Carioca (Portuguese: [kaɾiˈɔkɐ] ( listen)) is a Portuguese adjective or demonym that is used to refer to the native inhabitants of the city of Rio de Janeiro - capital of the homonym state (RJ), in Brazil. The original word, "Kara'i oca," comes from the indigenous Amerindian language of the Tupi people, meaning "White Man's House." The demonym meaning for the state of Rio de Janeiro is Fluminense, taken from the Latin word "flumen", meaning "River". So for instance, someone from Niterói is Fluminense and Niteroiense and someone from Rio is Fluminense and Carioca.

It is said that the first Portuguese dwellings in Rio de Janeiro were placed along a limpid stream, which soon got the Portuguese name "Carioca". The last PNAD (National Research for Sample of Domiciles) census numbers for the Rio de Janeiro (state) are: 8,576,000 white people (53.6%), 5,376,000 Pardo people (33.6%), 1,920,000 black people (12%) and 128,000 Asian or Amerindian people (0.8%). The last PNAD census for Rio de Janeiro (city) is: 3,193,588 white people (50.5%), 2,244,997 Pardo people (35.5%), 809,463 black people (12,8%) and 75,887 Asian or Amerindian people (1.2%). Cariocas, like other Brazilians, speak Portuguese.

Cariocas love beach, sun, sea and parties. Carioca women are known for their tanned skin and body shapes. Rio bikinis are the best sellers in the whole world. Cariocas have a privileged view. Some of the turistic points they have are the Sugarloaf Mountain (Brazil), Christ the Redeemer (statue) and Estádio do Maracanã/Ginásio do Maracanãzinho.

Carioca people invented some sports, but the most famous are footvolley and beach tennis.

Cariocas are credited with creating the bossa nova, mpb, samba and funk carioca, famous rhythms in Brazil. Tom Jobim, Vinicius de Moraes, João Gilberto, Toquinho, Elis Regina, Gilberto Gil, Caetano Veloso, Chico Buarque, Gal Costa and Maria Bethânia are some of the singers who are inspired by people from Rio to make their songs.

According to a survey published in American Scientist Magazine, the Cariocas of Rio de Janeiro exhibited great friendliness and offered to help in various situations. A quote from the article mentioned pointed to the following :^[1]

Accent/Dialect[link]

This section requires expansion.

Language: The Brazilian Portuguese variety spoken in the city of Rio de Janeiro (and metropolitan area) is called "Carioca". It is known for a number of distinctive traits, most notably:

1. /s/ and /z/ when not pre-vocalic become the postalveolar [ʃ] and [ʒ].
2. /r/, and /ɾ/ when not pre-vocalic (see guttural R) become a voiceless velar [x], or a similar sound (e.g. uvular [χ], glottal [h] or a pharyngeal [ħ]). Voiced versions of at least some of these can be heard as well.^[2][3]
3. The consonants /t/ and /d/ before /i/ become affricates [t͡ʃ] and [d͡ʒ], respectively.

These traits (particularly the chiado, i.e. pronouncing [ʃ] [ʒ] instead of [s], and the pronunciation [tʃi] [dʒi]) were once specifically characteristic of Rio de Janeiro speech, and distinguished particularly from the pronunciation of São Paulo and areas further south, which formerly had none of these characteristics. The chiado is thought to date from the early 1800's occupation of the city by the Portuguese royal family (as the Portuguese of Portugal has the same characteristic), while the pronunciation [tʃi] [dʒi] is known to have originated in early 20th-century Rio speech. More recently, however, all of these traits have spread throughout much of the country due to the cultural influence of the city. The use of [tʃi] [dʒi] is now nearly universal among younger speakers throughout Brazil. The "guttural R" is also found country-wide, although to a lesser extent in speakers in the far south (Rio Grande do Sul) and certain rural (Caipira) speakers. The chiado has the least national presence, although it too is found in other areas, e.g. in the Northeast.

Another common characteristic of Rio speech is the addition of /j/ before stressed final /s/ (e.g. mas, dez become [majʃ], [dɛjʃ]). This change may have originated in the Northeast, where pronunciations such as Jesús [ʒeˈzujs] have long been heard.

There are some grammatical characteristics in speech, an important one is the mixing of second person pronouns você and tu, even in the same speech. For instance, while normative Portuguese requires lhe as oblique for você, and te as oblique for tu, in Carioca Portuguese the once formal você (now widespread as informal pronoun in many Brazilian Portuguese varieties) is used for all cases. In informal speech, the pronoun tu is retained, but with the verb forms belonging to the form você: Tu foi na festa? (Did you go to the party?); so the verbal forms are the same for both você and tu.

