(…) Radamés Gnattali stands outside the circle of those who ritualize the bureaucracy. He stands in a sort of dignity level that belongs only to great artists who are born to blossom in a marginal space. The word culture, he worshipped it in his rosary of sounds, in his patuás (fetishist object of devotion consisting of two pieces of blessed cloth kept in a small leather bag) adorned with musical notes, in the búzios (fetishist ritual consisting of throwing small natural shells on a cloth and interpreting the generated diagram) oracle thrown over the pentagrams – the only altar where he would make any sort of pseudo religious ceremony, detached from the official power, that he despised. Some totems do cohabit in his atheism though: Pixinguinha and Anacleto de Medeiros, for example, lived together with Chagall at an exclusive floor. (…)

Hermínio Bello de Carvalho (1935) (Poet, writer, composer and cultural producer)

In Radamés: Marginalidade imposta pelo sistema, by Hermínio Bello de Carvalho, published on the newspaper Direitos Já, March/April edition, 1988.