Publication: Vents Magazine
Date: May 15, 2023

VENTS Magazine recently had the pleasure of interviewing German musical legend Ute Lemper about her new music video, “Time Traveler.” The interview can be read below!

Your music video has incredibly detailed graphics that take viewers on a journey through time. What inspired the story behind this music video?

The idea was to be a time traveler, through a hundred years of history from the past into the future. I am experiencing time running too fast or sometimes stalling in my own life, wondering about our planet’s evolution and the years marking our faces.

Important human beings appear to accelerate progress and contribute to culture and humanity, others destroy it all over again. Is it a cycle of history, simply the human condition? The video is a fun movie, that takes us on a visual adventure enhanced by AI, a journey through time and into our mind. The song is sensual and offers philosophical ideas.

How has your German heritage influenced your sound?

In this kind of repertoire of soul music with a contemporary edge and my own songs I do not see any specific influence from my German background. It is not theatrical music or chanson; this one is straight from the heart and simply vibey. The storytelling, though, might always have a certain edge and depth due to my heritage. I always search deeper and try to poeticize the mysteries of life.

Has your history in musical theater impacted your music career today? If so, how?

I spent years on stage in shows and theatrical plays, but always was the happiest when I could dedicate my time to my own creations, when I do not have to fit into anything but can be utterly free in my creation. A sparkle of an idea often starts off an entire project and it’s wonderful to go all the way, without any compromises.

How has the theme of change demonstrated in “Time Traveler” affected your own journey in the music industry?

Ha, I definitely have seen the evolution from vinyl in the 80s to CDs in the 90s, to digital distributions over the last 10 years. The change in musical production from tape to Pro Tools and the worrisome disappearance of the human performance in its imperfection in the contemporary pop music. Where will this lead? Will my children still have an ear for raw and authentic performances? I do not mind the minimalist approach of many contemporary pop productions, but I do mind the absence of humans giving their soul into the music.

How does “Time Traveler” differ from music that you have released previously?

The album carries only my own songs in lyrics and music. I had composed many of the previous albums but mainly to poetic literature, like Bukowski, Neruda and Coelho. These songs have my own words. It is not really jazz or cabaret, chanson or lied; they have their own language in a soulful universe.

What is next for you and your career?

I just wrote a substantial autobiography, now published in German and soon to be licensed in other languages. I am thinking of conceiving a show with stories about my life from cold war Berlin to Paris in the poetry clubs and New York in many transitions since 9/11, all accompanied by the essential songs expressing those moments in time.

What can you tell us about your upcoming album?

In the year 2000 I had just found new love with my partner Todd and started a new passage in life after a divorce and a few years in shows in the West End and on Broadway. I was touring with my album Punishing Kiss and was highly inspired to start writing songs myself. I was filled with ideas, lyrics, poetry, and harmonies on my piano. Todd and I recorded the songs on a 16 track analog tape machine in his music studio in Chelsea. Two years later we had switched to a Pro Tools set up and the old tapes disappeared for more than 20 years in the basement… until we discovered them again by coincidence. Now a lifetime later, still together making and producing music, we had the old tapes carefully digitised and could not believe the originality of the old  songs. By touching them up, partly re-singing, partly keeping the youthful voice, blending old and new stories, laying a more contemporary sounding groove under it, I suddenly found the inspiration to write music again.

The album shows a time warp, a wrinkle in time and a beautiful encounter with our younger selves, but at the end the new songs dominate as they express my more mature contemporary philosophy of life.

What is your favorite lyric from “Time Traveler”, and why?

In these dark times, the eyes start to see….
If you move the wall sideways it becomes a bridge
Was there ever innocence, I am fine with its loss
I am a time traveler looking for you, here to save you

What have you learned from your time as a musician that has helped you with your upcoming album?

Follow the instinct, make space for the words inside the music and the silence within.
Invite incredible talent to contribute and shine.
Make the music embrace humanity in its beauty.
It is a teamwork, but stay faithful and truthful to your vision.


Follow Ute Lemper:

https://www.facebook.com/UteLemperOfficialPage
http://instagram.com/utelemper
http://twitter.com/UteLempersMusic

Click here to read the article on Vents Magazine website.

