in the sterilized perimeter that my work and I occupy Here it’s as though there were no accidents Accident: a causal system is interrupted by a new causal chain superimposed upon the previous (Hume: “The falling of a pebble may extinguish the sun.”) that’s both arbitrary (and thus its accidental appearance) and necessary (and for that reason seems fatal) An I-don’t-know-what—and therefore something divine—that we go to great lengths to be rid of shifting the responsibility onto someone else The stone fell and somebody’s head was in the way No: today it’s always somebody’s fault and somebody has to pay for it Sometimes it’s the dead man himself who pays it’s his own fault—he should’ve tried harder not to die Likewise, for the Zande people, as recounted in E.E. Evans-Pritchard’s famous book[1] Every accident is the result of a spell and demands a long series of counter-spells to begin a new causal chain The Zande have strange techniques for discovering the witches responsible for these “accidents.” “In the bodies of the dead a witchcraft-substance is discovered through an opening in the abdomen They detect its presence by the form of the intestines that protrude from the abdomen.” Being surrounded by people and having the right to certain arbitrariness of self It should be the opposite: the artist is the one who transfers (to use the psychoanalytic term) absolutely everything to the point of having no return or identification with the work they set in motion that thing that’s made with hands and empty pockets will take its leave it remains poised like a butterfly on the shoulder of its author making speeches—the artist is its ventriloquist it seems right to feel commiseration and not repugnance for a bad work of art for everything in it that resembles the common and downtrodden That poet who tries to write about the meaning of life and shares his verse at a New Year’s party should inspire our respect and sympathy The problem is the great and obvious injustice of the physical permanence of bad art—the possibility of it lasting longer than anything contemporary to it (the public that saw it birthed as well as the objects of its era)—because bad art is so bound up with its surroundings that it seems right they should die together maybe it isn’t cruel to tear it up or burn it Because it isn’t fair that in its physical and corporeal enclosure it could manage to survive the people and the walls that were its neighbors I don’t know if suicide is the only serious philosophical problem Camus’s pronouncement really only works for the suicide of a Van Gogh or a Seneca—the kind of suicide that flows back across the work of the artist who killed himself who threw himself from his apartment window because he could barely breathe anymore Suicide was certainly not the only serious philosophical problem for Deleuze His work does not introject the meaning of his death But suicide’s simile in the cultural domain—burning everything one has written—seems incredibly cohesive and powerful You might say that it’s “the only serious literary question.” Voluntarily losing all one’s work puts the artist on the plane of Narcissus dictating to the world what does and does not make sense who burned everything when they finished—artists we’ll never even hear about because they never had a Max Brod to save them and Emily Dickinson’s papers were all candidates uses a shovel to bury books that a second actor brings from a shelf positioned on the other side of the stage with the two actors talking and reading selections from the books as they go One of them crosses the stage and sets down another book that the other reads aloud and then covers with tiny mountains of salt [1] Witchcraft In a media environment that tolerates tail-chasing The Baffler is a rare publication willing to shake the pundit class free of their own worst impulses But running a charitable organization of this magnitude requires serious dough and subscriptions only cover a fraction of our costs we rely on the good will of generous readers like you So if you like the article you just read—or hate it so you can ridicule us online for years to come—please consider making a one-time donation to The Baffler Nuno Ramos is a visual artist and a writer Bucket Hat / $30 I learned when I started translating Graciliano Ramos that it’s something of a commonplace to refer to him as “the Faulkner of Brazil.” Why wrote about a corner of his country remote from its centers of cultural and economic influence a place of characteristic customs and manners He was admired as much for his pioneering literary techniques as for the light he shed on his region And while his preoccupations are recognizable from one book to the next he deployed language in each as a vehicle not only for mood representing in the language itself the nature and limits of his characters and Ramos’s influence has proven durable: not only does almost every Brazilian read at least one of his books in school but contemporary writers readily attest to his status as a point of reference “If we were to take stock of Brazilian writers from the first half of the 20th century,” says Paulo Scott “and ask which writer has had the greatest impact and influence on the way Brazilian writers write today I have no doubt that the name of Graciliano Ramos would make the top of the list.” To the debatable extent that there is value in comparing writers more particular points of comparison offer greater interest I was struck by the similarities between Thomas Sutpen the ruthlessly ambitious figure at the center of Faulkner’s Absalom buys 100 acres there with the intention of establishing a dynasty Paulo Honório schemes and bargains to buy and restore to glory the now-decrepit plantation where formerly he was a day-laborer to themselves—neither knows his exact birthday for example—as well as to us: “Paulo Honório” is a nom de plume Both he and Sutpen are driven by the desire for material gain Edgy with perceived slights and paranoid insecurity they rise to command respect even while they know that respectability will likely remain beyond their grasp So they bank on their properties and heirs to represent them to the future while Paulo Honório is rescued by ironic self-awareness Sutpen’s own voice is famously absent from Absalom we learn his story from others with only a tangential investment in it people who concoct it from speculation and surmise Paulo Honório himself conceives a book of his life and works—a different kind of immortality but one whose success is equally uncertain In fact he would have been illiterate but for an accident: thrown in jail as a teenager for knifing a guy over a girl he emerged having learned to read and write he first approaches the project as a capitalist I thought division of labor was the way to go.” The trouble is that his recruits don’t share his vision: his erudite lawyer envisions “a novel in the language of Camões with sentences turned back to front.” (Not a bad description of Faulknerian prose