Julio Mazzei, the Cosmos and the Untold Story of the Man Behind the Glasses (Part Two): Top of the Sports World
The Search for Order in the Soccer Universe
According to Clive Toye (in the 2006 documentary Once in a Lifetime: The Extraordinary Story of the New York Cosmos), only one man could break through the antipathy toward the game of soccer in the U.S. And that man was Pelé, the hero of Brazil’s third World Cup victory. But how could they entice him?
Toye and Phil Woosnam, the North American Soccer League’s commissioner and investor in the team, claim to have approached Pelé as far back as 1970, with an informal proposal to play in America. Their boss, Steve Ross, eventually saw the soccer icon as a marketing brand, a natural fit for their expanding organization; that television would be a huge moneymaker for the star and for the parent company, Warner Communications. Cut to a shot of Pelé in dark sunglasses, seated at a bench, with Professor Mazzei alongside wearing a white cap, a brown jacket, matching brown slacks, and aviator shades (26:47 to 26:53).
Jay Emmett, another investor in the franchise and later a Warner Communications executive, dispatched Cosmos lawyer Norman Samnick to São Paulo, Brazil, to see if he could sign the superstar to a contract. The problem with that move was that Pelé had been designated a national treasure by the Brazilian government, who refused to let him leave the country for foreign offers. This was circumvented, somewhat, when Pelé decided to retire from the game by calling it a career in his home country.
Sensing a possible opening in their favor, the men proposed a US$2 million deal, but Pelé wanted more; to be exact, US$5 million for two years of play. Curiously, the reasons for his asking over and above the initial offer are never explored. But there was a very good motive for his holding out for a higher amount: contrary to his prowess on the playing field, Pelé was not the most astute individual when it came to business acumen or money matters.
In Brazil, he had cosigned for a loan that had gone sour. The bank that was owed the money pressed him for payment, which numbered in the millions of dollars. Desperate to get out of the mess he had found himself in, Pelé turned to his closest advisors (thirty-two in number, according to a wisecracking Jay Emmett), one of whom was Professor Mazzei. The Professor, along with Pelé’s wife Rosemeire, his brother Zoca, and a financier named Xisto, met over the course of several months to discuss the alternatives. After much needling and cajoling, and through their joint efforts, they convinced Pelé that his best (and only) option would be to work out a mutually advantageous pact with the “gringos” in return for a three-year commitment to the team and a longer one to the Warner Communications group.
In a black-and-white photograph from the period, Professor Mazzei can be spotted, wearing a checkered jacket and looking over the contracts with former Cosmos executive Rafael de la Sierra (28:55 to 28:57). The shot shows de la Sierra in the middle right, with Mazzei, his right hand raised in a pontiff-like blessing over the documents, at center left, and Toye seated at far left; a table cluttered with paper, accompanied by ashtrays filled to overflowing, can also be observed. (The prevailing mood was one of having pulled an excess of all-nighters!)
As far as high-flying salaries went, baseball’s home-run king, Hank Aaron, had made US$200,000 that year — and he was the highest paid player in sports. Many years have passed since these events took place, yet there are still differences of opinion about how much Pelé was paid for his services: a five-part contract, at one million per year; a ten-year public relations contract; a million-dollar record deal; and one million for three years of actual play. In the final analysis, the figure was somewhere between $2.7 and $7 million, at 1974 rates — any way you slice it, this was an unimaginable sum at the time that, unfortunately, went mostly toward paying back the loan Pelé had unwittingly cosigned for.
Once again, we are shown a photo of a dazed Professor Mazzei (at 29:28 and 29:30) with a mass of cigarette butts on the table; and faded footage of Mazzei (at 30:31 to 30:33) looking over and/or behind Pelé’s shoulder, with Jay Emmett directly behind him. Pelé embraces his new boss, Steve Ross, and then pats Emmett on the back to officially “seal the deal.” Significantly, Pink Floyd’s song “Money” plays on the soundtrack, which sets the proper tone. Henry Kissinger was also involved in bringing Pelé to the U.S. (Brazil did not want to let him go, so they continued to play hardball). Through some behind the scenes politicking and arm-twisting, Kissinger, who was still highly influential as U.S. Secretary of State, along with others in the Brazilian government, were able to make the miracle happen “for the good of the relationship of Brazil and the United States.”