Publication: OurQuadcities.com / EINPresswire.com/
By: Andrew Gesner
Date: May 15, 2023

Ute Lemper has cut revelatory versions of songs by many popular artists. “TIME TRAVELER” makes clear that it isn’t only the world that’s changing: we are, too.

In his science fiction classic The Time Machine, H.G. Wells describes the exhilarating (and terrifying) experience of watching the years flutter by like the pages of a flipbook. Moments significant and mundane blur together into a single story of perpetual change. “TIME TRAVELER,” the new video from German musical legend Ute Lemper, brings this vision to life in dazzling color and subtle but resonant strokes. While the singer tells her story from the picture window of her ship on the seas of time, the clock accelerates. Battlefields become temples, the wilderness is tamed and grows wild again, ordinary men morph into historical figures, and the earth itself seems to shiver under the weight of history.

It’s dramatic and fascinating to watch but also a metaphor for Lemper’s award-winning career. Through music, the vocalist has always bridged the distance between past and present – and she’s kept a keen eye on the future, too. Lemper has earned a reputation as one of the most formidable interpretive singers in the world, cutting revelatory versions of songs by Kurt Weill and Brecht, The Berlin Cabaret, Tom Waits, Philip Glass and Nick Cave, and many others. Her reanimation of the work of Edith Piaf revealed the cornerstone French singer to be an artist grounded in tradition but perpetually relevant. Lemper’s imaginative performances in musical theater — The Blue Angel, Peter Pan, Cabaret, and Chicago, to name a few of the shows she’s starred in — have established her as a cornerstone of the European stage and Broadway.

“TIME TRAVELER,” too, feels simultaneously contemporary, anticipatory, and rooted in the classics. This is a sophisticated jazz-pop sung written by the artist herself, an impeccable vocalist — but it’s also playful, and its starry-eyed lyrical hook will resonate with romantics of all kinds. And as the clip for “TIME TRAVELER” makes clear, it isn’t only the world around us that’s changing: we’re changing, too. The video shows us a version of Ute Lemper unshackled by time. Sometimes we’re shown the youthful Lemper who scaled the walls of contemporary theater with her dazzling talent, sometimes we get the current masterful Lemper, and sometimes we see the artist in transition, growing into her next challenge. The continuity is visible, and the message is clear. Time can’t lay a glove on her. No matter where she’s been or who she’s portrayed, she’s always been her brilliant self.

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HIP Video Promo
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See original article online here.

Publication: The Daily Brit
By: Rugged Hank
Date: May 3, 2023

Iconic Chanteuse and dancer Ute Lemper steps away from her historical repertoire and embraces her inner songwriter, producing an album that spans genres and time periods.

Life is a song and it wants to be sung. Ute Lemper, the New York-based singer and performer has made a name for herself worldwide as an entertainer and special interpreter of the Weimar repertoire of the 1920s, particularly the works of Brecht and Weill and Marlene Dietrich. However, the versatile artist’s palette has expanded over the years, leading to a growing desire to share her own original music and lyrics with the world. After composing the music to a variety of song cycles exploring the poetry of Neruda, Coelho and Bukowski she now brings us a piece of her own mind.

“Time Traveler” marks a significant adventure in Ute Lemper’s creative works with its contemporary music style of Neo Soul, Jazz and alternative R&B. This album features all-original music and lyrics and the story of this collection of songs began 23 years ago when Ute Lemper first wrote and recorded some of these pieces in her husband’s studio. However, for various reasons, these songs were not released at the time and were forgotten until by chance, the boxes of tapes reappeared in her in-laws’ basement in 2021.

The rediscovery of these songs inspired Ute Lemper to revisit her own personal history, encounter her younger self, and most of all to get back to the drawing board to write a new wave of songs from a more mature perspective. “Time Traveler” showcases this wrinkle in time , as much as the full range of her talents as a songwriter, performer, and interpreter of her own material. Through the songs, Ute Lemper shares feelings about her path reflecting on joys, regrets, wisdom, longings, and fulfillment.

The album includes ten original songs that merge various genres, including jazz, soul, R&B and chanson. Ute Lemper together with her partner Todd Turkisher take risks in terms of production and sound, luring the listener onto a completely unexpected path in some pieces, such as the opening title track which is accompanied by a stunning cutting edge video that uses AI to explore the subjects of Time Travel and evolution.

