Wednesday, November 30, 2011

Rapture - Quote of The Day

 “The great loneliness—like the loneliness a caterpillar endures, when she wraps herself in a silky shroud, and begins the long transformation from chrysalis to butterfly. It seems that we too must go through such a time of great loneliness, when life as we have known it is over—when being a caterpillar feels somehow false, and yet, we don’t know who we are supposed to become. All we know is that something bigger is calling us to change. And though we must make the journey alone, and even if suffering is our only companion, soon enough we will become a butterfly, soon enough we will taste the rapture of being alive.” 
-Elizabeth Lesser

Tuesday, November 29, 2011

............what goes................

perhaps just not used to any of it, you know
...the whole pop goes the weasel factor of how it all came about
...........and then with it,
the silent rules of a silent game.............

..among those rules of the heart...

the somewhat expected aftershock effect
was purposely stirred into a blind spot.

could I have known that my absolute carefree state was breeding grounds for brand new feelings,
sweet little sprouts of emotions, growing out of sidewalk cracks?

damn words so light as pencil sketches on watercolor paper.

have you ever seen early morning dew on a quenched bonfire?

poem by ana cissa pinto

Tuesday, November 22, 2011

ABSOLUTELY mind-boggling! astonishing! bewildering!

Nature's designers are GODS of creativity and beauty!
Enjoy it!

Who are the greatest adventure travelers of all time? ( my kind of peeps! )

 Cool article by Greg Melville - sharing it!
Before any know-it-alls start complaining about the absence of Edmund Hillary, Thor Heyerdahl, or Amelia Earhart from this list, let me make a distinction between “explorer” and “adventure traveler.” An explorer has historically been someone who attempts to do something that no one has done before (or plunder indigenous people for their gold and women). An adventure traveler, on the other hand, is someone who laces up a pair of comfortable shoes and plots a course for the cultural horizon. Here are my picks. I realize there’s a shortage of women here, but I blame this more on the gender constraints of past generations than my own lack of imagination.

Theodore Roosevelt
Swashbuckling Teddy was the most badass of all adventure travelers. He drove cattle in North Dakota after graduating from Harvard (in true trustafarian style), and led the band of former football players and cowboys known as the “Rough Riders” in Cuba during the Spanish-American War. He became the frickin' President, and afterward, went on safari in Africa, traveled Europe, got shot in the chest by a barkeeper, and led a scientific expedition through the Brazilian Amazon.
Marco Polo
To my kids, “Marco Polo” is a swimming pool game. To most of the rest of the Western world, he’s the guy who brought us spaghetti (which he actually didn’t do). It’s believed that he probably did, however, spend roughly 17 years in the late 13th Century traveling in the Far East as a merchant with his dad. When he returned to Venice, Italy, he was imprisoned by the warring Genoese. While behind bars, he dictated the story of his travels to a fellow prisoner who happened to be a writer, recounting his experiences with Kublai Khan, and describing the exotic things he saw, like paper money, silk, and gunpowder, and how the Chinese burned coal as fuel (how little has changed).
Bill Bryson
Yes, I’m referring to the snooty writer who, in his book
A Walk in the Woods, admits that he didn’t have the stamina to complete his thru-hike of the Appalachian Trail. No one in modern history has made the concept of adventure travel seem more accessible or just plain fun to millions of us common folk than Bryson. A Walk in the Woods and The Lost Continent are as close to American classics as any travel books of the last 25 years.
Harriet Chalmers Adams
A writer for magazines like National Geographic and Harper’s, the California-born Adams traveled throughout South America with her husband after the turn of the 20th Century. She canoed parts of the Amazon, rode horseback through the Andes and across Haiti (she was a Christopher Columbus buff), and served as a correspondent in France during World War I. In 1925 she became the first president of the Women’s Society of Geographers (the National Geographic Society didn't admit women at the time).
Ibn Battuta
Born in Morocco the early 14th Century, Battuta made his first big trip, the pilgrimage to Mecca, when he was about 20. He spent the next three decades wandering throughout the Islamic world, Europe, sub-Saharan Africa, India, China, and Southeast Asia. His adventures were recounted in a book known as the
Rihla. In a time when most people never left their home villages, it’s safe to say that no human had ever come close to traveling more—an estimated 75,000 miles—than him.
Charles Darwin
Like many recent college grads today, Charles Darwin found himself in hot water with his dad in 1831 for not showing any direction in his life. He was 22 years old and had decided to travel the world on a sailing ship. Robert FitzRoy, the 25-year-old captain of the HMS Beagle, had just written, saying he needed a companion to treat as a friend and equal (something he couldn’t do with the crew without compromising his authority) to prevent him from going crazy during a trip to chart the South American coast. So Darwin paid his own way, with the aim of taking geological notes of the strange lands on their voyage to pass the time. His dad told him that when he came back, he’d need to get a real job, like as a parson. You know the rest of the story, and if you seriously don’t, Google it.


