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Product Description
PRAISE FOR It’s Not Where You Start, It’s Where You Finish!

“Gillian inspired me to reach for the level of excellence I had dreamt of. This book will encourage you, at all levels of your life, to reach for your highest accomplishments. You won’t be able to put this book down. Inspiring!”
–Albert Pujols, First Baseman, St. Louis Cardinals 2001 National League Rookie of the Year

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GILLIANORTEGANSD.COM Mary Kay Top Director Andrea Shields Gives Us Great Idea’s about Mary Kay Seminar 2009! and why you need to go! gillianortegansd.com ortegajr.com ortegajr productions Director Andrea Shields Helps us Realize why we must go to Mary Kay Seminar 2009! Below are Just Keywords so that When Someone Types Mary Kay They Find That Mary Kay is Awesome. We want to get above all the Videos that Make Mary Kay Look Bad. Because We know that Mary Kay Changes Lives!mary kay mary kay …

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gillianortegansd.com ortegajr.com Gillian Gives her time to one of our our best friends church. They had a woman’s empowerment day and asked Gillian if she would share her story and help to empower these women! Gillian Loves Giving back and will do it as much as possible! Listen to her story and you will surely know that the spirit of the Lord is beyond Powerful! Have a Blessed Day OrtegaJr.Com Production Below are Just Keywords so that When Someone Types Mary Kay They Find That Mary Kay is …

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gillianortegansd.com gillianortegansd.com ortegajr.com Have you ever wondered what it takes to be successful in the richest, freest country in the world? We live in the opportunity of the land so what stops us from achieving everything we ever watned out of life? could it be our attitude? Gillian gives you insight about the unlimited successes waiting for you when you inject your ideas with a positive attitude. It truely will determine your attitude. Gillian came to the USA in 1979 with 20 …

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Your confidence will “rise” with this new fragrance and the ladies will find you “hard” to resist.

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Bert Brandsma Swing Trio – Black Orpheus.
Winfred Buma – guitar
Bert van Erk – bass
Bert Brandsma – tenor saxophone

This title was a feature saxophone solo for Brandsma while working in the Cologne Opera House in 2006 (Divertissementchen) in a Thomas Guthoff arrangement.
Now played in a more informal setting (and another key)at the festival : te Gast in Garnwerd 2007.

Before the world heard Astrud Gilberto’s whispy voice, before they knew of Stan Getz’ velvety sax, they saw Black Orpheus. The film (in Portuguese, Orfeu Negro) put a face on a new style of samba that was fresh, romantic and very accessible to jazz hipsters. It was later called bossa nova (or “new wave” or “new groove”). Only a year before (November 1957), Antonio Carlos Jobim (and Newton Mendonca) had released the album Desafinado, featuring this new style of samba, incorporating it with jazz stylings, poetic lyrics sung by João Gilberto, and a 4 on 3 stammering rhythm. Jobim and Luis Bonfa wrote the soundtrack to the motion picture. This 1959 Cannes Film Festival Grand Prize winner (and Oscar’s Best Foreign Film, and a Golden Globe winner) was based on the Orpheus-Eurydice legend but updated and played against the colorful background of Carnival in Brazil, featuring an all-Black cast. French director Marcel Camus created the movie from Vinícius de Moraes musical play Orfeu da Conceição.”

More than just showcasing samba, Black Orpheus brought this music to life, making Antonio Carlos Jobim and Luis Bonfa international stars. From the very opening title scene, where favalistas burst through an ancient frieze of Orpheus and Eurydice, to the climactic Carnival parade, music pervades practically every moment of the film. Even the streetcars seem to dance.

As in the Greek legend, Orpheus is a legendary minstrel among his neighbors in the slums above Rio. He also works as a streetcar driver, where he first meets a naive county girl, named Eurydice. She has run to the city to escape from a jealous suitor that means to kill her. Orpheus protects her, and they fall in love. Death finally catches her but unlike the snake in the Greek myth, in the film she’s bitten by the electrical sting of a hot cable-car wire. Inconsolable over his loss, Orpheus searches for her in the land of the dead. The underworld in Rio is the Bureau of Missing Persons and a Macumba ceremony, where Orpheus attempts to contact her spirit. With the help of Hermes, Orpheus is finally guided to the city morgue where he finds his deceased love. Despite it’s tragic ending, the film ends on a happy note with the children singing “Samba de Orfeu.” The legend of Orpheus and Eurydice lives on.

The music is timeless. The soundtrack sold millions. United States jazz musicians like Stan Getz and Charlie Byrd began to cover Orpheus numbers like “A Felicidade” and “Manha de Carnaval” (Morning of Carnival) with as much enthusiasm as other popular Jobim songs like “Corvacado” and “One Note Samba.” As bossa nova began to grow in the U.S., Getz along with João Gilberto and his wife, Astrud, released “The Girl from Ipanema” in early 1963. This created a big hit in the U.S. and Europe, and virtually sent the whole bossa nova movement into orbit. Throughout the mid-Sixties all-things-Brazilian became an integral part of world culture. Bossa nova would have become fashionable without Black Orpheus. However the film brings the music alive. – Wayne Whitwam

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