The planet blue on the sun road







This is the title of an acoustic show that Milton Nascimento performed at the Cultura Astistica Theater, in São Paulo in October 1991. Only three performances resulted in a CD under the same name, unfortunately too little known by the public and, today, off the shelves in Brazil (it can be found at


Milton always favored the interpretation of his own songs. Here, in contrast, he performs as an interpreter, singing and playing (guitar, piano and accordion) songs of other composers – only four out of the 11 songs in the CD were written by him. And in this surprise lies a huge enchantment.


Milton’s singing transcends all expectations. A musician with unique sensitivity and a clear voice, his interpretations are both passionate and exciting. With a firm identity on the essence of each song, he, through the filter of his emotion, reveals such essence in a surprising and overwhelming way. And in his voice, we listen to once familiar songs as if they were new songs.


Milton sings not only his voice – above all, he sings his soul. And every word sung by this soul touches our souls with rare delicacy. Milton has the exact measure of the pleasure every song can and must provide to people.


For a taste of it: Hello Goodbye (Lennon & McCartney)

Why Chanel

Photo :: Gabrielle Chanel


Almost 100 years after her first creations, Chanel is still revered in the fashion world – and outside as well. In an era when products, thoughts and relationships are increasingly ephemeral, one should wonder why such a long stay.


Freeing the woman from rigid attires at the end of the nineteenth century (which favored ostentation at the expense of comfort), Chanel reproduced, on an industrial scale, her own image – a distinctive image in absolute harmony with her personality and the historical moment in which she lived. And here lies the secret of her stay in the collective imagination for so long: we are not fascinated by her clothes, necklaces or perfumes – we are fascinated by her identity both strong and unique, which is revealed to us through the objects she used and (re)produced.


Some say that the intensity of Chanel’s presence annulled those of her rivals. It doesn’t seem to me, however, that this fascination came from the objects she chose to wear… On the contrary, such objects were personal and conscious choices, result of the intensity of her thinking – and of the understanding that, also by dressing, she expressed her own identity.


Ironically, the industrial production of a unique personal style has become a paradox – to the point when Chanel herself stated: “I am no longer what I once was: I must be what I have become.” The desire for a socially recognized and valued image combined with the lack of knowledge and reflection on oneself make thousands of people seek in bags, shoes and clothes the ability to grant them personality and identity, in a total reversal of roles.


As I once wrote in the text ‘About dressing’ (Jan, 2011), beauty lies in being and perceiving ourselves as unique. Beautiful, therefore, is not to own Chanel – beautiful is to be Chanel.









‘A cidade enfeitiçada’ (‘The bewitched city’) was the first song by Paulo Gusmao I ever heard. And such was my delight – by the title (so inspiring!), the composition and his arrangement – that I decided to immediately search information on this composer I didn’t know.


The song title baptizes the CD – and no less inspiring are the titles of other songs in it: ‘Flor de outono’ (‘Autumn Flower’), ‘O brilho do vagalume’ (‘The firefly’s glow‘), ‘Sua silhueta sutil’ (‘Its subtle silhouette’)… not to mention ‘Romance em Vila Humaitá’ (‘Romance in Vila Humaitá’), gently broken into three acts.


The album’s 15 songs captivate, enchant and thrill. Melodies and harmonies reach our ears lightly and gently, seeming to float. Arrangements establish subtle dialogues among the accordion, the flute, the guitar and other instruments, creating an atmosphere that exudes grace and elegance. You can’t get enough of it.


‘A cidade enfeitiçada’ (‘The bewitched city’) is indeed bewitching. High quality Brazilian and contemporary instrumental music, touching the ear with sweetness, the soul with beauty, and fills us with pleasure.


