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If you create cultural exchange between two or more countries, two or more national expressions, then one begins to learn why the other acts a certain way or does the things that they do. If you invest in Brazilian cinema in this way, you begin to understand more about the commonly held misconception that Brazilian cinema is bad cinema.

You learn that Brazilian cinema is not considered poor because there are no production facilities, nor because there is no money, but because it exudes a form of conscious expression against a foreign cinema that is dominant in the Brazilian market. This conscious expression was created at a moment in Brazilian cinema history, and it was an incredibly profound moment. Brazilian cinema has a very distinctive form of expression which includes its cultures, its landscapes, and its worldview.

Yet the fact of the matter is that today, Brazilian cinema history is almost unknown all over the world. PWP: Despite all this, one is tempted today to say that we are in a groundbreaking moment as far as having international access to Brazilian films. You can see a much larger presence of Brazilian films on the internet right now than there has been in the past, and many of these works are being translated into different languages too.

However, at the same time there is the sense that this access does not matter if these works are not being properly preserved. So, the digital moment is an illusion in a way — we finally have access and with subtitles, but we know the film print itself is decomposing right now within the Cinemateca Brasileira. HH: Well, I think that this digital moment is a double illusion. On one side, the difficulties to access Brazilian films have existed for a long time, but nevertheless we must find some way to see them.

So, someone takes an old VHS, or they take a poor copy, and you put these films on the internet so people can see them. Of course, this is the worst way to see the film, but when it is all that we have, it is better than nothing. The downside of this, though, is that usually, Brazilian cinema looks bad. Although Brazilian cinema is not bad in terms of its cinematography, sound, texture, and contrast, these copies give off the impression that this is so.

This state of preservation causes the feeling among people that Brazilian cinema is not important. This is very tragic. On the other side, even if we had pristine 4K digital copies of our films, we know that to present a film digitally is not to preserve it. So, we must preserve the film in its original format. You must create a positive print and an internegative, and you must preserve all the negatives in a professional way. This preservation work is not optional, but mandatory. If it is not done, the material will be lost in a span of twenty years!

Then, what do we have? Just a digital copy, and this is not the same thing. Not to mention, these digital copies must be preserved in equal measure. Digital preservation is a completely separate task from that of film, with other demands, which requires different technical specifications. So, you must face the task of preserving both the digital and the physical at the same time. Preserving the materials in this way requires a huge task of planning, of creating an infrastructure of conservation, of digitization, and providing access mostly through the internet.

For us to be able to do this successfully becomes mostly a question of politics. It is a question of whether we will be provided with the necessary funds to carry this task out. It is a tragedy that our cinematic heritage remains put aside on the global scene because of these politics.

The impact that this lack of political action on the part of the governmental elite has had can be seen and felt still today. We are living in a moment in which we need cinema to help us understand what Brazil is today. If we can or if we desire to take down the statues which retain the values of our colonial times, we must be able to know what they represent.

Film is a good way to know, to understand, and to perceive that some statues have been around for years. These statues were raised at the beginning of the 20th century, a time in which Brazil was another place and had a different society. What has changed since then? Films from those periods help give a voice to the anonymous people that have not had their voices heard, and in the event that these people cannot be found in the films, we begin to understand why that is.

I think we need to have this debate and film is a good way to hold a debate about our heritage because it has lived with us for over a century. WP: Do you think that cultural exchange between two or more countries could incite the Brazilian government to realize the value of their own national works? Do you think a major initiative abroad, manifested in large retrospectives or more prestigious awards being given to Brazilian films, that these could be the catalyst to make the government in Brazil finally realize that they need to fund the Cinemateca Brasileira and that they need to finally support the film industry and its cultural workers in a respectful and supportive way?

HH: Of course, these kinds of recognitions create a lot of perceived value for our films, and help people realize that they are important. But in Brazilian Society, this kind of importance is very particular. The elite do not value these kinds of recognitions, and they often view the works as very destructive to their right-wing agendas. It is important for us to sustain a fight for the permanence of Brazilian cinema, of the Cinemateca Brasileira, and of the past, but the real fight is against a larger force that reduces the country to a few people.