Monday, November 21, 2011

Woody Allen: A Documentary

Woody Allen: A Documentary

Woody Allen: A Documentary - part 1 was on on PBS last night and it was truly a great show. If you have a chance check it out. You can watch it by clicking on the link above.

Here's a note written about it for E.W. by Owen Gleiberman:

The first thing to say about the two-part, 3-hour-and-15-minute American Masters special Woody Allen: A Documentary, which airs tonight and tomorrow on PBS, is that it mixes things you already know with things you didn’t know in an avidly enjoyable, Woody-nostalgia way. Here’s something, for instance, that I didn’t know: Allen still does all his writing on the same tiny typewriter he has owned since he was 16 — a German-made Olympia portable that he purchased for $40 in 1952. He’s written all his movies on it, all his plays, and all his New Yorker pieces. The typewriter is missing its top, so you can see those primitive reel-to-reel ink cartridges, but, according to Allen, it “still works like a tank.” Of course, this means that when he’s re-writing, he has to literally cut and paste pieces of paper together. But hey, his system ain’t broke, so why fix it? Looking at that small, boxy relic of a typewriter (it’s nestled on a desk amid the tasteful coziness of the writing room in his Upper East Side brownstone), and listening to Allen talk about it with such sheepish devotion, one can see how much of him it embodies: his obsession with the past — old movies, old music, old ways of being; his stubbornly skeptical view of technology; even, in a funny way, his fear of mortality, since the guy who sold the typewriter to the young Allen Konigsberg assured him that it would still be working after his death.