With “Time Traveler,” Ute Lemper has emancipated herself musically from all categories, drawing inspiration from a diverse range of artists and bands such as Hiatus Kaiyote, John Legend, Joni Mitchell, Sarah McLachlan, Annie Lennox, Erykah Badu, and Robert Glasper. However, she remains true to her own unique style and vision, producing an album that is one hundred percent Ute Lemper.
Overall, “Time Traveler” represents a significant milestone in Ute Lemper’s career, showcasing her evolution as an artist and songwriter. Through her original music and lyrics, she continues to inspire listeners and to share her own personal journey with the world.

Read the Review on Daily Brit site here.

Excuse Us, Ms. Lemper… Your Weimar Is Showing

Publication: Broadway World Cabaret
by: Bobby Patrick
Date: Mar. 29, 2023

Ute Lemper at 54Below in NYC, photo by Bobby Patrick
Ute Lemper at 54Below in NYC, photo by Bobby Patrick

Heigh-Ho, My Merry Rainbow Tribe! Bobby Patrick your RAINBOW Reviewer here. Grabbing that silent T in cabareT to bring you all the Tea!

Last Saturday’s 7 PM show at 54 Below finally had your favorite cabaret reviewer in the same room with the legendary Lemper… Ute Lemper brought her LILI MARLEEN – FROM WEIMAR TO THERESIENSTADT to where it truly belongs – Under the street. The culture of Weimar that grew in Germany between 1918 & 1933 was truly an underground revolution that was key to how and why the ’20s roared in that part of Europe. All good things must come to an end, especially when Nazis crash the party, and the all-too-short decade and a half that was the halcyon days of that era of freedom gave way to the ultimate oppressors. These days we have a few creative souls dedicated to keeping Weimar alive in small pockets of performing venues in NYC and a few other large cities. Young Kim David Smith and even younger Artemisia LeFay are shining examples of Gen Z’ers who embrace, rather than ignore or even repudiate, our creative pasts. The expressionism of Weimar also lives on in Ute Lemper, whose Kabarett performance Saturday night was painted in the stark shades of bright white, sharply punctuated with shafts of black throughout. Her Haunting opening mashup of Philip Glass’s STREETS OF BERLIN with Weill & Brecht’s ALABAMA SONG & BILBAO SONG perfectly evoked the Weimar dames like Marlene Dietrich and Lotte Lenya. Oh, those growled R’s and her eyes that see only what she needs to see, all the while mining diamonds and hot coals from her voice box, an instrument that yields a belting mezzo with a solid alto crossover. The audience is essential to her, as is the drama of a ’20s that really roared.

Recalling the dark times of then and now, Lemper’s voice is a wail for society, with A-tonal disturbances that cry out for free speech and expression, then, suddenly, some major chords and “pretty” intervals are dropped in, quite unexpectedly. Ute goes from pretty to thrilling and back again, as she tells stories that walk through the days before and during WWII. Telling the gut-wrenching story of Ilsa Weber, and then giving an equally moving rendition of the lady’s song about the concentration camp THERESIENSTADT (the camp for artists and musicians, before being sent to Auschwitz) left all open-mouthed with a mixture of loss and admiration for Weber and her words. With perfect support from Vana Gierig on piano, and Cyrus Beroukhim on violin, Ute was able to ride their waves of music, which were always filling but never overfilling the space, allowing their star to dominate. One comes to an understanding, at Lemper’s hands, that the realities of German society before… you know who… was that of a culture in flux from what it had been, under a harsh nobility, through a time of unprecedented freedom of expression and speech. It was a joyous time… until it wasn’t, and what the Lady Lemper creates with her show is THEATRE, my lambs.

Ute Lemper at 54Below in NYC, photo by Bobby Patrick
Ute Lemper at 54Below in NYC, photo by Bobby Patrick

Another highlight of Lemper’s show was her title song LILI MARLEEN, a tune Herman Göring called “Kitsch with the smell of corpses.” In her talkie bits around the number, Ute told of how the song became Marlene Detrich’s theme and that she went on to sing it in public and on several albums. In 1939, Marlene became a devoted American citizen with such a distaste for Adolf that she even entertained thoughts of getting close enough to him to kill him during an invited visit to Germany, a plan she later thought better of. Marlene’s patriotism for her adopted country meant she was barred from Germany’s shores for years. Brilliantly recreating the moment of Dietrich’s triumphant return for a UNICEF GALA in the ’60s La Lemper touched every heart in the house with Pete Seger’s WHERE HAVE ALL THE FLOWERS GONE as her finale for the night and, despite the rousing standing ovation and calls for MORE, there was no encore, leaving us all wanting that more.