but even a journalist friend who he hopes will be more malleable presents him with “two typed chapters of nonsense.” Sr No one talks this way!” The journalist objects saying “an artist can’t write the way he talks.” Paulo Honório is flabbergasted—why not Paulo,” his would-be collaborator patiently explains but the mode—first-person confessional—also allows for a self-reflexiveness rarely granted to him in regular life reconceiving the boundaries of Brazilian literature placing Ramos on the vanguard of modernism which was blooming more visibly in Brazil’s southern urban centers invisible and in many ways illegible to outsiders even those within his own sprawling nation Comparisons between the two writers spread and deepen once we go beyond these two novels Faulkner’s The Sound and the Fury is studded with portents only the black characters can recognize so that the servants and tenants suffer a foreknowledge of the Compton family’s coming tragedies while the family itself stumbles toward its demise The literary classes who consumed the novel would presumably have been as blind to those signs as the white folks within its pages dialogue and description in São Bernardo are full of expressions that baffle middle-class Brazilians even those within the northeast—the class Sr Paulo aspires to and to which he will never properly belong Ramos schooled himself in the worldview and argot of his isolated region’s subaltern classes Paulo are still not found in any other print source in both The Sound and the Fury and São Bernardo The complexities of race in each writer’s novels similarly reward assiduous reading Faulkner’s best-known novels contend with the legacies of slavery and while questions of race don’t explicitly motivate any Ramos novel’s action the way they do Faulkner’s (among other factors the two countries held very different attitudes toward race-mixing) black and mestizo characters are visible and significant in his books’ social fabric and hierarchies The Brazilian northeast was a primary destination for the slave trade under the Portuguese and slavery persisted longer there than in the US but Ramos’s home state was the site of several self-sustaining communities of runaway slaves Washington’s Up From Slavery into Portuguese And surely some serious attention could be devoted to examining Ramos’s last novel Vidas Secas (Barren Lives) against Faulkner’s As I Lay Dying Both books are high formal experiments that track poor families sent out on the road by loss trying to accomplish some near-impossible task attempting to wrest dignity from circumstances that would deny them Faulkner’s sense of humor even glints lightly in this book so Ramos would not be so alone with his dry irony it’s fair to mention these two writers in the same breath for their aesthetic and thematic preoccupations and for the place they held in their countries’ evolving modernism So it seems worth asking why Faulkner rose to international prominence while Ramos was consigned to being considered a regional writer as the US was contesting British centrality within the Anglophone literary world the Brits seemed to have difficulty understanding why they should expend so much effort on a writer so difficult to understand Critic Gordon Price-Stephens says many British critics considered Faulkner’s success “to be accidental achieved in spite of the peculiarities of style and aberrations of form with which he burdened his readers.” They thought he was making them work too hard especially in light of his squeamish subjects the violence and depravity initially thought by American northerners and Britons alike to be the province of the south came shortly to be considered pan-US problems Faulkner’s regional identity expanded: now he was an American writer in the American century Faulkner did a lot of travel at the behest of the State Department overcome with sympathy for Latin-American authors unable to get broader exposure he established the Ibero-American Novel Project: to find and publish the single best post-war novel from every South American country The base requirement was that the novel have been originally published after 1945 but somehow Ramos’s 1938 Vidas Secas was chosen as Brazil’s representative book Faulkner’s prize paved the way north for many South American writers while leftist theorists like Georg Lukács lumped Faulkner in with “decadent modernists” like Joyce and Kafka the Brazilian social critic Gilberto Freyre “made sharp distinctions between Northeastern writers and the São Paulo modernists,” suggesting that Ramos was a social-realist chronicler of Brazil’s dust-bowl rather than an artist redefining fictional form “He writes of the human soul in bondage; his landscapes like his characters are sun-parched; and his method is that of the social-literary vivisectionist.” Sadlier suggests Ramos might be better served “by moving away from the binary opposition between realism and modernism,” to allow us to “attend more closely to the language and style” of Ramos’s fiction “ideologically superior to crude forms of social realism.” Sadlier particularly implores American readers to take a closer look at São Bernardo and the one that most clearly shows why he’s bigger than the social-realist-regionalist box he’s so often put in: “If any book by Graciliano receives greater attention from US critics using the author’s first name per Brazilian custom “It superbly exemplifies all the issues that have preoccupied critics of his work—the dialectic between social realism and modernism the blend of cosmopolitan literary sophistication and careful observation of a specific region the blurring of the line between autobiography and fiction—and it secures Graciliano’s position as a major author of the twentieth century.” And yet no one refers to Faulkner as North America’s Graciliano Ramos My suspicion is that Ramos was doubly disadvantaged: his non-Lusophone readers only have access to him through the screen of translation and his translators may have seen him through the dominant critical perception’s distorting screen I attempted a new translation in large part to try to correct this: Ramos and North American readers deserve another crack at each other at some greater distance from Faulkner’s benevolent gaze Graciliano Ramos’ São Bernardo Created by Grove Atlantic and Electric Literature Masthead About Sign Up For Our Newsletters How to Pitch Lit Hub Privacy Policy Support Lit Hub - Become A Member Lit Hub has always brought you the best of the book world for free—no paywall you'll keep independent book coverage alive and thriving Share on FacebookShare on X (formerly Twitter)Share on PinterestShare on LinkedInCHARLOTTE (WBTV) - Spontaneous street racing ended in a crash in Charlotte’s Steele Creek area this past weekend resulting in the death of a teenager and the arrest of a second driver Members of the Charlotte-Mecklenburg Police Department provided an update Thursday on the deadly crash that happened Saturday night on West