1

INSTITUTO DE DESENVOLVIMENTO DO POTENCIAL HUMANO

40 LIO

CONTENTS

1) Comprehension

02

2) List of Words and Expressions

08

3) Suggested Grammar Exercises

11

4) English Text

12

5) Lyrics

13

6) Narrated Stories

16

7) Jokes, Phrases and Short Stories

17

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COMPREHENSION
Adventures in a TV Nation, Chapter One
Michael Moore & Kathleen Glynn
http://www.dogeatdogfilms.com/books/atvnchapt1.html
It is true that the best things that happen to you happen when you
least expect them. Or, in our case, when we actively try to avoid them.

In 1989, a low-budget documentary we made, Roger & Me, a film about what General Motors did to
our hometown of Flint, Michigan, became a huge success. It was a complete surprise. The film was
shot over a three-year period in whatever spare time we had with what little money we had. Our
intent was to finish it, hop in a van, and drive around the country showing it in union halls,
community centers, and church groups. We silk-screened some T-shirts and took them to sell at our
first film festival so we could afford the trip back home. Instead, our film was bought by Warner
Bros., and eventually shown in nearly two thousand theaters.
After Roger & Me, the head of Warner Bros. television asked to meet with us about ideas for creating
a television series. We thought, "TV? Who wants to do TV?" We wanted to make movies! The
meeting never took place.
Our next feature-length film was a long time coming. Michael had written Canadian Bacon in the
summer of 1991, but Warner Bros. passed on it. So did every other studio. The screenplay for
Canadian Bacon was a farcical takeoff on the Gulf War. It was deemed "too political" by most of the
executives who read it. Michael made numerous trips to L.A. to pitch the movie in one unsuccessful
meeting after another.
It was on one of those visits to Hollywood, in November of 1992, when one morning Michael found
himself in his hotel room raiding the minibar and watching The Price Is Right. The phone rang with a
call from a network executive at NBC.
"We just wanted to say we really liked Roger & Me and we were wondering if you had any ideas for a
television show." "Uh, sure!" Michael replied, not having a single TV idea in his head. "Great! We'd
like to set up a meeting with you and our president of entertainment, Warren Littlefield. How does
this afternoon look?" "Uh, let me check." Mike fumbled around, trying to find the remote control to
turn down the volume on the television set. "Yeah, this afternoon looks open." "Good, we'll see you
at four."
Panic set in. We had no ideas for a TV show and even if we did, we didn't want to do one. We
wanted to make Canadian Bacon. On the half-hour drive to Burbank that afternoon, Michael cranked
up the heavy metal and we talked on the car phone trying to think up something for the meeting. It
was then, with the car radio blasting out Metallica, that we came up with the idea of TV Nation. It
would be a humorous magazine show but with one distinct difference--it would have a point of view. It
would stand for something, instead of pretending to play it down the middle of the road, as most
other newsmagazine shows do. It would side with working people against corporations.
Who would advertise on such a show? No one, we thought! We figured that the meeting should be
over in a matter of minutes. Mike seemed relieved knowing that no network, let alone NBC, would
ever pick up TV Nation.
Upon arriving at NBC, Mike was told that the meeting was in the commissary. A good sign, Mike
thought. Very low-key. He was greeted by his agent as well as an executive from TriStar Television,
Eric Tannenbaum. Eric offered to join Mike upstairs and present TriStar as the studio for the potential
TV show. After all the formalities, Eric asked, "By the way, what is your idea for a TV show?" Mike
pitched the idea for TV Nation. "I thought you were going to come up with a blue-collar Northern
Exposure," Mike's agent lamented. "They are not going to like this idea."
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Eric Tannenbaum: "I like it," Tannenbaum countered. "It's funny and it's different." Mike was
concerned that Tannenbaum approved of the concept. But he reassured himself with, "What does
Tannenbaum know? He doesn't run a network! He's just a nice guy with a good sense of humor from
a studio. Not to worry."
The three of them went upstairs to see the NBC president. In the room with Warren Littlefield were
various vice-presidents of development and programming. After polite introductions they sat down
and Mike began to describe the show.
"It would be a cross between 60 Minutes and Fidel Castro on laughing gas." The suits sat up in their
chairs, interested. "The show would be the most liberal thing ever seen on TV. In fact, it would go
beyond 'liberals' because liberals are a bunch of wimps and haven't gotten us anything. This show
would go boldly where no one has gone before." All smiles in the room. "Tell us more!" "The
correspondents would look like shit. I mean, they'd look as if they were either on their way to Betty
Ford or had just spent a year working at Taco Bell - or both." "In other words," one of the junior
executives chimed in, "a real show, by real people, for real people." Excited executive smiles all
around again. What was happening here? Didn't they realize that we didn't want to be on television,
that these ideas would all spell suicide for the network? Obviously not.
Mike had no choice but to go for the kill. "Each week we'll pick one of our advertisers and go after
them like a barracuda. They won't know what hit them. Then we'll go after organized religion, starting
with our fellow Catholics. I've got one idea where I'll go to confession in twenty different churches and
confess the same exact sin to see who gives out the harshest penances. We'll run the results and
call it 'A Consumers Guide to the Confessional.'"
There was a pause of silence in the room--and then everyone burst out laughing. "That's the
funniest idea I've ever heard," Littlefield exclaimed through his belly laugh. "Genius!" "No," Mike
pleaded, "think of all the hate mail you'll get from your Catholic viewers--including me! As a former
altar boy and seminarian, I'd hate you to run this offensive piece!" "Mike," Littlefield said, "Catholics
are the ones with the sense of humor. You know that. They'll love this!" Everyone around the room
nodded in agreement. Thank-yous were exchanged, Tannenbaum patted Mike on the back for
"hitting a home run," and Mike drove back to his West Hollywood hotel, wondering what had gone
wrong. By the time he made it to his room, NBC had already called and left a message. It read: "Pilot
has green light. Budget around one mil. Call agent."
We were stunned. Two years of trying to get a movie made with no luck, and in less than fifteen
minutes in Burbank, we get a million bucks to produce a prime-time TV show. This is a very strange
business, indeed.
In January, 1993, we began making the TV Nation pilot for NBC. We didn't have any experience or a
clue as to what we were doing. We called up some friends: Joanne Doroshow (coproducer of a
documentary on the U.S. invasion of Panama that won an Academy Award), Pam Yates (Pam had
also won an Academy Award), Paco de Onis, Jim Czarnecki (a funny guy who had worked on a
Saturday morning TV show, Pee-wee's Playhouse. That made him the most qualified of the bunch),
and David Royle, a documentary producer who had just finished a series on the Mafia. They would
all be our segment producers. We hired Jerry Kupfer to be our supervising producer. He had some
experience on Showtime at the Apollo, and he had set up some public radio stations on Indian
reservations.
To find the show's correspondents, we conducted the normal casting sessions one does for a new
show. Except this show wasn't "normal." There had never been anything like TV Nation on the air
