Correspondence

A little case of plagiarism, or
from the sublime to the ridiculous
(a continuing saga)
.

Daniella Thompson

Mario Marques is a Brazilian journalist. In May 2002 he published a book about Guinga that included a discography compiled by Daniella Thompson for an article in Brazzil magazine. The discography was used without Ms. Thompson’s knowledge, and she received no credit. The complete correspondence between Marques and Thompson is presented below, followed by documentation of the resulting brouhaha.

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: Guinga
Date: Wed, 13 Mar 2002

Hi, Mrs. Thompson.

I am very impressive about your work about brazilian music.

specifically about Guinga

I am writing a book about him, that will be released on may...

congratulations

MM

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Re: Guinga
Date: Wed, 13 Mar 2002

Dear Mario,

What a pleasure to hear from you!

> I am very impressive with your work about Brazilian music.

Muito obrigada.

> specifically about Guinga
> I am writing a book about him, that will be released in May...


Of course I’ve known about your upcoming book for a long time.
That’s the principal reason I hadn’t written a big article about Guinga
earlier (I’ve admired him for years). Last year I heard from Velas that
your book wasn't coming out soon, so I proceeded with the article.

I’m so glad that your book is finally going to see the light of day and am
eagerly looking forward to reading it.

Abraços,
--
Daniella
http://daniv.blogspot.com

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: RES: Guinga
Date: Wed, 13 Mar 2002

i am very proud of your work, really really really. I told this to my
friends here at O GLOBO. Yesterday Guinga told me about you
and today I saw your site this morning. This is amazing, so strong
and briliant.

So, after the book goes to the stores, I would like to write an article
about you. Do you have some photos of you?

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Photos
Date: Wed, 13 Mar 2002

Mario,

I’m attaching three.

--
Daniella
http://daniv.blogspot.com

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: RES: Photos
Date: Wed, 13 Mar 2002

thank you very much, Dani. I will talk to you soon

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Guinga discography
Date: Sun, 2 Jun 2002

Mario Marques,

I haven’t seen your Guinga book yet (which you didn’t have the
grace to send me), but I’m told by reliable sources that you lifted my
discography without attribution or acknowledgement.

For your information, that discography is my copyrighted material,
and you, as a professional journalist, should know what that means.

You might also want to know that I recently made some corrections
to the discography (not published yet), so whatever errors it used
to contain have found their way into your book.

On 13 March you wrote:

> i am very proud of your work, really really really.

Well, I’m not proud of yours. If you don’t come clean with a public
acknowledgement, I will make it my business to let the world know.

--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: RES: Guinga discography
Date: Sun, 2 Jun 2002

Dear Daniela:

i am sorry about that. But I would like to explain you that I can't
make this and many many other corrections because the company
Gryphus was late to release the book at São Paulo Book Festival
(Bienal do Livro) and can't attend me. So, the second edition
(soon, in about one month) will be you credit and thousands of
corrections for sure.

I am sorry about that, it is not my thought.

best wishes
MM

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Re: RES: Guinga discography
Date: Sun, 2 Jun 2002

Mário,

> So, the second edition (soon, in about one month) will be you
> credit and thousands of corrections for sure.


I will wait for the second edition. It would be a professional
courtesy if you asked the publisher to send me a copy (with the
proper credit, of course).

My address:

[address]

--
Daniella
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: RES: Guinga discography
Date: Sun, 2 Jun 2002

ok, daniela.

for sure we will send.

but, understand. we are in Brazil, not in USA. For example, me: I
received just ten copies. The book was released with only 1.000
copies.

I am very sad because, besides your credit, all the photographers'
credits are wrong.

I am not happy.

But trust me. this will be changed

abs
MM

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Re: Guinga
Date: Tue, 17 Sep 2002

At 16:59 -0300 13/3/02, Mario Marques - Segundo Caderno - O
GLOBO wrote:

> I am very impressive about your work about brazilian music.
> specifically about Guinga
> I am writing a book about him, that will be released on may...


So far, no copy of the book was sent and no acknowledgement of
my work on the discography was made.

Is this how it’s going to continue?

--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: RES: Guinga
Date: Tue, 17 Sep 2002

so, listen, What do you think i am?

i told you that in the next edition i will change. So ok: there is no other
edition yet, the book didn t sell 1.000 copies, you can ask the publisher.
I have a name in Brazil, ok? I am a respected journalist, work here in
music for 15 years. So take it easy, ok? it was a mistake, i know that,
but, please, be respect with me, ok?

bye
MM

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Re: Guinga
Date: Tue, 17 Sep 2002

> there is no other edition yet, the book didn t sell 1.000 copies,

Sorry to hear there’s no demand for your book.

> I have a name in Brazil, ok? I am a respected journalist, work here
> in music for 15 years.


That doesn’t explain why you didn’t ask my permission before using
my work.

> please, be respect with me, ok?

That’s a little hard to do under the circumstances. Had you asked
permission in advance, the omission would have been only the
publisher’s mistake, but you created this problem in the first place --
you can’t run away from this fact.

--
Daniella
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

From: Mario Marques - Segundo Caderno - O GLOBO
To: Daniella Thompson
Subject: RES: Guinga
Date: Tue, 17 Sep 2002

Listen, I asked you a permission to publish the discography, you
can remember that if you want. bu sorry sorry sorry, We forgot your
credit and many photographers also.

so, I will put your credit when the next edition come, ok?

and please don t talk to me anymore, ok? you are a stupid person.
I did a mistake and I will fix this. then, I will send you a copy

bye
MM

=======================

To: Mario Marques - Segundo Caderno - O GLOBO
From: Daniella Thompson
Subject: Re: Guinga
Date: Tue, 17 Sep 2002

At 18:13 -0300 17/9/02, Mario Marques - Segundo Caderno - O
GLOBO wrote:

> Listen, I asked you a permission to publish the discography, you
> can remember that if you want.


I have all your e-mails. You never said a word about the discography.

> and please don t talk to me anymore, ok? you are a stupid person.
> I did a mistake and I will fix this. then, I will send you a copy


The stupid one isn’t me.

--
Daniella
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

From: Mario Marques
To: Daniella Thompson
Subject: this is very sad, Mrs Thompson
Date: Tue, 10 Dec 2002 19:09:52 -0200

what is that? are you crazy? what are you think you are? i explained you
that it was a mistake.

so I will write also an article about this history. And I will ask my publisher
to cut the discography by the book. I told you that because the publisher is
hurry about the book they forgot the credits. so you are so idiot. You want
to promotion... so you will do.

A little case of plagiarism.
Daniella Thompson

Mario Marques is a Brazilian journalist. In May 2002 he published a book about Guinga that included a discography compiled by Daniella Thompson for an article in Brazzil magazine . The discography was used without Ms. Thompson’s knowledge, and she received no credit. The complete correspondence between Marques and Thompson is presented below.