To one social class. That reduces the country to a view that asks for a future and not for a past. This force accepts and advocates for the destruction of this past with no sorrow or pity. And we as a society must fight to transform and to change that for the better of all of us so that we can become a real democracy.

The benefit Brazilian cinema receives from being recognized around the world is very valuable because these recognitions help us sustain some kind of barrier to harmful government decisions. We can sustain the fight with that. But I believe the real fight is with another, larger force. Can you tell me about the history of this archive, and provide an idea about what makes it unique, for those less familiar with its operations?

In the 60s the director was Cosme Alves Netto, who was very influential in the film preservation movement. Cosme asked all the American and European archives for help in constructing film archives in these under-developed countries, because during that time, and in fact still today, these archives have no money, no structure, and no workers. These institutions are facing an enormous task to preserve their entire national cinemas. Today, I think very little has changed from that situation. The same American and European archives are incredibly well funded, while film archives from poorer underdeveloped countries are in the same position.

The Cinemateca do MAM suffered a huge crisis in the beginning of the 21st century, in and We were almost closed by a decision of our main institution, the Modern Art Museum. However, we survived. We also received some important guests here at the archive such as Ray Edmunson, who is a very important thinker about the philosophy of film preservation.

We tried to further understand what was happening in the field in the 21st century and what our place was within the larger picture. This was an important moment for us in realizing what we can do at the Cinemateca do MAM to serve the film preservation community of Brazil. One important thing that we do at the Cinemateca do MAM is provide educations in film preservation.

Especially during a time when we are going through the transition from film to predominately digital formats, it is very important to have a new work force in our country ready to meet the technical challenges that come along with this transition.

And also, there are even now five or six of my own former students who are working at the Cinemateca Brasileira. Another thing at that we attempt to facilitate at the Cinemateca do MAM is the presence of foreign students in Brazil. We are a privately run archive so we are open to receiving students from Greece, France, Argentina, the United States, and other countries. It is important for us to receive these students because they will encounter an archive with less money than the national archives they have at home, and with worse conditions to preserve films.

This provides them with a more realistic view as to what film archiving is like around the world for those supposedly on the periphery. It is important to us that these people have a perception of these problems, and that they can begin thinking about the best ways to solve them. Additionally, an important intervention that the Cinemateca do MAM has made in the preservation area is focusing on preserving marginal films, especially experimental works, because in Brazil only a small space is given for this mode of filmmaking.

First, we created an experimental cine-club and after that we decided to receive a festival concerning experimental cinema, DOBRA - Festival Int'l de Cinema Experimental. This was very successful because we became the main space in Brazil for presenting that kind of cinema.

We are a little archive with only seven people. So, we try to bring forth smaller initiatives and create a big impact. We try to facilitate the synchronization of information, the synchronization of people, and the synchronization of films. We are not the terminal, we are not the first step, we are a hub in film preservation in Brazil and we can aggregate some materials, some films, some information, and make connections with a larger array of people. For a little archive, I think that this is a very important position to hold.

HH: Providing basic access to Brazilian cinema is an old problem in the world of film archives in Brazil. People are not familiar with Brazilian cinema. Why is that? Why are Brazilian people not more familiar with the history of their own national production? The Cinemateca Braisleira is an example of this. The history of Brazilian cinema is there. But getting access to these works is very difficult. The old Brazilian cinema is there, most of the 20th century Brazilian cinema is there, but the access to this past is very difficult.

Using the BCC is very difficult because there is always a huge watermark placed over the film. With this logo there in the center of the frame, you cannot see the film in the proper way. We need to try to provide access to Brazilian cinema in the best way possible, because people need to know that these treasures exist.

We must prevent this and make a complete degree turn in policy when it comes to access. WP: To what extent do the copyright laws make it hard to effect these changes? HH: In my opinion, the copyright laws are not a problem. You can talk to the producers, you can talk to the people who own these films.

Most of the time, anyway, it is the archives performing the technical elements such as creating new prints of the films and digitizing them. This comes from funds provided from the archives and the states, and not the producers. Those people who refuse to provide access to the works that they own, are using a strategy of power. They are attempting to control who can see what, and for which price.

Because of that, many works of Brazilian cinema are invisible in the world. The dangers of this is that in fifty years, people may no longer be interested our cinema at all. Today, we live in an information society, and in this digital world, people move forward from the past very quickly due to free exchange and the forward direction of freely circulating content.