before. Was it news? Was it entertainment? Even NBC didn't know and ended up putting us in their
"drama" division. TV Nation was to be a combination of documentary and humor; the journalists we
interviewed weren't very funny, and the comedians we auditioned for the most part knew little about
what was going on in the world. This part of putting the show together was very difficult.
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In the end, we convinced Merrill Markoe, one of the key creators of the Letterman show, filmmaker
Rusty Cundieff, who had just made a hilarious satire called Fear of a Black Hat, and
actress/comedian Janeane Garofalo to be our on-air "reporters."
We decided that each hour program (forty-five actual minutes without the commercials) would have
five eight-minute stories, plus introductions by Mike. The criteria we set were that each segment had
to show the viewer something he or she had never seen before on TV; aggressively take on the
powers that be, whoever they may be; and give us some sort of comic relief as we considered the
horror of what we were actually watching.
It didn't take long to come up with the six segments we would shoot (hoping that five of them would
turn out to be OK). The stories revolved around these ideas:
Is it easier for a convicted white murderer or an award-winning black actor to get a taxi in New York
City?
1. Let's fire everyone on the show and move it to Mexico to take advantage of the North American
Free Trade Agreement (NAFTA).
2. Let's buy a home in newly reopened Love Canal.
3. Appleton, Minnesota: They built a prison to revitalize their economy, but can't find any prisoners.
4. Mike travels to the former USSR to find the missile they had pointed at his hometown during the
Cold War.
5. And, Mike's idea about going to confession.
We decided to go with the first five stories. Mike had second thoughts about violating the sacrament
of confession, so he asked Janeane to do the piece. As a recovering Catholic, she was more than
willing. But when the segment was finished, Mike was confident he would burn in eternal hell if this
segment ever ran, so he spiked it.
Two other short pieces were killed by the network. One was called "The Corporate Minute." The idea
was that each week we would make a one-minute satirical commercial "saluting" a business. Our first
choice was Dow Chemical. With patriotic music in the background, we lauded the company that has
been sued for polluting the environment, causing health problems for women, and general death and
destruction in Vietnam. NBC and TriStar decided that some viewers might actually think it was a real
commercial sponsored by Dow.
The other piece was called "Lie of the Week." We were going to use a voice-activated lie detector,
attach it to a TV, and then run a test on what the news tells us each night. Either the machine didn't
work that well or the network news division had some explainin' to do because when we tested this,
the machine registered a lie in nearly every report on the news. Needless to say, the plug was pulled
on this segment.
In between each segment, we decided that we would conduct an actual poll of the American public-but not with the same dull and unrevealing questions that are asked in your typical Gallup poll (see
Appendix A). We hired a man named Robin Widgery from Flint who had his own polling firm and we
had him call a sample of 204 people from around the country and ask them questions that would
yield results like "67 percent of Perot voters believe that Forrest Gump was a documentary" or "51
percent of all Republicans believe that if dolphins were really smart, they'd find a way out of those
nets."
We also decided that, instead of having a studio audience or a fake set, we would shoot the
introduction of all segments, including the opening and closing of the show, with Mike hanging out in
Times Square.
Finally, we wanted a cool title sequence that would open each show. We hired graphic designer
Chris Harvey to come up with the images and the music group Tomandandy to write the TV Nation
theme. We told them it should be a cross between Metallica and the Leave It to Beaver theme song.
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We completed the pilot in three months, then brought it out to NBC in Los Angeles. On the day it was
screened, all the executives of the network sat in the room and laughed nonstop at all five segments.
As the lights went up, one suit asked another, "Can we sell any advertising on this thing?" They
decided to screen the show for a focus group. These instant critics gave TV Nation the highest
marks. NBC then decided to test it with the entire town of Scranton, Pennsylvania. It scored the
highest of all pilots that season.
Unfortunately, there was no room in the fall schedule for our show. The prospects of an audience
ever seeing TV Nation were bleak. So, Mike went back to trying to get Canadian Bacon made, but
with a new tool to convince Hollywood--the tape of the TV Nation pilot. We loaned the pilot to John
Candy and Alan Alda, and they loved it. We then showed them the script of Canadian Bacon and
they agreed to star in it. With their names attached to the project, we were immediately able to raise
the funds to make the movie, which we did in the fall and early winter of 1993.
Then an odd, lucky thing happened. You don't usually think of the person who runs the BBC in Great
Britain as being an avid devourer of TV Guide. But Michael Jackson (no relation to The Gloved One),
then head of BBC-2, was reading TV Guide one day and noticed a one-sentence gossip item which
said that Michael Moore had made a pilot for NBC. Jackson, who had seen Roger & Me, was
intrigued. Wondering what this pilot could be about, he called NBC and asked them to send him a
tape. After viewing it, he called TriStar and NBC and told them the BBC would like to buy the show.
You could see the lightbulbs going off in the network craniums in L.A. "You know, if the British like it,
it must be good!"
On the night after Christmas 1993, we received a phone call from Eric Tannenbaum of TriStar
Television. "What do you think about doing a summer season of TV Nation on NBC?" he asked.
"They want to do it and the BBC wants to do it. They'll share the cost." We were stunned. We thought
the show would never see the light of day. We immediately accepted the offer.
A month later, we were setting up our production office in New York. Virtually everyone who had
worked on the pilot came back to be a part of the show. On the first day of work, we gathered
everyone together and gave them, essentially, the following pep talk:
"All of us need to behave as if we'll never work in television again. Because, if we do this show right,
nobody will ever want us. It will be too dangerous to have us around. 'Oh, you worked on that show
that pissed off all the sponsors!' That's what they'll say. So, if you want to work on 20/20 or Live with
Regis and Kathie Lee after this show is over, we suggest you leave now and apply there. Because
they will not want you after this show airs. This is not a place to build a resume. We are here to
produce a show that will be brutally honest and devastatingly funny. We will not make any friends in
Congress or Corporate America. We will not lie to the viewer. This is a rare chance for all of us who
usually do not have a voice in the media to have our voices heard. For one hour each week, we're
going to give the average person like ourselves the chance to watch a show that is clearly on THEIR
side. They'll know it and love us for it--but we'll never work in television again."
Just a little pick-me-up to get things going right on the first day! The results that followed are
chronicled in this book. Thanks to the hard work and take-no-prisoners attitude of the staff, we were
able to make a bit of television history.
And all of this because we never really wanted to do a TV show. Go figure.

