IVAN LINS: AT HOME IN AMERICA
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For almost three hours Ivan Lins opened his heart to our reporter Francine Alexander at his L.A. home and it was illuminating. "It was exciting meeting him," commented Alexander afterwards, "because I am such a fan. He is very alive, he is just like his music." We are glad to be able to share with you some insights of the long conversation. "We came to the United States - I am here, Dori is
here, you find you have more people who understand the music. It's not that much but it's much more than in my country. So you have a response. What we are looking for is motivation. That's what makes us create. To keep going. To keep flying." Despite all his energy, he would prefer a more relaxed pace to live: "Everybody keeps telling -me, 'Speed! It has to be fast! Fast food! Fast music! Fast something! Fast everything! Nobody wants to stop and relax. Stop! Listen! Pay attention! It's worth it"
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Lins is in love with life and, according to him, he has a natural high: "Sometimes people think that I use drugs or something. And it's not that. It's the voyage. It's crazy. It's really crazy. It's great. Sometimes the music ends but he voyage continues." He is also apaixonado with nahire: "When I travel, I take so many pictures. So many, so many, so many. I love landscapes and beautiful views. My eyes say, "Oh, thank you. Oh, thank you, nature." Thank you, Ivan. R.M.
15
Ivan Lins does America
The war of the suds
5
16
Nonconformist Ivan
Orloff
9
Smirnoff
Chato ĂŠ ugly
11
Cover. Christiane Bodini
Brasilia: the new etiquette
DEPARTMENTS
12 Journalist's jargon
13 President or prime-minister?
15 Minding the pocket
2 Rapidinhas 8 Letters 26 The Cultural Pulse 27 Por ai 29 Miami Calendar 30 Los Angeles Calendar 31 San Francisco Calendar 32 That's Brazilian
17 The favelas' revenge
21 An exclusive with Werner Herzog
23 Hot Leo Gandelman
25 Marighella recontado
Send mail to: P.O. Box 42536 - Los Angeles, CA 90050-0536 Ads:(213) 255-8062 - Editorial: (213) 255-4953 - Fax: (213) 257-3487 Subscriptions:(213) 255-4953 or (800) 354-4953 Founder: Gilberto Ferreira / Publisher and Editor: Rodney Mello / Associate Editor: Roberto Lestinge / Reporter: Francine Alexander / Administration: Lucci Moreira / Advertisement Representatives - MIAMI : Francisco Rodrigues (305) 377-1223 - Correspondent: Lidia Mendonga / FORT LAUDERDALE: New Sense Corp. (305) 537-3166 / SAN FRANCISCO: Nena Altieri (415) 742-9922 - Correspondent: Jupirena da Silva / SAN DIEGO: Vilma Chaplin (619) 286-2979 - Correspondent: Ivan' Vassoler NEWS from BRAZIL is published monthly. Single copy sold for 25C. One year subscription for 12 issues is $300 (three dollars) - bulk mail. Permission is hereby given to quote from or reprint any of the contents with proper copyright credit. Editorial submissions welcome. Please, include a self addressed stamped envelope. Address all material to P.O. Box 42536 - Los Angeles, CA 90050-0526. Some of our articles were originally published by Folha de Sao Paulo or Correio Brasiliense. ONEWS from BRAZIL 1992.
POST MASTER: Please, send address changes to News from Brazil - P.O. Box 42536 - Los Angeles, CA 90050-0536 NEWS from BRAZIL 84- DECEMBER 1992- Page 1
PEOPLE
Shoe-Shah!
RUA DE SAUL° NEWS
Success FolluideScioPaulo has jumped the last hurdle to become the biggest Brazilian newspaper. Since 1987, the newspaper has been the daily with more copies sold in Brazil. But until now the paper, on Sundays, had to take second place to a carioca paper. No more. The positions inverted in September, when Folha took the lead with 538,000 copies on Sundays, against 513,000 of the rival, 0 Globo.
In So Paulo, the lead of Folha against second place Estado de Sao Paulo is also getting bigger. From 9% more copies than the Estado, until recently, the paulistano newspaper is printing now 34% more copies than the competitor. Explanation for the success? "This results from our journalism of service," says Flavio Pestana, 29, managing director for circulation.
For those who thought it would take a long time if ever before Xuxa would get her own program in American TVland, it seems they were very wrong. Some other Brazilian personalities, such as Roberto Carlos, were never able to take the jump into the Yankee world. Xuxa, however, is ready to show her stuff in English. And starting in January she should be all over the place, including ABC, CBS and NBC. The Brazilian sensation has taped the first 12 programs from a series of 65. MTM, the Hollywood giant of TV syndication, is handling our Xuxa. For the first shows, the Brazilian didn't leave Rio. They were taped at TV Globo's Fenix Theater. But the public couldn't be more American: students of the American school and the children of American diplomats in Rio. AS WAS MENtAlittiDES Esito
&mons Em us t t Bi‘.qbts
Page 2- NEWS from BRAZIL 84- DECEMBER 1992
COVER
Flying high Ivan Lins has been in the United States before. But this time is different. He is developing a series of projects, in his new home in L.A.. Is he going to move here for good? Don't even think. Saudade wouldn't let him do it. FRANCINE ALEXANDER
"Music is a flight for those of us who create and do music," says Ivan Lins. "Flight. You go to the sky chords, melody, fantasies, dreams. That's why we're a little bit crazy. It's difficult to deal with musicians because we are in the air most of the time." These days, however, Lins seems to have his feet squarely on the ground, his energies directed toward the future, while he lives in the United States and focuses on his songwriting career. "r rn making some contacts with agents that work for the film industry," he says. "That's what I'm really interested in d oing - scoring music for films." He's also adding to a long and successful history of collaborative efforts with other artists. "I'm writing songs for a lot of people," he says. "I just recorded a track with Brenda Russell, a song that we did together. Utaka, a Japanese instrumental musician, did a song, too. I did another song
for Eric Marienthal - he's a saxophone player who used to play with Chick Corea Electric Band. And I sang one of the tracks on the last Dori Cayrruni album thathe recorded for Quest. And that's it. I'm here to be involved with Brazilian, international, and American musicians and artists, writing songs or performing on their albums - doing music. You know, that's what I love to do." Since July, Lins has been living in Los Angeles, a city that has been his yearly host for the past ten years. "It's like my second country," he says. "I feel like I'm at home here. I know a lot of people and I'm feeling very welcome here." But this doesn't mean an indefinite stay. "I miss my country, really," he says. "I think that I have a mission. I think that I'm not in the United States to stay forever. It's for a while. I know that. Maybe it's like the poet Caetano Veloso says in one of his songs, it's a very old song, 'Eu nib estou indo embora. Estou so preparando a hora
de voltar.' ('I'm not going away, I'm preparing my way back.') I think that the mission started with the record company, because it's a really wonderful project." In January 1992, Lins, his long-time lyricist Vitor Martins, and producer Paulo Albuquerque started the record company Velas, in Brazil. "It's a very different company," says Lins, "the way we deal with music. It's very democratic. We want to preserve the dignity, the honor of music. We want to treat music the way we think it has to be treated. With respect. It's something that really starts me thinking of my country. All the time. I know I'm not staying here forever." To date, Velas has released three albums, the first perhaps the best proof of the company's commitment to taking risks in order to promote music it believes in. "The first one was Guinga," says Lins, explaining how the company came into being. "He's not a new composer - he has 25 years in music but he's a dentist. He's a really special
NEWS from BRAZIL 84 - DECEMBER 1992- P e 3
COVER composer. We listened to the songs he played at a party at a friend's house one night, and we got so crazy, we said, 'Oh, come on, this has to be recorded. We need to put this on an album.' And we decided to start the company just to release this music, because nobody else wanted to do it. Record companies were saying, 'It's too complicated. People aren't going to understand.' But Brazil has to listen to this stuff. We cannot leave music caged in a room, at home on this guy's cassettes. So we started a record company just to release that album. What madness!" VERY ECLECTIC Lyrics for Guinga's compositions were written by Aldir Blanc, who until three years ago wrote for Joao Bosco. The album, entitled Simples e Absurdo, features artists such as Chico Buarque, Leny Andrade, and Renato. Lins also sings a track on the album. "It's not easy music," he says. "It's a mix of Gershwin, Pixinguinha, Tom Jobim with Villa Lobos, Radames Gnatalli. Guinga mixes very traditional music, music with very strong Brazilian roots, with modern and classical composers. And the result is very unusual. It's very beautiful. It's very different. It's for people who really are accustomed to listening to music." Lins and Martins's enthusiasm for the album extended to doing the distribution themselves. "The distribution was very difficult because we didn't want to deal with record companies at all. No distribution, nothing, nothing, nothing. No connections at all. So we started to do it by ourselves. Door-todoor selling. Crazy. We started to call the main office [of record chains], using our names. 'This is Ivan Lins and Vitor Martins. We've started a record company. We've just released this guy called Guiriga...' That's what it was like. Door to door." And with that experience, the company was underway. "We started the company," Lins recalls, "and we went, 'Wow, one album and we're a record company. What are we going to do now? Well, let's go on. Let's do more." Two more albums were released on the Velas label, Leny Andrade Canta Cartola, a complete album of songs by the traditional samba composer from Mangueira, and Lins's most recent album, Awa Yio, released last
a
Page 4 - NEWS from BRAZIL 84- DECEMBER 1992
year here in the United States. "And now we have an office in Sao Paulo with 20 people working for us," says Lins. "Now it's a record company, really." And the future of the company looks bright, with the good fortune of an association with Lintas MPM, a major Brazilian advertising company that is taking care of promotion and marketing. " We plan to record a lot of people. We have a list, but we are going carefully because the economic situation in Brazil is bad." Among those on the roster, southern Brazilian artists Geraldo Flach and Luis Carlos Borges, Edu Lobo, and a group of percussionists called Bata Coto. The partners plan to bring Velas to the United States in the future. "So we are in contact with some labels here for instrumental music," says Lins, "telling them that if they don't have people representing them in Brazil, we want to represent them. And after that, we plan to do it the other way, to produce Brazilian music, music from Argentina, or from South America, for the American market and Japan. That's where my life is directed. It's not always writing, but the future. That's something that's going to be an important part of my life. Producing." Lins's plans for the United States also include a college tour that he would like to schedule to coincide with the World Championship Soccer matches, which will take place here in 1994. "I think a college tour could be really helpful in promoting Brazilian music," he says. "I want to use video to deal with the issues of my country, not like postcards. I want to show through the music the Brazil that is the real Brazil to mix images of nature with people's attitudes. That'smore interesting. How the people look, what they think and how they feel about everything. Political things. The great moments we had. That's what I want to show." He is especially dedicated to drawing young people's attention to their own political power. "I'd like to show to the young people in the United States what the young people in Brazil are doing. They have to know what they did with the impeachment. Day by day, the students pushed and pulled the rest of the society to the streets. They really did it. That's something that is very good to show here. Because power is afraid of the youth. Politicians, all of them, have sons and
daughters, and it's crazy when they see that their sons, their daughters are thinking differently, asking for a better life, for things they are not doing. Or when they have rabopreso (tail attached), as we say in our country. So that's why the youth is very strong and doesn't know it. But they have to know. In our country now, I think that they know. They saw it happen. They have this street experience. And they did it without violence. I believe in this kind of stuff." TIME FOR A BREAK Anyone who has seen Lins perform live will hope that his concert plans in the U.S. will extend beyond the college campus. He has already appeared at the Hollywood Bowl and at a showcase spot in Santa Monica, At My Place. Lins, however, is hoping to take advantage of this time for a welldeserved break. "Performance is okay," he says, "but I can't see myself performing for the rest of my life. I think I have five more years, that's all. I did it so much in Brazil. In Brazil you have to, REALLY. You can't stop. Because we have inflation. If you stop, your money -whew. Where's the money? Gone. So we had to work. I worked twenty years straight, almost nine months a year on the road, performing, performing, performing. It's exhausting. What I really like to do most is to write songs. I love to be in my studio and start to play and sing, and record it.