Many Cariocas, as well as many Paulistas, will shorten "você", using "cê" instead: "Cê vai pra casa agora?" (Are you going home now?), this practice, however, is only on the spoken language, it is usually not written this way.

The slightly different variety of Brazilian Portuguese language spoken in the remainder of the state of Rio de Janeiro is called "Fluminense". The so called chiado (pronouncing /ʃ/ instead of [s]), typical of the city of Rio, is absent in the Southwestern varieties of Fluminense (around Paraty, Barra Mansa and Volta Redonda). In the Northern varieties of Fluminense (from the city of Niterói northwards), usage similar to the Capixaba accent may be observed. For instance, the article is most likely dropped before personal names (using Maria where Cariocas would say a Maria) and with certain words such as papai, mamãe, fulano (de papai instead of do papai; por mamãe instead of pela mamãe; com fulano instead of com o fulano).

Slang words among youngsters from Rio de Janeiro include caraca! (gosh!) [now spread throughout Brazil], e aê? and qualé/quaé/coé? (whuzzup?), and maneiro (cool, fine, interesting, amusing) and sinistro (in Standard Portuguese, "sinister"; in slang, "awesome", "terrific", but also "terrible", "troublesome", "frightening", "weird"). Many of these slang words can be found in practically all of Brazil. Carioca accents are the most famous in Brazil, because Rede Globo, the third largest television network in the world, is headquartered in Rio de Janeiro and a lot of programs, be it news and documentary or entertainment, such as the novelas, have carioca artists.

See also[link]

• Caipira
• Gaucho
• Carcamano
• Funk carioca

References[link]

Chico Buarque
Chico Buarque receiving his award for best book in the 5th edition of the award BRAVO! Prime de Cultura in 2009.
Background information
Birth name	Francisco Buarque de Hollanda
Also known as	Chico Buarque
Born	(1944-06-19) June 19, 1944 (age 68)
Origin	Rio de Janeiro, Brazil
Occupations	Singer, songwriter, writer, Poet, playwright
Instruments	Voice, guitar
Years active	1962–present
Website	http://www.chicobuarque.com.br

Francisco Buarque de Hollanda (born June 19, 1944 in Rio de Janeiro, Brazil), popularly known as Chico Buarque (Portuguese pronunciation: [ˈʃikʊ ˈbwaɾkɪ]), is a singer, guitarist, composer, dramatist, writer and poet. He is best known for his music, which often includes social, economic and cultural commentary on Brazil and Rio de Janeiro in particular.

Son of the academic Sérgio Buarque de Hollanda, Buarque lived in several locations throughout his childhood, though mostly in Rio de Janeiro, São Paulo and Italy. He wrote and studied literature as a child and came to music through the bossa nova compositions of João Gilberto. He performed music throughout the 1960s as well as writing a play that was deemed dangerous by the Brazilian military dictatorship of the time. Buarque, along with several of his fellow musicians, were threatened by the government and eventually left Brazil in 1970. He moved to Italy again. However, he came back to Brazil in 1971, one year before the others, and continued to record albums, perform, and write, though much of his material was not allowed by government censors. He released several more albums in the 1980s and published three novels in the 1990s and 2000s, all of which were acclaimed critically.

Biography[link]

Buarque came from a privileged intellectual family background—his father Sérgio Buarque de Holanda was a well-known historian, sociologist and journalist and his mother Maria Amélia Cesário Alvim was a painter and pianist. He is also brother of the singer Miúcha and politician Ana de Hollanda. As a child, he was impressed by the musical style of bossa nova, specifically the work of Tom Jobim and João Gilberto. He was also interested in writing, composing his first short story at 18 years old^[1] and studying European literature, also at a young age.^[2] One of his most consuming interests, however, was playing soccer, beginning at age four, which he still does today.^[2] Though he was born in Rio de Janeiro, Buarque spent much of his childhood in Rio de Janeiro, São Paulo and Italy.

Before becoming a musician, Buarque decided at one point to study architecture at the University of São Paulo, but this choice did not lead to a career in that field; for Buarque often skipped classes.^[3]

He made his public debut as musician and composer in 1964, rapidly building his reputation at music festivals and television variety shows when bossa nova rhythm came to light and Nara Leão recorded three of his songs.^[3] His eponymous debut album exemplified his future work, with catchy sambas characterized by inventive wordplay and an undercurrent of nostalgic tragedy. Buarque had his first hit with "A Banda" in 1966, written about a marching band, and soon released several more singles.^[2] Although playing bossa nova, during his career, samba and Música Popular Brasileira would also be widely explored. Despite that, Buarque was criticized by two of the leading musicians at the time, Caetano Veloso and Gilberto Gil as they believed his musical style was overly conservative.^[3] However, an existentially themed play that Buarque wrote and composed in 1968, Roda Viva ("Live Cycle"), was frowned upon by the military government and Buarque served a short prison sentence because of it.^[3] He left Brazil for Italy for 18 months in 1970, returning to write his first novel in 1972, which was not targeted by censors.^[1]

Chico Buarque performs in 2007.