Arrowood Road near South Tryon Street was killed in the crash after his Ford Mustang was hit by a Chevrolet Camaro 24 was later arrested and charged with second-degree murder He is accused of getting out of the Camaro and fleeing after the crash CMPD officials said Thursday that a second Camaro was involved in the street racing was arrested Wednesday night and charged with second-degree murder reckless driving and spontaneous speed competition The Camaro Williams was driving was also seized Last night, detectives took Williams into custody and charged him with 2nd Degree Murder, Reckless Driving, and Speed Racing Competition. The Camaro that he was driving has been located and seized. pic.twitter.com/ksdDXDaVBO Chief Tonya Arrington said the Camaros’ speeds were 100 mph in a 40 mph zone “Ivan never stood a chance,” Arrington said “This case is heartbreaking and what makes it so heartbreaking is it was preventable.” The deputy chief added that the victim was driving home from work and turning into his neighborhood when his vehicle was struck Related: Person arrested following deadly hit and run in southwest Charlotte Last night, detectives took Williams into custody and charged him with 2nd Degree Murder, Reckless Driving, and Speed Racing Competition. The Camaro that he was driving has been located and seized. pic.twitter.com/ksdDXDaVBO MSNBC contributor Paola Ramos warned that Latinos are “walking away from the Democratic Party.” Appearing on Friday’s Morning Joe to discuss the upcoming episode of Field Report airing Friday at 10 p.m. ET, Ramos said “The larger picture is that Latinas have been sending a message for the last four years.” the daughter of prominent Latino journalist Jorge Ramos “[then-President] Donald Trump won seven of the 14 countries along the U.S and he was able to flip two of those and he made significant end roads in places like the Rio Grande Valley.” Mayra Flores’ (R-TX) special election victory in June and that there are “three Latina Republicans in South Texas that are running for office that are completely transforming the dynamics of politics in Texas.” “We’re not trying to say that Republicans are winning the national Latino vote,” said Ramos Ramos noted “that immigration has truly never been a top issue for Latinos Jorge Ramos is usually very reserved with his private life, but when it comes to showing off to his children, he can‘t help it. The journalist of Mexican origin is the father of two girls; Paola Ramos, from his first marriage with Gina Montaner, and Nicolás Ramos, from his second marriage with Lisa Bolívar. The head of Noticieron Univision is very proud of both, but he has been ‘on the moon’ since Paola followed his footsteps within in media.   Paola Ramos is the eldest daughter of journalists Jorge Ramos and Gina Montaner. Paola was born in 1988 and when she was around five years old, her parents divorced. Due to the separation of her parents, Paola moved to Spain with her mother, where she lived her childhood and adolescence. Despite the split she remained close to her dad. In 2002, Ramos talked about why his marriage to Montaner failed and how much it hurt him to be away from his daughter. “We are so wrapped up in our jobs that the first thing we do is sacrifice our personal lives,” he told Univision.com years ago. “Because of those personal mistakes I have to live far away from my daughter Paola.” After her studies and internships in the political campaigns of Barack Obama and Hillary Clinton, Paola dedicated herself to the media, just like her parents, who are more than proud of her. Like her father, the 30-year-old has published several books, such as ‘Finding Latinx,’ published in October of this year. She has also collaborated with prestigious media outlets such as Vice News, Telemundo and MSNBC. Recently, Paola made her debut on the streaming service Peacock TV (NBCUniversal) on Zerlina Maxwell‘s newscast, and Jorge Ramos bragged on his networks about his daughter’s great achievement. The journalist wrote: “Paola Ramos on PeacockTV So proud!!!! Thanks to her parents‘ advice, Paola will go as far as they did in the world of journalism, and she has started to make her name heard in the media. Paola not only shares her father‘s passion for journalism but also loves to travel. Every year, Jorge, Paola, and his son Nicolás -from his second marriage to Lisa Bolívar- usually travel for New Year‘s with Chiquinquirá Delgado, his father’s girlfriend, and her daughters. So the six of them travel together to paradisiacal destinations. The best of all is that both Jorge‘s and Chiqui’s children get along wonderfully, so they are like a big modern family. © ¡HOLA! Reproduction of this article and its photographs in whole or in part is prohibited, even when citing their source. Reading"The View from São Paulo: the..." More fromThe View From... Contact Advertising Opportunities Newsletters Insights + Opinion Creatives + Projects Advice + Resources Culture + Lifestyle Nicer Tuesdays The View From... POV Forward Thinking Review of the Year Jenny Brewer Olivia Hingley Ellis Tree Elizabeth Goodspeed Liz Gorny Extra Search illustrators and publishers making beautiful fiction books and explores the creative techniques they’re using to push the medium the annual literary festival held in the historic seaside town of Paraty When it comes to the quality of books published today undoubtedly Companhia das Letras plays a fundamental role it is one of the largest publishing houses in the country and is currently part of the global Penguin Random House conglomerate The graphics department is headed by Alceu Nunes who carefully selects designers for each of the almost 40 monthly releases following a careful and competent interior layout designed by Raul Loureiro and all of them of a high graphic standard Book cover designs by Thiago Lacaz for J.M Courtesy of Companhia das Letras / Penguin Random House The covers for the Nobel Prize-winning South African author J.M Coetzee are a prime example of this approach Thiago Lacaz designed labyrinth-like graphic patterns based on typography that span the entire cover All the necessary information is placed on belly bands which are carefully colour-coordinated with the covers A significant chapter in the history of Brazilian editorial design was written by Cosac Naify a São Paulo-based publishing house active between 1997-2015 the publisher soon expanded into literature and maintained an in-house team of designers each book was treated as a unique creation It was a creative laboratory where all kinds of graphic techniques This experimentation not only expanded the repertoire of local printers and designers but also deepened readers’ appreciation of the book as a physical object Design by Kiko Farkas e Felipe Sabatini / Máquina Estúdio / illustrations by Regina Silveira even major publishers like Companhia das Letras began producing special editions more frequently A notable example is the beautiful 70th-anniversary edition of George Orwell’s