Enjoy it at

The borders of design

Olive Street nº1 :: byHenzel















There are objects that, even if produced with high technology, according to a specific project and on an industrial scale, are displayed before our eyes with the power of artwork, unique and manufactured. They take on a “subject” role before the observer rather than mere “objects”, surprising for their originality, touching for their unique beauty and tempting for the ability to subvert existing standards. These objects drive us out of our comfort zones and demand from us a new perspective and a new reflection on what we thought we knew.


The rugs created by Henzel Studio are like this – they question, test and transcend boundaries that often persist between design (in this case, interior) and art. The starting point is a fresh look at this object, so familiar (?) to all of us… And the result is invariably stunning.


There is no doubt that, without technical excellence and high quality materials, it would be impossible to materialize in wool traits and colors that seem to have come out of paintings, graffiti and watercolors. But if these rugs speak to our soul, it’s because behind the technical excellence and quality materials, another soul is released to them, willing to turn them into a new medium of expression. To do so, it questioned the conventions, overthrew patterns, uses and purposes, and thus redefined not only a new world of colors, images and treatments for this object, but also the relationship we establish with it.


Restlessness, nonconformism and passion are key tools to open our minds and our hearts, allowing us to break free to the new. And our soul needs the new – (re)discovering shapes, colors, uses and relationships, we can create and enjoy, every day, new sources of beauty and pleasure.


To learn more:

Paint or dye, but love me


Paint or dye but love me is the title of this beautiful conceptual project developed in 2008 by John Nouanesing, a young product designer who lives in France. Contrary to what one might imagine, the visual tension created by shapes that seem to be in constant ‘suspension’, and by the vibration of a very intense red, makes it a great pleasure to observe this artwork.


John Nouanesing seems to always have the same three guiding principles in his creative process: observation, innovation and irreverence. It is curious to see how each of his conceptual projects is able to tell us a story, making us see clearly the conceptual path traveled, from the very first insight to the final result.


These results are not always so beautiful – and not always effectively achievable. But it’s always a delight to see these objects and the entertaining titles assigned to them by John Nouanesing.


Learn more at








One of the images that represent ​​freedom the most is the image of someone barefoot. In addition to conveying a certain form of irreverence and non-adherence to established standards, walking without shoes is indeed an act capable of providing very pleasurable sensations of physical well-being, comfort and relaxation. The explanations are countless, ranging from mystical to scientific ones.


Our feet are complex structures, full of nerve endings that connect through ramifications to the various organs of the body, to the spine, to the head, and to the upper and lower limbs. The practice of caring for the body by touching and stimulating these endings is called reflexology and has been used in Eastern cultures for thousands of years. Walking barefoot, especially on uneven surfaces (sand, small rocks, grass), massages different points of the foot and stimulates different parts of the body, promoting the proper functioning of the body and stimulating our ability to concentrate, our motor skills and balance.


Others say that, by walking barefoot on moist soil, we unload on the ground the excess of static electricity accumulated in our bodies, thereby obtaining a sense of relaxation. The most mystic ones say that walking barefoot increases the flow of our vital energy (or our Chi, Qi, Prana, Baraka or Orenda, among other synonyms), through the direct contact with the Earth, one of its natural sources – and the pleasure we feel would be provided by the reestablishment of this connection with the natural universe where we belong.


Discussing and investigating the sources of our pleasures often represents solely the identification of such sources so we can expand the space they occupy in our lives. Their origins or the decoding of their processes do not always matter… but it is important to be aware of its manifestations, ensuring that they remain alive and present in our everyday life. (I personally like to make sure I walk barefoot for a few minutes of my day – thus giving myself, in a very simple way, moments of great pleasure.)

The candles burn all the way

Sándor Márai :: illustration by Ignácio Schiefelbein










“A person ages slowly: first, our taste for life and people gets old, and then everything becomes so real, we get to know the meaning of things, everything is repeated so terrible and fastidiously. This is also old age. When you know that a body is not more than a body. And a man, poor man, is nothing more than a man, a mortal being, no matter what he does…


Then your body gets old; but not the whole body at the same time – first the eyes, or the legs; the stomach, or the heart. This is how a person ages, little by little. Then, suddenly, the soul begins to age: because no matter how weak and decrepit the body is, the soul is still filled with desires and memories, seeks and delights itself, wishes pleasure. And when this desire for pleasure ends, nothing remains but memories, or vanity; and this is when you get old for real, fatal and ultimately.