Reading Comprehension
Read the text once, and then answer the question below:
1. How much did you understand of the above text?
a) 100%
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b) 80%
c) 60%
d) Less than 50%
2. Now read the text one more time and answer question number one again. Did you get a better
understanding of the text this time?
3.
a)
b)
c)
d)

What is this text about?

A conventional TV show.
Some crazy people who want to be on TV
Some crazy people who do not want to be on TV
None of the above

4. The paragraph below has been extracted from the text above. Without looking at the text, try to
suply the missing words. After having finished, go back to the text and check your guesses.
In January, 1993, we began _____ the TV Nation pilot for NBC. We didn't have _____
experience or a clue as to what we were _____. We called up some _____: Joanne
Doroshow (coproducer of a documentary on the U.S. invasion of Panama that won an
Academy Award), Pam Yates (Pam had also won an Academy Award), Paco de Onis, Jim
Czarnecki (a funny guy _____ had worked on a Saturday morning TV _____, Pee-wee's
Playhouse. That made him the most _____ of the bunch), and David Royle, a documentary
producer who had just finished a _____ on the Mafia. They would all be our segment
producers. We hired Jerry Kupfer to be our supervising _____. He had some _____ on
Showtime at the Apollo, and he had set up some public radio _____ on Indian reservations.
5. Write, on the column on the right, the translation of the expressions in the table below, but only
when you are certain of their meanings. If in doubt, go back to the text (the expressions are in bold
type and can be located easily) and check your guesses. As a last resort, look the words up in the
dictionary. But remember, only as a last resort.

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Expression

Translation

least expect
avoid
low-budget
hometown
huge
spare time
hop in a van
afford
trips
raiding
entertainment
looks open.
stand for something
pretending
side with
concerned
introductions
laughing gas
spell suicide
harshest penances
burst out laughing
stunned
prime-time
clue
burn
eternal hell
Lie of the Week
lie detector
dull
cool
bleak
funny
Go figure

