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Douro | |
Douro (Portuguese), Duero (Spanish) | |
River (Río/Rio) | |
The river between Porto (right) and Vila Nova de Gaia (left), facing west
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Countries | Portugal, Spain |
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Source | Picos de Urbión |
- location | Sistema Ibérico, Duruelo de la Sierra, Soria, Castile and León, Spain |
- elevation | 2,157 m (7,077 ft) |
- coordinates | 42°0′37.92″N 2°52′49.00″W / 42.0105333°N 2.88028°W |
Mouth | Foz do Douro |
- location | Atlantic Ocean, Porto, Greater Porto, Norte, Portugal |
- elevation | 0 m (0 ft) |
- coordinates | 41°8′35.74″N 8°40′10.07″W / 41.1432611°N 8.6694639°W |
Length | 897 km (557 mi) |
Discharge | for Porto |
- average | 714 m3/s (25,215 cu ft/s) |
- max | 17,000 m3/s (600,349 cu ft/s) |
Discharge elsewhere (average) | |
- Pocinho | 442 m3/s (15,609 cu ft/s) |
Wikimedia Commons: Douro River | |
The Douro (Portuguese: Douro [ˈdowɾu, ˈdoɾu]; Spanish: Duero [ˈdweɾo]; Latin: Durius) is one of the major rivers of the Iberian Peninsula, flowing from its source near Duruelo de la Sierra in Soria Province across northern-central Spain and Portugal to its outlet at Porto.
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The name, Latinized Durius, may have come from the Celtic tribes that inhabited the area before Roman times: the Celtic root is *dubro- and in modern Welsh dwr is "water" with cognate dobhar in Irish.
The Douro vinhateiro, an area of the Douro Valley in Portugal, has been classified by UNESCO as a World Heritage Site. Traditionally, the wine was taken down river in flat-bottom boats called rabelos to be stored in barrels in cellars in Vila Nova de Gaia, just across the river from Porto. In the 1950s and 1960s, dams were built along the river ending this river traffic on Spanish and border sections. Now Port wine is transported in tanker trucks.
It is the third longest river in the Iberian Peninsula after the Tagus and Ebro; its total length is 897 kilometres (557 mi), of which only sections of the Portuguese extension are navigable, by light rivercraft.
In its Spanish section, the Douro crosses the great Castilian meseta and meanders through five provinces of the autonomous community of Castile and León: Soria, Burgos, Valladolid, Zamora, and Salamanca, passing through the towns of Soria, Almazán, Aranda de Duero, Tordesillas, and Zamora.
In this region, there are few tributaries of the Douro. The most important are the Pisuerga, passing through Valladolid, and the Esla, which passes through Zamora. This region is generally semi-arid plains, with wheat and in some places, especially near Aranda de Duero, with vineyards, in the Ribera del Duero wine region. Sheep rearing is also still important.
Then, for 112 kilometres (70 mi), the river forms part of the national border line between Spain and Portugal, in a region of narrow canyons, making it a historical barrier for invasions and a cultura/linguistic divid. In these isolated areas, in which the Aldeadávila Dam impounds the river, there area protected areas: the International Douro Natural Park (on the Portuguese side) and the Arribes del Duero Natural Park (on the Zamoran margin).
The Douro fully enters Portuguese territory just after the confluence with the Águeda River; once the Douro enters Portugal, major population centres are less frequent. Except for Porto and Vila Nova de Gaia at the river mouth, the only population centres of any note are Foz do Tua, Pinhão and Peso da Régua. Tributaries here are small, merging into the Douro along the canyons; the most important are Côa, Tua, Sabor, Corgo, Tavora, Paiva, Tâmega, and Sousa. None of these small, fast flowing rivers are navigable.
Major Spanish riverside towns include Soria, Almazán, Aranda de Duero, Tordesillas, Zamora and major Portuguese towns includeMiranda do Douro, Foz Côa, Peso da Régua, Lamego, Vila Nova de Gaia, and Porto. The most populous cities along the Douro River are Valladolid, Zamora in Spain and Porto and Vila Nova de Gaia in Portugal. The latter two are located at the mouth of the Douro.
The Douro flows through the districts of Bragança, Guarda, Viseu, Vila Real, Aveiro and Porto. Porto is the main hub city in northern Portugal and its historic centre is declared as a UNESCO monumental place.
These reaches of the Douro have a microclimate[specify] allowing for cultivation of olives, almonds, and especially grapes that are important for making the famous Port wine. The region around Pinhão and São João da Pesqueira is considered to be the centre of Port wine, with its quintas (or farms/estates) that extend the almost vertical slopes along the river valleys. Many of these quintas are owned by multinational wine companies.
Recently, a prosperous tourist industry has developed based on river excursions from Porto to points along the Upper Douro valley.
There are five dams on the Portuguese Douro alone functioning to make the flow of water uniform, generate hydroelectric power, and allow navigation. Ships with maximum length 83 metres (272 ft) and width 11.4 metres (37 ft) can pass through five locks. The highest one on Carrapatelo dam has a maximum lift 35 metres (115 ft). Level of Pocinho lake reaches 125 m a.s.l.
The Douro railway line (in Portuguese: Linha do Douro) was completed in 1887; it connects Porto, Rio Tinto, Ermesinde, Valongo, Paredes, Penafiel, Livração, Marco de Canaveses, Régua, Tua and Pocinho. Pocinho is near the city of Foz Côa, which is close to Côa Valley Paleolithic Art site, (an Archaeological pre-historic patrimony) another UNESCO Heritage Sight.
The Pisuerga River (tributary to the Duero) in Valladolid
The Upper Douro valley where Port wine grapes grow
The typical rabelo boat and Porto historical district in background
The river mouth from Porto's Crystal Palace Gardens, facing west
Port wine signs by the Douro River
Panoramic view of Oporto
The river between Porto and Vila Nova de Gaia
Manoel de Oliveira | |
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Oliveira answering Antonio Tabucchi at the Cinémathèque Française on July 3, 2008. |
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Born | Porto, Kingdom of Portugal |
11 December 1908
Occupation | Film director, screenwriter, cinematographer, actor, Industrialist |
Years active | 1927-present |
Influenced by | Luis Buñuel |
Spouse | Maria Carvalhais (1940- present) |
Manoel Cândido Pinto de Oliveira, GCSE (Portuguese pronunciation: [mɐnuˈɛɫ doliˈvɐjɾɐ]; born December 11, 1908) is a Portuguese film director born in Cedofeita, Porto. He began working on films in the late 1920s, but did not receive international recognition until the early 1970s. Since the late 1980s he has been one of the most prolific working film directors and continues to make an average of one film per year past the age of 100. In March 2008 he was reported to be the oldest active film director in the world,[1] and is possibly the second oldest film director ever after George Abbott. He is also the only filmmaker whose active career has spanned from the silent era to the digital age. Among his numerous awards are two Career Golden Lions from the Venice Film Festival.[2]
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Manoel de Oliveira was born in Porto, Portugal, on December 11, 1908, to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthy industrialists and agricultural landowners.[3] His father owned a dry-goods factory, produced the first electric light bulbs in Portugal and built an electric energy plant before he died in 1932.[4] Oliveira was educated at the Colegio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain.[4] As a teenager his goal was to become an actor. At 17, he joined his brothers as an executive in his father's factories, where he remained for the majority of his adult life when not making films. In a 1981 Sight and Sound article, John Gillett describes Oliveira as having "spent most of his life in business...making films only when circumstances allowed."[5]
From an early age, Oliveira was interested in the poverty of the lower classes, the arts and especially films. While he has named D. W. Griffith, Eric von Stroheim, Charlie Chaplin, Max Linder, Carl Dreyer's The Passion of Joan of Arc and Sergei Eisenstein's The General Line as early influences, he was also disappointed to have virtually no Portuguese filmmakers to emulate.[5] The Portuguese film industry was also highly censored and restricted under the fascist Salazar regime that lasted from the early 1930s until the mid-1970s. His later films, such as The Cannibals and Belle Toujours (a sequel to Belle du Jour), suggest an affinity with Spanish filmmaker Luis Buñuel. He has stated "I'm closer to Buñuel. He's a reverse Catholic and I was raised a Catholic. It's a religion that permits sin, and Buñuel at the very deepest is one of the most moralistic directors but he does everything to the contrary. I never say that I'm Catholic because to be Catholic is very difficult. I prefer to be thought of as a great sinner."[6]
His first attempt at filmmaking was in 1927 when he and his friends worked on a film about the Portuguese experience in World War I, although the film was never made. He enrolled in Italian film-maker Rino Lupo's acting school at age 20 and appeared as an extra in Lupo's film Fátima Milagrosa. Years later in 1933 he also had the distinction of having acted in the second Portuguese sound film, A Canção de Lisboa.[7] Eventually Oliveira turned his attention back to filmmaking when he saw Walther Ruttmann's documentary Berlin: Symphony of a City. Ruttman's film is the most famous of a small, short lived silent documentary film genre: city symphony films. These films portrays the life of a city, mainly through visual impressions in a semi-documentary style, without the narrative content of more mainstream films, though the sequencing of events can imply a kind of loose theme or impression of the city's daily life. Other examples include Alberto Cavalcanti's Rien que les heures and Dziga Vertov's Man with a Movie Camera. Oliveira has said that Ruttman's film was his "most useful lesson in film technique", but that he also found it cold, mechanical and lacking humanity.[7]
