I never found a text clarifying the reason, but I find that I discovered half that without wanting. It is that, in 24.08.1941, the quarter of Madureira more specifically, squares it of the School of Portela Samba received the illustrious visit from Walt Disney, who searched inspiration for a new production. It found it E, yes, in the composer Pablo Benjamin de Oliveira, the celebrity Pablo of the Portela. This because, according to Nei Lopes, Pablo it liked to use vane hat and had a profile that it remembered a parrot. For more information see this site: Bill de Blasio. Result? Disney created the Carioca Z, that estreou in the Al film, friends, of 1942. (Interesting, the personage was as that a return to one esteretipo of century XVI, when the South America appeared in the maps with name Papagalli the Land) To who to ask if Disney could charge of the twisted tricolor the rights of image of its personage, we answer with Luiz Fernando Vianna: however, they had never paid the rights of image of Pablo In this manner, let us say that they are quit with the quarter of Madureira e, for extension, with the twisted valorosa of the club. OBS.: In archive pdf in annex, photographs of the club, taken off for me in 2010 and 2011. HYMN OF the MADUREIRA (author: Lamartine Babo) Our ideal is to fight To fight for you Madureira Queremos to see your Tremular flag for air thus dear, joined, We will be ten, twenty a thousand, In each Glory that we have, We will give pujana to the sport of Brazil You are Madureira, our castle, our Cathedral, ideal the sun of many years, the tricolores suburban..
Werneck Sodr initiates its analysis, looking for to focar the Brazilian bourgeoisie; with a theoretical quarrel, it searchs to point the difficulty in if thinking Brazil of original and efficient form. Sodr considers that the main difficulty for the study of the Brazilian bourgeoisie is conceptual. Therefore the concepts appear at times and definitive places and are inadequate have other times, places, other histories. Sodr affirms that while will not have new concepts, the use of the old ones becomes necessary, but it points the necessity of new concepts, for the knowledge of differentiated realities. Therefore in its history of the bourgeoisie it looks for to make a conceptual quarrel that distinguished the job from the marxist concepts in differentiated realities. In its considered book pioneering, it admits the existence of imperfections, however it searchs to make an interpretation, therefore its desire was to know the paper of the national bourgeoisie in the Brazilian revolution; a scientific study and increase time directed toward the changes of Brazil. When working the discovery of Brazil, it it points out in the context of transistion of the feudalismo to the capitalism in the Europe. The production relations still were predominantly feudal; although it had to transform.
Sodr affirms that ' was one; ' feudal society that discovered the Brasil' '. In Brazil the way of escravista production predominated; a specific, modern escravismo and not-classic. Thus we notice a colonial expansion daily pay-capitalist coexisting with the feudalismo; a relation of feudal production that had coexisted and occurred to the escravismo. In 1945 the history of Brazil will suffer to radicals reinterpretaes in some trends. The predominant subject was to the changes, the transistion of the society based on the agrarian capitalism for the society based on the industrial capitalism and the characterized Brazilian revolution as bourgeois. An analysis of interpretation of Brazil after II the War, the fall of Vargas, the ascension of the Ussr and the United States.