Orache moth, Trachea atriplicis, Noctuidae
Photographed in France by Matthieu Berroneau
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Misplaced Lens Cap

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â

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Xuebing Du
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Orache moth, Trachea atriplicis, Noctuidae
Photographed in France by Matthieu Berroneau
Shared with permission; do not remove credit or re-post!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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ZĂĄlesak Rolf by Ernest Thompson Seton, from the original Rolf in the woods.
Illustrated by Mirko HanĂĄk.
Arch Enemy Arts | Jason Limon (artist page)
(via SURMICLUSSER: ăăăĄăȘăł)
Quem os ensinou a costurar folhas e tecer ninhos de forma tĂŁo incrĂvel!?đȘ
Eu sĂł digo que Deus Ă© a prĂłpria perfeição ao criar tudo tĂŁo perfeito e com primĂcias de detalhes.
Deus Ă© tudo na vida de todos os seres viventes.đđ»đ«
x.com/MWFaithOfficiaâŠ

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Gu Yuan, Thawing Lake, 1985
From KyĆsen Kawasakiâs "Omocha Chigusa" (Toy Species), we introduce Kyoto's "Choro"âa type of street performer known as "choro-ken" that existed from the Edo period through the Meiji era. These performers would visit households to showcase their acts. Choro-ken seems to have been inspired by this tradition. Their lively performances apparently helped brighten New Year celebrations.
ć·ćŽć·šæłăăăăĄăćçšźăăăăäșŹéœăăăšăăăăçŽčä»ăæ±æžæä»ŁăăææČ»é ăŸă§ăăăćź¶ă ăćăŁăŠèžăèŠăăéä»ïŒăă©ă„ăïŒèžäșșăźäžçšźăăĄăăăăăăăąăăŒăă«ăăŠăăăăă§ăăăĄăăăăăŻăă«ăăăăȘèžă§ăæŁæăçăäžăăŠăăăăă§ăă
Dozing Off
Gao Siyuan
Oil tempera on canvas, 2025

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Pine Grosbeak (Pinicola enucleator), male, EAT A TASTY BERRY!!!, family Fringillidae, order Passeriformes, Norway
photograph by Arvid Bredesen
This is not camouflage. Itâs a trophy of the dead.
Meet the Assassin Bug nymph â natureâs youngest warlord. But this baby doesnât hide. It wears the fallen.
After ambushing and draining ants alive, it stacks their empty exoskeletons on its back like armor. One by one. Shell by shell. Until itâs walking beneath a moving pile of corpses.
Why? Because ants are aggressive, and smell plays everything in the insect world. By wearing dead ants, it confuses predators and masks its scent â hiding in plain death.
It doesnât run. It doesnât beg. It builds its shield from what it slays.
Itâs not hiding. Itâs declaring war.
credit: Muhammad Fiaz
Luiz ClĂĄudio Ramos: A Structured Biography â Professional Journey, Productions, and Legacy
Introduction
Luiz ClĂĄudio Ramos stands as one of the most industrious and influential figures in the history of Brazilian popular music (MPB). As a guitarist, arranger, producer, composer, and conductor, he has left an indelible mark on the sound and production values of Brazilâs post-bossa nova era. Most widely celebrated for his decades-long partnership with Chico Buarque, his talent radiates into countless collaborations, solo projects, and contributions to cinema. This in-depth biography explores his personal and artistic background, documents his multifaceted career, highlights his major productions, and analyzes his lasting influence on the music industry.
Early Life and Background
Born Luiz ClĂĄudio Ramos dos Santos on July 25, 1949, in Rio de Janeiro, Luiz ClĂĄudio grew up in a household immersed in music. His mother, Flora Antunes Maciel Ramos, hailed from the state of Rio Grande do Sul and was part of an exceptionally musical family, reportedly with eleven siblings who either played instruments or sang. Flora herself played piano, guitar, and sang, often performing classical works by Chopin, Debussy, and Ravelâa formative influence on Luizâs musical vocabulary. His father, Kylvio, was an agronomist with an affinity for guitar, further amplifying the ambient musicality at home. Importantly, Luizâs older brother, Carlos JosĂ©, became a successful professional singer, particularly as a seresteiro, or serenade-style balladeer, cementing the expectation and possibility of a life in music within the Ramos household.