The discovery of Ruttman's film prompted Oliveira to direct his own first film in 1931, a documentary short titled Douro, Faina Fluvial. The film is a portrait of his hometown Porto and the labor and industry that takes place along the cities main river, the Douro River. Rino Lupo invited Oliveira to show the film at the International Congress of Film Critics in Lisbon, where the majority of the Portuguese audience booed. However other foreign critics and artists who were in attendance praised the film, such as Luigi Pirandello and Emile Vuillermoz. Oliveira re-edited the film with a new soundtrack and re-released it in 1934. And again in 1994, Oliveira modified the film by adding a new, more avant-garde soundtrack by Freitas Branco.[8] Over the next 10 years Oliveira struggled to make films, abandoning several ambitious projects and making a handful of short documentaries on subjects ranging from artistic portraits of coastal cities in Portugal to industrial films on the origins of Portugal's auto industry.[5] One of these shorts was a documentary about the inauguration of the hydro-electrical plant that his father built, Hulha Branca.[4] He also first met and befriended Portuguese playwright José Régio during this time period. Oliveira would go on to adapt four of Régio's plays as films.[9]
Fifteen years after his first attempt at filmmaking, Oliveira made his feature film debut in 1942. Aniki-Bóbó is a portrait of Porto's street children and based on a short story by Rodrigo de Freitas. Oliveira used non-professional actors to portray the children. The story centers around two young boys who compete for the attention of a young girl. One of the boys in an extroverted bully, while the other is shy and innocent.[10] The film was a commercial failure when it opened, and its merit only came to be recognized over time.[11] Oliveira has stated that he was criticized for portraying children that lied, cheated and stole, which in his mind made them act more like adults.[12] The poor reception of the film forced Manoel de Oliveira to abandon other film projects he was involved in, and to dedicate himself to a vineyard that his wife had inherited.[13] In the early 1950s he and playwright José Régio attempted to submit a screenplay to the Estado Novo run Film Fund commission, but the commission refused to either accept or reject the film. Oliveira attributed this to his own well known dislike for the Salazar regime.[13]
In 1955 Oliveira traveled to Germany to study new techniques in color cinematography. He re-emerged onto the film scene in 1956 with The Artist and the City, a twenty six minute documentary short film shot in color. Much like his first film, The Artist and the City is a portrait of Porto, juxtaposing color shots of the city with paintings being created by local artist António Cruz. The film was shown in a number of festivals to positive reviews.[5] In 1959, Portugal's National Federation of Industrial Millers commissioned O Pão, a color documentary on Portugal's bread industry.
In 1963, Rite of Spring (O Acto de Primavera), a partly documentary, partly narrative film depicting an annual passion play, marked a turning point for his career. The play is based on a 16th Century passion play by Francisco Vaz de Guimaraes and was actually performed by villagers in northern Portugal.[14] Along with the performance of the play, Oliveira staged the actors rehearsals, spectators watching the actors and even himself and his crew preparing to film the performance.[15] Oliveira has said that making the film "profoundly altered his conception of cinema" as a tool not to simulate reality, but merely represent it. O Acto de Primavera was called the first political film from Portugal by film critic Henrique Costa and gave Oliveira his first world wide recognition as a filmmaker. The film won the Grand Prix at the Siena Film Festival and Oliveira had his first film retrospective at the Locarno Film Festival in 1964.[5]
This was shortly followed by The Hunt (A caça), a grim, surrealistic short narrative film that contrasted with the positive tones of his previous film. Due to censorship issues, Oliveira was forced to add a "happy ending" to the initial release of the film and was unable to restore his original ending until 1988.[16] Because of this film and anti- Salazar comments Oliveira made after a screening of O Acto de Primavera, he was arrested by the PIDE in 1963. He spent 10 days in jail and was interrogated until finally being released with the help of his friend Manuel Meneres.[17][18] His career again slowed down and he only completed two short documentaries in the next 9 years.
In 1967, the Cineclube do Porto sponsored a Week of Portuguese Cinema, where many filmmakers from the blossoming Cinema Novo movement screened films and discussed "the precarious situation of Portuguese cinema in the marketplace, and the decline of the film club movement."[19] This resulted in the Calouste Gulbenkian Foundation's creation of the Centro Portuges de Cinema, which would help to finance and distribute films in Portugal. The first film that the foundation chose to sponsor was Oliveira's next feature, and the early 1970s would come to be known as the Gulbenkian Years of Portuguese cinema.[20]
Since the 1970s, Oliveira has been at his most active, with the vast majority of his films having been made after his seventy-fifth birthday. Whether a late bloomer or a victim of unfortunate delays and political censorship, he has become Portugal's preeminent filmmaker during the later part of his long life. Film critic J. Hoberman has said "at an age when many men think of retirement, Oliveira emerged from obscurity as one of the 70s leading modernists, a peer of Straub, Syberberg and Duras."[5] With a new found artistic freedom after António de Oliveira Salazar's stroke in 1968 and the April 1974 Carnation Revolution, Oliveira's career began to flourish and receive international acclaim.[5] Ironically the Carnation Revolution also resulted in his families factories being occupied by factions of the Left and subsequently going bankrupt. Due to this, Oliveira lost most of his personal wealth and his home of thirty-five years.[21]
Oliveira's second return to filmmaking came in 1971 with Past and Present (O Passado e o Presente), a satirical black comedy on marriage and the bourgeoisie. With its lyrical surrealism and farcical situations, the film was a shift from his earlier work about lower class people. Based on a play by Joao Cesar Monteiro, the film stars Maria de Saisset as Vanda, a woman who only falls in love with her husbands after they have died.[5] Past and Present was the first of what has become known as Oliveira's "Tetralogy of frustrated loves". It was followed by Benilde or the Virgin Mother, Doomed Love and Francisca. Each of these films share the theme of unfulfilled love, the backdrop of a repressive society, and the beginning of Oliveira's unique cinematic style.[22]
Benilde or the Virgin Mother (Benilde ou a Virgem Mãe) was based on a play by Oliveira's long-time friend and fellow Salazar regime dissident José Régio and released in 1975. This would be the first of many films that would examine the relationship between film and theater in Oliveira's work, and the film opens with roaming exterior shots of the Tobis Studios in Lisbon until reaching the constructed set of the film. In the film Benilde is a sleepwalking eighteen-year-old who mysteriously becomes impregnated and believes herself to have been chosen for immaculate conception, despite the angry and dismissive reactions of her bourgeoisie family and friends.[23] Upon its release, the film was criticized for being irrelevant to the political climate of 1975 Portugal. However Oliveira defended its depiction of a moralistic and social repression on its characters as not being "in opposition to or in contradiction with our own times."[21]
Doomed Love (Amor de Perdição ) is a tragic love story based on the novel by Camilo Castelo Branco. The film depicts the doomed love affair of Teresa and Simao, who come from two rival wealthy families. Teresa is sent to a convent for refusing to marry her cousin Baltasar, and after Simao kills Baltasar he is sentenced to death and eventually sent into exile. Teresa dies after Simao is sent away, and Simao dies at sea. Oliveira made two versions of the film: a six-part television miniseries that was broadcast in 1978 to disastrous reviews, and a shorter theatrical film released in 1979, which received rave reviews and was profiled on the cover of Le Monde.[24] Oliveira has stated that whereas most film adaptations of literature attempt to adapt the narrative to film, he wanted instead to adapt "the text" of Branco's novel, much like Jean-Marie Straub and Daniele Huillet's The Chronicle of Anna Magdalena Bach was a film more about music itself than about its own story. He has stated that "in a novel where a lot happens, it would be a waste of time to show everything. Besides, the literary narration, the way of telling the story, the style, the sonorousness of the phrases, [and] the composition are all just as beautiful and interesting as the events that unfold. Therefore, it seemed convienent for me to focus on the text, and that is what I did."[25] The film achieves this idea by including extensive narration, characters that speak their thoughts or read letters aloud and shots of written text.