=======================

From: Mario Marques
To: Daniella Thompson
Subject: my
Date: Tue, 10 Dec 2002 19:30:11 -0200

publisher will send an e-mail to explain the mistake. I hope that you
publish this also. I will talk with reporters and musicians here about you.
You were not correct with me.

best wishes

MM

=======================

From: Mario Marques
To: Daniella Thompson
Subject: more calm
Date: Tue, 10 Dec 2002 20:32:03 -0200

So, Mrs Thompson, another chapter.

I talked to Guinga ten minutes ago and he asked me peace with you. So
in respect with him and also about your good work, I want to talk to you
about the problem. Sincerely I am very sad because I didnt do that to hurt
you. It was not my mistake, three photographers also didnt have his credits
at the book. You have your rights to stay sad also. and tomorrow i will visit
my publisher to put your credit in next edition. But don«t do this to me,
please. Plagiasm? No, I am not a thieve.

Why am I hungry? Today my dad read this at internet. This is so sad to
me, right?
Please, take off our correspondence from internet. This is not fair.

by for now
MM

=======================

From: Daniella Thompson
To: Mario Marques
Subject: Re: more calm
Date: Thu, 12 Dec 2002 02:00:36 -0800 (PST)

Mario Marques wrote:

> So, Mrs Thompson, another chapter.

> Please, take off our correspondence from internet.
> This is not fair.


I am away in [...] until 3 January and can’t do
anything about my website until then.

When I return, I’ll get in touch with you to resolve
our problem.

Daniella Thompson

=======================

From: Daniella Thompson
To: Mario Marques
Subject: Your publisher’s silence
Date: Sat, 4 Jan 2003 17:30:17 -0800

On Tue, 10 Dec 2002 you wrote:

> publisher will send an e-mail to explain the mistake.

I have received nothing from your publisher.

--
Daniella
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

From: Editores Gryphus
To: Daniella Thompson
Subject: mario marques
Date: Wed, 8 Jan 2003 16:58:07 -0200

Dear Daniella,

Mario Marques, one of our authors, has asked me to contact
you. We would like to know what is going on. Do you have a
complaint about his book?
Please let us know.

Best Regards,

Gisela Zingoni

=======================

From: Daniella Thompson
To: Editores Gryphus
Subject: Re: mario marques
Date: Mon, 13 Jan 2003 11:18:57 -0800 (PST)

Dear Ms. Zingoni,

> Mario Marques, one of our authors, has asked me to contact
> you. We would like to know what is going on. Do you have a
> complaint about his book?


Indeed I do.

The Guinga discography published in Mr. Marques’ book was
compiled by me and published as part of my article on Guinga
in Brazzil magazine, November 2001.

Mr. Marques did not request my permission to use my work,
nor did he tell me that he intended to use it. I received no credit
for the discography in the book written by Mr. Marques and
published by you.

Only after the book’s publication did it come to my attention
through other people that my work had been utilized without
mention of my name -- this despite the fact that Mr. Marques
contacted me via e-mail prior to the book’s publication.

I have given Mr. Marques ample opportunity to correct this problem,
but so far nothing has been done.

I would like to hear from you what you intend to do to remedy
the situation before I take legal steps.

Sincerely,

Daniella Thompson

=======================

From: Editores Gryphus
To: Daniella Thompson
Subject: Re: mario marques
Date: Tue, 14 Jan 2003 10:04:06 -0200

Dear Daniella,
Are you refering to the list of Guinga’s recordings that have been
released to the public starting on page 129 of Mario’s book? Why do
you believe that Mario copied your discography?
He could have collected that information by himself.
Please send me your original discography so I can understand
why you believe your rights were violated.
Our address:
[address]

Best Regards,

Gisela Zingoni

=======================

From: Daniella Thompson
To: Editores Gryphus
Subject: Re: mario marques
Date: Tue, 14 Jan 2003 13:22:10 -0800 (PST)

Dear Gisela,

> Are you refering to the list of Guinga's recordings that have been
> released to the public starting on page 129 of Mario's book?


I never saw Mario’s book, since he didn’t have the grace
to send it to me.

> Why do you believe that Mario copied your discography?

Mario admitted it himself in writing. You can read our
correspondence on my website:

Musica Brasiliensis

Click on the link “Correspondence.”

> He could have collected that information by himself.

He could have but didn’t; Guinga told him about my article
and he shamelessly lifted my work without so much as notifying me.
He even copied the errors in my initial discography (which were
published in the print edition of Brazzil magazine but have
since been corrected on the magazine’s website).

> Please send me your original discography

You can consult the Web edition of the article (where the
discography has since been corrected and expanded).
The link to the article can be found on the same page with my
correspondence with Marques. The title of the article is
“Guinga Rising.”

My computer is out of order at the moment,
so I can’t send you the exact page url in Brazzil magazine,
but I trust you’ll find it without difficulty.

Sincerely,

Daniella Thompson

=======================

From: Editores Gryphus
To: Daniella Thompson
Subject: Re: mario marques
Date: Wed, 15 Jan 2003 14:59:58 -0200

Dear Daniella,

Please send us your address so we can mail you
a copy of Mario’s book.
As for the unauthorized use of your biography in
the book published by Gryphus, we do apologise
for it, and will give you proper credit on following
editions.

Best Regards,

Gisela Zingoni

=======================

From: Daniella Thompson
To: Editores Gryphus
Subject: Re: mario marques
Date: Wed, 15 Jan 2003 14:04:50 -0800 (PST)

Dear Gisela,

> Please send us your address so we can mail you
> a copy of Mario’s book.


My address:

[address]

> As for the unauthorized use of your biography in
> the book published by Gryphus, we do apologise
> for it, and will give you proper credit on following
> editions.


Thank you. Do you have any idea when the next edition
might appear?

Sincerely,

Daniella Thompson

=======================

From: Mario Marques
To: Daniella Thompson
Subject: Hi, Mrs, Thompson
Date: Thu, 12 Jun 2003 12:47:10 -0300

A little bit about me at that site: www.nomesdojornalismo.kit.net

Funny... I never heard about you...

Oh, next week i will publish at internet an article about you,
entitled “A little case of ignorance”.

best wishes and I hope to see you soon...

Mario Marques

=======================

Date: Thu, 12 Jun 2003 10:30:40 -0700
To: Mario Marques
From: Daniella Thompson
Subject: Re: Hi, Mrs, Thompson

At 12:47 -0300 12/6/03, Mario Marques wrote:

> A little bit about me at that site: www.nomesdojornalismo.kit.net

I tried to access that site, but it failed to load.
Are you sure that’s the correct url?

> Funny... I never heard about you...

Apparently you haven’t heard about Google either.

> Oh, next week i will publish at internet an article about you,
> entitled “A little case of ignorance”.

Let me know when it’s up, and I’ll put a link to it from our
correspondence page. It’s bound to be entertaining.

