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Sergio Mielniczenko

October 4, 2004 | Don Heckman, Special to The Times
The Brazilian Tropicalia movement lasted only a few years, roughly from 1967 through 1969. But its impact was powerful, opening the way for the stylistically inclusive MPB (Musica Popular Brasileira) genre that would dominate Brazilian music in the last decades of the 20th century.
February 5, 1989
Looking for a musical journey? The music of the world awaits listeners on the following radio programs: Time/Program/Description/Host/Station SUNDAY 6 a.m.-6 p.m. "Alma del Barrio." Mixture of Latin and South American music shows with multiple DJs; bilingual. KXLU-FM (88.9). 8-10 a.m. "La Voz Latina." Latin music, principally salsa. Abe Hernandez, Jr., & Don Griego. KCSN-FM (88.5). 10 a.m.-12:05 p.m. "L' Chayim." Israeli/Jewish music. Cantor Michael Russ. KCSN. 2-5 p.m. "The Reggae Beat."
October 24, 2005 | Don Heckman, Special to The Times
The annual fundraising events for Pasadena's Union Station Foundation are always entertaining. This year's program, announced as a "Brazilian Style" production, was no exception. Once again held at the L.A. Music Academy, the Saturday-night benefit presented an evening in which every aspect -- including food (feijoada, or rice and beans), drinks (the potent caipirinhas), a silent auction and music -- was carefully selected to fit within a Brazilian thematic framework.
June 17, 2009 | Reed Johnson
Films made in foreign tongues, set in distant, poorly understood lands and populated with outrageous, archetypal characters generally are a tough sell in U.S. movie houses. If those films also are historical dramas masquerading as comic farces, inflected with winking references to obscure historical events (obscure, at least, to U.S. audiences), the task is triply daunting.
September 26, 1998 | HECTOR TOBAR
What does Carmen Miranda, the Brazilian actress made famous in the 1940s for her banana headdress and songs like "Chica Chica Boom Chick," have in common with the Wolze brothers, Roy and Ray, two guys who founded a landmark hardware store on the Eastside? Very little, of course. Both, however, share the distinction of having small patches of Los Angeles concrete and asphalt named after them.
The sounds produced by the Master Musicians of Jajouka are gripping, hypnotic, trance-like. Long, flowing, melodies played on a swarm of oboe-like ghaitas to the accompaniment of persistent, nasally drones and surging waves of rhythm from two-headed drums. It is music that moves past the intellect, directly into the emotions, music that fully justifies Mick Jagger's description of the Moroccan ensemble as "one of the most musically inspiring groups still left on the planet."
October 23, 1988 | DENISE HAMILTON
Visitors to Samba e Saudade, a Culver City nightclub that serves up the sensuous rhythms of Brazil, would do well to recall their geography lessons of yesteryear: It's hot at the Equator. Samba e Saudade is spicy hot. Sweaty nightclub hot. Sizzling dance and dazzling costume hot.
December 30, 1988 | JULIE WHEELOCK
There's a heart-stopping moment in the capoeira section of "Oba Oba," the Brazilian music and dance revue (reopening Wednesday at the Wilshire Theatre). The barefoot capoeiristas leap and spin through the air, their cartwheeling legs slicing lightning-fast, powerful kicks at each other's heads--controlled kicks that just barely miss.
February 4, 1989 | ELLEN MELINKOFF
Not even the Brazilians know how many Brazilians are in Los Angeles. Ten thousand is the most common estimate, but nobody's counting. Nobody's counting because, presumably, the Brazilians are too busy getting on with the business of enjoying life. Lawrence Christon, in his Times review of the musical "Oba Oba," lyrically (and accurately) limns the Brazilian nature as "full of style and grace, humor and opulence of spirit. . . ." Even among the L.A.
September 30, 2003 | Agustin Gurza, Times Staff Writer
A recent banquet here honoring a visiting Brazilian dignitary was typical of such affairs -- the big hotel ballroom, the well-heeled audience and especially the glowing introductory speeches. But when the honoree took the stage, it was obvious he was no ordinary government official. The soft-spoken man seemed slightly uncomfortable with all the attention. He barely spoke more than a few thank-yous.
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