Going hand in hand with this is the fact that we need to be making good digital copies of films and making them available on the internet. Copyright owners can find ways to get 2K or 4K versions of their works, and even make a profit from them.

Once the spectator is connected with this good digital copy, and they begin to personally relate to the film, they will begin to ask for more of this type of content. This puts that viewer in the running to become deeply interested in discovering the many pearls of cinema to be found throughout Brazilian film history. WP: Put yourself in the shoes of an international programmer interested in doing a program of Brazilian films: An enigma arises, because whether you show older works of Brazilian cinema or newer works, the material is going to be unfamiliar to the majority of those audiences.

You have numerous amazing contemporary Brazilian filmmakers on one hand, whose works need to be seen and discussed, but on the other hand, you have the entire history of Brazilian cinema which many international audiences have not yet had the chance to discover. A case in point is that that there has never been a North American retrospective of Humberto Mauro. HH: There is a contradiction in that situation, no? In the past, the Brazilian government used to put money towards international programs of Brazilian film.

All of these programs were sustained by the Brazilian government which commissioned new 35mm prints and paid for the transportation of said prints as well as the rest of the logistics. When the 21st century came around, there was no longer the need to spend money sending prints around the world thanks to digital copies.

The digital seemed to be the magical response towards the problem of increasing the circulation of Brazilian cinema. But there is a huge problem with this situation as it stands. To circulate Brazilian cinema on a global scale, especially through the internet, you must be able to digitize the Brazilian films made during the 20th century.

You must digitize the films in 2K, 4K, and perhaps in five or ten years, even 10K. However, in Brazil, there is no strategy, no money, and no interest to digitize these older films. Suddenly, once these works are finally digitized, we realize that there is no space being made for them. A gap has been created in their circulation and in their recognition. The new generation of filmgoers is not in contact with these works.

This explains why Humberto Mauro has never received a retrospective in the United States up until today. We desperately need a program that allows us to digitize Brazilian cinema systematically. If we do not come up with one, older works of Brazilian cinema will disappear from national and international programs and will never show up on streaming platforms for a new generation to discover.

This is going to be a huge test for us because the status of the mission is critical. What is a Brazilian film about the Brazilian Northeast? What kind of melodrama is that? Without the full picture, you may still think Bacurau is a great movie and that it is very attractive!

There needs to be a balance between both the contemporary works and the past works. They need to be able to inform one another for a larger picture of Brazilian cinema to be understood. There are far more gaps, erasures, and interstices for pieces of Brazilian culture to fall into with a much higher frequency, which is a condition both of political determination and physical incapability.

Thus Brazilian cultural workers find their labor to be determined under the sign of fragmentation, and we find the most compelling work to be that which wears this mark as one of pride and uses its form to reflect its material inconsistencies. Cinelimite: Can you describe how you originally came upon the figure of Vassourinha?

As a found-footage filmmaker, were you actively searching for a new topic to explore, or did Vassourinha come into your life in a more unexpected way? Also, the extreme rarity of the subject—an artist about whom very little information and documentation was left—was an interest as well. Vassourinha came into my life as unexpectedly as all good fortunes, by a loving chance.

CL: Upon learning more about Vassourinha, and deciding to make a film about him, how did you begin the process of putting together the immense number of photographs, sounds, newspaper clippings, music sheets and even financial records that can be found within A Voz e o Vazio: A Vez de Vassourinha?

Were these records presented to you within a single archive or did you undergo a long research process throughout numerous places to track this material down? Take us through what this collection process was like. I started with almost nothing, only a few clips and clues. After an extensive and intense inquiry—somewhere between archaeology and detective work—I and Bernardo Vorobow co-producer and my life long companion 1 conducted research across every possible source, until we got two personal albums of news clippings gathered by Vassourinha himself.

Shards, specters, remains — the matter life is composed of. The collection process is, in a way, metaphorized in the end sequence at the cemetery: the search for his grave was like the search for his life-work information. CL: Do you think that cultural exchange between two or more countries could incite the Brazilian government to realize the value of their own national works? Maybe it is not so accurate to say that Vassourinha is unknown, because during his time he was very famous.