--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

From: Mario Marques
To: Daniella Thompson
Subject: Re: Hi, Mrs, Thompson
Date: Fri, 13 Jun 2003 09:02:40 -0300

yes! it will be funny, Mrs Thompson!

the correspondence between the book’s author and the... the... the... i am
sorry... i don t know did you do...ah, i remember. the 00, that like to
promote herself through honest people... now i know everything about you
poor past....

Oh, Mrs Thompson, how important is your work...

everybody here is having fun with your “great work”... copy the discography
of guinga...

Oh, Mrs Thompson, how important is you...

i see you soon. A little case of ignorance...

=======================

Quoting Henry de Montherlant in Les Jeunes Filles:
This letter remained unanswered.

=======================

Poor, offended renowned journalist
(the farce continues, the plot thickens)

Thursday, 29 January 2004

More hilarity from Marques. For the past two days, Brazilian journalists and website editors have been forwarding to me the message below, which is being sent around with a request for publication. I suspect that this website may be the only place where it has actually been published.

A few select comments from forwarders & readers
(see also Backlash and my communication with EMI Music Publishing Brazil further down):

Veja o que estes loucos me enviaram.

Mas que cara mais ridículo, hem?

Daniella
FYC. Please, do something.
Dozens of us, music critics in Brasil, are at your side.

I’m happy to read that you don't seem to be perturbed by this
latest piece of idiocy.

Let us know if you’re going to be collecting for your defense
fund!

I no longer want to finish the book. The subject is beautiful but the writing is disjointed and superficial. What a distasteful feeling I’m left with. Neither Daniella nor Guinga deserves to have to deal with this person.

Looks like something out of Harper’s. Great entertainment value.

Amazing! Really, worth submitting to the New Yorker, dontcha think?

Wow!! Amazing!! idiots with credentials. What an incredible saga, and it continues!!! What next, a Brazilian TV movie?

The message and its translation are reproduced verbatim as received.

Subject: sobre Daniela Thompson - pedido de publicação
Date: Tuesday 27 January 2004 15:01
From: Laboratorio Pop

A case of inconsideration

The “journalist” Daniela Thompson, who claims to be the author of Brazilian composer Guinga’s discography, will be sued for moral rights infringement by journalist Mario Marques

Daniela Thompson is a mediocre journalist, who earns a living by reproducing, copying and transcribing articles published in Brazil as if they were hers. With no academic qualification as a journalist and, for that matter, working ilegally in the position in the United States, she mantains a weblog dedicated to latin and brazilian music, republishing discographies obtained at lists in Brazil.

That’s how the “journalist”, in an inconsiderate act, published on the Internet sections of the conversations between her and journalist Mario Marques, author of the book “Guinga - os mais belos acordes do subúrbio”. In the conversations, Marques, a renowned journalist who worked at the newspaper “O Globo” as a music critic for Segundo Caderno for eight years and edited the magazine “Clava do Som” for five years, explains to the “journalist” that Gryphus publising forgot to credit Guinga’s discography in his book, which she publically claims to be hers, as well as several credits to photographers that weren’t printed in the book by mistake. He didn’t even complain about her copying the composer’s list, published in Brazil.

Nervous and hysterical, since she’s known as a troubled person in the artistic circle, Mrs. Thompson, who has been into mental instituitions many times, acused the journalist of plagiarism, being herself the plagiarist of the listing. Announcing in the Internet she was the author of several dicographies, the “journalist” will have a suit filed against her by Marques since the author, through an e-mail he sent to Mrs. Thompson, told her that the mistake made by the publishers would be fixed, which didn’t stop Mrs. Thompson from keeping on offending him.

Trying to promote herself, the “journalist” insisted on provoking Marques by sending him offensive e-mails, which were all replied. The decision of publishing the e-mails on the Internet shows the lack of character of the fake journalist. By exposing Marques, the plagiarist spread the story as if the work of translating and transcribing texts and discographies was something that belonged to her. The composer Guinga said in interviews that his discographies belonged to him, not to any journalist, and described Daniela Thompson’s behaviour as “terribly low”.

Um caso de leviandade

A “jornalista” Daniela Thompson, que se diz autora da discografia de Guinga, será processada por danos morais pelo jornalista Mario Marques

Daniela Thompson é uma medíocre jornalista, que sobrevive às custas de reproduzir, copiar e transcrever artigos publicados no Brasil, como se fossem dela. Sem formação como jornalista, e assim trabalhando ilegalmente na área nos Estados Unidos, ela mantém um blog dedicado à música brasileira e latina, republicando discografias obtidas em listagens no Brasil e apropriando-se delas.

Foi assim que a “jornalista”, num ato de leviandade, publicou na internet trechos de diálogos entre ela e o jornalista Mario Marques, autor do livro “Guinga - os mais belos acordes do subúrbio”. Na correspondência entre os dois, Marques, conceituado jornalista que já passou pelo jornal “O Globo” como crítico de música do Segundo Caderno durante oito e editou por mais cinco a revista “Clava do Som”, explica à “jornalista” que a editora Gryphus esquecera de dar o crédito à discografia de Guinga no livro dele, que ela assina publicamente como sendo dela, assim como vários créditos de fotógrafos que não saíram também por erro da companhia. Isso sem ele nem discutir o fato de ela ter copiado a listagem da editora do compositor no Brasil.

Nervosa e histérica, já que é tida como uma pessoa desequilibrada no meio artístico, tendo sido inclusive internada por vezes, a sra. Thompson acusou o jornalista de plágio, sendo ela mesmo a plagiadora da listagem. Anunciando na internet ser autora de diversas discografias, a “jornalista” será processada por Marques por danos morais, já que o autor, em e-mail enviado à sra Thompson, avisou-a que o erro de sua editora seria consertado, para evitar maiores aborrecimentos, o que não impediu que a sra continuasse a ofensiva.

Tentando, porém, auto-promover-se, a “jornalista” insistiu nas cobranças, provocando o jornalista com e-mails ofensivos, todos respondidos. A decisão de publicar a troca de e-mails na internet, além de mostrar o péssimo caráter da jornalista, expôs o profissional, enquanto a “jornalista”, essa sim, uma plagiadora de textos, espalhou a história como se seu trabalho, ou seja, traduzir e transcrever textos e discografias, fosse algo de sua propriedade. O próprio Guinga, em entrevistas, disse que sua discografia pertence a ele mesmo, não a nenhum jornalista. O compositor considerou a atitude da jornalista Daniela Thompson de “péssimo nível”.

=======================

Backlash

Friday, 30 January 2004

Reading the weblog posts below, one quickly gets the idea that Mario Marques isn’t exactly a shining beacon of inspiration to his peers. And this was before his latest outburst. As Rafa says, “you read the exchange of messages and feel sorry for the guy.” Well, almost, but not quite.

todos os cães merecem o céu

Crítico de cu

27.jan.04

Matiasa letra para a uma troca de mensagens entre uma plagiada e o patético plagiador.