By age fourteen, Luiz ClĂĄudio had become an autodidact on the guitar, which would remain his principal instrument throughout his life. His early exposure to diverse genres, spanning the classical and the popular, contributed to his unique approach to both arrangement and composition.
Education and Musical Training
Although Luiz ClĂĄudioâs musical environment was largely familial and informal, he briefly pursued formal music theory with Hungarian composer Ian Guest and took some light guitar instruction from Arthur Verocai, a respected future arranger and composer. Despite such forays, his primary education was self-guidedââna marraâ as he would sayâwhich allowed him to pursue a creative vision less restricted by academic orthodoxy.
After winning a university spot to study medicine, Luiz ClĂĄudio attended for a year but soon realized his calling was music. The intense pull of the professional music world, coupled with already burgeoning performance and recording invites, led him to drop out at the start of his second year, much to the disappointment of his father. This decision was pivotal in enabling him to seize career-building opportunities at a critical historical moment for MPB.
Entry into the Professional Music Industry
Luiz ClĂĄudioâs professional debut happened in the fertile musical landscape of mid-1960s Rio de Janeiro. His earliest credentials included session work and live performances with musical theater groups and jazz or samba-jazz trios while still a teenager. In 1965, he participated in jam sessions at the Clube de Jazz e Bossa. The following year he was already involved with theatrical productions, providing music for stage playsâa connection that would later prove valuable in his soundtrack work.
In 1968, Ramos accompanied SĂ©rgio Ricardo in the Festival de MĂșsica de NiterĂłi, establishing his reputation as a reliable, talented guitarist with a nuanced sense of arrangement. Throughout 1968 and 1969, he performed with and accompanied important early bossa nova names such as Johnny Alf and Eliana Pittman, as well as working with Wilson Simonal and his band Som 3. By 1969, the true lift-off came when he became the guitarist in the pioneering group A Brazuca, led by acclaimed pianist Antonio Adolfo.
The A Brazuca Years (1969â1971): First Career Milestone
From 1969 to 1971, Luiz Clåudio Ramos was a core member of A Brazuca, a jazz and bossa nova ensemble that also included Antonio Adolfo (piano), Luizão Maia (bass), and Victor Manga (drums), with Julie and Bimba on vocals. This group's accomplishments include a notable second-place finish at the IV Festival Internacional da Canção and the release of two influential albums, Antonio Adolfo & A Brazuca (1969) and Antonio Adolfo e A Brazuca 2 (1970), both considered cornerstones of innovative post-bossa nova Brazilian jazz/pop arrangements.
A Brazuca was also featured on TV Globoâs highly visible program âSom Livre Exportação,â where Luizâs playing garnered attention from established and upcoming MPB stars. These years are seen as critical for his emergence as an in-demand session musician, and they opened doors to collaborations that shaped the rest of his career.
Ascendancy as Arranger and Producer in the 1970s
After A Brazuca, the 1970s saw Luiz ClĂĄudio Ramos flourish across the Brazilian music scene. Encouraged by legendary producer Roberto Menescal, Ramos began writing arrangements for a range of artists. Particularly significant was his longstanding role as chief arranger and musical director for Quarteto em Cy, where he modernized and expanded the groupâs sound.