He fell into oblivion afterwards, after his death, aftermath. In Portuguese, the word "olvido" oblivion is akin to "ouvido" ear , and this is a password I tried to work formally, as a way of aesthetic operation: representing the limits between forgetfulness and the rescuing of this forgetfulness through the act of hearing this artist's voice.

The film works around the limits of legibility, the border between reading and understanding. And it was exactly this contradiction — the fact that there existed plenty of documents about an elusive figure — which sutured together and fortified strength of the film. My humble task was of a [Walter] Benjaminian nature: to gather this bag of rags and suggest a coherent constellation.

CL: Of the five films you have made which deal with forgotten cultural histories of Brazil, this is the only one that deals exclusively with a musician. How did the work of sifting through the archives of a sambista differ from those of your films which focus on cinematic history?

Or is there a reoccurring methodology in your approach towards bringing archival materials into re-existence?? CA: I am not quite sure if there is any difference — from my point of view of the filmmaking-operation — between working upon an archive of a sambista and working upon the archive an artist of a different medium literature, photography, caricature. Veloso called the samba a manifesto for my cinema work. CL: The history of cultural archives in Brazil is filled with stories of loss, tragedy, and neglect.

However, one could also view this story as an occasional tale of triumph, as the will of a few individuals succeeded in preserving Brazilian cultural memory up until this day. Their efforts have allowed us to glean new ideas from historical works of Brazilian art in our present moment. Can you speak to how the history and past efforts of Brazilian cultural preservation has impacted your work? Why, in your mind, have such important figures such as Vassourinha been previously forgotten?

CA: There is a trajectory of academic research in my life. Ismail Xavier. Cristian Borges. That long and boring CV quote is just meant to show how serious I take scholarly research and how, throughout my life, spheres of study and archiving informed my trajectory. I have also worked at the Cinemateca Brasileira from to Perhaps I could reply to your first question with an example from a case study.

It was an unidentified object in terms of year and origin of production, its technical nature, and even its attributed name was wrong and misleading — but it was there, in the archive. Dickson, and subsequently tracked its archival history. The last sentence of your question requires too large of an explanation, so I would hazard a risk of saying in short that I think Brazil historically has a consistent tradition of treating badly and worst its best sons and daughters, mainly in the realm of culture.

CL: In Vassourinha, there are moments in which the soundtrack starts and stops, as if a 78 rpm record is skipping. This is often accompanied on the image track by a flicker effect. Knowing your affinities to other found footage filmmakers such as Ken Jacobs, how do you see this flicker effect operating in relation to its use in other global contexts, and is there something about the Brazilian archive, and the life of Vassourinha, that drove you to use said effect?

CA: I could only talk about my personal use of the flicker which is, of course, rooted in a tradition of avant-garde film , a feature that I use a lot in my films. In the case of Vassourinha, the flicker has a role a little bit analogous to the one I used in Remainiscences: in the sense of gaps, lapses, missing links, lost abysses, the void.

But in Vassourinha there is a surplus: the flicker as an instance of consciousness, as a moment when the shutter quickly obliterates the image to make it resonate in time; so the flicker is a constituent element of the fabric tissue of Vassourinha's history which has been torn to pieces , but it is also a device for understanding this history.

There is even a formal rhyme with the condition of his Blackness, in the sense of what is concealed or erased. I really like the Benjaminian notion of history, both as waste and ruins and as the viewpoint of the losers. Naturally, in a peripheral country like Brazil — which has always abused its institutions tasked with the preservation of its cultural memory, and which has a long and dark past of erasing and repressing its figures rooted in its history with slavery — the flicker reaches an profound allegorical power and I use this term as Ismail Xavier so well defined it in his seminal book Allegories of Underdevelopment in a way, far beyond the formal flicker wonders of Peter Kubelka, Ken Jacobs, Tony Conrad and others.

CL: A Voz e o Vazio: A Vez de Vassourinha, in addition to being a work of art invested in the gesture of resurrection, also serves, even unprojected as a roll of celluloid, as a veritable repository of images and documentation relating to Vassourinha — an archive in itself. What do you make of this and how do you feel the historical material transforms when it passes from one medium to another? CA: Definitely, Vassourinha film is an analog piece of art — it was thought and made as a 35mm film.