At this time his thinly-veiled protest single "Apesar de Você" ("In spite of You" - in reference to the military dictatorship) was also produced.^[4] ("In spite of you") was overlooked by the military censors, becoming an important anthem in the democratic movement. After selling over 100,000 copies, the single was eventually censored and removed from the market. At one point in 1974, the censors banned any song authored by Chico Buarque. Then, he created a pseudonym, naming himself "Julinho da Adelaide", complete with life history and interviews to newspapers. "Julinho da Adelaide"^[5] authored songs such as "Jorge Maravilha" and "Acorda amor" before he was outed in Jornal do Brasil news story.^[6] Buarque also wrote a play named Calabar, about the Dutch invasion of Brazil in the seventeenth century, drawing parallels with the military regime.^[7] Despite the censorship, songs such as "Samba de Orly" (1970), "Acorda amor" (1974, as "Julinho da Adelaide") manifested Buarque's continuing opposition to the military regime.

During the 1970s and 1980s, he collaborated with filmmakers, playwrights, and musicians in further protest works against the dictatorship. Buarque approached the 1983 Concert for Peace in Nicaragua as a valid forum to vocalize his strong political views. Throughout the decade, he crafted many of his songs as vehicles to describe the re-democratization of Brazil. The Concert for Peace in Nicaragua was one in a concert series known as the "Central American Peace Concerts." These concerts featured various Latin American artists. The political turmoil that plagued this era were expressed in many of Buarque's songs.^[8][9] He later wrote Budapeste, a novel that achieved critical national acclaim and won the Prêmio Jabuti,^[10] a Brazilian literary award comparable to the Man Booker Prize.

"Cálice"[link]

During the Brazilian military coup of 1964, Buarque wrote about the events which transpired and avoided censorship by using cryptic analogies and wordplay. For example, in the song "Cálice" ("Chalice", or Jesus' Last Supper "Cup"), a duet written with Gilberto Gil and performed with Milton Nascimento,^[11] he takes advantage of the homophony between the Portuguese imperative "shut your mouth" --cale-se-- and "chalice" --cálice-- to protest censorship against freedom of speech by the dictatorship, disguised as the Gospel narrative of Jesus' Gethsemani prayer to the Father to pass from Him the chalice of bloody death probation. The line "I wanna sniff diesel fume" is a reference to the death of political prisoner Stuart Angel, who had his mouth glued to a jeep's exhaust pipe during a torture session.^[12] Buarque was a friend of his mother Zuzu.

Discography[link]

Other works[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Chico Buarque

• Official website (Portuguese)
• Vai passar
• O que será
• Oliveria, Luiz Roberto; Buarque, Chico; Lombardi, Jerry (2000-04-30). "My Greatest Maestro". Clube do Tom. http://www.jobim.com.br/chico/e.chico1.html. 
• annotated Chico Buarque discography on Slipcue.com

Marcelinho Carioca

Personal information
Full name	Marcelo Pereira Surcin
Date of birth	(1971-02-01) 1 February 1971 (age 41)
Place of birth	Rio de Janeiro, Brazil
Height	1.67 m (5 ft 5 1⁄2 in)
Playing position	Attacking midfielder
Club information
Current club	América-SP
Senior career*
Years	Team	Apps†	(Gls)†
1988–1994	Flamengo	64	(10)
1994–1997	Corinthians	58	(14)
1997–1998	Valencia	5	(0)
1998–2001	Corinthians	62	(36)
2001	Santos	15	(5)
2002	Gamba Osaka	21	(3)
2003	Vasco da Gama	18	(9)
2003–2004	Al Nassr	12	(6)
2004	Vasco da Gama	1	(0)
2004–2005	Ajaccio	10	(2)
2005–2006	Brasiliense	26	(9)
2006	Corinthians	5	(0)
2007–2009	Santo André	100	(15)
National team
1998–2001	Brazil	3	(2)
* Senior club appearances and goals counted for the domestic league only. † Appearances (Goals).

Marcelinho (born Marcelo Pereira Surcin on 1 February 1971) is a former Brazilian soccer player. An attacking midfielder, he is noted for his free kick abilities, earning the nickname "Pé-de-Anjo" (Angel Foot).