At the rate he’s going now (one film a year, like clockwork, for 40 years), Woody Allen may still be working after his death. The filmmaker agreed to sit down for a rare, leisurely series of interviews for this PBS portrait-of-the-artist, and I’m not sure if I’ve ever seen him come off in as relaxed, open, and gregarious a fashion as he does here. A week from this Thursday, he’ll turn 76, but there’s something bouncy and spry and ageless about Woody Allen. Even his sandy gray-brown hair looks robust, and he seems more comfortable in his skin than he did when he was younger. The fascinating thing about watching Woody look back on his career is that he’s so compulsively self-deprecating that you can see perfectly well it’s all a strategy, a way of deflecting criticism by puncturing his own balloon before anyone else gets a chance to do it. He claims that he doesn’t think most of his movies are very good. Not even Manhattan (“I didn’t like the film at all”). He also says that he often can’t be bothered to shoot another take of a scene because he’s simply too impatient. He wants to get back home to watch the Knicks.
Some of this, I think, is pure nonsense, pure image creation. It’s Woody Allen’s convoluted way of being a “regular guy.” At the same time, he’s quite open — and, I think, sincere — about how the act of working, for him, may be even more important than the work itself. As a budding joke writer, hired while still in high school to supply one-liners for newspaper columnists, Allen would churn our 50 to 100 jokes per day, and he didn’t have to labor at it; his mind was a Jiffy Pop joke machine. Then he got signed by the fabled team of Jack Rollins and Charles H. Joffe, who basically ordered him to start delivering those jokes himself and become a standup comedian. He’d had no previous ambition to do so, but they saw what Allen didn’t: that his personality, all impish stammers and horn-rimmed horniness, was pure, instinctive showbiz — that he had the makings of a one-man nerdquake. There are great clips of Allen’s television appearances from the early-to-mid-’60s, where he boxed a kangaroo, danced like a geek Astaire, and did What’s My Line? For all his shyness, his ambition was boundless. It was a careerist masterstroke for him to write himself into What’s New Pussycat? (1965), which became a monster hit. He not only appeared regularly on The Tonight Show but, beloved by Johnny, became a frequent guest host, and by the time he started to make his own movies, in 1969, with Take the Money and Run, his connection to the audience was seismic.
Woody Allen: A Documentary, thanks to terrific commentary from people like Larry David, Chris Rock, professor Annette Insdorf, and film critic F.X. Feeney, nails what was so funny about the Early, Funny Films — the antic vaudeville-surreal hilarity of movies like Bananas and Love and Death, all sealed by Allen’s neurotic fusion of long-frizzy-haired ’70s Brooklyn-Jewish hippie panic and Bob Hope-meets-Groucho nonchalance. Yet the sheer hilarity of Allen’s comedy wasn’t the whole story. An aspect of him that this documentary more or less misses is that Woody Allen made himself into a counterculture hero — an American pop-image revolutionary — by becoming the first anti-macho movie star who was also, in effect, a role model. (Nobody ever wanted to be Jerry Lewis or Don Knotts.). It was just a few years before, in 1967, that Dustin Hoffman, with his big-schnozzed, gawky-voiced charisma, had broken the Hollywood mold of what a star could look and sound like. But Hoffman was still a new kind of sexy. Allen was a brainiac from another planet. His rise was the true start of geek chic, and it cued a generation of men to stop worrying and love their own neuroses.
The first half of Woody Allen: A Documentary traces Allen’s career from his boyhood to the early comedies and up through Annie Hall, Manhattan, and — the 1980 critical debacle that marked the end of an era for him — Stardust Memories. The show captures the startling glow of New York romantic magic that surrounded Annie Hall when it was first released. It was the ultimate feel-good movie for people who didn’t feel good about themselves, and the film’s instant landmark status made you realize how big that club really was. (It was a club you wanted to belong to, because it had a lot of members just like you.) There are fascinating anecdotes about how Allen’s off-screen relationship with Diane Keaton fed their on-screen collaboration, and though this may sound like inside film-nut baseball, the documentary really captures how cinematography played such an unexpected role in those Allen classics. Getting a cinematographer like Gordon Willis, the fabled “prince of darkness” who photographed The Godfather, to shoot a comedy was, at the time, an unprecedented idea. It was instrumental to the mystique of those films. Mariel Hemingway, recalling how Allen staged his scenes with her in Manhattan, does full justice to him as a director and actor. Her evocation of the film’s final scene is as moving as the scene itself.
Woody Allen: A Documentary is shrewdly structured. Tomorrow night’s installment recognizes that Allen’s career underwent a fundamental gear shift — changed its spirit, really — when he made A Midsummer Night’s Sex Comedy, in 1982. From that point on, he would go off in a different direction every time, yet he had also become a kind of short-story miniaturist, a spinner of cinematic baubles. The teenage joke writer who popped out dozens of gags a day now became just as promiscuously frisky with his ideas for movies. At one point in the documentary, Allen, at home, opens a drawer and pulls out a huge, messy sheaf of scrap paper, a collection of all the ideas he’s compulsively scrawled on legal pads, hotel stationary, etc. It’s a kind of compost heap of inspiration that he keeps returning to, and he pokes through it and reads us one random premise for a movie: a man inherits all the magic tricks of a famous magician. And yes, right there, we can see it — how that one little scribbled-down concept could, with a bit of tending, become next year’s Woody Allen movie. (I see it with Jonah Hill, and Kristen Stewart as the magic fanatic/muse/girl he saws in half with his personal hangups.)
There’s also a lot of good testimony about how, exactly, Allen works with actors. It truly seems to be a Zen method, one that begins with the delivery of the script, by hand, without any agent intervening. The actor who’s being considered for the part then has to read the script and hand it back that day, as if it were a CIA document. There’s no audition, and Allen’s meetings with actors tend to be awkward hello-and-goodbye encounters that take all of two minutes. From the start, he’s almost completely hands off, letting them rewrite lines at will and create their own characters with a minimum of guidance. Yet Allen imposes himself in a different way, by shooting long scenes in a single take, so that the dialogue has to come spewing out in his rhythms. I actually think that there’s a serious drawback to this method: Too often these days, Allen’s actors sound as if they’re reciting their lines. Yet there’s no denying that a Woody movie, at its best, is still a showcase for the sheer personality of performance.
Of course, Woody Allen, in the last two decades, has had his ups and his downs, and the documentary, I was happy to see, is willing to go both places. It confronts the shocking public disaster of his Mia/Soon-Yi tabloid moment (“Believe it or not, I didn’t think I was that famous to warrant such coverage” — yeah, right!), and it does so with a reasonable degree of candor. Allen’s ability to compartmentalize during that period becomes almost a joke, and we’re reminded of how carefully he nurtured his image back to respectability. The show, as well, doesn’t shy away from his post-Deconstructing Harry rut as a filmmaker. When you consider Allen’s own shrugging assessment of some of his greatest films, it’s no surprise, perhaps, that artistic and/or commercial failure (as in The Curse of the Jade Scorpion, Anything Else, etc.) isn’t something that he’s at all scared to admit. His comebacks have been extraordinary: the uncanny dramatic power of Match Point, and, like a perfect maraschino cherry on top of his career, the record-breaking success of Midnight in Paris. After all these years, he can still be a crowd-pleaser. Woody Allen: A Documentary is a smartly effusive testament to why.