I regret that you are not able to screen the film in its original format of 35mm. I made some disruptive turns with the celluloid that are only fully accomplished in film form. Besides the flickering, I used veils, those mysterious frames which are not properly exposed in the camera shutter.

Except for the final sequence, shot on location in the set of the cemetery where Vassourinha is buried, the film was shot with an Oxberry animation machine. One of the highest praises of which I am most proud is about my style of editing: even when editing in a digital suite, my work is tributary to the moviola.

In the sense of passing from the medium of history to the medium of film, I would say that the transformation occurs in the realm of poetry. I take the word here to mean poetics, the method of structure, a matter of form, a way of shaping materials and thoughts.

And I would say that historians like Walter Benjamin, Aby Warburg and Hayden White have contributed to let the document free, to be reappropriated by the artists. To what extent does a work such as Vassourinha follow within that trajectory of historical research, and how in your mind does it deviate from it?

The film historians you mentioned worked from a peripheral point of view, where issues of underdevelopment were very present in Brazil, and they were informed by the delayed experience of modernity in Brazil. They definitely conjured up a key body of work and provided references for anybody else interested in the adventure of investigating the Brazilian film past.

The elements from popular culture were taken as a password for a revelation of Brazil to Brazilians themselves. I think that Vassourinha deviates from this tradition insofar as it radically assumes a notion of a poetic metahistory, in the sense that it is not obliged to clarify nor conclude anything as far as a national project is defined in terms of teleology and a big synthesis.

Can you comment on this interpretation of your ideas? I think it is an original contribution to film studies, this conceptual montage that I do between Benjamin, Frampton and Warburg among many other theoretical, cultural and historical notions. Moving into the geographical and socio-political-economic context of a country like Brazil would require an effort and an extension of argument that I am not capable of in the brief context of this interview.

Evidently, at a first glance, the economic difficulties themselves bring other parameters to the question: how to think about the survival of images as depositories of national memory if the very survival of the archive as an institution of that duty is plagued by risks to its material contingency? On the other hand, the Brazilian condition has unique and original characteristics that distinguish it from other countries: our colonial formation, our peripheral situation, our conservative modernity, our outrageous social inequality, and the artistic and intellectual strength of several generations that have responded to these challenges.

We must be reminded that film celluloid is made also of organic material, therefore subject to decay, just as we are. The current moment evokes in our minds a Twilight Zone-esque episode in which a found footage filmmaker wakes up to learn that there is no longer any found-footage to be found. While your work has certainly featured found footage that has been sourced beyond the walls of an archival institution, one cannot deny that these institutions are repositories for cultural works that still remain hidden from the public eye.

Firstly, can you comment on the long-standing neglect of the Brazilian government to properly invest in preserving Brazilian cultural memory? Lastly, can you comment on what this potentially dystopic scenario evokes for you in relation to your body of work, aspiring found footage filmmakers, and the future of found footage filmmaking in Brazil? CA: We are currently living under dark and terrible times in Brazil, and many public institutions related to culture and education are under threat, at different levels, degrees and circumstances, such as Casa de Rui Barbosa and Cinemateca Brasileira.

The latter is our most recognized film archive but there are others, smaller ones, spread across cities in the country, two of which are particularly deserving of our attention and respect, possessing great collections and doing notable, good research work: Cinemateca do MAM Modern Art Museum and Arquivo Nacional both in Rio de Janeiro. In the case of the Cinematic Brasileira, as well as these other archives, there is a problem that has been going on for years and it is a complex issue — what is happening now is of great urgency, because it affects basic issues of maintenance of the archive itself in addition to the salaries of the technical staff, the current crisis affects services of electrical supply, which threats refrigeration and security.

The tragedy of the fire at the Museu Nacional Rio de Janeiro in is as a metaphor for the lack of public commitment to national memory and heritage: the neglect turns memory into ashes. Personally, I have always worked with shards, leftovers, remains, incomplete fragments; lost, neglected and forgotten materials. Therefore, I am used to working in scarcity and poverty. I always keep in mind the adage that "it can always be worse", which may not ease many anxieties about the future.