COVER
Create my songs. Working at home it's so good." Lins is now composing music for his next album. "I'm in love with the songs," he says. "They're still incomplete, but I'm in love with them." He takes his inspiration from the things he loves in life. "It comes from the environment, from nature, the birds, the animals, mainly the birds. I love birds. And it comes from love, my wife, my children. I have five kids, all teenagers, all in Brazil." And as always, Lins music conveys his passion for Brazil. "I talk about my country all the time. I really love my country. I'm very nationalistic. Very, very, very, very. That's why I complain a lot - about the government, the way people are treated, the situation, the economic structure. That's why we fight against the corrupt politicians. Because we love the country a lot. I want it better. It deserves to be better. The Brazilian people deserve a better future. And I'm not going to stop saying those things in my songs. We talk about love, but we talk about Brazil, about hope and what we can do to make it better." Lins says he always writes a song knowing its meaning, and explains what he wants the song to say when he plays his music for his partner, Vitor Martins. "I know what the lyric is going to say. I know exactly what I was seeing. I'm always seeing something. I always tell Vitor what it's going to be about. And he does it, beautifully.
That's the way it works. Because he understands me," says Lins. "He knows me, as well as anyone. And we have very sirnilarideas about life, about country, politics, spirituality." Martins is now working at Velas in Brazil. "He's heading the company," says Lins. "The company is Vitor, basically. He's doing almost everything. He has worked in record companies before, so he understands a lot. He worked at RCA for a long time, and he worked at Continental. He worked in music publishing. He knows how to do it. He's very honest. It's important. He wants to do it right. So I'm going to take a tape of all my stuff to Brazil and I'm gonna give him a copy of it. 'Here's what I did. A lot of stuff.' So he can start to write." Currently, Lins is looking for a record deal for the release of the album he is in the process of composing. He has left Warner Brothers' Reprise label, which released his last two albums in the United States, Love Dance in 89 and Awa Yi6 last year. "I don't have anything against them," he says, "but I think the format of the company is for pop music. That's what they really know to work. So it's not the right company for my kind of music. I'm looking for people who know how to promote my music. For me that's what matters. I think that to reach people, to make people aware that you exist and you do music, to get them interested in your music, you need promotion and marketing. It's where the biggest part of the money has to be invested." This month, Lins is in Brazil, touring to promote his own album recently released on Velas, playing music forVitor Martins, and checking on the company. He will return in January to continue working with American lyricists, looking for a manager, and writing songs. "And that's my life," he says. "I would like very much to get people interested. That's why I'm here. I understand music this way. It's a way to share emotion and feelings. I have a lot of things to express. And I think there are people ready to receive that. Human beings have to share with people. And I think that music is one of the human expressions. It's the way, the most beautiful way, to me, for man to express himself, to open his heart."
The black sheep of the Linses "I always was a very musical person, but I never tried to play anything. I was a really fanatic listener and I was a fanatic record buyer. Jazz or big bands, orchestras and big bands. I was eighteen when I decided to learn piano. That's very late. People usually start at seven. I saw on TV a Brazilian piano player, Luis Eca. He died two months ago in Brazil. He's an amazing piano player, playing with his trio, Tamba Trio. And I thought, 'Wow... That's what I want to d o. I want to play piano like this guy.' And I bought his albums and I started to try and I started to learn by ear, by myself. I was playing eight hours a- crazy. day. The piano was in the living room, so everybody heard. I almost drove them crazy. People were planning to cement the piano." Fortunately, the piano was spared, and in two years Lins was playing jazz and bossa nova standards in clubs. He still considered music a hobby, however, his main focus at the time being a degree in chemical engineering. "Music was a second activity," he recalls. "Not the main. Because my family was very strict. 'Oh, music is unstable. It's insecure. You have to have a profession like engineer, or doctor, or architect.' This kind of stuff. All my brothers and sisters followed my parents. I was the black sheep. I said, 'Okay, I'll try,' but music was my life. After the university classes, I went to the bars to play, or at night I was playing everywhere, arriving at home at two in the morning. That kind of bohemian life. I was like that." After a year of playing other people's compositions, Lins began to write his own songs. "I did my first song for a girl I was in love with. She was almost a neighbor, living on the same street, five houses down. I don't think it was a great song, but somebody listens to it and says, 'Oh, it's good,' and you're feeling encouraged. You feel like everybody's going to like them. So you're gonna to do more. After the first experience, I started to write songs every day. I was the worst
NEWS from BRAZIL 84- DECEMBER 1992- Page 5
COVER lyricist at that time. Terrible lyrics but, you know, full of passion." While still in college, Lins got together with friends who started to write songs with him. "And I met several lyricists and they started to write lyrics for me," he says. "So by the time I was twenty-four or twenty-five, I was a song writer. And I preferred to write songs rather than play. I started to sing just because I was composing so many songs, there weren't enough people to sing my songs, so I started to sing for myself, just to show my stuff. I was really proud of my music at that time." Despite a career launching that many musicians would envy, with artists such as Elis Regina, Elza Soares, and Ciro Monteiro among the first to record his songs, Lins has bittersweet memories of the early days in the limelight. "I suffered a lot when I started my career," he says. "I was so worried. I don't know if this came from my education or what. I was so insecure about people loving me. I had problems with my girlfriends. I was a very shy guy. 'She doesn't like me.' She's not looking.' 'She's not interested in me." This kind of very insecure person. I still am. Not as much as I was." Thanks to a number one song "Madalena," released by Elis Regina in 1970, and a second hit, "0 Amor ĂŠ o meu Pais," which won Lins first place at the International Music Festival in Rio de Janeiro in the same year, he released his first album in 1971 practically as a gold record. "I was trying to be an engineer," he says, "so I didn't suffer trying to get my music recorded. I didn't do anything. It was just that I wasn't prepared. My alPage 6 - NEWS from BRAZIL 84- DECEMBER 1992
bum was number one, and people were playing it on the radio a lot and I was on TV every week, and God, it was crazy. And I was a very insecure person. Can you imagine a very unprepared and insecure person number one on the charts?" In 1974, Lins started working with Martins, the beginning of a very successful partnership. "We started with a song called 'Abre Alas,' which became a hit in Brazil. Because of the success of the song, we decided to do more songs together. And we became popular, and great friends, and partners, not just in music, but partners in a business, too - a record company, a publishing company, things like that. And we've written so many songs. Maybe two hundred songs together. All recorded." •
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.•.• acordo. Nao tern o minim° de respeito Caro Editor: para aquele que esti gastando quase o :•:. dia inteiro s6 para tirar um passaporte Venho pela presente convidd-lo ou urn visto, ou seja la o que for. A falta para participar no nosso Simposio ern:* de consideracao dos "funciondrios" éurna abril proximo, apresentando uma:::: coisa vergonhosa. comumcacao de sua escolha. A verdade é que ninguem tern a trabalho sobre a imprensa brasileira, coragem de publicar ou oficialmente no Brasil ou cá nos EUA, problemasi* Caro Editor: reclamar dessa falta de vergonha que 6 o especiais, divulgacao, tipo de assuntos: tratamento do brasileiro pelos funciona- de major aceitacao, fonfes, etc... A16, alo, gurizada, tao todos oceis nos pdblicos. Qualqueroutro consula do Parece-meque deve ter muita coisa de parabem pelavalorisassao da lingua trataria corn respeito e cortesia os curiosaparacontar e que seria de grandeii] de Camaleoes que tao dando aos gringo. cidadaos daquele pals. Menos o brasileipara os outros participantes. Especialmento cuando 6 espncarn a ro. E a impressao 6 que o brasileiro, interesse Muito cordialmente, ê1iso significado do termico brega num infelizmente, nao tern respeito nenhum iartigo em ingreiz. Isto demostra pelo proprio conterraneo, muito pelo Claude L. Hulet erfeitamentchi a escoia da mei6 contrario, eles parecem fazer de prop6 siUCLA - Dept. of Spanish and:•:. Tinguage pra comunicd acuntos que to, para dificultar a vida da gente. Portuguese •:.: intereccarn memo a quem nao intendi :•:. S6 espero que mais pessoas tenham a •:.: ihada de portugueiz. :•:. coragem que teve o Daniel de sentar e Caro Editor •:.: :•:. Quern sabe acim nois vai torrid pOr na escrita o que ele achava daquele conhecido aqui aztros de marginitude povo do Consulado. E espero que eles Parabens pela excelente revistai tão grandi como Xitaozinho (Little Big do Consulado tenham a coragem de ler Aproveito para mandar material sobre:*::i ::Chintz) and Xoror6 (pronounced Show- e responder oficialmente ou nao. Esti al o cartunista brasileiro Lapt. :row-RAW), en vez de chatos como o urn desafio. Buarque que s6 compricam o P. Benvenutti Ana Angelica Schmidt linuajar?... Gardena, CA Houston, Texas ery truly yours,
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Caro Editor Como se diria em Ingles "It's about que alguem resolva atacar o que realmente uma vergonha para os moradores desse pals que iprecisam usar o "servico", se 6 que se ?ode chamar de servico, do famoso Consulado Geral do Brasil" (Letters, edic.ao 84). A impressao que se tern 6 que o :ipessoal do Consulado esta fazendo a todos nos um "grande favor", atendendo respondendo aos problemas levados ipara eles. Corn toda essa mudanca de vensamento no Brasil, onde o povo esta comecartdo a exigir mais responsabiliidade do governo e dos funciondrios i)Dirblicos, esti na hora de todos os agirem desta forma. Vamos fog° de cara dizer que existem certas pessoas no Consulado que estao Ia para atender bem e usar boas rnaneiras e educacao para corn os iiiatendidos. Porem, 90% dos "funciondrios" do Consulado pensam que sao o 43residente da Republica, e agem de
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CRONICA
Que chaaatuuuura! Chalice é uma praga. Fisiochatalogos tern se debrucado sobre o problema a procura da raiz desse ma!, sem sucesso ate agora. Felizmente ha um teste para se detectar chatos e fugir deles. A nao ser que voce seja um deles. Entao, é se conformar e freqiientar sessoes de Chatos AnOnimos. ARIOVALDO BONAS
Se ate o fim do seculo os programas de converseira na televisao (talk-show, para quern gosta de ingles), as filas e o analfabetismo de gravata nab acabarem corn os brasileiros, a chatice e o mau caratismo farao o servico. Infiltrados nos times e nas torcidas de futebol, na imprensa e no ambiente inteiro - agora, nao apenas no meio - a chatice e o mau caratismo sao epidernias fora de controle, corn tun agravante: nao ha vacina. No caso da chatice, os fisiochatologos procuram explicacOes no sangue, no DNA, nas cordas vocais, no figado e no tamanho do cerebro. E definitivo: nao ha urn centro fisiologico • o desencadeamento da biochatice. que provoque 0 Brasil esta atrasado na pesquisa sobre tao chato assurtto. Entre todas as urtiversidades do mundo, as japonesas e as americanas sao as mais atrasadas no tema, o que, em se tratando de chatos, significa que estao na frente, na vanguarda chata, segundo a inversa L Ogica Chaterrima. No Japao, oscientistas a pelaram para a parapsicologia. Tentam determinar se o chato e apenas urn cretin° ou uma pessoa corn poderes paranormais que nao deu certo e, para descontar, fica azucrinando os outros. Os americanos preferem medir o Qiiociente de Chatice, o grau de tedium vitae que todo vivente exala. As plantas menos, exceto as hortencias. Os peixes mais, principalrnente as trutas que contaminam os pescadores. Dessa maneira se sobe na escada da evolucao ate a descoberta fantastica ocorrida na Mongolia dos restos do homo odiosus, literalmente, o homem macante, urn chato da era em que os dinossauros eram apenas bichos terriveis. Arqueologos provaram: esse pai de todos os chatos vivia apagando o fogo que os outros demoravam dias para acender. Talvez por isso seu esqueleto apresente fraturas mUltiplas. 0 mau-carater é anterior ao chato. Os livros sagra dos de todas as tradicifies registram o surgimento dos primeiros maus-caracteres. A his tOria da civilizacao mostra um vai-evolta do mau caratismo. Como o leitor nao convive necessariamente corn urn tedioso ou corn urn sicofanta, profilatica, didatica e simpatica a missao de informar sobre NEWS from BRAZIL 84. DECEMBER 1992 - Page 9
CRONICA o chato e o mau carater. Antes, a questa° da falta de carater. Como distinguir um born carater de outro nem tanto? A primeira providencia é comprar urn espelho retrovisor: salafi.drio pode ser flagrado falando pelas costas, o que provoca estranha sensacao de som dolby-estereo. No caso de se tratar de mau carater laconic°, recomenda-se o teste punhal. Emprestam-se as costas de urn amigo do suspeito e se joga, discretamente, urn punhal no chao. Se o amigo sobreviver e porque o pobre suspeito alem de nao ter carater tambem sofre de descoordenacao motora, que o impede de desferir a punhalada pelas costas. Conhece-se um biltre menos por palavras e punhaladas e mais pelas obras que desfaz. Foi assirn corn a Torre de Pizza, e claro. Cuidado, porem. Assim como nem todo Nelson é Rodrigues, nem todo carater e mau. Pode ser urn simples caso de mau halito, de maus-tratos e ate, arrenego, de mau-olhado. Os caracteres nascent bons e vao caindo, trocando por outros definitivos, se estragando corn os atritos. Igualzinho aos dentes, mas nao existe dentista que de jeito num carater cariado. Ha de se entender essa verdade profunda para se gostar de gente tipo Raimunda, boa de cara e torta de card ter. Tern sentido a teoria de que o pulha é urn ressentido. A -Unica maneira de se livrar de mau-carater nao e arnaldicoando a escuridao, Inas acendendo uma vela e queimando o disgramado. Se esse simples conselho fosse seguido, grandes cidades economizariam na conta de luz. Ja urn chato, nao adianta queimar. Ele vai ficar perguntando: "Acendeu o fogo direito? Nao esta sentindo urn cheiro de churrasco?". Como nao estamos na Mongolia no tempo de homo odiostes e dos dinossauros, tambem nAo devemos atacar os chatos coin pedacos de pau. A Unica receita possivel e infalivel e fugir. Antes, porem, e preciso detectar a presenca do chato para que nao se fuja do mundo inteiro. A Ultima edicao da revista especializada The Boring News traz urn teste para a descoberta de chatos, que reproduzimos. Se o leitor verificar que algum conhecido e um chato, denuncie ao Ministerio da Sande que controla as epidemias. Se o chato for da familia, nao se preocupe: envie a figura para a pro ducao dessesprogramas de trotes em radios FMs, onde fara fortuna. No caso dramatic° de autoflagrante de chatice, nada de desespero: procure os Chatos Anonimos. Lembramos apenas que mais de sete respostas afinnativas atestam o aparecimento de mais urn chato na face da Terra. Eis o teste: Page 10- NEWS from BRAZIL 84 - DECEMBER 1992
04.4044:6*.Oh 0400ds-hgad
SC: Socially Correct With the fall of Collor de Mello, Brasilia's high society is having a face lift. Ostentation is out. It pays to be discreet.
