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Zulma Faiad

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Zulma Faiad grew up with her sister Virginia Faiad in the bosom of an Argentine middle-class family. Her father was Jacinto Faiad, of Lebanese descent. Her parents separated when she was still very young. Her father was an accountant, and worked several hours a day, so her mother, Aurora de Faiad was
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At the beginning of the decade of the 1960, she began as an advertising model and her protagonist participation in a television advertisement of an oil brand gave birth to the affectionate popular nickname of "La Lechuguita" alluding to the characterization that she made. From the Teatro Maipo where
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In 1990, she participated as an actress in some television shows. Already withdrawn from the theater and from the television screen, since 2000 she hosted her own radio program at dawn, where she stood out for her Christian spiritual messages. She was also called by
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She entered without success in politics. She was a candidate for first national deputy by the City of Buenos Aires, as a member the Partido de la Esperanza Porteña political party, in the legislative elections of October 23, 2005.
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She had two well-known relationships, the first one was with Melchor Arana, with whom she lived the 7 years abroad. The second was with
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During the 70's and early 80's she ventured with great success as a vedette in theater shows, alongside stars such as
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In Mexico she participated in several films, of which the most remembered are those in which she acted next to
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in charge of giving her artistic training. At age seven, she entered the school of the
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and Adolfo Stray. She was one of the three famous "Singles" of Channel 13.
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from the article and its talk page, especially if potentially
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Villa Delicia, playa de estacionamiento, mĂşsica ambiental
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In cinema she had a prolific career, acting in 17 films.
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El Universal: ÂżQue hacen hoy las vedettes de los 1970's?
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Buenos Aires
Vedette
Buenos Aires
vedette
Teatro ColĂłn
Teatro Nacional Cervantes
Juan Carlos Mesa

Mauricio Garcés
PEMEX
NĂ©lida Lobato
Dario Vittori
Silvia Legrand
Osvaldo MartĂ­nez
Carmen Barbieri

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