classic 1984 designed by Kiko Farkas and Felipe Sabatini The silk-screened fabric cover is both elegant and understated featuring only the author’s surname and the four numerals of the title which depict a graphic representation of diffusion waves The book’s opening pages showcase a series of works by Brazilian artist Regina Silveira: faceless male figures in suits symbolising the ambiguity between collectivism and loneliness described in this dystopian future The edition also includes a selection of covers from various editions of Orwell’s book a fitting tribute to a classic that has seen hundreds of editions worldwide with graphic design that takes into account the content founded in 2014 following in the footsteps of Cosac Naify uses graphic design as a key distinguishing feature of public domain books A particularly beautiful project that creates a poetic relationship between form and content is White-Jacket; or The World in a Man-of-War by Herman Melville For a story narrated by a sailor on the high seas Estúdio Margem proposed to produce the covers one by one in cyanotype a photographic technique in which the image is developed after exposure to light and immersion in water each cover is different as a result of the action of the water Design by Pedro Inoue / illustrations by Lourenço Muttarelli / art direction by art direction by Daniel Lameira a new publisher (launched in 2019) that also focuses entirely on illustrated classics It uses the commercial appeal of a more pop language to achieve a higher print run and make special books accessible with graphic design by Pedro Inoue and art direction by Daniel Lameira the characters always appear cut out against a white background reinforcing the feeling that the torturous penal colony described by the author could be anywhere at any time the illustrations are accompanied by selected quotes from the narrative as if inside the torture machine imagined by Kafka Design by Bloco Gráfico / illustrations by Nathalia Navarro another publisher that focuses on more commercial books with large print runs a trio of talented designers formerly from Cosac Naify Nathalia Navarro’s illustrations along with the typography are inspired by the visual extravagance of Art Deco capturing the luxury and opulence of the lifestyle portrayed in Scott Fitzgerald’s characters The design strikes a balance between sophistication and excess The sense of refinement is further enhanced by the hot stamping on the cover and the coloured edges Todavia – a publishing house founded in 2016 by former employees of Companhia das Letras with graphic production carefully overseen by Aline Valli formerly of Cosac Naify – recently launched a 26-volume series that brings together the complete works of Machado de Assis undoubtedly one of the greatest writers in the Portuguese language The collection is the result of extensive research recovering the first editions revised by the author led by the duo Celso Longo and Daniel Trench reflects the same level of care and demonstrates remarkable consistency throughout The design draws inspiration from the title pages of 19th Century editions reproduced in reverse at the beginning of each book and includes the first Brazilian typeface commissioned specifically for a single author they created a colour-coded system to categorise the various literary genres Machado de Assis explored Another publisher contributing to the high standards of books in Brazilian bookstores is Fósforo with graphic production coordinated by Julia Monteiro The branding and interior layout were handled by Alles Blau Studio and one of the key elements of their design is that every cover features an embossed pattern conceived as an extension of the publisher’s identity – a subtle touch that enhances the tactile quality of the printed books But the team didn’t stop at the tactile experience The expert design duo also maximised the books' digital presence by creating covers that translate beautifully into motion graphics (see above) These examples give us an idea of just how consistent and refined editorial graphic design is in Brazil Perhaps we’ve struck an interesting balance between the European tradition – which used to be the main reference for Brazilian intellectuals – where books are often understated and nearly standardised driven by the conservative belief that content is what matters and design is unnecessary; and the American tradition driven by sales metrics with little regard for the content inside seductive design language (more in tune with a country that lacks a consolidated reading public) and one that remains true to the content is now reaching a particularly vibrant moment We are experiencing a very dynamic decolonial movement as well as a growing number of translations of literary and essayistic works by writers from the Global South Although the number of non-white designers remains embarrassing proportionally low spending some time in a bookshop has become a must for any designer visiting São Paulo is experiencing a revival of small neighbourhood bookstores Further InfoAbout the AuthorElaine Ramos Elaine Ramos is a graphic designer based in São Paulo She runs a design studio primarily focused on the cultural market and is a founding partner of Ubu She is It’s Nice That’s São Paulo correspondent Fancy a bit of It's Nice That in your inbox Sign up to our newsletters and we'll keep you in the loop with everything good going on in the creative world Instagram TikTok LinkedIn Facebook Twitter Pinterest About Careers at It’s Nice That Privacy Policy Insights Residence Creative Lives in Progress If You Could Jobs © It’s Nice That 2024 · Nice Face Logo © It’s Nice That Elaine Ramos is a graphic designer based in São Paulo sweat and solidarity of musical subculture In the newest instalment of his illustrated series Brian Blomerth explores the life of John C Lilly – the scientist that used ketamine to speak to dolphins Our Amsterdam correspondent analyses why the city is so known for its publishing prowess and shares a comprehensive list of places for designers Claire’s approach to graphic design questions (and subverts) traditional graphic design methodologies curiosity and an open heart steer Margherita Sabbioneda and Barbara Nassisi’s creative practice Contemporary Haggadot are upending tradition and asking what freedom – and Jewishness – look like now The result of a bizarre obsession with this red member of the chicory family the publication is a photographic and material study of the striking plant the screenplay book – art directed by Actual Source – echoes the emotional honesty of Celine Song’s poignant film Collecting 200 fabric samples of clothing across several thousand miles of coastline the artist has created a typology that traces the tangible effects of the world’s most environmentally damaging industry Out of the Void curates the entire back catalogue of the record label’s releases The limited edition book is a time capsule of a fascinating era for