In 1981 Oliveira made Francisca, based on the novel by Agustina Bessa Luis. The film is a tragic love triangle detailing a real life relationship between Fanny Owen, Amor de Perdição author Camilo Castelo Branco and Branco's best friend Jose Augusto. Oliveira's wife was a distant relative of Owen and had access to private letter's written by all three protagonists in the film. The film was screened to great acclaim at the Director's Fortnight at the 1981 Cannes Film Festival and furthered Oliveira's global recognition.[5] In addition to Francisca, Oliveira has adapted six other novels or stories from author Augustina Bessa Luis, as well as collaborated on the screenplay for the documentary Visita ou Memórias e Confissões. This was also the first film which Oliveira made with producer Paulo Branco, who would go on to produce the majority of Oliveira's film, and with actor Diogo Dória.
Following the success of Francisca, Oliveira made three documentary films. Visita ou Memórias e Confissões is a autobiographical documentary about Oliveira's family history. After completing the film, he decided that it will not be released until after his death. He then made Lisboa Cultural and Nice... À Propos de Jean Vigo , a documentary for French television on the city of Nice, and also a tribute to French filmmaker Jean Vigo.[5]
Oliveira then made his most ambitious film to that date, The Satin Slipper (Le Soulier de Satin), based on the notorious 1929 epic play by Paul Claudel, which is rarely performed in its entirety due to its length. The seven hour film took Oliveira two years to complete.[5] It was Oliveira's first film in French, as well as his first film with actor Luís Miguel Cintra, who would go on to act in all of his films from then on. The story of The Satin Slipper is about the unrequited love of sixteenth century conquistador Don Rodrigue and nobelwoman Dona Prouheze with the backdrop of colonialism in Africa and the Americas. The film opens with a theater gradually being filled with an audience and an introduction to the film on stage. The film itself uses very theatrical set pieces, such as cardboard waves and backdrops. The film was never released theatrically, but was screened at both the 1985 Cannes Film Festival and the 1985 Venice Film Festival, where Oliveira received a special Golden Lion for his career up to that point. Later the Brussels Cinematheque awarded the film its L'Âge d'or Prize.[26]
In 1986 Oliveira made one of his most experimental films, My Case (Mon Cas), partially based on José Régio's one act play O Meu Caso, although the film also takes inspiration from Samuel Beckett's Fizzles and the Book of Job.[27] Oliveira takes a surreal and meta-narrative approach to examine the relationship between art and life. The film begins with a theater being filled with the audience and actors before a play is about to begin. A mysterious man play by Luis Miguel Cintra enters the stage and presents "his case" about the fallacies of theater and its illusions. One by one all of the play's actors and technicians state their cases about what bothers them about the play and its relation to their own lives. An audience member then takes the stage to make a case for what the collective audience wants. This is followed by three consecutive but very different versions of the one act play: the first is a straight forward farce, the second is presented as a slapstick silent movie, and the third is performed with the dialogue read backwards. The stage performance ends with video footage of war and disasters from around the world and Pablo Picasso's painting Guernica. The entire film then shifts to a retelling of the Book of Job, with Cintra as Job and Bulle Ogier as his wife. This sequence ends with a close-up of Leonardo Di Vinci's Mona Lisa.[28] My Case opened the 1986 Venice Film Festival and was released in 1987.
Oliveira next made a satirical film in the tradition of Luis Buñuel, The Cannibals (Os Canibais) in 1988. The film is based on a short story by Álvaro Carvalhal and stars Luis Miguel Cintra, Leonor Silveira and Diogo Dória. José Régio first showed Oliveira the little known story, and Oliveira decided to make the film his only opera in collaboration with composer Joao Paes. The film also contains a demonic narrator Niccolo who appears and disappears from scenes magically. In the film, the beautiful young Margarida (Silveira) falls in love with the mysterious Viscount of Aveleda (Cintra), while rejecting the advances of the notorious Don João (Dória). On their wedding night, the Viscount reveals to Margarida that his great mystery is that he has no arms or legs and is "a living corpse". Margarida throws herself out of their bedroom window in horror and the Viscount attempts to drink poison but rolls into the fireplace instead, singing an aria as he burns to death. Just then Don João enters intending to murder the Viscount in jealously and witnesses the Viscounts death. The next morning, Margarida's father, brothers and family magistrate wake up and want to be served breakfast, but find an empty house. They look for the Viscount, but only discover a strange meat cooking in the fireplace, and conclude that it is a strange delicacy being prepared for them. The four men unknowingly eat the Viscount's body for breakfast with great delight. Suddenly they hear a gunshot and rush to the garden where they find Margarida's dead body and Don João sitting next to her with a self- inflicted gunshot wound in his chest. As Don João dies, he explains everything that has happened to the family and tells them they can find the Viscount in the fireplace. Horrified at their own cannibalism, the father and brother's decide to commit suicide until the magistrate points out that they are now the sole heirs to the Viscount's fortune. The father and brother's decide to live, and turn into rapid dogs and eat the magistrate, who has turned into a pig.[29] The Cannibals was screened in competition at the 1988 Cannes Film Festival and won the Critics Special award at the 1988 São Paulo International Film Festival.
Oliveira's work since the 1990s has been the most prolific of his entire career and he has made at least one film a year (usually feature narratives but sometimes shorts or documentaries) since 1990. During this period he established and consistently worked with a loyal troupe of regular actors including Luís Miguel Cintra, Leonor Baldaque, Ricardo Trêpa (Oliveira's grandson), Leonor Silveira, Diogo Dória, John Malkovich, Catherine Deneuve and Michel Piccoli. He would also work with such international stars as Jeanne Moreau, Irene Papas, Bulle Ogier, Chiara Mastroianni, and Marcello Mastroianni in the actor's last film.
In 1990 Oliveira made No, or the Vain Glory of Command (Non, ou a Vã Gloria de Mandar), starring Luis Miguel Cintra, Diogo Dória and Leonor Silveira. The film depicts the military history of Portugal, focusing on its defeats more than its victories. The historical action include the assassination of Viriathus, the Battle of Toro, the Battle of Alcácer Quibir and the more recent Portuguese Colonial War. The one exception is the sequence that depicts the mythical Isle of Love, which celebrates Portuguese explorers and discoverers, not its military figures. The Isle of Love includes winged cupids, beautiful nymphs and the goddess Venus.[30] The film was shown in competition at the 1990 Cannes Film Festival. Oliveira then made The Divine Comedy (A Divina Comédia) in 1991. Set in a mental institution, the film is not an adaptation of Dante Alighieri's famous work but is derived from stories in the Bible, José Régio's play A Salvacao do Mundo, Fyodor Dostoyevsky's Crime and Punishment and The Brothers Karamazov, and Friedrich Nietzsche's Antichrist. Oliveira has stated that "all of the texts he uses deal in some way with the problem of sin and the possibility of redemption, and in this sense they all derive ultimately from the same source."[31] The film stars Maria de Medeiros, Miguel Guilherme, Luís Miguel Cintra, Leonor Silveira and Diogo Dória and was shown in competition at the 1991 Venice Film Festival, where it won the Grand Special Jury Prize award.
Oliveira then returned to the works of Portuguese writer Camilo Castelo Branco with Day of Despair (O Dia do Desespero) in 1992. The film stars Mário Barroso as Branco, with actors Teresa Madruga, Luís Miguel Cintra and Diogo Dória playing both themselves and Ana Plácido, Freitas Fortuna and Dr. Edmundo Magalhães, respectively. The film was shot in the same house that Branco lived his final years and committed suicide and is both a documentary and a narrative film about the famous Portuguese writer.[32] In 1993 Oliveira made Abraham's Valley (Vale Abraão), based on the novel by Agustina Bessa-Luís. Oliveira had wanted to film Gustave Flaubert's Madame Bovary, but was dissuaded by producer Paulo Branco due to budgetary restraints. Oliveira then suggested to Bessa-Luís that she write an updated version of the novel set in Portugal, which resulted in the novel in 1991. Abraham's Valley is not a retelling of the Flaubert book, however Madame Bovary is both a subtext and a physical presence in the film.[33] The film stars Leonor Silveira as Ema, a discontent Portuguese woman who wants a passionate life like the one she reads about in Flaubert's novel. Like Madame Bovary, Ema marries a doctor that she does not love and has many extramarital affairs before dying in an accident that may or may not be a suicide. Unlike Madame Bovary, there is no scandal in her love affairs, which are simply accepted by both her husband and the society that she lives in.[34] The film won the Critics award at the 1993 São Paulo International Film Festival, as well as an award for Best Artistic Contribution Award at the 1993 Tokyo International Film Festival. In 1994 Oliveira made The Box (A Caixa), based on a play by Helder Prista Monteiro. The film stars Luis Miguel Cintra as a blind homeless man whose only means of support in a poor neighborhood in Lisbon is his official, government issued alms box.[35] It was screened in competition at the 1994 Tokyo International Film Festival.