CL: Part of the astonishment in watching Vassourinha is the fact that it is so rare to see works unveiled from the archive that highlights the lives on important Black artists from the past. In a way, the film projects the role that archives should be fulling in modern-day society — that is, beyond just preserving materials, recovering and presenting heretofore repressed existences and narratives.

In your mind, why did it take nearly a century for the world to be able to rediscover Vassourinha in your film? And as you yourself have worked as an archivist in the past, what do you think future archivists can learn from the film? What really is most important to save for future generations? On the other hand, we have lots of cases of great artists in different artistic areas who were forgotten. I consider myself a very materialist film maker, in the sense that I treasure most the rare and bare materials that history is made of.

I think one can feel in a very palpable way a sensual materiality that my films place onto the screen. Numerous famous musicians have covered his songs and there are rumors that a feature length film about his life is in the works. Do you view any of this as part of the legacy and impact that your film had? Relatedly, what do you think the likelihood is that there are hundreds of other potential Vassourinhas repressed within the archives: inimitable, historical, and most commonly Black marginalized talents whose legacies have never reached the people of Brazil beyond their time?

I would hate to look pretentious, but it is a fact: I did contribute to make Vassourinha more well-known and more appreciated. I would love to make a film about her, but 22 years have already passed by and I have not made it yet…a companion to Vassourinha, in fashion and musical style, her voice has remained indeed lost to a deeper void.

Daniel and Victor, can you provide an overview of your paths to careers in filmmaking? When did you first meet and begin collaborating with one another through Iracema Filmes? It was only in journalism school that I started watching films and thinking about cinema. But in those days, I was more interested in reading and writing. Cidade dos Jovens even won some awards. From that meeting, the idea of building a production company came to fruition again.

Our modus operandi was somewhat like this: Vitinho, as we call him, and I took the creative jobs usually I was the cinematographer, and he was the editor and Ju was the producer. Those were very good times, as we all lived in Vidigal. From these interactions sprung many new meetings and creative exchanges which resulted in many forms of collaboration. From then on, our larger friend group was immersed in many art forms, while we at Iracema Filmes focused on audiovisual content.

I enjoyed filming my friends as they rode skateboards and surfed. I loved editing those videos, setting them to music and cutting the action to the beats. My parents told me I could be a professional editor and supported me by showing me films that had made a deep impression on them throughout their lives. My father would show me classics from all around the world and my mother would tell me about Glauber Rocha and Ruy Guerra. I decided to move to Biarritz for a while to try and take a film course, which, unfortunately, I was never able to take.

Back then I shot and edited many experimental shorts. We instantly became friends and noticed we had very similar thoughts about filmmaking. We gathered our equipment and rented a small room at the same production company I was working for in Botafogo and started writing screenplays and projects to apply for grants via the Culture Incentive Law.

Those were incredible times. And where does the drive to collaborate with great veteran filmmakers come from? VM: I am a great champion of Brazilian cinema. I really enjoy rewatching films to help sharpen my creative process. I have a vital relationship to those films, and I think Daniel is similar to me in that aspect. Something I really like about the films of the s is that the filmmakers were also cinephiles.

The film writings of that generation are captivating. These texts allowed me to understand and respect those masters of Brazilian cinema. Knowing the history of Brazilian cinema is key. The list has no end. CL: As independent filmmakers in Brazil, you both have been able to make the utmost out of scarce financial resources. Did you both return to these Cinema Novo films to gain inspiration for this kind of filmmaking process? And what kind of lessons would you say that new and emerging filmmakers can learn from watching Cinema Novo or Cinema Marginal films, and seeing the way that Brazilian filmmakers have made so much in the past out of only a camera and inspiration?

DP: It is impossible to make films without any budget. But it is possible to make films despite the budget. No film should be classified according to its budget. We think only of the film itself. Of filmmaking. But the absence of money alters relationships. You only devote unpaid time to something you believe in. To make necessary films. And I put together a crew who would agree with that. We were working for ourselves.

To New Cinemas all around the world. To decolonial cinemas. But we liked those films prior to meeting him. Is it Marginal or Marginalized Cinema? The s were such a hard time for filmmaking in Brazil. And a brief look at the history of cinema proves few filmmakers are able to change their production conditions without sacrificing their own styles.

