Hi, I guess I was a bit lucky, born in Portugal, went to Brazil and then the US ... and in a house of literature, mostly Portuguese, Spanish and Brazilian, and a lot of Italian and French (the latin based languages), I got to see this first hand in the differences between the Portuguese that is spoken/written in Brazil and then the same thing in Portugal, and while they are basically the same, they are so different that understanding what was said, has the same similar details that you mention on that one piece. Portugal is small and has mostly one dialect, but Brazil has about 4 or 5 dialects, depending on where you are where this is likely to be found, as you mention. That same subtlety, btw, is also present in the Edgar Froese book about Tangerine Dream, where you can tell that the translation into English is ... amiss ... not on the spot, and the comment comes off as softened a lot more than it likely should/could be ... but at least the flavor is still there for me, as a FOREIGNER that is aware of different languages, and someone else that might not ... this subtlety is easily visible in my artist/sister in Paris, when talking to us, for example, and in myself, when talking to my own brothers and sisters ... they do not always pick up the nuances that come across (probably the same for me the other way!), that I would be able to explain if asked. But the main issue that we have heard/had over the last 45 years, starting out with Guy Guden and Space Pirate Radio (ran for almost 25 years!), was that (for me!) a lot of the languages were not a problem, and I enjoyed it all the same ... as if I knew what it was about, and what they were saying, since for me, the FEELING would stand up a lot more than the precise words ... and this is an issue I have with the current rock fans, sometimes taking up the words seriously, and thinking that is what the song is about ... as if Stairway to Heaven, the music itself, had anything to do with the lyrics, except that Robert made a point of being as strong as he could to match the guitars, and keep the poetic edge alive. Thus, hearing AD2, Ange, Le Orme, some Spanish bands, and then sp,e Sadistic Mika Band, do its thing in Japanese, it became for me an enjoyment that NEVER has taken the personality of those bands away from them and let some fan comments hurt the totality of the work, which for me is not fair ... you and I do not sit here and say that the red brush stroke that Picasso used in Guernica was horrible and the fudging pits and annoying! There were times, when I wanted to know what the words in "Deutsche Nepal" were ... and in a couple of other songs, so I would feel I know AD2 better than I do, but in the end, I feel like I don't need to ... I don't think that it does not say, or think, anything else that the band had not said or did not say after it ... that helped create the amazing artistry that their curriculum shows, that is so under-apreciated by rock fans, that just want this or that ... in their song ... when it's not even about the artistry any more. To me, that has become the part that ... it's OK ... there is no need to translate and to specify this or that ... you are allowed to use that bit of make up, or not as you see fit, and I still accept the person for who the band/you are ... and to me, that is quite a treat and nice ... you get to see/feel the person even when you don't know them, and will never meet. I do live (probably too much!) off those moments, I have to admit ... they are beauty personified, because it is in that special second that the person behind it is truely alive on a stage and/or in front of the camera ... the feel and the touch, can not even be done again more often than not, because it just won't come off right!
------------- Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
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