Sunday, November 20, 2011

How I make my famous brunch Bellini

I like to make it simple so I use Cipriani's peach puree and I mix it with SOFIA's Blanc de Blancs Cali bubblies. It's refreshing, tasty and absolutely delicious.

A little bit about BELLINIS:

A Bellini is a long drink cocktail that originated in Venice. It is a mixture of sparkling wine or prosecco and peach purée, often served at celebrations. It is one of Italy's most popular cocktails.
The Bellini was invented sometime between 1934 and 1948 by Giuseppe's Cipriani, founder of Harry's bar in Venice. Because of its unique pink color, which reminded Cipriani of the color of the toga of a saint in a painting by 15th-century Venetian artist Giovanni Bellini, he named the drink the Bellini.

The drink started as a seasonal specialty at Harry's Bar, a favorite haunt of Ernest Hemingway, Sinclair Lewis and Orson Welles. Later, it also became popular at the bar's New York counterpart. After an entrepreneurial Frenchman set up a business to ship fresh white peach pureé to both locations, it was a year round favorite.

source: wikipedia
photo: ana cissa pinto ©all rights reserved

Saturday, November 19, 2011

Toothpick trick - truque do Palito

My nephew demonstrates the toothpick trick.

4 Natural Hangover Cures by mindbodygreen

Many of us have been there. We feel your pain. So what can you do to help ease that morning-after suffering?
Actor Woody Harrelson says, "If you have a hangover, a headstand is the best thing to do. Get up and do a yoga session." Well, we can't all do a headstand, so If you're feeling less than stellar today after a little too much beer or bubbly last night, here are four natural hangover helpers so you can get moving on a new you in the new year:
  1. Coconut water is loaded with potassium--it actually contains 15 times more potassium than a sports drink or twice as much as a banana, so it makes for a great hangover fixer.
  2. Yoga has a number of health benefits, and now you can count hangover fixer as yet another. Yoga twists (a seated twist will do) in particular can relieve head and stomach aches by promoting detoxification deep within your body.
  3. Water. Lots of water. Hydrate away to rid yourself of those New Year's Eve toxins. Do so before, during, and after drinking.
  4. Asparagus. Yes, asparagus. I'll repeat this because you may be hung over and need to read this twice: Yes, asparagus. If you plan on going out drinking (uh-oh, we're probably too late) Eating asparagus is a good strategy to prevent a hangover, quickly breaking down alcohol in your system and lessening the chances of a miserable morning after.