Luizâs fingerprints are found on a staggering number of major records through the 1970s. His discography from this decade includes contributions as an arranger, guitarist, or both for:
Elis Regina (Elis Regina, 1972)
Sonhos e MemĂłrias: 1941â1972 (Erasmo Carlos, 1972)
Krig-ha, Bandolo! and Gita (Raul Seixas, 1973/74)
Manera Fru Fru, Manera (Fagner, 1973) â notably co-arranged the title track
AtrĂĄs do Porto Tem Uma Cidade (Rita Lee & Tutti Frutti, 1974)
Meus Caros Amigos (Chico Buarque, 1976) â first complete orchestral arrangement âMulheres de Atenasâ
Chico Buarque & Maria BethĂąnia Ao Vivo (1975)
Novo Aeon (Raul Seixas, 1975)
His reputation for creative, elegant instrumentation and for bridging samba, MPB, and pop aesthetics made him a go-to collaborator for many high-profile MPB figures including Nara Leão, Gal Costa, Odair José, and more.
Partnership with Chico Buarque
The Early Collaborations: 1970s
Although Luiz ClĂĄudio Ramos first recorded with Chico Buarque in the early 1970sâhis participation on the song âBĂĄrbaraâ from the soundtrack for Chicoâs and Ruy Guerraâs play Calabar: O Elogio da Traição (1973) marked the inception of a partnership that would become a defining thread of his career.
The relationship deepened greatly in the mid-1970s. In 1975, Ramos took part in the landmark Chico Buarque & Maria BethĂąnia Ao Vivo concert and record, where he began contributing to the harmonies and arrangements. By 1976âs Meus Caros Amigos, he was writing full orchestral arrangements for key tracks (âMulheres de Atenasâ)âhis first major step toward assuming the musical directorship and production responsibilities that would come to define his public profile.
Evolution into Musical Director and Producer: 1980s Onward
By the late 1980s, Luiz ClĂĄudio Ramos had assumed an official role as Chico Buarqueâs principal arranger and producer, both for albums and live performances. Beginning with the 1989 eponymous Chico Buarque album, and solidifying in Paratodos (1993), Ramos became the trusted architect of Chico Buarqueâs musical projects, responsible for the characteristic textures, orchestrations, and sophisticated harmonic language that underline Chicoâs mature work.
He is credited with directing the band and arrangements on every studio album and tour since Paratodos, including major releases such as:
Uma Palavra (1995)
As Cidades (1998)
Cambaio (2001)
Carioca (2006)
Chico (2011)
Caravanas (2017)
This period further cements his legacy as an integral creative partner, frequently contributing as a co-composer (e.g., âCecĂliaâ on As Cidades) and as a continuous presence in Chicoâs recording and touring groups.
Arranging and Production Work: 1970s and Beyond
While Luiz ClĂĄudio Ramos worked with a remarkable cross-section of Brazilian popular music throughout his career, his signature style as an arranger set him apart. He is noted for drawing upon both classical and Afro-Brazilian elements, often weaving jazz harmonies, lush string arrangements, woodwind counterpoints, and driving samba or bossa grooves into seamless orchestrations. This approach is evident in his work for key albums by Quarteto em Cy, Fagner, MiĂșcha, MPB-4, Nara LeĂŁo and others.
He also ventured frequently into producing, balancing the roles of artistic guide and technical overseer. Ramos distinguishes himself as a âmusical producer,â focused on the articulation, arrangement, and realization of the musical core rather than on media or publicity management.
Arranger Table â Selected 1970s Projects
Featured Artist Album/Track Year Role Fagner Manera Fru Fru, Manera 1973 Arranger Quarteto em Cy Antologia do Samba Canção 1975 Arranger MPB-4 Cicatrizes 1972 Arranger Elis Regina Elis 1972 Guitar/Arranger Raul Seixas Gita, Krig-ha, Bandolo! 1973/1974 Guitar/Arranger
Each of these collaborations contributed to the distinctive soundtracks of Brazilian culture in the era, and many remain reference points for contemporary musicians and producers.
Discography Overview and Solo Production
While Luiz ClĂĄudio Ramosâs main reputation is as an accompanist and arranger, his smaller discography as a solo artist and collaborator is notable for its musicality and inventiveness.
Solo and Collaborative Albums
Luiz ClĂĄudio Ramos (1980, PolyGram): His major solo LP, released in the celebrated MĂșsica Popular Brasileira ContemporĂąnea series. The album explores MPB, samba, bossa nova, and Brazilian jazz, with a touch of experimentalism yet imbued with refined arrangements. Tracks such as âLadeira do TambĂĄ,â âSanto Amaro,â and âCarta Foraâ are praised for their complex harmonic language and subtle instrumental interplay.