In 1995 Oliveira's reputation had grown and his films were internationally acclaimed. That year he made his first of many films starring international movie stars: The Convent (O Convento), starring John Malkovich and Catherine Deneuve. The film is based on the novel As Terras Do Risco by Agustina Bessa-Luís and examines the Faustian theme of good versus evil. In the film Malkovich plays an American writer who travels to Portugal with his wife (Deneuve) to research his theory that William Shakespeare was really Jacques Perez, a Jewish Spaniard who fled his native country to avoid the Spanish Inquisition. The couple stay in a monastery a with strange, demonic- looking staff and they eventually end up having affairs with two staff members.[36] The film was screened in competition at the 1995 Cannes Film Festival and won the Prize of the Catalan Screenwriter's Critic and Writer's Association at the 1995 Sitges - Catalonian International Film Festival. In 1996 Oliveira worked with French star Michel Piccoli and Greek film star Irene Papas in Party. The film was co-written by Oliveira and Agustina Bessa-Luís from an original idea by Oliveira. In the film, a married couple played by Leonor Silveira and Rogério Samora have a dinner party that includes a famous Greek actress (Papas) and her lover (Piccoli) and the film consists of conversations between these four characters at parties over the course of five years.[37] The film was screened in competition at the 1996 Venice Film Festival and won Oliveira the award for Best Director at the 1996 Portuguese Golden Globe Awards.
In 1997 Oliveira made Voyage to the Beginning of the World (Viagem ao Princípio do Mundo), which was the final film of Italian film star Marcello Mastroianni. In the film Mastroianni plays an aging film director named Manoel who travels on a road trip across Northern Portugal with French film actor Afonso (Jean-Yves Gautier) and two other young companions, Judite (Leonor Silveira) and Duarte (Diogo Dória). Afonso wants to see the Portuguese village that his father grew up in and see the relatives that he has never met. On the way, Manoel stops at several locations on the road that he remembers from his childhood, only to find them much different than he had remembered. The film is autobiographical in that the locations on the road are real locations from Oliveira's childhood. The film is also based on the experiences of actor Yves Afonso, whose father had immigrated from Portugal to France and who had met his long lost relatives during a French-Portuguese co-production in 1987.[38] The film was screened out of competition at the 1997 Cannes Film Festival and won the FIPRESCI Prize and a Special Mention from the Ecumenical Jury. It won other awards at the 1997 Haifa International Film Festival and the 1997 Tokyo International Film Festival.
Oliveira then made Anxiety (Inquietude) in 1998. The episodic film contains three short films based on literary works by Helder Prista Monteiro (Os Immortais), António Patrício (Suzy) and Agustina Bessa-Luís (Mãe de Um Rio). In Os Immortais a 90-year-old man (José Pinto) concludes that old age is horrible and attempts to convince his middle aged son (Luís Miguel Cintra) to commit suicide. In Suzy, an aristocrat (Diogo Dória) has an affair with a beautiful young cocotte (Leonor Silveira), but social class differences prevent him from having a deep, meaningful relationship with her. In Mãe de Um Rio, Leonor Baldaque plays a discontent small town girl who yearns for a more exotic life and seek advice from the Mother of the River (Irene Papas).[39] The film won Oliveira another award for Best Director at the 1998 Portuguese Golden Globe Awards. In 1999 Oliveira made The Letter (La Lettre), based on the 17th century French novel The Princess of Cleves by Madame de Lafayette. Oliveira had wanted to make a film from the novel since the late 1970s, but had initially thought that it was too complicated to be filmed.[40] The film updates the novel to modern day and stars Chiara Mastroianni as Catherine de Clèves, Antoine Chappey as the husband that she does not love, Leonor Silveira as her childhood friend who has become a nun and her confident, and Portuguese rock star Pedro Abrunhosa playing himself in the role of the dashing Duke of Nemours, whom Catherine is in love with. Abrunhosa also wrote some original songs for the film.[41] The film won the Grand Jury Prize at the 1999 Cannes Film Festival.
In 2000 Oliveira made the film Word and Utopia (Palavra e Utopia), a biography of the Portuguese Jesuit priest Padre António Vieira based upon letters and sermons that the priest wrote between 1626 and 1695. Vieira is played by Oliveira's grandson Ricardo Trêpa as a young man, Luis Miguel Cintra in middle age and Lima Duarte as an old man. The film chronicles Vieira's missionary work in South America, testimony before the Spanish Inquisition and work as a trusted advisor to Queen Christina of Sweden (Leonor Silveira).[42] The film was shown in competition at the 2000 Venice Film Festival, where it won the Film critica "Bastone Bianco" Award. It also won Oliveira his third award for Best Director at the 2000 Portuguese Golden Globe Awards. In 2001 Oliveira made two feature films at the age of 92. I'm Going Home (Je rentre à la maison) stars Michel Piccoli as Gilbert Valence, an aging stage actor that never achieved great success who deals with the sudden deaths of his wife, daughter and son-in-law after a car accident, turning down undignified roles in commercial TV shows and raising his 9-year-old grandson. Catherine Deneuve, John Malkovich, Antoine Chappey, Leonor Baldaque, Leonor Silveira and Ricardo Trêpa also co-star.[43] The film was shown in competition at the 2001 Cannes Film Festival, won awards at the Haifa International Film Festival and the São Paulo International Film Festival, and won the award for Best Film at the 2001 Portuguese Golden Globe Awards. Later that year Oliveira made the autibiographical, partially documentary film Porto of My Childhood (Porto da Minha Infância). The film includes archival footage of Douro, Faina Fluvial and Aniki-Bóbó, reenactments of parts of Oliveira's childhood and documentary footage of Porto in the early 20th Century. Oliveira's grandsons Jorge Trêpa and Ricardo Trêpa portray Oliveira at different ages of his life.[44] The film was screened in competition at the 2001 Venice Film Festival, where it won the UNESCO Award.
Oliveira made The Uncertainty Principle (O Princípio da Incerteza) in 2002. The film is based on the 2001 novel O Princípio da Incerteza:Joia de Familia by Agustina Bessa-Luís, which won the Grand Prize from the Portuguese Writer's Association. In the film, Leonor Baldaque plays Camila, who marries a man (Ivo Canelas) to help alleviate her family's financial difficulties instead of her boyfriend (Ricardo Trêpa). Camila's husband begins an affair with Vanessa (Leonor Silveira), which Camila is indifferent about. This infuriates Vanessa who proceeds to do everything she can to make Camila suffer. In then end Vanessa and Camila's husband become involved with an illegal deal with some gangsters, which Camila refuses to help them with.[45] The film was screened in competition at the 2002 Cannes Film Festival. This was followed by A Talking Picture (Um Filme Falado), starring Leonor Silveira, Filipa de Almeida, Catherine Deneuve, John Malkovich, Irene Papas and Stefania Sandrelli in 2003. In the film Silveira takes her young daughter (Almeida) on a cruise to Bombay to meet her father's family and teaches her about the history of the places that they pass through along the way. These sights include such places as Ceuta, Marseilles, Athens, Naples and Pompeii. They also meet and learn about three successful women (Deneuve, Papas and Sandrelli) from certain location and have long conversations with the ship's captain (Malkovich), often dealing with the conflicts between Christianity and Islam.[46] The film was screened in competition at the 2003 Venice Film festival, where it won the SIGNIS Award.
In 2004 Oliveira made The Fifth Empire (O Quinto Império - Ontem Como Hoje), a highly political film based on the play El-Rey Sebastiao by José Régio. The film chronicles the history of King Sebastian I of Portugal, and at a screening at the 2004 Venice Film Festival Oliveira acknowledged that US President George W. Bush had "a "Sebastianist" inclination in his expressed desire to spread democracy and freedom around the globe in his own version of the Fifth Empire."[47] In the film King Sebastain (Ricardo Trêpa) contemplates pursuing his crusade in the Middle East that would lead to the Battle of Alcácer Quibir (where he would eventually die) and the counsel that he seeks from a variety of advisors, friends and family members. The film portrays King Sebastian as obsessed with his place in history and with his own myth of himself, while creating violent situations all around him.[48] The film was screened at Venice out of competition as part of Oliveira's Career Golden Lion award.[49] Oliveira followed this film with Magic Mirror (Espelho Mágico) in 2005. Based on the novel A Alma dos Ricos by Agustina Bessa-Luís, the film stars Leonor Silveira, Ricardo Trêpa, Luís Miguel Cintra, Leonor Baldaque and Michel Piccoli in a cameo, but was produced by José Miguel Cadilhe instead of Paulo Branco. In the film, Silveira plays a wealthy woman who is determined to see a real apparation of the Virgin Mary with the help of Trêpa, who has recently been released from prison.[50]
In 2006 Oliveira made Belle Toujours, a sequel to Luis Buñuel's 1967 film, Belle de Jour. The film stars Bulle Ogier as Séverine Serizy and Michel Piccoli reprising his original role of Henri Husson.[51] In the film, Séverine reluctantly agrees to see Henri for the first time in forty years out of curiosity to know if her former blackmailer told her dying husband about her secret life as a prostitute.[52] Ricardo Trêpa and Leonor Baldaque also appear in supporting roles.