Tuesday, November 8, 2011

Fernando Alves Pinto in 2 Coelhos

click image to enlarge
 My brother's latest film.
(He is the guy in the front, on the poster)
Check out the kickass trailer by clicking the link below.

Habanera (aria)

 click image to enlarge


(spoken intro) Quand je vous aimerai?
Ma foi, je ne sais pas,
Peut-être jamais, peut-être demain.
Mais pas aujourd'hui, c'est certain
(sung) L'amour est un oiseau rebelle
que nul ne peut apprivoiser,
et c'est bien en vain qu'on l'appelle,
s'il lui convient de refuser.
Rien n'y fait, menace ou prière,
l'un parle bien, l'autre se tait:
Et c'est l'autre que je préfère,
Il n'a rien dit mais il me plaît.
L'amour! L'amour! L'amour! L'amour!
Carmen: L'amour est enfant de Bohême,
il n'a jamais, jamais connu de loi;
si tu ne m'aimes pas, je t'aime
si je t'aime, prends garde à toi! (Prends garde à toi!)
Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime! (Prends garde à toi!)
Mais, si je t’aime,
Si je t’aime, prends garde à toi!
L'oiseau que tu croyais surprendre
battit de l'aile et s'envola ...
l'amour est loin, tu peux l'attendre;
tu ne l'attends plus, il est là!
Tout autour de toi, vite, vite,
il vient, s'en va, puis il revient ...
tu crois le tenir, il t'évite,
tu crois l'éviter, il te tient.
L'amour! L'amour! L'amour! L'amour!
Carmen: L'amour est enfant de Bohême,
il n'a jamais, jamais connu de loi;
si tu ne m'aimes pas, je t'aime
si je t'aime, prends garde à toi! (Prends garde à toi!)
Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime! (Prends garde à toi!)
Mais, si je t’aime,
Si je t’aime, prends garde à toi!
Choir: L'amour est enfant de Bohême,
il n'a jamais, jamais connu de loi;
si tu ne m'aimes pas, je t'aime
si je t'aime, prends garde à toi! (Prends garde à toi!)
Carmen: Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime! (Prends garde à toi!)
Mais, si je t’aime,
Si je t’aime, prends garde à toi!

Translation in English

(spoken intro) When will I love you?
Good Lord, I don't know,
Maybe never, maybe tomorrow.
But not today, that's for sure.
(sung) Love is a rebellious bird
that nobody can tame,
and you can call him (although it is) quite in vain,
because it suits him not to come.
Nothing helps, neither threat nor prayer.
One man talks well, the other, silent;
but it's the other that I prefer.
He says nothing, but he pleases me.
Oh, love! Love! Love! Love!
Carmen: Love is a gypsy's child,
it has never known the law;
if you love me not, then I love you;
if I love you, you'd best beware! (You'd best beware!)
if you love me not,
if you love me not, then I love you (You'd best beware!)
but if I love you,
if I love you, you'd best beware!
The bird you hoped to catch
beat its wings and flew away ...
love stays away, you wait and wait;
when least expected, there it is!
All around you, swift, swift,
it comes, goes, then it returns ...
you think you hold it fast, it flees
you think you're free, it holds you fast.
Oh, love! Love! Love! Love!
Carmen: Love is a gypsy's child,
it has never known the law;
if you love me not, then I love you;
if I love you, you'd best beware! (You'd best beware!)
if you love me not,
if you love me not, then I love you (You'd best beware!)
but if I love you,
if I love you, you'd best beware!
Choir:Love is a gypsy's child,
it has never known the law;
if you love me not, then I love you;
if I love you, you'd best beware! (You'd best beware!)
Carmen: if you love me not,
if you love me not, then I love you (You'd best beware!)
but if I love you,
if I love you, you'd best beware!