that the Brasilia court is celebrating with a lot of joy the changes occurring in the partying landscape in the Capital. Catharina Bastos, the magazine's CHRISTIANE ATTA director, reminds readers that the exIt's been one year since Cleo Octavio president created a ghetto of Alagoanos Pereira, a businessman and the father (natives from Alagoas) who shared of representative Paulo Octavio (PRN- with him opulent parties where food DF) when playing biriba (a kind of was washed down with Logan whiscanasta) at Casa da Dinda (Collor's key. They formed the famous group of residence) and with the intimacy of the eight couples. She also says that the list of guests somebody who had seen the former president wearing short pants playing for parties in the Itamarati was redone in his house, decided to call his atten- by Collorhimself, who ostracized many tionto the fact that, scientifically, power local businessmen in favor of the highsociety from the Rio-Sao Paulo axis. isolates. Prophetic ally, Cleo warned Collor Contrary to what many people thought that instead of wasting his week-ends the apparent chauvinism of the exshowing off at sporting practices, he president was really pure prejudice. should give more prestige to the con- He considered member of the Brasilia gressmen linked to the Brasilia society, society to be hicks, excluding only his if he wanted to avoid serious political closest friends as Luis EsteVao, Paulo Octavio, Ronaldo Monte Rosa, and problems for lack of support. This not only accounts for the fact Eduardo Cardoso. That's what the that Collor received only 38 vo tes in his magazine's publishers think Excelencia favor during the vote for impeach- reserves from 10 to 12 pages for politiment, but also for the radical changes cal-social happenings - with the verthat occurred in Brasilia's social col- dict of such famous columnists as umns, that have always had as raw Marcone Fonniga, Gilberto Amaral, material the vanity of those who think and Servulo Coimbra. With an editorial line a little more they are dose to power. The social enclave created by the daring than those of other publications ex-president was responsible for the whose only purpose is to stir the boncreation of many alternative publica- fire of vanities of the court, Excelencia tions. Virtually all satellite cities around has a bold aesthetic proposal, approachthe Capital have a social column in ing political, economical and cultural their community newspapers. The themes under the social prism. Even being a product consumed same is true for publications that circulate in the top echelons of society, like only by the high middle class, the magaExcelencia, Classe A, Gente and the re- zine sells around 130,000 copies cently created lomat Versage, interested through subscription and newsstand in stressing the role of young local sales. If everything works out as planned the publication will become businessmen. Excelencia, one of themostrespected reading material on all Vasp planes. magazines in this dass, shows signs Some colurnnists believe that life would
have been different for Collor had he allowed the Brasiliense society to participate in the palatial events. By excluding the Brasilienses from the glory of the social columns, Collor also deprived himself of intelligent advice from those accustomed to the games of power. The substitution of a character of the First World for "a hick with a mineiro belly-button", as Catharina says, will certainly contribute to the transformation of the social columns. Instead of the Alagoas Republic, it will the turn for the Senate Republic. That's the end of the bride's cake created by Collor. Now is the time for broa de milho (cornbread) mixed by Mineiro ministers Murilo Hingel, of Education; Paulo Haddad, of Planning and by senator Mauricio Correa, of the justice Department. Another important fact for the columnist is that Itamar Franco, the new president, is unmarried. Besides being further from family scandals, the Itamarati banquets, for example, "will be only for men", guarantees columnist Marcone Fonniga. Fonniga, one of the m o st requested columnists of Brasilia ( newspaper Correio Brasiliense, Excelencia, Versage) and other publications from outside the Capital, explains that the emergence of so many vehicles exploring the social happenings in the city is justifiable. "To be noticed in Brasilia is very hard. You have to dispute with the president, ministers, foreign diplomats, congressmen. That's too much for the local society," stresses the columnist. Those who cannot fit into the gaps left by the illustrious people, can only appear in alternative publications.
NEWS from BRAZIL 84. DECEMBER 1992- Page 11
BRASiLIA Those, in turn, have to avoid the trap of becoming a vanity display, not to ruin its prestige before the reader. The new columnism invests seriously in information. The newspaper columns are more and more politicized, connecting world economic and political facts with social happenings. "There's something else," says Formi-ga. "The IRS lion reads, daily and with a magnifying glass, about the parties described in the columns. Caviar and champagne are not as abundant as they used to be." Versage has been establishing itself as a "social alternative" adequate for promo ting the young businessman, artists, models, or aspiring models. "We work essentially with society, but with a proposal to divulge matters about sports, culture, and education," says Julio Jardim, founder of the magazine. Although Versage is distributed for free in schools, bars, night clubs and beauty salons, the tabloid that started in June is already out of the red. It is like a bridge for those 16 year old and older, who still cannot shine in the pages of the more traditional publications.
umnist's slang bimbo blinded by rise of the husband. Her •• • •.:(iination can be contd nails. •••highest and most honbiiiWoman. She is always :44:4.i4iid discreet. ranco (white rice) iscardable.',:.0041pany. You use and ••:0 • 0tyi**iiiii eus La is watching) •••••• • ••:•• omeo:•••:•:: tell an absurdity and ares tii*40 Gemeos (He (she) •• • - Someone h•anges his story everyday. staiii4::(turned to the moon) •• • ••••:••••••• •0 •• n. (lipstick in the Unpnts)iJsed to talk about some..64••••••:46.':the act. *i (The Caixa gang) Q$'0.•:••women ho pawn their lSavings Bank (Caixa ral) to maintain the
appearance of prosperity. Parece que bebe (it seem he (she) drinks) - To describe people who do or talk absurdities. Mala sem alga - (c.laspless bag) - The sticky bore we cannot get rid of. Penetra - A never invited always present guest. Arroz de festa (party rice) - Guest who never declines an invitation, not even for a doll baptism. Nao compartilhar do mesmo foie gras (not to share the same foie gras) - When two friends are not talking to each other. 0 marido dormiu no sofa da sala (The husband slept in the sofa) - It denotes a conjugal fight. Saia curta (short skirt) - When the money is short. Alone -40 something and single. Avec - Person who found a companion. Forfait - Another word for bolo or cano (break of an engagement).
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Yes and no Brazilians are going to the polls in April to decide between monarchy and a republic, between a president and a prime-minister. CLOVIS ROSSI
President Ramer. in favor of Parliamentarism
What'sbetter?Presidentialism or parliamentarism? The answer to the question is going to take up most of the space for political debate the first quarter of 1993. This will be the period preceding the April 21 referendum, when the electorate will choose not only its favorite system of government but also its structure (monarchy or republic). Discounting the hypothesis of the monarchy, until now chosen only by a minority among all opinion polls, the trend is for the defenders of a position to attack the other side instead of stressing their own strenghts. There are enough arguments for both sides. Against presidentialism it can be said that the last three presidents (Joao Figueiredo, Jose Sarney, and Fernando Collor) were a failure. All of them left Palacio do Planalto widely discredited, according to popular polls. It's very tempting to say that if a military leader, a civilian elected indirectly and another civilian chosen by popular vote failed, it's the model that doesn't work. Presidentialists are going to fight back with two classes of arguments: the Parliamentary sys-
tern needs strong parties and a stable bureaucracy, requirements that Brazil certainly doesn't have. They will also say that's nonsense to switch to a Parliamentary form of government after all the popular fight and mobilization in favor of the direct presidential election. Besides, politicians by and large have a very poor image. A recent poll by DataFolha has shown that 66% of Brazilians don't trust politicians. Well, Parliament, which would be the government's axis, is precisely the politicians' big club par excellence. Parliamentarist J ose Serra has an ar gument on the tip of his tongue: "With Parliamentarism, Congress doesn't get more power. All it gets is more public responsibility." Arguments aside, there is a huge shadowy zone around the referendum. For both Parliamentarism as well as Presidentialism, there are different formulas that can be applied. Just to mention one example: it's possible to have a parliamentarist Constitu tion with the president being elected by direct vote or by Congress. In Italy, the president is chosen by an electoral college whose members are, in its majority, representatives of the Parliament. But, in Portugal and in France, the presidential election is direct.
By the same token, Presidentialism can adopt more mitigated forms of the concentration of power in the hands of the president. Voting in April, however, the voter will be choosing one of the two systems in abstract, since the details will only be worked through a constitutional revision to be worked only after the plebiscite. It's important to remember that the referendum's decision will apply not only to the country's government but also to states and municipalities. Both state governors and city mayors will come out of their respective parliaments. If the referendum had happened last year and Parliamentarism had won, Paulo Maluf, a candidate to Sao Paulo City Hall, wouldn't have needed a second turn, being the leader of the majority in the next City Council. The April plebiscite is a rerun of the popular consultation of 1%2. Parliamentarism was temporarily adopted in 1961, as a remedy for the crisis created by the resignation of president Janio Quadros. Presidential ism won in the referendum of the following year.