One day you wake up and rub your eyes: you no longer know why you woke up. You know exactly what the day brings you: spring or winter, the usual scenarios, the time, the order of life. Nothing unexpected can happen: not even that which is unexpected surprises you, nor the unusual or awful, because you know the odds, you have it all figured out, you no longer expect anything, neither good nor evil… and that’s just old age.”


I find this small excerpt from the book “The candles burn all the way” by Sandor Márai (Ed. Dom Quixote, Portugal, 2001) very touching for the sensitivity when describing the loss of the soul’s pleasures to aging and death. A Hungarian man, Márai self-exiled in 1948, unhappy with the communist regime in his country, and lived in Switzerland, Italy and France before settling in San Diego (where, at the age of 89, committed suicide). His writings often depict the decay of the bourgeoisie in his country, always with an eye turned to man’s major emotional issues: love, passion, life, pain, decay and death.


You will find pleasure in reading ‘De verdade’ (For real), ‘As Brasas’ (The Hot Coals), ‘Divórcio em Buda’ (Divorce in Buddha) and ‘Libertação’ (Freedom), all published in Brazil by Editora Companhia das Letras.

David Trubridge

Coral lamp :: David Trubridge











I first saw David Trubridge’s Coral Lamp at Soho’s DWR in NYC, about two years ago. From classics of the 20th century to contemporary pieces created by talented yet little known artists, the furniture and objects found in these U.S. chain stores are always very well selected, grabbing everyone’s attention for their beauty and elegance, and sometimes – like in this case – also for their innovation.


The lamp was placed in a more intimate atmosphere at the back of the store, and the effect of light and shadows created by its full and empty traits was overwhelming. I was also touched by the counterpoint there seemed to be in the essence of that object: how is it possible to obtain a result as delicate and organic from the assembly of a jigsaw puzzle whose pieces are all identical, rationally designed and industrially (re)produced?


A quick search on the designer has shed some light on this question: majored in naval architecture in England, lived on a boat for 5 years and then began designing furniture; his wirk uses wood from sustainable plantations and his projects seek to obtain maximum effect from minimum material; in addition, David believes in durability as a key attribute of good design and in art as a driving force of human development.


Upon learning this story, I could understand that the pleasure I felt by observing this lamp had not only elapsed from the appreciation of its beautiful shapes or visual effects, but also from the perception of its soul. I believe that the soul, when present in things, talks directly with ours – and this conversation encompasses the reasons for tastes and pleasures we are capable of feeling.


To learn more:


Piet Mondrian :: Composition C :: 1935


I watched the final minutes of the interview with Roberto DaMatta in the show Roda Viva, on TV Cultura channel, last January 10th. Since then, I have been thinking about something he stated firmly: “Human beings need to learn the meaning of the word ‘enough’. What is enough for me? What satisfies me? This question is fundamental, terrible, critical.”


We live in a time when there is almost no room for reflection, and certain ways of being and having are spread as universal truths: the clothes you ‘must’ wear, the car you ‘must’ own, the music you ‘must’ listen to, the place you ‘must’ go to… So many people repeat such “truths” without any reflection or questioning! And worse, many others suffer and blame themselves for failing to pull off a particular ‘being’ or a certain ‘must-have’!


Seeking something without being aware of how much of it is enough only intensifies dissatisfaction and anxiety in each one of us – because the conquest of that which we do not want does not bring any pleasure to the soul.


Being aware of what is enough for us is like being free. Looking within ourselves and understanding the measure of what we want to have, be, use, feel or hear is the only way to extend the pleasures that we can offer to our soul every day.