Spanish version 
El amor es un pájaro rebelde
Que nada puede domar,
Y todo en vano se llama
Si se debe rechazar.

Nada? No, la amenaza o prihre.
Se habla, el otro está en silencio.
Y la otra es que me prifhre.
No dijo nada pero me gusta.

Amor! Amor! Amor! Amor!

El amor es el hijo de Bohjme,
Nunca se conoce ninguna ley.
Si el amor no soy yo, Te amo.
Si Te amo, Cuídate!

Si tou no me amas, me amas, si no Te amo,
Pero si Te quiero, si Te quiero, "Cuídate!

El pájaro que pensaba surprendere
Batir de alas y voló.
El amor está lejos, usted puede esperar.
No esperes, es ».

Todo a tu alrededor, rápido rápido,
Viene y va, y luego regresa.
¿Crees que la retienen.
¿Crees que para evitarlo, te tiene.

Amor! Amor! Amor! Amor!

El amor es el hijo de Bohjme,
Nunca se conoce ninguna ley.
Si el amor no soy yo, Te amo.
Si Te amo, Cuídate!

Si tou no me amas, me amas, si no Te amo,
Pero si Te quiero, si Te quiero, Cuídate!

In the form of HABANERA, this is a famous aria from the Opera CARMEN by Geroges Bizet.It is sometimes referred to as "L'amour est un oiseau rebelle." ("Love is a rebellious bird"). Its score was adapted from the habanera "El Arreglito"  originally composed by the Spanish musician Sebastián Yradier. Bizet thought it to be a folk song; when others told him he had used something that had been written by a composer who had died only ten years earlier, he had to add a note to the vocal score of Carmen, acknowledging its source. The libretto was written by Henri Meilhac and Ludovic Halévy.

Saturday, November 5, 2011

O corpo do fumante - por Luisão CS

A cada 10 segundos alguém morre pelo uso do tabaco, diz a Organização Mundial de Saúde. Segundo as pesquisas, quem começa a fumar na adolescência (90% dos fumantes) e continua durante duas décadas ou mais, provavelmente morrerá 20 a 25 anos mais cedo que aqueles que não tem vício.

Embora neguem isto durante 40 anos, a indústria do cigarro sabe desde 1950 que o produto causa danos bem severos para o corpo humano. Aqui uma visão global do real impacto causado pelo fumo no corpo humano.

As substâncias químicas tóxicas do cigarros entram nos pulmões, de lá viajam ao longo do corpo, através da circulação sangüínea, criando todo o processo de destruição.

  1. Perda de cabelo
      O fumo contrai os pequenos vasos sangüíneos do couro cabeludo o que causa falta de oxigênio e a debilitação dos folículos capilares. O fumo também debilita o sistema imunológico, deixando o corpo mais vulnerável a doenças como "erythematosus de lupus" que causa perda de cabelo, ulceração na boca e erupções cutâneas na face, couro cabeludo e mãos.

  2. Catarata
    É crido que fumar causa ou piora várias condições da visão. Quem fuma mais de 20 cigarros por dia tem duas vezes mais probabilidades de desenvolver a catarata, uma turvação da lente do olho que bloqueia a luz e pode conduzir a cegueira. São dois os modos: Irritando os olhos e libertando substâncias químicas nos pulmões que então viajam até os olhos via circulação sangüínea.

  3. Enrugamento
    O fumo envelhece a pele prematuramente esgotando as proteínas que dão elasticidade e a vitamina A. A pele de fumantes fica seca, dura e com linhas minúsculas, especialmente ao redor dos lábios e olhos. Fumantes de 40 tem mais rugas faciais que os não-fumantes de 60.