NEWS from BRAZIL 84- DECEMBER 1992 - Page 13
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ECONOMY (the poorest), 75% have price as their of Brazilians stick to their favorite brand main concern. 63% and 58% from even if it is more expensive. But the classes B and C, respectively, declared other 61% buy the cheaper product. that the mos t important factor for them Brazilians are not buying imported food anymore, such as delicatessen is price. The search for cheaper merchan- products and canned goods like oldise, mainly among food products, ives, oil and mayonnaise. Even the started to intensify last year. The consumption of cleaning material has reduced. When is time to buy, Brazil- Interscience Institute tried to identify beenThe purchase of clothes has been the moment where Brazilians started ians take into consideration to modify their buying habits. From reduced by 67.6%. Similar reductions only three factors: 1982 to February 1991, there was an (67.3%) have occurred with eating out infinitesimal percentage of people who in restaurants and fast food places. price,price, and price. bought their products in places with Leisure, including movies and theater, better prices. During July of last year, also felt the tightening of the belt. From MAiSA MOURA 12% of the middle class started this the interviewees, 24.6% refrained from any leisure activities and 44.8% drastiBrazilians are consuming less and new trend. The study has shown that even the cally reduced their expenses in this less and continually changing their low income population started area. The consumer has also changed the to look for supermarkets and way he pays. Cash purchases (35% of commercial establishments with more reduced prices start- the total) continue only in the area of ing last year. In 1991, only 17% food products and some clothes. About with low incomes, said they 65% of purchases are being made in used to buy at places with installments, pre dated checks, and credit cards. The high interest charged cheaper prices. The consumer is more se- by the cards, however, is killing the lective now, trying to find out sales of electric and electronic equipif the product is worth its price. ment. More than 74% of the population For the marketing manager of of Brasilia, for instance, do not intend ParkShopping, Luiz Alberto to buy any electrical appliances or elecMarinho, the change was one tronic equipment, at least till the end of of attitude. "Two years ago, the 1992. the consumer would pay a high price without questioning the value of the product. Today, with clothes costing as much as electric appliances, the attitude is buying habits to adapt themselves to Dove went South. And recession. Traditional brands and even different," he says. feathers are flying. Businessmen have the option to the quality of products are being put increase the benefits they offer or to on the back burner by consumers. At FILOMENA SAYAO the same time people are more and reduce the price of the product. Trying to lure the consumer, they are inventmore interested in getting lower prices Gessy Lever decided to import soap ing promotions with foreign cars and and better payment terms. from the United States. Dove, the new These are some of the findings from overseas trips as prizes. Traditional brands are losing product, is already on the shelves of polls in Sao Paulo and Brasilia. Acground with increased competition. some supermarkets. It is being introcording to the results of a study by The middle class, that until the end of duced with a heavy marketing camInterscience, 53% of people choose where to buy based on price and ease the 80s preferred the leading brands, paign: it will be distributed for free in of payment. The proximity and repu- has changed its behavior. In acquiring 1 million Sao Paulo residences; it has tation of the shop, as well as the variety high-tech electronic products, for in- two TV ads that are being trumpeted of productswere not mentioned. From stance, the consumer is not worried on prime time; and it comes with a about 3,000 interviewees, only 18% about the manufacturer anymore. In dermatological study. Investments in advertisement with still look for diversity of products when choosing a videocassette, 66% prefer ads created by Standard, Ogilvy & the cheaper product instead of the buying. Mather, are more than $3 million. One Price today is the most important traditional brand. The same has happened with the of the TV commercials presents testifactor for consumers from all social microwave oven. Only 25% of the monies of women who have used the classes. Among those interviewed in middle class consumer worries about product for ten days. the Greater Sao Paulo area, between Dove will be only one more prodthe brand when making such a purthe ages of 15 and 55, 71% of the indiuct of Gessy in Brazil (a subsidiary of viduals of the A Class (the richest), chase. When used to some product, 39% Unilever), that will continue to manulook first for the price. In the D class
War economy
Foam war
NEWS from BRAZIL 84- DECEMBER 1992- Page 15
ECONOMY facture other brands in the country. The objective is to guarantee a slice from the pie of consumers belonging to dasses known as a A and B, before anybody else does it. The price of Dove, around $1, makes it one of the most expensive soaps in the country. The product imported by Gessy is starting a soap war. The strategy to get into the market first raised a question among the directors of Gessy Lever in Brazil. Will the company's image suffer with the supermarket shelves exhibiting a line "made in the USA"? Examples of similar operations in countries likeItaly, Argentina and Chile have helped convince the Gessy executives that Brazil would accept well the new soap. The arrival of Dove is one of the biggest market coups since multinational Procter & Gamble bought Phebo, four year ago. According to Gessy, Dove will be more expensive because it is the only that contains in its formula 25% of hydrating creme. Soaps that should suffer immediately the competition are, among others, Nivea, Darling (from Colgate Palmolive), and Phebo (from
Procter & Gamble). Pedro Prado Filho, 34, juridical and corporate director of Procter & Gamble, estimates that the soap market in Brazil is worth $450 million a year. Gessy is not talking about numbers, not revealing the volume of Dove to be imported or the expectations of the company. After having implanted the name that has 15% of the market in the US Gessy intends to start manufacturing this kind of soap in Brazil.
War of the bottles Seagram of Brazil is investing $1.5 million in a campaign to re-release Orloff vodka. According to Enio Mainardi,57, president of the ad agency with the same name, the objective of the changes, also occurring in the beverage's formula, is to take the lead in a market that represents $80 million, annually. The present leader is Heublein of Brazil, that retains 20% of the national vodkas, with Smirnoff. Orloff, the second place product, with
17% of the market, has now a new transparent label with the slogan: "Be Transparent. Be Orloff", that takes place of the old and tired motto "I am you tomorrow". Transparency in vodka bottles is a worldwide trend. The other change can only be noticed when the product is consumed. After more than one year of studies, Seagram has changed the formula of its vodka, adopting a blend of cereals instead of the sugar cane alcohol that was being used. When compared with other countries, the vodka consumption rate in Brazil is small. Americans drink 2.5 liters of vodka per capita a year, while Brazilians drink only 200 milliliters. Heublein of Brazil doesn't seem worried with the efforts of the competition. The company says the measure should increase the use of the product in the country. Says Virginia Neves, 36, corporate communication manager: "Our consumer is loyal. We area world famous name, being sold in more than 170 countries, with more than 15 million cases of our product being consumed."
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OPINION
Striving to be worst Rio and Sao Paulo are always in a competition to see which one spanks better and kills more poor people. ANTONIO CALLAN), RIO
On the cover of its section "Cotidiano", Folha de Sao Paulo published the other day a brief note about the condemnation, by the Tribunal of Military Justice, of a sergeant and two soldiers who in 1987 shot and killed, in Diadema, Fernando da Silva Ramos, the Pixote. "By three votes to two, the court applied the minimum penalty for homicide (six years) and reduced it by one third, arguing that the police acted in an "excess of defense' . They will be able to appeal while out on bail." I don tknow if any other newspaper in Sao Paulo paid more attention to the fact. Newspapers in Rio ignored it. Nevertheless, there was a big national commotion when Fernando died. In 1980, the film Pixote, a Lei do Mais Fraco (Pixote, the Law of the Weakest), by Hector Babenco, had transformed the 12 year old boy into the most famous Brazilian child in the world. He became a sort of Mickey Rooney of our sick society. His acting, as good as that of star Marilia Pera, brought to Babenco's film worldwide acclaim. Not even a severe critic as Pauline Kael, who at that time still reigned absolute and solitary in the cinema pages of The New Yorker, spared her applause to a Brazilian flick so different from the ones she knew, that didn't deal with Carnival, soccer or can3ago. Based on Jose Louzeiro s romance "Inflincia dos Mortos" ("Childhood of the Dead"), it dealt with this horror that is the life in Brazil of the street children. Babenco recruited Fernando for the role of Pixote, at the Vila Ester shantytown, in Diadema (in the Greater Sao Paulo area), and the boy tried to maintain after the film, the good warmth of fame, of money and of a career in motion pictures and television. But he as unable to do this. The stone in Pixote' sway was getting bigger and bigger, at the same that he
was also growing too big. Either he turned into James Dean or he had to start walking backward, and that's what happened. He went back to what he was, street urchin, budding outlaw. Jailed for minor offenses, when he was 20, he was chased by three policemen after a bungled robbery as far as inside the shack he was living again, in Diadema. The policemen are saying now that Fernando Ramos was armed. But that wasn't the story told at the time of the killing. Pixote tried to escape from the three men, so far as hiding under the bed, a embarrassment for a brave youngster. There he was shot. The impunity of his assassins leaves me astonished. It calls to mind the famous La Rochefoucauld maxim, "hypocrisy is the homage vice gives virtue". There would have been repercussions overseas if Pixote's assassins had been severely tried, and if the trial had stirred up emotions, even though the emotions weren't that strong. But the indifference, the tedium with which we see the policemen practically rehabilitated leaves me bewildered. Not even Rochefoucauld deserves a little respect from us anymore? Besides, the judicial pronouncement invoked to deal so benevolently with the policemen is extraordinary in its formulation - excess of defense - and it has also been apllied to the massacre at the Casa de Detenciio (Penitentiary) in Sao Paulo. We are informed that the slaughter of prisoners by the Military Police - be it one man or 111 - is called excess of defense. I confess that I became depressed thinking about the poor boy of Diadema. But it is too early for so much melancholy. Last Sunday, here on my beach at Leblon-Ipanema, there was a wave of arrastoes (sweeps) from the north section of Rio, invading the south section. It was a homage to Pixote, I told myself, homage from the Rio shantytowns to Sao Paulo shantytowns. Our two metropolises are always competing between each other to know who beats up more poor people and kills more prisoners. Concerning the last item, sao Paulo is, presently, winning hands down, thanks to the Carandiru's massacre, which along with everything else has its Hitchcockian side. Up to this moment, only one
captain admits to having committed murder, as if nobody else were guilty. There are, however, 111 cadavers to be explained, 111 Pixotes, since many of them tried to hide under their own cots to escape the nightmare of revolvers and machine guns that spat bullets without anybody pulling the triggers. Or could it be that the expertly trained dogs don't act only with their teeth but also with fire weapons. We would then leave Hitchcock and go to the canine murder described by Conan Doyle in the "Hound of the Baskervilles". Facing the huge lead Carandiru gave Sao Paulo, Rio, cornered, appealed to its natural riches, its landscape. Every time Sao Paulo beats us in efficiency and organization, we appeal to the natural resources, mainly the beaches. The sea resorts.
The Sunday Opera* Arrastdo was a rehearsal of response to Carandiru. There were no dead people, that's true, but this is just a question of time. Here comes the blood and sand of our bullfight. The bull is raised in the North corral, a tad ill fed, but with sharp horns. Our gracious bullfighters with swimming trunks and Cannens wearing dental floss bikinis were scared last Sunday, but they have already taken measures so that tomorrow, if the Miura comes, he will go back to his suburban corral pierced with pennants from barrack wood. The forcados who in Portugal bullfight take the bull literally by the horns and with bare hands have been mobilized. If he comes back tomorrow, too bad for him, as people say, because the MP sword is going to plunge in his neck as in Spam, up to the hilt. Death in the Afternoon, Ernest Hemingway. •
NEWS from BRAZIL 84- DECEMBER 1992 - Page 17
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Page 20- NEWS from BRAZIL 84- DECEMBER 1992
CINEMA Still getting his point accross: Werner Herzog in the Amazon, directing Fitzcarraldo, and ten years later in Vienna with Austrian writer Peter Handke.