Dois IrmĂŁos (2011, with Franklin da Flauta, Manaca Music): A partnership album focusing on duets with Franklin da Flauta. The track âĂmbarâ opens the album and highlights their intricate interplay between flute and guitar. The record bridges choro, valsa, jazz, and bossa, offering a panoramic view of modern Brazilian instrumental music.
Musas da Canção (2015, with Carlos JosĂ©): A family tribute, this album features his brother Carlos JosĂ© and guest appearances by Chico Buarque. The song âOdeteâ is particularly notable, combining generations of family and national MPB history.
Table: Key Productions by Luiz ClĂĄudio Ramos
Title/Project Year Role Collaborators/Notes Luiz ClĂĄudio Ramos (solo LP) 1980 Composer/Performer/Producer Solo Album, MPB Contemporary Series Dois IrmĂŁos (with Franklin da Flauta) 2011 Composer/Performer Duo with Franklin da Flauta Musas da Canção (with Carlos JosĂ©) 2015 Arranger/Performer With brother Carlos JosĂ©, feat. Chico Buarque O Sonho de Rose â 10 Anos Depois (Soundtrack) 1997 Composer/Performer Film Score, w/Chico Buarque Vinicius (Documentary Soundtrack) 2005 Musical Director/Arranger Dir. Miguel Faria Jr. Chico: Artista Brasileiro (Doc.) 2015 Music Director Dir. Miguel Faria Jr. Paratodos (Chico Buarque) 1993 Producer/Arranger/Guitarist Buarque, Tom Jobim, Gal Costa Caravanas (Chico Buarque) 2017 Musical Director/Arranger Seven consecutive albums as director
This array shows both the breadth and the consistency of Luiz ClĂĄudio Ramosâs production and arranging talentsâa career embedding solo artistry within a dense network of collaborations.
Film and Documentary Soundtrack Work
Luiz ClĂĄudio Ramosâs skills as a composer and musical director extended naturally into cinema and television. Noteworthy credits include:
Cinema and Television
O Sonho de Rose â 10 Anos Depois (Soundtrack, 1997): Ramos wrote original music for TetĂȘ Moraesâs acclaimed documentary, which revisited the lives and legacy of Brazilian landless movement participants. The score features Chico Buarque on âAssentamentoâ amongst other pieces, displaying Ramosâs gifts for cinematic atmosphere and emotive melodies.
Vinicius (Documentary, 2005): Musical director for this celebrated film about the life of Vinicius de Moraes, with arrangements and direction underpinning interpretations by contemporary artists. Ramosâs direction here was awarded the Cinema Brazil Grand Prize for Best Music in 2007 and the PrĂȘmio Guarani in the same year.
Chico: Artista Brasileiro (Documentary, 2015): Again as the principal music director, Ramos reconstructed and directed live and studio performances for this documentary, which won Ramos another Cinema Brazil Grand Prize for Best Music in 2016.
These projects capture not just his musicality but his social consciousness, echoing the political narrative of Brazilian culture in transition and honoring its central artistic figures.
Musical Direction, Conducting, and Production
Luiz ClĂĄudio Ramosâs approach to musical direction blends deep harmonic understanding with a flexible, organic process. He is a âmusicianâs musicianââworking closely with artists, encouraging collaborative input, and adapting studio arrangements to suit live performance realities. His production method involves both technical oversight and creative stewardship: he crafts arrangements, selects instrumental textures, and ensures each artistâs vision is realized, whether in the studio or on stage.
As a conductor, he has led orchestras and smaller ensembles in concert tours and live albums, such as the âCaravanasâ and âCariocaâ tours for Chico Buarque. His ability to translate complex, layered studio arrangements into compelling, organic concert versions is often cited as a defining strength.