  4. Perda de audição
    Fumar cria uma placa nas paredes dos vasos sanguíneos, decrescendo o fluxo de sangue para o ouvido interno. Fumantes podem perder a audição mais cedo que não-fumantes (até 16 anos mais cedo, de acordo com um estudo) e estão mais suscetíveis a perda da audição em função de infecções do ouvido ou barulho alto.

  5. Câncer de pele
    O fumo não causa o melanoma (câncer de pele), mas aumenta suas chances de morrer desta doença assim como aumenta em 50% o risco de carcinoma - um câncer que deixa erupções escamosas avermelhadas na pele.

  6. Cárie de dente
    O fumo interfere com a química da boca, criando um acúmulo na placa, amarelando os dentes e contribuindo com a cárie. Fumantes podem perder os dentes muito antes do tempo.

  7. Doenças pulmonares
    É grande o número de mortes causadas por debilitação das condições pulmonares além do câncer de pulmão. Enfisema, uma inchação que rompe as bolsas de ar e reduz a capacidade dos pulmões para levar oxigênio(e expelir gás carbônico). Em casos extremos, uma traqueotomia ajuda os pacientes a respirar. Bronquites crônicas criam uma formação do muco cheio de pus, resultando em uma tosse dolorosa e dificuldades na respiração.

  8. Osteoporose
    O monóxido de carbono, gás venenoso do escapamento dos carros e da fumaça de cigarro, chega mais prontamente ao sangue que o oxigênio deixando-o até mais 15% pesado. Como resultado, os ossos de fumantes perdem densidade, fraturam mais facilmente e levam 80% mais tempo pra curar. Aqueles que fumam mais de um maço por dia também são mais suscetíveis a estes problemas. Um estudo prova que trabalhadores industriais que fumam experimentam a sensibilidade a dor até cinco vezes mais e maior.

  9. Doença de coração
      O fumo relacionado a doenças cardiovasculares mata mais de 600,000 pessoas a cada ano nos países desenvolvidos do mundo. Fumar faz o coração bater mais rapidamente, aumenta a pressão sangüínea e aumenta o risco de hipertensão e entupimento das artérias.

  10. Úlceras de estômago
      O fumo reduz a resistência às bactérias que causam úlceras de estômago. Também prejudica a habilidade do estômago para neutralizar o ácido depois de uma refeição, deixando-o corroer a parede que forra o aparelhor estomacal. Úlceras em fumantes são mais difíceis de tratar e mais prováveis de reocorrerem

  11. Dedos descorados
    O alcatrão da fumaça de cigarro mancha os dedos e unhas com um marrom-amarelado e mal cheiroso.

  12. Câncer cervical
    Além de aumentar o risco de câncer cervical e uterino, o fumo pode criar problemas de fertilidade para as mulheres e complicação durante gravidez e parto. Ainda baixa os níveis de estrogênio, acelerando a menopausa.

  13. Esperma deformado
    O fumo pode deformar o esperma e danifica seu DNA, causando problemas ou defeitos no nascimento. Na realidade, homens que fumam mais de 20 cigarros por dia têm um risco 42% maior de gerar uma criança que contraia câncer. Também diminui a quantidade de esperma e reduz o fluxo de sangue no pênis, às vezes causando impotência.

  14. Psoriasis
    Os fumantes têm de duas a três vezes mais chances de desenvolver "psoriasis", uma condição inflamatória de pele não contagiosa, semelhante a sarna, deixando manchas vermelhas por todo o corpo. As pesquisas ainda incipientes nesta área hipotetizam que o fumo pode alterar e levar altos níveis de substâncias químicas tóxicas para as células brancas do sangue.

  15. A doença de Bueger
    O fumo pode danificar as paredes dos vasos sanguíneos, causando dificuldade para o coração bombear sangue às extremidades. Em casos sérios, a Doença de Bueger pode conduzir à gangrena (a morte de tecido de corpo) e até mesmo a amputação de um membro.