A Conversation in Vienna with Filmmaker Werner Herzog. His memories of Brazil are not all good, but Herzog is still going back to one source of his inspiration. BONDO WYSZPOLSKI
Although he's made movies in nearly every part of the world, the German film director Werner Herzog is probably best known for the pictures he's shot in the Brazilian and Peruvian Amazon: Fitzcarraldo (1981) and Aguirre, the Wrath of God (1972). In recent years, Herzog has also directed theater and opera, as well as overseen the Viennale, Vienna's yearly film festival and the occasion of this interview. I'd wanted to ask Herzog about the German Romantic painter Caspar David Friedrich (17741840), because I've maintained that the two share a similar outlook on the creative process. With Friedrich, as with Herzog, we're always on the verge of a visual revelation, on the edge of acquiring an image or perspective never before seen. That mad onrush of beauty attained long ago by the painter Friedrich finds its present-day equivalent in such Herzog films as Kaspar Hauser, Heart of Glass, and the recent Lessons of Darkness. Unlike Herzog, the global wanderer, Friedrich rarely left Germany. There's no contradiction because with their inner eye - both have sought the same unexplored territory. My own quest has found me attempting to imagine Friedrich in Brazil, this time near Manaus. Would he be intimidated and awed by the rich profusion of colors, the lushness of shape, size and variety never encountered in northern Germany? I began our conversation by asking Herzog for his opinion. "I don't think he would be intimidated at all because the Romantic
Photo:Maureen Go
Still on fire
painters loved the jungle and they loved Brazil, and there's nothing intimidating about the jungle by itself. It's just forest and I believe he would have liked it." "What would you suggest that he look for? Because seeing something like this for the first time, he wouldn't know where to concentrate." "I think he should look at the very tiny thing, the minute little things, the ants, some leaves on the ground rotting away. And also, much of the landscape in the sounds. Rain coming down and the birds screeching, screeching of monkeys, screeching of birds. Because that gives the landscape a certain character." Herzog elaborates: "You can't see when you are in the jungle, because you don't see the skies. You always have a ceiling, a roof of leaves on top of you, and then you don't see very far because the density of vegetation is so immense that he wouldn't see more than, let's say, 7, 8, or 10 trees, and that's about it. So you have no great visions, you have no vistas in the jungle. It does not exist. So the jungle is something different. And Friedrich, of course, always has great vistas, great perspectives and open landscapes, and here he wouldn't have it. But I think he would get acquainted to find the minute things and see a whole universe in there." "I have some other questions about Brazil." "Well, we shouldn't speak about Brazil, we should speak about the Amazon rain forest. I actually know
Peru and more the foothills of the Andes, and of course the Amazon lowlands in the province of Loreto. "It hasn't drawn me back too many times," Herzog continues. "I've done two films in the rain forest so far. But I've done something like 35 films. So it's a minority. They are simply better known than my other stuff." "What about Cobra Verde, based on Bruce Chatwin's The Vice-roy of Ouidah?" "It was shot in Colombia, and there was no rain forest. It was more the arid dry lands of the Brazilian northeast, which at that time was very hard to (film) in Brazil because bureaucracy was such an impediment. So we decided to shoot it in an almost look-alike area in Colombia." "It's been several years now since Fitzcarraldo and Aguirre, and I'm wondering about your reflections with that much time having passed." "I don't feel strange in the Amazon region. Somehow it's close to my heart, so I understand people there, and I understand life to a certain extent. It' s a very pure form of straight life. Pura vida; pura vida." The opening scenes of Fitzcarraldo show the opera house in Manaus. Fitzcarraldo has come all the way from Iquitos, Peru, to hear the legendary Enrico Caruso sing Verd i with Sarah Bernhardt. This is in the height of the rubber boom when laundry was sent to Paris and cigars were NEWS from BRAZIL 84- DECEMBER 1992. Page 21
CINEMA lighted with one-hundred dollar bills. During the closing act of the performance, Fitzcarraldo senses that Caruso has singled him out, cryptically entrusting him with the task of building an opera house in Iquitos. Inspired, Fitzcarraldo embarks on yet another of his hare-brained moneymaking schemes: "I'm only doing it because I have but one dream, the opera: the Grand Opera in the jungle. I am going to build it, and Caruso will inaugurate it." These lines are from Herzog' s own prose treatment, written before Fitzcarraldo was filmed, and published by Fjord Press. In the film there's also a uniformed stationmaster, an unused station, and the barest length of track: the start of Fitzcarraldo's TransAndean Railway- which sound very much like the Madeira-Mamore Railroad, built early in this century at incredible expense and before completion already obsolete. Marcio Souza's Mad Maria is a fictional account of this Amazonian escapade, this tragic folly, the sort of ready-made material Herzog was sure to uncover and adapt for his own cinematic vision. "I've noticed that Scream of Stone has been released in Brazil, so why haven't Scream of Stone and Cobra Verde been released in the United States?" "Cobra Verde" is still a problem because the Dino de Laurentiis Company who bought the rights went bankrupt just a few weeks before the opening of the film, and there's still a tug-of-war about the rights and who is going to release it. Scream of Stone, I'm not the producer; I'm not the distributor of the film, so I don't know what's going on there." And I had thought that Werner Herzog had formed his own production company in order to avoid precisely this... But could there be other reasons why Cobra Verde, at least, has not been shown in the U.S.? L.A. Weekly critic John Powers, who saw it at the Berlin Film Festival in 1988, called
Cobra Verde "Racially noxious and cinematically inept.., probably the festival's worst film." Perhaps, but it's an assessment we should be allowed to make for ourselves. The last Herzog film with a theatrical release was the documentary-like Herdsmen of the Sun, which played briefly in Los Angeles in July, 1991. "Can you samba well enough to win any contests?" "No, I can't samba. I do some sort of freestyle." Herzog finds the question amusing. "But I could samba well with a soccer ball." "You were in Rio de Janeiro a few months back?"
"I was in Rio to do A Midsummer Night's Dream. But it was no just Shakespeare's play, it was more like a - how shall I say? - like a happening because the whole building was involved and we changed the lobby of the theater and even the outside of the theater, and some of the stage was growing into the space of the audience... but it was basically theater. There was seven minutes of film shown at the beginning of the whole event - a sequence of Lessons of Darkness. And when the screen moves away and the stage starts to luminate very slowly." Lesson of Darkness, recently aired on the Discovery Channel, is an original look ("I hate cinema verite," says Herzog) at post-war Kuwait. It is a truly haunting spectacle that should be seen on a big screen with the volume turned way up. "Is Lessons of Darkness the last film that you've finished and shown?"
Page 22- NEWS from BRAZIL 84- DECEMBER 1992
"Yes, that's my last film. I'm working in a film about Russia - faith and superstition. It's a project together with other film directors from outside of Russia." Herzog mentions several names, including Fellini, Godard, Bogdanovitch, and Ken Russell. "And each one of us makes a one-hour documentary." What else? "I'm working on an opera which I will do in Paris next year. And I'm starting to work myself into two feature film projects. One is a project about twins; one is a project about a journey in the northern polar seas." In other words, Herzog hasn't slowed down since his early films, Signs of Life and Even Dwarfs Started Small. When asked what his thoughts were on turning 50 years old, he tended to dismiss the question as irrelevant: "It doesn't occur to me as anything specific to become 50, because I do not count my age in years; and therefore it has little significance." In his case, it's true. At the Vienna film festival this fall, Herzog seemed to be everywhere at once, whether speaking before the audience on opening night or attending a reception given by Vienna mayor Helmut Zilk. By way of contrast, the next evening found him cooking chicken gumbo with filmmaker Les Blank. And the discussions that he led, with directors like Errol Morris (A Brief History of Time) and Peter Handke (Austria's acclaimed writer) were informative and entertaining. Despite this hectic schedule, however, Herzog remained accessible and accommodating. Here in the U.S., we don't see his name on the marquee as often as we used to - when the New German Cinema first rolled across the Atlantic - but Werner Herzog is among us still, even now in pursuit of those strange, beautiful images that he seems to find and retrieve from the edges of the world. It's a voice, a vision, that has enriched filmmaking in a way that remains unmatched and unique to our time. •
MUSIC
Born to be Leo
music, my entire childh000d I studied classical music, baroque. And with the baroque, I believe what influenced me greatly was the liberty to switch instruments... I studied piano since I was five. Deep down I like to do it all. I like to change instruments, to compose, to write arrangements. I think it is this that personalizes my work."
Solar, his previous
FATE
album has set a record, making Leo Gandelman the largest selling instrumental artist in the history of
"My mother is a music teacher, a pianist. My father [who is a lawyer] also has a musical background, he conducts. Music, for me, came from home. I was already born with this destiny; it wasn't an option. I was obliged to study music. I studied piano, flute - until I was 15. When I reached 16,1 no longer felt that music was preordained for me, I didn't feel it was mine. It seemed a fatality for me, not a desire or necessity. So I started to work as a photographer, to do something different than the rest of the family had done. Being a photographer was my first professional experience. This opened my eyes, amplified my vision, enlarged my view of the work. And inside of all this I discovered a new way of seeing music and a new way of making music, which was through the saxophone and through jazz."
Brazilian popular music. Now, with the release of Visions, Gandelman shows a maturity that puts him into a hard to categorize position in the musical universe. In this interview given recently in Brazil to Gerald Seligman the favorite instrumental musician of the Brazilian music critics, talks about his origins, the passion of his life, and Visions. "It's difficult to analyze my own trajectory. I am so deeply inside the process that sometimes it's hard for me to see it from outside. There obviously exists a natural growth, like within a person. Each year you accumulate experiences and you grow. This is my fourth record. Obviously I have the security and the conditions to realize a record better than when I began. Today, I've already found my way. My intention in my solo work is exactly to find a personal sound, and within this comes the mixture of elements, of influences. To begin with, there enters my own origins and my musical formation. Mine was very eclectic: I began studying classical
CREATOR "From my point of view, there only exists two real schools of music. If you want to be a musician, you want to study in the classical school or the jazz school. There really are the two schools, because they are so complete. Jazz is highly intelectual and helps to form all the facets of a professional musician on the level of harmony, theory, etc., etc., etc... It was through the saxophone that I discovered that I could create music, because in classical music I was
MUSIC only an interpreter and I didn't want to be an interpreter. Deep down I wanted to play with the notes, enjoy them, create my own sounds. The saxophone showed me this possibility within the jazz school. I wanted the pleasure of making music, of creating music."
someone. There are thing that I do alone, but I like to share my work. VVhen I play with William Magalhaes I have the chance to discuss these stories with him, and these stories induce us to make music. We tell the story to each other until the ideas surge. And William complements me harmonically, too, because he has IMAGINE good taste and a harmonic sophistication that I ad"When I am composing mire." I think very much in visual terms. Each song has a story, has imagery. I think that instrumental music, for the fact that it doen't have words, is really made for someone to close his 4221 Wilshire BI. #391 - Los Angeles, CA 90010 eyes and to entertain his own vision. (213) 525-3300 - Fax (213) 525-1584 On the cover of the record I wrote, "Visions: Convergences and Divergences". For me vision is more than a sense, visions RIO/S110 PAULO $655 are feelings. This is my defiASUNCION $855 nition of the work. Music LIMA $645 liberates feeelings. I think very much in terms of muSANTIAGO $819 sic together with an image. BUENOS AIRES $665 Each song is a film. Frontiers no longer exECUADOR $699 ist on the artistic level. I NEW YORK $380 think the tendency is towars LONDON $449 universalization, but obviously accents exist. We are PARIS $429 born with them. I am BraMADRID $498 zilian, but in no way do I want to use cliches to say LISBON $689 who I am. But I'm not try$229 HONOLULU ing to make a universal or regional music, I am just Representing: VASP, VARIG, AMERICAN, trying to find a personal LADECO, LAN CHILE, AIR PARAGUAY, way to makemusic. Each AEROLINEAS ARGENTINAS, AERO PERU time I go more deeply into AND UNITED AIRLINES. myself to know exactly what it is that I expect of Valley Office (818) 785-8844 music."