O crítico musical Mario Marques copiou em seu livro trechos de um artigo de Daniella Thompson, gringa especialista no trabalho do músico Guinga. E ele não deu o crédito para a verdadeira autora do texto.

Quando Daniella reclama a falta de crédito, o jornalista fica puto, diz que tem um nome a zelar e que ninguém nunca ouviu falar nela. Ele é famoso e pode se aproveitar do trabalho de quem quer que seja, ainda mais de uma desconhecida como ela.
    Apparently you haven’t heard about Google either.
Patético, patético, patético! E o cara continua a escrever, por aí, falando besteiras e tentando promover uma banda ridícula que ele produz. Você lê a troca de mensagens e sente pena do cara. Então você entra no link que ELE (vejam: ELE) passou para ela, e quase CHORA de rir:

- http://www.nomesdojornalismo.kit.net

RIDÍCULO!

[Note: There’s much more in that post. One of the readers’ comments was too scatological to reproduce here.]

[Note 2: Mario Marques sent his story to Rafa, and the latter decided to close the case in his own unique way. Here, too, there are readers’ comments.]

=======================

O Pensamento Vivo de Tiago Teixeira

27.01.04

Leitura essencial para se entender o moderno jornalismo musical brasileiro.

Why am I hungry? Today my dad read this at internet. This is so sad to me, right?

Please, take off our correspondence from internet. This is not fair.

The Mario Marques-Daniella Thompson Correspondence. Imperdível para os fãs de Mario Marques.

10:37 AM | mais Notícias | Comente. (5)

Comments

Sensacional, muito esclarecedor! Não é a toa que O Globo não merece meu respeito. O site da Daniella Thompson é maravilhoso, um verdadeiro oasis na web.
Não deixa de ser ainda mais curioso o fato que o melhor material publicado sobre nossa música venha do exterior. Meus discos do Hermeto e do Gismonte são alemãos e japoneses.
Mas ainda na área jornalistica, veja só. Tenho uma edição The Bilboard Book of Brazilian Music, de Chris McGowan e Ricardo Pessanha. Lá fora o buraco é mais embaixo e o livro além de uma extensa relação com TODOS os créditos de fotos e biografias utilizados.
E tudo isso em sua PRIMEIRA EDIÇÃO (1991), que esta bem aqui ao meu lado.
Comentado por Ozzie em 28.01.04 02:44 AM

______________

Céus!!! Isso é sério? Vocês precisam ser isso aqui. E este cara é jornalista?

http://www.digestivocultural.com/colunistas/imprimir.asp?codigo=1250
Comentado por Ozzie em 28.01.04 02:53 AM

______________

ser=ler (risos) Ah, madrugada...
Comentado por Ozzie em 28.01.04 02:54 AM

______________

O texto inteiro é hilario, mas este trecho preciso destacar:

"Digo isso porque essa geração nova, de 23, 24, até 26, está muito perdida. Bebe à beça, fuma à beça, não sabe para onde ir, o que fazer, que profissão escolher, se traveste de punk, de revoltado, de independente, de maduro. Mas é só pose. Por dentro corre um nada, o cérebro padece."

Se essa geração está perdida, o que falar da dele? (gargalhadas insanas)
Comentado por Ozzie em 28.01.04 02:56 AM

______________

Cara, o Mario Marques é a grande revelação do humor nacional. Um gênio.
Comentado por Tiago Teixeira em 28.01.04 09:11 AM

=======================

A Mulher do Rato

terça-feira, janeiro 27, 2004

Depois ninguem entende minha revolta com jornalistas...

Hoje o André (este link é do site onde ele escreve, que por sinal é bem interessante), da lista do Ultraje, mandou lá o link pra isto aqui. Aparentemente essa Daniella Thompson (de quem eu nunca ouvi falar) escreveu um artigo sobre o mestre Guinga, e o tal Mario Marques (de quem ouvi falar ainda menos) copiou descaradamente a discografia do Guinga que ela compilou, pro próprio livro.

Não me venham com historinhas. Escrevo linhas e mais linhas xingando advogados, ainda que admita que tal recalque é extremamente injusto com os advogados honestos (deve haver algum...). Apareçam, portanto, os jornalistas legais! Porque este cara é simplesmente um ótimo exemplo de tudo o que eu odeio num jornalista: seboso, sem talento, mentiroso, antiético, escreve mal e, ainda por cima, assassinou o vernáculo britânico, porque foi se meter a fazer algo que não sabe (nossa, eles adoram isso!): escrever em inglês. A correspondência dele e o modo pelo qual ele se dirige a esta mulher o fazem parecer um débil mental, e é pena que apenas ele não tenha percebido isto. Não admira que, como ele próprio admitiu, o livro dele não tenha vendido nada.

Tagarelou Juliana às 21:51

=======================

Mau Humor

Terça-feira, Janeiro 27, 2004

Resenhismo marrom

Se vocês não conhecem a figura nefasta do crítico musical (mal aí, críticos musicais) Mario Marques, está aqui um belo cartão de visitas.
Link by Matias

4:17 PM por Arnaldo Allemand Branco

=======================

Ranzinza

28.1.04

Errata

O Mário Marques não é mais do Grobo há muito tempo. Quem me informa é um amiguinho que trabalha no próprio...Amigo esse que, aliás, acho que ficou meio puto com o post aí de baixo. Não sei se por ser jornalista ou por ser do Grobo...Bom, NA ÉPOCA o Mário era do Grobo. E jornalista ele ainda é.

Portanto, repito: “Jornalistas... Ô, raça!!!

posted by James Winscatchatchura at 4:09 PM

King Kong...

Todo mundo já deve saber dessa história, o novo hype da internet... Mas o mico que o tal de Mário Marques pagou (só podia ser do Grobo mesmo), plagiando o trabalho alheio e ainda ficando putinho quando lhe cobram o fato, tinha que ser comentado mesmo....Patético é pouco.

Jornalistas...Ô, raça!!!

posted by James Winscatchatchura at 3:32 PM

[Lots of readers’ comments under both posts, including some from Mario Marques. Click on the time stamps to read them.]

=======================

trabalhosujo

Alexandre Matias’ weblog, where it all began (January 27, 2004 11:23 AM).

[Note: Lots of readers’ comments, including one from Mario Marques.]

[Note 2: Mario Marques persuaded Matias to remove the page from his weblog. In its place, a new page sprang up.]

=======================

Monday, 2 February 2004

The rumor has reached the press.

FOLHAteen

São Paulo, segunda-feira, 02 de fevereiro de 2004

Brasas (password required)

Inglês tosco - 1
Na semana passada, caiu na minha mão o relato de um caso que envolve um jornalista brasileiro acusado de plagiar texto de uma pesquisadora americana. O que me mandaram foi uma longa troca de e-mails entre o brazuca e sua possível vítima. Além de o caso, se verdadeiro, ser escabroso, o mais chocante é o inglês desse mané.