Embracing, as she does, the stark expressionism of Weimar and the darker stories of Jewish oppression, Lemper’s show is one of the most uplifting pieces of theatre we have seen in a while. Her performance of each song and of her spontaneously spoken script took the room back, gave us a modern perspective on songs that were never silenced, no matter the highs and lows of life, and rang out with the catchphrase of the Kabarett In Exile formed briefly by Brecht and Eisler, “We’re Not afraid to be queer and different.”

In the end, through her sense of drama and the music of Holleander, Spoliansky, Brecht, and, yes, even Seger, Ute Lember built a smokey, dimly lit, and incredibly exciting Kabarett room under 54th Street. She let light shine in controlled measures and painted in the shadows as she sang, and, for all of that, we give LILI MARLEEN – FROM WEIMAR TO THERESIENSTADT At 54 Below a resounding…5 Out Of 5 Rainbows

Ute Lemper at 54Below in NYC, photo by Bobby Patrick
Ute Lemper at 54Below in NYC, photo by Bobby Patrick

We Could Only Wish That The Lady Had More NYC Performances Scheduled This Month, But Do Keep Up With Her Calendar: HERE

Read, My Boss, Stephen Mosher’s Review Of The Lady’s RENDEZVOUS WITH MARLENE: HERE

All Photos By Yours Truly, Bobby Patrick

Click HERE to read see review along with more fabulous photos from the performance by Bobby, on the Broadway World site.

 

Publication: Milenio 
Date: 16 September, 2022
By: JOSÉ JUAN DE ÁVILA

La cantante y actriz alemana se presentará con la Orquesta Filarmónica de la UNAM (Ofunam) los días 10 y 11 de septiembre en la sala Nezahualcóyotl del Centro Cultural Universitario.

Ute Lemper (su nombre, eufónico, ya es una canción) asegura que una de sus misiones es mantener un repertorio vivo de obras de autores como Kurt Weill, Bertolt Brecht, Edith Piaf o Jacques Brel para nuevas audiencias, pero aclara que no canta por tradición, sino por la urgencia de representar lo actual, con esas obras “atemporales” que hablan “de libertad, de emancipación, de rebelión y de revolución”. L’enfant terrible de la canción europea recuerda que su relación con México se inició hace 25 años, cuando apenas estaba a mitad de su carrera, en entrevista desde Nueva York, en vísperas de su nueva presentación en México con sendos conciertos el sábado 10 y domingo 11 de septiembre en la sala Nezahualcóyotl del Centro Cultural Universitario, con la Orquesta Filarmónica de la UNAM (Ofunam).

Bajo la batuta de Iván López Reynoso, Ute Lemper (Alemania, 1963) interpretará con la Ofunam obras icónicas de su carrera de cuatro décadas: Milord, de Georges Moustaki y Marguerite Monnot; Weimar Suite; el tema de Cabaret y piezas del musical de Fred Ebb y John Kander con el que debutó en París en los ochenta, además All that Jazz, de Chicago, también de Ebb y Kander; Je en sais pas, Amsterdam y Ne me quitte pas, de Jacques Brel, junto a obras de Astor Piazzola: Yo no soy María y Che tango che. La cantante y actriz alemana, quien ha colaborado con los cineastas Robert Altman y Peter Greenaway, la coreógrafa Pina Bausch, el cantante Tom Waits y los músicos Philip Glass y Nick Cave, entre muchos otros, vuelve después de varios años de ausencia desde su presentación en el Palacio de Bellas Artes de 2016 con la Sinfónica Nacional, para abrir con broche de oro la temporada de Ofunam. Dice que es un gran privilegio” venir a México, donde cantó en el Festival Internacional Cervantino . Lemper adelanta que en 2023, que cumple 60 años, realizará otra grabación discográfica y un documental sobre su vida y carrera que abordará su relación con el país y destacará la historia de la madre de la empresaria, Yetty, sobreviviente del campo de concentración de Bergen-Belsen.