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. mitolva quetondava a fivra de Marighela figura de T .-t Y•ladV:11 6.sell ci P ei.ag. naonde guerrilheiro era visto quase Vit. boa pane dStekria' ms. ileira 4p:. ...coT0er6i. 0 period° da pyisao tambem nao .a der. .Ti4baihando 46,n • nenhuni .:.:f •tern muitos registros e Emir teve que se iamento,,th .414. co*tat:torn entrevistas de sobreviventes mein, :.•:. que conviveram coin Marighela na prisdo. 0 atara • St604 de urn suspiro de ahvio veio corn a pesquisa no 13eriodo que cle classifica de semilegalidade, 6, 4.6 . 0.194s, ate 1b4: ha varios testemunhos. pesquisa Saiv . o .ttma viagem que Marighela fez pela Oi infi'§c4pen0.,atp.aiS4ida',da.Pahia.' 'ha e Uniao Sovietica por volta de 1952/ :0604."DeSse periodo conseguimos pouquissima 0::: coisa ate agora." A dificuldade em relacao a 4. : (1964..40'a epoca da luta armada vem a traves das versoes etapa:'.do contraditorias que Emir esta recolhendo. "Apesar de nao ter produzido muito, 04:falta de Marighela 6 urn personagem muito rico por Ai5Ctiniento,S:::'OSOritds.":nia•0::!:ioi*Ntrt pela sua rebeldia pessoal, que se traduziu na divergencia politica clara", explica Emir. Ao longo de seu trabalho, o professor paulista ainda amarga muitas dilvidas. Quern recrutou REFRIGERATOR Marighela para o Partido Comunista Brasileiro? Como confirmar WASHER a veracidade de algumas historias DRYER como a de que ele teria queimado uma bandeira brasileira na Praca DISHWASHER Castro Alves, em Salvador? Ou a GAS 8e ELECTRIC STOVE de que term queimado os arquivos da Escola Politecnica, onde estuAIR CONDITIONER AND HEATING dou? Equal a versa° real da morte do lider, que vai ocupar o final do (714) 491-7336 livro? "0 que existem sao alguns 24 HS testemunhos que dao a dimensao da sua popularidade", analisa State Lbo # - SAME DAY FAST SERVICE Sader.
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Iguais porque urn cateto tern cornum, dois angulos iguais formando urn. iguais tambem, pprque seus complementos 'gums sera°, conforme os argumentos. Qua nto a graus, A + I possue noventa, B + J outros tantos apresenta. For vertices opostos R e J sao iguais assim como Re Mostrado e demonstrado O que é mister, I é igual a J como se quer. Os tria"ngulos iguais viram-se amnia, L2-, P2, iguais, isto se exprima. (Imagem de urn ponto) Atras do espelho piano enta-o se forma a imagem, que esimetrica pornorma. (lmagem de um objeto) Simetrica, direita e virtual, e da mesma grandeza por final. Melhorexplicacaooumais segura encontra-se debaixo na figura.
Z-LIJIR_UKs 'Ns
Amen Santo's
CAPOEIRA
Dois trifingulos enta-o o espelho faz, retai?gulos os dois, ambos iguais.
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NEWS from BRAZIL 84. DECEMBER 1992- Page 25
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calendar - December 92 - miami TUESDAY 1
7:30 pm - Charles & Rafael sing Mtlsica Sertaneja at Brazilian Tropicana 9:30 .m-M* elCruz at Man o's
WEDNESDAY 2
7:30 pm - Live Mtisica Sertaneja at Brazilian Tropicana 9:30 m-Mi elCrttz at Man o's
THURSDAY 3 6:30 pm-Rita de Cassia e Cabe*, sing from samba to lambada at Copacabana Nights 9:30 pm-Mig-uelCruz at Mangos
FRIDAY 4 pm- ita e siae ecao sing from samba to lambada at Copacabana Nights 7:30 pm- Pago de at La Fiorentina 8:00 pm- Paulo Gualano Band at Bay Club 8:00 pm - Erica Norimar & Brazilian Explosion ba nd a t Mango's 8:30 pm - Lambada, capoeira and samba at Brazilian Tropicana 9:00 pm - Brazilian Jazz at Hotel Vila
SATURDAY 5
6:30 pm-Rita de Cassia e Cabeclo sing from samba to lambada at Copacabana Nights 8:00 pm-Live Brazilian Music at Brazil Delicious Restaurant 8:00 pm - Erica Norimar & Brazilian Explosion band at Mango's 8:30 pm - Lambada, capoeira and samba at Brazilian Tropicana 11:00 pm - Ionia Elizabeth sings Brazilian Jazz at Alcabaza
•SUNDAY 6
pm- vigue ruz at t angos 6:30 pm-Rita de Cassia e Cabecao sing from samba to lambada at Co acabana Ni • hts 9:30
MONDAY 7 elCruz at Man o s
sing from samba to lambada at Copacabana Nights 9:30 .m-Mi; el Cruz at Man: o s
FRIDAY 11
6:30 pm-Rita de Cassia e Cabecao sing from samba to lambada at Copacabana Nights 7:30 pm- Pagode at La Fiorentina 8:00 pm - Erica Norimar & Brazilian Explosion band at Mango's 8:00 pm- Paulo Gualano Band at Bay Club 8:30 pm - La mba da, capoeira and samba at Brazilian Tropicana 9:00 pm - Brazilian Jazz at Hotel Vila
SATURDAY 12
SUNDAY 13
. pm - ar es a ae sing Mtisica Sertaneja at Brazilian Tro icana
4:30 pm-MiguelCruz at Mango's 6:30 pm-Rita de Cassia e Cabecao sing from samba to lambada at Co acabana Ni -hts
MONDAY 14 9:30 m-Mi elCruz at Man o's
TUESDAY 15
7:30 pm - Charles 8s Rafael sing Musics Sertaneja at Brazilian Tropicana 9:30 n-Mi el Cruz at Ma -1•o's
WEDNESDAY 16 7:30 pm - Live Milsica Sertaneja at Brazilian Tropicana 9:30 .m-Mi el Cruz at Man: o s
THURSDAY 17
WEDNESDAY 9
6:30 pm- Rita de Cassia e Cabecao sing from samba to.lambada at Copacabana Nights 7:30 pm -Pagode at La Fiorentina 8:00 pm - Erica Norimar & Brazilian Explosion band at Mango's 8:00 pm - Paulo Gualano Band at Bay Club
THURSDAY 10 6:30 pm-Rita de Cassia eCabecao
SITES & PHONES Alcabaza - at the Coral Gables Hyatt Bay Club -at the Four Ambassadors - 901 S. Bayshore Dr., Miami Brazil Delicious - 916, 71st St., Miami Beach - (305) 865-466 Brazilian Delight - 154 SE 1st Ave., Miami Brazilian Tropicana - 410 N. Federal Highway, Pompano Beach -(305) 781-1113
SUNDAY 20
4:30 pm-MiguelCruz at Mango's 6:30 pm-Rita de Cassia e Cabecao sing from samba to lambada at Co acabana Ni hts
TUESDAY 8
7:30 pm - Live Musica Sertaneja at Brazilian Tropicana 9:30 m-Mi elCruz at Man o s
SATURDAY 19
: pm- ita . e assiae a ecao sing from samba to lambada at Copacabana Nights 8:00 pm-Live Brazilian Music at Brazil Delicious Restaurant 8:00 pm - Erica Norimar 8z Brazilian Explosion ba nd at Mango's 8:30 pm - La m ba da , capoeira and samba at Brazilian Tropicana 11:00 pm - Tonia Elizabeth sings Brazilian Jazz at Alcabaza
6:30 pm-Rita de Cassia e Cabecao sing from samba to lambada at Copacabana Nights 8:00 pm-Live Brazilian Music at Brazil Delicious Restaurant 8:00 pm - Erica Norimar 8s Brazilian Explosion band at Mango's 8:30 pm - Larnbada, capoeira and samba at Brazilian Tropicana 11:00 pm - Tonia Elizabeth sings Brazilian Jazz at Alcabaza
6:30 pm- Rita de Cassia e Cabeclo sing from samba to lambada at Copacabana Nights 9:30 n-Mi elCruz at Man o's
7:30 pm - Charles & Rafael sing Mtisica Sertaneja at Brazilian Tropicana 9:30 m-Mi elCruz at Man
8:30 pm - La mba da, capoeira and samba at Brazilian Tropicana 9:00 pin - Brazilian Jazz at Hotel Vila
FRIDAY 18
anno s - I tJ iscayne Miami Copacabana Nights -3430 E. Atlantic Bl vd., Pompa no Bea ch - (305) 941-2751 Fedora's - at Hotel Adrian - 1060 Ocean Dr., Miami Beach. Hotel Vila -5960SW 70 St., Miami - (305) 667-6664 La Fiorentina - 196 SE 1st. Ave., Downtown Miami -(305)358-7482 Mango's Tropical Café - 900 Ocean Dr, Miami Beach - (305) 6734422
MONDAY 21
8:00 pm-Live Brazilian Music at Brazil Delicious Restaurant 9:30 pm-MiguelCruz at Mai o's
SATURDAY 26 6:30 pm-Rita de Cassia e Cabecao sing from samba to lambada at Copacabana Nights 8:00 pm-Live Brazilian Music at Brazil Delicious Restaurant 8:30 pm - Lambada, capoeira and samba at Brazilian Tropicana 11:00 pm - Tonia Elizabeth sings Brazilian Jazz at Alcabaza 8:00 pm - Erica Norimar & Brazilian Ex losion band at Man o's
SUNDAY 27 6:30 pm-Rita de Cassia e Cabecio sing from samba to lambada at Copacabana Nights 4:30 pm-MiguelCruz at Mango's
MONDAY 28 9:30 pm- igue Cruz at Mango's
TUESDAY 29 7:30 pm - Charles & Rafael sing Musica Sertaneja at Brazilian Tropicana
WEDNESDAY 30
TUESDAY 22
9:30 pm- Migue Cruz at Mango's 7:30 pm - Live Mtisica Sertaneja at Brazilian Tro icana
THURSDAY 31
WEDNESDAY 23
9:30 pm- MiguelCruz at Mango's 7:30 pm - Live Mtisica Sertaneja at Brazilian Tro •cana
THURSDAY 24
6:30 pm- Ri ta de Cassia e Cabecao sing from samba to lambada at Copacabana Nights 9:30 pm- Miguel Cruz at Mango's
6:3O pm-Rita e Cassia e Cabecao sing from samba to lambada at Copacabana Nights 9:30 pm- Miguel Cruz at Mango's 6:30 pm- Rita de Cassia e Cabecao sing from samba to lambada at Copacabana Nights 7:30 pm - Pago de at La Fiorentina 8:00 pin - Erica Norimar & Brazilian Explosion band at Mango's 8:00 pm- Paulo Gualano Band at Bay Club 8:30 pin - La mba da, capoeira and samba at Brazilian Tropicana 9:00 pm - Brazilian Jazz at Hotel Vila
NEW RAM III MUM ul/ =Mod luort
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IN MIAMI:(305)
377-1223
NEWS from BRAZIL 84 DECEMBER 1992 - Page 29
•
calendar - December 92 - los angeles ax your Calendar info to (213) 257-3487, mail to P.O. Box 42536 L.A., CA 90050 or call 213 255-8062. Deadline: the 20th
TUESDAY 1
SUNDAY 20
All day - Through December 31, Bakari and Haitian artists will be showing their work at Galerie Lakaye - 1550 N. Curson Ave. (213) 850-6188 7:00 pm - Brazilian Percussion Classes & Escola de Samba at Brazilian Music Center