independent artists Co-founder of The White Pube Zarina Muhammad took to the Nicer Tuesdays stage to outline the narrative behind the duo’s debut book Poor Artists – a story about making art under capitalism The writer and art critic gave us an insight into the early days of the The White Pube and how this led to the making of a Penguin-published book spotlights some of the best indie streetwear labels coming out of its music and design scenes Our Berlin correspondent lays bare the realities of recent funding cuts to arts and culture in Germany Our LA correspondent digs up the history of those monumental letters and why the site has been a platform for political statements and pranks alike the space is a breeding ground for fresh perspectives Our São Paulo correspondent meets some of its community Our Seoul correspondent examines the unique parameters of a K-pop design brief and asks where the genre is leading Korean design Our Lagos correspondent looks at the unique design influence of Nigerian film poster design from the 90s to now Our Mumbai correspondent meets three creatives who are celebrating the rich visual history of street type and making projects that build on the tradition for contemporary type design Our Tokyo correspondent explores the history and cultural importance of the Riso in its home country and its continued impact on creative expression Our LA correspondent finds creative oases hidden in the frenetic city providing fertile ground for independent talent to blossom and the community to rally Our correspondent in the German capital digs into the reasons why and how individuals and groups are using them to make a statement Our Cairo correspondent explores how Egyptian designers are mediating the tension between cultural authenticity and the Western gaze Our São Paulo correspondent spotlights the graphic designers About Contact Advertising Opportunities Newsletters Insights + Opinion Creatives + Projects Advice + Resources Culture + Lifestyle Nicer Tuesdays The View From... POV Forward Thinking Review of the Year Jenny Brewer Olivia Hingley Ellis Tree Elizabeth Goodspeed Liz Gorny Instagram TikTok LinkedIn Facebook Twitter Pinterest Careers at It’s Nice That Privacy Policy Insights Residence Creative Lives in Progress If You Could Jobs Reading"The View from São Paulo:..." Elaine Ramos dissects how the illustrator so aptly conveys the dense textures The View From... is a new column on It’s Nice That written by a team of international correspondents in major creative cities around the world Every two weeks we’ll report on the design scene in these cities exploring the topics that are making an impact on the local creative community there the most challenging part was to decide on a starting point How can one open a window into a city as vast and complex as São Paulo I realised that perhaps a way to approach this would be to map out the terrain I turned to the work of the São Paulo-based artist who has made many fruitful attempts in this direction Readers are likely to know São Paulo as one of the world’s largest megacities (over 20 million inhabitants in the metropolitan area) and as the embodiment of extreme sophistication and extreme precariousness alike due to its brutal levels of social inequality São Paulo grew rapidly from the 1920s until the end of the last century Governed almost exclusively by economic interests and real estate speculation The French anthropologist Claude Lévi-Strauss remarked that “the growth of São Paulo is so rapid that it is impossible to obtain a map of the city: every week it would require a new edition” He was intrigued by a city where everything is still under construction but already appears to be in ruins But the city’s vitality comes precisely from the very cosmopolitanism that is fundamentally entwined with the aforementioned problems In addition to the large chunk of the population which came originally from Portugal (during the colonial era and shortly after) and Africa (enslaved people mainly from Angola São Paulo has been a destination for subsequent waves of immigration: Italians especially from the northeast of the country São Paulo’s allure undoubtedly lies in this blend of cultures Andrés Sandoval: AGI São Paulo guide (Copyright © Andrés Sandoval) made with stamps and coloured pencils for a city guide published for the AGI Open in 2014 Andrés Sandoval represents the density of the landscape through a pattern of stamps that fill up the entire canvas The stamps make up a texture that mimics the city where the (im)possible beauty lies in the accumulation and excess features which in the drawing are rendered as rhythm two downtown landmarks stand out: Estação Júlio Prestes (now a refined concert hall) and the Estação da Luz with its mid-19th century British steel and glass architecture the hallmark of São Paulo that fascinates graphic designers: a specific type of graffiti called “pixo” Encrypted alphabets overlay the cityscape in polyphony an unusual and original graphic language created mainly by marginalised youth who risk their lives to leave their tags on buildings and overpasses in the most visible Andrés Sandoval: Periferia (Copyright © Andrés Sandoval) published by Tower Block Books in London in 2018 this time by portraying São Paulo’s horizontal sprawl toward the outskirts of the city in a more abstract design the author comments that the stamp’s “repeated gesture reveals an imperfect side can construct a complete scenario: a person alone forms a protest a car becomes an endless traffic jam." Andrés Sandoval: Desestrutura (Copyright © Andrés Sandoval) Andrés moves to the opposite pole of graphic language and explores the fluidity of the line explaining the city’s logic through its urban layout unveiling a topography usually obscured by the dense mass of buildings entangled in the unending process of destruction and construction the artist skillfully and intimately charts his map condensing so much information with such simplicity that the city becomes almost manageable Andrés Sandoval: 12 vistas de São Paulo (Copyright © Andrés Sandoval) Prior to this exercise in synthesis in the Desestrutura series Andrés had already faced the ambitious task of drawing a map of the “entire” city in 2018 producing the publication 12 vistas de São Paulo [12 viewpoints of São Paulo] this work reveals each neighbourhood’s personality the serpentine avenues built over the riverbeds The names of the main landmarks are handwritten and cleverly integrated into the drawing’s weave a selection of highlights is ironically reinterpreted by the artist's imagination: flames burst from Teatro Oficina – a symbol of Brazilian experimental theatre and home to the god Bacchus – and waterfalls flow from the belvedere of MASP an art museum designed by Lina Bo Bardi and an icon of São Paulo’s brutalist architecture Andrés Sandoval: 12 vistas para São Paulo (Copyright © Andrés Sandoval) Andrés Sandoval: Minhocão view with blind walls highlighted (Copyright © Andrés