In Brazil, will likely be the worst year in our entire history, both in macro and micro aspects. We have no perspective whatsoever of securing a true audiovisual industry.

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I don't really know why I had not reviewed this album, which I like a lot and which should be better known, at least for us, the Italian prog rock fans. In he released this album entitled "Al mercatto degli uomini piccoli" which features eight compositions and a total time of 37 minutes, of in my opinion high quality music.

It kicks off with the title track, "Al mercatto degli uomini piccoli" which is a killer track that starts softly with acoustic guitar and Pelosi's voice. A minute later drums and keyboards appear and create a fantastic atmosphere that I totally adore, in spite of the melancholic and even sad sound it may provoke. The vocals are disarming, beautiful to my ears. The rhythm may be repetitive but it is necessary in the song's essence; the mood is sad, if you are actually in the mood, you may even drop a couple of tears, so though I totally recommend it, I warn you, listen to it only if you think you can carry with it.

Signore" reminds me actually a bit of Jumbo's DNA. It starts softly and after a minute it makes a changes and the song becomes incredibly beautiful with drums and both piano and keyboard sound, the atmosphere and mood are pure beauty to my ears. Later it stops and returns to the first part sound, and then the formula is repeated, because that beautiful instrumental passage returns as well.

I love it and I am used to listen to it no matter if I am sad or not, but it always moves me. This track has also that bleak feeling. And he has two siblings. They are; Brody and Lacy. While he holds an American nationality and practices Christianity. Further, he belongs to the Caucasian ethnicity. According to astrology, he has Sagittarius as his zodiac sign. Talking about his formal educational status, he completed his schooling at a local school in his hometown.

And, he also accomplished his higher studies at university. Professional life Profession-wise Vinny Mauro is a very famous drummer and artist in the music industry. The celebrated drummer was interested in music from very early years and wanted to be a great one. Following his passion, he joined the American metal band named Motionless In White.

And, the journey began in the year Prior to it he also had some time with Empyreal. It was then he got an opportunity for the touring drummer gig for MIW. With the band, he has toured most parts of the country and world.

The band has recorded around 6 albums, 22 music videos, 2 extended plays, and 32 singles to date. While The drummer is even active on YouTube under the channel named lichenzoi. There upload his drum covers.

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Later it stops and returns to the first part sound, and then the formula is repeated, because that beautiful instrumental passage returns as well. I love it and I am used to listen to it no matter if I am sad or not, but it always moves me. This track has also that bleak feeling. After two minutes the keyboards seem to create another mood, but no, it was only an illusion, because the song continues with the same sound and mood.

It is a nice track that may make you taking a deep breath. His voice is pretty similar to some other 70s Italian singers, but Mauro Pelosi has its own sound, nevertheless. The last song is "Mi piacerebbe diventar vecchio insieme a te" which is a beautiful acoustic composition that starts very slow and with a low sound, seconds later it becomes a bit higher due to the feelings shared by the singer.

Besides the guitar there is another instrument that can be heard as background, which adds a peculiar flavor to the music. The last part is pretty good with bass and drums included. Now I'll be honest, talking about progressive rock, this may not be the best example, I bet you may actually ask yourself if Mauro Pelosi's music is prog or not, I don't really care, but what I can say is that to me this is a wonderful album that I adore.

I invite the RPI lovers to listen to this unknown gem. And, he also accomplished his higher studies at university. Professional life Profession-wise Vinny Mauro is a very famous drummer and artist in the music industry. The celebrated drummer was interested in music from very early years and wanted to be a great one.

Following his passion, he joined the American metal band named Motionless In White. And, the journey began in the year Prior to it he also had some time with Empyreal. It was then he got an opportunity for the touring drummer gig for MIW. With the band, he has toured most parts of the country and world. The band has recorded around 6 albums, 22 music videos, 2 extended plays, and 32 singles to date. While The drummer is even active on YouTube under the channel named lichenzoi.

There upload his drum covers. Net worth Vinny Mauro is living a comfortable life with his family. Thanks to the fame and fortune he has earned from his work as of today. Personal life Moving on toward the romantic and private life of Vinny Mauro, he may or may not be in a relationship. The drummer has kept his private life quiet secret as of today.

There are not any reports confirming his relationship with any other person to date. While he is straight regarding gender choices.

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