Collaborations with Major Artists
The list of artists who have sought out Luiz ClĂĄudio Ramosâs expertise reads like a roll call of Brazilian musical royalty:
Elis Regina: Played guitar and arranged for her albums and live performances, notably on the Elis (1972) LP.
Caetano Veloso
Nara LeĂŁo
MiĂșcha
Tom Jobim: Profound musical exchange, especially in later career projects.
Edu Lobo
Francis Hime
Dori Caymmi
Gal Costa
Raul Seixas
Rita Lee
Erasmo Carlos
Odair José
MPB-4
Quarteto em Cy
Ed Motta
Lisa Ono
His range as a session musician and arranger created a signature that is both distinctive and reliably attuned to the needs of his illustrious collaborators.
Awards and Recognitions
Luiz ClĂĄudio Ramosâs contribution to Brazilian popular music has been recognized with several prestigious awards:
Cinema Brazil Grand Prize (Best Music)
2007, for âViniciusâ (documentary)
2016, for âChico: Artista Brasileiroâ (documentary)
PrĂȘmio Guarani (Best Music)
2006, for âViniciusâ
Latin Grammy Nomination (Album of the Year)
2018, for âCaravanasâ (shared with Chico Buarque and others)
In addition, his seven consecutive albums as producer/director for Chico Buarque are considered benchmarks in the field of MPB production and arrangement.
Critical Reception and Reviews
Ramosâs work has been met with consistent praise from critics and fellow musicians alike. His solo album Luiz ClĂĄudio Ramos (1980) has been received as âa celestial and contemporary bossa nova sound, full of subtle harmonic twists and refined arrangementsâ and is held in high regard by collectors of post-bossa MPB. Particularly admired for its inventiveness, his arrangements for Quarteto em Cy and Fagner are often cited in scholarly and journalistic works as revitalizing and modernizing MPB through the 1970s and 1980s.
His contributions to Chico Buarqueâs discography are frequently spotlighted by critics as key to Chicoâs enduring musical success, with arrangements such as âMulheres de Atenas,â âOutro Noite,â and âCecĂliaâ standing out as masterpieces of Brazilian orchestration.
Industry Impact and Legacy
Influence on Brazilian Popular Music
Luiz ClĂĄudio Ramosâs greatest legacy may well be the degree to which he redefined the role of the arranger and producer in Brazilian music. He brought a âcomposerâs perspectiveâ to arrangement, writing orchestrations that serve the song rather than drawing attention to themselvesâand, in doing so, he helped elevate the artistic ambitions of MPB in the post-bossa era.
By employing harmonic concepts drawn from both classical and jazz idioms, Ramos modernized the Brazilian pop sound. His method of arrangement, which relies chiefly on functional analysis through âfour scales,â has gained recognition and is the subject of his workshops and master classes. This distinctive approach allows for complex harmonic variation without sacrificing accessibility or emotional impact.
Championing Collaboration
Ramos championed a collaborative ethos. In interviews and documentaries, he emphasizes the importance of listening to all musicians in the studioâa principle that keeps his arrangements fresh and responsive. This collaborative instinct is most visible in his decades-long synergy with Chico Buarque, characterized by a mutual trust and creative dialogue that is rare even among long-standing musical partnerships.
Elevation of the Arranger Role
Through his career, Ramos expanded the importance of the arranger and musical director in Brazilian music, shifting public perception. Where arrangers and producers were once anonymous background figures, he became a recognized name in his own rightâhis âsoundâ as eagerly anticipated as that of any star performer.
Interviews and Personal Perspectives
Luiz ClĂĄudio Ramos has articulated his creative process and musical journey in numerous interviews. He often discusses his early influencesâfamily, classical piano from his mother, golden-age MPB from his brotherâand the formative effect of working in a âjam sessionâ environment. He notes the importance of the âfunctional analysis,â or method of resolving arrangements and improvisations through four core scales, which he claims to use in âall his arrangementsâ since its discovery in 1986.