The contract was officially announced at the 21 Club in Manhattan, in what Daily News columnist David Hirshey claimed was held “in a room aptly named the Hunt Room, as if Pelé was the prize catch.” Pelé was two hours late (the quip was that he was on “Pelé time,” not New York time). When he finally did arrive, guess who was standing behind him? Professor Mazzei, his trainer and mentor at Santos Soccer Club, dressed in a blue business suit, white shirt, and natty striped tie (33:39 to 33:42). He is seen directing traffic at or near the podium, as Pelé waves to the press corps and shakes hands all around. Veteran sportswriter and severe soccer critic Dick Young can be heard heckling the participants from the back of the room. Nevertheless, Pelé’s charm and charisma electrified those present, especially the reporters who likewise became instant fans. This positive show of support resulted in record attendance at the Cosmos games, though Young remained a powerful skeptic.
After the contract was signed and with Pelé’s wife Rose by his side, Mazzei turned to the expectant crowd. Translating for the “King” while inadvertently echoing Frank Sinatra’s rendition of Kander and Ebb’s “New York, New York,” the Professor issued the following proclamation to a warm round of applause: “You can spread out the news to all the world that the soccer arrived finally in USA” (34:50 to 34:58).
Intermission: Rise & Shine
Meanwhile, at Randall’s Island, Pelé is seen patting two small boys on the head, while the ever-watchful, ever-present Professor Mazzei in jacket and tie (36:30 to 36:34) looks on in the near distance. A bit earlier, Mazzei, dressed in an orange-colored, long-sleeved jersey (35:29 to 35:35), is caught observing the superstar going through his training routine. Next, Pelé enters the stadium for his first match as a Cosmos player. And who do we see trailing behind him, in dark glasses, wide-open collar, and plaid jacket? You guessed it: good old Professor Mazzei (36:39 to 36:40). Thus began the North American leg of Pelé’s career at the age of thirty-four.
The first game took place at Downing Stadium, on June 15, 1975, against the Dallas Tornado. The score was tied at 2-2. Pelé had done well, with an assist and a header in the process. When it was over, Pelé went down to the showers. The locker room was packed to the rafters with wall-to-wall journalists. Out of the blue, Pelé called Rafael de la Sierra over and shouted, over the din of competing voices, that this would be the first and last game he would play for the team. “Look at my feet,” he cried. “I have a fungus that I contracted here!”
De la Sierra was stunned by the accusation, but it turned out that the alleged “fungus” was nothing more than green spray-paint used to brighten up and prettify the substandard field. Crouching down at Pelé’s feet, which were covered in filthy, mud-drenched socks, was the unmistakable form of Professor Mazzei (38:51 to 38:55), in the same green baseball cap and Cosmos sweatpants he sported at the beginning of the documentary. When Pelé realized the ridiculousness of his claim, he broke out into an amused grin.
“I come to play in America,” Pelé later proclaimed before the camera, “because I believe in soccer in America. Kids here love the sport, the American people’s sport naturally. I come to play here because I know, in a few years we’ll have a good team in America.”
How right he was — and how prophetic as well! His presence continued to shatter attendance records, the voiceover made known, although that first season ended with the Cosmos missing the playoffs. Pelé put on a brief demonstration for then-President Gerald Ford, with Professor Mazzei (42:38 to 42:49) interpreting as the need arose.
Things got better as the Cosmos moved to Yankee Stadium. In fact, many people have taken credit for bringing Pelé to the U.S. and to the Cosmos. However, it remains a mystery that the one man who became his most trusted companion — his trainer, his mentor, and his English language translator as well as his frequent travel partner — goes unmentioned.