“He estado en México muchas veces durante los últimos 25 años. Es un gran privilegio llevar mi música y la música que represento a esta cultura única y diferente y a su público. Es un pedazo de historia lo que represento con este repertorio que, aunque fue concebido muy lejos de México, es una importante pieza de reflexión poética de la vida, y después de todo la vida es universal en el espíritu del amor, la lucha, la guerra, la supervivencia, la opresión y la esperanza. Así que siempre amo llevar mi música a Ciudad de México porque el público es muy afectuoso, apasionado, también muy culto e intuitivo. Y es maravilloso y colorido tener estas experiencias en esa hermosa ciudad”, expone Lemper.

En el programa para los conciertos con la Ofunam aparecen varias de las canciones icónicas de su repertorio. ¿Qué significa para usted cantar esos clásicos para nuevas audiencias?

“Este concierto tiene que ver con mi trayectoria musical, que empezó hace 40 años, en los años 80, con música de Kurt Weill, Bertolt Brecht, canciones de cabaret, piezas sinfónicas con canciones de Brecht, el cancionero francés, diferentes compositores como Edith Piaf o Jacques Brel, más adelante Astor Piazzola. Es una larga trayectoria musical. Pero con las canciones que presentaré en la sala Nezahualcóyotl con la Ofunam, siento que estoy cantando la esencia de mi repertorio musical. Es música del pasado, pero atemporal. Es música que aborda situaciones de cambio, de revoluciones, de rebelión, de la vida poética, y, sin embargo, hay un gran espíritu de libertad en este repertorio porque este siempre depende de la interpretación humana. Es maravilloso interpretarlo con orquesta, es un privilegio porque la orquesta me da un extraordinario universo de imágenes sonoras para experimentar. Y es genial e importante llevar este repertorio a las generaciones más jóvenes, a gente que necesita conocer esta parte de la historia de la música, de cuando la música asumió la voz de la liberación, la voz de la emancipación de las mujeres, de libertad contra la opresión y la libertad política, de una manera poética y existencialista. Es algo que los universitarios necesitan escuchar y aprender”.

Usted empezó su carrera en los escenarios con los musicales. En la sala Nezahualcóyotl interpretará varias obras de ellos. ¿Qué encuentra Ute Lemper de valioso en los musicales?

“Los musicales hablan un idioma muy especial. Hay una narración que pasa por las palabras y los números musicales, y el baile. La plataforma que hace a mucha gente feliz tuvo un desarrollo brillante y perfecto especialmente en los universos estadounidense y británico. Y no siempre son superficiales, por cierto. Me parece que algunos musicales tienen una muy compleja música y libretos, pero están hechos para entretener, por supuesto. A lo largo de las décadas he participado en muchos musicales, y siempre ha sido emocionante. Pero, es cierto que nunca me he sentido más en casa que en mis propios conciertos, en los que puedo ser más profunda, tomar más tiempo y en los que hay más momentos para ir más allá de lo que la música pueda hacer. El musical es parte de mi vida y disfrutaré celebrar aquí algunas de mis experiencias con los musicales en París, con Cabaret, o en Broadway, con Chicago, o en Berlín, con El ángel azul. Los musicales son parte de mí, aunque no una parte esencial de mí”. 

El amor y la guerra están en el contexto de su carrera. ¿Qué es más fuerte para usted: el amor o la guerra?

“Ambos están conectados. La ausencia del amor, de comprender la empatía y la razón, es la guerra. Hay que ver que los humanos tienen demonios y una parte muy oscura en su corazón y comprensión de la vida, y siempre la más horrible esencia del ser humano es la lucha por el poder; cuando el poder se convierte en el peor enemigo del ser humano, la guerra comienza. Tienes que describir la guerra al mismo tiempo que el anhelo de amor. Ambos son aspectos contrarios de mis canciones”. 

Kurt Weill, Edith Piaf, Marlene Dietrich, Jacques Brel… Muchas de sus canciones vienen de una época lejana. ¿Qué significa para usted memoria y tradición?

“Yo no canto por razones tradicionales; canto porque vivo el ahora, el hoy, en el momento. No canto por crear una pieza de museo, sino por la urgencia de representar la actualidad. Canto ahora, en este momento, para la gente de hoy, con mi más contemporáneo espíritu. Y al mismo tiempo, es mi misión mantener este repertorio vivo para representar este universo de gente de hoy”. 