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VOCABULRIO PARA LEITURA E COMPREENSO DE TEXTOS

{586} lay/laid/laid <0,035%> [1] He lay down in the grass and wept. (Ele se deitou sobre a grama
e chorou.) [2] These are the fundamental stones that lay the foundations on which a good
leader can build great accomplishments. (Estas so as pedras fundamentais que lanam os
fundamentos sobre os quais um bom lder pode construir grandes realizaes.) [3] I'm not willing to
lay down and die because I am an innocent man. (Eu no estou disposto a me deitar e morrer
porque eu sou um homem inocente.) [4] She laid her head on the birds breast, but trembled as
she felt a stirring. (Ela encostou a cabea no peito do pssaro, mas estremeceu quando sentiu um
movimento.) [5] A man is holding his wife's hand as she lays on her death bed. (Um homem
estava segurando sua esposa pelas mos enquanto ela desfalecia no seu leito de morte.)
{587} american <0,023%> [1] Let's fire everyone on the show and move it to Mexico to take
advantage of the North American Free Trade Agreement (NAFTA). (Vamos demitir todos do
show e mudar para o Mxico para tirar vantagem sobre o Tratado de Acordo de Liberdade Norte
Americana.(NAFTA).) [2] Some American studies of leadership focus on the outcomes of
effective leadership. (Alguns estudos americanos sobre liderana pem o foco nos resultados da
liderana efetiva.) [3] In between each segment, we decided that we would conduct an actual
poll of the American public. (Entre cada segmento, ns decidimos que ns conduziramos uma
votao atual do pblico americano.) [4] We Japanese had a hard time understanding North
American business practices. (Ns japoneses tivemos dificuldades para entender a prtica dos
negcios dos norte-americanos.) [5] The statistics on sanity are that one out of every four
Americans is suffering from some form of mental illness. (As estatsticas de sanidade diz que
um a cada quatro americanos sofre de alguma doena mental.)
{588} mention <0,022%> [1] And then I heard them mentioning my name and leaving me the
blame. (E ento os ouvi mencionando meu nome e deixando a culpa comigo.) [2] It is often
mentioned that in businesses and organizations, leadership is often contrasted with
management. (Muitas vezes mencionado que nos negcios e nas empresas, liderana
freqentemente comparada com gerenciamento.) [3] Some of the dreary villages I mentioned
before had been built on the sites of ancient Roman settlements. (Alguns desses tristes vilarejos
j mencionados no comeo da narrativa tinham sido erguidos nos stios de antigas aldeias galoromanas.) [4] She never mentioned him to the mouse or the mole. (Ela nunca mencionou sobre a
andorinha ao camundongo ou toupeira.) [5] I have the advantages you mention, but when I hear
even the bark of a single dog I feel ready to faint, and fly away as fast as I can. (Eu tenho as
vantagens que voc menciona, mas quando eu ouo at mesmo o latido de um nico cachorro eu j
me sinto mal, e corro o mais rpido que eu posso.)
{589} purpose <0,013%> [1] You did that on purpose, didnt you? (Voc fez aquilo de propsito, no
foi?) [2] In the emerging views of leadership, however, leaders do not have influence simply
because they are bosses or commanders who have as their main purpose victory in their field
of activity. (Nas vises emergentes sobre liderana, entretanto, os lderes no tm influncia
simplesmente porque eles so patres ou chefes, que tm como seu propsito principal a vitria em
seus campos de atividade.) [3] It served her purpose just to sit and watch. (Correspondeu aos
propsitos dela de apenas sentar e assistir.) [4] As the water reappeared, so there reappeared
willows, rushes, meadows, gardens, flowers, and a certain purpose in being alive. (Com o retorno
da gua ressurgiam os salgueiros, os vimes, as campinas, os jardins, as flores e uma certa razo para
viver.) [5] I have three pets at home which answer the same purpose as a husband. (Eu tenho trs
bichos de estimao em casa que desempenham o mesmo propsito que um marido.)

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{590} green <0,013%> [1] Hes too green. He has no experience. [Ele verde (imaturo) demais.
No tem experincia.] [2] It is a kind of green light to sustainable development. (Ela um tipo de
luz verde para o desenvolvimento sustentvel.) [3] Time hurries on and the leaves that are green
turn to brown. (O tempo passa rpido e as folhas que so verdes ficam marrons.) [4] No-one had
noticed that in all the excitement, she had flown out of the open window, back to her green
forest. (Ningum tinha notado que, com toda a excitao, ele tinha voado pela janela aberta, de
volta para sua floresta verde.) [5] Wont you come away with me and live in the deep, green
forest? (Voc no vir comigo morar no grande bosque verde?)
{591} evening <0,013%> [1] Near the house where they lived there was a wood, and in the long
June evenings the Boy liked to go there with the Velveteen Rabbit to play. (Perto da casa onde
eles viviam havia um bosque, e durante as longas tardes de Junho o Menino gostava de ir l com o
Coelho do Pelcia para brincar.) [2] This evening I was thinking about how people are now
focusing their attention on one of the most important sets of skills required in a changing
world the skills of leadership. (Esta noite eu estava pensando a respeito de como as pessoas
esto focalizando a ateno em um dos conjuntos de habilidades mais importantes que so
necessrios em um mundo mutvel: as habilidades de liderana.) [3] It is the evening of the day, I
sit and watch the children play. ( o anoitecer do dia, eu sento e vejo as crianas brincar.) [4]
Every evening the mole would call on her with great formality. (Toda tarde a toupeira lhe fazia
uma visita com grande formalidade.) [5] I must confess I was just the designated decoy for the
evening! (Eu tenho que confessar que eu apenas fui designado como isca para a noite.)
{592} attention <0,013%> [1] May I have your attention please? (Posso ter sua ateno, por favor?)
[2] He sounded his horn in vain; the straggler paid no attention to the summons. (Ele buzinou em
vo; o retardatrio no prestou ateno chamada.) [3] In an effort to motivate the boy into focusing
more attention on his schoolwork, the father said to his son: When Abe Lincoln was your age, he
was studying books by the light of the fireplace (Com o intuito de motivar o garoto a focalizar sua
ateno na lio de casa, o pai disse para seu filho: Quando Abe Lincoln tinha sua idade, ele estava
estudando com as luzes da lareira.) [4] Your Imperial Majesty shouldnt pay attention to everything
thats written down. (Sua Majestade Imperial no deveria prestar ateno a tudo que est escrito.) [5]
Moments later, his attention is grabbed by a great commotion at the roulette table. (Um tempo
depois, sua ateno foi atrada por uma grande comoo na mesa de roleta.)
{593} happen <0,013%> [1] It is true that the best things that happen to you happen when you
least expect them. Or, in our case, when we actively try to avoid them. ( verdade que as melhores
coisas que acontecem com voc acontecem quando voc menos espera. Ou, no nosso caso, quando
ativamente tentamos evit-la.) [2] The changes in our society and workplaces have happened over
the past century. (As mudanas em nossa sociedade e locais de trabalho tm acontecido durante o
sculo passado.) [3] What is happening to it all? Crazy some say, where is the life that I recognise?
(O que est acontecendo com todos? Alguns dizem que loucura, onde est a vida que eu reconheo?)
[4] And then I wonder, whats happened there on his planet? (E ento eu me pergunto, o que
aconteceu l no seu planeta?) [5] What was happening here? (O que estava acontecendo aqui?)
{594} cold <0,013%> [1] Mike travels to the former USSR to find the missile they had pointed at
his hometown during the Cold War. (Mike viajou para a antiga Unio Sovitica para encontrar um
mssil que eles tinham apontado para sua cidade natal durante a Guerra Fria.) [2] Management is
typically defined in a cold way as "getting things done through others. (Gerenciamento
tipicamente definido de um modo frio como conseguir que as coisas sejam feitas pelos outros.) [3]
This beach is so cold on winter afternoons. (Esta praia to fria nas tardes de inverno.) [4] She
looked at him in a very cold way. (Ela o olhou de uma maneira muita fria.) [5] One winter a farmer
found a snake stiff and frozen with cold. He had compassion on it, and taking it up, placed it
in his bosom (Um inverno um fazendeiro encontrou um cobra dura e congelada pelo frio. Ele teve
compaixo dela, e a pegou e colocou em seu peito.)