From then on, things picked up for professional soccer in America. At Franz Beckenbauer’s signing, there was the ubiquitous Professor Mazzei, standing at extreme left and flanking Ahmet Ertegun, Werner Roth (captain of the Cosmos), Pelé, Mr. Ross, the Kaiser, and Chinaglia. But Pelé, it can be stated, was without a doubt the player who started the literal ball rolling, the one who can claim the mantle of having given soccer the propriety it lacked in North America. As a result, the likes of Gordon Banks, Rodney Marsh, Geoff Hurst, and George Best were all attracted to the States.
Steve Ross wanted a winner above all else. This is why he recruited Chinaglia, who is variously described as a “backstabbing individual,” a person “who scored a lot of goals,” but who was generally disliked; “a very disagreeable fellow at times,” but one who “was extremely passionate about soccer” (according to Ross’s son, Mark). He was also the “man to put the ball in the back of the net,” exactly what Ross required. And maybe what the Cosmos needed at that point. Ego and temperament were what drove Chinaglia to become the league’s highest scorer; while aptitude and ability made Pelé the leader in assists.
Despite Chinaglia’s reputation as a playboy, he and Ross got along well together, former Cosmos goalie Shep Messing insisted. “Giorgio had won a soft side in the heart of Steve Ross.” Obviously, this led to friction between the two prima donnas of the team, Pelé and Chinaglia. Not that Pelé was the “diva” type, the kind to throw temper tantrums at the drop of a hat; it was that Giorgio craved being the rock star, the idol of millions — he certainly had the looks and the brooding mien of an idol. He also needed the adulation (both the boos and the cheers), the attention, and the hangers-on. This was not the case with Pelé, who had enough self-possession and assurance not to require those things. He had been in the spotlight for half his life, ever since his 1958 World Cup debut in Sweden, ergo he was used to being at the center of the soccer world.
They clashed in the locker room, where emotions ran high, exploding in a torrent of accusations and four-letter words. Egos inevitably took over, especially Chinaglia’s. David Hirshey, sports columnist and writer who wrote a biography of Pelé, talked about the women, “a blonde on each arm,” as he recalled the soccer star having at one point. In that, Pelé and Giorgio saw eye-to-eye.
This is how the Cosmos lost the 1976 Championship to their rivals, the Tampa Bay Rowdies, by a score of 3-1. Wine, women and song were to blame — in this instance, two bottles of Chivas Regal, according to Tampa Bay’s star player, Rodney Marsh. The boss, Mr. Ross, was not at all pleased. To escape the inevitable fallout, the Cosmos were sent on a tour of Europe, where they became literal “goodwill ambassadors,” in the words of Rafael de la Sierra. Rodney Marsh, often hailed as “the white Pelé,” relates the story that he corrected a reporter who had interviewed him by insisting that Pelé [was] the black Rodney Marsh. “This did not go over well,” he confessed. There is a shot of the team leaving their plane as it lands in London. Professor Mazzei is there, looking dapper in a gray-blue sports shirt and trademark dark glasses (53:16 to 53:18).
In the decade between the 1960s and the mid-70s, soccer in America had been transformed into its own type of sport, tailored specifically to U.S. audiences: that meant halftime shows, tailgate parties, leggy cheerleaders, a colorful mascot, and the piece de résistance — no tied games.
“You needed a winner,” Rodney Marsh would say. So teams would go first into a mini-game, then O.T., and finally the dreaded penalty shootout — only, this wasn’t the standard shootout it would become today; it was a one-on-one rush at the goalie! Some of the players despised the idea, while others loved it; either way, it brought additional excitement to the game. The players stood thirty-five yards from the goal mouth, and given only five seconds to get off a shot before time would be called. The crowds ate it up.
Take the Credit, but Spread the Blame
The Cosmos had been playing at Yankee Stadium until the final year, 1977, when they moved across the river to the newly built Meadowlands in New Jersey. They even added the Cosmos Cheerleaders (one of whom, a young woman named Marjorie, was Professor Mazzei’s daughter!). Also, a guy in a Bugs Bunny outfit, on loan from Jungle Habitat in New Jersey, would become their unofficial mascot in the stands and on the field. They were Americanizing the sport, at the same time that Steve Ross continued his efforts toward “internationalizing” the team (a contradiction in terms).