Oliveira's 2007 film Christopher Colombus - The Enigma (Cristóvão Colombo - O Enigma) was shot partly in New York and starred Ricardo Trêpa. In 2009 Oliveira made Eccentricities of a Blonde-haired Girl (Singularidades de uma Rapariga Loura), based on a short story by Eça de Queirós. The film starred Ricardo Trêpa and Catarina Wallenstein, who won Best Actress at the 2009 Portuguese Golden Globe Awards. Oliveira's 2010 film The Strange Case of Angelica starred Spanish actress Pilar López de Ayala and was entered into the Un Certain Regard section of the 2010 Cannes Film Festival.[53]
In late 2011, Oliveira completed filming Gebo and the Shadow, scheduled for a 2012 release. The film stars Michael Lonsdale, Jeanne Moreau, Claudia Cardinale, Leonor Silveira, Ricardo Trêpa and Luís Miguel Cintra and is based on a play by Raul Brandão.[54]
Manoel de Oliveira has said that he directs movies for the sheer pleasure of it, regardless of critical reaction. He maintains a quiet life away from the spotlights.
In 2008, Oliveira was awarded a doctorate degree honoris causa by the University of the Algarve.[55] He has also been awarded the Order of St. James of the Sword by the President of Portugal. In addition, he has received multiple honours such as those of the Cannes, Venice and Montréal film festivals. He has been awarded two Career Golden Lions, in 1985 and 2004, and a Golden Palm for his lifetime achievements in 2008.
In 2002, Portuguese architect Eduardo Souto de Moura completed "Cinema House" in Porto, which was designed to commeneorate the work of Oliveira.[56][57]
Manoel de Oliveira married Maria Isabel Brandão de Meneses de Almeida Carvalhais (born 1918) in Porto on December 4, 1940. They have four children: Manuel Casimiro Brandão Carvalhais de Oliveira (born 1941), Jose Manuel de Oliveira Brandão oak (born 1944), Maria Isabel de Oliveira Brandão oak (born 1947) and Adelaide Maria Brandão Carvalhais de Oliveira (born 1948). He has several grandchildren through his daughter Adelaide, including the actors Jorge Trêpa and Ricardo Trêpa.
In his younger days, Oliveira competed as a race car driver. During the 1937 Grand Prix season he competed in and won the International Estoril Circuit race, driving a Ford V8 Special.[58]
Manoel de Oliveira was chosen to give the welcoming speech at Pope Benedict XVI's meeting with representatives of the Portuguese cultural world on 12 May 2010 at the Belém Cultural Center. In the speech, titled "Religion and Art", he said that morality and art may well have derived from the religious attempt at "an explanation of the existence of human beings" with regard to their "concrete insertion in the Cosmos". The arts "have always been strictly linked to religions" and Christianity has been "prodigal in artistic expressions".[59] In an interview published the day before, Oliveira, who was raised a Catholic, said that, "doubts or not, the religious aspect of life has always accompanied me," and added, "All my films are religious."[60]
Oliveira was born the very same day as fellow centenarian Elliott Carter.
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Teacher moves me from seat to seat, huh!
All I do is talk
Teacher, may I use the bathroom please?
Yes, it's an emergency!
Teacher makes me take my test first
I'll take your test
Trapped inside this hourglass
Thoughts of crass
I'll give you the answers you want to hear
But I won't conform
Unlike my mindless vacant peers
They're the norm
Exactly what do you want me to say?
Exactly what do you want from me?
Exactly what do you want me to be now?
Please classify me
Force me to succeed
Change identity
And watch me change
Finished, may I use the bathroom please?
Yes, still an emergency!
Come on, cut me some slack
Promise, I'll be right back
Just let me go this one last time
And I'll never ask again,
Just let me go this one last time
And I'll never ask again
Please!
I lose, you win
I lose, you win
I lose, you win
I lose again
But you're on my five-year plan
Your time will come
When you least expect it, expect it!
The five-year plan
You fucked me over
You did me wrong
You know why
I wrote this song
The five-year plan
Until the, I'll just pretend
That you are still my friend
But in the end, your time will come
When you least expect it, expect it!
The five-year plan
I don't forget so easily
No, I'm not so quick to forget
The five-year plan
I hold a grudge
I live for revenge
The five-year plan
I win, you lose
I win, you lose
They block out the landscape with giant signs
Covered with pretty girls and catchy lines
Put up fences and cement the ground
To dull my senses, keep the flowers down
I want 'em back
Spend my money on a race to space
Wasting my money, slapping my face
They've taken a peek over future's fence
Taken a peek at my expense
They've wasted human lives
And they've fucked up mine
I want it back
I'm not into the material scene
Polyester, polyethylene
At least give me a chance to say what I want
The more you waste, the more you want
I want 'em back
I want 'em back
I want 'em back
Today I Want To Be With You For The Rest Of My Life
Tomorrow I May Never Want To See You Again
That's How It Goes, People Change
But You Know That I Don't Have To Tell You
I Think About You All The Time
I Think About You All The Time
I Never Wanted This, I Was Having Fun
Before I Met You, Falling For Anyone
Was Not On My Agenda, But It Still Happened, Now
I Think About You All The Time
I Think About You All The Time
I Don't' Have To Tell You, You Know That
I Think About You All The Time
I Think About You All The Time
Tomorrow - Before I Met You
Falling - Not On My Agenda
People Change - It Still Happened
Thinking About You For The Rest Of My Life
Tone Deaf! I Can't Play An Instrument
Tone Deaf! I Can't Even Sing
Tone Deaf! I Have To Wear Ear Plugs
The Noise Makes My Ears Ring
They Told Me When I Ws Eleven
"You Shouldn't Even Bother To Try.
You've Got No Musical Ability."
And They Weren't Telling A Lie
Tone Deaf! I've Got No Rhythm
Tone Deaf! I've Got No Pitch
Tone Deaf! I Couldn't Hit An Octave
If It Meant That I'd Get Rich
All I Can Do Is Shout
Louder And Faster Than Most
That's What I Do For A Living
Traveling Coast To Coast
Tone Deaf! I Don't Have Good Meter
Tone Deaf! I Dan't Sing Tremolo
Tone Deaf! I've Got Poor Register
You Won't Hear Me Sing Falsetto
No, I Can't Hit Those High Notes
And I Can't Go Real Low
All In All, I'm Tone Deaf
And Everyone Tells Me So
Tone Deaf!
Somewhere, Out Past Nowhere
I Was Born In The Middle Of An Air Raid
Since I Hit The Dirt, I Was On The Run
The Son Of A Gun And A Switchblade
Got My Uzi Lying On My Bed Stand
I Made Napalm In My Sink
Pipe-Bomb In My Pants Pocket
I Just Put Cyanide In Your Drink
Mic Stand's Always At My Side
Jack-Knife In My Boot
Fully Automatic Machine-Gun
Is Loaded And Ready To Shoot
I Strayed Off The Beaten Path
Now There's No Place To Hide
My Sadness And My Wrath
Contemplated Suicide
Somewhere, Out Past Nowhere
I Lost My Way
No Money To Pay My Fare
The Driver Drove Away
I Remember Sunny Winter Sundays Spent
Shooting At The Sun With My Bb-Gun
Thinking, "This Is The Way That Life Should Be
Some Birds, Some Bbs, My Gun And Me."
But That Isn't The Way That Life Should Be
This Is The Way That Life Should Be
Guitars, Drums, A Mic And Me
The Band, Some Roadies, Electricity
Blasting Forth With A Million Watts Of Power
The Weak Get Sick And The Timid All Cower
'Cause We're Like A Gun And We're Taking Aim
Out Music's The Bullet, The Target Is Your Brain
The Guitar, Like A Laser, Cuts Through Your Head
You Drop To Your Knees And Wish You Were Dead
Than I Grab The Mic And I Start To Shout
Your Ear-Drums Burst And Your Brains Drain Out
When The Bass Kicks In, Your Bones Are Crushed
Your Eyes Roll Back As You Get A Rush
Then The Drums Pound You Right Into The Floor
Now You're Rotten To The Core
Mommy, Daddy
Help me please
I beg of you
I'm on my knees
Save me from
This Life I Lead
The pain, the blood
The agony
I want to stop
Somehow I can't
The time draws near
I start to pant
Once again
I put it off
I swallow hard
And Then I cough
CHORUS
Enemy
Whith in my head
I often wish
That i was dead
No self control
Of my own mind
Got to stop
There's no more time
I've got to try
I must release
Rid my soul
From this beast
It's my lst chance
I must prevail
Cast put the enemy
I musn't fail
REPEAT CHORUS
Enemy
Whith in my head
I often wish
That i was dead
No self control
Of my own mind
Got to stop
I am an old man living alone
My loved ones stuck me here in this nursing home
I've lost all usefulness
I want to die
I have them all the best years of my life
Then Maggie passed away, now I've got no wife
So kill me, young man, or hand me your knife
I want to die
My beautiful daughter says I get in the way
I depress her because I'm old and grey
She can't stand to see the wrinkles in my skin
By golly, girl, you're my only kin
I want to die
Like an old horse put out to pasture
Too old to be of any more use to it's master
But when I lie in bed and I reminisce
I begin to think maybe this is best
I'm out of the way, not in anyone's hair
And though I'm costing them money, I don't care
No, there are no easy answers
To sum up the problems which we face
History's a lesson, let us learn by our mistakes
Just don't expect to make sense
Out of what you see
For I can tell you now that
Knowing is believing
So if you open your mind you might understand
You're the victim of a bigtime government scam
And though you may not be inclined to believe
The man behind the desk does get paid to deceive
You live in your little dream world
You're much too cool to care
I really have to warn you
I think it's only fair
They await the final hour
As happy as they are sick
Laughing so hysterically
At all those who they've tricked
But then who an I to tell you who to believe in
When all the masks they seem so damn deceiving?