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{595} victory <0,013%> [1] Victory is what its all about. (A vitria o que importa.) [2] Victory
was Nelsons ship at Trafalgar. (A Vitria era o navio de Nelson na batalha de Trafalgar.) [3]
Stalingrad was a victory for the Russians against the German Army. (Estalingrado foi uma
vitria dos russos sobre o exercito alem.) [4] Each and every day consists of victories and
defeats in our personal lives. (Todo e qualquer dia consiste em vitrias e derrotas em nossas
vidas pessoais.) [5] The chess matches resulted in three victories and a draw for the reigning
champion. (As partidas de xadrez resultaram em trs vitrias e um empate para o atual campeo.)
{596} probably <0,013%> [1] The doctor initially set the machine on 10 percent, telling the man
that even 10 percent was probably more pain than he'd ever experienced. (O mdico comeou
com a mquina em 10 por cento, dizendo ao homem que at mesmo 10 por cento provavelmente
seria mais dor do que ele jamais tinha experimentado.) [2] However, simply knowing about these
goals is probably not enough. (Entretanto, simplesmente conhecer estas metas provavelmente
no suficiente.) [3] If the next morning, the sows were grazing on grass, they were pregnant,
but if they were rolling in the mud as usual they probably weren't (Se na manh seguinte, as
porcas estivessem comendo o capim, elas estariam grvidas, mas se elas estivessem rolando na
lama, como de costume, elas provavelmente no estariam...) [4] An award should go to the United
Airlines gate agent in Denver for being smart and funny, when confronted with a passenger
who probably deserved to fly as cargo. (Um prmio deveria ser para a agente do porto da United
Airlines em Denver por ser esperta e engraada, quando encontrou um passageiro que
provavelmente merecia viajar como carga.) [5] Her clothes probably wouldn't have fit you
anyway. (As roupas dela provavelmente no serviriam em voc de qualquer maneira.)
{597} ought <0,013%> [1] But we ought to hear her soon. (Mas devemos ouvi-lo logo.) [2] The
good leaders ought to "create vision," "mobilize commitment," "recognize needs," etc. (Os
bons lderes devem criar uma viso, mobilizar o compromisso, reconhecer necessidades, etc.)
[3]There's something you ought to know, if you're fixing to go: I can't make it without you.
(Tem uma coisa que voc deve saber, se voc est planejando ir embora: no posso viver sem
voc.) [4] It ought to be 'sclusively a rich fulvous orange-tawny from head to heel, and it ought
to be Giraffe; but it is covered all over with chestnut blotches. (Deve ser de uma cor rica toda
amarela-tostada da cabea aos calcanhares e deve ser uma Girafa; mas est toda coberta por
manchas acastanhadas.) [5] Why do you always charge me double? You ought to charge me
cheaper for I don't have much hair! (Por que voc sempre me cobra dobrado? Voc deve me
cobrar mais barato porque no tenho muito cabelo.)
{598} progress <0,013%> [1] Repairs to the tunnel are in progress. (Reparos no tnel esto em
andamento.) [2] This has become increasingly evident as we have attempted to adapt to the
escalating progress and changes in our society and workplaces. (Isto tem se tornado cada vez mais
evidente medida que tentamos nos adaptar aos crescentes progressos e mudanas em nossa
sociedade e locais de trabalho.) [3] Your son has been making progress this term, Mr. Green. (Seu
filho tem melhorado este semestre, Sr. Green.) [4] The engineer reported progress on the new
project. (O engenheiro relatou sobre o andamento do novo projeto.) [5] The draining of the port was
progressing very slowly. (A drenagem do prto estava progredindo lentamente.)
{599} stone <0,013%> [1] He was sitting on top of an old stone wall, legs dangling and I heard
him talking. (Ele estava sentado no topo de uma velha parede de pedra, pernas penduradas e eu o
ouvi falando.) [2] Im cutting this stone into blocks. (Eu estou cortando a pedra em duas partes)
[3] If your slate is clean then you can throw stones. (Se seu passado estiver limpo ento voc
pode jogar pedras.) [4] All the presents were made of gold and precious stones. (Todos os
presentes foram feitos de ouro e pedras preciosas.) [5] Two stonecutters were asked what they
were doing. (Dois cortadores de pedra foram questionados sobre o que eles estavam fazendo.)