“It was like Noah’s Ark,” described Rose Ganguzza, Pelé’s manager from 1975-77. That year, there were fourteen new players from seven countries, among which was the twice-named European Player of the Year, the “Kaiser” Franz Beckenbauer. As mentioned earlier, at the signing, to the far left of the Ertegun brothers, Pelé, Ross, Beckenbauer, and Chinaglia, was Professor Mazzei, standing ramrod straight with his hands at his side and glancing down at his cuticles (57:18 to 57:20).
Chinaglia went berserk at the news of the signing, openly questioning why they, the Cosmos, needed another star player when they already had him! One reason was that the Cosmos were losing more than winning; another was that they were only drawing twenty or so thousand fans to their home games, in a stadium with a capacity for three times that much. So they were losing money with every game. And, as we know, Ross did not like to lose anything — especially money.
In response to the crisis, Ross brought the heavy artillery out to the stadium, i.e., all the singers and actors under contract to Warner Communications were enlisted for their drawing power: Bette Midler, Barbra Streisand, Paul Newman, Robert Redford, Muhammad Ali, Quincy Jones, Henry Kissinger — you name ‘em, they had ‘em. Andy Warhol, David Bowie, Steven Spielberg, the list was endless. In Clive Toye’s words, “The bloody locker room was littered with people. It was becoming a joke.” Once, Mick Jagger was mistaken by Gordon Bradley for a drug addict, he looked so abysmally bad. Mick and Kissinger visited regularly, as did many other celebrities, which took attention away from the game and those playing it.
After a while, Toye resigned and Bradley was fired. It seemed that Bradley had wanted to bounce Chinaglia from the team, but upon Bradley’s firing, Giorgio recommended that Eddie Firmani be hired. Firmani had led Tampa Bay to victory in 1976. Toye insisted that Giorgio “had a malign influence over Ross,” and therefore over the Cosmos. Giorgio was the “suck-up”: whenever he’d score a goal, he would run up to the boss’ box and wave and gesticulate in Steve’s direction, paying homage to the kingmaker, as it were. This was a smart move on Giorgio’s part since he too had been dropped by Bradley. He needed to get back into Ross’ good graces, and this was one sure way to do it. In the end, the Italian striker would win out over his adversaries.
Even with Chinaglia’s goal-scoring facility, the team lost five of their subsequent games. So they searched for new blood: Carlos Alberto, the captain of Brazil’s 1970 World Cup team, was brought in from São Paulo. Carlos Alberto revealed that the day he arrived in New York, July 13, 1977, was the day of the big blackout. Crime, looting, arson, robberies … the Son of Sam serial killer was still on the loose, and the impending bankruptcy of New York City was in the air, along with police sirens, gun shots and billows of black smoke— the place was in turmoil. I lived through those rough times, with the blackout being the most damaging to the city’s reputation. They were exceedingly difficult days to overcome. Having a winning, championship team to rally behind helped to pull the city from the brink.
Meanwhile, the Cosmos players were living it up at Studio 54 (equivalent to Nero fiddling while Rome burned), with stretch limos escorting them to and fro after each game, and to a huge section reserved for the team. The rock-star milieu had finally come to U.S. soccer in that they held a party there every Monday night.
There is a snapshot of Pelé at a table, with his then-wife Rose to his left; to Pelé’s right is Nelsi Morais, one of the first Brazilians to be signed by the Cosmos, and his wife; to Rose’s left is the ubiquitous Professor Mazzei, and at the extreme right side is Mazzei’s wife, Maria Helena (1:04:32 to 1:04:35). They are raising their glasses in a toast to fun and frolic — the Brazilian contingency at play.
On August 14, 1977, a sold out audience of 77,691 screaming fans at Giants Stadium in the Meadowlands saw the Cosmos seize the playoff bench from the Fort Lauderdale Strikers. The team went on to win the 1977 Soccer Bowl against Portland, thanks to a squeaked-through goal by Steve Hunt and a tremendous header by Chinaglia. And they did it for Pelé; they wanted him to end his career on top as a winner. Act II comes to a climax, the arc of triumph, the pinnacle of field performance for the New York Cosmos.