Inglês tosco - 2
Não que se esperem conhecimentos shakespeareanos de um brasileiro comum. Ele trabalhava em um grande órgão de imprensa e tinha cargo de responsabilidade. A figura deveria ter um inglês, pelo menos, passável. Mas, nesse caso, a única coisa que ele passou foi ridículo.

=======================

Mau Humor

2/2/2004 11:13:22 AM por Arnaldo Allemand Branco

Putting the branch inside (botando o galho dentro)

Leiam a polêmica aqui.

Tirei o post que estava aqui sacaneando novamente o Mario Marques. Ele, em seu blog joga a culpa da divulgação da briga com a Daniella Thompson toda em cima do Matias, o que é uma sacanagem: uma briga estúpida assim não precisa de um divulgador do porte do cara pra ganhar essa repercussão. O inglês claudicante do MM e sua mudança de posição em relação ao trabalho da Daniella (genial no primeiro e-mail, e desimportante no último), fora a arrogância (“sabe com quem está falando” style) e o recurso patético de criar um site chamado “nomes do jornalismo” pra se fazer de picão; tudo isso é que tornou a divulgação da correspondência dos dois um sucesso na internet. O caso do plágio - que, afinal, ele admite em um dos e-mails - é até menos importante. E tenho dito.

Update: Li com mais calma a defesa de MM. Duas coisas:

1) Mario Marques pede que Matias tire o link do Trabalho Sujo para a página com a troca de correspondência entre ele e Daniella Thompson. Matias não emitiu nenhuma opinião, apenas pôs o link na interjeição "putz", que podia estar servindo de comentário a qualquer coisa - a gratuidade da discussão, por exemplo. Se não me engano, a internet é livre, a página está no ar, se o ofendido quer tanto evitar que as pessoas tenham acesso à tal, que faça Daniella acabar com a url, na lábia (essa falhou) ou na Justiça.

2) Pelo que entendi, o trabalho de compilar uma discografia é moleza, bastam uns telefonemas e alguma pesquisa. Gostaria de saber se um dos amigos de Mario Marques, João Máximo, está de acordo, porque se não me engano foi a partir do trabalho monstro dele (junto com Carlos Didier), publicado na excelente biografia do Noel Rosa que o pesquisador musical Omar Jubran correu atrás de material raríssimo e lançou a caixa “Noel pela primeira vez”.

=======================

Vida Perfeita v. 4.5

Segunda-feira, Fevereiro 02, 2004 | 7:44 PM

Um “exemplo” de profissional

Uma típica situação que acontece sempre no meio publicitário e jornalistico mas poucos fazem algo pra evitar, façam suas apostas que a coisa tá preta.
The Mario Marques-Daniella Thompson Correspondence

=======================

And if you have the patience to read more lies from Mario Marques, he pours out his heart here (in a weblog) and here (in Observatório da Imprensa), in a vain attempt to extricate himself from the mess he’s created. And it’s not over yet. Observatório da Imprensa also published my response and Marques’ response to my response.

Wednesday, 4 February 2004

A guitarist who was reading Marques’ book but no longer wants to finish it wrote me:

Daniella—I’m sorry you had to waste even one minute on this.

Indeed. But since the hapless journalist has now turned into a fiction writer, a few more words to MM are in order:

If, as you claim now (almost two years after the fact), you had access to an EMI discography you say I copied, why didn’t you use it instead of using mine? It could have saved you no end of trouble.

For the record: I never knew that EMI was Guinga’s publisher or that it had compiled such a list. The first time I read anything about it was yesterday in a post by you in the Ranzinza weblog. This sounds suspiciously like a cover-thine-arse strategy on your part. Caught in flagrante delicto, you’ll say anything—no matter how reprehensible—to wriggle out. How about reproducing this alleged discography online so we can all see it? I, for one, am very curious to discover what’s in it, especially since you didn’t use it but chose to copy my discography instead.

Saying you’ve done nothing unethical is purely disingenuous. When you use someone’s work, there are two ethical ways to compensate the originator of the work: you either pay or you acknowledge the source (or both). You have done neither.

The year after your book came out, Gryphus published the songbook A Música de Guinga, with a preface not by you but by Sérgio Cabral. For some mysterious reason, Sérgio also based his text on my research and not on that fabled EMI discography about which you’ve now begun to talk so much. Unlike you, Sérgio didn’t copy my format but merely incorporated the information into his text—he could have gotten away with no acknowledgement whatsoever. But being a bigger man than you are, he ended his text with this footnote:

P.S. Baseei-me no trabalho realizado pela pesquisadora americana Daniella Thompson para incluir a discografia de Guinga no texto acima. A ela, meus agradecimentos.

Now you announce that the omission has been corrected in the second edition of your book. Begging your pardon: what second edition? Did you or your publisher notify me of the second edition or send me a copy? No. Yet you complain that I have “continued bombarding your in-box”—a sheer lie. Anyone who’s read our correspondence knows that you initiated all the exchanges but one.

As regards our correspondence, you allege that I doctored our e-mails and published only parts of them. In fact, the very few things I left out were names of people and places that have no bearing on this issue; they can be counted on the fingers of one hand. Everything else is there. Feel free to produce a communication between us that I have left out.

It seems that every time you had to pick a solution to the problems you had created, you chose the most difficult, unreasonable, and unproductive route. One is left with the distinct impression that you are bent on self-destruction. Of course, that’s your business. You’re a big boy now.

=======================

Thursday, 5 February 2004

A mysterious post from a fake address arrived today. The 99K attachment, yourmail.bat, is meant to entice to open but looks suspiciously like a virus-laden “gift.”

Tough luck. I happen to be a Mac user.

From: mariomarques@rafcom.com.br
To: Daniella Thompson
Subject: ups, i've got your mail
Date: Thu, 05 Feb 2004 19:42:46 -0800

I’ve got your mail, but its came on my mail address???
i’ve read this mail ,,, sorry about that

sorry for my bad english, I am a Swede!
cya

Attachment: yourmail.bat 99.00 KB

=======================

“o fato de ela ter copiado a listagem da editora do compositor no Brasil.”

What publisher’s list?

Got to look harder for those weapons of mass destruction.

Date: Mon, 9 Feb 2004
To: Washington Costa - EMI Music Publishing Brazil
From: Daniella Thompson
Subject: Discografia de Guinga

Prezado Sr. Costa,

Gostaria entender claramente a posição da EMI Publishing vis-à-vis
discografias de compositores cuja obra a EMI edita.

Ouvi falar que a EMI compilou uma lista de todas as gravações das
músicas de Guinga.

Tal lista existe ou não?