How can I say to you, "You be Free"
That would never bring about mass anarchy
You know I tried
Can't stay any longer cause I tried
Tried 3,6,7 times
Tried to get you to feel me
To sneak out of the party
We could jump in the Caddy and drive
Instead of frontin' for the spotlight
If we could be alone, we'd be fine
Get away from our friends
You know the scene never ends
If loops back and plays every night
You know I tried
Can't stay any longer cause I tried
Tried 3,6,7 times
Tried to get you to feel me
To sneak out of the party
We could jump in the Caddy and drive
All my ladies acting crazy
You know we dance lazy
You know I tried
Can't stay any longer cause I tried
Tried harder than I want to try
Tried to see if you feel me
If you still have the feeling
Cause I feel like I've been on your mind
But you're blinded by the spotlight
Let me know when you adjust your eyes
You'll be ready to see me
When you see that I'm leaving
And I'm not looking back this time
"All these ladies acting crazy"
"All these ladies drivin' me crazy"
Is that what you're spraying?
The Wages Of Sin
They Force Feed You Love, Then Serve You Hate
What Are They Teaching? I Just Can't Relate
Altar Boys Are The Victims He Defiled
He Took Advantage Of The Virgin Child
Got Them Drunk And Told Them What To Do
He Won't Say It, But You Know It's True
There's A Reason Why He Remains Free
Hides Behind The Cloak Of The Clergy
He Was A Man, They Were Just Boys
Human Beings, Not Just Toys
A God Who'd Allow Such Atrocity
Ain't No Good God To Me
No Redemption For What He Did
Crimes Committed On A Little Kid
What Do You Say? Don't Wait For A Sign
Trust In God And Have Peace Of Mind
He Took Something, He Can't Give It Back
Took That Innocence, Can't Give That Back
Altar Boys Are The Victims He Defiled
He Took Advantage Of The Virgin Child
Got Them Drunk And Told Them What To Do
He Won't Say It, But You Know It's True
A Catholic Priest, He's Committed To Sin
Hungry vets carrying signs to our shame
Starving homeless soldiers
And who's to blame?
Once protected our freedom and our lives
Now society has cut all ties
Once trained to defend our rights
At the risk of his own ass
Now sleeps in a cardboard box
Under the overpass
Under -- Under the overpass
Like discarded pawns in a sick game of chess
Seems to be no place for them in this mess
A dime or a penny, whatever you can spare
They would work for food
For those of you who care
All used up and thrown out
Just like a worn out part
Keeps all that he owns
In a shopping cart
There's a gig
At 5th and Main
Gonna catch the bus
Or take the train
We'll steal or find
Or borrow cash
And we'll be there
Ready to thrash
The band kickes in
They begin to rage
No-man's land
In front of the stage
Poseurs in the bathroom
Still looking at their hair
Thrashers in the foreground
Doing what they dare
In the pit (5)
Thrashing and slamming
Like hell in the pit
Tomorrow they know
May not come
Banging and moshing
Like they don't give a shit
To the rapid beat
Of the drum
A boot to your forehead
A knee in your face
Your nose and lips
Start to bleed
Like a wild Indian
From outer space
Drunk and
High on weed
Guitar seems so fucking loud
People walking on the crowd
Diving off the P.A. stacks
Breaking ankles,necks and backs
Then the circle begins
In the thrashing pit
Fist are flying
People getting hit
Tooth chippers left and right
Skinheads in another fight
Banging heads and broken jaws
Because there are no laws
In the pit
Then you start thrashing
Like never before
Stagediving, headwalking like mad
Doing your thing
All over the floor
The best time that you've ever had
You are hurt all over
But can't feel a thing
Not until the next day
Then you wake up
Stiff as a board
And the pain won't go away
Another gig at 5th and Main
We'll catch the bus
Or take the train
We'll steal or find
Or borrow cash
And we'll be there
Ready to thrash
I'm on a roll
Out of control
Another one night stand
I can't get away
'Cause I'm on display
But I can't see you, man
CHORUS
Smile for the cameras
Smile for the fans
Sign their records
And shake their hands
Try to stay healthy
Try to get laid
Make it to the show
That's the trade (2)
I sleep all day
On the freeway
On the bus between each gig
I'm making my living
Singing my songs
Doing my thing, dig
I had a dream
So I made some plans
Things have a way of working out
I found a few people
And formed a band
Taught myself to shout
REPEAT CHORUS
Write down stuff
You feel strongly about
Others may feel the same
And before you know it
You might be a big star
And everyone will know your name
When you learn the trade
And you're on display
Everyone knows that name
Everyone knows our name
I don't trust that girl with a gun
Something about a girl with a gun
The way they fly off the handle
Someone's gonna get hurt
She's gonna hurt someone
That girl's got a gun
She's got a 28
She's got a 38
She's got a 357 magnum
She sleeps with one stashed in her bed
And she's packing one in her purse
I was thinking yesterday
I don't know which one is worse
She's gonna hurt someone
That girl's got a gun
She's got a 28
She's got a 38
She's got a 357 magnum
My god, girl, where have you been?
And where will you be tomorrow?
I see you smothered in your sin
And surrounded by your sorrow
She's gonna hurt someone
That girl's got a gun
Girl with a gun, girl with a gun
Horrible plans of hate they're tending
The evil minds with plans predicting
Bitter vibes of hate they're sending
Broken heart and mind is mending
Deflective action onslaught ending
Crazy plans of fame descending
Draft me...I want to have fun
Draft me...give me a gun
Draft me...I'd understand
Draft me...I want to be a man
I want to help America keep the peace
The day has come, the time is near
For all to end. It's true, it's here
It's all over now, no way to stop
The button's been pushed, the bomb's been dropped
The city is melting, the sky burns red
The ocean is boiling, we'll soon be dead
Death has come knocking, the door's open wide
He's let himself in, no place to hide
A tidal wave of power coming over the hill
A great well of thunder swooping down for the kill
Leveling, destroying everything in its path
Just seconds left now till we feel its wrath
The city is melting, the sky burns red
The ocean is boiling, we'll soon be dead
People run rabid from the great blast
The beast is upon us, it's here at last
The streets echo screams filled with fear
Driving down the freeway
As if I was on downers
Followed off the exit ramp
By a scene from close encounters
Out of the van
Walk a straight line
Lost count of the beers
Somewhere around nine
Drunk and driving, boy
You really fucked up
Now you're in the squad car
Hands in back, cuffed
Seven hundred dollars
Or eight months, son
Checked my pockets, but
I knew I had none
They took away my license
They said I can't drive
Said that I should thank them
I'm "lucky to be alive"
Locked in a cell
For weeks at a time
My friends got me out
My bail was my fine
Now I'm on the outside
Me and all my friends
Drunk and driving reckless
Vicious circle's got me down
Days turn into weeks of hanging out
Got to shake these soup kitchen blues
Growing tired of barley cabbage stew
And there being nothing
Nothing new to do
Dumb and hungry, we make our way
For free refueling
Like an alarm clock, our minds know the times
We plan our lives around the lines
Twelve p.m. At the soup kitchen
Talking politics with the bag men
Forced into their conversations
Pessimistic contemplations
They tell me of their heart conditions
Share with me their D.T. Visions
Damn me with that bad outlook
Or save me with that "good book"
Vicious circle's got me down
Days turn into weeks of hanging out
Got to shake these Haight-Ashbury blues
Growing tired of the Kezar Stadium cruise
And there being nothing
Nothing new to do
Just make the midday pilgrimage
We travel far and wide
Going to the soup kitchen
We won't mention names
But why don't you ever shut up?
You're constantly talking
And I just can't keep up
Conversation's a joke
Is you head made of oak?