Sandoval) Another of São Paulo’s landmarks is an elevated highway that cuts across a large section of the central part of the city (quite revealing of the city’s oddness!) Built in the 1970s as the ultimate symbol of the military dictatorship’s project of prioritising cars over pedestrians and public transportation the Minhocão tore through what was once a noble part of the city acting as a violent vector of urban degradation Blind walls (windowless façades) are another standout feature of buildings in downtown São Paulo these “blind” buildings are the result of erratic zoning regulations and urban occupation ruled only by money power These walls used to display large advertising panels until the Lei Cidade Limpa (Clean City Law) came into effect in 2007 banning large advertisements and billboards where there used to be 30m-high semi-nude women in lingerie ads chosen as the unlikely protagonists of an artist’s book published by Andrés in 2013 Andrés Sandoval: Empenas (Copyright © Andrés Sandoval) seemingly abstract shapes came to actually catalogue the blind walls as seen from Minhocão respecting the angles and scale relationships between them with one volume covering the east-west direction and the other west-east the 141 shapes make up an alphabet where one can notice size variations as well as the outlines formed by roofs and buildings that overlay part of the façades Each shape is presented with the address and name of the building it belongs to,” Andrés explains on his website Andrés turns these previously invisible silhouettes into protagonists The shapes have a purposefully stained texture resulting from risograph printing in four colours (gold an effect resembling the worn-out and faded appearance of the blind walls but rather establishes a unique and surprising approach to each project by resorting to a wide range of techniques We also note his ability to move fluidly and coherently between abstraction and figuration Perhaps Andrés’ sagacity is that he never tries to tame what is intangible about the city but understands that this intangibility is intrinsic to it This special quality is what enables him to present this heterogeneous and prismatic city to us in all its complexity Elaine shares some must-visit cultural hotspots for when you’re in São Paulo and an online project to enjoy from anywhere in the world Further Infowww.instagram.com/andre_ssandoval Elaine Ramos physicality-led practice reminds its audience of the person behind the piece Aysha Tengiz received a questionable contract asking her to give up rights to her own intellectual property the illustrator explains why that’s such dodgy practice and why creatives need to be more clued up about copyright Cofounded in 2022 by food industry creatives Cake Zine is back with its sixth issue: Daily Bread Informed by her background in social sciences these colourful illlustrations combine familiar symbols of the everyday in abstract compositions How Studio Dumbar/DEPT® developed a free and open-to-the-public festival to foster creativity community and experimentation within the ever-evolving motion design landscape Graphic designer and illustrator Chantal Jahchan took the New York Nicer Tuesdays audience behind the scenes of her intricate and imaginative editorial illustration work Walking us through the creation of her cover for The New York Times Book Review the designer revealed the research-led approach that creates her signature photo collages London-based creative embraces an enchanting interplay between medium and message The LA-based artist finds his greatest inspiration across his state’s local cityscapes busted-up signage and never pretty or pristine plaques With hundreds of jumpers under her metaphorical belt (including 45 different cat designs) Annie embraces knitwear as her illustrative medium of choice With custom installations by the likes of Geoff McFetridge and Andy Rementer the eyewear and lifestyle brand aims to prove shopping can be a fun and creatively enriching experience www.instagram.com/andre_ssandoval The View From... is a new column on It’s Nice That written by a team of international correspondents in major creative cities around the world Previously well known for her clean-cut architectural pieces the illustrator is finding new freedom in anthropomorphic abstraction We chat to the London-based illustrator on the myriad of influences that have driven her practice A compilation of artworks and poetry from the artist and musician Under the Banner of Concern reflects the past five years of Tim's visual output We deliver! 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Subscribe to Adweek newsletters Still-new agency GUT expanded to Brazil’s São Paulo with the opening of its third office in less than a year The expansions follow the opening of GUT Miami and GUT Buenos Aires last April by David co-founders Anselmo Ramos and Gaston Bigio For Ramos, the expansion brings the independent agency to the city where he was born and raised “I think São Paulo is one of the most creative cities in the world There’s a lot of talent there,” Ramos told AgencySpy “We want GUT São Paulo to be the most creative agency in Brazil and beyond.” The news comes almost exactly one year after GUT officially went into business — anselmo ramos (@anselmoramos) April 9, 2018 GUT São Paulo opened with 11 employees led by managing director Valeria Barone and executive creative director Bruno Brux “Both Gaston and I worked with Valeria and Bruno way back when they were at Ogilvy Brasil,” Ramos said “Both have the three key values of the agency: courage GUT is already working with several clients in Brazil Ramos explained that the agency plans to be “extremely selective” with the clients it works with at all three of its offices We thought it was important to go back to the same amount of offices and countries we had at our previous agency,” Ramos said “Our rate of growth should be the ability we have of finding brave clients and gutsy talent.” Adweek is the leading source of news and insight serving the brand marketing ecosystem Fortes D’Aloia & Gabriel is delighted to present Nuno Ramos’ Sol a pino* at Galpão The show features painting as a central element and retrieves its pivotal role in the artist’s work Also on view are a series of drawings inspired by the Antigone tragedy one witnesses the artist’s latent concern for the transformations taking place in the world Ramos either attempts to assimilate those changes or he extrapolates and transforms them into a creative conduit his outstanding path in the visual arts is interspersed by steady performances in the theater and literature as well as frequent collaborations as a lyricist There are instants when all of these facets come together and become indistinguishable from one another Ramos has begun to reminisce about painting – a constant in his practice since the early 80’s when he was part of the “Casa 7” studio – and its role in his oeuvre The paintings in Sol a pino take stock