Atenciosamente,
--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

From: Washington Costa - EMI Music Publishing Brazil
To: Daniella Thompson
Subject: Re: Discografia de Guinga
Date: Mon, 9 Feb 2004 15:13:24 -0300

Prezada Sra. Daniella,

O compositor Guinga é um autor exclusivo da EMI Music Publishing Brazil,
porém tal discografia não foi realizada pela EMI, que se restringe a
autorizar, quando solicitada a composição para diferentes meios de
comunicação.

Atenciosamente,
Washington Costa
Catalogue Research/Creative
Tel(21) 2558-7080
Fax(21) 2558-7333

Visite o website www.emimusicpub.com

----- Original Message -----
From: Daniella Thompson
To: Washington Costa
Sent: Monday, February 09, 2004 3:02 PM
Subject: Discografia de Guinga

Prezado Sr. Costa,

Gostaria entender claramente a posição da EMI Publishing vis-à-vis
discografias de compositores cuja obra a EMI edita.

Ouvi falar que a EMI compilou uma lista de todas as gravações das
músicas de Guinga.

Tal lista existe ou não?

Atenciosamente,
--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

The press gets involved

Tuesday, 10 February 2004

A reporter from Comunique-se contacted me today, saying she is writing an article about the case. She summarized Mario Marques’ position as “a discography is public and it’s easy get a discography with a publisher.” She talked to Mario’s lawyer, Nehemias Gueiros, and reports him as having said that a discography isn’t an intellectual work, and therefore I have no cause for complaint. She wanted to hear what I thought about it.

I asked her permission to reproduce her message here. She wanted her name to be kept out. Here’s my response:

Date: Tue, 10 Feb 2004 13:36:06 -0800
To: [name withheld] Comunique-se
From: Daniella Thompson
Subject: Re: About Mario Marques

Hello [name withheld],

Here is my side of the story.

On 16 August 2001, the U.S. office of the record company Velas contacted Brazzil magazine, which is published in Los Angeles in a printed edition and also has an online edition: http://brazzil.com. Velas announced the U.S. release of Guinga’s CD Cine Baronesa and asked if Brazzil was planning to review the CD and if it was interested in an interview with Guinga.

The editor, Rodney Mello, offered me the assignment, because I’m a regular contributor to the magazine and had already met Guinga on several occasions in 1999 and 2000, interviewed him, and written a story about some of these meetings in a travel article on Rio. The article was published in Brazzil magazine in June 1999:

“Rio When It Drizzles”
http://www.brazzil.com/pages/p22jun99.htm

Having been given the assignment, I spent two months researching and writing a very thorough article on Guinga, which was published in November 2001 in both the printed and the online editions of Brazzil magazine. The article includes my review of Guinga’s life and career; analysis of his music; interviews with the composer and with other musicians; testimonials by artists who have worked with Guinga; song lyrics in the original Portuguese with parallel English translations; and a discography in two parts: Guinga’s own discs and recordings of Guinga’s compositions made by other artists. The article is titled “Guinga rising.” It runs to over 9,400 words and is the most comprehensive document about the composer ever published on the Internet.

“Guinga rising”
http://www.brazzil.com/musnov01.htm

In order to compile the second part of the discography (recordings of Guinga’s compositions made by other artists), I had to do a great deal of exhaustive research. No such listing existed ready-made. Contrary to what Mario Marques now alleges, Guinga’s publisher, EMI Music Publishing Brazil, does not have such a list.

As a result of Marques’ recent allegations, I contacted EMI Music Publishing Brazil, and they told me in no uncertain terms that this alleged publisher’s discography does not exist:
_____________________

From: Washington Costa - EMI Music Publishing Brazil
To: Daniella Thompson
Subject: Re: Discografia de Guinga
Date: Mon, 9 Feb 2004 15:13:24 -0300

Prezada Sra. Daniella,

O compositor Guinga é um autor exclusivo da EMI Music Publishing Brazil,
porém tal discografia não foi realizada pela EMI, que se restringe a
autorizar, quando solicitada a composição para diferentes meios de
comunicação.

Atenciosamente,
Washington Costa
Catalogue Research/Creative
Tel(21) 2558-7080
Fax(21) 2558-7333

Visite o website www.emimusicpub.com

----- Original Message -----
From: Daniella Thompson
To: Washington Costa
Sent: Monday, February 09, 2004 3:02 PM
Subject: Discografia de Guinga

Prezado Sr. Costa,

Gostaria entender claramente a posição da EMI Publishing vis-à-vis
discografias de compositores cuja obra a EMI edita.

Ouvi falar que a EMI compilou uma lista de todas as gravações das
músicas de Guinga.

Tal lista existe ou não?

Atenciosamente,
--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

_____________________

The policy of Brazzil magazine as regards reproduction is simple and clearly stated in every issue:

You may quote from or reprint any of the contents with proper copyright credit.

Enter Mario Marques.

As you have seen in the correspondence I published in my website Musica Brasiliensis (which is different from my weblog, where no mention of Mario Marques was ever made), Marques wrote me a fan letter in March 2002, praising my Guinga article as “so strong and brilliant.” He told me he was writing a book on Guinga (something I already knew) but did not mention the discography in my article or his intention to use it. He asked for my photos and said he wanted to write an article about me after his book had been released.

Needless to say, when his book was released, he didn’t get in touch with me, because he had something ugly to hide: In his book, the second part of my discography (recordings of Guinga’s compositions made by other artists) occupies 12 pages. Reproduced verbatim. In exactly the same format. Containing English words carelessly left in. And including some of my assumptions about versions and attributions that I had since concluded were erroneous and corrected in my Brazzil article online (but that remain in the magazine’s printed edition).

In short, Mario Marques copied my work bag and baggage, not taking the slightest trouble to disguise it as his own. And he didn’t acknowledge the source—neither my name nor that of Brazzil magazine appears anywhere in his book.

When I contacted Marques about the missing credit, he blamed his publisher, Gryphus, for the omission, and promised to have them correct the problem. Months went by, during which Marques did not contact Gryphus. Eventually he became abusive, and I had no choice but to publish our correspondence in my website. This should not have come as a surprise to Marques, because I warned him in advance. On 2 June 2002, I wrote (and it’s available for all to read on our correspondence page):

If you don’t come clean with a public acknowledgement, I will make it my business to let the world know.

As regards Mario’s lawyer Nehemias Gueiros’ statement that “a discography isn’t an intellectual work,” I have this to say:

Whenever you use somebody else’s work, intellectual or not, there has to be a quid pro quo. You can pay for the work or you can acknowledge the source (or both). Mario Marques neither paid me for my research work nor acknowledged my Brazzil magazine article as the source of the 12 pages in his book. His conduct was unethical, unprofessional, and plainly wrong. And it continues to be so.