It would all come crashing down in the years to come.
(End of Part Two – To be continued….)
Copyright © 2017 by Josmar F. Lopes
A proposed Musical Theater piece is based on the documentary Waste Land (Lixo Extraordinário)
Back in April of 2011, I became struck with the idea of turning the Academy Award-nominated documentary Waste Land (2010) into a musical. Don’t ask me why, it was one of those mad obsessions I get from time to time.
I had been trying for weeks to get in touch with Brazilian-born artist Vik Muniz, who was one of several driving forces behind the documentary, but without success. It was his penchant for taking discarded trash and turning them into extraordinary works of art that first captured my attention. Vik’s peculiar habit of photographing the end result led to unique objets d’arts involving, for example, Leonardo da Vinci’s Last Supper or a snapshot of Jackson Pollack outlined in chocolate syrup.
Other objects were comprised of such everyday household items as a strip of wire, a used light bulb, a roll of toilet paper, a spiral notebook, and similar materials. Muniz would arrange the objects in as artful a manner as possible and simply photograph them. For his series “Pictures of Garbage,” he photographed the residents of the Jardim Gramacho (Garden of Garbage) slum, in Rio de Janeiro, in poses reminiscent of famous paintings, i.e., Jacques-Louis David’s Death of Marat, Gustave Courbet’s The Gleaners, a Renaissance Madonna with children, and various others.
To my mind, a Waste Land – The Musical project would be an extension of Vik’s creative vision. In a 2010 Art in America article, he explained to interviewer Michael Slenske that one is “always dealing with preconceived ideas… of the value of materials, so the point of departure is familiarity.” In the case of the film, Vik “departed from the [preconceived] image” of garbage as foul-smelling and useless rubbish, transforming what others had discarded into images of poignancy and dignity, as well as beauty.
I was so impressed and moved by Vik’s efforts, and by the documentary itself, that I simply had to approach him about my idea. Although I never got to speak with Vik, I did have a lengthy conversation with the film’s producer, Angus Aynsley, who is also the main copyright holder along with O2 Filmes in São Paulo, Brazil.
My thought was to create a musical presentation in the spirit of Andrew Lloyd Webber’s Cats, where the personal back stories of the inhabitants of Jardim Gramacho are spotlighted and emphasized. It would be a marvelous way to pay tribute to the wonderful work of Tião, Zumbi, Isis, Irmã, Magna, Suelem and the late and much-lamented Valter.
With Brazil being the focus in 2014, in which ACAMJG (Association of Garbage Pickers of Jardim Gramacho) are the official World Cup recyclers, and especially the 2016 Summer Olympic Games in Rio, this would be a great opportunity to bring the story of the catadores of Jardim Gramacho to the world stage.
As well, it would help to focus on their struggles by bringing aid and comfort to those less fortunate than ourselves. What better way to do this than through a musical adaptation that everyone could enjoy and participate in?
I began with a listing of the dramatis personae:
Tião (Sibby) – The leader of the garbage pickers
Irmã (Big Sister)
Carlão (Big Carl)
Suelem (Sue Ellen)
Jô Soares – Brazilian TV personality
Act I: Conflict
The setting is Rio de Janeiro, behind Guanabara Bay. In the background we see the mountains, with Corcovado looming in the distance, far to the right. One can make out the statue of Christ the Redeemer silhouetted from behind.
It is still dark; the time is just before daybreak. As the sun slowly rises, we begin to distinguish the outlines of ramshackle homes and makeshift shantytowns, their lights flickering in the dawn. With the sun’s appearance, the lights in the theater go up as well — slowly, methodically, in time to the music.
What the audience doesn’t realize, but eventually begins to notice, is that the mountains in the foreground are, in reality, huge garbage heaps piled high with refuse, reaching almost to the top of the proscenium. There is ample illumination, with the only shade provided by the massive piles, mounds of trash in the midst of filth and decay. The scene is reminiscent of Peter Brueghel the Elder’s 1563 painting of “The Tower of Babel,” with openings, archways, windows, etc. It is a unit set that serves a multipurpose function.