from his ruminations on the medium and point to what he describes as an intrinsic “desire for solarization” which is a desperate attempt to remain joyful in the gloomiest of times Ramos has developed a version of encaustic painting – a mixture of paint oil Vaseline and powder – to materialize electrical colors on marshy surfaces This ancient technique calls for a short cooling time This is perhaps one of the reasons for his return to painting: a desire to put himself at risk at the threshold of control over materials the paintings also receive a variety of objects such as plush Ramos applies them to the surface building a topography in a process he defines as the “equalization of differences.” The solar power of the paintings has its counterpoint in the videos and works on paper The series of drawings evokes the figure of Antigone to deal with the clash of individual desires before the State In the Greek tragedy narrated by Sophocles the character fights for the right to bury her dead brother Polynices Ramos appropriates Antigone’s “thoughts of dust” (a verse in the play) as a device to create the drawings: he sprinkles graffiti powder on the paper in an allusion to the burial Fragments of men and crowns recur in the drawings and take shape as he subtracts the traces of powder with masking tape or adds paint to increment the composition written words give rise to an autonomous visual vocabulary that expands its meaning beyond the page the videos are records of the theatrical performances Aos Vivos a trilogy designed to run parallel to the TV debates of last year’s presidential elections The premise was to have actors on stage with headphones so they could reproduce the speeches of the candidates in real time In the absence of a debate in the second round of the elections the audios of the television program of the given time slot were used Ramos added an external element to interfere with the speeches a dancer swirled in the center of the stage like a dervish; in the second excerpts from Antigone were whispered through glass tubes; in the third dialogs and the soundtrack of Terra em Transe [Glauber Rocha’s 1967 film] counterpoised the play Ramos’ commitment to capture reality in real time is the driving force behind this project as if representation alone could not capture the urgency of the ongoing transformations and the videos are displayed on screens incrusted in stones there is a notable desire to transform inert matter into a living thing in Aos Vivos the volatile experience of the now is solidified in marble Recent solo shows are: O Direto à Preguiça 2016) and Galeria Anita Schwartz (Rio de Janeiro Noteworthy groups shows include the São Paulo Biennial (2010 His work is present in the following collections: Tate Modern (London) the book brings together a collection of essays on Brazilian culture ABU DHABI — Davi Ramos and Gilbert Burns are not on the same weight class in the UFC anymore but “The Tasmanian Devil” wouldn’t mind changing divisions to share the octagon with his former teammate The jiu-jitsu experts trained together at Atos Jiu-Jitsu a decade ago before “Durinho” won the IBJJF World Championship as a black belt and made the transition to MMA their relationship forever changed after a grappling match at the ADCC in Sao Paulo Ramos won by submission and went on to win the gold medal Five years later, in an interview with MMA Hoje Burns said he grappled with Ramos backstage to warm up on Day 1 of ADCC 2015 Burns recalled thinking “I used to beat him a lot in training I’ll beat him up again,” but complained he was distracted by Ramos’ slaps before losing the match Burns was also mad after re-watching the footage and seeing his former teammate celebrate the victory Ramos did not like any of the things “Durinho” said in that interview and posted a video of the ADCC match with a long statement about respect A post shared by Davi Ramos "TazMania " (@daviramos_ufc) on Jun 4 Speaking with MMA Fighting prior to his upcoming UFC bout “We fought five years ago at the ADCC and spoke afterward, but I had no idea he kept that bitterness inside of him,” said Ramos, who today makes his return to the octagon against Arman Tsarukyan at UFC Fight Island 2 in Abu Dhabi He wasn’t man enough to come to me and say it “But he came trying to create an excuse that he lost to me because I slapped him and that was illegal and then I took his back and submitted him that we trained together and he beat me up that we went to the fight and he would beat me up again There are training sessions in the gym that I win and lose that was during a session where we were trying to help each other become the winner “I don’t understand why I won because I slapped him That really upset me; I was upset with those words just come talk to me instead of going to the media.” Ramos said he texted Burns congratulating him after the win over Tyron Woodley earlier this year But he felt it was “disrespectful” of Burns to say the things he’s said in that interview Ramos said he was blocked by his former teammate on Instagram after the long statement he wrote on social media Burns is expected to compete for the UFC welterweight championship against another longtime training partner in Kamaru Usman in 2020 “I think Usman has more weapons against him,” Ramos said “I’m a Brazilian and I’ll always root for any Brazilian to being a belt to Brazil Burns was scheduled to face Usman on July 11, but had to withdraw from the main event of UFC 251 after testing positive for COVID-19. Usman fought late-notice replacement Jorge Masvidal and won a decision and now it’s time for Ramos to get in action Ramos is eager to get back on track after losing a decision to Islam Makhachev at Abu Dhabi’s UFC 242 last September, while Tsarukyan — who also has a loss to Makhachev in his record — hopes to keep the momentum going following a win over Olivier Aubin-Mercier a year ago “The Tasmanian Devil” changed his diet after the COVID-19 pandemic forced the UFC to postpone his match with Tsarukyan from April to July He said being 11 pounds lighter than usual “definitely helped me train better.” he plans to use his grappling skills to secure his fifth UFC victory “He has a lot of weak points in his jiu-jitsu,” Ramos said I can see he doesn’t know much about jiu-jitsu Like I always say before every time I fight I’ll try to use more of my jiu-jitsu now compared to my last fight but I do believe he’ll try to stay on the feet the whole time instead of wrestling like he always does “He’ll try to stay away from me like Makhachev did They are both excellent wrestlers but don’t want to wrestle me but every fighter that fights me will try to create that roadblock and not take me down.” Ramos is focused on getting past Tsarukyan on Abu Dhabi’s Yas Island but would be down to a MMA clash with “Durinho” one day “If he thinks he used to beat me up that much in the gym it would be a pleasure to fight him in MMA,” Ramos said The Portugal and Juventus star has opened his latest