As an interesting aside, the year following the publication of Mario’s book, Gryphus published the songbook A Música de Guinga, with a preface by Sérgio Cabral. Cabral also used the discography I had compiled as the basis of his preface. Unlike Mario, he didn’t reproduce it verbatim with the same format but incorporated it into his text. Cabral didn’t have to acknowledge my work as his source, but he did:

P.S. Baseei-me no trabalho realizado pela pesquisadora americana Daniella Thompson para incluir a discografia de Guinga no texto acima. A ela, meus agradecimentos.

Mario Marques could learn something about ethical and professional conduct from Sérgio Cabral. It would have saved him no end of trouble, not to mention lawyer’s fees.

--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

=======================

The “source” revealed

Wednesday, 11 February 2004

In his response to my response in yesterday’s Observatório da Imprensa, Mario Marques finally unearthed his conclusive evidence that I am the plagiarist, not he. This damning document is available for download through the link above.

And what is this iron-clad evidence? Not a discography, but an internal document from EMI Music Publishing Brazil. A database readout of artists who were granted authorization to record Guinga’s compositions, arranged alphabetically by song title. No album titles. No album release dates.

I asked EMI Music Publishing Brazil today if this is a public document available to anyone who wants it. Their reply:

Este documento é apenas uma listagem de obras com gravações do nosso sistema do autor Guinga que possivelmente foi solicitado para algum trabalho e nós disponibilizamos.

The list includes a dozen recordings that don’t appear in my discography. Of those twelve, I know of only one that has been recorded.

I sent a list of the eleven unknown recordings to EMI Music Publishing with the question:

Can you tell me if the songs in the list below were in fact recorded and released on disc by the listed artists?

The answer was not long in coming:

If it’s in the list, it’s because there has been authorization.

Now for the interesting part. The recordings in my discography that do not appear in EMI Music Publishing Brazil’s database.

As I recall, Mario Marques stated recently that his assistant obtained the EMI list before his book went to press, but he chose to use my discography in his book because it contained seven (7) additional recordings.

As usual, Marques leaves me to do the work. And I did. I counted them all. How many additional recording are there?

Seventy-two (72) additional recordings in 59 albums or soundtracks. That’s 72 recordings of Guinga tunes that are listed in my discography but not in Guinga’s music publisher’s database.

Missing altogether from the EMI list are all the recordings of “Choro pro Zé,” one of Guinga’s most frequently recorded tunes. And it’s not the only missing tune.

So much for copying.

Now for the format.

Mine:

Artist/s Song/s Album (or Source) Year
Guinga & Grupo Orquídea Valsa pra Leila (Guinga/Aldir Blanc) Orquídea—Choro e Samba em Niterói (Rob Digital) 2000
Tastho Guitar Trio with Guinga (instrumental) Cortando um Dobrado (Guinga) Sambaqui (Ethos Brasil) 2001

EMI Music Publishing’s:

1018337 VALSA PARA LEILA (C) 1996 17/05/96
31/08/1998 VARIOS FUNDAÇÃO NITERO

1021872 CORTANDO UM DOBRADO (C) 1999 23/03/99
14/10/1999 SAMBAQUI(TRIO DE GU CARLO

I rest my case.

One final question to Mario Marques: since you are an old friend of Guinga and say you had this EMI list for two years now, why didn’t you look after your friend’s interests and inform his music publisher that there are so many unauthorized recordings of his work?

=======================

Rodney Brocanelli, a buddy of Mario Marques, complains in his weblog that I don’t give equal coverage to Mario’s camp.

=======================

The generous Mr. Marques

Thursday, 12 February 2004

In his weblog, Mario Marques published yesterday the Guinga recording authorizations list from EMI Music Publishing Brazil.

He introduces the listing with this magnanimous offer:

Oi, pessoal, deixo à disposição de vocês a listagem das composições de Guinga, da EMI, já que ele é um artista exclusivo dessa importante gravadora no Brasil e no mundo.

Duh! Since when is EMI Guinga’s record company?
Have you forgotten about Velas?

A lista é pelo menos seis vezes maior do que a “da” Sra Thompson e de onde provavelmente ela ou alguém teve acesso para que ela compilasse a “sua” e a chamasse de “copyright material”.

Mario, Mario. You didn’t even take the trouble to count. And you obviously counted on nobody else counting either.

If you had a comment tool on your weblog, I could post there the list of 72 recordings in 59 albums or soundtracks that are published in my discography but are missing from the EMI Music Publishing database.

=======================

Friday, 13 February 2004

The Comunique-se article was published yesterday. Readers’ comments are published on the same page. (Registration is required to post a comment.)

=======================

A private e-mail arrived today from a man who signs Translator and Professor below his name. Among many other criticisms, he says this:

I won’t even go into the fact that your only evidence are EMAIL MESSAGES, which can easily be forged. Would any serious court take them as evidence? Not a single chance.

Curious how some people—even professors for whom research and evidence checking should be second nature—pin the whole case on the exchange of e-mails, apparently never having bothered to examine the real evidence, namely my Brazzil article “Guinga rising” and Mario Marques’ book.

=======================

Call me James.

Só hoje fui ler a tão falada troca de correspondências entre o “jornalista” Mário Marques ( sim, eu já o julguei e considerei um mané ) e uma tal de Daniella Thompson, que diz ser a verdadeira autora da discografia de Guinga que Mário publicou em um livro. Se é ou não, não interessa. O importante é que esta fofa publicou a troca de emails entre os dois em seu site e é das coisas mais hilariantes para se ler e pensar um pouco sobre como anda o nosso jornalismo cultural.
Se o Mário Marques é jornalista cultural, então eu sou o Papa.
Leiam aqui.
posted by Rodrigo James at 12:08 AM comments(0)

=======================

Sunday, 15 February 2004

The Translator-Professor’s letter was posted yesterday in a series of comments below the Comunique-se article. Now that his name and message have been made public, here’s my private reply to him.

Date: Fri, 13 Feb 2004 11:00:10 -0800
To: Roberto Pires
From: Daniella Thompson
Subject: Re: Mario Marques imbroglio
Cc: Laboratorio Pop, Brazzil magazine, Agenda do Samba & Choro

Dear Mr. Pires,

Thank you for taking the time to write such a thorough message. I’m reproducing it in its entirety at the bottom of this reply for the benefit of the publisher of Brazzil magazine, where my article containing the discography first appeared.

> I must say that, while I do not condone Marques’ attitude, you are
> probably one of the sickest persons to ever have lived.
[...] Once again, I
> do not condone his attitude, but a court is supposed to decide
> whether he’s a plagiarist or a liar - not you.

Is a court also supposed to decide whether I’m one of the sickest persons
to ever have lived?

> I won’t even go into the fact that your only evidence are EMAIL
> MESSAGES, which can easily be forged. Would any serious court take them
> as evidence?

The evidence is in my article and in Mario Marques’ book. That’s what a court should be examining, and I suggest that you take a look too.

> As you know by now, the case has reached the pages of the Observatório
> da Imprensa.

Indeed. The Observatório is publishing my posts as well as those of Mr. Marques.