8:00 pm- Brazilian jazz,samba & pop at Zabumba
MONDAY 21 8:30 & 10:00 pm - Rique Pantoja at I.e Cafe
TUESDAY 22
WEDNESDAY 2 Theater - Free concert 8:30 &10:00 pm - Fernando Girao 8:00pm- Brazilian jazz, samba & at Le Café pop at Zabumba THURSDAY 3 9:00 pm - Lula & Afro Brasil at Touché 10:30 pm & 12:30 am - Banda Vera Cruz and Guests present Brazilian Jam at King King
FRIDAY 4 6:30 pm - 10:30 pm - Georgia Martello at Pavarotti & Stein 7:00 pm - 12:00 midnight - Live Brazilian music at The Amazon Café 8:00 pm- Brazilian ja zz, samba & pop at Zabumba 8:00 & 10:00 pm. Kleber Jorge & Brazilliant at Maxell's in Huntington Beach -317 Pacific Coast Hwy 9:00 & 11:00 pm - Dori Caymmi at Le Café
SATURDAY 5 11:00 am - Meia Noite & AfroBahia present Percussion Workshop at Stein on Vine 2:00 pm - Afro-Brazilian Dance Class at Brasil Brasil Cultural Center - (310) 840-2794 7:00 pm - 11:00 pm - Georgia Martello at The Amazon Cafe 8:00 pm- Brazilian jazz, samba & pop at Zabumba 8:00 & 10 :00 pm - Kleber Jorge & Brazilliant at Maxell's in Huntington Beach -317 Pacific Coast Hwy
SUNDAY 6 7:00 pm - Kleber Jorge & Brazilli4nt at the UCLA Wadsworth
SITES & PHONES Amazon Café - 2201 Artesia Blvd. - (310) 371-2915 At My Place - 1026 Wilshire Bl. - S. Monica (310) 451-8596 Atlas - 3760 Wilshire Blvd.Los Angeles - (213) 380-8400 Brazilian Music Center - 6226 Sta Monica Bl. (213) 467-5715
TUESDAY 8 7:00 pm - Brazilian Percussion Classes SLEscola de Samba at Brazilian Music Center
WEDNESDAY 9 8:30 & 10:30 pm - Ana Robles at Atlas
THURSDAY 10 8:30 & 10:00 pm - Katia & The Rio Thing at Le Cafe 9:00 pm. Lula & Afro Brasil at Touché 10:30 pm & 12:30 am - Banda Constelacao and Guests present Brazilian Jam at King King
FRIDAY 11 6:30 pm - 10:30 pm - Ge6rgia Martello at Pavarotti & Stein 7:00 pm - 12:00 midnight - Live Brazilian music at The Amazon Cafe 8:00 pm - Brazilian ja zz,samba & pop at Zabumba 10:00 pm & 11:30 pm- Ana Robles & The Exotics sing Brazilian Jazz at Truly Yours
SATURDAY 12 11:00 am - Meia Noite & AfroBahia present Percussion Workshop at Stein on Vine 2:00 pm - Afro-Brazilian Dance Class at Brasil Brasil Cultural Center - (310) 840-2794 7:00 pm - 11:00 pm - Ge6rgia Martello at The Amazon Café 8:00 pm - Brazilian jazz, samba &
Kafe Kafka - 6069 W. Sunset Bl -Hollywood - (213)464-3938 King King - 467 S. La Brea Ave. - (213) 934-5418 La Ve Lee - 12514 Ventura Bl. - Studio City - (818) 980-8158 Le Café - 14633 Ventura Bl. Sh. Oaks - (818) 896-2662 Lula Washington's Dance Studio. 5179½W. Adams B1(213) 484-1370
Page 30 - NEWS from BRAZIL 84 - DECEMBER 1992
pop at Zabumba
8:30 & 10:00 pm - KleberJorge at Le Café
SUNDAY 13
FRIDAY 25
8:00pm- Brazilian jazz, samba & pop at Zabumba
6:30 pm - 10:30 pm - Georgia Martello at Pavarotti & Stein 7:00 pm - 12:00 midnight - Live Brazilian music at The Amazon Café 8:00 pm- Brazilian ja zz, samba & pop at Zabumba
TUESDAY 15 7:00 pm - Brazilian Percussion Classes & Escola deSamba at Brazilian Music Center
THURSDAY 17
SATURDAY 26
9:00 pm- Kleber Jorge & Brazilliant at Club Brasserie - BelAge Hotel -1020 N. San Vicente Blvd. - W. Hollywood - Call (310) 8541111 - No cover 9:00 pm - Lula & Afro Brasil at Touché 10:30 pm 8z 12:30 am - Sonia Santos & Banda Obatala present Brazilian Jam at King King
11:00 am - Meia Noite & AfroBahia present Percussion Workshop at Stein on Vine 7:00 pm - 11:00 pm - GeOrgia Martello at The Amazon Café 8:00 pm - Bra zilian ja zz, samba & pop at Zabumba 9:30 pm- Kdtia & The Rio Thing at Luna ria
FRIDAY 18
8:00 pm- Brazilian ja zz, samba & pop at Zabumba
6:30 pm - 10:30 pm - Georgia Martello at Pavarotti & Stein 7:00 pm - 12:00 midnight - Live Brazilian music! at The Amazon Cafe 8:00 pm- Brazilian jazz, samba & pop at Zabumba
SATURDAY 19 11:00 am - Meia Noite & AfroBahia present Percussion Workshop at Stein on Vine 2:00 pm - Afro-Brazilian Dance Class at Brasil Brasil Cultural Center -(310) 840-2794 7:00 pm - 11:00 pm - GeOrgia Martello at 'Me Amazon Café 8:00 pm- Brazilian jazz, samba & pop at Za bum ba
Lunaria - 10351 Santa Monica B!.. - W. L.A. - : (213) 282-8870 Moonlight Tango - 13730 Ventura - S.0.-(818) 788-2000 Nucleus Nuance - 7267 Melrose Ave. - (213) 939-8666 Pavarotti & Stein - 762 Pacific Ave. - (213) 667-2894 Stein on Vine -848 N. Vine St. Hollywood - (213) 465-4762
SUNDAY 27 TUESDAY 29 7:00 pm - Brazilian Percussion Classes at Brazilian Music Ctr.
THURSDAY 31 9:00 pm - Reveillon Ball at the Wornen's Civic Club in Garden Grove. Organized by Clube Brasileiroda California. Call (714) 8576764
t\k
Touché - 822 Washington Bl Mar. Del Rey (310) 822-2900 Truly Yours - 18588 Ventura Bl - Tarzana - (818) 996-3131 Venice Bistro - 323 Ocean Ft Walk, Venice, (213) 392-3997 Vine Street - 1610 Vine St. Hollywood - (213) 463-4375 Waterfront Café. 205 Ocean Front Walk,Venice, Tel: (310) 392-0322
calendar - December 92 - s. francisco 8:00 pm - Club Bahia at Bahia 'Fropical
WEDNESDAY 2 8:00 pm - TBA at Bahia Tropical 6:00 pm - Jack Gates with Bossa Nova at Chambord 8:00 pm -Candela at Bahia Tropical
THURSDAY 3 6:00pm- Doug Gittins with Rossi] Nova at Chambord 7:00 pm - Paulo Kamira interprets Bossa Nova at Aioli 8:00 pm - Claudia Villela at the Ku urribwa jazz Center - 320 Cedar St. - Santa Cruz
FRIDAY 4
6:30 pin - Viva Brasil in Samba Dance Class at Yoshi's, followed by dancing at 8:30 pm
Cdflta, FM with Elvira Co'a and Eric Taller Tropicalia Brasiflana Every Friday, 7:00 pin. KUSI. 90.3 with Ra.LrnUI3CIO Franco Brasileirinho- Every Wednesday, 9:3(ipm, KZSC. S&1 IM with Fiota Nova at Chambord 8:00 pin - Comhonation at Bahia Tropical
THURSDAY 10 6:00 pm- Doug Gittins ith Bossa Nova at (:ha mbord 7:00 pm - Paulo Kamira interprets Bcissa Nova at A ioli
FRIDAY 11
7:00 pm - Lisa Silva & lia tucada at Aioli 7:00 pm. Tropicalia Brasiliana on KUSF, 90.3 FM
7:00 pin - Lisa Silva & Batiicada at Aioli 8:00 pm - Chalo Eduardo with Escola Nova de Samba at Bahia Tropical
SATURDAY 5
SATURDAY 12
2:00 pin-6:00 pin-Brazilian jam at Brazilian Fruit Basket Restaurant 3:00 pm - A Flora Brasileira on KPFA, 94.0 FM 3:30 pm- 730 pm - Lisa Silva Voz do Brasil 8:00 pm - Voz do Brasil at Bahia Tropical
2:00 pm- 6:00 pin - Brazilian jam at Brazilian Fniit Basket Restaurant 3:00 pin - A Hora Brasileira on KM:A, 94.0 FM 3:30 pm - 7:30 pm -Viva Brasil at 'I1w Ramp 8:00 pin - Celia Malheiros & Friends with Samba, Swing & Suor at Bahia 'I'ropical 8:00 pm - Christmas Party at the Interim ti °nal Institute in San Francisco. Promoted by the The !lay Area iirasilian Reservation requ i rod. Cal 1(415) 334-010u
SUNDAY 6 6:00 pm - 8:00 pin - Canta Brasil on KKUP, 91.5 FM
MONDAY 7
SUNDAY 13
6:30 pm - Viva Brasil in Samba Dance Class at Yoshi's, followed by dancing at 8:30 pin
6:00 pin - 8:00 pm - Canta Brasil on KKUP, 91.5 FM
TUESDAY 8
MONDAY 14
8:00 pm - Club Bahia at 13ahia :Tropical
6:30 pm - Viva Brasil in Samba Dance Class at Yoshi's, followed by dancing at 8:30 pin
WEDNESDAY 9 6:00
Alberto's - 736W. Dana St., Mtn View, (415) 968-3007 Aioli - 469 Bush Street San Francisco- (415)2490900 Bahia - 41 Franklin St. - S. Francisco (415) 626-3306 Bahia Tropical - 1600 Market St. - S. Francisco (415) 861-8657
Bay Area Brasilian Club (415) 334-0106 Brazilian Fruit Basket Rest. (415) 626-6434 Chambord - 152 Kearney St. S. Francisco (415) 434-3688 Sol y Luna - 475 Sacramento St.- S. Francisco (415) 296-8696 The Ramp . 855 China Basin San Francisco (415) 621-2378 Yoshi's - 6030 Claremont Ave. Oakland (510) 652-9200
TUESDAY 22 8:00 pm - Club Bahia at Bahia 1 ropical
WEDNESDAY 23 6:00 pm -Jack Gates with Bossa Nova at Chambord 8:00 pm - TBA at 13ahia Tropical
8:00 pm - Club Bahia at Bahia :Tropical
SATURDAY 26
WEDNESDAY 16 6:00 pm - Jack Gates with Bossa Nova at (la milord 8:00 pm - Spliff tones at Chit, Bahia 8:00 pm - TBA at Bahia Tropical
THURSDAY 17 6:00 pm- Doug Gittins with Bossa Nova at (:ha milord 7:00 pm - Paulo Kantira interprets Rossi' Nova at Aioli 8:00 pm - TBA at Bahia Tropical
7:00 pm - Lisa Silva & Batucada at Aioli 8:00 pm- Terra Sul at Bahia Tropic,' 1
SATURDAY 19 2:00 pm- 6:00 pm - Brazilian jam at Brazilian Fruit Basket Restaurant 3:00 pm - A Hora Brasileira on KM:A, 94.0 FM 3:30 pm-7:3O pin -Viva Brasil at The Ramp • 8:00 pm -Terra Sul a t Bahia Tropical
SUNDAY 20 6:00 pm - 8:00 pm - Canta Brasil on KKUP, 91.5 FM
All'
2:00 pm-6:00 pm-Brazilian jam at Brazilian Fruit Basket Restaurant 3:00 pm - A Hora Brasileira on KPFA, 94.0 FM 3:30 pm - 730 pm- Lisa Silva & Voz do Brasil 8:00 pm - Batucaje Showcase at 13a hia Tropical
SUNDAY 27 6:00 pin - 8:00 pm - Canta Brasil on KKUP, 91.5 FM
TUESDAY 29
FRIDAY 18
III I II I IL, W W • • a •
Jack Gates with Bossa
SITES & PHONES
MONDAY 21
FADO
8:00 pm - Club Bahia at Bahia .1ropical
WEDNESDAY 30 6:00 pm - Jack Gates with Bossa Nova at Chambord 8:00 TBA at Bahia Tropical
THURSDAY 31 6:00 pm-Doug Gittins with Bossa Nova at Chambord 7:00 pm - Paulo Kamira interprets Bossa Nova at Aioli 6:00 pm - Voz do Brasil at Bahia Tropical 9:00 pm - Reveillon at the Saint Francis 1 lotel. Reservation deadline: December 20. Call the Bay Area Brusillitir Club - (415) 3340106