Endlessly blabbing
But sometimes it feels like you're stabbing
Shut Up (X2)
Shut the fuck up
Bragging and lying
So you won't have to stop
I've got to get out
My head's about to pop
You know who you are
C'mon give me a break
You go on and on
Until I feel faint
Shut Up (X2)
What are you deaf?
I want to play my music
As loud as i please
I want to grow my hair
Down to my knees
I won't get a job
And be punching your clock
Won't be another number
In you lay off slot
You say I'm scum (8)
I want a house with a whte picket fence
Don't look at me like i make no sence
He says I'm dumb
She says I'm scum
You say I'm scum (6)
You flew right by me
In your Porsche today
Hand me my skateboard
And I'll make my way
Who are you to tell me
I'm not right
You had your nose to the mirror
All last night
Who Am I?
D.R.I.
Who Am I?
Three Simple Words
Who Am I?
A Human Being
Who Am I?
This Weird Thing
Who Am I?
You should have gone to Canada
You could have run away
But you couldn't shame your parents
You say you had to stay
So you get yourself drafted
So you went ahead and went
And you thought you'd be a hero
And not a dissident
War Crime... War Crime
You used to be a good boy
You used to be the best
Then you tried the drug
Ad you dreamt about the west
Everyone's your enemy
Everyone's your friend
Your world was upside down
To kill was not to sin
So you shot the wrong woman
Or you shot the wrong kid
Now Sam will make you regret
That you ever did
But you had no choice
You were told what to do
Orders from the helicopter crew
War Crime... War Crime
Back home they wanted blood
For the atrocities
For the innocent who died
On they're TVs
They demanded justice
They demanded you
They wanted to watch you hang
Till you turned blue
War Crime... War Crime
And the president said that that's OK
Because it takes they're attention away
>From the real crime, the war
There are no war crimes
Well force you
To be nice
To each other
Kill you
Before you
Kill Each other
I can't tell you anything you don't already know
And I'm really not the type to say, "I told you so."
But accidents can always happen, death is always near
So if you drive to hell and back, don't let the devil
steer
You may think it's strange that you are living your own
death
So before you go under, you'd better take a deep breath
You can only have on shot at life, don't swing and miss
Don't put too much trust in anyone, and remember this
Underneath the surface, it's much worse than it seems
And I can tell you, brother, life ain't just a dream
Underneath the surface, you won't have much to say
And I can tell you, brother, it's cold inside your
grave
I could tell you all exactly what you want to hear
You're all gonna live forever, nothing more to fear
But I don't want to live forever, i'll leave that to
I just want to live until there's nothing else to do
Underneath the surface, buried for eternity
And I hate to think about just how long that could be
Underneath the surface, planted, but you will not grow
No roots, no leaves, no seeds of life. Guess that just
goes to show
Underneath the surface, it's much worse than it seems
And I can tell you, brother, life ain't just a dream
Underneath the surface, you won't have much to say
And I can tell you, brother, it's cold inside your
grave
Everything you really need is right in front of you
Take a big bite out of life, but don't forget to chew
You can only have one shot at life, don't swing and
miss
Don't put too much trust in anyone, and remember this
Swimming through black Vaseline
Is my existence just a dream?
Can not tell which way is up
What's below or what's above
Fighting for a breath of air
I breath in but it's not there
So as my world melts away
I pray (X 16)
That I will be OK someday
And may I not stay this way
Then after that I take some more
Hoping that will open the door
But the door is locked
Time Out! Time Out! For The Beginning Of The End
Time Out! Time Out! Of Man's Episodes Of Sin
Time Out! Time Out! Glacier Melt Down Overload
Time Out! Time Out! Unnatural Disasters
Time's Up For Us Mindless Beings
It Seems We're Destroying Everything
The Jungle, The Seas, The Forests, The Trees
This Never-Ending Need Has To Cease
The Cost Is Always Growing
Animal Life Loss Is Overflowing
Our Stained Shores Take Devastating Scores
As Man's Black Tides Roll In
Time Out! Time Out! Screaming Mother Earth
Time Out! Time Out! Riddled Seas Of Chemical Birth
Time Out! Time Out! For Our Backyards Laced With Toxic Waste
Time Out! Time Out! Extinction Is Forever, Man!
What Gives Us The Right
To Kill For Ivory In Sight?
Makes Me Sick To See Fur Jackets And Sleeves
When Lives Were Taken For Her To Please
People, Can't We See?
Respect Has Always Been The Key
Global Warming And Pesticides
If The Earth Goes, We'll All Die
Time Out! Time Out! Time Out!
Time Out! Time Out! Time Out!
How can you be
So quick to condemn
By word or rumor
Heard from a friend?
One can't believe
All that one hears
It's your decision
And not your peers
Think for yourself
Don't rely on someone else
How can you say
That I'm that way?
You don't know
Just heard it was so
You're against me
Well, how can that be?
We've never met
Your opinion's been set
Think for yourself
Don't rely on someone else
Inspect each situation
See from both sides
Seek out the truth
Bury the lies
One can't believe
All that one hears
It's your decision
And not your peers
Think for yourself
I got a letter in the mail just the other day
Opened it up, this is what it had to say:
"Wouldn't you please give us the pleasure
Of having you at our table tonite?
From, the donner family"
We've been hungry for such a long time
And we've eaten our dogs and rawhide
We've got half of our family on ice
They would not want the rest of us to die
They would not want the rest of us to die
They don't care
They would not have us starve to death
We're so cold
We're freezing and there's nothing left
They don't care
I'm sure that they wouldn't mind
It's so bad
Half of us are snow blind
It's too late now, we can never go back
We can make up for the protein we lack
Four days of no food have left us all weak
I feel like I can't stand on my own two feet
My own two feet, my own two feet
We've been waiting for such a long time
For some word of help or some sign
That someone's coming to our rescue
Until then, we'll do what we have to
Until then, we'll do what we have to
They don't care
They would not have us die this way
It's like this
We have to find some food today
They don't care
They knew what we were going through
They don't care
This is what it's come to
We never felt like we could really do it
Now weare just thankful we all lived through it
We ate those people because we were hungry
Yeah, we're survivors of the donner family
The donner family
We've been hungry for such a long, long time
And we've eaten our dogs and rawhide
We've got half of our family on ice
They would not want the rest of us to die
They would not want the rest of us to die
They don't care
They would not have us starve to death
We're so cold
We're freezing and there's nothing left
They don't care
I'm sure that they wouldn't mind
It's so bad
Half of us are snow blind
I got a letter in the mail just the other day
Opened it up, this is what it had to say:
"wouldn't you please give us the pleasure
Of having you at our table tonite?
From, the donner family"
The donner family
Seasons change and they change you
Round you go life, and then there you are
Life is hard, you know the truth
Old age creeps up, robs you of your youth
Through sheer luck we survive
I'm surprised that we're even alive
The sum of all you are
Is all in your mind
There is no fast forward
And there is no rewind
Death will end the game
Now it's time to begin
Another sacred soul
Starting over again
Back and forth you pace your cage
Is all the world a stage?
Bite your tail, climb the walls
Rat race got you by the balls?
Be true to your own views
Put yourself in others' shoes
Don't you worry very much
Nothing matters, there's no end
My head's hollow, no heart of gold
Lost my morals, my conscience is on hold
May the good outshine the bad
It's m fate to hate
I realized but way too late
It's my fate to hate
Now I have a reason why
It's my fat to hate - You!
Is fate a lasting emotion?
If so I sure am blind
A misdirected maniac
A misdirected mind - No!
It's my fate to hate - You!
Now I don't need a reason why
Don't need a reason why
Step on mine, I'll step on yours
Take what's mine, I'll take what's yours
Bleed on me, I'll spit on you
Inconsideration
Part of the game
Voted rules
Are always changed
Plans are made
But rearranged
And only one thing
Stays the same
Yell at me, I'll yell at you
Push on me, I'll push on you
Fuck with me and I'll screw you
I turn it up, you'll turn it down
I speed up, you'll slow down
And you'll reject what i accept
Inconsideration
Part of the game
Voted rules
Are always changed
Plans are made
But rearranged
And only one thing
Stays the same
You stay healthy, I'll be sick
You dominate, but you've been tricked
Think its' over, it's just begun
To you, a nightmare
I'm a first round draft choice... 19
A man without a choice... unseen
Feedback from society
Please...A reason
For Kampuchia
The problems in Korea
The wars in Iran
Afganistan
I Was Drinking Beer, Then I Was Drinking Jager
I Know I Shouldn't Mix The Two, I Always Pay Later
But That's Just Beside The Point, What Is Done Is Done
Now I'm Hurting Real Bad And I've Got The Runs
I Hate The Dry Heaves, I Hate Dry Heaves
I Hate The Dry Heaves, I Hate Dry Heaves
I Was Talking To You Then I Was On The Ground
When I Shut My Eyes, Everything Spun Around
When I'm So Fucked Up, I Forget Where I Am
I Feel So Bad, I Puked In Your Van
Gut-Wrenching Spasms That Just Won't Stop
Trying To Squeeze Out Just One Last Drop
My Gut Tied In Knots, Nothing Left Inside
Thank You So Much For Giving Me A Ride
I Hate The Dry Heaves, I Hate Dry Heaves
I Hate The Dry Heaves, I Hate Dry Heaves
We've waited with patience
For acceptance
Into your lame-o stations
You've left us no choice
Because you won't let us
Voice our opinions
We've got to drown you out
Drown you out (2)
When commercial sponsors
Decide what we hear
Something's wrong
How much money would they lose
If they decided
To choose our song?