The most successful player ever to play for Corinthians, he has scored 206 goals in 420 matches from 1994 to 2001. He has collected more trophies with Corinthians than any other player in their history, a total of 8 championships including 1998 and 1999 Brazilian National Championships and the first edition of FIFA Club World Cup, in 2000. He scored 505 goals, in his entire career.^[1]

For all his club achievements, Marcelinho never succeeded in Brazil's national team and never played a FIFA World Cup.

Marcelinho is also well known for his off-field antics, including frequent disputes with coaches (most famously with Wanderley Luxemburgo), management, and teammates.

Corinthians[link]

After winning 1990 Brazilian Cup, 1991 Rio de Janeiro State Championship and 1992 Brazilian National Championship as a Flamengo player, Marcelinho signed his first contract with Corinthians—who bought him from Flamengo for US$ 500.000,00 in December 1993. In mid 1997, after winning the Brazilian Cup (Copa do Brasil) and the São Paulo State Championship (Campeonato Paulista), he was sold to Valencia (ESP) for US$ 7,000,000 but unsuccessfully came back to Corinthians in the end of the year. Back to "Parque São Jorge" he was two times champion of the national championship (Campeonato Brasileiro, 98 and 99), one time state champion (2001), and raised the trophy of the first FIFA world club championship in 2000.

The second time he left the team seemed to be for good. After a few conflicts with teammates in mid 2001, he was accused of denigrating the clubs image, and left the squad. After training alone for some time in the club, he won in justice the opportunity to play for Santos FC, where he stayed for six months. In a legal dispute (for the 2001 incident), Corinthians won in first instance, obliging the player to pay R$9.000.000.

In February 2006, as part of a deal, he signed his third contract with Corinthians but only six months later, as of the arrival and request of manager Émerson Leão, Marcelinho was released. He was signed by Santo André the following year, where he stayed until 2009 winning promotion to Brazilian First Division in 2008 but being relegated the following year. He played a farewell match for Corinthians early in 2010 in a friendly against Huracán.

Trivia[link]

• The dispute between one of the two most memorable players of Corinthians ended with a judicial fight. Ricardinho, unhappy with Marcelinho's attitude, contacted a journalist called Chico Lang. With the repercussions of the fight between Ricardinho and Marcelinho, Ricardinho managed to gain support from all his teammates against Marcelinho. Eventually, Marcelinho could not stand the pressure and left Corinthians in the end of 2001. Curiously, after winning the 2002 regional championship and the National Cup, Ricardinho also left Corinthians, joining rivals São Paulo FC.

Club career statistics[link]

^[2]

International career statistics[link]

Honours[link]

• FIFA Club World Cup 2000 – Corinthians
• Brazilian National Championship
  • 1992 – Flamengo
  • 1998, 1999 – Corinthians
• Brazil Cup
  • 1990 – Flamengo
  • 1995 – Corinthians
• Rio State Championship 1991
• São Paulo State Championship 1995, 1997, 1999

See also[link]

• Sport Club Corinthians Paulista

References[link]

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2010)

Alain Chabat
Chabat at the "Salon du Cinéma" in Paris, 14 January 2006
Born	(1958-11-24) 24 November 1958 (age 53) Oran, French Algeria
Occupation	Actor/Director
Years active	1987–present

Alain Chabat (born 24 November 1958) is a French actor and director who appeared in La Cité de la peur, French Twist, The Taste of Others, The Science of Sleep, and Happily Ever After.

Life and career[link]

Chabat was born in Oran, French Algeria.^[1] He is Jewish.^[1]

His media career began in 1987 when he founded the comedy group "Les Nuls" (The Dummies) with Bruno Carette, Chantal Lauby and Dominique Farrugia.^[2] Les Nuls' first appearance on French television, on the subscriber channel Canal Plus, was a sci-fi spoof entitled Objectif Nul (a word play with Objectif Lune, the french title of the comic album Destination Moon, one of The Adventures of Tintin). The show shares striking similarities with the British TV series Red Dwarf, although both shows were released at roughly the same time and it is unlikely one influenced the other.^{[citation needed]}

Both as a member of Les Nuls (in La Cité de la Peur) and in his solo efforts (including Asterix & Obelix: Mission Cleopatra, in which he both directed and acted), Chabat is one of the few French comedians who has managed to successfully emulate the heavily referential, pop-culture-based writing style of the Zucker, Abrahams and Zucker trio and adapt it to the tastes of the French audience.^{[citation needed]}

Chabat also voiced the title character in the French dubs of all three Shrek films, replacing Mike Myers. He won the César Award for Best Debut in 1998 for Didier.