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11
{600} front <0,013%> [1] The judge looked amazedly at the couple in front of him. (O juiz olhou
admirado para o casal na frente dele.) [2] In the front line of our daily battle to take command of
our own destiny, guide the destinies of our families, communities, organizations and our
planet, the necessity of effective leadership ability has become increasingly obvious. (Na linha
de frente de nossa batalha diria de assumir o comando do nosso prprio destino, guiar os destinos
de nossas famlias, comunidades, organizaes e do nosso planeta, a necessidade da faculdade de
liderana efetiva se torna cada vez mais bvia.) [3] In my hour of darkness she is standing right
in front of me. (Nas minhas horas sombrias, ela est parada bem na minha frente.) [4] I looked
down toward the foot of the wall and gave a great start. There, coiled in front of the Little
Prince was one of those yellow snakes that can kill you in thirty seconds! (Eu olhei em direo
a base da parede e me assustei. Ali, enrolada na frente do Pequeno Prncipe estava uma destas
cobras amarelas que podem matar em trinta segundos!) [5] Your name is on the front of your
suitcase. (Seu nome aquele na frente na maleta.)
Freqncia acumulada desta lio: 0,24%

Freqncia acumulada at esta lio: 70,85%

EXPRESSIONS
q

to adapt to: acostumar com; adaptar a

Ex:
The big farm house was adapted to the needs of the new guests.
A casa grande da fazenda foi adaptada s necessidades dos novos hspedes.

to put into action/effect/execution/practice: atuar, desempenhar; realizar algo planejado

Ex:
Its time that you put your intention of writing a book into practice.
hora de voc colocar aquela sua inteno de escrever um livro em prtica.

to contrast with: comparar (algo ou algum) com (algo ou algum completamente diferente ou oposto)
Ex:
They contrasted life in a big city with life in the country since they moved to New York.
Eles comparam (compararam) a vida em uma cidade grande com a vida no interior
desde que eles se mudaram para Nova York.

to tie up with: conectar (algo ou algum) com (algo ou algum mais); concordar com (algo)
Ex:
Pauls lecture was entirely tied up with the subject of his book.
A palestra do Paul estava totalmente conectada (associada) com o assunto do seu livro.

to commit to: manter (algum ou a si mesmo) comprometido com uma promessa ou dever
Ex:
Sandra is committed to her family as well as to her work.
Sandra (est) comprometida com sua famlia bem como com o seu trabalho.

GRAMMAR
1) Bsico: unidades 41 e 42 do livro Essential Grammar in Use
2) Intermedirio: unidades 37, 38 e 39 do livro English Grammar in Use
3) Avanado: unidades 18 e 19 do livro Advanced Grammar in Use

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12

THE NEW LEADERSHIP PARADIGM

O Novo Paradigma da Liderana
This evening I was thinking about how people are now focusing their attention on one of the most
important sets of skills required in a changing world the skills of leadership. This has become
increasingly evident as we have attempted to adapt to the escalating progress and changes in our society
and workplaces which have happened over the past century.
Esta noite eu estava pensando a respeito de como as pessoas esto focalizando a ateno em um dos conjuntos
de habilidades mais importantes que so necessrios em um mundo mutvel: as habilidades de liderana. Isto tem
se tornado cada vez mais evidente na medida em que tentamos nos adaptar aos crescentes progressos e
mudanas em nossa sociedade e locais de trabalho, que tm acontecido durante o sculo passado.
In the front line of our daily battle to take command of our own destiny, guide the destinies of our families,
communities, organizations and our planet, the necessity of effective leadership ability has become
increasingly obvious. Effective leadership is one of the keys to our future success and survival. It is a kind
of green light to sustainable development.
Na linha de frente de nossa batalha diria de assumir o comando do nosso prprio destino, guiar os
destinos de nossas famlias, comunidades, organizaes e do nosso planeta, a necessidade da
faculdade de liderana efetiva se torna cada vez mais bvia. A liderana efetiva uma das chaves para o
nosso sucesso e sobrevivncia futuros. Ela um tipo de luz verde para o desenvolvimento sustentvel.
Some American studies of leadership focus on the outcomes of effective leadership; pointing out that
good leaders ought to "create vision," "mobilize commitment," "recognize needs," etc. However, simply
knowing about these goals is probably not enough. The key to actually achieving them involves having the
mental and behavioral skills required to put them into practice.
Alguns estudos americanos sobre liderana pem o foco nos resultados da liderana efetiva; indicando
que os bons lderes devem criar uma viso, mobilizar o compromisso, reconhecer necessidades, etc.
Entretanto, simplesmente conhecer estas metas provavelmente no suficiente. A chave para realmente
alcan-las envolve ter as habilidades mentais e comportamentais requeridas para coloc-las em prtica.
In its broadest sense, leadership can be defined as the ability to influence others toward the accomplishment of
some goal. That is, a leader leads a collaborator or group of collaborators towards some end. It is often
mentioned that in businesses and organizations, leadership is often contrasted with management.
No seu sentido mais amplo, a liderana pode ser definida como a faculdade de influenciar os outros em
direo realizao de alguma meta. Ou seja, um lder lidera um colaborador ou grupo de colaboradores
em direo a algum fim. Muitas vezes mencionado que nos negcios e nas empresas, liderana
freqentemente comparada com gerenciamento.
Management is typically defined in a cold way as "getting things done through others." In comparison, leadership is
defined as, "getting others to do things." Thus, leadership is intimately tied up with motivating and influencing others.
Gerenciamento tipicamente definido de um modo frio como conseguir que as coisas sejam feitas pelos
outros. Em comparao, liderana definida como, conseguir que os outros faam as coisas. Portanto,
a liderana est intimamente conectada a motivar e influenciar os outros.
In the emerging views of leadership, however, leaders do not have influence simply because they are
bosses or commanders who have as their main purpose victory in their field of activity. Rather, leaders
are people who are committed to "creating a world to which people want to belong."
Nas vises emergentes sobre liderana, entretanto, os lderes no tm influncia simplesmente porque eles so
patres ou chefes, que tm como seu propsito principal a vitria em seus campos de atividade. Mais propriamente,
lderes so pessoas que esto comprometidas em criar um mundo ao qual as pessoas queiram pertencer.
This commitment demands a special set of models and abilities in order to effectively and ecologically manifest
the visions which guide those committed to change. It involves communicating, interacting and managing
relationships within an organization, network or social system to move toward ones highest aspirations. These
are the fundamental stones that lay the foundations on which a good leader can build great accomplishments.
Este compromisso exige um conjunto especial de modelos e aptides no intuito de manifestar efetivamente e
ecologicamente as vises que guiam aqueles comprometidos a mudar. Envolve comunicar, interagir e gerenciar
relacionamentos dentro de uma organizao, rede de relacionamentos profissionais ou de um sistema social
para seguir em direo s aspiraes mais elevadas de algum. Estas so as pedras fundamentais que lanam
os fundamentos sobre os quais um bom lder pode construir grandes realizaes.
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13
GET OUT OF TOWN (Cole Porter)
Deixe Esta Cidade
Get out of town
Deixe esta cidade
Before its too late, my love
Antes que seja tarde demais, meu amor
Get out of town
Deixe esta cidade
Be good to me please
Seja carinhosa (boa) comigo, por favor
Why wish me harm
Por que vai me querer mal
Why not retire to a farm
Por que no se aposenta numa fazenda
And be contented to charm the birds off the trees
E fica contente em usar seu charme fazendo passarinhos descerem das rvores
Just disappear
Desaparea daqui
I care for you much, too much
Eu te quero mais que demais
And when you are near, close to me, dear
E quando voc est aqui, junto de mim, querida
We touch too much
A gente se toca demais
The thrill when we meet is so bittersweet
Essa emoo quando nos encontramos to doce e azeda (acridoce)
That darling its getting me down
Que, querida, est me deprimindo
So on your mark, get set
Ento na sua marca (de patida), prepare-se
Get out of town
Deixe esta cidade

