It is of it that they break the first signals of complicity with the subjects ' ' futuristas' ' of the youngsters who prepared the Week, when pointing with respect to the newness of some poems touched for the strong rhythm of the taxis and the jazz-band, fox-trot and the telephones and evaluating in a frankly unknown tone the violet light of the artificial stars that redescobriam the geography of the city under the delirium of the electric light. Of the set of these impressions its European sources are born the first attempts to bind to the call So Paulo futurismo, what that height served not only to open the way of the news, as well as to establish a first critical measure that would start to function as a species of aesthetic reference to the modernistas intentions to breach with the processes, the subjects and the proper limits of the workmanship literary. They are in this in case that the comments on the adhesion of some modernistas poets to the magnifying of the meter to the way of Paul Fort and Apollinaire, whose verses Sergio are the first one to compare with the ones of Mario, Oswald and Guillermo de Almeida. By the way, he is of Sergio that one that is perhaps the first one informs concerning the modernistas of So Paulo. A ticket left published in the Fon-Fon magazine of 10 December 1921e brought the epigraph of Goethe that anticipated the racket of the Municipal theatre the two months to happen. In the body of the note the call for the differences that if had radicalized in the Paulicia between that Sergio Buarque called beletristas and its futuristas adversaries, these last, according to it next ones to Tristan Tzara that of Marinetti, ready to unchain what it foresaw as ' ' a movement of release of the old preconceptions and the conventions without value, only in Brazil and America Lalina' ' .