Otra vez la humanidad atraviesa por momentos oscuros: pandemia, una nueva guerra en Europa, la peor violencia en México. ¿Cuál es el rol del artista en tiempos de oscuridad?

“Los artistas siempre apelan por la sensibilidad y la comprensión. Siempre apelan por el balance, la armonía y la belleza esencial de las personas, que es el amor. Con la conexión entre el entendimiento, la empatía, la paz y el amor universales que los artistas buscan estaríamos en un mundo mejor. Entre más cerca estés de la lucha por el poder, las prioridades del gobierno, hacer reglas para otros en un sistema dogmático y la opresión estarás más lejos de la música y el arte. Por eso el artista es una suerte de paria, porque se mantiene alejado de lo normal, reflexionando sobre el exterior y la vida interior”. 

¿Cómo la cambió como artista y persona la pandemia?

“Tuvo un gran impacto en mí para parar todo, para alejarme y parar: parar el estrés, la presión, los horarios, la rutina y ver todo desde una perspectiva diferente. Y el resultado de ver las cosas desde una perspectiva diferente fue tener nuevas prioridades; encontré mucha calma, paz dentro de mí que había perdido desde hacía mucho tiempo. Ahora solo quiero hacer tours y conciertos que sean realmente importantes, y si no quedarme en casa, ser creativa desde casa y estar en el hogar con mi familia”. 

¿Cómo sobrelleva una artista como Ute Lemper la soledad en nuestros días?

“Pues no estuve muy sola durante la pandemia, porque mis hijos tuvieron que quedarse en casa. Me pasé los días haciendo escuela en casa con ellos, básicamente estudié el segundo y quinto grado otra vez. Aprendí mucho (risas). No tuve mucho tiempo para la soledad. Sé que mucha gente sufrió soledad, estuvo muy aislada, muy abandonada, muy sola, pero en mi casa no tuve esa experiencia, disfruté mucho estar con mi familia. Sé que mucha gente joven, en especial adolescentes, necesitaban la estructura escolar y socializar y estar felices con otros jóvenes, y muchos tuvieron problemas mentales, sufrieron mucho con el aislamiento y una lucha muy fuerte para aceptar la vida como era”. 

Grabó el álbum los The 9 Secrets a partir de su lectura del Manuscrito encontrado en Accra, de Paulo Coehlo. ¿Qué encontró en ese libro que pudiera inspirarla a usted?

“Era un momento de mucho conflicto en mi vida y buscaba una suerte de nuevas perspectivas, y encontré una dimensión espiritual en Manuscrito encontrado en Accra. En verdad fue como un viaje de sanación para mí, no solo leer este libro, sino también componer un álbum a partir de él y conocer a Paulo Coehlo en persona”. 

Además de artista, también es activista. Sus conciertos y grabaciones para conmemorar el Holocausto (uno de ellos en Bellas Artes) y encontrar la reconciliación han sido muy importantes en su carrera y para su público. En México estamos padeciendo la más oscura época de violencia y de asesinatos de mujeres. ¿Qué nos puede decir sobre la reconciliación?

“Uf. Desafortunadamente esa gente malvada, que lucha por el poder, con esa brutalidad y crueldad, no viene a mis conciertos. Es terrible cómo el ser humano puede ser cruel con otros seres humanos, hemos padecido esa crueldad en muchos capítulos de la historia en todo el mundo, ya sea por razones políticas o religiosas, como las Cruzadas, la época de los nazis, obviamente. Muchos genocidios han pasado en la historia y ciertamente la crueldad hacia las mujeres, que siempre han sido tratadas en segundo plano en la historia de la humanidad en un mundo gobernado por hombres. Estoy sin palabras. Solo puedo pedir mirar al ser humano como algo universal, una criatura de la naturaleza que necesita libertad, amor, luz. Todo está conectado, todo ser humano está conectado con otro de la misma manera en que estamos conectados con la naturaleza. Espero que el gobierno tome seriamente (los asesinatos de mujeres y la violencia). ¿Qué puedo decir? Es una situación terrible. Cuando la violencia y la brutalidad surgen, el gobierno debe aparecer, porque no hay otra manera de reaccionar con medidas serias y muy fuertes para erradicar la fuente de esa violencia”. 

Click here for original online article.