Avaliaes
Quantidade total de palavras dessa msica: 87
Quant de. de palavras diferentes dessa msica: 55
Palavras mais freqentes:
get; town; to; out; of; me; too; the; much; you; why; when; we

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14
FOR ALL WE KNOW (Carpenters)
Por tudo que sabemos (Pode ser)
Love, look at the two of us, strangers in many ways
Amor, olhe para nos dois, estranhos em muitos aspectos
We've got a lifetime to share, so much to say and as we go from day to day
Temos uma vida para dividir, tanto para dizer e a medida que passamos de um dia para outro
I'll feel you close to me, but time alone will tell
Sentirei voc junto de mim, mas apenas o tempo dir
Let's take a lifetime to say: "I knew you well"
Vamos levar uma vida para dizer: Conheci bem voc
For only time will tell us so and love may grow for all we know.
Porque apenas o tempo nos dir isso e talvez o amor possa crescer por tudo que sabemos
Love, look at the two of us, strangers in many ways
Amor, olhe para nos dois, estranhos em muitos aspectos
Let's take a lifetime to say: "I knew you well"
Vamos levar uma vida para dizer: Conheci bem voc
For only time will tell us so and love may grow for all we know.
Porque apenas o tempo nos dir isso e talvez o amor possa crescer por tudo que sabemos

Avaliaes
Quantidade total de palavras dessa msica:
105
Quant de. de palavras diferentes dessa msica:
47
Palavras mais freqentes:
to; for; we; us; love; you; will; time; tell; so; say

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15

JESUS CHRIST SUPERSTAR

King Herod's Song (Try It And See)
A Cano do Rei Herodes (Tente isso e Veja)
Herod
Herodes
Jesus, I am overjoyed to meet you face to face
Jesus, tenho muito prazer em encontrar com voc cara a cara (em pessoa)
You've been getting quite a name all around the place
Voc est ficando bastante famoso em todos os lugares
Healing cripples, raising from the dead and now I understand you're God,
Curando os invlidos, resuscitando os mortos e agora eu compreendo (sei) que voc Deus,
At least that's what you've said
Pelo menos isso que voc disse (tem dito)
So you are the Christ, you're the great Jesus Christ
Ento voc o Cristo, voc o grande Jesus Cristo!
Prove to me that you're divine Change my water into wine
Prove-me que voc divino Transforme minha gua em vinho
That's all you need do and I'll know it's all true
somente isso voc precisa fazer e vou saber que tudo verdade
C'mon King of the Jews
Vamos l, Rei dos Judeus
Jesus you just won't believe the hit you've made round here
Jesus voc simplesmente no vai acreditar o sucesso que voc conseguiu (tem feito por) aqui
You are all we talk about the wonder of the year
Ns somente falamos de voc (Voc tudo), a maravilha do ano
Oh what a pity if it's all a lie, still I'm sure
Oh que pena se tudo isso for (uma) mentira, mesmo assim tenho certeza (Ainda que eu tenha certeza)
That you can rock the cynics if you try
Que voc pode sacudir (estremecer) os cnicos se tentar
So you are the Christ, youre the great Jesus Christ
Ento voc o Cristo, (voc ) o grande Jesus Cristo
Prove to me that you're no fool
Prove-me que voc (no) nenhum (um) idiota
Walk across my swimming pool
Atravesse minha piscina a p (Caminhe sobre minha piscina)
If you do that for me then I'll let you go free
Se voc fizer isso para mim eu o liberarei
C'mon King of the Jews
Vamos l Rei dos Judeus

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16

STORIES
The Velveteen Rabbit
That night the Boy slept in a different bedroom, and he had a new bunny to sleep with him. It
was a splendid bunny, all white plush with real glass eyes, but the Boy was too excited to care
very much about it. For tomorrow he was going to the seashore, and that in itself was such a
wonderful thing that he could think of nothing else.
Naquela noite o Menino dormiu num quarto diferente, e ele tinha um coelho novo para dormir
com ele. Era um coelho esplndido, todo de pelcia branca com olhos de vidro genunos, mas o
Menino estava excitado demais para prestar muita ateno (para se preocupar com isso).
Porque amanh ele ia praia, e isso em si era uma coisa to maravilhosa que ele no podia
pensar em mais nada.