  16. Câncer
    Foram mostrados pelo menos 60 elementos na fumaça do cigarro que podem causar o câncer, de acordo com o Action on Smoking and Health, uma importante ONG anti-tabaco do REINO UNIDO. Fumantes masculinos têm 22 vezes mais probabilidades de desenvolver câncer do pulmão (16a) que não-fumantes.
    E de acordo com vários estudos, quão maior o tempo do vício, maior o risco de desenvolver vários cânceres, inclusive de:

    16b - nariz (duas vezes maior)
    16c - língua, boca, glândula salival e faringe (seis vezes para mulheres, 27 vezes para homens); garganta (12 vezes); esôfago (oito a dez vezes)
    16d - rins (cinco vezes) pênis (duas a três vezes)
    16e - pâncreas (duas a cinco vezes) e ânus (oito a nove vezes).
    16f A ligação entre fumar e câncer de seio é talvez o mais controverso: algumas evidências sugerem que o fumo aumenta o risco de uma mulher desenvolver o câncer, outra evidência indica que, baixa os níveis de estrogênio.
Custos :
Os custos do vício para o bolso do fumante em nosso país ainda são pequenos, mas não deixam de impressionar. Ao final de vinte anos o fumante poderia ter comprado um carro popular. Mas impressionante mesmo é o custo nos países desenvolvidos (* - ver tabela abaixo). Não há como não questionar o posicionamento dos orgãos competentes e legisladores frente a isso:
Será que existe um "lobby", patrocinado pela indústria do tabaco, pra manter o preço baixo e desta forma ter sempre mais e mais viciados e adictos? Será?
Aumentar as alíquotas de impostos ou sobre-taxar os trabalhadores segmentados trará mais retorno aos cofres públicos?
Estranho isso... não?
Após 50 anos de silêncio e do alto faturamento das indústrias do cigarro, a Phillip Morris International em seu site coorporativo alerta para os malefícios do cigarro e creio que mesmo os fumantes esclarecidos iriam concordar com um aumento por maior que fosse, desde que os impostos tivessem aplicação conhecida e garantida que não o bolso de nossos governantes corruptos e ladinos.

PaísesImpostos1 Ano5 Anos10 Anos20 Anos
Inglaterra79%R$ 8.139,50R$ 40.697,50R$ 81.395,00R$ 162.790,00
França79%R$ 5.606,40R$ 28.032,00R$ 56.064,00R$ 112.128,00
Dinamarca79%R$ 5.584,50R$ 27.922,50R$ 55.845,00R$ 111.690,00
Suécia70%R$ 5.110,00R$ 25.550,00R$ 51.100,00R$ 102.200,00
Finlândia76%R$ 4.876,40R$ 24.382,00R$ 48.764,00R$ 97.528,00
Áustria71%R$ 4.142,75R$ 20.713,75R$ 41.427,50R$ 82.855,00
Alemanha75%R$ 4.106,25R$ 20.531,25R$ 41.062,50R$ 82.125,00
Itália73%R$ 4.015,00R$ 20.075,00R$ 40.150,00R$ 80.300,00
EUA24%R$ 3.854,40R$ 19.272,00R$ 38.544,00R$ 77.088,00
Espanha71%R$ 3.047,75R$ 15.238,75R$ 30.477,50R$ 60.955,00
Portugal75%R$ 2.737,50R$ 13.687,50R$ 27.375,00R$ 54.750,00
Turquia42%R$ 1.277,50R$ 6.387,50R$ 12.775,00R$ 25.550,00
R$ 1.014,70R$ 5.073,50R$ 10.147,00R$ 20.294,00
Brasil75%R$ 730,00R$ 3.650,00R$ 7.300,00R$ 14.600,00
Holanda70%R$ 365,00R$ 1.825,00R$ 3.650,00R$ 7.300,00
* - Baseado no preço médio dos cigarros em cada país.
Top 10 Adultos fumantes no mundo
Estados Unidos23%

Os dados de "O Corpo do Fumante " foram concebidos e escritos pela COLORS MAGAZINE.

Leia mais em: O corpo do fumante - Metamorfose Digital