hair transplant clinic in Madrid Cristiano Ronaldo opened his 'Insparya' hair transplant clinic in Madrid this Monday amidst huge excitement and with his Spanish girlfriend Georgina Rodríguez in attendance The footballer has teamed up with Paulo Ramos to launch the Insparya Group's first international clinic having previously only been based in Portugal "I wanted the first clinic of the international expansion to be located in Madrid who has previously admitted that Madrid is the city which has had the biggest impact on his life and which boasts a number of footballers as previous satisfied clients Among these are Portuguese teammates of Cristiano Ronaldo including José Bosingwa and Raúl Meireles alongside fellow countrymen Carlos Martins Rubén Micael and legendary Atlético Madrid player Paulo Futre and French player Robert Pirés All of the players have had a hair transplant on their scalps however there is one other patient who isn't a footballer on the list of happy customers: Cristiano Ronaldo's mother Dolores Aveiro O endereço abaixo não existe na globo.com Nick Cave has had a life full of grief, and his work, particularly in recent years, has been a reaction to that grief. Albums like Skeleton Key and Ghosteen are expert representations of the grieving process and remain some of the most poignant pieces of art ever produced The humanity in their lyricism and production is unlike anything that has come before and anything that will come after They aren’t the first of his records with grief embedded in the centre of them His 1988 album Tender Prey is dedicated to Ferdinand Ramos a talented actor who met a tragic end in 1987 when he was shot and killed by police in Sao Paulo the subsequent mourning on Cave’s album isn’t as raw as that which he wrote about in the 2010s but it is still worth discussing the connection Cave felt with Ramos and how he might have influenced the album Ferdinand Ramos was an actor in Sao Paulo who found fame thanks to his role in Pixote Audiences were blown away by his portrayal of a homeless boy fighting to survive with a group of kids on the street Ramos could likely connect with the role so easily because it wasn’t far removed from his upbringing and his mother’s pension barely brought in any money so they had to sell lottery tickets to get by Ramos found fame following his role in Pixote but his career started going downhill shortly after He was fired from the sitcom he was hired on because he failed to turn up to shoots and then when he enlisted in acting school not far from the character who initially made him famous He was shot and killed by police after a mugging and so they shot for their own protection and the protection of others; however some eyewitness reports state that Ramos was unarmed What actually happened that night remains unknown as he said on multiple occasions that it was one of his favourite films In the liner notes for the Tender Prey album “This album is dedicated to Ferdinand Ramos “Remembered for his brilliant performance in the film of the same name Killed by Sao Paulo police in November 1987 It’s unclear why Cave felt the need to dedicate the album to Ramos He was a fan of the film and the actor’s work not to mention he passed away before his time but it still doesn’t go on to explain how he inspired the record It could well be that Nick Cave was saddened by the loss of an actor he admired and simply wanted to dedicate some of his work to them it might be that the chaotic way Cave wrote the album he found oddly reminiscent of the group depicted in Pixote Cave has discussed before how difficult the writing process for the album was It is reflective of a group – particularly myself – who was just writing songs and there was no larger idea behind it,” he said Cave also admitted that his life was “spiralling out of control in a lot of areas,” and that also contributed to the haphazard nature of the album Cave might have seen parallels between himself and the group in Pixote There was no direction in either; they just knew they had to do what they were doing to survive it was to live a life on the streets shrouded in crime it was to finish a record even if his heart wasn’t in it That subconscious link could have been enough for Ramos to be at the forefront of Cave’s mind when writing the liner notes for the record it may just be a sweet tribute to a talented actor who had his life taken from him The ad-free version is ready for purchase on iOS mobile app today we couldn't find that page";var n=e.querySelector("h2");return n&&n.remove(),{staticContent:e,title:t}},d=function(e){var t=document.createElement("button");return t.innerText=e,t.classList.add("error-page-button"),t},f=function(e){var t=document.createElement("div");t.id="recirculation-404",t.classList.add("brand-hint-bg");var n="\n \n \n \n \n \n '.concat(e,' Tick here if you would like us to send you the author’s response Link Copied!Back in 2019, Cristiano Ronaldo opened the first Insparya Clinic in Spain “This project is going to be a success.” The words came true Insparya has multiple centers across the world in Portugal his venture is now expanded in the Middle East as well Insparya is a clinic dedicated exclusively to the treatment and diagnosis of Alopecia Cristiano Ronaldo also tagged the official page of the newly opened clinic with a strong focus on research and technology I plan to contribute and invest in areas that will enhance the self-esteem of men and women suffering hair loss from the alopecia disease.” Interestingly CR7 is not the only brain behind this project A post shared by insparya_middleeast (@insparya_middleeast) The soccer icon is one of Insparya’s co-founders who also happens to be the CEO of Insparya has conducted more than 60,000 transplants What motivated Ramos to such a commitment was the fact that he was a victim of Alopecia Ramos’ work at Saude Viable (the hair clinic where he previously worked) came to the attention of Cristiano Ronaldo Ronaldo struck a fruitful partnership with Paulo Ramos and a market value of $107 million is a leading name in the treatment of Alopecia and biomedical research A big chunk of the visibility undoubtedly is due to CR7’s involvement but what’s seldom known is Georgina Rodriguez’s involvement behind the scenes she rarely posts about Insparya on her social media handles while showcasing her other deals and brand endorsements Read More: Marcelo Teases Cristiano Ronaldo With 4-Word Message Over His New Addition to CR7 Fragrances Insparya is still going strong and the new branch in Oman is a testament to the incredible work behind the scenes What are your thoughts on Insparya opening in Oman Read More: All You Need to Know About Cristiano Ronaldo’s Son Cristiano Jr’s Clothing Brand Phantom8 EssentiallySports is a digital-first sports media house that surfaces the best stories on America's favorite sports celebrities with a fan's perspective to 30+ M average monthly readers. 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