It becomes clear in the morning mist that Rio (read: Brazil) has turned its back on the impoverished, those downtrodden souls who labor for a living while providing “clean-up duty” to those residing in the lap of luxury, just beyond their reach. These poor folk are spurned, rejected, ostracized by society. Why, even Christ himself has turned away from the garbage pickers (symbolized by our view of His backside).
This is the horrid, sorry realm of people who live on the lowest rung of the socio-economic ladder. “Garbage” equates to the type of persons picking it: that is, they are of no value, worthless, suitable only for tossing aside, once they are used up — a metaphor for the pickers themselves.
Number 1: “The Waste Land Song” – The catadores, or “garbage pickers,” who come out from behind the huge mounds, now appear, individually and collectively, in the opening number. They sing of their lot, each one in his or her fashion. This is “The Waste Land Song,” the first few lines of which are:
Seven thousand tons of trash
Work all day for little cash
Robbing Peter, paying Paul
Look, here comes another haul
It’s a Waste Land
We meet them, one by one, as they introduce themselves to us: there is Tião (Sibby), the president of ACAMJG, an acronym for the Association of Garbage Pickers Union; Zumbi (Zombie), Suelem (Sue Ellen), Isis, Irmã (Big Sister), Valter (Walter), the group’s philosopher-poet; Carlão (Big Carl) and his wife, and Magna — the main characters of our story and residents of the Jardim Gramacho (“Garden of Garbage”) neighborhood. They are denizens of this “Waste Land,” one of the world’s largest landfills.
Landfills, by necessity, are dead and lifeless places, akin to a cemetery or graveyard, in that there are dead and rotting things in them. All around, buzzards are seen circling overhead or swooping down onto the piles of refuse, constantly on the lookout in a never-ending search for sustenance.
The analogy of a graveyard is a crucial one, for it will determine the staging in many respects, as well as become instrumental in shaping the personalities of the play’s characters who, in many cases, have spent their entire lives there as pickers. Leoš Janáček’s From the House of the Dead is a good comparison, in particular the late Patrice Chéreau’s staging at the Metropolitan Opera House in 2009.
Although, like the characters in the Janáček opera, their lives are bleak and the work is constant drudgery in the extreme, the catadores somehow manage to keep their sense of humor about it all. Most are a happy, contented lot — unlike the put-upon individuals of Les Misérables who are incapable of masking a lifetime of hurt and suffering. So the landfill is not entirely lifeless; in fact, it’s teeming with vitality.
Number 2: “Valter’s Verse” – Valter, the landfill’s elder statesman and resident philosopher-poet, is the first to come out. He sings a number about his credo in life:
It goes like this:
Here’s wisdom aplenty
Ninety-nine is not a hundred
And nineteen is not twenty
Meaning that if even one object is rescued from the garbage heap and recycled, that’s one less of the total mess. It’s his life’s mission to rescue “that single one” that “will make all the difference.” He might be referring to the garbage pickers, which is, rescuing even one of them from a life of drugs, crime and prostitution, is a life that is itself worth preserving and/or “recycling.” Valter knows what he is talking about, having spent 26 years as a garbage picker, as well as vice president of ACAMJG and representative to over 2,500 pickers. He wears his responsibility with seriousness of purpose along with dignity and pride.
Number 3: “Isis’ Lack of Luck” – She talks about her “boyfriend,” a truck driver, who happens to be married to someone else. They recently broke up, after she had already tattooed his name on her leg. “It’s over,” she blurts out sadly. Five years she’s been working in the landfill. “It’s disgusting,” she muses. “I make $20-25 dollars a day. This isn’t a future. Not for me, it isn’t.”
Number 4: “Tião’s Tale” – He is the president of the association of rag pickers, a natural-born leader, and a person that all the pickers look up to for counsel and advice. He has a different take on his role at the landfill. “I have nothing to complain about in my life,” he declares, “nothing, nothing at all.” Not yet, he doesn’t. Dead bodies are sometimes dumped there, he claims, especially during the drug wars. But for now, things are relatively quiet. He sings about finding a copy of Machiavelli’s The Prince and, after reading it, comparing the story in the book to the reality of slum life in Rio: “l learned a lot from it.”