The Emperor and the Nightingale

They must hear it sing too, said the Emperor. And so they did hear it. And were so delighted they
seemed quite intoxicated as though they drunk too much tea, for thats what the Chinese drink, you
know. But the poor fisherman who had heard the real Nightingale sing, said: Yes, its pretty enough.
Its a fairly good imitation, but there's something lacking. I cant explain just what it is.
"Eles tm que ouvi-lo cantar tambm", disse o Imperador. E ento eles o ouviram. E ficaram to
encantados que eles pareciam bastante intoxicados como se tivessem bebido ch demais,
porque isso que os Chineses bebem, como voc (j) sabe. Mas o pobre pescador, que
escutara (tinha escutado) o Rouxinol genuno (real/verdadeiro/original) cantar, disse: "Sim,
bonito. uma imitao razovel, mas alguma coisa est faltando. No consigo explicar
exatamente o que !".

Thumbelina
The day before the wedding, Thumbelina walked sadly through the grass for one final look at the
sky. She felt the warmth of the sun on her face and, closing her eyes, she thought she could
hear the chirping song of the swallow.
No dia anterior ao casamento, Thumbelina andava tristemente pela grama para dar uma olhada
final no cu. Ela sentiu o calor do sol em seu rosto e, fechando os olhos, ela pensou que poderia
ouvir o gorjear (cano estridente) da andorinha.

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17
40.1) Good for your quiet time!
A man came into a shop with a 'Salesman Wanted' sign in a window. He went up to the owner and
said: I-I-I w-w-waannn-t the j-joooob-b
I don't know if this job would suit you because of your speech impediment, said the owner.
I h-h-havvve a w-wi-wiiiife and s-s-s-six k-kkkids, iiii-I re-really neeeed thi-thi-this j-j-job! said the
man.
O.K. Here are three Bibles. Go out and sell them. said the owner.
So the man went out and came back an hour later. H-here-sss your m-m-money said the man. The
owner was impressed, so he gave the man a dozen more Bibles and sent him out. The man came
back in two hours and said: Her-ers y-yooour m-m-money
The owner said: This is fantastic. You sold more Bibles in three hours than anyone has sold in a
week. Tell me, what do you say to the people when they come to the door?
W-welllll, said the man, I r-r-ring the d-door bell, a-a-and s-s-say: H-Hel-Hello, M-m-maaaaddam,
d-d-do you w-w- want t-t t-to buy thi-thi-this B-B-Bible, oooor d-d-do y-you w-w-want m'me t-toooo
read it t-t-t-t-to you?
Vocabulary Help
salesmen wanted: precisa-se de vendedores
suit you: ser adequado a voc
sell/sold/sold: vender
week: semana

owner: proprietrio
speech impediment: problema de fala
dozen: uma dzia
ring the doorbell: tocar a campainha

40.2) The Stonecutters

Two stonecutters were asked what they were doing.
The first said: Im cutting this stone into blocks.
The second replied: Im on a team thats building a cathedral.
Vocabulary Help
stonecutters: cortadores de pedras
reply: responder
build: construir

blocks: blocos
team: equipe, time

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18
40.3) Pessimists
A pessimist is an optimist with experience.
A Man who looks for a pink slip before the money in his pay envelope.
A pessimist is someone who feels bad when he feels good, for fear he'll feel even worse when he
feels better.
An optimist invented the jet; a pessimist, the ejection seat.
An optimist laughs to forget; a pessimist can't remember the last time he laughed.
Blessed are the pessimists for they have already invested in a tape backup.
Vocabulary Help
ejection seat: assento ejetvel
last time: ltima vez
blessed: abenoados
pink slip: aviso de demisso
for fear: de medo que
feel/felt/felt: sentir

laugh: rir
forget: esquecer
tape backup: backup em fita
pay envelope: envelope com salrio
worse: pior
better: melhor

40.4) The Efficiency Expert

The efficiency expert concluded his lecture with a note of caution:
You don't want to try these techniques at home.
Why not? asked someone from the back of the audience.
I watched my wife's routine at breakfast for years, the expert explained. She made lots of trips to
the refrigerator, stove, table and cabinets, often carrying just a single item at a time. 'Hon,' I
suggested, 'Why don't you try carrying several things at once?'
The voice from the back asked: Did it save time?
The expert replied: Actually, yes. It used to take her 20 minutes to get breakfast ready. Now I do it in
seven.
Vocabulary Help
efficiency expert: especialista em eficincia
note of caution: aviso
back of the audience: fundo da platia
wife: esposa
stove: fogo
several things: muitas coisas
actually: na verdade

lecture: palestra, aula

try: tentar
watch: observar
lots of trips: muitas viagens
single item: nico item
save time: economizar tempo
used to: costumava

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19

40.5) Elephant Jokes

Q: Where do you find elephants?
A: It depends on where you lost them.
Q: How many elephants can you fit in a taxi?
A: Four. (One next to the driver and 3 in back)
Q: How many giraffes can you fit in a taxi?
A: None, it's full of elephants.
Q: How do you know when an elephant is visiting your house?
A: There's a taxi outside with three elephants in it.
Vocabulary Help
find/found/found: encontrar
fit/fit/fit: acomodar, colocar
driver: motorista
know/knew/known: saber
in it: dentro

lose/lost/lost: perder
next to: prximo a
full: cheio
outside: fora

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