In social and political commentary, Ramos expresses a strong engagement with Brazilâs tumultuous modern history, including first-hand experience of the military dictatorshipâs repression. His idealism endures: he remains a vocal advocate for the rights and recognition of working musicians and the need for greater appreciation and compensation for artists in the digital era.
Recent Activities and Projects
Even now, Luiz ClĂĄudio Ramos is far from resting on his laurels. Notable recent activities include:
2011: Release of Dois IrmĂŁos with Franklin da Flauta, supported by FUNARTE (Brazilian National Arts Foundation). This project also included an accompanying concert at Teatro Tom Jobim, with special guest YamandĂș Costa (guitarist) and a repertoire that ranged from jazz to choro and bossa nova.
2015: Musas da Canção with Carlos José, featuring fresh interpretations of classic serenade songs and a guest vocal by Chico Buarque.
2017: Directed arrangements and musical production for Caravanas by Chico Buarque, an album nominated for a Latin Grammy.
2022â2023: Toured as musical director and lead arranger for Chico Buarqueâs latest shows, confirming their partnershipâs durability over nearly five decades.
2022: Participation in âCircuito Acordes,â a series of instrumental music concerts in Rio de Janeiro, where Ramos presented new arrangements of Tom Jobim and Dorival Caymmi and led public masterclasses in harmony and improvisation.
The agenda of teaching, workshops, and master classes focused on harmony, improvisation, and arrangement demonstrates that he continues to give back to the Brazilian musical community, educating the next generation with both technique and ethos.
Selected Discography and Key Production Table
Below, find a summary of Luiz ClĂĄudio Ramosâs principal projects: Production/Album Year Role Notable Collaborators Antonio Adolfo & A Brazuca 1969 Guitarist Antonio Adolfo, LuizĂŁo Maia, Victor Manga Manera Fru Fru, Manera (Fagner) 1973 Arranger Fagner Meus Caros Amigos (Chico Buarque) 1976 Arranger, Guitarist Chico Buarque Chico Buarque & Maria BethĂąnia Ao Vivo 1975 Musician, Arranger Maria BethĂąnia, Chico Buarque Luiz ClĂĄudio Ramos 1980 Solo Artist, Producer Franklin da Flauta, LuizĂŁo Maia, MiĂșcha et al. Paratodos (Chico Buarque) 1993 Producer/Arranger/Guitar Tom Jobim, Gal Costa, Francis Hime Vinicius (Soundtrack) 2005 Musical Director Various contemporary interpreters Dois IrmĂŁos (with Franklin da Flauta) 2011 Performer, Arranger Franklin da Flauta Musas da Canção (with Carlos JosĂ©) 2015 Performer, Arranger Carlos JosĂ©, Chico Buarque Caravanas (Chico Buarque) 2017 Producer/Mus. Director Chico Buarque, family guests Circuito Acordes (Live Project) 2022 Performer/Educator Jurim Moreira, JoĂŁo Faria
Conclusion: Industry Impact and Enduring Legacy
Luiz ClĂĄudio Ramos is, unequivocally, a pillar of Brazilian popular music. His artistry, vision, and humility have enriched and shaped the sound of MPB across genres, generations, and global stages. His partnership with Chico Buarque alone would suffice to secure his place in history; yet his true significance is even broaderâas arranger, teacher, collaborator, and quiet innovator.
He not only modernized orchestration and arrangement within MPB but also modeled a mode of musical production in which empathy, listening, and respect drive art to its highest forms. Even today, he works to ensure new generations of Brazilian artists may share in, and expand upon, his considerable legacy.
Luiz ClĂĄudio Ramos continues to exemplify the ideal of the Brazilian musician: innovative, collaborative, sharply attuned to context and tradition, and ever evolvingâproving that mastery and humility may indeed travel together on the great road of music. Thanks for your interest! I'm currently researching Luiz Claudio Ramos and his career as a producer. This will take me several minutes, so feel free to leave â I'll keep working in the background. Your report will be saved in this conversation.
Girl and Fountain, Karlo Sulakauri, 1967
Artwork by Shira Barzilay

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