He also acted in Happily Ever After (2004) and in Prête-moi ta main (2006) alongside Charlotte Gainsbourg. He played Napoleon Bonaparte in the 2009 film Night at the Museum: Battle of the Smithsonian.^[3]

Selected filmography[link]

• Sur la piste du Marsupilami (2012 - directed)

References[link]

External links[link]

• Alain Chabat at the Internet Movie Database
• (French) Interview of Alain Chabat. Artistik Rezo. 2010-06-15.

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Gérard Darmon
Gérard Darmon in 2008
Born	(1948-02-29) February 29, 1948 (age 64) Paris, France
Occupation	Actor, Singer

Gérard Darmon (born February 29, 1948 in Paris) is a French movie actor and singer. Second husband to Mathilda May. He has three children: Virginie (born 1968) and the last two by Mathilda May, daughter Sarah (born August 17, 1994) and son Jules (born March 4, 1997). Darmon also did a cover of Mambo Italiano.

Filmography[link]

• 1972 : The Bar at the Crossing
• 1973 : Les Aventures de Rabbi Jacob (The Adventures of Rabbi Jacob), directed by Gérard Oury
• 1980 : Diva, directed by Jean-Jacques Beineix
• 1982 : Le Grand Pardon, directed by Alexandre Arcady
• 1982 : Les Princes, directed by Tony Gatlif
• 1982 : La Baraka, directed by Jean Valère
• 1983 : Cap Canaille, directed by Juliet Berto
• 1983 : Le Grand Carnaval, directed by Alexandre Arcady
• 1984 : Notre histoire, directed by Bertrand Blier
• 1984 : Liberté, égalité, choucroute, directed by Jean Yanne
• 1985 : On ne meurt que deux fois, directed by Jacques Deray
• 1985 : Les Loups entre eux, directed by José Giovanni
• 1985 : 37°2 le matin (Betty Blue), directed by Jean-Jacques Beineix
• 1985 : Rue du départ, directed by Tony Gatlif
• 1986 : Le Beauf, directed by Yves Amoureux
• 1986 : Suivez mon regard, directed by Jean Curtelin
• 1988 : Sans peur et sans reproche, directed by Gérard Jugnot
• 1989 : Il y a des jours... et des lunes, directed by Claude Lelouch
• 1990 : Gaspard et Robinson, directed by Tony Gatlif
• 1990 : Pour Sacha, directed by Alexandre Arcady
• 1990 : Passport, directed by Georgi Daneliya
• 1991 : Vagabond, directed by Ann Le Monnier
• 1992 : Pas d'amour sans amour, directed by Evelyne Dress
• 1992 : La Belle Histoire, directed by Claude Lelouch
• 1992 : Le Grand Pardon II, directed by Alexandre Arcady
• 1992 : Tout ça... pour ça !, directed by Claude Lelouch
• 1994 : Le Voleur la menteuse, directed by Paul Boujenah
• 1994 : La Lune et le Teton (The Tit and the Moon), directed by José Juan Bigas Luna
• 1994 : La Cité de la peur, directed by Alain Berbérian
• 1995 : Pourvu Que Ça Dure, directed by Michel Thibaud
• 1996 : Les Victimes, directed by Patrick Grandperret
• 1996 : Amour et confusions, directed by Patrick Braoudé
• 1998 : Les Grandes Bouches, directed by Bernie Bonvoisin
• 2001 : Astérix: mission Cléopâtre, directed by Alain Chabat
• 2001 : Le Boulet, directed by Alain Berbérian et Frédéric Forestier
• 2001 : 3 zéros, directed by Fabien Onteniente
• 2001 : L'Homme de la Riviera, directed by Neil Jordan
• 2002 : Le Cœur des hommes (The Heart of Men), directed by Marc Esposito
• 2002 : Mais qui a tué Pamela Rose ?, directed by Eric Lartigau
• 2002 : The Good Thief, directed by Niel Jordan
• 2003 : Mariage mixte’, directed by Alexandre Arcady
• 2004 : Pédale dure, directed by Gabriel Aghion
• 2005 : Emmenez-moi, directed by Edmond Bensimon
• 2005 : Les Parrains, directed by Frédéric Forestier
• 2006 : Le Cœur des hommes 2, directed by Marc Esposito
• 2007 : Deux vies plus une, directed by Idit Cébula
• 2007 : Le piège américain, directed by Charles Binamé
• 2009 : Arthur and the Revenge of Maltazard, directed by Luc Besson.

Discography[link]

• Au Milieu De La Nuit 2003
• Dancing 2006
• On S'Aime 2008

External links[link]

• Gérard Darmon at the Internet Movie Database

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