> For example, Marques claims that some of the emails that you display on
> your page are forged. Can you prove they are not?

He’s lying, and I still have all his original e-mails on my computer.

> You say that the EMI list containing Guinga’s songs recorded by
> other artists is no “iron-clad evidence” of anything. Tell me
> then, what “iron-clad evidence” have YOU got that Marques
> did not compile the list on his book himself,

1. His list is identical to mine in every way, including format, English words carelessly left in, and some assumptions I had made about two recordings that I haven’t been able to obtain and listen to but that I have since concluded to be erroneous and corrected in the Web edition of the article but that remain in the printed edition of the magazine (Brazzil, November 2001). Had he used the EMI list he claims to have obtained at the time, his list would have been very different from mine.

2. Mario Marques himself admitted it—not only to me but to Comunique-se (see today’s article).

3. His publisher did not have any difficulty in recognizing the justice of my claim.

> maybe modelling after your list,

There was no remodeling. There was only lifting and copying verbatim.

> In fact, this reminds me of reading an article by Alexandre Matias in which
> he very eloquently praises a certain “Copyleft Movement”,
> which defends that all copyright should be rendered null and void,

Actually, Matias himself has a statement on his weblog to the effect that reproduction requires his approval. That’s why I didn’t quote anything from trabalhosujo.

> And finally, I agree with lawyer Nehemias Gueiros in that you simply don’t
> have a case.

Have you seen my work? I doubt it, or you wouldn’t be saying this. I wonder if Marques has been totally honest with his lawyer.

> The only reason I’m writing this is because I’ve grown to
> respect Mario Marques’ work, which in my opinion is too important to
> be overshadowed by a bunch of irresponsible people turning a very
> controversial issue into “proof” that Marques is a lousy
> journalist, an implication that wouldn’t necessarily hold true even if a
> court had actually ruled him guilty of plagiarism.

I understand your point of view. But it’s not up to me to protect Mario Marques’ reputation. He brought this brouhaha upon himself. All he had to do at the outset was issue a public statement recognizing his error. The whole issue would have been over immediately. Instead he has been going on compounding insult upon injury for well over a year.

Have you seen the e-mail Marques sent to multiple publications (including Brazzil magazine and the Agenda do Samba & Choro, to both of which I’m a contributor) in which he declares that I’ve been institutionalized in mental asylums?

> One more time, I do not condone plagiarisms of any sort. If Marques is guilty
> of that, of course he must pay. But if it turns out that he's not, it’s
> too late: you’ve already make him pay.

I disagree. If Marques’ lawyer chooses to take this case to court and wins, his client will look like a hero. But it’s going to be very hard, since the notorious e-mail containing the following passage was sent to many, many destinations:

Nervosa e histérica, já que é tida como uma pessoa desequilibrada no meio artístico, tendo sido inclusive internada por vezes, a sra. Thompson acusou o jornalista de plágio, sendo ela mesmo a plagiadora da listagem.

As a very famous Brazilian journalist (really famous, not like Mario Marques) wrote me after having read the above:

Mas que absurdo. Essa questão de ataques pessoais é coisa séria.
Mas ajudaram apenas a quem não conhecia, saber quem é essa pessoa.

--
Daniella Thompson
_______

Daniella Thompson on Brazil:
The Magazine of
Brazilian Music & Culture

Musica Brasiliensis

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Sunday, 15 February 2004

Making use of the EMI database readout that Mario Marques so generously made available, I did a Web search for the eleven unknown recordings listed there and found six, now added to the discography.

The six as they’re listed by EMI:

CHORO PERDIDO
18/07/2001   PEDRO LIMA   IMUSICA

DESTINO BOCAYUVA
13/04/2000    CLAUDIO BIRRA   CLAUDIO BIRRA
03/07/2000   QUINTETO VILLA-LOBOS   RIOARTE

IGREJA DA PENHA
02/07/200209:42:4   JULIANO BARBOSA   JULIANO DE MELO

PUNHAL
27/12/1989   CRISTINA SANTOS   WARNER MUSIC

SACI
16/09/2003   ELISA QUEIROGA   AQB MUSICA

SUCUARANA
28/12/1989   CRISTINA SANTOS   WARNER MUSIC

To see what they turned into, look here.

There was also a bonus in the form of a seventh recording.

This item was listed in the EMI database:

CHA DE PANELA
08/08/2000   DU OLIVEIRA E DEBORA   DU OLIVEIRA

I found this and this, which (with the help of Du Oliveira) turned into these:

Artist/s Song/s Album (or Source) Year
Sr. Blan Chu Chá de Panela (Guinga/Aldir Blanc) O Universo do Sr. Blan Chu (independent) 2001
Sr. Blan Chu with Guinga Par ou Ímpar (Guinga/Aldir Blanc) Upcoming CD (independent) to be released in 2004

What’s the connection between the two listings? Du Oliveira and Debora di Sá are the founders, vocalists, and principal songwriters of the Goiânia band Sr. Blan Chu.

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What’s missing from the EMI database

Tuesday, 17 February 2004

Observatório da Imprensa published my second reply to Mario Marques and posted for download the list I sent with 72 recordings that appear in my discography but not in the EMI Music Publishing database (O que falta na lista da EMI).

You can also download the list here.

And here are readers’ comments on the Observatório da Imprensa website. One of them suggests the obvious: Melhor pedir desculpas.

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Since when is it such an honor to be a journalist?

Wednesday, 18 February 2004

After all the hotheads have had their say, there’s now a very well-reasoned accounting of the case in DaniCast’s Mad Tea Party! and in the same author’s LiveJournal zillian_2112. Both carry the succinct headline Plágio, internet, música brasileira e soap opera and include readers’ comments.

The writer of the above items, who claims not to know a thing about Guinga, learned about the MM controversy in an article called “Jornalistas,” published on 16 February by André Kenji in his weblog Estação Lugar Nenhum.

André’s article is of particular interest to non-Brazilians like me, who were mystified at the MM clique’s “accusation” that I did not possess a degree in journalism. Notwithstanding Mario Marques’ total ignorance of my academic credentials, I couldn’t fathom the point of that strange argument until reading in André’s article that journalists in Brazil can legally practice their profession only with such a degree.

I won’t comment on the consequences of such a misguided law. André has already done it admirably well.

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The weblog ALL about IVY, embedded in blog-se, o blog dos jornalistas, includes this amusing (although not altogether accurate) observation by Ivy Dias de Campos:

Crava-se aqui uma consideração em placa de alto quilate. É por meio desta confusão que conheci o trabalho de Guinga, artista que não é pai pela causa do quiprocó, mas zela final feliz pelos amigos que discutem ali como dois irmãos em plena competição de relevância: Papai, quem é digno de mais carinho?

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Thursday, 26 February 2004

Just when I thought that things had quieted down, here comes Julio Daio Borges with a Digestivo Cultural article aptly titled Cheio de Dedos.

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