D 711
II I III ILI MI I MI La La NMI am, AEI NM a MIL
In the Bay Area Your contact for news, Calendar, That's Brazilian, and ads is
(415) 742-9922 NEWS from BRAZIL IX - DECEMBER 1992 - Page 31
1110zall4:aunpraa*Z90i3-SSZLIZ1re3 10 0S006VD ''V-1 'HSUxcli'O'doi !mu 'L8K-LSZLIZ o op! Jrpualto sno xe
TUESDAY 1
Le • al
Electronics
Marisa's Legal Serv. (310) 439-6512 Match Maker
Fogo e Paixio 6113,442rem yang 800) GO VARIG Vasp 10 364-0
1
Bakari Art Studio (213) 938-0523 Uniquely Brazil - Folk (818) 458-1474 Rio to Babylon (213) 653-4948 Automobile
Renato Ferreira - Ford (310) 546-4646 Ext. 232 MMI:111M Banco do Brasil (213) 485-0030 Cate ring
Rio Express Catering (818) 446-8135 Samba (310) 495-9554 Vaneyde's Custom (310) 827-4031 Clubs & Associations
Clube Bras. da Calif. (714) 748-4669 Braz. Club of S. Diego P.O Box 83502 San Diego, CA 92138 Consulate
Brazilian Consulate 213 651-2664 Dentists
Gilberto Henriques (213) 464-0524
Vigo-California 619 479-VIGO Brazil Today 213 667-0715 Brazilian Courier (213) 255-8062 News From Brazil (213) 255-4953 Real Estate
The Prudential Bryant (213) 255-8062 Restaurants
The Amazon Cafe (310) 371-2915 By Brazil (310) 787-7520 Café Brasil (213) 837-8957 Lulu's Alibi (310) 479-6007 Pan Handler (714) 970-5826 Yolie's Brazilian Steak (714) 251-0722 Zabumba 1.0gii1, 6546= BrezilianIntern. Affairs (310) 854-5881 Tocantins Communic. (818) 343-4451 Verdiblue Tr. &Interp. (213) 255-8062
Events Promotion
Travel A•encies
Brazilian Nites Prod. (818) 760-4600 Corcovado Productions (310) 836-2053
Brazil Expert Travel (213) 387-2111 Brazil Tours (818) 767-1200 Braz.-American Travel (310) 670-9347 Cheviot Hills Travel (310) 202-6264 Costa Azul Tours (213) 525-3300 Dynasty Tours (818) 845-5757 South Star Tours (800) 654-4468 Southwinds (800) 533-3423 - (310) 568-8426 Vaneyde's Tours (310) 827-9003 Yes Brazil (213) 461-2233
Food & Beverages
Mr. Pancho Market (818) 787-8737 Hair
Gigi's (310) 273-0851 Homeopathy - Gobetti (310) 458-8020 Instruction
Brasil Brasil Cult. Ctr (310) 840-2794 Brazilian Music Center (213) 467-5715 Dance Classes - Rita (310) 840-2794 The Exercise Academy (818) 985-9773 Modem Lang. Center (213) 839-8427 Portuguese Classes (714) 594-2128 Musical Instruments
Importer & Distributor 2131 957-0721 Esc rib:56o de Advocacia
(213) 387-0500
Video
Octus Productions (310) 820-7195 VIDEO WORKS Betacam - ENG (213) 650-2824 Zuruk Video (310) 450-0906
pf&co - cpas 6iirctl333 305 444- .im
Restaurants
Modem Watches (305) 372-1762 Peninha's Shop (305) 358-7019 Intern. Cellular Tel. (305) 445-2299 Export & Import
Champion's Cars (305) 940-1400 Plus Motors
L&V Trade Corp. 305374-0757 rErm
irlarigum
All Braz. Imp. & Exp. (305) 523-8134 Via Brasil (305) 866-7718 Vigo Travel (305) 942-8446
Transbrasil (800) 872-3153 yang (800) 468-2744 Vasp (800) 732-8277 Banks
Banco do Brasil (305) 358-3586 Banco Banorte (305) 577-0472 Banco Boavista (305) 530-9057 Banco Nacional (305) 372-0100 Banco Real (305) 358-2433 Banespa (305) 358-9167 Clothes & Shoes
Rio Connection 06A4 358- 23mmi
ABFC - Assoc. Bras. da Flan Central (407) 354-5200 amara de Corn. BrasilEUA 305 579-9030 Blue Tech Computers (305) 477-3050 MC Computers 125 SE 1st Ave. Micro Informatica (305) 377-1930 Nova America (305) 470-9882 Sunshine Computers (305) 565-9533 Unix Trade (305) 358-2733 U.S. Computer of Din (305) 372-9005 Consi.dado
Consulado do Brasil 305 285-6200 Dentists
Arnaldo Souza (305) 595-3238 H6climo de Sã (305) 262-8212 Luciano G. Garcia (305) 474-8977 Nelson Marques (305) 938-4599 Electronics
Abel Electronics (305) 358-8450 Bras Trading (305) 371-7867 International E. Mart (407) 352-9713 J&J Electronics (305) 373-6617
Page 32- NEWS from BRAZIL 84- DECEMBER 1992
Acme FarmAcia 516a 371.
1
Anglo Am. Schools (800) 683-ANGLO Sylvio's Driving School (305) 865-7770 Insurance
MONYMiami (305) 477-6669 The Equitable (305) 261-0164 The Prudential (305) 670-0088 Valor Financial Group (800) 348-2567 Music Instrument
Kitaro Music (305) 372-8193 Skyline (305) 374-0702 M.23=1=1. Dr. Jorge Macedo (305) 271-7311 Dr. Mario Sanches (305) 541-7819 Dr. Neri Franzon (305) 772-4694 Printing
Image Printing Center 305) 539-1438 Brazilian Courier (305) 377-1223 Florida Review (305) 374-5235 Media News (800) 666-7543 Real Estate
Integral Investments (305) 358-3655 Pacific Int. Equities (305) 865-1499 Re/Max (305) 371-3000 Restaurants
Code 1 (305) 375-0396 U.S. Arms Corp (305) 371-6844 Sport
Miami Fantasias (305) 358-6877 Connection 305 377-9906
.
Extra Medical Care (305) 373-8100 Lens Direct Inc. (800) 8704764 MDI Medical Devices 6 593-70 ammicm.
Brazilian Tropicana (305) 781-1113 Brazilian Delight (305) 374-0032 Brazilian Pie (305) 866-1001
Cheese Bread House (305) 443-5358 Gula Gula (305) 532-3636 Hotel Inter Contin. (305) 577-1000 Valadares (305) 783-7717
Prime Limousine 305 775-5551 Atlantictur (800) 535-0942 Brazilian Wave (305) 561-3788 BTB Tours (800) BRASIL4 Euroamerica (305) 358-3003 International Tours (800) 822-1318 Luma Travel (305) 374-8635 Monark Travel (305) 374-5855 New Port Tours (305) 372-5007 Travel Globo (813) 547-8446 Venture Travel (305) 379-7678 Via Brasil Travel (305) 866-7580
Euro Exclusive (415) 589-6067 FMC Autobody Collision, Inc. 6167ti190mm 0
Bibbo (415) 421-BIBO Caterin •
Cheiro Verde (415) 753-2620 Clubs
Brazilian-American Social Organization (415) 661-2788 The Bay Area Brasilia n Club (415) 334-0106 Consulate
Brazilian Consulate 415 981 8 70 Costume Desi ner
Alex Saporetti (415) 863-3651
Dental Care
Roberto Sales, DDS (510) 451-8315 Events Promotion
Celia Malheiros (415) 387-2981 Felicidade Magia Prod. (415) 668-7271 Marcos Santos/Climat (415) 585-8312 Voz do Brazil 115) 5816624....
California Produce (415) 586-6200 Instruction
Brazil Culture & Arts (510) 428-0698 Portuguese - A. Frame (510) 339-9289 Portuguese Lang. Set-v. 415 5874990 Music & Dance
Aquarela (510) 548-1310 Mese Mese (510) 525-2574 Ginga Brasil (510) 428-0698 Musical Instruments
Brazil Percussion (415) 221-2329 Do Brazil - Imports (415) 252-8865 Publications
California Review 415 668-7271 Bahia Tropical (415) 861-8657 Brazilian Fruit Basket (415) 626-6432 Chambord (415) 434-3688 De Paula's Rest. e Pizza (415) 346-9928 Eunice's Braz. Cuisine (415) 821-4600 Golden Pizza (415) 864-1411 Little Rio (415) 441-3344 Michelangelo Café (415) 9864058 Mozzarela di Bufala Pizzeria (415)346-9888 Travel A • encies 1 Stop Travel
(510) 482-2500 Betanzas Tours (415) 421-0955 Editours (415) 788-3388 Fiesta Travel (415) 986-1134 Raja Tours Internat. (415) 397-0303 Rio Roma (415) 921-3353 Santini Tours (510) 548-1310
The Wings of South America. Flying 110115top to Brazil is the natural beginning. With 8 flights each week to Rio de Janeiro from the West Coast, yang offers Brazilian hospitality and convenient connections to ten capital cities of South America. Consult your travel agent or Varig, the largest, vALR
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WHY News from Brazil? It pays! Created in April of 1989, News from Brazil has been a respected national link between Brazil and all those - Brazilian or not - who feel a kinship with the Brazilian way of life, politics, economy, culture, and soul. Going beyond the reporting of facts, News from Brazil brings the whys, the hows and thens.
WHO reads News from Brazil? Since News from Brazil is 80% in English, we are not limited to the Brazilian community. More than 70% of our subscribers are Americans or people whose first language is not Portuguese. News from Brazil readers tend to be people with a college degree, with a household income above the average.
WHAT does News from Braziltalk about? The latest presidential act and the World Bank agreement but also the latest Caetano album, what Brazilians are reading, watching and talking about. News from Brazil has always a tasty and contemporary chronicle in Portuguese, three separate Calendar of events for Los Angeles, San Francisco and Miami, and That's Brazilian, an extensive always updated list of Brazilian businesses, clubs and organizations in Florida and California.
WHERE is News from Brazil? All over. More than 200 libraries across the nation - mainly in Los Angeles, San Francisco and Miami - receive News from Brazil. These are copies shared by dozens of people. News from Brazil is distributed for free in jazz-clubs, restaurants, record shops (Tower Records, for example), bookstores, and is sold in news stands. News from Brazil is naturally in all Brazilian businesses places, starting with the Brazilian Embassy and every Brazilian Consulate in the U.S.. 40% of News from Brazil circulation is in Los Angeles, 10% in the San Francisco area, with another 30% going to Greater Miami. The New York area receives 10%, with the rest going to places as San Diego, Allston (MA), New Jersey etc...
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