We've got to drown you out
Drown you out (2)
We've waited with patience
For acceptance
Into your lame-o stations
You've left us no choice
And we have got to
Will Our Children Look Back With Hatred Or Despair
At A Generation Of Idiots Who Just Didn't Care
About The Fossil Fuel Fumes And The Aerosol Sprays
That Put Holes In The Ozone And Let In The Rays
That Can Cause Cancer In Humans? And What Is It All Worth
Heating Up Our Globe, Destroying Our Own Earth?
What Will They Think Of Us With No Concern
About The Seas Of Shit And Radiation Burn?
We Who Watched The Waters Of The World
Turn To Lakes Of Lava, Killing Every Form Of Life?
Will They Have Regrets For Being Born At All
Into A World Where Only Acid Rain Can Fall
On All The Empty Fields And On The Vacant Lots
Where Cockroaches And Crab Grass Are The Only Crops?
Acid Rain Dissolving Away The Monuments Of Man
Run For Your Lives!
Acid Rain! Smell The Rain Coming!
Acid Rain! Run For Cover Now!
Acid Rain! The Water Is On Fire!
Acid Rain!
Won't see me on my knees
Take my soul and save it, please
Ten hail Mary's for my sin
Paying heaven to get in
Got no money for your basket
A million times you can ask it
Find your bible far too odd
Ain't got time for your god
I've made my decision
Don't want your religion
No more church-bound prison
Or jerry falwell television
Don't forget, he's coming back
So put your dollars in the stack
The second coming's getting close
So pay up now and get the most
Form a line for all to pay
And do the same next Sunday
Step right up and clean your soul
Single file, young and old
I've made my decision
Don't want your religion
No more church-bound prison
Or jerry falwell television
Wash your brain, a strange obsession
You're an angel, post confession
Holy book tells right from wrong
I give a hoot
But I still pollute
I don't know what's the matter with me
I won't kill
But I think I'd shoot
If it meant whether or not I'd be free
Simulated sympathy
In a world full of pain
It's each for his own
If there's something to gain
I've got my own problems
It's hard to care
There's just more death
Then I can bear
So I fly my flag at half mast
Big, black clouds hanging over me
My days are always overcast
Burnt out buildings return my stare
But I must hang on
Though the sea is dead
I must hold on
Someone said
I must go on
Though young men die
I must push on
Capitolist Suck
Capitolist Suck
Capitolist Suck
You can't tell your wants from needs
You buy America and do a good deed
Create a job, don't bite the hand that feeds
Capitolist Suck
Capitolist Suck
Capitolist Suck
All of your goals are the fucking same
As every other jerk in this stupid game
Your brains have been washed and hung out to dry
Police drive by, I hold my breath
I've got 10 warrants for my arrest
They stop at the light and whip it around
Ten minutes later I'm headed downtown
Free Ride
Busted...stepped out of line
Busted...no place to hide
Busted...couldn't pay my fines
It makes no sense to live this way
But I'm gonna do it anyway
Busted...for being me
Busted...for being free
Busted...can't pay my bail
Busted...I'll die in jail
It makes no sense to live this way
Give All My Money To Chicks
And The Dude At The Corner Store
After I Pay The Landlord
I Ain't Got No More
Money Comes And Money Goes
It's Already Spent
But It's No Mystery
Where It All Went
That's Why I'm Always Broke
Hey Man, It Ain't No Joke
I Can't Seem To Save
Pay My Bills Or Behave
If It Wasn't For That Monthly Bill
I'd Be A Millionaire
"Hey Guys, Up Here In Front
Just Pull Up A Chair
Girl, Come On Over Here
You Can Drink Your Fill
Bartender, Keep 'Em Coming
Put 'Em On My Bill"
That's Why I'm Always Broke
Hey Man, It Ain't No Joke
I Can't Seem To Save
Old battered building
Ready to condemn
High valued property
Expensive piece of land
Half filled with tenants
All poor on welfare
No heat or electricity
And slumlord doesn't care
Slumlord doesn't care (X2)
Millions in insurance
Covers the wrecked lot
And a week 'til it's condemned
Is all slumlord's got
He enters the basement
With three gallons of gas
And four hours later
There's nothing left but ash
Slumlord doesn't care (X2)
The newspapers all read
Forty die in blaze
Slumlord now thinks
That crime really pays
And two years later
A skyscraper appears
With a plaque in the memory
Of the forty that died here
Every day I get more pissed
Slit my wrist, slit my wrist
I hate to care, I hate relations
A pile stacked high of complications
Every day I get more pissed
Slit my wrist, slit my wrist
I hate the thought that I must give
All my time just to live
Every day I get more pissed
Slit my wrist, slit my wrist
I hate the thought of government aid
Across my wrist, a razor blade
Every day I get more pissed
No blacks, no whites, no Ku Klux Klan
Orientals, Mexicans
No guns, no bombs, national front
No greed, no hate, no government
No smog, no filth, no factories
No more cities to keep clean
No locks, no gates, no property
No states and no boundaries
No trends, no fads, no macho man
Stupid, idiot, cock-rock bands
No cops, no crimes, no jealousy
No laws, creeds, no one to please
I'm ashamed to be a human being
I'm ashamed to be a human being
Cause we've got the brains to stop all war
Standing in line
For something to eat
Dragging my ass
Dead on my feet
No more possessions
Just my clothes
Down on my luck
And I'm sure it shows
No confidence
No self-esteem
When I lost my love
I lost my dream
Aching heart
Head and soul
Sleepless nights
Are taking their toll
Back to the hotel
On welfare street
A beer, then bed
'Cause I'm so beat
Walk down the hall
Just to take a piss
Never thought I'd
End up like this
The obvious conclusion
The inevitable end
Death will be welcomed
You're a worker bee
Can't you see?
A cog in the wheel
Of their factory
You'll do what you're told
Until you grow old
Or you get laid off
Because the company's sold
Change your mind
To change the way
You've lived up tilll now
Go somewhere
And have some fun
While you remember how
They'll buy a machine
Know what I mean?
It punches your holes
At twice the speed
And half the cost
Look at the boss
A smile on his face
He's laughing his ass off
Change your mind
To change the way
You've lived up tilll now
Go somewhere
And have some fun
Sitting around watching T.V.
Taking it slow, taking it easy
Wanting to buy, wanting to hide
And I'm wondering, wondering, wondering why.
Why is the word I want to hear
Why is the word the government fears
Why does the government fucking lie
1. What's Your Religion?
2. What's Your Profession?
3. Who Did You Vote For, In The Election?
4. When Did You Last Work?
5. Have You Any Skills?
6. Are You On Medication Or Taking Any Pills?
7. Have You Ever Stolen?
8. Have You Ever Lied?
9. List All Your Relatives And How They Each Died.
10. Are You A Communist?
11. Are You A Queer?
Now Take A Seat Right Over Here.
12. Height?
13. Weight?
14. What's You Sex?
Stand Over There. . . Who's Next?
15. What Is Your Color?
16. What Is Your Age?
17. Are You Willing To Fight In The War We Wage?
18. How Do You Fell About Animal Rights And Vivisection Or Pitbull Fights?
Piss In The Jar, Then Go In That Tent Where They Shave Your Head And They Fingerprint.
19. Now List All Your Friends And The Connections.
20. Incurable Diseases?
21. Contagious Infections?
22. List All Your Debts.
23. Social Security Number?
24. Driver's License?
25. Date Of Birth?
26. Checking Account?
27. Credit Cards?
28. Gross And Net Worth?
29. Annual Income?
30. Monthly Expenses?
Is This Your Current Address?
Day after day I comb my brain
Searching for words which sound the same
Choosing these words and making them fit
Hoping, somehow, they'll all make sense
If they don't, don't blame me
I'm exploring my identity
I set the stage for the anonymous play
Composing good and evil in an offhand sort of way
So, if you should turn on me
It's because you don't understand
And won't until you assemble the fragmented picture
Of a shattered man
I'm searching
And my own mind
Is my latest, greatest
Most fabulous find
I had to explore everything
All the drugs and drink
Cut my dick off with a butterknife in the sink
Lived in jail for a thousand or more years
Got lost for fifteen million more at sears
Never know what I might do next
Destroy myself