Vintage - Made in Brazil

If you love Brazil or just wanna know more about Brazilian culture, this is your site. P.S. I´m Brazilian, so, I apologize for making English mistakes. I swear I´ll try to do all my best! This is merely a collection of images found floating around the web, we do not claim any copyrights to any photos that appear on vintagemadeinbrazil.tumblr.com

[vintagemadeinbrazil]

[vintagemadeinbrazil]

Thanks for all followers and all beautiful and inspiring comments. But it's a goodbye, maybe hasta la vista, até mais!

- Vintage Made in Brazil

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[auratilis]

Antônio Carlos Jobim by Pete Turner for Stone Flower album cover. 1970

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Pixinguinha, Dorival Caymmi, Vinicus de Moraes, Tom Jobim e Baden Powell - David Drew Zingg para a revista Realidade, 1966

[vintagemadeinbrazil]

Dear Tom, I still remember when you gone away. Thanks for all.

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Tom e Vinícius

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20 years without Tom.

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E agora, quem poderá nos defender? Roberto “Chespirito” Bolaños (1929-2014).

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Vá com DEUS!!

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[vintagemadeinbrazil]

Nós te amamos! Obrigado, Roberto Bolaños!

Brasil <3 Chespirito

[vintagemadeinbrazil]

Beth Carvalho, Chico Buarque and Caetano Veloso, 1986.

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Os Mutantes

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Os Mutantes

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Os Mutantes

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Os Mutantes

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Miguel Rio Branco

BRAZIL. Salvador de Bahia. Fishermen. 1982.

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A garota que desafiou o ditador (o general Figueiredo).

Foto de Guilherme Nicolaevsky, Belo Horizonte 1979

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The girl and the dictator, 1979

Photo: Guilherme Nicolaevsky

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[vintagemadeinbrazil]

"Glauber Rocha I met over the years, then I started making films—there’s no doubt Antonio das Mortes had a major impact on Mean Streets and on Raging Bull. On Raging Bull we put in some Brazilian music in homage to Glauber, there’s a couple of pieces of music in there. In any event, I think the last time I saw him was in Venice, 1980. But before that, Tom Luddy brought him over—I had a small house in Los Angeles—and we had a dinner. It was Tom Luddy, myself, and Glauber, and I showed him The Big Shave, a short I had made. And we looked at a John Ford film, The Horse Soldiers; not a great John Ford film, but he liked Ford and he liked westerns he told me.”

"[On his favorite of Rocha’s films…] I think it’s Antonio, but I go back and forth. There’s Land in Anguish and Barravento, but Antonio is very much the one I keep checking back with, I keep showing to people—if I think they deserve it. Because sometimes some people are gone, some people are like zombies. They have no more feeling or something, I don’t know, and I think it’s good to show it to people who will… you know it might help them in their work. Even if they reject it, it’s something for them to have a reaction to, rather than what’s being presented today. But, no, I think it’s Antonio, I go back and forth, but the music is always in my head and I know it very well. It’s fresh, it’s new. It doesn’t cater to tastes of the box office, I mean the box office in a bad way, you know, of a traditional, ‘OK, now we’re going to sit you down and tell you a nice story.’ This punches you in the face and wakes you up, it opens your eyes. And that’s what you need today, more than ever.” — Martin Scorsese on Glauber Rocha

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Sebastião Salgado. Workers celebrate government approval of their right to a piece of land on the Cuiba plantation. Sergipe state, Brazil. 1996

[::SemAp FB || SemAp G+::]

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