Number 5: Ballet Dream Sequence: “Delivery Truck” – A truck comes along and unloads more garbage onto the heap. The pickers climb all over it, like ants on an enormous mound. This begins a ballet dream sequence, as if the workers are wrapped in a trance, methodically going about their monotonous routine. The pickers find some unused hotel and restaurant food, as they toss it to Irmã (“Big Sister”) for her to work her magic on, which segues into the next number.
Number 6: “Irmã’s Ode” – Irmã, strong, steadfast, full of spunk and good humor, is the camp’s only cook. She recycles the food she finds in the heap, “beef stew,” “rib steak,” whatever she can get her hands on. She turns the unused portions into a gourmet meal for the pickers. “We feel good in here. I don’t let anyone go hungry. I feel very good.”
Number 7: “Magna’s Yarn: The Bus Ride” – Magna talks about being on the bus — again, illustrated, in parallel, almost as if the scene were taking place before our eyes. She is on the bus going home, smelling of garbage as usual, saying to the other passengers, “It’s because I work in the dump. Hey, it’s better than turning tricks on Copacabana Beach. I find it more interesting and more honest. More dignified, but it’s disgusting. Still, we have to pay the bills. And no one ever stops to think: where does all that garbage go? It goes here, my friend. Right here…”
Number 8: “Zumbie’s Story” – Responding to Magna’s complaint, Zumbie finally has his say. He has a stutter: “I don’t want my son to be no garbage pi-pi-picker,” he cries. “A la-la-lawyer, yes… but a pi-pi-picker…? No, no w-w-way!” Suddenly, he shouts to the other pickers. “Watch out for the tra-tra-tractor!” Books are his thing, as he is the landfill’s resident “librarian,” always finding new and used volumes in the heaps to recycle for his expanding collection. His father died, “when I was nine years old. Mom died too.” He tells a sad story of his life, up to that point.
Number 9: “Suelem’s Lot” – Suelem adds her own two cents: “I started at seven, now I’m eighteen. A baby was thrown away — we see some unpleasant things here, you know.” It’s even more unpleasant for her when she tells everyone she’s pregnant with another child. “If the rent is late, it goes up. I have to pay it on time.” She already has a little boy and a girl. Their father is a drug dealer; the rats run along their roof. Suelem dreams of opening a daycare center one day: “I love children.” She takes us on a tour of her house, which is located in the next slum where she and her extended family live — so many people in one tiny place.
Number 10: “Name That Trash” – Next, there is a comic scene wherein the garbage pickers discuss whose trash they find: “This is middle-class trash. Poor is the trash of the poor. It comes in little plastic bags.” They find some discarded Playboy magazines and marvel at its eye-popping contents. “Are there really such women in the world?” They begin to wonder aloud.
Number 11: “Finale” – The finale to Act One is a crisis of immense proportions. A robbery is in progress. A gang of thieves or drug addicts (nobody knows for sure) enters and holds up the office. The gang takes off with whatever money the pickers’ daily toil has gotten them. Left without any means to support and feed their families for the month, the catadores moan their loss. What can they do now? An ensemble closes the act, with the principal themes and melodies of the characters’ songs building, reappearing and intertwining, with each of their individual thoughts, hopes and dreams (as well as failures) restated, in essence converging in one massed chorus.
“Hey, watch out!” somebody screams. All of a sudden, one of the catadores is hurt as a garbage truck empties its contents on top of him, while the others come quickly to his rescue. One of the members announces, “It’s Zumbi.” He has broken his arm and leg, and cracked several ribs. What will happen to them, to their families, their friends, their livelihood?
Indeed, their very existence is threatened by these unforeseen incidents. Who will help them in their hour of need? Who will take them out of their misery? Tião is seen weeping: “I just feel like giving up on all of this. I don’t want to stay here anymore.” He buries his face in his hands and shakes his head from side to side.
(To be continued…)
Copyright © 2014 by Josmar F. Lopes