Sound Card With Front Bay

Our Vinicius, the book writer and journalist Liana Wenner on one of the legends of Bossa Nova Marcelo

Graciana Petrone for
http://www.lacapital.com.ar/ed_senales/2010/9/edicion_99/contenidos/noticia_5080.html

In most generously proportioned and passion of the blood flowing a Bahia, electrifying step of the groups Rio and tremor of Batucada, often improvised at the gates of the hills. That way, you know average, led in Brazil explosions of love, sex, music, poetry and even violence. Thus, among the stories of belonging and longing, in the middle of last century and in the lobby of the years of lead, did the bossa nova, the mixture of jazz with samba rhythms had, between their voices referential, the legendary and revolutionary Vinicius de Moraes (1913-1980).

Poet, film critic and diplomat-turned-singer, was part of a movement that not only transformed the fields of literature and music in their land but aesthetic consumption patterns in other parts of Latin America . Uruguay and Argentina were the countries that benefited from the bossa nova with more force and let the seduction of his songs, stripped of all political content, anchored in the Buenos Aires night in 1968, without finding the slightest hint of resistance. By contrast, in a social context very troubled Vinicius phenomenon with his own manner of singing to life, the erotic, women and friendship (like someone whispering love poems), was a runaway success. Our Vinicius, the Wenner Liana writer and journalist, relates in detail that spell which began when Ediciones de la Flor published his book of poems, To live a love.

"The first edition went to live ... in August 1968, coinciding with the show that gave Caymmi Doryval Vinicius and the Opera Theatre" Wenner says. In just two years of the Flower sold fifteen editions of this title, also exported to Montevideo and Santiago of Chile. "Vinicius published four other works on the same label: For a girl with a flower, Collection of poems, Orpheus of the Conception and the Ark of Noah." Books that published De la Flor was a success and an arming Poetinha real stir when he signed copies and, much later, this occurred on a larger scale in the first Book Fair. "

Diplomacy and alcohol

the 60 entered its last quarter-century. former prosperity of the government of Juscelino Kubitschek, in which Brazil shone in the theater, poetry, art and even in football (with his first world championship), was a thing the past. Twenty years later, the dictatorship of Marshall Costa e Silva announced extreme measures of persecution against thousands of citizens. De Moraes learned the news through the press at a hotel in Lisbon. "That night they Wenner-review function. Before concluding, Vinicius spoke out against the coup within the coup and recited the poem" My Country "as Baden Powell began to pluck the chords of the Brazilian national anthem." Democracy was history, but also his diplomatic career.

Their nocturnal habits and addiction to alcohol kept him away from his duties. The bars over by the Copacabana and the holidays with drink and women until daybreak were incompatible with the work of ministry. "It was common-account without sleep Wenner-had to go to the port of Montevideo to receive a ship that arrived in Brazil." His friend Daniel Terra recalls in the book that sometimes, when the ship arrived, it was up to the plate with "a bottle of whiskey on top." Nor congenial to paternity, although he had five children, was an absent father. He married eight times and there were conflicts of divorce, especially with Bahia Gesse Gessy. The last marriage, "made of fired and missed, it contracted with Argentina Marta Rodríguez Santamaría, thirty-five years younger than him.

A disc alchemical

Article published in the newspaper La Capital

"Happiness," "Irene," "Lament of the Hill" and iconic "Girl from Ipanema" are some of the topics of long play La Fusa, recorded with Toquinho and Maria Creuza. It was an "alchemical disk" which acted as "stone of Enchantment" and ultimately leading to Liana Wenner to write our Vinicius: "An intravenous joy, beauty, eroticism and vitality in a time when the surrounding reality was devastation and the closure of which emanated a strong sense of claustrophobia.

Shortly after his first concert in Buenos Aires, Vinicius was a "living legend." befriended Extremely charismatic intellectual, bourgeois bohemian artists: Daniel Divinsky, María Rosa Oliver, Piri Lugones, the Bambino Veira, Mario Trejo, Egle Martin y Libertad Leblanc, just to name a few. lover of tango, Astor Piazzolla met and Horacio Ferrer, who has in the book that together we write four hands a musical to be called "exiles of the Southern Cross."

Our Vinicius reconstructs the link foreign one, with a different language and alien customs, established with the youth of the time and it worked, in the midst of chaos, as a purifying element. For your editor, Paul Avelluto, speaks of a "cultural universe Buenos Aires who no longer exists," a recovery "La Fusa as a meeting point of different traditions, the people of Mau Mau, the tilingo or" Carlos Perciavalle inventing coffee concert. "

with emotion, Liana Wenner describes the arrival of his poems to the country, his days in Brazil, its women, night areas in which imposed new ways to listen to music and even, when he composed his poems naked the bath, the same place where he was killed at dawn on July 9, 1980.

Data

author Liana Wenner was born in Buenos Aires in 1968. It's cultural and entertainment journalist, and works as a cultural entrepreneur. "I felt indebted to for giving me Vinicius indestructible moments of happiness when I heard the long play La Fusa in my orange plastic record player. That player was in my room, and beauty out there and love were gone. It was the end a decade that started well and ended very, very bad: the seventies, "he says in the preface to Our Vinicius.